Mounting needlework on light fabric

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Rozmataz

Rozmataz

SGF, Supreme Grumble Framer
Joined
Jun 13, 2002
Posts
2,773
Loc
Fingerlakes Region of NYS
Customer has brought in a lovely piece/sampler that is not square to the fabric and a portion is meant to "bleed" off the edge. I am using a glass spacer since she didn't want a mat around it and she also wanted a colored board behind it as there are areas that are open as part of the design... that she wants to show thru.

How can I handle the mounting of this piece on the color mat board and holding it in the frame which is not very deep and hs a very narrow width.

Help! (First needlework project - are they all this much fun!?) :confused:
 
Stitch it to the backing mat on the sides under the rabbet using a small running stitch and use small hidden stitches in the bleed area edge.
Secret: its easier to sew if you use a plastic headed map pin to make your holes and not the needle. Use appropriate thread, cotton, right color.
Good Luck!
 
Instead of using matboard for color to show through you are much better off in using a fabric behind her stitching. First it's thinner than matboard and also it's better for preservation reasons. Try to pick a natural (i.e. cotton) to place behind it. Cut your fabric about 2" larger than your mounting board. Attach the fabric to the mount, could use ATG on the backside of the board. Then place your sampler over the fabric covered side and you're ready to either lace it or pin mount it.

I would highly recommend that you order in from the PPFA bookstore the book on Needlework framing by Vivian Kistler and also the one by Kaye Evans. They will help you tremendously.

Roxanne
Langley House Gallery
Spring, TX
 
Hi Roz,

Since the mounting portion of your question has been answered, I'll address your question of how to hold it in the shallow frame. I take this to mean that your concern is the depth of the frame package is deeper than the rabbet. If that is the case, I would suggest using "rabbetspace".

If you are not familiar with this product, it is available through United Manufacturers (800-645-7260). It is available in depths of 1/8", 1/4", 3/8" and 1/2". I have occasion to use it quite often and comes in very handy. I would suggest getting a tube of each size to keep on hand. There are instructions that come in the tube that explain how to use it. Be sure to order the special drill and driver bit for this as well, it will make things easier. Good luck, I hope this is the answer you were looking for.

-Mike.
 
Hi Roz,

I have never seen a sampler that was meant to have the design bleed off the edge. I think sometimes they get cut down. They are usually designed to have extra material to stretch and they are usually square to the weave. You may simply be seeing the normal pulling out of shape that occurs. You simply have to give it a quick blocking with an iron before stretching.

One thing that is not clear, is the customer expecting to see the edge (or float mount).
Let’s hope not. If not then stretch it square by folding the fabric around the mounting board with stainless pins or lace. This can be a tricky process. You can use a colored fabric covered board of your choice.

Avoid selling short moulding with needlework. The glass, mat, spacers, mounting board,
stretching and backing boards get pretty thick. Well, I guess you will learn the hard way. Rabbet Space can help, and there are a few other tricks. Another thing to consider is if you are stretching the needlework around the mounting board and it will be placed against the frame, make sure you line the rabbet. The needlework should also be backed to protect it from the points, craft paper, and framer that cuts open the backing paper.

There really is too much to talk about here before doing your first one.

The books mentioned are easy to read and you can acquire one in short time.
Quickly read it before attempting this. Or maybe someone can fax you a couple of pages on stretching. It would also be helpful if you can post a picture of the needlework.
 
I guess it depends on how old and frail the work is. It also depends on how replacable or valuable to the consummer.
I was taught a method of mounting old fragile work that incorporated a cotton sleve sewn over a rag mount board.The fragile work was then stitched to the sleve with a running stitch( Blind stitch I think? Help me here Ellen)the purpose of this was not to exert any tennsion on the brittle old sampler.
It will sag some but that is better then shredding the irreplacable work.
It seems that if done correctly you might be able to use a color fast sleve of the color of your choice and use this same mthod.
We have sewn down Hardanger pieces on both Fabric and Mats inorder to show the color of the backing material. I don't want to insinuate that our work is equal to a conservator but it may be simething you want to consider,until a real expert like Ellen at Howards can give you the best method.
BUDDY.
 
