How to Mount Your Embroidered Art | Katie Tume | Skillshare

How to Mount Your Embroidered Art

Katie Tume, Textile Artist and Teacher

How to Mount Your Embroidered Art

Katie Tume, Textile Artist and Teacher

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7 Lessons (28m)
    • 1. Welcome!

      1:12
    • 2. What You'll Need

      1:38
    • 3. Preparing Your Mount

      3:43
    • 4. First Stretch

      2:08
    • 5. Pinning & Stretching

      4:02
    • 6. Mitre The Corners

      8:46
    • 7. Lacing The Back

      6:50
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About This Class

Join Textile artist Katie Tume in her studio where she will teach you how you can stretch and mount your embroidery art for framing. Not in a hoop!

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If you love to create any kind of textile art, and want to display them beautifully and professionally in your home, or present them as gifts - then this class is for you!

Very often you see contemporary embroidery work mounted in the hoop. This is a personal aesthetic choice and can look lovely! But I love to see textile art in a traditional frame too, and mounting in this way can offer more versatility in the long run. 

This is the same method I use for mounting small projects at home with simple, easily available and inexpensive materials. By the end of this class you will be able to mount your work in a smart, clean square or rectangle which can then be placed in a frame or simply displayed as is.

For your class project, you’ll be applying what you’ve learnt and stretching and mounting your own piece of embroidery or textile art using the techniques demonstrated in the class!

Meet Your Teacher

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Katie Tume

Textile Artist and Teacher

Teacher

Hello, I'm Katie, an artist and teacher from the south of England, UK. 

I've been practising embroidery almost my whole life before turning professional artist 12 years ago, but I can't remember a time when I wasn't using a needle and thread to express my creativity. I'm a self taught artist, and all my work is created entirely by hand - embroidery, applique, fabric collage - and I love to use beads, sequins and embellishments too.

My work has been exhibited internationally and around the UK. I also teach textile arts both in group classes and one to one, and I have a series of embroidery kits called 'Mother Eagle Textile Art Boxes'.

I'm passionate about hand-techniques, and sharing these skills with you! You can ... See full profile

