Mastering Embroidery Framing: Professional Techniques for Stunning Displays

1. Introduction to Professional Embroidery Framing

A finished embroidery deserves more than a drawer. Framing transforms stitches into display-worthy art while protecting them from dust, distortion, and handling. In this guide, you’ll learn a clean, repeatable workflow: how to prep and stabilize fabric, mount with even tension, and secure a professional back finish. We’ll compare common frame types and archival boards, explain lacing and corner treatments, and flag the right tools for precision. You’ll also get practical tips to prevent puckers and wrinkles and make choices that support long-term preservation.

Table of Contents

• 1. Introduction to Professional Embroidery Framing
• 2. Step-by-Step Framing Methodology
• 3. Essential Framing Materials and Tool Selection
• 4. Avoiding Common Framing Pitfalls
• 5. Framing Options Compared: Glass, Shadowbox & Traditional
• 6. Preparation Techniques: Washing, Ironing and Blocking
• 7. Advanced Techniques for Complex Embroidery
• 8. Long-Term Display and Preservation
• 9. Conclusion: Framing as Artistic Enhancement
• 10. FAQ: Embroidery Framing Essentials

2. Step-by-Step Framing Methodology

2.1 Fabric Preparation and Stabilization

Start with a quick assessment. Check the fabric’s grain, stitch density, and any dimensional areas (padded stitches, stumpwork) that influence pressing and mounting decisions. If the piece shows marks, dust, or handling oils, gently wash in lukewarm water with mild soap; swish, don’t wring. Rinse thoroughly, then lay face-down on a clean towel and blot with another towel. Press from the back while the fabric is still slightly damp. Place the right side face-down on a clean white pillowcase with a soft flannel pad beneath to cushion stitches. Lift-and-press rather than sliding the iron, and avoid direct heat on raised elements. If needed, lightly block by hand—square the grain with gentle, even tugging as you press. Stabilize as needed. For thinner grounds, use a second fabric layer or an appropriate stabilizer to help prevent puckering during tensioning and mounting. Consistent tension during stitching also pays off now: many pros favor slate frames while stitching because they keep fabric uniformly taut, minimizing weave distortion that’s difficult to correct later. If you stitched in a hoop, take extra care with blocking and pressing to relax any hoop marks before mounting.

2.2 Mounting Systems and Tension Control

Build on a layered foundation:

• Layer 1: Mounting board. For archival projects, choose acid-free options. Boxboard offers rigidity and archival qualities; acid-free foam board is also common and user-friendly. Cut it precisely—many framers trim boards about 1/8 inch smaller than the frame’s inner size to accommodate wrapped fabric.
• Layer 2: Batting/wadding (optional but recommended for finer grounds). A thin padding layer softens the surface and can conceal thread tails that might otherwise shadow.
• Layer 3: The embroidery, centered and squared.

Establish even tension methodically. Place the embroidery over the board and secure temporarily with pins along the midpoints of each side. Then work in a cross-tensioning sequence: pull from one long side, then the opposite, followed by the short sides—always tightening gradually. Professionals often address vertical edges first, then horizontal, to avoid diagonal distortion. Flip and inspect the front frequently; micro-adjust before you commit to lacing. Manage corners to reduce bulk. Trim diagonally if needed, then fold using a clean “hospital corner” style so edges stack neatly. The goal is a snug, flat wrap that fits the frame without bunched corners.

2.3 Professional Securing and Finishing

Lace for permanent, adjustable tension. Use strong sewing thread (many stitchers like cotton crochet thread such as DMC #12) and a suitable needle. Fold raw edges inward, finger-press, and lace across the back in a systematic pattern. A cross-hatch (alternating vertical and horizontal passes) distributes tension evenly; spacing of about 2–3 centimeters works well depending on fabric weight. Tighten gradually as you progress, checking the front for smoothness. Refine corners invisibly. After shaping each corner, secure with small, discreet stitches; ladder stitching minimizes bulk and keeps edges flush. Keep the back clean: tidy thread ends using a tuck-and-sweep approach so nothing telegraphs to the front. Finish the back with archival materials. Add a dust/ moisture barrier using acid-free backing paper. Label the piece (artist, title, date, materials) for provenance. If you plan to use glazing, ensure the embroidery won’t touch it; dimensional work often requires depth or a shadowbox so raised stitches stay pristine.

