I received a phone call from a man who said he had just finished his first Lavender and Lace piece, but that he had never done any beading before. He wanted to know how to go about it, and since I had been asked this question before, I thought I'd put an answer here.
First, you'll need a needle that will fit through your beads' holes. Many beading needles you'll find are very long, very thin and flexible. Those aren't really very good needles for beading a needlework piece (they really bend all over the place, and stick your fingers terribly!) Mill Hill makes a very nice beading needle, shorter, solid, and much easier to handle. I pour my beads into a little cup or bowl so I have a bigger area to "hit" when I come in with my needle to find one. Use one strand of floss that is the color of your fabric (if you're applying beads on top of the fabric) or the color of your stitching (if you're beading on top of needlework). Some people will say you should match the color of your bead. I think if you do that, it looks like your beads are little bugs -- matching legs coming out of your bead that contrast against what the bead is laying on. Come up in the corner where the bead is supposed to go, just like you're going to make a regular old cross stitch. Slide a bead onto your needle (and pull it all of the way down, or let it slide down). Go down in the upper corner to complete one leg of a cross stitch. Then come back up through the fabric, like you're going to complete your cross stitch. Go through the bead again with your needle, and complete the cross stitch. So you'll have a complete cross stitch all of the way through your bead. This forces the bead to lay straight up and down. If you don't like that look, you can just make one pass through your bead, and it will lay horizontally. Make sure to secure your floss very well when you start and when you finish so your beads don't slip off your piece over time.
"I want to start a project on silk gauze--a pewter pin which allows for an insert of needlework. I don't have any idea of how to approach this project, never having workedon silk gauze before. Is there a book available for a beginner? Thanks!" -- Linda
Hmmm...not that I know of. Silk gauze isn't difficult (at least, I don't think it is!) A pin is a great way to start. You can use silk or floss, and usually you just use one strand (are there directions with your chart/kit?) And you make tent stitches -- half a cross stitch instead of a full one. You count the same way you do for "regular" needlework, and make sure to secure your fibers on the back when you start and finish off. Were there other questions you had? Oh, and make sure to have a dark lap (wear dark slacks, or lay something dark on your lap...have plenty of light over your shoulder...makes it easier to see the holes!) Silk does not unravel, so you don't have to worry about sealing the edges. If the silk isn't on a mat to work on, and doesn't fit in a hoop, cut a hole in a piece of other fabric slightly smaller than the piece of silk gauze, then sew (with your machine) the silk onto that fabric over the hole -- extends the "size" of your gauze so you CAN put it into a hoop, or Q-snaps or whatever. Back in 1990, my mother died, and my daughter and I were going through an old trunk of hers and came upon 2 cross stitched samplers done by my grandmother and her sister (my great aunt). They were from Austria (that's where my mother was from) and had survived the Holocaust, having been saved by a family friend and reclaimed by my uncle (my mother's brother), who went back to Austria after the war to see if any family belongs were salvageable. In fact the date on one of the samplers is 1899, so we are going on 100 years.
I had them professionally framed, thought they came out beautifully, and hung them on my wall. Back then (1990), I didn't know anything about cross stitching, framing, etc., so I trusted the framer who owned a needlepoint shop and was kind of a family friend (her son had dated my daughter and my daughter had even worked in her shop where she learned needlepoint). Over the past few years, have become more knowledgable about such matters as stitching, framing, etc. I noticed that these 2 samplers had been framed with the glass touching the fabric.
I took both samplers to my local cross stitch shop to get the owner's advice as to what I should do. She took 1 frame apart and found the following:
1. Ghosting on the inside of the glass.
2. Rusting staples which were used to attach the sides of the sampler to the foamboard; some of the rust had bled into the fabric just around the area where it was stapled.
3. A foamboard which was not acid-free throughout. It was a cardboard composition with an apparently acid-free front. The front acid-free layer had shifted slightly so that the fabric had been touching the cardboard in some places and the samplers were discolored along all the turned edges where the fabric was stapled into the cardboard.
