Needlework Framing

After investing so much time and effort into your needlework, framing is critical to both enhance and protect it for generations to come.

Conservation Treatment.  I utilize the highest quality conservations methods:  reversable mounting techniques, preservation materials, and glass that protects from damaging ultraviolet light. Our techniques protect against heat, light, humidity and insects.

• Before framing, most needlework will be carefully blocked and mounted to best preserve, support the needlework and to be as secure, square as possible.
• We use no tapes, adhesives or chemicals that could harm the fibers over time.
• To keep your project clean and maintain the integrity of its colors, we highly recommend placing it behind UV glass. With our careful framing, the art will always have room to breathe.
• For the best success in framing needlework, clean or have your work dry cleaned by a trusted cleaner.  The oils in our skin will alter the fabric and may show up over time.

Designed to Look Its Best.  We offer hundreds of quality frames and matting options and will personally guide you through the design process to find the combination that displays your art to its fullest potential. We even offer in-home consultations to assist you in making choices that complement your decor.

Bring your latest handcrafted project to My Personal Framer and let us help you turn it into a work of art.

Canvas & needleart

• Needle Art is mounted to Acid-free foam core, rag-lined acid-free foam core, or cotton rag foam board using stainless steel dress pins (no rust), lacing or couching whichever is most appropriate.  No tapes, glues or adhesives are used (these may stain or rot the fibers).  Glass should not touch needle art as moisture or condensation could collect inside the package, causing rot or mildew in the needle art fibers.  If no mat is used to separate the Needle Art from the frame (wood) the frame should be lined with a conservation quality barrier tape that has an aluminum or copper barrier to prevent bleed-through of acidic materials (Archival Frame Sealing Tape is one such item). In this case a spacer should also be used between the art and glass.
• Oils or acrylics on bars or boards: The same barrier tape may be used to line a  wood frame before inserting the artwork.  The latest thinking on canvases is to back the frame package with Archival Foam Board. This will prevent puncture and environmental damage.  If the piece is valuable or of high sentimental value conservators are now recommending some type of conservation glazing with a spacer between the art and glass, a foam rabbit tape can also be used to protect the face of the painting from pressure.

There are a variety of choices.  We can show you samples of each and help you to decide which will work best with your project

• Conservation Glass filters up to 97% of Ultra-Violet light that may cause framed pieces to fade.  It is also available in Non-glare
• Museum Glass blocks out 99% of Ultra-Violet light and has an anti-reflective coating which virtually eliminates all glare.  It is almost undetectable.  This is the very best option
• Acrylic or PlexiGlass is a form of hard plastic and is much lighter than glass. Acrylic is almost impossible to break and can be treated with Ultra-Violet properties.  The reduced weight makes it a very good option for large pieces.  However, Acrylic does tend to attract dust, scratches easily and should be cleaned with special cleaners and soft clothes.
• Premium clear glass is an affordable option that will protect your art from dust and dirt, but will not protect is from UV light. This is also available in non-glare, which gives a matte finish.  Non-glare will also dull the image under the glass (more mats yields more diffusion).

Whether Glass or Acrylic it is best to use an Ultra-Violet blocking material  

Special Cases

Paper
At Materpiece Framing we mount according to the artwork in ways that are appropriate and best for the art.

Works of fine art on Paper
All methods of attaching the fine artwork to the backing board (mounting) must be reversible without harming the artwork. The attachment should also be less strong than the paper of the artwork -- this allows the attachment to give before the paper of the artwork tears or is damaged. Archival corner pockets may by used on many types of artwork, others will need linen hinges, or mulberry paper hinges and wheat starch glues.

Backing

• Backing is a minimum of 3-ply rag, Alpha-Cellulose or at a bare minimum Archival foam board.
• Archival foam board  is not enough protection for fine art but may be used with less expensive or less valuable art. Archival foam board may be used in addition to the rag for maximum protection (in most frame packages regular foam core is used with the rag). The foam core acts as a stiffener to support the art and mat package and to protect it from the back. All frame packages (except metal frames-nothing to attach to) should have a dust cover to keep out bugs and dust.
• Posters and non-valuable pieces are usually mounted on Foam Core in a vacuum press for maximum flatness and eliminates wrinkles and ripples.

Special mounting issues.