3. Essential Framing Materials and Tool Selection

3.1 Frame Types and Mounting Boards

Choose a frame that serves beauty, support, and protection.

• Wooden frames: Classic, durable, and visually versatile for both traditional and modern pieces. Quality hardware and a smooth finish complement professional mounting.
• Flexi frames: Decorative and convenient with integrated hangers; they snap into place and suit lightweight, decorative displays.
• Bamboo frames: Eco-friendly and customizable (paint, ribbon). Great for casual pieces where lightness and personalization matter.

Mounting boards and inserts matter as much as the frame:

• Acid-free foam boards: Reliable standards for archival mounting. Options include 3/16" acid-free foam boards and pre-cut white or black foam cores. Acid-free is crucial; non-archival boards can discolor or degrade textiles over time.
• Boxboard: Favored for rigidity and archival properties when traditional mounting methods are preferred over self-stick boards.
• Self-adhesive boards: Convenient for beginners; choose acid-free varieties to maintain longevity.
• Felt inserts: Add a gentle buffer. Apply white or background-colored felt to board edges with double-sided archival tape to protect against abrasion and refine the finish.

Tip: Cut boards precisely and keep corners lean so the wrapped piece slides into the frame snugly without bulking.

3.2 Specialized Tools for Precision Framing

Professional tools streamline accuracy and protect your work:

• Needles and thread: Curved needles help with back-side securing in tight spaces; use durable, smooth thread for lacing that won’t snap under tension.
• Pins: Glass-headed pins are easy to handle and spot during removal; stainless lace pins can stay in place within mat assemblies when needed.
• Cutting and measuring: A sharp craft knife, metal straightedge, and self-healing mat ensure clean board cuts. Clear sewing rulers and water-soluble pens support precise alignment and removable marks.
• Alignment aids: Light tablets or light boxes help with centering and squaring designs so the visual weight reads correctly once framed.
• Archival adhesives: Acid-free double-sided stitchery tapes and fabric glues are helpful for edge securing and trim details while maintaining chemical stability.

Workflow reminder:

1. Prep and press face-down on a cushioned surface.
2. Center on an archival board (with optional batting).
3. Cross-tension with pins, then lace for permanent hold.
4. Finish corners neatly, back with archival paper, and label.

With the right materials and tools—and a disciplined sequence—your embroidery will look smooth, square, and gallery-ready, with protection that lasts.

4. Avoiding Common Framing Pitfalls

4.1 Preventing Puckering and Distortion

Start with disciplined prep. Wash gently to remove oils and sizing—either a cool-water rinse or a brief soak in lukewarm water with mild soap, then rinse until clear. Lay the piece face-down on a clean towel and blot with another towel. Press from the back while slightly damp, placing the right side on a clean white pillowcase with a flannel pad beneath. Use a lift-and-press motion (don’t slide the iron), and avoid direct heat on stitches. This "cushioned press" preserves texture while relaxing wrinkles.

Build stability before you mount. Starch plus a fusible backing (e.g., fusible interlining; many stitchers use SF101) provides a firm base that resists distortion during stitching and mounting. If you stitched without added support, a multi-layer approach—fusible + temporary adhesive to position the fabric on hooped stabilizer—keeps tension even and minimizes the stretch-pucker cycle noted with traditional "tighten-and-pull" hooping.

Manage tension methodically. Aim for drum-tight fabric—but not over-stretched. During mounting, center on an acid-free board (often cut about 1/8 inch smaller than the frame opening), secure with pins at the midpoints, then cross-tension in opposing sides, making micro-adjustments as you check the front. Optional thin batting can soften the surface and reduce shadowing from thread tails.

Use blocking to undo distortion. If puckers persist, damp-stretch on a cork board or blocking mat using a progressive pinning method: lightly mist the piece, pin from the center of each edge outward, keeping pins about an inch apart. Re-mist lightly as needed for even drying. Blocking reliably corrects hoop marks and post-stitching skew before mounting.

Practical fixes and safeguards: - If wrinkles appear post-wash, re-dampen and block rather than over-pressing the front. - Avoid ironing directly over stitches; use a pressing cloth if you must touch the front. - Remove fabric from stitching hoops at the end of each day to prevent permanent creases. - Paper tape and temporary fabric adhesive can help hold edges during pre-mount handling without permanent bonding. - Minor ripples often relax under the laced tension on the board—many stitchers see visible improvement after lacing.

