Cleaning, Mounting and Framing Cross Stitch

Revision 4.0, March, 1998

Copyright Jill Martz 1995-1998

INTRODUCTION

This article is intended as an aid for stitchers who would like to frame their own cross stitched pieces. The author does not profess to be a professional framer or an expert in the field of framing any kind of embroidery. It is not the author’s intention to attempt to draw business away from knowledgeable professionals.

I have been framing my own needlework for 27 years because I simply have never been able to afford to have all my completed projects professionally framed, and I do not wish to see them rolled up and hidden away in a drawer. Certainly, I would not discourage you from going to an informed framer to have your needlework framed. I am simply offering an alternative to those stitchers who like to see their work hanging on their walls but who, like me, cannot afford to have everything they stitch professionally framed.

Along the way, I have learned from so many sources that to credit them all by name here would take more room than the article itself. Recently, I taught from this article at Class Act Chat on America Online and received many good suggestions to include. I continue to learn from people like you, so I welcome questions and comments that will encourage me to research. The methods I will describe, I have chosen with an eye towards conservation of my own work. They are NOT, however, all methods which guarantee museum-quality conservation framing. If you want quality conservation framing, I suggest you use a framer who is educated in that particular area. Often, your local art museums can guide you to a knowledgeable framer. I view the information I am about to give you as a middle ground. I feel confident the pieces I frame will at least outlive me.

This is an appropriate place to mention what I’d recommend you look for in a needlework framer if you choose to use a professional. First, shop around. Talk with various framers if you’ve never used one before. Ask about their prices, but more important, ask them questions that will let you know whether they know how to frame needlework. At a minimum, a good needlework framer should know at least as much as you will know when you have finished reading this article.

I feel it important to emphasize these methods are NOT appropriate for every piece of embroidery. I will comment throughout the directions where you need to be especially careful. These directions are NOT for needlepoint.

I have divided this article into three sections: cleaning, mounting, and framing.

CLEANING CROSS-STITCHED PROJECTS

At both Class Act Chats last week, we had a guest teacher, Roisinn, aka Christina, who is an expert in the area of cleaning needlework. Her business is Roisinn McKenna, Inc., and among the many stitching-related things she does is to serve as a professional needlework and textile-conservation consultant. Except for my editorial comments, the ideas in this section of the article are all Roisinn's.

Roisinn told us Monday night, "I'm a NAZI about cleaning needlework." She has strong opinions about how to clean needlework, but she told us she doesn't go to someone's home and beat them up for not doing it her way. ;-) I suspect the more one learns on the subject of cleaning, the more one is concerned about doing so as carefully as possible. :-)

Roisinn's opinion is that most stitchery that can be, should be cleaned after you've completed the stitching. She also feels that we should use conservative methods of cleaning before heading up the ladder to things that may damage a wonderful piece of needlework. She noted the following:

"A good rule of thumb is to be sure not to leave anything on your work permanently! Other than stitches..."

One area of discussion during the chats was dry cleaning needlework. Roisinn pointed out that dry cleaning involves the use of a wet chemical other than water. She said we should not consider dry cleaning, except in a few rare instances. These would include times you're working with upholstery or rug-type projects.

Roisinn suggested two methods of cleaning needlework dry, or without a liquid. One is to shake it to remove the surface dust. A second way to remove dust is to vaccuum the stitchery. This is done by placing a fine piece of smooth, preferably ceramic, mesh over the needlework and vaccuuming with light suction. Ceramic mesh is available at most home improvement stores. Roisinn particularly recommends this cleaning method if the fibers you used are not colorfast. She also told us she does not recommend using mesh that is made of fiberglass because it can abrade the fabric.

Another subject we discussed with Roisinn is setting of colors in non-colorfast fibers. She recommends we do so before beginning to stitch in a solution of cool water with a mild substance like Orvus. For those of you who aren't familiar with Orvus, it's a horse soap that is almost gel-like in appearance and is very concentrated. Quilters have used it for years on both antique and new quilts. It can be purchased at tack shops in large amounts or in needlework shops under the name, "Quilt Soap." The active ingredient is sodium lauryl sulfate. Roisinn also told us Orvus works best in cool water. If you're washing in warm water with Orvus, the Orvus won't be able to do its job.