Originally posted by Roxanne Langley:
[QB]Instead of using matboard for color to show through you are much better off in using a fabric behind her stitching. First it's thinner than matboard and also it's better for preservation reasons.

Can you explain the theory behind it being better for preservation reasons to use fabric?

I'll be the first to admit I'm much rather use fabric with fabric pieces--but I have been led to believe that color bleeding could be a risk factor, something one should not have from C/P mat board.
Click to expand...
 
You know Rosetl, your question is one I think about a lot too. I've come to the conclusion that there is no "best answer". There is often more than one good solution to a problem.

To me, the real advantage to mounting a textile against fabric, is that fabric has more of a texture/grip than matboard, so there is more overall support. For a fragile or very fine textile this can be a plus. There is also less fussing with hole punching through the matboard, and so maybe less stress on the textile during the mounting process. You can also "lighten up" a dirty textile with a light fabric underlay. Although I suppose you could do this with a light matboard too.

I was mulling this over in an earlier thread, and a very good reply in favor of matboard was that you guys have all the colored matboard samples to hand, and so don't have to go running all over town looking for the perfect color for the backing fabric.

I don't think waterfastness is much of a problem, as long as one takes care choosing (and washing)the backing fabric.

I think a lot of it boils down to how one was first trained to mount textiles, what materials one is used to working with, expediency, and time/money issues.

In the long run, the most important things are good quality, water-fast materials, no tape/adhesives, good overall support with no undue stress on the textile, and sealed protection from the outside air (Coroplast filler, or Mylar/Marvelseal wrap), and dim display lighting. Also, when the edges of the textile must be wrapped around a backing, I like to pad the edge (we've all seen those sharp turns/fold develop into tears!)

Myself, I prefer the fabric against fabric methods -for the above mentioned reasons and, it just seems "cosier"
! Open backed strainers or stretchers do need an archival quality backboard behind them though, to protect against polluted air flow and bangs/bumps.

In all honesty though, I've never seen a problem with textiles sewn directly to archival quality matboards (emphasis on archival quality!). Has anyone else?

Rebecca
 
I, too, am a devotee of fabric to fabric presentation. The extra grip you get from a fabric back is really surprising. Now, if this is an old and possibly brittle textile, I would use the Background Fabric Behind the Work and Pressed Against the Glass by Polyester Batt Method. This gives a lot of support to delicate needleart. I have to tell you though, that although conservators have sworn to me on their mother's graves that this is OK, the thought of work agains glass makes me queasy. I reserve this for only the most delicate of textiles... certainly not your everyday needleworks. And I consider having to run to the fabric store to find a good color to be one of the hidden benefits of textile framing. I pick up some chrome-plated brass silk pins, some 100% cotton quilting thread, a few things I have been needing/wanting and oh, yes... the fabric I came in for.

And, yes, Buddy.. stitch it down with a running stitch (actually an uneven running stitch) A blind stitch won't work here. Match the color of the thread to the color of the fabric, run your stitches parallel to the weave in the fabric and they should just about be invisible. Had a customer tell me once that she had PAID to have me stitch her hankie into place and it was unacceptable just to lay it in the frame as I had done. It was the best compliment to my stitching abilities that I have ever had!
 
Hi Ellen

Regarding the Batt method (what I call a Press Mount) - I'm guessing that the conservators who told you about it meant Plexi, not glass. Glass would be a no-no for condensation reasons, but Plexi has a different thermal conductivity, (not as cool as glass) so it's not a problem.

As you said, it's usually used for very fragile textiles, like shattered silk.

Rebecca
 
My, there is a lot to digest here... as I fumble to get this accomplished.

One thing, it is not an old piece, which is good. The area that is meant to bleed off or not show is part of the design. There are also beads sewn into the design. It is really beautiful piece.

I do have a spacer included in this... the customer (who is also a friend ) does have other things she has done herself - and trust me - she does NOT take the care I intend to take to frame this... I believe her last piece was taped with masking tape to a piece of chipboard and just put in a store bought frame...

So we are not looking for the "Cadillac" solution to this... just the "chevy"!!

Now I have to go study all this info and decide my approach!

Thank you all for your help!
 
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