4.2 Modern Hooping Solutions for Flawless Results

Even tension during stitching is the best insurance against framing headaches. Traditional hoops can loosen or distort weave—especially on larger work—making squaring and mounting harder. Many pros favor slate frames for uniform, long-hold tension; videos comparing hooping tools also show that more rigid, well-secured frames reduce bounce and movement on the machine, which helps keep fabric geometry true.

Magnetic embroidery hoops are a modern way to keep fabric evenly tensioned—particularly for garment embroidery—so your pieces arrive at framing smooth and square. MaggieFrame’s magnetic embroidery hoops use high-strength magnets (N50 grade) to adapt to varied thicknesses, maintain even grip, and help reduce hoop marks compared with screw-based pressure. Beyond smoother results for framing, they: - Save hooping time (from about 3 minutes to roughly 30 seconds per garment—about 90% time savings). - Reduce defects (around 15%) thanks to stable fabric placement. - Offer durability advantages: testing indicates service life 27–40× longer than Mighty Hoop, with approximately 15–20% more magnets and about 5% higher magnetic strength. - Fit a wide range of machines and come in 17+ sizes, with helpful reference lines for quick alignment.

Notes: - MaggieFrame is designed for garment embroidery hooping (not cap/hat hooping). - Faster, cleaner hooping upstream makes blocking and framing downstream faster and cleaner too—fewer crease lines, less rework, better corners.

If you’re constantly battling puckers at mount time, test a magnetic hoop on a scrap of the same fabric and stabilizer stack. The difference at framing can feel like switching from a wobbly card table to a solid workbench—everything gets easier.

5. Framing Options Compared: Glass, Shadowbox & Traditional

Glass or no glass is the pivotal choice. Glass protects against dust and handling and can filter UV; museum-quality glass can block up to 99% of harmful UV rays. The tradeoff: glazing can soften perceived texture and introduce glare. Glass-free framing offers zero glare and full tactile presence—ideal when texture is the story—though it provides less dust protection.

Glazing materials at a glance:

Acrylic (Plexiglas) is lightweight and shatter-resistant, but electrostatic charge can attract loose fibers—less ideal for delicate textiles unless managed with spacers.

Shadowbox and spacing are non-negotiable for dimensional work (stumpwork, heavy knots, ribbon embroidery). Always keep stitching off the glazing with spacers or mats to prevent compression. Many stitchers use shadowbox frames specifically to create the needed depth.

Traditional frames (with or without mats) can be elegant and archival:

• For preservation, pair UV-filtering glazing with acid-free boards and proper spacing.
• For texture-forward pieces, consider glass-free—but ensure a dust-conscious display location.
• Mats can add visual breathing room, but highly textured fabrics may look better without a paper mat.

Environment matters:

• In sunny, dusty, or high-traffic areas, use glazing (ideally UV-filtering) plus spacers.
• In controlled spaces (bedrooms, studies), glass-free is often fine and more tactile.
• Thrift sources can yield solid frames affordably—some stitchers find quality frames for under $2. Focus on structure (rabbet depth, hardware), not current contents.

Quick picks:

• Maximum preservation: museum glass + spacers, acid-free everything.
• Texture showcase: glass-free in a deep or shadowbox-style frame.
• Dimensional work: shadowbox with adequate depth; glazing optional depending on environment and preference.
• DIY ease: hand-mounted/laced finishes are widely used, and pin-to-board workflows make glass-free displays accessible.

6. Preparation Techniques: Washing, Ironing and Blocking

Wash before you square. Clean fabric responds predictably to blocking and holds geometry longer. Either run cool water over the piece or soak briefly in cool to lukewarm water with a little mild soap; swish gently, then rinse until clear. Don’t wring. Lay face-down on a clean towel and blot with another.

Press to restore the grain—without flattening stitches. Place the right side of the embroidery face-down on a clean white pillowcase with a flannel pad under it. Press from the back while slightly damp, lifting and setting the iron rather than sliding. If the front needs touch-ups, use a pressing cloth and avoid direct contact with raised stitches.

Block for perfect geometry. Lightly mist the piece and pin it on a cork board or blocking mat using a progressive, center-out method:

• Pin the midpoint of each edge first, then work outward toward corners.
• Keep pins about an inch apart.
• Re-mist lightly to maintain even moisture; avoid over-wetting to prevent long dry times and potential pin rust.
• A final light mist after full pinning helps set tension evenly. Many pieces block in minutes.