Because Orvus is so concentrated, Roisinn recommends using only about 1/8 to 1/4 teaspoon full to a quart of water. You won't see lots of suds, but the soap is there and will do its work anyway. :-) Of course, after washing the fibers, you'll want to rinse them with clear water and let them dry before stitching. Another way is to experiment with leftover fibers to see what will happen when the stitchery is washed, which is something your hostie advocates tirelessly. ;-) With the fiber and a swatch of the fabric, do some stitches in each color. Then, clean them as you are planning to clean the rest of your stitchery to see what, if anything, happens--whether colors will bleed, etc. If you get good results, you'll know you're okay to clean the entire stitchery in this manner.

There was a question about cleaning old fabric with potato flour. Roisinn doesn't advocate this because it's impossible to get all the starch from the flour out of the piece. The starch can lead to insect, fungal and bacterial infestations of the stitchery.

Roisinn's second choice for washing stitchery is Dreft, which is a detergent.

What happens if you wash a completed project in cool water with Orvus and the floss color runs? Many of us were surprised to learn Roisinn's solution. She told us we should go to the opposite extreme and work with a great deal of water as close to the boiling point as we can stand it--around 180 degrees. She explained most non-colorfast dyes are cured at temperatures up to 180 degreees, so it makes sense to remove the dye in a way like the one that was used to cure it. :-) Also, this will prevent the dye from resettling where it isn't wanted. As with all cleaning methods, Roisinn cautioned that we should begin with the more conservative approach in cleaning and go to the "tons of hot water" method only if it's necessary. No cleaning agent, just lots of hot water. :-)

One question from a chatter had to do with hand-dyed linen. Because Roisinn recommends cleaning our finished work, she also said the hand-dyed linen is prewashed by the stitcher using the same method you will use to clean the finished stitchery. She said one does risk color change by doing so, but it is in a more controlled environment than it will be after you have stitched on the linen.

Roisinn also fielded many questions about the kinds of soaps/detergents with which chatters wash their stitchery. One of them is Dawn dishwashing liquid. Roisinn told us not to use it or other major degreasing dish detergents on the market because they contain chemical bleaches, as well as chemicals that can cause, among other things, tarnishing of metallic fibers.

Another chatter wondered about using Woolite. Again, this is a no-no for stitchery because it contains a whitener. Best rule of thumb is to keep it simple, meaning try to use a soap with one ingredient if possible. :-) She noted some people swear by Ensure and Treasure Wash but pointed out that both have a few more chemicals than does Orvus.

Roisinn had a very imaginative way of cleaning to tell us about, and I, for one, am going to begin using it with my next finished piece. :-) To wet-clean a piece, secure the stitchery to stretcher bars (used often for canvaswork and available in sets of 2 in a variety of sizes--you'll need 2 sets) with brass tacks, brass staples, or surgical silver staples. If you make your own stretcher bars, the wood should be kiln-dried, non-resinous, and hardwood.The fabric should stretch to weaving tension as you tack it. Turn the stitchery face down and place it upside down over a tub, etc. Then, put your soap solution in a mister and apply it lightly over the item (about 1/8 teaspoon of Orvus to a quart of water unless the stitchery is heavily soiled). After you've done so, thoroughly rinse the item under a shower sprayer (hostie has one of these to bathe her critters), and thoroughly rinse the item. After you've rinsed, Roisinn says to give the whole thing a sharp, snappy wave to fling out the excess moisture. This step can be done outdoors (Roisinn laughingly told us it could be flung from the porch at passing neighbors :-)). Finally, you have two choices for drying the stitchery. One is to remove it from the stretcher bars, wrap it in a towel, and finish conventionally. The other is to allow it to remain in the frame until it is dry. To your hostie, one advantage of the latter method would be, as Roisinn mentioned, that the entire piece, stretcher bars and all, can be put into a frame without ironing. You will keep the stitchery/stretchers in the frame by using canvas clamps, something this non-needlepointer didn't know.

On the subject of stretcher bars, one member asked whether she could make her own instead of buying them. Roisinn told us the it can be done, but very carefully. First, the stretcher bars should NOT be varnished. They are not particularly expensive to purchased, though. And for those of us who are smokers, if we use the stretcher bars as we stitch, we can place a piece of staple or tack cotton quilt batting to the backside of the bars to filter out the impurities in the air as you stitch.

