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Friday, March 20, 2009

Trestles for Slate Frames Used in Hand Embroidery

Finding slate frames for hand embroidery is no easy task. In the past, I introduced readers to Evan Burroughs, who made my large slate frame. I don't know if Evan is still producing the frames, though. I have tried to contact him, but with no luck. (Evan, if you're out there, please contact me!)

So, here I am again, looking for a good source for frames, and realizing that it might be necessary to find someone again who can make them! In the meantime, though, I want to talk to you about another aspect of the slate frame - trestles.

There are few professional embroiderers who don't agree that the best possible way of achieving tension for hand embroidery - and especially for more complex techniques such as goldwork - is to use a slate frame. In days of yore, the slate frame was widely used, and it was used in a variety of sizes - from small to really quite large. In some books, you can find illustrations of slate frames with more than one person at the frame.

In 18th Century Embroidery Techniques (see my review), Gail Marsh shows a massive slate frame supported across the back with a stabilizing bar, on which frame the embroiderer could lay out a large project - like several pattern pieces for a jacket - on one stretched ground fabric.

In several of the old books on ecclesiastical embroidery, the guild workplace is shown with large frames on which whole banners, chasubles, etc., are stretched. Large works, indeed! At the beginning of Church Embroidery and Church Vestments (PDF - scroll to page 12), you can see a photo of ladies in the guild room, two of whom are sitting up to one slate frame, working.

Today, the slate frame is still used - it is not defunct! Despite the convenience of hoops, of stretcher bar frames, of plastic Q-snaps, and so forth, the slate frame is still employed by serious stitchers. Its revival in popularity is certain to continue growing, as more people take interest in historical needlework, and as the interest in techniques such as goldwork also continues to grow.

I've used a slate frame. I have a large one, so I don't use it as often as I would like! I would like a medium-sized slate frame and a small one, but there will be time for that in the future - if I can find a supplier! There is nothing so nice as the perfect tension one can achieve with the slate frame, and the unpuckered, immaculate results when the piece is removed from the frame. It's wonderful!

The most difficult thing I've found about a slate frame is how to support the thing. Especially if you are working on a medium or large-sized frame, it is impossible to support the frame with one hand while stitching. At the same time, the slate frame tends to be heavier than other frames (stretcher bars, for example), and so commercial stands cannot support large frames, and cannot always support medium frames - or can "just" support them. Of course, there's always the two-table set-up, where the frame is rested horizontal, between the edges of two tables. But that has its drawbacks, I assure you!

In the past, the slate frame was generally supported by a pair of trestles. Originally, these were saw-horse type trestles, so that the frame rested perfectly horizontal, parallel to the floor, like a table, and the needlework sat up to the frame on a stool, and worked in that manner. Then, trestles began to develop a bit. You can see in the turn of the century book Church Vestments, mentioned above, that the "trestle" is actually an adjustable support, where the frame is placed between the body of the trestle and a top board, which is tightened down on top of it.

I've seen other set-ups of trestles, specifically some left over from convents that used to make embroidered vestments. These trestles were even a little more complex, and their adjustability allowed for the frame to be supported completely vertically (as is seen on the front of the book, Embroiderers from the Medieval Craftsmen series), at various angles, or flat.

While I was considering the whole dilemma of the elusive slate frame and pondering the notion of trestles, it so happened that a friend's dad volunteered to do some designing and building of a set of trestles - an embroiderer's workstation, actually, which could accommodate a slate frame (from small to very large), stretcher bars, and even hoops.

The concept developed by considering different types of trestle set-ups of the past (especially those found in convents before the 1960's), and understanding what the embroiderer today would want in a workstation.

Last week, the protype trestle workstation arrived. I want to show it to you and ask for your feedback.

Trestles for Slate Frames for Hand Embroidery

They arrived in a box custom-made for shipping them.

Trestles for Slate Frames for Hand Embroidery

Everything needed was included in the box. The carpenter (Brian) was very meticulous in the packing of the crate and in the assembly of all the pieces of hardware.