4. One of the samplers had a slight stain showing, noticeable more so if one were specifically looking for it.
She suggested that I take apart the second sampler (which I have done), and take both samplers to a professional cleaner (someone who specializes in cleaning cross stitched items), have them cleaned and blocked, and then she would reframe them properly.
I took the samplers, frame, cardboard backing, the whole works back to the original framer (that owner of the needlepoint shop) to show her what happened and see what she would advise me to do. Well, she said that the reason for the damage was due to moisture and apparently I have had this hanging in a place where moisture got into it. (I've had it hanging in my living room the entire time, not in sunlight, not near a source of moisture). I asked her about the glass being directly on top of the fabric, and she responded that I must have specifically asked to have it glassed back in 1990 as she never advises the use of glass on any framed needlework. She pointed out her non-glassed shop models to back up her statement. Truthfully, I don't remember what I had said back in 1990 as I didn't know anything about framing as I said before. But I do think if I would have been told about the danger of fabric deterioration from glassing directly on top of fabric, I would not have chosen that method. Oh, well, hindsight is always 20/20. Anyways she advised me to have them professionally cleaned (even gave me the name of a cleaner who does needlecraft cleaning) and have them reframed.
I then took the samplers to another framer (who was recommended to me by a cross stitch friend) and here's what she said. She would not get the samplers cleaned because she would be afraid the red colors would bleed. Instead she would use an off white acid-free through-out foamboard so that the stains would not show so much. She would sew extra material around all the edges so there would be more turning area and would lace it. She would attach a strip of plastic (looked to me like a plastic) to the back edges of the frame to give a deeper ribbit (sp?), and then use spacers to raise the glass off the fabric. She would use a special glass, prevents UV light from going through. When I asked her, if by not having the samplers professionally dry cleaned to remove the stains before framing, would the stains around the edges (right where the fabric had been previously turned, stapled to the non-acid free cardboard) and the stains on the piece itself eventually bleed into more of the fabric. She couldn't answer that question right away and said she would have to check with someone else and get back to me. However, she did mention that the local Historical Society had used her shop to frame some antique samplers and they did not have the samplers cleaned. So she had framed them just the way they were, stains and all. She also suggested I definitely use glass as it would prevent dust from eventually deteriorating the fabric if they were framed without glass.
I am hoping you can give me an "objective" opinion on how I should go about framing these almost 100 year old samplers to preserve my heritage for my children. I feel you would be objective as you would not be selling me a service as these framers are. --Dorothy
Whew. What a story. I think the third framer is most correct. But without seeing the samplers myself, I can't be 100 percent certain. It sounds to me like the stains won't show -- call them "patina" at this point! It's too bad the first framer didn't do a better job, but 7 years down the line, I'm not sure what recourse you have.
I wouldn't get them cleaned just because of their age. You can't be sure that the chemicals or water or whatever they would use wouldn't harm the samplers more.
Adding fabric and lacing sounds reasonable. The glass spacer is what the first framer should have done -- even 7 years ago, framers should have known better than to put glass directly on top of the piece. Perhaps whoever framed it forgot to do that? It's hard to say at this point I'm sure.
I don't think the rust should spread. And really, you should be glad you caught all of this at this point rather than in 20 years when the samplers would be deteriorating further.
Know that the spacer will be touching the fabric. In the past I've sewn samplers with finished edges to another piece of fabric and then stretched that fabric onto acid free foam core. But it sounds like your samplers do not have "finished" edges, so you're pretty much stuck with the route of having them stretched themselves.
Sorry you had to go through so much work already, but I'd stick with this third framer. If the historical society in your area is using her, she must be doing something right.
If I didn't answer a question or if you need further clarification, let me know.
And lucky you for having such a neat part of your family's heritage. -- Theresa
Thank you for responding so quickly to my sampler framing dilemma. I really value your opinion and will probably go with the 3rd framer. However, your comment about the spacer touching the fabric has me a little concerned. (I almost feel I'm getting paranoid about this whole thing (lol). I don't know what material the spacer is made of. You mentioned samplers with "finished edges" verses non-finished edges, I presume. What exactly is a "finished edge"?