The most commonly asked questions at both chats were about spot and stain removal. Roisinn first told us having the stitchery mounted on stretcher bars is a good way to control the area of the piece from which you need to remove a spot. By doing so, you don't subject the entire stitchery to the spot removal method. She noted that if a solution of Orvus and water didn't budge the stain, putting "straight" Orvus on it will have no better result, and something else in the way of a stain removal agent will be required. A good example occurred during our Friday chat, when a member asked about a coffee stain and turned into a guinea pig. :-) The first thing Roisinn wanted to know was whether the coffee hit the fabric only or both fabric and stitching. Then, she asked whether there is already stitching on other portions of the fabric. She also asked whether the coffee was anywhere near the stitching. Our member added the info that the coffee had both cream and sugar in it. One possibility if there hasn't been much stitching done is to start over. In this case, quite a bit of work had already been put into the piece. Next, Roisinn asked whether the stitcher did anything to the stain when she initially spilled the coffee and how old the stain was. She also wanted to know what kind of floss had been used to stitch, as well as the kind of fabric. FYI, the stain was about 12 years old, and the stitcher thought she might have used plain water to try to deal with it. Roisinn noted that because nothing was done at the time of the spill to neutralize the stain, the tannic acid in the coffee may have caused damage to the fibers and fabric. She asked whether the stitcher had noticed any "crunchiness" in the fabric. The stitcher's response was that the fabric seemed a little stiffer in the stained area than in the unstained area. Roisinn had a couple of solutions for this old stain. The first possibility (keeping in mind that fewer chemicals are always better than more) was to keep the design as is, not adding any more stitching. The stitcher can frame only the completed portion of the design. Roisinn has done this with a partially finished seascape and the head of one of the MLI angels with wonderful results. The second option she offered for the piece was to put it through vigorous cleaning, remove all the stain, and accept the fact it may not last 100 years. She also noted putting stitchery in the clothes dryer is possible with a heat-activated dry-cleaning pouches, but that they won't remove all the chemicals from the stitchery.

One stitcher asked about neutralizing the tannic acid in coffee or tea used for tea-dyeing. Roisinn suggested cool water and Orvus.

The stain removal agent will depend upon what the spot is. For example, you may have a grease spot that needs a solution of an actual detergent, like Dreft. What you use also depends upon what you've spilled, where on the stitchery it was spilled, how long it's been there, etc. She noted identification is 99% of the fun.

Roisinn said the best time to treat stains is immediately after they occur, whether your stitching is complete or not. (Kinda like with clothes--once the dryer has set a grease stain, it won't come out.) Of course, there are spots that develop over time as stitching continues. And she said there is almost no limit to the kinds of stains you can get on your needlework.

One chatter asked about using one's own saliva to treat blood stains. Roisinn cautioned against this by saying we need to consider what the saliva may do to a project. Her example was as follows: "...I had a lady bring me a piece of work with horrible orange spots (I mean ORANGE) all over it. They just started showing up... then getting brighter/darker. We finally traced it back to her use of the seizure medication Dilantin! Her body metabolized the drug and it showed up in her saliva. Turns out it makes some people's urine turn a different shad also--which she had mentioned to her doctor, which is how we tracked down the saliva problem." Sounds like time for hostie to get herself a good needle threader or to use one of Roisinn's other suggestions--using a larger tapestry needle so the floss doesn't have to be wet to go through the eye. She suggested going to a larger needle (one to two sizes larger) if you're having trouble threading the one you're using. About the blood stains...Roisinn said if it's fresh, lots of rinsing with cold water will remove blood from stitchery. If the blood has set, there are several choices of commercial acids to use, but she noted they aren't as horrible as they sound.

Yet another chatter asked about cleaning an old piece. Roisinn wondered whether the member had noticed any recent serious deterioration of the sampler in the past few years, as opposed to when she first got the sampler. She said if the stitcher doesn't find the sampler pleasing as is, cleaning would be in order; however, one would need to consider whetheer to decide whether the risk in cleaning for display outweighs not cleaning to keep the sampler in good shape longer.