Trestles for Slate Frames for Hand Embroidery

The prototype is made out of rough wood - not cleaned up or "beautified" yet. It's for testing purposes. Still, for being "rough," it's really nice. All the pieces were sanded and clean, easy to handle for assembly. The whole assembly process required me to use only a phillips head screwdriver to place 20 screws in the correct (pre-drilled) holes. (Good thing - I'm not so great with larger tools!)

Trestles for Slate Frames for Hand Embroidery

Those are all the pieces, leaning up against the furniture. It looks complicated, but every piece went right together as the instructions indicated. It took me less than twenty minutes to put the whole workstation together for the first time.

Trestles for Slate Frames for Hand Embroidery

These are the main pieces, though the leg braces are not attached yet.

Trestles for Slate Frames for Hand Embroidery

This is a shelf support.

Trestles for Slate Frames for Hand Embroidery

This is the whole set-up, almost completely extended. On the sides, you can see that there are, front and back, adjustable vertical bars. Into those vertical bars are placed the supports for the dowels, which in turn support the frame. The dowel supports can be angled a variety of ways. I'll show this in more detail later, after I have played with the set-up a bit more.

Trestles for Slate Frames for Hand Embroidery

Here's the set-up with a stretcher bar frame resting on it. The trestles have been moved closer together than they are in the previous photo.

Trestles for Slate Frames for Hand Embroidery

This is an attached table, and the workstation actually has a variety of options for attached supply tables, clamped lighting and magnification, etc.

So here is the initial introduction to the trestle workstation. I'll be taking more detailed pictures of it this weekend, in "action." I've since moved it out to my studio, where I will be able to work better with it. I have a very small living room (smaller, I think, than most people's closets...) so the workstation tends to look larger than it is in the photos above (I'll measure it for an accurate "footprint"). When the dowels are removed, the two trestles can nest together to conserve space.

What I've learned about it so far: it is sturdy. It's like sitting down to a piece of furniture. This is the real thing! It goes together very easily. In concept and design, it makes good sense. There's a myriad of possibilities for extension and accesorization, but more on that later.

Brian, you are a wood-working wonder! Thank you!

Now, dear readers, do you have any thoughts on this? Do you see any glitches right off the bat? Does it raise any questions in your mind? Do you have any ideas that you think would make sense concerning the workstation?

I would really appreciate your input on this! You are, after all, embroiderers. You know what you would like, or what you think would make sense, in this type of equipment. How can this become the ultimate embroiderer's workstation?

I'll be sharing more details on this as I work with it, and let you know more detailed discoveries.

Thanks for taking the time to read and to respond, if you want!

Labels: historical needlework, needlework products, needlework tools, pictures, slate frames, trestles

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Saturday, July 12, 2008

Evertite Stretcher Bar Frames for Embroidery and Canvas Work

When I set up for filming some embroidery stitch videos this week, I had the opportunity to try out a set of Evertite Stretcher Bar frames. So here are some photos and a bit of a review...

First of all, it helps to know what stretcher bars are and how they are used. Essentially, they're just four sides of a wooden embroidery frame that have interlocking corner joints, kind of like straight dove-tail joints (if you'll excuse the oxymoron!). They're sold in pairs, so that you can mix and match the sides to suit the size of your project. For example, if you have a project that's 12 x 14 inches, you would buy one pair of 12" stretcher bars and one pair of 14" stretcher bars.

Stretcher bars, in general, are great! They give you the taut surface necessary for certain techniques - or for embroidery in general - without the fuss of setting up anything more complicated. It takes about 20 minutes to set up a project on a stretcher bar frame.

Stretcher bars come from a variety of manufacturers, apparently, reflecting different quality of workmanship. The stretcher bars you find, for example, at chain craft stores like Michael's - while they work ok in a pinch - are not my favorites at all. For one thing, the edges of the frame are sharply square, as opposed to rounded. The wood itself is not finished in any way, and can often be splintery. The corner joints are not always reliable - I've bought some at Michael's that had mis-cut joint notches, so that the corners slipped out and wouldn't stay together. And, lastly, the wood is rather hard, with streaks of "really hard" that run through it, making it difficult to sink the tacks. The quality of the workmanship is reflected in the price of these frames - the longest length pairs are no more than $3 / pair.