Is there any way I can avoid having the spacers touch the fabric? If not, what should the spacers be made of so as not to cause fabric deterioration? Your comment about the Historical Society using this 3rd framer has merit. Thanks again for taking the time to read all this. --Dorothy
The spacer she'll use will probably be plastic, although you could ask her about using acid free foam core as a spacer. I haven't really ever figured a way around having that spacer touch with an unfinished edge.
A "finished" edge, as I call it, is one where the stitcher did some stitching to make the edges all look the same. Sometimes they're hem-stitched, or sometimes they do fancy pulled work along the edge. Remember, samplers were often made as learning tools to be stored inside a sewing kit, so putting a pretty finished edge on the samplers made them stay together (edges do fray) as well as look nice. It really is a matter of "are the edges prettily finished enough for you to frame the piece with those edges showing?" My guess in your case is no. I'd still go with the framer adding fabric to the edges and then lacing.
I hope that answered your questions. You can tell the framer you're concerned about anything touching your piece, including spacers. See if she has any ideas. -- Theresa
Readers often ask me for advice about purchasing a mat cutter to use at home. I've never really looked at the less expensive ones, but a reader clued me in on one that's worked for her.
"I'm familiar with two companies that make reasonably priced ($50 range) mat cutters; they are Alto(s?) and Leichtung Workshops (800-321-6840). The consensus in the framing class I took was that the Leichtung was the better value. I've had mine for the last 6 years or so and have been *very* happy with it. I have been coveting their round/oval cutter for the past few years; it's about the same price as the straight cutter. There are two types of round/oval cutters: one uses templates; the other (Leichtung) works differently, so it's adjustable in (I think) 1/4" increments. A neat trick for working with mats: the white, cut part, of the mat can be custom colored using pens. You have to be careful, but the effect, especially with gold or silver pens, can be pretty spiffy." -- Kelly Borden
I have a problem in that pieces that I have stretched go wavy after a while. There is no chance that they were damp when stretched. I use corrugated cardboard as my mount and staple my fabric. -- Annemarie
Well, I don't recommend using corrugated cardboard if you can find something else. I imagine the cardboard acts as a sponge and draws in moisture from the air around it, which would cause your piece to wave. I use foam core -- most framers do. You will be able to find foam core in sheets at your local art supply or frame shop, or you can have a framer cut you pieces to size.
It is possible, also, that the air in your home is too humid. If you have needlework in or near a bathroom, kitchen or (if you're so lucky) pool, the extra humidity would warp your pieces. Once they're badly warped, your only remedy would be to take each piece apart and restretch it.
I also don't recommend using staples -- they may, over time, rust the edges of your piece. Use the stretching methods I recommend (see my article on this).
A framer's two cents:
"As a person who has worked in a frame shop for over 10 years, I shuddered at the comment from annemarie.. using corrugated cardboard as her mounting board. Three words: acid acid acid.
The reason she is getting the waves is because of the corrugates in the cardboard, but she should be more worried about the deterioration of her project from using that as a mounting board.
Also, there is a product that takes rust stains out of fabric, you have to test it on a corner to check for colorfastness, and make sure to rinse it completely out of the fabric when you are done It works like magic. I have used it on several types of fabric, and have never had a problem. It's called Whink, and comes in an ugly brown bottle.
Anyhow, my real reason for writing was to say I too, use a terry cloth towel under my project when ironing them face down, it does give a nice place for the beads to slip into and keeps your stitches from flattening out.
I don't recommend EVER having a dry cleaner clean your stitchery, the chemicals used don't take out the oils and dirt like a good cold water hand washing does... I have seen too many projects come into the shop that are still soiled.
Also, I used a colorsafe presoak to clean my stitchery, (like Biz or Clorox 2). It works like a charm. I once had a customer come into the shop in tears because she had decided to finish a project that was stored folded for several years. It was a "monopoly" board cross stitch, and since it had soiled creases, she washed it.. what she brought in to me was a mess. She had used the "old" DMC red and black thread and it had bled everywhere, worse yet the dirt was still on it. It looked bad.. and so much work! I offered to take it home to see what I could do with it. I put the whole thing in a bucket of cold water and Biz and left it there overnight. The next day I rinsed and rinsed and rinsed (always keep rinsing whenever something bleeds.. eventually it will stop) Voila! Because she had allowed it to dry, you could still see the the stain slightly, but nowhere near the mess it had been, and by using a gray board behind it when it was stretched, it was virtually unnoticable, except to those of us that 'knew".