Some other items of interest about stitching came up during the two chats. One had to do with Q-Snaps. Roisinn commented that they can cause many L-shaped tears in stitching. About needles again--she gave me an example for stitching on 36-ct. linen because I love my #28 needles. Roisinn suggested using a #26 or even a #24 tapestry needle. She told us all to keep in mind all the needle has to do is to nudge the fabric threads open to make the passage of the threads very easy. (It made lots of sense when I looked at my linen and saw how large the holes are anyway.)

Again, my thanks to Roisinn for sharing her expertise with us. :-) She is setting up her own domain on the Internet and will let me know when it's ready. I'll put it in the newsletter at that time, and you can go browse to your heart's content. :-)

One of our favorite subjects--using glass and spacers when framing--also came up. Roisinn suggests using plain glass with spacers to keep the stitchery away from the glass if you smoke or live in a "highly volatile" atmostphere. Nonglare glass and conservation glass, besides being expensive, are made using chemical processes, and she says it isn't a good idea to expose needlework to them. One can cut down on the glare of the glass by hanging items lower than many of us already do. The standard she quoted was to take our height and hand 1/20 of our height down from where we stand up. She also said she figures a good "average" height to be about 5' 6," so you would figure 1/20 of that height, subtract it from 5'6," and hang at that level.

MOUNTING

I now know of two safe methods for mounting cross stitch for framing. :-) The first of them was suggested by Roisinn when she guested at Class Act Chat and is a carry-over from what she told us about cleaning. The second is the more conventional way to mount cross stitch to frame.

First, Roisinn's method. During her chat on cleaning, one thing she suggested was to tack your needlework to stretcher bars with brass tacks, brass staples, or surgical silver staples. When you do so, you'll pull the fabric taut--the tension of the weave. She described how to clean the stitchery, and that info is in the Feb. 8 newsletter. But the nice thing that carries over is this: Once you let the needlework dry, you can leave it tacked or stapled in the stretcher bars, have a frame made that fits around them, and insert your needlework into the frame. Roisinn suggested using canvas fasteners to hold the stitchery in the frame. What this does is to save some steps stretching and mounting the needlework a second time for framing.

Now, the more conventional method of mounting. At both chats last week, we got as far as lacing by the end of the hour, and I will be covering lacing before going on to framing next week. :-)

The supply list for mounting is as follows:

1. The frame for the needlework.

2. Acid-free or conservation foam core board.

3. Dressmakers' SILK pins.

4. A strong thread like carpet thread or quilting thread, or unwaxed dental floss.

5. Sewing thread in a color that contrasts to your ground fabric.

5. Utility knife.

6. Pencil.

7. Yardstick or straightedge.

8. If desired, a cotton fabric of the same color as your ground fabric.

I always have my frame made before I mount my needlework. That way, I'm sure I'll be able to cut the mounting board exactly to fit the frame.

As Roisinn pointed out with cleaning, the fewer chemicals we use, the less the danger of our needlework eroding over time, and I subscribe to this theory for mounting and framing, as well as for cleaning. That's why I recommend either acid-free foam core board or conservation foam core board for mounting needlework. You can find acid-free foam core at most art stores. It comes in various sizes, but I usually purchase it in large sheets--about 2 1/2 feet by 4 feet--for around $7.00. Conservation foam core board is not as readily available where I live, but my local art institute is willing to sell it to me. Conservation foam core is covered with 100% rag fiber, so there is no danger of other chemicals seeping into the needlework. Both these varieties of foam core are safe for your needlework. If you look at either of them from the edges, you'll see a sort of "sandwich," with paper the thickness (approximately) of poster board on each side and foam in between.

I have a few other comments about foam core and other mounting boards. Let's take the foam core first. :-) You will find that foam core board does come in colors. I will not use it for mounting because, again, I don't with to deal with added chemicals. It is true, however, that mounting your needlework over something the same color as your ground fabric will make the stitching show up even better. My solution to this is to purchase enough cotton fabric in the same color as the ground to mount between it and the foam core. It really adds depth of color.

One big question asked at both chats last week was, "What about sticky mounting board?" I realize some of it is advertised as acid-free, but there's still the matter of the tacky substance used to make your needlework adhere. I have heard stories about sticky board yellowing needlework beyond repair in as little as six months. With my concern about chemicals, I wouldn't use any form of sticky board.