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Transcripts

1. Welcome!: Hello. I'm Katie, and I'm a textile artist. Embroidery textile art is often mounted in the Hope, which is called a personal choice is less common, however, to find tutorials on mounting and stretching your work in other ways. Way in this class, I'm going to teach you a simple and easy method to stretch and mount your textile art in a square rectangle so it could be framed the way things the same way. I finished all my small pieces. You don't need any fancy, expensive equipment, and it gives you a great professional result. 2. What You'll Need: that's it. The first thing you need is some phone call. This will be the base of your embroidery. If you're buying phone call for this project, you want to get five millimeter thick foam core on, try and get archival or acid free if possible. This just means it contains no assets that may discolor your fabric over time. Cotton batting or quilt stuffing. I buy this on a roll. You just want to make sure it's a sheet like this on again. It's made from natural materials, double sided archival tape. Any double sided tape will do, but again, if you're buying some, especially for mounting, try and get some archival acid free. Just to be sure. Your threat is what's going to bear all the tension when it comes to stretch your work around the foam core so it needs to be strong. It can't be cheap household or embroidery thread. The best kind to uses upholstery threat like this, which is made for very heavy duty sewing, and you can really pull on it. You'll also need a needle, of course, at any sharp needle with an eye large enough for threat will do. You're also going to need pins, seizes fabric shares on bond. Household scissors on embroidery says, is if you have them. And it's also gonna be useful if you have a craft knife cutting board ruler on the set square for cutting out your 3. Preparing Your Mount: that's it. He can see a piece of embroidery I'm going to mount. This method of mounting is very good at smoothing out your fabric, but it's no intended to remove all creases. So before you start, it's important to make sure your work is pressed. Mine isn't perfect, but you'll still see the method, and it will show you the difference. This kind of stretching condemned. The other thing you want to make sure is that fabricates square. So take your fabric, scissors and trim any sides. If it isn't but don't remove any excess that break at this stage, just make it and neat square. Now you need to decide how large you want your mounted piece to pay. This may already be determined by the design, but it's ultimately a personal choice. You can use your ruler or set square to help you visualize size you want like this. Once you've decided on that, you need to cut the foam core to that size using craft knife or a scalpel. So here's one I prepared earlier. As you can see, when I just loosely wrapped the fabric around is going to give me a nice size finish So when you've done that, you're going to use the phone core as a template to cut your cotton batting square out. Just use fabric, scissors, ordinary household scissors for this is fine. Now, why do we use the batting? Well, the answer is in the reverse of your embroidery. Often it's not completely flat. There are lumps and bumps, or not even somewhere. It could just be quite bulky on the back, especially if, like me, you like using a lot of embellishments or you're just not very neat. What the batting does is give away that unevenness, something to sink into and disappear. If you just use the mount board alone when you come, just got to stretch the fabric over the board. It just won't sit flat and smooth and you'll be able to seal the bumps. So now you have your tea pieces, your phone call in your batting. You're going to take your double sided tape and apply it to the phone call like so and simply lay your batting on top, stick pretty sides together, and now you're ready to start stretching your work 4. First Stretch: that's it. Thing stage. You may want to get a clean cloth because you're gonna lay your embroidery face down on your work surface and start to send to your mount. This takes a bit of trial and error, but lay your mount on the reverse of the embroidery, where you think it's gonna go roughly and carefully pick the whole thing up on turning over . Pull the excess fabric, talk to the back so that you could give you a good idea that that's where it's going to sit on my embroidery. I'm using the line of French not at the bottom to orientate the work, so I'm just making sure that the bottom edge of the mount is parallel with that line. So when you're happy with that position, you're gonna take a pin and secure one side just by pushing the pin halfway in to the center of outside Repeat. On the opposite side, you're pulling it fairly talk, but you're not yanking it all the way. You're just trying to give their fabric some tension. So again, at all stages in this class, you're just making sure that the embroidery hasn't shifted and it's still in the right place. This can move around. So take your third pain. Now on, start securing the other two ridges and then finally pull your last edge and secure that side. And you should have something like this. So again, just check that you're happy that the design is still where you want it. Now we can move on to Philly pinning and stretching. 5. Pinning & Stretching: that's it. So checking once again that you're happy with the position of the embroidery you're now gonna have more pins to each side, so the fabric is completely pinned along the way around. You're gonna pull tight each time you're looking to have the fabric smooth and even so, you're gonna work from the center out on the first side, just simply keep pulling each time holding and in searching a pin, then go to the opposite side. Firmly pull the fabric taught as you apply the pins again. Working from the center out is possibly You may want to do this a couple of times if you haven't pulled tight enough. But remember, it's the final stage of lacing the back that's actually going to hold the tension. So don't worry too much about getting extremely stretched. Keep working round awful sides. You're just trying to create an opposing stretch two ways. When you worked your way all the way around, have another look. Make sure you're totally happy with placement. This is your last chance to adjust anything. It should look nice and smooth square and that this stage you can trim any excess fabric from the back, so flip it over, fold the edges in. You still want to make sure you have a couple of inches to work with, but more than that starts adding unnecessary bulk so you can take your fabric, scissors and just trim any excess around the square. Once you've done that, you're ready to move on to my tearing the corners. 6. Mitre The Corners: that's it. Now we're going to start stitching starting with the corners. So take your piece and flip it to the back. Have your pins ready to my to the corners. You take one corner and fold of fabric over at right angles to the edge on each side, like so and secure with a pin, you're gonna work. It has always opposite corner. So let's show you that again. You flip with the fabric over. So the point of the fabric actually should point directly the opposite corner. Fold your fabric over, and those two edges should meet in the middle, secure with a pin. Now the fabric that I've used on this piece is quite bulky, so it's harder to get a very sharp corner with the heavier fabric. But your favorite might be thinner, so you'll see with this one. Even so, even though is thick. How neat finish you can still get. Okay, so now you're gonna take a length of thread quite a long one longer than you normally use, and you're gonna whip stitch the corners together. Now I'm using black threat, so it's easy for you to see on the video, but obviously for yours. You want to try and use of a threat. That's the same color is your fabric. So whether pin is holding the fabric together, make your first stitch. There have just made a knot in the end and straight away you're going to see how frustrating this starts to be with pins in the in the around sides. Your thread wants to catch on them every time. There's no real way around this. The longer threat that you have there easier is to get tangled. But you'll see the reason having a long thread shortly to just try and be patient and work slowly. Pull your stitches nice and tight everywhere every time, and you can take your stitches right up into the corner. To make that point is sharp as possible. Once you've stitched up to the corner as far as you can go, just take your thread back to the center where you started and then continued stitching down the edge of the fold. You can take the pin out as well. At this stage. Don't be tempted to take any of the other pins out from around the edges there, of course, because they are holding your fabric tight at this stage, even though they are incredibly annoying. So once you've done one corner, as always, you're gonna flip to the opposite corner along the diagonal. And here's why. You see why you're working with such an annoying The long length of thread that gets tangled is that this just gives you an extra bit of tension when you keep that threat going by starting it again on the opposite corner. So you gonna pull really, really tired. And so you've got this diagonal thread still really annoying, pulling off its and then continue whip stitching that corner again, keeping it really tight. You see how much easier this gets wants. Your threat becomes more manageable length. When you finish your 1st 2 corners, just make a little holding stitch on, then repeat for the final two, and after that, you can remove. All depends from around the edge 7. Lacing The Back: that's it. So at this stage, ikan see already just from my touring the corners. What a smooth and tight piece of embroidery you've already got. You see the corner, the Nicene sharp, even though the fabric is quite bulky. Um, and you've already got quite good amount attention, but you're going to get even better by lacing the back. So take another long length of threat much longer than you think. Because you'll be making long lasing stitches across the back of the work. You're gonna not one end and beginning on the left side, stitch up and down along the edge. I want to make sure that you start your thread at least half an inch from the edge of the fat break and again, like before with the corners, because you're working with such a long piece of thread. Just be very slow and methodical so that you don't get to tangled. Although this is gonna be somewhat unavoidable. - Imagine that you're lacing, of course it. Or lacing up a new pair of shoes and you'll get the idea here. Every stitch you'll make you make. You're just pulling it slightly tighter each time. Now. Ideally, you will have enough thread Teoh lace in both directions, but obviously will depend on the size of your embroidery. So once you get to the end off this one side, finish your threat. If you don't think you're gonna have enough, Teoh do both directions. But before you do as I'm doing here exactly like you be lacing up, of course, it just pull on each of the threats that you've made, just increasing the tension each time and then take up the slack with your remaining thread and then holding onto the tension. You will either finish your thread off here or continues placing in the opposite direction again. Continue working slowly and carefully at this stage because, as you can see, you've now got a whole grid of stitches that you can easily get tangled into. So finally, when you get to the end of your grid, you can just make sure your stitches and ice and talked. You've got no creases on the other side. You can finish your thread off with a couple of whips stitches, taking up any remaining tension that you might be able to get and then just finish off with a couple of holding stitches. - And there you go. You're completed. Stretched and mounted piece of text. And here's a few I made earlier. - Thanks for taking this class with May. I hope you found it useful. Please share any mounted projects you've completed in the project section of this class below. And check out my online shop for my embroidery kits to create your own textile art. Thanks for watching.