About the samplers with finished edges: you can sew it to an acid free mat board, rather than fabric, then mat that, leaving a * of the board you sewed the sampler to showing.
I stretch exactly the same way as you do, excepting I do tape down my fabric to the foam core using acid free framers tape. I saw one person said her shop uses it and was wondering about its effects over time. I took apart one of the first stretches I did (10+ yrs ago) and the tape came off with no problems.
That's all!!
:o)
-Kaisa Mountain, St. Paul Minnesota
Deanna wrote wondering how she should wash her finished Earthdancer piece, since it had beading and specialty fibers. I recommended she write to the designer, and here is her reply, followed by my response.
"First off, do not dry clean your cross stitch. Should it need to be washed, this is best done at home. Using a mild soap, preferably Ivory you may wash your piece in cold water. Warm or hot water can lead to color runs so cold water is imperative. Should a run appear continue to flush the piece with water until all errant traces of color disappear. Do not dry the piece until all these traces have disappeared. After fully rinsing the piece let it dry on a thirsty towel. Place it on the towel upside down with the front of the piece next to the towel and the backside showing. You may steam the piece when it is dry using a press coth. Please do not press your cross stitch directly as this will crush the stitches. It is a good idea to leave any novelty fibers such as metallics or overdyed fibers off until the washing is completed. You may however wait to steam the piece until these stitches are completed.
Very good information, but I think I will frame it as is and hope it turns out fine. Washing my piece might just destroy 1 year's work.
Thanks again for your help Theresa.
Deanna from Saskatoon, Saskatchewan, Canada
Yeah, I'm still nervous about you washing your piece as well. I just don't know what those specialty fibers will do under water (will they ever look the same once you've gotten them wet?)
I'd say for the future, wash your fabric ahead of time, or, what I do when I have beads, charms or other funky fibers to content with, is I do all of the regular DMC stitching first, wash it, and then apply the beads and such. Then I know it's relatively clean, but I don't worry so much about what happens.
"In stitching reproductions of antique samplers, I've found instances where young women have left off a letter here or there, misspellings, etc. A similarity I have noticed lately-- is there an explanation as to why the "j" or the "u" would be left out? Several samplers I'm currently working share the same omissions. - Angie P.
A: Remember that many samplers were stitched by little girls, so letters or numbers were sometimes left out by mistake. Those mistakes can make samplers more valuable, to some. Some letters were used infrequently or not at all depending on the nationality of the little stitcher, so those letters may have been omitted on purpose.
"I wanted to add another comment to "That's a Good Question" about misspellings in old samplers. I was once told that many of the old samplers were done by young religious women who were taught that a "perfect" sampler was a sign of vanity and excessive pride. Therefore, they included "mistakes" on purpose, including misspellings and missing letters, as a sign of their humility. It sounded plausible to me at the time, but I never tried to verify this idea." -- Kathy
"I took a look at your answer - and had to let you know the definitive answer. Pre 19th century - there were only 24 letters in the alphabet. J and U were left out in the creation by printers - less type to produce, etc... The letter 'I' replaces the letter 'J' and the letter 'V' replaces the letter 'U'. That's why you see those samplers with only 24 letters - as well as the funny looking signs VNIVERITY of Virginia for example - Just the was it was done."