Correct post-hoop distortions. Hoop marks and weave skew from stitching typically respond well to damp stretching and blocking. Even work stitched on stretcher bars or slate frames can benefit from a light block to refine squareness.

Move to mounting with enough margin. Leave 2–3 inches of excess fabric beyond the display area so you can wrap and lace on an acid-free board (often cut about 1/8 inch smaller than the frame’s inner size). If adding glazing, maintain clearance with spacers or mats so stitches never touch the glass or acrylic.

Moisture control is the throughline: clean, damp, press (from the back), then block methodically. This sequence stabilizes stitch definition, corrects skew, and creates the flat, square surface that makes lacing smooth and framing look truly professional.

7. Advanced Techniques for Complex Embroidery

7.1 3D and Textured Work Framing Strategies

Dimensional embroidery asks for two kinds of mastery: how you build height during stitching, and how you protect that height when you mount and frame.

• Foam embroidery, step by step
• Stabilize first. Hoop the fabric with stabilizer; magnetic systems are particularly steady across layered stacks for dimensional work.
• Place foam with temporary adhesion.
• Stitch dense satin coverage (commonly with 40‑weight thread at increased density).
• Remove excess foam using tweezers and fine scissors.
• Finish edges with controlled heat (a heat gun softens rough edges) for a clean profile.
• Throughout, keep tension uniform to avoid ripples around raised areas.
• Stumpwork and wire-supported elements
• Wire forms create standalone leaves, petals, or wings that are later attached.
• During mounting, account for weight distribution: avoid pulling the ground fabric so tight that it drapes around wired elements. Cross‑tension gently, inspect the front frequently, and micro‑adjust before final securing.
• Padded satin stitch and layered relief
• Build height over felt or stitched padding; aim for consistent padding thickness across a motif so the surrounding ground fabric doesn’t “dish.”
• When lacing, tighten progressively and check sightlines; uneven pull can tilt padded shapes and create visible skew.
• Framing for depth and clearance
• Keep textiles off the glazing. Use spacers or a shadowbox to protect raised stitches, foam, and stumpwork from compression (Needle ’n Thread and other archival sources stress spacing or double matting to create air space).
• For highly dimensional pieces, shadowbox frames provide safe depth and a dust barrier; ensure rabbet depth accommodates your padded wrap without crowding the corners.
• Tension and preparation payoffs
• Slate frames deliver uniform, long‑hold tension during stitching, which reduces weave distortion that later resists blocking. Video comparisons and tutorials show slate/scroll systems keep fabric geometry truer than basic hoops—useful when the end goal is gallery‑flat mounting.
• Press from the back on a cushioned surface; block lightly before mounting so the ground is square and relaxed around raised work.
• Archival mounting choices
• Use acid‑free boxboard or foam board; add thin batting to soften shadowing from thread tails.
• Lace rather than tape for adjustable, even tension—then finish with acid‑free backing paper and labeling for provenance.

Bottom line: preserve dimension by controlling tension at every stage—stitching, blocking, lacing—and by building physical space into the frame so the art floats, not flattens.

7.2 Large-Scale Project Solutions

Oversized and long‑format embroidery benefits from frames that let you advance the work without re-hooping, and from hooping systems that keep fabric square during long runs.

• Scroll frames for expansive surfaces
• Millennium‑style scroll frames (as demonstrated in the Needle Needs how‑to) grip fabric along the bars, allow you to roll top/bottom to reveal new areas, and re‑tension evenly with side stretchers.
• Practical workflow advantages:
  • Advance the project by loosening, rolling, and re‑tightening—no need to remove the fabric.
  • Slack tension between sessions to avoid long‑term stress on fibers.
  • Transport easily by rolling the bars together; reinsert side stretchers and bring tension back on at your destination.
• Size range matters for big projects. Video guidance shows multiple bar widths (from around 8 inches up to 36 inches), plus alternative side stretchers for work that cannot be rolled (e.g., goldwork).
• “Design + 2 inches” and sewing field reality
• For machine‑embroidered panels, allow at least “design + 2 inches” of fabric around the stitching area. Remember that a hoop’s stated size can be slightly larger than the true sewing field (e.g., a 4" × 4" hoop may offer roughly 3.93" × 3.93" of active area). Plan margins accordingly for later mounting and lacing.
• Magnetic embroidery hoops for garment panels that will be framed later
• Magnetic systems hold consistent tension across varying thicknesses, which helps large garment panels arrive at framing square and unwarped. MaggieFrame offers 17+ sizes—from approximately 3.9" × 3.9" up to 17" × 15.5"—to cover most large garment placements, with broad compatibility across commercial machines. The magnets are N50 grade, designed for strong, even grip with fewer hoop marks than screw‑based hoops. Note: MaggieFrame is for garment embroidery hooping, not cap/hat hooping.
• Durability and stability support long projects: MaggieFrame emphasizes industrial‑grade materials, extensive durability testing, and reference lines that speed alignment over large fields.
• Mounting oversized textiles
• Use acid‑free foam or boxboard cut slightly smaller than the frame’s inner size; add thin batting to even the surface.
• Cross‑tension in stages and check the front constantly; large surfaces can hide subtle diagonals that only show once framed.
• For deep textures or layered appliqué, choose a shadowbox or add spacers to keep any high points clear of glazing.