Then there are the nicer stretcher bar frames that you'll find at your local needlework shop. They're slightly more expensive (but still not that expensive), they're made of a softer wood (which takes the tacks better), and they have rounded corners. They're sanded smooth. These are nice frames. I've seen them run anywhere from $3 / pair for the smaller sizes up to $6 / pair for the longer length sides. And sometimes, you can find them on sale.

And then... then there are Evertite Stretcher Bars - technically called Slimline Tension Adjusting Stretcher Bars.

My first impression is that they are "meaty" frames - slightly thicker than even the nice stretcher bars. They are smoooooothly sanded, with rounded edges.

Evertite Stretcher Bar Frames for Hand Embroidery

Evertite Stretcher Bar Frames for Hand Embroidery

The Evertite frames have a few unique features:

First, they're marked with center points on each bar (this is where you begin tacking your fabric).

Evertite Stretcher Bar Frames for Hand Embroidery

The bars fit together snuggly. They take a bit of pushing and working, in fact, to get them together - which can be better done with a small mallet. But I managed without one, so it's not too difficult.

Evertite Stretcher Bar Frames for Hand Embroidery

On each end of each side of the frame, you'll see the little apparatus that makes Evertite frames so unique. There's this little bolt thing set into the frame, and this bolt can be loosened or tightened, according to the needs of the stitcher. When it's tightened, the head of the little bolt pushes against the inside of the other bar, forcing the frame apart and making the fabric mounted on it tighten up. When it's loosened, a space develops between the head of the bolt and the adjoining bar, so that the frame pieces can be pushed together slightly, loosening up the fabric.

Evertite Stretcher Bar Frames for Hand Embroidery

This handy-dandy little tool makes loosening and tightening the bolts a cinch. I'm not sure what this kind of tool is called - I call it the Yellow-handled Tool Thing, which seems to suffice. You can buy the Yellow-handled Tool Thing separately when you purchase your Evertite frames.

Now, how do you set up one of these things, and what are the advantages of using them?

First, the set-up. Gather your tools and supplies.

Evertite Stretcher Bar Frames for Hand Embroidery

For me, this consists of my piece of fabric and my tack stuff, which I store in a glass jar. I have one of those E-Z Tack-it kits, with the magnetic pusher and the little matching tack remover - and these, along with all my tacks, reside in an old Hershey's chocolate sauce jar.

Evertite Stretcher Bar Frames for Hand Embroidery

A note about tacks: when your E-Z Tack-it tacks start to break up (and they will - the heads come off fairly easily), I recommend picking up regular brass tacks from your local hardware store. I think they work better, and why wait around to special order something as common as brass tacks?? In the photo above, the E-Z Tack-it tacks are on the left, the everyday brass tacks from the hardware store are on the right. They're not that different - the EZ tacks have a perfectly flat head, while the hardware store tacks are slightly rounded. That's it.

Evertite Stretcher Bar Frames for Hand Embroidery

Mark the center point of your fabric, and line it up with the center mark on the frame.

With needlepoint canvases, you would probably tack your project onto the top of the frame bars. I tack my fabric on the sides, for three reasons: One, it gives me more finishing room around my project - a good inch more on all sides. Two, I don't like having my fabric edges on top of the frame, where my thread can catch on them. Three, I use the Needlework System 4 floor stand with the stretcher bar clamp, and having the tacks on top reduces the efficient functionality of the stand. It just doesn't grip as well when the tack heads are running interference.

Ok, so, you've lined up your fabric. Tack the center point of one side of the fabric onto the frame.

Evertite Stretcher Bar Frames for Hand Embroidery

Moving out from the middle, tack across to one side, then go back to the middle, and tack across to the other.

Here's a very nice point about the Evertite frames - you don't need the magnetic tack pusher, unless you have problems with your hands or fingers (arthritis, etc.). I used my thumb and pushed the tacks into the frame with relative ease, and that saved time.

Evertite Stretcher Bar Frames for Hand Embroidery

When tacking, keep in mind that you need to leave the corner joints accessible. Normally, I'd fold down these edges and secure them, to keep them out of my way, but I have to be able to get to the bolts, so I'll leave the corners like this.