Candice Byrd
Researcher
Colonial Williamsburg
Q: I have several projects (Shepherd's Bush in particular) that are done in Silk floss. How can I wash them to block, stretch, etc.? I have been told NOT TO WASH, but no matter how careful you are, the oils from your hands are going to soil the project. I would hate to frame the project and then in years down the road, the colors change or material look dirty because it was framed soiled. What is your opinion, can you safely wash silk projects? -Judy
Again, this is one of those cases that what I do may not be the "right" way of doing things... I have also done several of these Shepherd Bush pieces with the silk threads and have washed every one of them before framing them. Like you, I feel nervous about framing something "dirty" with oils from my hands. I haven't seen a difference in how the fibers look. And you always want to wash to take the sizing out of you fabric at some point. If you don't want to wash (you shouldn't wash Sampler Threads or hand-dyed fibers), you might try stitching while wearing light cotton gloves. Anyone else have insight on this problem? - Theresa
Q: My wife Caroline bought an antique sampler recently from a junk shop and we were trying to find out if it might be worth anything. It was done by a girl of 10 called Mary Owen in 1810. It carries a really nice religious verse (I think it must be from a hymn) and has lots of strange symbols, like birds in trees, birds on trees, birds on their own ,crowns, owls on perches, ships and even a solitary cow.
It's not in very good condition. I think it is silks on linen, but the colours are quite faded and the linen has a couple of small holes in places.
And even if it isn't worth a lot, we quite fancy keeping it, but really need some advice on having it reframed. Any thoughts, given its condition? The frame isn't the original.
However, apart from the financial value (which may be little), we might have a go at trying to track down this Mary Owen's history - the historical value may be much greater! --Andrew Barnes, Rugby, England
A: It sounds like you found a nice sampler. For reframing it, I recommend having a framer (or you could try this) hand baste it onto a piece of linen if the edges are "finished." (I imagine they are.) Make sure the glass isn't touching the piece directly, so you may ask your framer to use spacers, or else you may select some mats to hold the glass away from the needlework. Make sure the materials you use are "acid-free."
If the edges of the piece aren't "finished," you could have it laced onto acid-free foam core or a similar material. Make sure your framer knows that the piece is fragile and needs the nicest possible treatment.
I'm not sure how to assess the value of your piece. Sampler values are based on:
You could have your piece assessed at a local museum, perhaps, or you could try a local guild. There are people who specialize in antique samplers. You might try finding books or articles by Betty Ring -- she's one of the best around. Or ask around at needlework stores or museums for references.
Q: Just finished a needle point framing job and was wandering why it is not recommended to use waxed dental floss?
I think just because of the wax. You wouldn't want that rubbing off on the piece, because it might soil the fabric. I know several companies manufacture wax-free dental floss. I'd seek that out instead (although I often use fishing line!)
Q: I read your article on glass and was wondering why you didn't mention plexiglass/acrylic? Framing acrylic is much, much lighter than glass, although it is more expensive. On the other hand, it does offer the same protection from the environment that glass provides. It's thinner than normal plexiglass bought from the hardware store, but that is also somewhat lighter than glass.
Usually needlework pieces are not large enough to require the lightweight characteristics of plexiglass. If you have an extremely large piece, or are afraid a piece may be bumped off of the wall, plexiglass is a lightweight alternative to glass that usually won't break if dropped. I don't like plexiglass because it tends to scratch, and sometimes can be full of static electricity. It's also more difficult to clean, and can be a lot more expensive than regular glass. Ask your framer for more advice.
Q: I need help! I am trying to find out how to do a Smyrna cross stitch for a Christmas stocking I'm working on.
A: A Smyrna Cross stitch looks like a regular cross stitch with a "t" over the top. So, in order, here is how you'd stitch it:
/
\
|
_
(Does that make sense?) You make a normal cross stitch, then a vertical stitch over the top, then a horizontal stitch over the top of that. They're quite bulky, and you need to stitch one at a time (can't do a row of cross stitches and then go back over the top with the remaining stitches.
I'd recommend any stitcher go to your local needlework store and buy Eileen Bennett's guide to sampler stitches (I think it's about $12 or so), or another such encyclopedia...Teresa De Dillmont's needlework encyclopedia put out by the people at DMC is good also. Eileen Bennett's is helpful because she includes an index of all possible names, and each stitch is marked with the name or several names by which each stitch is called.
Q: Linen usually shrinks like mad - did you wash yours before you started to stitch?
