Plan the size before you stitch
Framing starts when you cut the fabric. The design size is its stitch count divided by the fabric count, and you need at least 3 inches of fabric beyond that on every side to wrap round a board. Here are the sums for common design sizes, with the smallest standard frame that leaves at least an inch round the design:
| Design (stitches) | Size on 14-count | Cut fabric | Smallest standard frame | On 18-count |
|---|---|---|---|---|
| 30 × 30 | 2.1 × 2.1 in | 8.1 × 8.1 in | 5 × 7 in | 4 × 6 in |
| 40 × 40 | 2.9 × 2.9 in | 8.9 × 8.9 in | 5 × 7 in | 5 × 7 in |
| 50 × 50 | 3.6 × 3.6 in | 9.6 × 9.6 in | 8 × 10 in | 5 × 7 in |
| 60 × 60 | 4.3 × 4.3 in | 10.3 × 10.3 in | 8 × 10 in | 8 × 10 in |
| 80 × 60 | 5.7 × 4.3 in | 11.7 × 10.3 in | 10 × 8 in | 10 × 8 in |
| 80 × 80 | 5.7 × 5.7 in | 11.7 × 11.7 in | 8 × 10 in | 8 × 10 in |
| 100 × 100 | 7.1 × 7.1 in | 13.1 × 13.1 in | 11 × 14 in | 8 × 10 in |
| 120 × 160 | 8.6 × 11.4 in | 14.6 × 17.4 in | 11 × 14 in | 11 × 14 in |
The fabric size calculator works it out for any design. To fit a particular frame, change the fabric count: the same chart on 18-count comes out about a fifth smaller than on 14-count. The fabric counts guide explains how.
Before you frame: is it stable?
Most embroideries can be framed safely. The Canadian Conservation Institute advises that pieces with dyes that run, mould, insect damage or crumbling threads should go to a textile conservator before framing, since framing can make the damage worse. That applies mainly to old or inherited pieces; new work only needs to be clean and dry.
Prepare the stitching
Wash and press the finished piece if it needs it: cold water, a mild non-biological detergent, roll in a towel, then press face down between towels with a warm iron, never a hot one, so the stitches stay raised. The washing and pressing guide has the details. Make sure it is completely dry before mounting; trapped moisture behind glass encourages mould.
Choose a mount
Cut acid-free mat board to the size of the frame’s opening plus the area hidden by the frame lip. Centre the design on it by finding the middle of the board and the middle of the stitching; most charts mark the centre with arrows.
| Material | In contact with the stitching? | Notes |
|---|---|---|
| Acid-free mat board (rag or purified wood pulp) | Yes, safe | The standard mounting board |
| Corrugated plastic board | Backing only | Light and stable; seal with cloth tape |
| Strong cotton or polyester thread | Yes, safe | For lacing or stitching to the board |
| Glue, adhesive tape, self-adhesive board | Never | Stains and cannot be undone |
| Staples, tacks, nails | Never | Rust and tear the fabric |
| Ordinary cardboard | Avoid | Acidic; yellows the fabric over time |
Lacing
- Lay the fabric face down with the board centred on top.
- Fold the top and bottom edges over the board.
- With strong thread, lace back and forth between the two edges, pulling each zigzag snug so the fabric is taut but not distorted. Work from the centre outwards if the piece is large.
- Fold the corners neatly, then lace the side edges the same way.
- Check from the front that the rows of Aida run straight, and adjust the tension if they bow.
Pinning into the edges of acid-free foam board is quicker: push rust-proof pins into the board edge every 2 cm or so, working from the centre of each side outwards, then check the weave is straight. Keep pins in the plain fabric margin.
Glazing and spacing
| Choice | Pros | Cons |
|---|---|---|
| No glass | Shows the texture; nothing to reflect | Dust and handling reach the stitching |
| Glass with a mat or spacer | Protects from dust; spacer keeps stitches raised | Reflections; heavier |
| UV-filtering glass or acrylic | Some protection from fading | Costs more; protection is not complete |
| Clip frame (glass straight on the fabric) | Cheap | Crushes stitches; not recommended |
A spacer is a strip of mat board or plastic hidden under the frame lip that holds the glass a few millimetres off the stitching. A window mat (passe-partout) does the same job and adds a border that draws the eye. Either way, the glass should never press on the stitches.
Frame and finish
Choose a frame that suits the piece: simple wood for samplers, a deep frame for raised work. Seal the back to keep out dust and pollutants: the Canadian Conservation Institute recommends gummed linen tape over brown kraft tape where the backing meets the frame, or archival paper taped round all four sides. Write the date, your name and the pattern on the back.
Hang it away from direct sun, radiators and damp walls. Light fades thread colours and weakens fibres over time, even behind UV glass.
Taking it to a framer
A professional framer can stretch, mount and glaze the piece for you, and is worth it for heirloom samplers and large work. Ask for:
- acid-free materials throughout
- reversible mounting: lacing, stitching or pinning, never glue or tape on the fabric
- a mat or spacer so the glass does not touch the stitches
- UV-filtering glazing for pieces that will hang in a bright room
Bring the piece washed and pressed, and choose the mat colour by holding samples against the stitching in daylight.
Alternatives
Small pieces look lovely in a hoop; see finishing in a hoop. Cushions, bookmarks and ornaments are other ways to display stitching without a frame.