After tacking the first side, tack the side opposite it. Then tack the other two sides in the same manner as the first. It's when you're tacking the second and fourth sides that you apply a bit of tension to the fabric or canvas - but you don't have to pull it hard - just tight enough, without any warping to the fabric.

Evertite Stretcher Bar Frames for Hand Embroidery

So the four sides are done, and the fabric is open for the Yellow-handled tool thing.

And this is where the fun part comes - tighten the bolts. Your fabric will get downright hard with the tension. Then, if you want to loosen the fabric up, you loosen the bolts and push the frames in.

It's easier to tighten your fabric than to loosen it, I thought.

Overall, what do I like about the Evertite frames?

1. They do what they say they do - provide a stretcher-bar frame that can be tightened and loosened without having to remove your work from it or reposition the tacks.

2. The quality of workmanship - every detail is thought of, from the smooth edges to the center markings on the sides, to the length of each bar being "branded" on the end, so you know at a glance what size bar you're grabbing.

3. They provide a (relatively) affordable, effective, and easy option for framing up a piece of embroidery, canvaswork, or goldwork. Especially if you're going to do goldwork, you want the kind of surface these frames supply - taut and level. (Slate frames provide the same kind of surface, but are a heck of a lot more labor-intensive!)

4. They are re-usable, and you can mix and match the sizes of pairs, relatively affordably.

5. Relative affordability - they aren't as expensive as a slate frame or as most roller bar frames, etc. They are more expensive, though, than other stretcher bar frames.

What are the cons to the Evertite frames?

1. Availability - they don't carry them at any local needlework shops around here... BUT they are available online... Here are some sources:

Needle in a Haystack - (scroll down the page) Recommended - absolutely reliable shop, thought slightly more expensive than many others. I think this comes from having a brick and mortar store on the west coast...! Higher overhead...

Stitcher's Paradise - where they run approximately $1 less all around, compared to Needle in a Haystack - and if you have any questions about anything you want to order, they do have contact information at the bottom of their home page. [I apologize for this oversight - I had mentioned previously that they don't.] I heard from Peter and Janet, the purveyors, and they were very kind and interested in making it clear that they do value their customers and strive to provide them with excellent service. You'll also find heaps of other goodies on their website, so if you haven't seen it before, do take a look at it.

In Canada, Traditional Stitches carries them - I've never ordered from them, but at least they have contact information and the site looks friendly and the shopping set-up is convenient.

Tristan Brooks (in the States) also carries them. Althought their shopping set-up is not so convenient, I've always received very good response from them when I've contacted them. So they've got it at the customer service end...

Homestead Needlearts - I've never ordered from them, but there they are, nonetheless. Their prices are about $1 less than Tristan Brooks and Needle in a Haystack, and they're located in Michigan, which is a bit more central, so shipping could be faster, if they're efficient in filling their online orders.

2. They are more expensive than regular stretcher bars (even the nicer stretcher bars). Example: regular stretcher bars that are 15" long cost around $3 - $3.50/ pair. The 15" Evertites cost around $16 - $17 / pair. NOW - that being said - you're paying for two things: one, the ability to tighten and loosen your fabric without removing it from the frame; two, hand craftsmanship. Is that price difference worth it? I think it depends on your individual circumstances. By the time you buy the whole frame, you're looking at about a $30 price difference.

My personal opinion on the price difference? I like the Evertite frames, and I think the tension feature is worth it, for the right kind of project. I wouldn't buy them for play stitching, but for the right kind of project, yes, it would be nice to have a few sets on hand! And finally, I'm a fan of hand craftsmanship. I like supporting local folks who work with their hands to produce a quality product. So when I have the opportunity to do so, I do so.

Evertites are produced by Evan Burroughs, the same fellow who made the slate frame I reviewed. If you're interested in contacting him, or if you want to read more information on the Evertite frames, visit the Evertite webpage.

I've got some larger sets of the Evertite frames written into my hobby budget... and once I achieve them, I know exactly what projects I'm going to set up on them!