A:I've never heard that, and I've never experienced that with linen. I'm sure it maybe shrinks a little. If you're worried, I'd pre-wash it and iron it before you start stitching. Someone may know more about this subject than I do -- I'd ask on RCTN.
Q: I always wash my pieces when I'm done, but I'm unsure about the Sampler threads.
A: They recommend you not wash the sampler threads -- it may even out the color a bit, which you don't want! So you could pre-wash your linen/fabric, but just be careful when you stitch and your piece should stay relatively clean. I'm sure this is part of the reason why you never see a really big piece designed with sampler threads -- smaller ones are less likely to get dirty.
Q: Is there a "best" time of year to get things framed? I know you said this is a slow time for framers, but weather wise does it matter? Sometimes my needlework will buckle at certain times of the year and other times it will lay flat.
A: When you get it framed doesn't really matter -- actually I noticed a piece of mine, given to me framed by a friend, was buckling this weekend. I think a lot of it has to do with the humidity. I'm not sure there's anything you can do about it, short of stretching it tighter, and even then you might get a little buckling when the weather is more humid. Running your air conditioning may help.
Most frame shops will be climate controlled (with air and humidity), so as far as that, get your pieces framed any time -- you just may save more money in the summer when shops run specials because business is slow.
Q: I have a small samper, about 5" by 8" (stitched in 1910) that I would like to frame. The problem is that it has a narrow hem stitched all around, with what looks like Herringbone stitch on top of the hem. It looks like it is stitched on linen. So, I am not able to stretch the actual sampler onto the mounting board.
The only solution I have been able to think of is to stitch the sampler (invisibly, with running or whip stitch) onto another piece of fabric and stretch that onto the mounting board. I am a little worried about the weight of the fabric (not much, but still there) being evenly supported when in the vertical position. --Rhea Stewart
A: Rhea,
You have exactly the right idea. Many older samplers were stitched with a finished edge (unlike the ones we do today). In the past I have handled them exactly as you suggest: stitch your sampler with a running or whip stitch to another piece of fabric (I often use linen, but you could use whatever you want), and then stretch that fabric to your backing board.
Remember that your sampler is going to be "raised" up off your backing material, so if you want to put glass on your piece, be sure you have a spacer, or several mats to keep your piece away from the surface of the glass. With a sampler that's so small, you shouldn't have to worry about the weight, so long as you tack it down evenly all of the way around the perimeter. (I've used this same method on much larger pieces and have had no problem.)
Q: Got a frantic note from a man who had helped his wife wash some pieces before framing. The red dye in the floss ran, and the more he soaked, the redder the fabric around the floss became. He wanted to know what to do when your floss bleeds color onto your fabric.
A: Really, you need to keep rinsing it until the water runs clear. Most of the color should come out. Teresa de Dillmont, in her book for the DMC corporation (she wrote it 100 years ago, I think) says that mild soap flakes are good for colors runs. I wouldn't use anything stronger than that. Sunshine may take out some stains, but once your piece dries, your color is set.
Keep rinsing with cool water, and in the future, floss can be washed ahead of time, or you can put a little vinegar in your washing water to set colors.
Q: My needlepoint piece got a little, what my mother would call if she were still alive, a little "whoppyjawed" in the process of doing it bit-by-bit in a hoop. It's a little like a piece of fabric whose grain needs to be adjusted by pulling opposite corners. Would washing it, as suggested in the framing article, help? I'm planning to either border it in the same fabric as the backing, or to use cording as a seam edge, depending on the finished size after blocking, or whatever process is appropriate, determines the size. Any suggestions would be most appreciated. --Alice
A: This happens to a lot of needlepointers. To avoid this in the future, attach your canvas to stretcher bars (which can be ordered through any needlepoint shop, or maybe even frame shop).
But, now that it's already "Whoppy-jawed," you need to block it. If you're taking it to a frameshop, they will be able to do this for you, for a little extra money. There are special blocking boards one can buy (perhaps through your local framer) that allow a person to make their piece square or rectangular again, by stretching and restretching the piece into shape. There's a product called needlework relaxer that you can pour on your piece to help relax the stitches and pull it into shape. I never trust putting chemicals onto a piece.