Pro tip: Combine a scroll frame for the stitching phase with careful blocking and a laced, archival mount at the finish. For machine‑embroidered garment panels, a magnetic hoop upstream plus a shadowbox or spacer downstream keeps large work both smooth and dimensional.

8. Long-Term Display and Preservation

Textiles are vulnerable to light, humidity, dust, and pests. Conservation framing choices—and environmental habits—are what keep your embroidery vivid for years.

• Conservation framing essentials
  • Use acid‑free throughout: foam board backers, mat boards (e.g., archival lines like Alphamat), and tapes/adhesives suited for textiles. This prevents yellowing and brittleness over time.
  • Maintain air space. Spacers or double matting keep stitches off glazing, reduce condensation risk, and protect dimensional areas. For highly raised work, select a shadowbox.
• UV and glare management
  • UV‑filtering glazing dramatically reduces fading; museum‑grade glass or acrylic options can block up to 99% of harmful UV. Tru Vue Conservation Clear UV Acrylic is designed for neutral color and high UV filtration.
  • Anti‑reflective surfaces improve viewing clarity. Prioritize UV protection; choose anti‑reflective if glare is a concern in your display environment.
  • Acrylic is lighter and shatter‑resistant but can generate static that attracts fibers; spacers help mitigate this around textiles.
• Professional mounting methods
  • Hand‑stitch mounting is preferred for delicate or historic pieces; it distributes tension without stressing fibers.
  • Pin mounting works for robust fabrics where minor punctures are acceptable; it allows fine tension adjustments.
  • Specialty approaches like the Newberry method (custom‑cut foam support) offer stable, archival backing for complex textiles.
• Environmental control
  • Display away from direct sun, heat vents, and high-humidity zones. Aim for stable, cool, and dry conditions.
  • Rotate displays to limit cumulative light exposure—especially for silk and dyed threads sensitive to fading.
  • Pest prevention: cedar blocks or lavender sachets in storage areas deter moths without harsh chemicals.
• Maintenance and oversight
  • Dust frames regularly and inspect for color shift, textile slackening, or condensation. Increase inspection frequency in challenging environments.
  • For heirlooms or fragile work, align with PPFA-informed practices and consult conservation framers; professional conservation can add decades of life compared to standard methods.

Done right, preservation is quiet and invisible—the art stays crisp, the colors stay true, and the frame becomes a protective stage rather than a risk factor.

9. Conclusion: Framing as Artistic Enhancement

A professional frame does three jobs at once: it supports, protects, and elevates your embroidery. Start with meticulous prep (wash, press, block), choose archival boards and glazing wisely, and manage tension from mounting through lacing. Use depth—spacers or shadowboxes—to safeguard texture and 3D detail. With these practices, you transform stitched fabric into stable, gallery‑worthy art that looks as refined years from now as it does the day you hang it.

10. FAQ: Embroidery Framing Essentials

10.1 Q: Should I use glass when framing embroidery?

• A: It depends on priorities. Glass protects from dust and handling, and UV‑filtering/museum glass options are available to reduce fading. The tradeoff is glare and the risk of flattening texture if the stitches touch the glazing. If you use glass, add spacers, a mat, or choose a shadowbox so stitches never touch the glazing. Many stitchers prefer glass‑free for maximum texture; place in a low‑dust area if you go glass‑free.