If you've used the Evertite frames, what's your experience with them? Do you like them? Are they worth the price difference? Would you recommend them to other stitchers?

Labels: embroidery tips and tricks, needlework products, needlework tools, pictures, slate frames

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Thursday, July 10, 2008

Transferring your Embroidery Pattern onto a Dressed Slate Frame

After I dressed my slate frame last weekend, I transferred the design onto the fabric in a kind of ---- well, for lack of a better word, roundabout way.

with the piece of linen that's stretched on my frame, I'm making a kind of bag - it's more of a pouch, I suppose - kind of like a large, lined fabric envelope (only the back of the "envelope" is the front of the pouch). On the front cover, I'm embroidering a design, and on the inside of the front of the pouch (after you lift up the flap), I'm embroidering a sentence.

The first thing I did was draw out the whole pattern for the pouch itself onto graph paper, so I could test its size and how well it would fold up. Then I drew the design for the front flap and the letters for the sentence on the inside.

Have you ever used Swedish tracing paper? It's a sewable, sturdy fabric / paper that feels a bit like interfacing, but softer. It's drapable and sewable, so you can make master patterns out of it, or trial pieces (which you can then sew up and adjust). I drew out my pouch pattern on the Swedish tracing paper first.

Transferring your Embroidery Pattern onto Fabric

Transferring your Embroidery Pattern onto Fabric

That's what a roll of it looks like.

There are a couple reasons I wanted to use this stuff in particular on this project, the foremost being that it is nice to baste on and use as a fabric protector while you're stitching, cutting away the areas that require stitching as you get to them. I've used regular tissue paper for this before, but I don't really like tissue paper.

Anyway, I basted the Swedish tracing paper on, basting around the actual seam line (I'll cut further out when I'm finished with the stitching), and basting a half an inch in, where I intend to stitch a decorative line.

Transferring your Embroidery Pattern onto Fabric

That's the pattern for the pouch, traced onto the tracing paper and laid on top of the linen on the slate frame.

Transferring your Embroidery Pattern onto Fabric

I basted the tracing paper on, and also basted down the middle of the front flap of the pouch, so I could center my design with ease. Then I cut out the tracing paper on three sides of the pouch and on each side of the middle basting line, so I could lift up two flaps on the front.

I can lift the flaps up and down and lay them on the fabric when I want it covered, so I can work on the linen without getting it dirty when I rest hands or arms on it.

Transferring your Embroidery Pattern onto Fabric

You can see both sides of the flaps lifted back.

Transferring your Embroidery Pattern onto Fabric

Then, propping the frame on a couple stacks of books in the back (level with my light table), I traced my design onto the middle of the front flap, using a hard pencil and a relatively light touch.

The design, you can see, is towards the front edge of the frame. The sentence that'll be embroidered on the inside front of the pouch is traced on the back edge of the frame. All of this works out well, because I don't have to stretch to reach the inside of the frame, as there's no embroidery there.

And then I set the frame up on my handy-dandy slate frame stand - an amazing apparatus that does the job quite well!

Transferring your Embroidery Pattern onto Fabric

Yep, it's chair on top of a table. The frame hangs perfectly on the edge of the chair. I can rest the front edge of the frame on a small stack of books to lift it up, or I can just rest it on my arm - either work just fine!

A couple points: you can transfer your design on your fabric before you mount it on the frame, but I like the taut fabric for drawing on. You can also transfer the design a bunch of different ways, without having to use a light table - you can use dressmaker's carbon, prick and pounce, etc. I did it this way because it seemed to be the easiest approach at the time!

And now I need to get the stitching done. It was supposed to be finished by July 20th. Think I can manage? It's mostly simple whitework, though a lot of it is satin stitch, which seems to take longer!

I better get to it!

Labels: ecclesiastical embroidery, embroidery tips and tricks, pictures, slate frames, whitework

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Saturday, July 05, 2008

Dressing a Slate Frame for Embroidery: Photo Tutorial

Ok - I'm excited about this! - here's my write-up on preparing a slate frame for an embroidery project. I hope my photos aren't entiredly insignificant and silly!
I mentioned yesterday that I found a source for hand-made embroidery slate frames here in the US... if you're looking for a slate frame, do check out that post!

