The Framers Forum

Hi all
Not posted here before, been lurking for years though.
I've been framing for about 22 years, and have just taken the plunge, and started on my own.
So this week I have a Needlework to frame, but the customer wants it in an oval frame with no mount, so any ideas on how to stretch it?

Thanks
Matt

Hi Matt,

Glad you took the plunge with your first post, please don't let it be your last.

I am not a great advocate of oval frames, and always try to persuade the customer that a square frame with an oval cut wondow mount is the way to go. This method of framing, as well as offering a much wider range of moulding options, also allows conservation techniques to be applied more readily.

I'm sure some of the guys here will be able to advise you on some sort of lacing technique, but it will be difficult to employ a reversable method which also keeps it neat at the back.

I would not be too worried about using the strictest conservation methods, after all, the customer is obviously not too bothered since they have chosen to have their work pressing against the glass. Or do you intend to use spacers?

That was my next headache whether to space or not.
However, I don’t think the customer is that bothered really, it’s just for my own peace of mind.

Hi,

Stretching an oval cross-stitch or tapestry, is quite easy and if done right, will end up neat and tidy at the back.

This is my method:

1. Cut a piece of 10mm foam core, perferably the conservation foam core from Bainbridge, about an inch all round larger than the image to be stetched.

2. Manipulate the piece into the correct position and start lacing, either horizonatally or vertically, which ever you prefer. NOTE*** always lace in a paralell manner, this protects the warp and weft and stops over stretching the canvas and thus preventing tearing. Do not lace at an angle, like most would do.

3. Once one side has been laced, put a little extra tension on the lacing, and tie off, then do the same on the opposite plain and again, put a little extra tension on the lacing and tie off. To get the extra tension, pull through the lacing by hand, and hold each line tight until you get to the end.

Once both sides have been laced and tied off, manipulate the image until it is perfectly straight and level, this is done by using your fingers and done from the front looking at the image.

Oval mounts can now be cut to suit the image, and by using a piece of foam core slightly larger than the image, the mount can be brought up close to the edge of the image without loosing too much of the image.

My own prefrerred method of mounting fabric art is the 3 mount method.

First mount, is the one closest to the image

Second and third mounts are a double mount, separated from the first mount by either 5mm or 10mm foam core, leaving the image at least 8mm away from the inside of the glass. (More if mounts are separated by 10mm foam core) This gap is so important to keep the material away from the glass. If the fabric in question also warranted it, and the customer in question agreed to it, I would use Truvue Conservation glass to protect the fabric.

This is actually hard to explain in writing, so luckily I have quite a few cross-stitch in my workshop awaiting framing, I will if you want, frame one and photograph each stage!!!!!!

Hope this helped?

Steven

ALL fabric art should be laced so its fully reversible, none should be stuck with glue or staples (a favoured choice for some framers), its should also be framed to Conservation standards, even if your customer doesnt want to pay for the Conservation standard boards etc. at least Conservation methods should be applied, and it is up to your ability to convince your client to have it done correctly, after all theyn have spent probably many hours sewing, stitching, etc., why skimp on a few extra pounds?

Good answer Steven, looking forward to those photos.

But how would you tackle this job if the customer insisted on placing an oval work into an oval frame of the same dimensions? I believe that this was the question that Matt posed.

Hi Matt
I saw the replies on The Grumble to your question.

Sharp intake of breath at the suggestion of using pins as described 'in the clock code'.

However, I did like the suggestion of using the 'basting stitch' about 1 inch in and drawing it tight. Might try that one..

Hi,

Using the same principal of stretching and lacing, as described on my previous answer, the simple soulution to putting a piece of oval fabric art into an oval frame of the same dimensions, is to use frame spacers to hold the fabric away from the glass, if not using frame spacers, use strips of foam core, mountboard to act as the spacer. The artwork then rests on top of the spacers.

Steven

2. Manipulate the piece into the correct position and start lacing, either horizonatally or vertically, which ever you prefer. NOTE*** always lace in a paralell manner, this protects the warp and weft and stops over stretching the canvas and thus preventing tearing. Do not lace at an angle, like most would do.

Steven,

I have tried this on an oval, but have never been able to make a fist of it using the horizontal and vertical lacing technique, and always ended up lacing at an angle, radially like the spokes of a wheel. So I'm really looking forward to those photos of yours to see where I'm going wrong.

Thanks for all the info.
Where I used to work, we use tape to stretch, which I never liked but they wouldn't change, so I set up on my own a few months ago.
I like the method I read about somewhere, of pinning the fabric around Foam Core on the edge (very American), and thought this was a better way than using tape, also quick as well.
However, it seems like the only way anybody recommends is lacing, so I’ll might give this a go.

pinning works well as a method of stretching - it has one big drawback - the pins tend to rust and can damage the work. I think you have to be realistic when pricing textiles - stretching takes time and I charge for my time. If the customer doesnt want to pay to have the item stretched properly then pins can be a very good alternative - the customer should be made aware of the inherent risk. Lion sell T pins - they are also very good for positioning the work before lacing.

Hi,

I always use T pins before I lace a piece of fabric art, then after lacing, remember to take them out. I know of framers who go to all the bother to use the T pins, lace the object and then leave the T pins in, bit like belt and braces here, and could get expensive in the long run having to replace boxes of T pins on a regular basis. I dont use other pins for the simple reason, as Markw states, they rust, I dont use tape or glue or any other kind of adhesive, (like selotape), I always lace, even to the point where I have had to stitch a donar fabric to the outside to give me fabric to lace with.

Like Markw states, you have got to tell your customer of the pitfalls of using pins, etc., and the pitfalls of not having it framed corectly, but if they still want a cheap job...thats where you salesmanship comes into play.........but unfortunately there are framers out there quite willing to ruin (opps!!! sorry frame) someones work.....but I wont. That may sound harsh, but over the years I have got into the habit of doing a job correctly and preserving the work, I dont like going backwards.

Hopefully the photos I promised will be availble this week, once I get my bench clear.

Steven

I can see the concern about the pins rusting.
I've been chatting with my local wool shop, and have managed to get some Brass Pins, that they use for Bridal dresses when they store them so dont rust.
I think I will go with this method in the end as price is the over riding factor, at least it's better than carpet tape which is what they used to use where I worked before.

Matt

You can get stainless steel pins known as "bridal & lace pins". These are what I use. Brass can corrode in a few years.

Test for Pin Corrosion

Dermot, I think it should be as simple as possible. Something like making a small mock up of muslin pinned to foamboard, using the various types of pins.

I'd make a humidity chamber out of a big glass jar, with a damp/wet sponge on the bottom, and suspend the mockup in the jar. I'd also have a humidity reading card in there, or if I had lots of money, a data logger, or both, so that I could see what the RH was.

And wait till something happened.

With any luck, nothing would happen!

Thought experiments are so much more fun that actually doing them. Something like home renovations.

Rebecca

From the Grumble http://www.thegrumble.com/cgibin/ultima ... 006948;p=2