10.2 Q: How do I keep stitches from touching the glass?

• A: Add air space. Use spacers, double matting, or a shadowbox frame with built‑in depth. Even with low‑relief pieces, keep a gap so textured areas aren’t compressed.

10.3 Q: What’s the simplest, cost‑effective way to frame?

• A: Use an off‑the‑shelf frame, acid‑free foam board cut about 1/8 inch smaller than the frame’s inner dimensions, and a laced back. Ask local frame shops for foam‑board remnants to save cost. Self‑adhesive, acid‑free mounting boards are another beginner‑friendly option; secure edges at the back with tape or lacing and slide into the frame.

10.4 Q: How do I remove wrinkles and hoop marks before framing?

• A: Wash gently if your threads/fabric allow: lukewarm water with mild soap, swish—not scrub—then rinse until clear. Blot between clean towels; don’t wring. Press from the back while slightly damp with the front face‑down on a clean pillowcase over a flannel pad. Lift and set the iron—don’t slide. For persistent ripples, block: lightly mist, pin from midpoint outward on a blocking surface, and let dry flat.

10.5 Q: How do I frame without puckering?

• A: Build stability and manage tension methodically.
• Prep: wash, press from the back, and block square.
• Mount: center on acid‑free board; pin midpoints first; cross‑tension opposite sides gradually; check the front often.
• Secure: lace the back so tension is even and adjustable. Consistent tension during stitching helps too—many stitchers report slate/scroll frames keep fabric geometry truer, making mounting flatter.

10.6 Q: What mounting method is best—tape, adhesive board, or lacing?

• A: Lacing is widely used by pros because it’s secure, adjustable, and archival when paired with acid‑free boards. Self‑adhesive, acid‑free boards are quick and beginner‑friendly; finish the edges at the back with tape. Pin‑then‑tape methods also work for robust fabrics. For heirlooms, lacing to an acid‑free board is a strong choice.

10.7 Q: How much extra fabric do I need around the design?

• A: Plan for 2–3 inches of margin beyond the visible area on all sides so you can wrap and lace neatly at the back. If you trimmed close during stitching, consider adding a facing or backing fabric before mounting.

10.8 Q: What board should I use, and how big should I cut it?

• A: Use acid‑free foam board or acid‑free mat/boxboard for archival stability. Cut the board about 1/8 inch smaller than the frame’s inner dimensions to accommodate wrapped fabric and ensure a snug fit.

10.9 Q: Can I wash my embroidery before framing?

• A: Yes—if fibers and dyes are water‑safe. Gently swish in lukewarm water with mild soap, rinse thoroughly, and blot; avoid wringing. Some threads (e.g., certain overdyed silks) are not suited to soaking, so evaluate materials first. Always press from the back on a cushioned surface.

10.10 Q: My mounted piece shifts inside the frame. How do I fix “wiggle room”?

• A: Add a fitted insert behind the mounted piece (e.g., a cut piece of foam) to fill the gap and hold everything snug. Properly sizing the board and keeping corners lean also prevents shifting.

10.11 Q: How should I frame dimensional or textured work?

• A: Use depth. Choose a shadowbox frame or add spacers so raised stitches don’t touch glazing. Mount on acid‑free board (a thin batting layer can soften thread‑tail shadowing) and keep tension even to avoid “dishing” around padded areas.

10.12 Q: Can I frame directly in the hoop I stitched with?

• A: Yes—many stitchers finish in their hoops. It’s quick and charming, but offers little dust protection. For long‑term display, a closed frame with glazing and spacers provides better protection.

10.13 Q: What’s the safest way to iron embroidery before framing?

• A: Press from the back while slightly damp, with the front cushioned (pillowcase over flannel). Lift and set the iron; avoid sliding. If you must touch the front, use a pressing cloth and avoid direct heat on stitches.

10.14 Q: How do I handle very large projects?

• A: During stitching, scroll frames let you advance the work without re‑hooping and help maintain even tension over large areas. For mounting, use an acid‑free board, cross‑tension gradually, and check the front constantly—large surfaces can hide subtle skew that only shows once framed.

10.15 Q: Any quick checklist for archival framing?

• A: Yes:
• Acid‑free board, tapes, and back paper
• Even, adjustable tension (lacing)
• Spacers or shadowbox if glazing
• UV‑filtering glazing if sunlight exposure is likely
• Label the back (artist, title, date, materials) for provenance