Slate frames have been around forever - well, certainly since the Middle Ages, and anyway. They're made up of four parts - two rollers (top and bottom) and two stretchers (sides, with peg holes).

The advantage of a slate frame is that, with them, you can achieve and maintain perfect tension for stitching. In fact, of all the methods I've used of mounting any fabric for embroidery, nothing compares to the excellent and even tension you can achieve with a slate frame.

Now, that being said, and as I mentioned yesterday, setting a project up on a slate frame (or "dressing the frame") takes a wee little bit 'o work. And the larger the frame, the more work. Normally, you should be able to accomplish dressing a frame in a couple hours, if your fabric's prepared and you don't run into any hitches along the way. I'm going to go step by step through the whole process, including preparing the fabric.

I started by preparing the fabric. I'm using Alba Maxima linen from Legacy, a nice medium-weight, sturdy, smooth linen. The first thing I did was shrink the linen. (I've already posted on preparing linen for embroidery - scroll down to the shrinkage section!).

Then, I sat down and did some figuring. I hate figuring...

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Dressing a Slate Frame in Preparation for a Big Embroidery Project

The project I'm preparing is about 22 inches long, and about 13 inches wide. But I'm taking advantage of the width of the frame and killing the two proverbial birds with one frame-dressing job: I have another project that I can work on the same piece of linen. The second project is about 7.5 inches wide and 14 inches long. So I will situate them both on the same piece of linen. And that means I have to stitch both of them before I can cut either of them off the frame.

I determined exactly what size linen I would need to accommodate both pieces, and decided that using the frame to its full capacity, without having to roll the top rollers, would be fine. I decided to set up a piece that's 23 inches wide and about 26 inches long. That gives me plenty of room for seam allowances on both finished pieces, as well as some "doodle room" on the fabric itself.

Next, it was time to cut the fabric out. I laid out the linen and the requisite tools.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Don't get any ideas about that rotary cutter! It's not that easy!

I measured the linen and marked my cutting spot with a pencil. I measured an extra inch on each side and an extra half inch top and bottom, for the turn-overs on the fabric edges.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

So - 25 inches wide (with an inch on each side to turn in) and 27 inches long (with a half inch, top and bottom, to turn in). I actually cut 28 inches long, to compensate for a sloppy cut (more on that below).

At this point, it would be nice to lay out a ruler and slice the piece with a rotary cutter - so quick, so easy. But this is the thing: You need your fabric cut exactly on the thread. If you do everything right from the very beginning of this process, you will have no regrets later (after all the hard work). So cut your fabric on the thread.

There are several ways to go about cutting your fabric on the thread. When working with linen, many needleworkers say to draw a thread out, creating a cutting line, and then cut your fabric.

On the Alba Maxima linen, drawing a thread out of the middle (especially after shrinkage) is a Royal Pain in the ... Fingers. So I do it this way:

Dressing a Slate Frame in Preparation for a Big Embroidery Project

I make a small cut at the pencil mark, then pull up on the thread to the left of my scissor blades. I keep this thread pulled up from the fabric as I cut, and it provides a nice cutting guide. Relatively quick, and sure beats drawing one thread out of the whole piece to mark a cutting line.

At this point, you may well be thinking "This is already too much effort..." but hold on! It really gets much worse!

Still, persevere! It is honestly worth it in the end.

Once your fabric is cut, make sure that all sides are on the thread. For this piece of fabric, to get the size I wanted, I had to cut two sides on the thread, one side was selvage, and the fourth side was jagged from a previous sloppy cut. This fourth side needed to be straightened out. The easiest way to do this is to pull off all the stray side threads, until you can pull one long thread from the entire width of the fabric. Let me explain with a photo:

Dressing a Slate Frame in Preparation for a Big Embroidery Project

See the wispy threads sticking off the side in the background? Those can be pulled out, until you've got a straight edge visible on your fabric.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

You'll end up with a bit of fringe, but that gets trimmed off.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

So there's the straight cut on the thread as a remedy to a sloppy cut.