Since you're planning on making it into a pillow, talk to a framer about blocking. If they can do it for you, that would be the cheapest way to go about it, since you wouldn't have to buy all of the materials to do it. They should be able to block it for you and give it back. I'm not sure what washing would do. You'll have to consider how your fibers would hold up to a washing.
You could block it yourself by trying to stretch the piece on stretcher bars. It needs a while to get itself used to its new shape, but I guess I recommend going to a frameshop to let them handle it.
Q: What equipment do I need to close a piece? -- Mrs. Gay Ramella
A: You need to hold your piece in the frame, and so you either need a "point gun" or "brad gun" to shoot small points or brads into the side of your frame. I use glaziers points now, because I haven't forked out the money to buy a gun. Glaziers points and the guns should be available at any hardware store. Glaziers points can be pulled into the side of a frame with a pliers, and can be found at craft stores.
You'll also need to put paper on the back of your piece (mostly for looks). I use elmers glue and wrapping paper (you could use brown paper, like you buy in rolls to wrap packages to mail.) Put your frame on top of the paper, with the back of the frame on the paper and trace around it with a pencil to mark your size. Cut it out with a scissor and attach to the back of your frame with a line of glue or double-stick tape.
You'll also need hangers. So you'll need some screwdrivers, and an awl (to poke a hole for your screws to go into.) Hangers are available in various sizes at craft stores. Wire is usually best, unless you piece is like 5X7, in which case you can use saw tooth hangers, also available at craft stores. The wire hangers should be placed no more than 1/3 of the way down the side of the frame, otherwise the picture will hang away from the wall.
Hope this helps! When in doubt, ask your local framer what he/she suggests.
Q: How can I photograph finished pieces with glass on them without getting a glare from my flash bulb?
A: I try to take pictures of my pieces with glass in good light so I don't have to use a flash. Make sure the sun or over head light isn't glaring off the glass. Usually comes out all right. - Theresa Venette
If you have to take a photo indoors, you will do best with two lights. Set them on either side of your piece, so that the light from the one on the left hits about 2/3 of the way towards the right, and the one on the right about 2/3 of the way towards the left. The relection will "bounce" off the glass, and to the side rather than straight back at you. You don't want the lights to hit in the center, because then the center will be over-lit, and the rest under. Hope that makes sense. - Jane
Q: I read your article with interst, then guilt, then alarm. I have a very old sampler (made by Emily Margaret Jacobs, a sort of great, great, aunt when she was 11 in 1869). It spent about 110 years folded up in various keepsake places and when my grandmother gave it to me about 15 years ago I thought it too fragile to be handled anymore.
I took it to a framer (I guess he was good, he certainly was expensive) who said it was much to fragile to stretch and suggested dropping it onto an acid free board then sandwiching it between that and non-reflective glass. It hangs, very fine, in the shade of my entry hall.
What should I do? I'd like it to to make another 13O years (I owe it to Emily). What do you think? - Elizabeth Davy
A: You're right to be concerned. Glass should not touch needlework if you want it to last. Moisture can get trapped between the glass surface and your needlework, and eventually "rot" the fabric and stitching. Such was the case with a 300-year-old sampler I reframed. It had been improperly framed for about 50 years, and had deteriorated.
I suggest to you what I did to this antique: I stitched the piece to another piece of linen, larger, but a similar color. I then stretched the new linen, letting the old sampler hang in place. The piece was then matted, and had plenty of space to breathe.
If you have a piece that's pressed up against glass, know that it will be ruined in time. I recommend such pieces be re-framed as soon as possible.
Q: My problem is if I wash my needlework after I finished (before framing), I can never get it as flat as before I washed it. Do you have any suggestions for it? - Helen G.
A: Good question. The absolutely right way to do this, and my way to do this probably differ. Most dry cleaners will refuse to clean needlework, and I wouldn't take it to them anyway. Although, they do a nice job of pressing pieces, usually for a dollar or two, so after you wash it you might take it to them to press.