The first step in mounting is to cut a piece of mounting board 1/8 inch smaller than the back inside measurements of the frame. To ensure a good fit, I simply lay the frame face up on the core board and mark around all four sides inside the frame with a pencil. Then, I remove the frame. Using the utility knife and yardstick, I cut 1/16 inch inside the pencil lines on each of the 4 sides. This will make the mounting board a little smaller than the inside of the frame, but there's a reason to do so. When mounting is completed, the fabric will extend over the edges of the core board, so we need to leave a little room to accommodate the extra bulk of the fabric. I do my cutting on old magazines or on several layers of newspaper to avoid cutting the surface of anything with the utility knife, which contains a razor blade. Foam core board cuts very easily with a utility knife. I try to make a shallow first cut so I'm sure the edge will be straight along the yardstick. Then, I go back through the same cut again to go clear through the board.

Before you continue, you'll need to decide whether or not you want your stitchery centered on the mounting board. In most cases, I center mine; however, there have been a few pieces that are landscapes I've felt looked better a little lower in the frame.

To center needlework, I first lay the stitchery facing up on top of the foam core. I try to estimate the center by eyeing it. When I'm pretty sure I'm close to center, I place pins, one in each side, to mark where the fabric hits the edge of the core board. I then sit down and count the fabric threads between the edge of the design and the pin I placed. There should be the same number of fabric threads on each opposing side. If there are more threads on one side than on the other, I move my pins to mark equal numbers of fabric threads. I do the same for the other 2 sides, as well.

Depending upon the "stretchiness" of the fabric, I move the pins in one or two fabric threads because I want to pull the fabric taut when I mount it. Doing so will help get rid of any leftover crease marks.

One member suggested finding the center of the foam core by measuring it, putting a straight pin through it to make a hole, and then putting the center of the stitchery on that pin also. Sounds like a good idea, which may help you out. :-)

I am a perfectionist about being sure all the sides are mounted straight, and I've found a way to do this without lots of eye strain. ;-) After I've marked all four sides with pins so I know which fabric threads will be used as guidelines, I get out my sewing thread. I baste along all 4 sides of the stitchery in the channel outside the fabric thread with the pin in it. By channel, I mean the area between the threads that run in the same direction as the side of the mounting board. It's helpful and easier on the eyes to use a thread color that's different from your ground fabric. Just makes it easier to see. I prefer to hand-baste because I don't want my sewing machine splitting any of the fabric threads. Basting is one of those things that takes up some time, but I find it saves me time when I attach the needlework to the foam core. There are stitchers who mark their edges using pencils, pens, or even the disappearing pens used by quilters, but I choose not to add any more foreign material than I have to, to my needlework.

I have never found it necessary to block a counted-thread piece, as needlepoint and most canvaswork needs to be blocked. If done correctly, mounting will straighten the fabric.

After I finish basting my guidelines, I sit down with my needlework, the mounting board I have cut, the piece of cotton fabric that will go between the needlework and the foam core, and a whole box of dressmakers' SILK pins. The pins are available at any fabric store and are labeled silk pins. They look exactly like regular flat-head straight pins but are made of a metal that will not corrode in a way that will hurt the needlework. They are also ballpoing. Because they don't corrode extensively, after I pin my needlework onto the mounting board, I don't have to remove them. I just leave 'em in.

To begin mounting, I match one side of the needlework with a corresponding side of the mounting board (the cotton fabric, if used, can be done at the same time). There is no hard and fast rule about this, but I find it easier to pin the longest sides first. Beginning in a corner, I set the fabric so my basted guideline is on top of the "sandwich" edge of the mounting board. I also make sure the guideline for the connecting side is on top of the connecting edge. I insert silk pins directly through the fabric and into the foam part of the core board about 1/4 inch apart. I push them in so the head of each pin is flush with the edge of the core board. I will insert about 5 pins. Then, I go to the opposite corner of the sane side and stretch the fabric again, repeating the process and inserting another 5 pins. Doing the pinning this way assures the fabric will be stretched evenly from one end to the other. After I set both corners, I fill in with pins along my stitched guidelines all along that side.

