Standing frames for needlework in progress
EUtz
I'm kinda new to this group, but not to stitching. Recently, the bug bit
hard, and I've started getting ideas for some fairly large pieces, mainly
based off of computer graphic files (They already divide things into
little colored squares for you.....).
It seems to me that the best way to work on something large, roughly
350x350 stitches, would be on one of those free-standing frames that you
always see in medieval pictures. I have seen these things advertised with
all sorts of bells and whistles for a few hundred dollars.
My question to the group is: What features would you find really
important in a standing frame? I'm handy enough that with some basic
ideas I can probably mount a large scroll frame onto a stand such that it
can be turned to any working angle, but I'm sure there's more to it than
just that.
Elise
Susan Profit
Yikes. It's called a tapestry frame and you can make a smaller one with
supplies from the local hardware/lumber yard for under $10 in my area.
In article <53l9g3$f...@newsbf02.news.aol.com>, EUtz <eu...@aol.com> wrote:
>It seems to me that the best way to work on something large, roughly
>350x350 stitches, would be on one of those free-standing frames that you
>always see in medieval pictures. I have seen these things advertised with
>all sorts of bells and whistles for a few hundred dollars.
Go to the lumber yard and ask them for some molding stock/frame moulding.
You want the stuff that is 1 1/4 inches/31 mm wide and 1/4 inch/6 mm
thick. (This is the stuff that builders run through routers with fancy
bits on them to make custom mouldings.) Have the staff cut it for you to
paired lengths.
A 10 foot/300cm (Is that 3 meters?) piece of stock will yield two 3
foot/90 cm pieces and two 2 foot/60 cm pieces, but it comes in lengths
from 6 to 12 feet (180-360 cm). For really large pieces you may need to
make four 4 foot long sides.
Take these home, and beginning 1/2 inch/12 mm in from the ends, every 3/4
to one inch (18-25 mm) apart (be consistent whatever distance you choose)
drill 1/4 inch/6 mm holes through it in the center down the entire length
of all the pieces. Then sand the thing until it is as soft as a baby's
skin, and then sand until it is softer than that. You do not finish it
with anything like shellac, oil or varnish. Your own hand oils will do
that for you over time if you hold it in your hand.
Grab four 1/4 inch/6mm wing nuts and bolts for the corners. Use washers if
you wish.
When it's time to stitch, place the fabric you intend to stitch on in the
center of the four pieces. Position the frame so the center hole with the
fabric in it is larger than the fabric piece. Adjust the sides until the
holes in corners overlap. Put the nuts and bolts in the overlapping holes
in the frame. Then edge the fabric and lash it in an overcast stitch in
strong thread (I use four lengths of crochet cotton) along all four edges.
When the thread in the needle begins to run out, make an adjustable knot
like a tautline or tent knot. when all four sides are lashed to the frame,
adjust the knots until the piece is drum taut but not distorted, so that
you have even four-sided tension. As the temperature or humidity changes
the tension, you can use these knots to keep it at the proper tension
(yes, I know it's more of a problem for those of us in the PNW than the
folks in the desert....)
Most of those huge medieval frames were hung off simple pegs in the wall
and the bottom edge was resting either on a table, the stitcher's lap or
on the floor, but they were also working on tapestries large enough to be
rugs for most folks living rooms.......
I just mount my tapestry frame in Shaker floor stand my SO improved for
me. That allows me to flip it up so I can reach the backside for
ending/beginning threads, with the floor stand taking the weight of the
frame instead of my joints.
>My question to the group is: What features would you find really
>important in a standing frame? I'm handy enough that with some basic
>ideas I can probably mount a large scroll frame onto a stand such that it
>can be turned to any working angle, but I'm sure there's more to it than
>just that.
>Elise
Not really. It is honestly as simple as it looks in the paintings: four
wooden pieces held together with the fabric lashed to the frame. The fancy
part is the stand you have it held in. All you need is a stand that will
accept a variable width of frames, so one that will only work with one
brand of scroll frame won't help you much. But just about any stand that
will take an adjustable size of frame can support this for you. Patterns
are available to make your own, or they can be purchased from suppliers
like Artisan Designs etc if you and yours aren't handy in the woodshop.
The positive thing about tapestry frames is that they are totally
adjustable to whatever size you need, the entire piece is visible
(unlike most scroll frames), and the tension is even on all four sides
(which is why it is still used in some of the European design houses and
was a favorite among some of the professional embroidered lace
makers historically).
The negative is that you have to lash the fabric to the frame, and most
folks are daunted at the idea of that (it is -very- simple in reality),
that if you do not use a thick enough frame stock it will warp when under
the proper tension. Just use thicker stock for larger pieces to solve
that.
@}->- ;) Tinne :D Laughter Heals :) -<-{@
We are beginners at more than we are experts of.
SSThimble
IMHO the most important feature is how the floor frame attaches to your
scroll frame, q snaps, or stretcher bars. You definately do not want to
clamp over your fabric / stitches.
--
Claudia,
A Stitch in Time Saves Sanity
EUtz <eu...@aol.com> wrote in article <53l9g3$f...@newsbf02.news.aol.com>...
> My question to the group is: What features would you find really
> important in a standing frame?
>
> Elise
>
Jennie Brock
In article <Dz4pH...@eskimo.com>, ti...@eskimo.com (Susan Profit) writes:
|> Yikes. It's called a tapestry frame and you can make a smaller one with
|> supplies from the local hardware/lumber yard for under $10 in my area.
|>
article I've read in ages :-)
I have just one question though, and for anyone who has the answer.
|> When it's time to stitch, place the fabric you intend to stitch on in the
|> center of the four pieces. Position the frame so the center hole with the
|> fabric in it is larger than the fabric piece. Adjust the sides until the
|> holes in corners overlap. Put the nuts and bolts in the overlapping holes
|> in the frame. Then edge the fabric and lash it in an overcast stitch in
|> strong thread (I use four lengths of crochet cotton) along all four edges.
I understand about lacing and have done a little, but worry about the tension
damaging the edges of the fabric, especially on evenweaves. So could someone
elaborate on "edging the fabric" please?
Jennie.
--
e-mail: jen...@badgers.demon.co.uk
EUtz
In Rec.Crafts.Textiles.Needlework you write:
>IMHO the most important feature is how the floor frame attaches to your
>scroll frame, q snaps, or stretcher bars. You definately do not want to
>clamp over your fabric / stitches.
I had thought about that. The current plan is to have a set of side bars
for the scroll frames that I have drilled through the center. I can then
attach them to the floor frame with a bolt and wing-nut fastener so I can
tilt it to a convenient angle, or fold it flat for storage/display. Of
course, the wing-nut would be on the outside to keep it from snagging the
thread where I couldn't see it :)
Elise