Now, iron the fabric. Purists may not do it this way, but I'll admit that I use starch and steam on my linen. I wouldn't necessarily use the starch, except that I'm planning to put my design directly on the linen with pencil, and I find the pencil washes out better when I use starch. I really like the Niagara starch in the pump bottle (rather than the aerosol kinds, which tend to flake). I'll wash the whole piece before I do the finish work on it (sewing up the project), so the starch will be rinsed out, anyway.

Now, it's time to fold the edges of the fabric to prepare it for lacing. The top and bottom edges of the fabric will be folded in half an inch. These will be sewn to the canvas strips on the rollers of the frame.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

I fold up the top edge half an inch and finger press it along the thread of the fabric (as best as possible), then run the iron over it, then pin it, starting from the center point out.

For the sides of the fabric (they'll attach to the stretcher slats with the peg holes), I turn it up an inch, finger press, then turn in half an inch (into the fold, to make a kind of casing), iron it, and pin it from the central point outwards.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Above, you can see the top edge of the fabric (the pinned edge in the photo) and the one of the sides, folded in to form the half inch casing.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Cut a piece of string a little longer than the length of your sides - not much longer, about an inch - and tuck the string into the casing formed by the double turn on the fabric. The string will help support the fabric when it comes to pulling it with the lacing.

For the lacing string, by the way, I use regular 2-lb weight string found at the hardware store.

Now that your fabric's ready, it's time to attach it to the frame. Gather your supplies and pull a chair up to a table that will easily accommodate the size of your frame. Just like in cooking, the whole process is a lot easier if you have all your "ingredients" on hand first!

Dressing a Slate Frame in Preparation for a Big Embroidery Project

At this point, your frame is in four pieces: the two top and bottom "roller" bars and the two side "stretcher" bars (with the peg holes in them).

You'll need the following:

Scissors
Thread - I use topstitching thread, doubled.
String - regular 2-lb weight string from the hardware store
A stiletto or awl - you have to put some serious holes in the side of your linen; this tool is essential!
Various needles, including a very large tapestry needle and a smaller sewing needle or crewel needle
A ruler
Cotter pins or pegs that came with your frame

The fabric is attached to the top and bottom bars (roller bars) first. These slate frames from Evan Burroughs come with a strip of canvas attached, and with the center point marked on the bar.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Line up the center of the top of your fabric with the center point on the canvas strip attached to the top bar. (Top and bottom bars are the same thing...)

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Pin the center point of the fabric to the center point of the canvas strip.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Working from the center out to one edge, pin the fabric to the canvas, every couple inches. Then repeat this, going from the center out to the other edge.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Oversew the center point to the canvas. Again, I'm using a topstitching weight thread, doubled.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

And oversew both of the ends.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Then, stitching from the center point to the outside, and removing the pins along the way, use a herringbone stitch to sew the linen to the canvas strip. If you've pinned everything carefully, you shouldn't have any buckles at all.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

When you're finished sewing it on, and you flip it over, it looks like this.

Now, repeat the whole process on the opposite roller bar, so that both top and bottom edges of your fabric are attached to the rollers.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Lay out the frame so far on the table, with the top of your fabric facing down. You're ready to lace up the sides.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Mark the undersides of the side casing in one inch intervals, and get your stiletto out. Pierce the fabric with the stiletto, making good-sized holes.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Really good-sized holes!! If you have an awl, you might be better off using it. A stiletto is great for the initial piercing, but I really had to work it to get adequate sized holes.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Slide the stretcher sides into the holes on the roller bars...

Dressing a Slate Frame in Preparation for a Big Embroidery Project

...get your cotter pins and the plastic guards that came with them out...

Dressing a Slate Frame in Preparation for a Big Embroidery Project

... and stick the cotter pins in to hold the frame together. At this point, you aren't stretching the fabric from top to bottom (or obviously from side to side). You're just sticking the pins in to hold the rollers in place while you do the lacing.

Stretching comes later...

If you've persevered to this point, this is the beginning of the "fun" part, the part that characterizes the slate frame.