I've found the best way to continue to mount the stitchery is to do the opposite side next. That way, you'll have the fabric stretched from one side to the other or from top to bottom. Then, I finish by pinning along the guidelines on the other 2 sides.

Lacing the needlework to a mounting board can be a way to hold it on or a way to keep the edges on the back lying down. If you'll remember, I used dressmakers' silk pins to attach the stitchery to the mounting board by sticking them into the foam part (see last week's summary). Some people prefer to lace the back after doing this step, while others lace exclusively minus the pins. IMHO, it just depends upon what's easiest for you. When I pin, I generally leave the pins in. That's why the silk pins. They're flat-headed and look just like a regular straight pin, but they are made of a metal that will not rust.

I had some great suggestions from other members when it came to lacing. One came from Mbroidry, who said before she mounts her needlework, she machine-stitches around the sides about 1/4 inch in from the raw edge. The reason is that you'll be pulling your lacing threads very tightly, and the machine stitching will help keep the fabric threads from tearing out.

To lace the back of a stitchery, you'll need a tapestry needle and a strong thread. The most often recommended are carpet thread, quilting thread, unwaxed dental floss, or strong fish line.

We'll assume you've already pinned your fabric to the frame, so it's ready to lace.

It is generally recommended that you lace the longest sides of the piece first. To do so, thread your needle with the lacing thread. Make several little stitches at the top of the stitchery, right where a long side meets the top edge of the mounting board and about 1/4 inch in from the raw edge. If you want to fold the raw edges under as you would for a hem, I see no reason not to do so, but it really isn't necessary.

After you've anchored your lacing thread, draw it all the way across to the opposite side from which you began. This looonnnnggggg stitch will be perpendicular to the raw edge of the side you're lacing. Bring the needle up from under the top edge of the other side, about 1/4 inch in from the raw edges. You'll find it difficult at this point to keep the long stitch as taut as it needs to be, so don't worry about that yet.

Now, draw the lacing thread back to the side on which you began. Draw the needle up through the fabric again about 1/4 inch in from the edge and 1 inch below where you anchored the thread. This will create a long diagonal stitch across the back of the mounting board. It's like lacing a shoe with one lace instead of two. Continue this until you get to the bottom of the mounting board.

A note here: I work from left to right because I'm right-handed, but there is no law that says this is the only way. If you're left-handed, you may want to work from right to left instead. Whatever's most comfortable for you.

As you work your way down the edges, stop every 3-5 stitches. Beginning with the first one (the one towards the top), pull each journey uniformly tight so it will stretch the needlework but not break fabric threads. I've found this takes some strength in the hands of the lacer to do. Continue to tighten the lacing until you're about 2 journeys above where your needle has just come through. Continue this practice until you're down to the bottom of the mounting board. When you're finished with the two long sides, again anchor your lacing thread by making several little stitches in the fabric.

Several people asked about mitering the corners of the fabric to avoid bulk on the back of the mounting board. I've been thinking about this, and I believe it would be very hard to do because you'd really have to stretch the fabric to get it over the board if you mitered before mounting. Mitering after mounting with pins worries me, too. To miter, you need to make diagonal cuts in fabric you're going to be pulling tightly, and I would be afraid of accidentally having those cuts fray out more.

The next step is to lace the two short sides of the needlework. By lacing the long sides, your fabric should have folded neatly under on the short sides. Being careful to avoid extra folds, be sure the corners are folded under and lace just as you did the long sides. In this case, though, you'll be beginning at the very outer edge of the fabric and will be going through 2 thicknesses for a little ways because of the fold.

I was also asked about the bulk of the fabric causing a problem. If you cut your mounting board properly (general recommendation is 1/16 inch smaller on each of the 4 sides), you'll have made room for any bulk created by the fabric.