I, however, am frugal, and have a nice iron. So, I iron my own linen (usually the worst of the fabrics for creasing) at the highest temperature with steam. I never iron the front, and try to put a thin towel on the back to protect my piece from stains of any kind. My pieces come out nice and crisp this way.
Be aware, though, that you should be really careful ironing metallic threads or beads (might melt), and that you shouldn't iron directly on your piece (on the front). I probably shouldn't use steam, but I can't resist. If you try this, be aware your colors might bleed (although I have never had that problem, especially since I wash my piece first.)
(A note from a reader: I have noticed in numerous web sites comments about ironing projects with beads and not to iron them because they might melt. I thought I would put some minds at ease .... If you are using Mill Hill beads, they are made of glass. They will not melt under an iron. I would recommend turning your piece face down on a towel when ironing. This way, the beads slip into the towel and you can come out with a nicely ironed project and not have bumps left from the beads. I also have never had a problem with metallic threads melting. Of course, you shouldn't leave the iron on one spot too long (for other reasons such as scorching). But as long as you are using glass beads, they will not melt during ironing. Just FYI!!! -- Judy)
Q: How do you know which part of a 3/4 and quarter stitch gets the most thread? The stitch shows up on my chart as evenly divided, but I know one color will get 3/4s and one will get 1/4. Laura, New York
A: The color of the item closest to the front gets the 3/4 stitch. So, if you have a bouquet of flowers in front of a window, the flowers get the 3/4 stitches, and the 1/4 stitches go to the window. That way, your flowers appear to be in front of the window.
Q: I bought a kit, started it, and decided I didn't want to finish the project (not my taste). What can I do with my unwanted needlework supplies?
A: Try a local hospital, nursing home, home-bound person or a church (they might like to finish it for a raffle.) Ask a high school art teacher, a minister or priest. Some holy women (nuns) aren't allowed to spend much money on "frivolous items" like stitching supplies. Donate to a convent.
Invite fellow stitchers over some evening for coffee, fudge and to exchange needlework supplies they don't want. Make a party out of it.
Also, some groups have stitchers bring in all of their unwanted/unused supplies for a stitcher's garage sale. Proceeds of the sales go to local embroiderer's guilds, or charity groups. Remember, one stitcher's trash is another's treasure!
Q: You said to NEVER let the framer use tape on stitching. The needlework shop which frames my needlework uses the pinning method you described. She does, however, tape the fabric ends against the foamcore. The tape she uses is "artists' tape", which she claims will not hurt the needlework. What are your feelings on this? Do you just leave the ends of the fabric loose? If not, what do you use to secure them? --Judith Lackey, Raleigh, NC
A: Artists tape is purported to be acid-free, and I wouldn't be afraid to use it to hold fabric down on the back of a finished piece. I wouldn't stretch with it because it isn't as strong as other tapes. I leave some of my ends loose and just tuck or baste them into place.
Q: What length and thickness of pins do you use to stretch needlework?
A: I use regular pins like you might use for sewing, preferrably stainless steel, and I guess they're about an inch long or so. They also need flat heads (as opposed to the bead heads).
"I have had difficulty finding stainless steel pins, so I use nickel-plated brass. "Regular" straight pins are nickel-plated steel, and the steel rusts. Brass does not rust." -- Martha Beth Lewis
Q: Do the points protrude from the fome core when you stretch with pins, and what do you do about it?
A: Generally not, unless you're going in at a weird angle. Pin from the side of the fome core, so you're pushing them in parallel to your piece. You don't push them down through the top of your fome core, you push them through the side as straight as you can. If you get crooked, sometimes you can get stuck. Ouch!
Q: Do you frame with the pins left in?
A: Yes, I do. You could also lace your piece after you've pinned it, and then take the pins out. Lacing is tricky without pinning first. Lacing is just like lacing a shoe. Use a strong thread, fishing line or unwaxed dental floss, and secure the back of the piece by lacing back and forth. Then remove the pins.
© 2007 Theresa Venette. Articles on this site may be reproduced in needlework group newsletters or other handouts with permission of author and proper attribution. Send questions, comments and suggestions to: xspeddler@yahoo.com