Determining the type of needle art will give clues as to the best avenue to travel in creating an appropriate frame package. The most common types a framer can expect to encounter include cross stitch, needlepoint, petit point, embroidery, crewel, quilting, and applique, to name a few. These types of needle art have a main support, with an image applied using stitches of wool, cotton or silk, or pieces of material attached with stitches. A trip to your local library or book store can reveal researchmaterials with information on the various types of needle and fabric art.

Let's say your customer brings in two items to be framed. The first item is a large cross stitch on canvas, measuring 24 x 36, currently shaped like a rhombus; the second item is a charming modern needlepoint sampler on 22 count aida cloth, perfectly pressed and clean. Each item requires a completely different approach. Our first responsibility is to discuss the condition of the art. Is there damage to the art, front or back? Can you offer the service required to properly frame these items? You and your customer must at this point come to an understanding about how the items should be assembled into the finished frame package.

Needlepoint requires the framer to test the yarn for dye permanency, block the needlepoint and insure there is adequate material around the perimeter of the image to allow sufficient and proper support of the work. The blocking procedure should be done in a way that does not cause stress to the piece. Depending on how heavy the tension of the individual who worked the stitchery, the item may need to be blocked more than once. Using cold distilled water, a light application of moisture to the back of the work will help relax the fibers and allow the blocking procedure to take affect.

Make sure there is space between the face of the art and the blocking board, and pull gently to bring the piece to squareness; never force the material. Always be sure to record and charge for your time and labor. Most needlepoint tends to be stiff, heavy and cumbersome. Choosing a frame that will accommodate the thickness of the finished frame package will make life easier. Needlepoint generally requires attachment to a strainer or stretcher bar frame to provide adequate support. The needlepoint canvas can be difficult to work with, and the larger the item, the more important the preparation of a support structure. The addition of a screen behind the canvas on the stretcher will provide support to the center of large items. Instead of matting, consider choosing a linen liner, or a stacked frame combination to showcase the art. Choose a frame with adequate rabbet depth to avoid the problem of the needle art or support structure extending out the back of the frame: choose a liner or stacked frame combination, and the problem of keeping the glazing off the face of the art will be resolved. The glazing can be sandwiched between the liner frame and the main frame choice.

Cross stitch is most often executed on aida cloth, linen or hardanger. The term cross stitch refers to the shapes created by the threads as the stitching progresses. The overlapping thread s cross to form small X's. A system of counting the spaces on the weave of the cloth helps to center the stitched image, and this form of needle art is therefore also called counted cross stitch. These pieces are presented to framers in various degrees of difficulty, size, fabric count, and color. You and your customer should thoroughly inspect the piece for missing stitches, stitches that connect and show through the cloth, stains, hoop marks or any noticeable blemishes. Cross stitch can be mounted in several different ways, the most common include lacing, pinning, or a type of pressure mount that creates a snug fit within the perimeter of a mounting board, with or without the aid of pinning. Lacing and pinning require the most amount of time. In lacing, the item is pulled around a mounting board and then lashed, or laced on the back, to hold it securely in place. Pinning requires a board that will support the art and allow the pins to be pushed into the core of the board.

Placing the pins close together to follow the grain of the fabric will allow the material to be pulled square. This is especially important if the cross stitch is a sampler with a border. If the cross stitch lacks enough material to work with outside the image for mounting purposes, working room can be added by sewing strips of a similar material to each side of the needle work. Again, keep a record of your time and labor, and charge adequately for it. Choosing the frame for cross stitch should include a rabbet depth that will accommodate the needle art package. Matting or spacers will keep the glazing up off the face of the art, and reduce the risk of condensation. Glazing needle art, however the idea may be debated in the industry, can offer protection for the item from airborne pollutants such as smoke, dust, pollen, and UV damage.

Always take precautions when working with needlework, as with any type of art, to support and protect it during handling and storage. Wear gloves if possible to avoid the transfer of oils or foreign material to the fabric. Store the items flat with no other items placed on top to prevent punctures and tears, and be sure the art is kept from extreme heat, moisture, or fumes.

Take the time to educate yourself and your customer about needle art. The more you know, the more custom choices you can offer your customers, and the more they will come to rely on your knowledge and expertise for a frame design design that is not only beautiful, but also strong and safe for the art. Needle art requires a great deal of labor, sometimes taking years to complete. Treat needle art like the original works that they are, and both you and your business will be rewarded with the loyalty of the artists that create them.

Laura Abadie has been a Technical Service Representative at the Larson-Juhl home office in Norcross, Georgia, for over three years now. Her responsibilities include assisting framers on an 800 helpline with questions related to the equipment, framing technique, and daily function of their frame shop, as well as training of Larson-Juhl team members on products and framing industry technique. Certified with PPFA in September of 1993, she has been in the framing industry for 12 years. Her experience includes managing a small frame shop, former Georgia Chapter PPFA board member, and numerous framing competition awards. Outside of framing, her interests include oil painting, martial arts, and sacred choral music.

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