Frames and Framing used for Embroidery
FRAMES AND FRAMING.
Before proceeding to describe the various stitches used in frame embroidery, we will say a few words as to the frame itself, the manner of stretching the material in it, and the best and least fatiguing method of working at it.
The essential parts of an embroidery frame are: first, the bars, which have stout webbing nailed along them, and mortice holes at the ends; second, the stretchers, which are usually flat pieces of wood, furnished with holes at the ends to allow of their being fastened by metal pegs into the mortice holes of the bars when the work is stretched.
In some cases the stretchers are fastened into the bars by strong iron screws, which are held by nuts.
In choosing a frame for a piece of embroidery we must see that the webbing attached to the sides of the bar is long enough to take the work in one direction. Begin by [Pg 34] sewing the edge of the material closely with strong linen thread on to this webbing. If the work is too long to be put into the frame at one time (as in the case of borders for curtains, table-covers, &c.), all but the portion about to be worked should be rolled round one bar of the frame, putting silver paper and a piece of wadding between the material and the wood, so as to prevent its being marked.
The stretchers should then be put in and secured with the metal pegs.
A piece of the webbing having been previously stitched on to the sides of the material, it should now be braced with twine by means of a packing needle, passing the string over the stretchers between each stitch taken in the webbing, and, finally, drawing up the bracing until the material is strained evenly and tightly in the frame. If the fabric is one which stretches easily, the bracings should not be drawn too tightly.
For small pieces of work a deal hand-frame, morticed at the corners, will suffice, and this may be rested on the table before the worker, being held in its position by two heavy leaden weights, covered with leather or baize, in order to prevent them from slipping. It should be raised off the table to a convenient height, thus saving the worker from stooping over her frame, which tires the eyes, and causes the blood to flow to the head.
There is no doubt that a well-made standing-frame is a great convenience, as its position need not be disturbed, and it can be easily covered up and put aside when not in use. It requires, however, to be very well made, and should, if possible, be of oak or mahogany, or it will [Pg 35] warp and get out of order. It must also be well weighted to keep it steady.
For a large piece of work it is necessary to have a long heavy frame with wooden trestles, on which to rest it. The trestles should be made so as to enable the frame to be raised or lowered at will.
A new frame has recently been invented and is sold by the Royal School, which, being made with hinges and small upright pins, holds the ends of the material firmly, so that it can be rolled round and round the bar of the frame without the trouble of sewing it on to the webbing.
When a frame is not in use, care should be taken that it does not become warped from being kept in too dry or too hot a place, as it is then difficult to frame the work satisfactorily.
It will be found useful to have a small basket, lined with holland or silk, fastened to the side of the frame, to hold the silks, thimbles, scissors, &c., needed for the work. Two thimbles should be used, one on each hand, and the best are old silver or gold ones, with all the roughness worn off, or ivory or vulcanite.
The worker ought to wear a large apron with a bib to save her dress, and a pair of linen sleeves to prevent the cuffs from fraying or soiling her work.
Surgeon’s bent scissors are useful for frame embroidery, but they are not necessary, as ordinary sharp-pointed scissors will answer every purpose.
When silk, satin, or velvet is not strong enough to bear the strain of framing and embroidering, it must be backed with a fine cotton or linen lining. The “backing” in this case is first framed, as described above, and the velvet or [Pg 36] satin must then be laid on it, and first fastened down with pins; then sewn down with herringbone stitch, taking care that it is kept perfectly even with the thread of the “backing,” and not allowed to wrinkle or blister.
It is most important that a worker should learn to use equally both hands, keeping the right hand above the frame till the arm is tired, then letting the left take its place while the right goes below.
A cover should be made large enough to envelop both the upper and under portions of the work, and to be fastened down to the sides, so as to protect it from dust when it is not being used, and during work it should be kept over the portion of the embroidery not actually in hand.
Lastly, a good light should be chosen, so as not to try the eyes.
Many materials can only be embroidered in a frame, and most work is best so done. A greater variety of stitches is possible, and on the stretched flat surface the worker can see the whole picture at once, and judge of the effect of the colours and shading as she carries out the design. It is the difference between drawing on stretched or crumpled paper.