FRAMING

Here are the items you need to complete your framing:

1. A frame.

2. Acid-free or conservation mattes, if desired.

3. Glass, if desired. Plain glass only--no nonglare or conservation glass.

4. Spacers if using glass and not using mattes.

5. Scraps of acid-free or conservation matte board.

6. Glaziers' points.

7. Brown paper--acid-free if possible.

8. Two round screw-in eyelets for framing.

9. Two-sided tape.

10. Picture wire for hanging.

11. Large flat-head screwdriver or glaziers' gun.

12. Drill if frame is made of hard wood like oak.

13. Pencil.

14. Yardstick.

15. Scissors.

Of course, first, you need a frame. ;-) That's the point of this whole exercise. Some people have the facilities and tools to make their own, while others of us need to have frames made for odd-sized pieces of needlework. I go to a wonderful framer locally who will not touch needlework but who will make my frames, cut my mattes and glass, and sell them to me at very reasonable prices. If you're going to have frames made, shop around for the best prices. For the sake of this article, I'm going to be describing framing in a wooden frame.

Now comes the great glass controversy. In general, using glass to cover cross stitch, IMHO, is a matter of preference. I use it because I smoke, and my needlework would get dirty very quickly if I didn't protect it. If you decide to use glass, there are a couple of things you need to know. First, use plain glass instead of nonglare or conservation glass. Nonglare and conservation glass are made with chemicals to give them their qualities, and these chemicals can be harsh to your needlework. In large pieces, nonglare glass can also distort the view. Besides being made with chemicals, the nonglare and conservation glass are both very expensive compared to plain glass.

You may have hear it said that the needlework shouldn't touch the glass or that glass shouldn't be used because the needlework needs to breathe. Farther down in this article, I'll be telling you how to frame so the stitchery does not touch the glass. This allows air space and prevents mold and mildew from forming.

The first step in framing if you're using glass is to lay the frame face down on a work surface and to lay the glass into the frame. If you aren't using glass, you'll want to skip this step.

There are two ways to prevent the needlework from touching the glass, if you do decide to use it. One is to matte the stitchery. In most cases, a double matte will leave enough breathing space between the stitchery and the glass. I recommend you use either acid-free or conservation mattes. As I've mentioned in other articles, acid is a four-letter word when it comes to stitchery, and you want to avoid it. Most paper, etc., is made so that it will turn acidic over time. The higher the rag content in your mattes, the better. Conservation mattes, like conservation foam core, are made from 100% rag content.

The second way to avoid having the needlework touch the glass is to use spacers between it and the glass. Obviously, there are pieces that will look better without mattes. For example, I never matte samplers. You should be able to purchase spacers from a frame shop or art store. They are long (mine are about 6 feet long) strips of a clear, flexible substance. They are very thin and L-shaped, and you can cut them to fit your frame with a utility knife. On the outside of one portion of the L is an adhesive covered with paper.

What I do with spacers is to measure the inside edges of the frame. I then cut 4 pieces of spacer to fit them. If you aren't good at cutting on an angle for a mitered corner (same way a frame is put together), you can cut the longer 2 pieces square on the top and bottom and cut the short pieces a little smaller than the inside of the frame to compensate. Then, you'll peel the paper off the adhesive strip and put the spacers into the frame on top of the glass so the adhesive is towards the edge and sticks to the frame.

If you don't wish to purchase spacers, it's possible to make your own from acid-free matte board. I've done this, and it's worked satisfactorily. The man who makes my frames will give me scraps of acid-free matte. What I do with these is to cut thin pieces (between 1/16 and 1-8 inch wide, depending upon the frame)and then insert them along the sides of the frame behind the glass. I try to use a color that is neutral or the same color as the fabric to keep them from showing.

Another comment about mattes and spacers: Both are good ways to keep beading on stitchery from touching the glass, as well.

Spacers do not show because they are so thin and are clear in color. If you can't find them to purchase, you can make your own. I've been known to do so by cutting very thin strips of matte board to separate the glass from the needlework. It does work, but it takes me more effort than does using purchased spacers.

Next, you'll lay the stitchery face down into the frame. If you cut your mounting board 1/16 smaller on each of the 4 sides earlier, it should fit very well.

You'll want to do something now to hold everything in the frame. I recommend using glaziers' points, which can be found at hardware stores. Their most common use is to hold glass into doors and windows. There are two kinds. One is for manual application. It is small, has a pointed end and a piece that sticks up. The point is pushed into the wooden part of the frame using a large, flat-head screwdriver against the portion that sticks up. You'll need to use caution here, especially with hardwood frames because the screwdriver can slip and gouge fingers. Several stitchers suggested using a putty knife or paint scraper for inserting the glaziers' points. This may be safer to your hands. I wouldn't recommend using a hammer or mallet of any kind because there isn't room for the tool. Also, if you have glass in your frame, hammering can break the glass. There are also flat glaziers' points that can be used in a gun similar to a staple gun. It just depends upon what you have available at your house. :-)One stitcher told us her cross stitch shop allows its customers to use their gun for glaziers' points--a nice service to offer.

