Non-reflective glass

 Yes, it does stop reflection because of it’s etched surface, but the etched surface also accelerates the damage from UV rays. The UV rays enter the framed piece, and “bounce around” inside the frame before escaping, therefore doing more damage to your needlework than plain, clear glass! It also makes the framed needlework blurry, especially on 3D pieces. Why would you spend so much time on your beautiful ribbon work, only to have it framed and not be able to see the fine detail?

The good news is there is a much better alternative. Tru-Vue Museum Glass offers 99% UV protection as well as incredible clarity. This glass is virtually invisible.  Once shown this amazing product, most of our clients choose to use it in their needlework frames. You need to (not!) see it for yourself to believe it!

All too often we pull apart a frame, only to find a disaster like this one. This silkscreen on T-shirt material has been stapled onto MDF, has been ripped because of the pressure from the staples, and the framer has even drawn and written instructions on the actual artwork!

Can you imagine this being your precious needlework? Wouldn’t you be devastated?

It’s not worth the risk. Ensure your picture framer is qualified - look for the letters after their name on their business card – MCPF, CPF, CGF or GCF.

A big “Thank You” to Cheryl and Michael for bringing in their beautiful needlework for me to frame. It’s always such a pleasure to complete a piece that can take literally years to create.

The photos here show the processes involved (after the threads have been tested for colourfastness) -

1) Before steam blocking

2) Hanging to dry, after day three of steam blocking…nearly there..

3) The needlework is pinned to an Alphamat Artcare foamcore board with stainless steel pearl head pins, and weighted overnight. This photo also shows the inner gold frame – there are two frames and a beaded slip.

4) The completed needlework, framed to compliment it’s detail and grandeur.

Jodie Prymke Fine Art Framing is thrilled to be exhibiting at this year’s Beating Around the Bush Stitchers Village Fair, Wednesday 18th April 2012, 10.30am – 4pm.

You will find us at Stand 18,  in the Auditorium, Immanuel College, Morphett Road, Novar Gardens.

The fair is open to the general public, as well as students from the Beating Around the Bush Convention.

Please stop by and say hello to us, Jodie and Lyn…and go into our draw to 

WIN $500 worth of Fine Conservation Framing for your needlework.

For more information about the fair or convention, please go to www.countrybumpkin.com.au

This gorgeous little needlework came in for re-framing, since it had been originally framed approximately 15 years ago.

Luckily…because what we discovered when we took the old frame apart was that it had been glued and stapled to an MDF board – the consequences of cheap framing.

We pinned and laced the needlework onto 100% cotton rag board, and re-framed it, using the same type of gold frame. With the matting, we allowed a little more “breathing space” around the artwork itself, and made the green silk matboard a bit bigger as well. To protect the needlework, we also use 99% UV Blocking glass in all our frames.

What is Conservation Framing?

Preventative Conservation Framing is the combined techniques and materials used to protect valuables and slow down the aging process.

What materials do you recommend?

1) For matting and mounting, at least, alpha-cellulose boards, preferably 100% cotton (museum-grade) rag boards.  Beware of the term “acid-free”. What is sold as “acid-free” today, most certainly won’t be “acid-free” five years from now.

2) I use and recommend Tru Vue Conservation Series Glazing products. It helps protect needlework from 99% of UV rays, which are present in all light sources, including fluorescent lights.

What about the techniques then?

Conservation Framing, most importantly, means that the techniques used to frame needlework should be completely reversible, and not damage or change it in any way.  Say you have your needlework framed today, and 50 years from now, your great-grandchildren want to have it re-framed?  A framer should be able to remove the needlework from the original frame, and hand it back to your loved ones in its original state.

Good techniques which are reversible and inert (won’t harm or discolour threads, fabric or ribbons) are -

• lacing
• dry-blocking (pinning with stainless steel, pearl head pins)
• spacers or matboards should be used to create an “air-space” in between the items inside the frame and the glazing, so they don’t touch

1. Do you practise preventative conservation framing?
2. Are you a qualified picture framer? Have you passed an exam? Look for the letters after their name on their business card - GCF, CPF, MCPF or CGF.
3. Will you lace or pin my needlework?  No glue, tape or staples please!
4. Will you use cotton matboards?
5. Will you use conservation grade glass or acrylic (perspex)?
6. Will you put your name and/or sticker on the back of my frame?

Have you ever wondered what your finished frame will really look like? Yes? Well, wonder no more!

We have just installed the most amazing, state-of-the-art Virtual Picture Framing System, with a 26″ LCD viewing screen. It takes your frame design from this…

to this…. all in a matter of moments.

Call in to our studio at 190 Tynte Street, North Adelaide to see it for yourself.

]]> http://needleworkframing.com/2011/10/17/virtual-picture-framing/feed/ 0 Jodie Prymke Fine Art Framing needlework framing adelaide needlepoint framing adelaide http://needleworkframing.com/2011/10/17/how-to-stretch-your-needlework/ http://needleworkframing.com/2011/10/17/how-to-stretch-your-needlework/#comments Mon, 17 Oct 2011 07:50:53 +0000 Jodie Prymke Fine Art Framing http://needleworkframing.wordpress.com/?p=20 Continue reading →]]>

Stretching your needlework (also known as lacing) is easy once you know how. Here are some simple instructions.

1) Cut a piece of acid free fomecore (we use Bainbridge Alphamat Artcare) or matboard to stretch the needle art onto. The size of this board should be approximately 25mm or 1″ bigger than the opening in the matboard. For example, if the needle art you want to see is 20cm x 15cm (8″ x 6″) this is the size of the opening in the matboard.  Cut the board to stretch the needle art onto 22.5cm x 17.5cm (9″ x 7″).

2) Centre your needle art onto the board.
Turn the work over, and work from the back. Fold the two longest edges over the board. Using a needle with a continuous thread (preferably 100% cotton thread) insert the needle 15mm from the edge of the fabric. Lace from one edge to the other, trying to keep the stitches parallel, approximately 1cm apart. When you get to the end, tie the thread with a knot, leaving the other end still attached to the reel of cotton.

3) Check the front of the work to make sure that it is still centred.  Tension the threads at the back, working from the knot backwards, being careful not to pull them too tightly, otherwise the thread might break. In case the thread does break, just re-join it with a small knot and continue. Check the front of the work once again, and when you are happy with the position, cut the thread attached to the reel of cotton and firmly tie with a knot to the needle art. Adjust the front again if necessary.

4) Fold the two short ends over, and using the same process, continue to complete the stretching of your needle art.