You're going to pull out a good length of string from your ball of string. I would say you want at least five or six times the length of the side stretcher bar. Remember - it's always better at this point to have TOO MUCH string than too little. You don't want to get to the end of the lacing and find out that you're out of string. Aaaaaaaaaagh.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Start with a slip knot at the top of the stretcher bar. It's important to use a slip knot!! You want to be able to adjust the tension on this string, so you'll need to be able to loosen or tighten that knot easily.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Thread your Very Large Tapestry Needle with the end of the Very Long String, and start lacing. Take the needle down into the linen, underneath the side slat of the frame and up around the slat, then back down into the linen - do this moving down the line of holes.

You may find that you need to revisit the holes in the linen with your stiletto here and there.

At this point, your aren't concerned so much about tension. Just get the sides laced. As you lace, try to keep the edge of your fabric parallel with the stretcher bar. This is a bit hard on the first bar, since you don't have anything you're pulling against, and it's easy to pull the fabric towards the bar. But resist the temptation, and keep the fabric parallel to the bar as much as possible.

When you reach the end of your lacing - arriving at the opposite roller bar - tie your string off with another slip not.

Now, in exactly the same manner, lace the other side!

Dressing a Slate Frame in Preparation for a Big Embroidery Project

Now, you're all laced up. But you're not finished. Notice that the linen looks a bit wavy and rippled? That's because nothing's been tightened up yet.

At this point, if your project is being stitched on silk or damask or some other very fine fabric and being backed with linen or muslin, then you've only just added the backing to the frame. You need to now add the fine fabric. To do this, you tighten the frame "a little bit" - enough to remove noticeable ripples - but not all the way with the final stretch. Take your fine fabric (which you have already cut on the thread and that's already ironed and ready to mount), and situate it on the lining that's stretched on the frame. The ground fabric (the fine fabric) and the lining (the muslin or linen) must match up with their grains. Match up the grain, pin the ground fabric onto the lining all around, and then sew it onto the lining, from center points out on each side, smoothing it as you go and making sure there are no wrinkles or buckles in it. Use herringbone stitch to sew it, crossing over the lining onto the ground fabric, and so forth. Once all four sides are sewn down, you're ready for the last step, which is the final stretch...

So, on my frame here, I'm not using a different ground fabric lined with linen. I'm embroidering the linen. So I don't need to add ground fabric. I'm ready for the final stretch.

Because this is a large frame, I'm going to use a combination of hands and feet here - which was really impossible to photograph!

Stand the frame on the floor. You'll have the ends of the stretchers (which pass through the rollers) touching the floor. You've got your cotter pins in the side slats already. Rest your foot on the protruding edge of one side of the bottom rollers, and then, using the heel of your hand, push down on the top end of the side slat, and with your fingers of the same hand, pull up on the roller.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

The top of that side slat is really pushing into the heel of my hand, because I'm using the top of the slat for leverage to pull the roller up.

If necessary, use both hands - but remember, you need one to move the cotter pin!

Pull the roller up as high as you can, holding onto the bottom of the frame with your foot. When you've stretched it as much as you can, replace the cotter pin below the roller, and put the plastic sleeve on the back of the cotter pin.

Now do the other side, lining it up in the corresponding hole exactly opposite on the other side slat.

Turn the frame over, so that what was the top roller is now the bottom roller, and double check your pins and holes on the sides slats. Make sure all is lined up well.

Now, adjust your lacing one last time, pulling each side tight by working down the lacing and then adjusting the slip knots. Do both sides.

Dressing a Slate Frame in Preparation for a Big Embroidery Project

And there it is!!

If you've persevered to the end and done it right, you're ready to embroider on the best surface ever! A lot of work, but worth the effort!

The whole process took me about four hours, but I had to prepare fabric, and the frame is a large one, which increases the time for hand stitching and the lacing.

That reminds me - I forgot to mention the obvious. You can use your sewing machine to sew the linen to the top and bottom rollers. I prefer to do it by hand, but some people use their machines. It would save some time!

So, would you go to the trouble to set up a slate frame? Or do you think it's just too much? It'd be interesting to hear readers' opinions on this one!

Enjoy the weekend!

Labels: embroidery tips and tricks, historical needlework, needlework pictures, needlework tutorials, pictures, slate frames

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