I hadn't thought creatively before Friday's class, so I commented I don't like to have these metal points resting against my fabric. As always, there were some very creative ideas for avoiding this. It was suggested that we use scraps of our acid-free matte board. What you would do is to cut fairly thin strips so they'll lay around the edges of the back of the needlework. You can push your glaziers' points into the wood of the frame on top of the mattes.

Roisinn mentioned something extra to add for those of us who are smokers to help keep dust and smoke away from our stitchery. She suggested using a piece of cotton batting behind the stitchery to help filter the nasty stuff out. This would be added next.

You'll need a dust cover over the back, as well. Most commonly used is brown paper, like the packaging paper that comes in rolls. It is not acid-free, however. Grocery bags are another idea, but you don't want to use any portion of the bag that contains printed material. Lay the framed piece face up on the brown paper, and draw around it with a pencil. Then, cut the paper along the pencil lines to make it the same size as the back of the frame. There was some discussion as to what sort of adhesive to use to fix the dust cover to the back. I use two-sided tape because I'm messy with glue. Others suggested glue sticks. You'll want to be sure you don't apply so much glue that it squeezes onto your fabric.

One thing I forgot during both chats is that some adhesives will attract bugs. I'm not sure how to avoid that, but I haven't had any bug problems using two-sided tape, and some of my work is close to 30 years old.

When I use the two-sided tape, I apply it to the back portion of the frame around all 4 sides. Then, I place on top of it the dust cover, smoothing and pressing around the edges so it adheres to the tape. One nice thing about using the tape is if the dust cover overhangs the back edges a little, I can take a yardstick and a utility knife and gently cut along that side. The excess paper will peel right off without leaving glue.

Something some of us do when adding the dust cover is to dampen it slightly. Some do this with a steam iron before attaching the dust cover, while others spritz it with a spray bottle after it's sealed on. You should use very little water here. As the paper dries, it will shrink, and you'll have a nice, tight dust cover.

Now, you'll want to add the hardware to hang your picture. First, you'll want two small screw-in eyelets that will hold the picture wire. They look like little cup hooks with a closed round or oval end. I use them on all my needlework because I don't like the sawtooth hangers. I'd note here many cross-stitch competitions don't allow the sawtooth hangers, but otherwise, it's your choice. :-)

Your DH or SO can help you with the glaziers' points and also with the eyelets. You'll first need to mark where to put them into the back of the frame. The rule I've heard and use is to measure 1/3 of the way down from the top of the frame on both sides. Mark that point with a pencil. If you have strong hands and a softer-wood frame, you may be able to screw the eyelets in by hand. If not, you may want to use a drill very carefully to drill a little hole in each side. One stitcher told us she has a hand drill (not electric) that works very well. The reason to take care is that it is possible to drill all the way through to the front of the frame without realizing it. You don't want the hole to go all the way through. This will make it easier to screw in the eyelets.

You'll need to add picture wire to the back. This is the reason for the eyelets. Picture wire comes in a variety of weights and is composed of a twisted length of tiny wires, in most cases. The package should indicate to you how heavy a picture may be hung with that particular wire.

I cut a length of picture wire about 6 inches longer than the width of the picture. One caution: Please do NOT use your good scissors to cut wire. Nothing much will dull them faster. Use wire cutters. I draw one end of it through the eyelet on one side of the picture from the outside to the inside of the frame, leaving about a 3-inch tail. I draw the tail through the eyelet again because I believe it adds stability. Then, I do the same to the opposite side. I want some "give" to the wire from which the picture will hang, but the tension shouldn't be loose. After I've attached the wire, I twist each end around the wire in the middle. I also add a piece of tape where the wire ends on each side, wrapping it around that end.

Except for putting a nail or hanger on the wall, your stitchery is ready to hang. :-) Now, sit back and enjoy your masterpiece!

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