How to Frame Bead Embroidery

During the past 28 years of stitching beads on cloth, I've veered away from making necklaces, bracelets, and bags or purses, mostly producing wall art pieces. Thus, I've had lots of opportunities to experiment with various methods of finishing and framing my work, making it suitable for display.

I always leave ample fabric margins surrounding the actual beaded area, giving me lots of options for finishing or framing.  One simple finishing method is to wrap the extra fabric around the sides of a manufactured painting-canvas (over stretcher-bars), and lace the fabric snugly across the back, as in the photo below.

But the problem with this method, of course, is that the surface of the beading is exposed to dust and air-borne grime, which over the years may spoil the fresh look of the beading, aging the piece prematurely. So we look to frames and glass to protect our work.

Among the various methods for covering (and protecting) beadwork with glass, the following is the one I use most frequently, and like the best.  It's not very expensive, or particularly difficult, although it does take a bit of time. Even if you already know about frames, please take a look at the section called Preparing Your Bead Embroidery for Framing in the Tutorial below.

Tutorial: How to Frame bead Embroidery

Choosing a Frame

This tutorial assumes the beaded work has straight sides, and will be framed in a square or rectangular frame. The frame size, color, and style are important considerations.

Wanting viewers to look at my beading and not be distracted by an overly fancy, gaudy, or large frame, I generally select a plain, narrow frame in a color that compliments my beading without competing for the viewer's attention. Sometimes I choose a stained, wooden frame if it seems to fit the theme of my beadwork better than a metal frame. Depending on the size of my beadwork, I generally size my frame at 2-3 inches more on each side than the beadwork.

Frame: Often I use a painted, metal frame with a cross section similar to this.

I either buy it as a kit (pre-cut pieces and required assembly hardware), assembling it myself, or buy it from a frame shop. The advantage of buying from a framer is that you will be able to see samples. Also, the framer can cut an accurate mat, foam core insert, and backing board for you, and can supply the needed risers. If you decide to work with a framer, I suggest you print this post (to show the framer how you will be preparing your work for the frame), or take the prepared bead embroidery with you to the frame shop.

Glass: I believe in using the highest quality glass, even though it is a lot more expensive than ordinary glass. The UV resistance is good, but the primary reason for using premium glass is its clarity, which allows the viewer to see the details of your work without any distortions or color shift, as if there were no glass at all.  Note: do not use non-glare glass. It only works if it lies directly on the surface of the art. You will be putting risers under the glass so it sits above the uneven surface of your bead embroidery, not touching any of the beads; even at this slight distance from the beadwork, non-glare glass will look frosted and obscure the details of your work.

Other Framing Materials You Will Need

Mat: Choose a simple, acid-free, neutral-colored mat, either warm or cool white, depending on the emotional message and colors in your work. All those beautiful colors in the framer's palette are appealing, but for most bead embroidery, there is color and texture enough in the beads, and no value in adding more with your mat choice. If you do not have a mat cutter, a framer can cut your mat. Although I have not ever used a double mat (because I find them distracting, bringing my eyes away from the beadwork to the edges), it could be a way to gain a little more space for the glass above the beadwork.

Risers: Dense plastic rods, risers are 1/8th inch square in cross-section, with an adhesive surface on one side. Use a wire nipper to cut the rods to fit along the outer edge of the glass; remove the paper strips covering the adhesive from the the risers, adhering them to the glass along the edges, as shown above. They prevent the glass from touching your beadwork, by resting on the outer edge of the mat, thus holding the glass above the beaded surface. If the surface height of your beadwork is greater, you can adhere two rods together, making a quarter-inch of space. If the depth is more than a quarter-inch, you might want to consider mounting your work in a shadowbox frame (see this post for a good example and instructions).

3/16th Inch Foam Core Board: Since your beadwork will be mounted directly into this foam core board, be sure to use the white, acid-free, buffered, slightly more expensive variety. You can buy it at art supply or frame shops, in person or on line. You will need a piece at least 3 inches larger than your bead embroidery on each side.

 Preparing Your Bead Embroidery for Framing 

 

The piece above is the example used in the the steps which follow. It's a small piece of bead embroidery, measuring only 1-3/4 inches wide by 2-1/4 inches high. The mat is 2 inches larger on each side. Numerous folks have surprised me with high offers to buy this piece (which is not for sale), illustrating that nicely framed bead embroidery can be sold at a favorable price.

Mounting your bead embroidery in foam core board 

As per the recommendations in the frame section above, draw the frame size (which will always be designated by the inside dimensions, the size of the artwork) on a piece of 3/16th inch foam core. Use a mat knife and ruler to accurately cut out this shape.

Then, measuring carefully, making sure it is exactly centered, draw lines to indicate the outline of your bead embroidery, adding 1/2 inch on each side. For example, if your beaded area was 2 inches wide, you would draw your lines 3 inches apart (2" for the beadwork plus 1/2 inch on each side). Designate one edge as the top, and mark. Draw a vertical arrow from the top through part of the center through part of the outside margin. With a mat knife, cut out the center, being careful not to damage it or the outside frame. The cut out center will eventually be placed back in the hole by aligning the arrow segments drawn on the back.

For the next step, you will need at least a 1.5 inch margin of un-beaded fabric all around your beadwork. If you have less than a 1.5 inch margin, cut strips of any cotton fabric (re-purposed sheet or shirt fabric is fine). Using a zig-zag stitch on the sewing machine, and placing the strips under the margin of the beaded fabric (wrong side), stitch the strips to the margins, extending them to a total of 1.5 inch from the edges of your beadwork on the top, bottom, and both sides.

Center your beadwork on the cut-out piece of foam core board. Hold in place using map or sewing pins, pushed straight through the beading down into the board. Wrap the fabric snugly around the board and pin from the back. Remove the pins from the front. Check to make sure the work is still centered accurately. Re-pin if necessary. Using a sewing needle and beading thread, stitch from side to side, lacing the fabric around the foam core, as in the example below. Start with the longer sides. Knot when finished. Then do the same on the shorter sides.

Tip: I like to rest the beaded side face down on a thick, folded, bath towel while I am lacing the back.

This is how mine looks on the front after being laced around the foam core board on the back. If I had not wanted to frame this piece, I could have used double-sided, archival tape to adhere a heavy paper backing over the laced area on the back; it could then be displayed on a small stand similar to the one in the second photo from the top of this post.

This is how it looks on the back, when it is placed back in the original hole cut into the foam core board. Notice how the arrows match up, insuring a perfect fit.

This is how it looks on the front. Note: the hole in the mat will be cut exactly to the size of the beadwork, so that when it is framed, you will not see any of the fabric around the outside edge of the beaded area.

Assembling a Bead Embroidery Sandwich

Now it's time to make a sandwich with the foam core board between two pieces of acid-free mat board, one which has a beveled hole cut in the center, the other which is solid and goes on the back.

To cut my own mats, I first measure and draw the exact outline of my bead embroidery centered on the wrong side of the mat. I always mark the top, because sometimes the work is not precisely square or rectangular. Of course you can give the dimensions to a frame shop, and have a professionally-cut mat made for your beadwork.

Tip: One way to get an exact measurement of the beaded area is to make a 100% copy of it on a scanner or copy machine. Cut out the copy with a ruler and mat knife, test it by holding it over your beadwork. If it is exact, use it as a template to mark the hole on the mat board. If the mat is hand-cut, the hole does not have to be precisely square or rectangular.

Using a special, beveled, mat-cutting tool, I then cut away the center, where the beading will show.

Here is how the top and middle of the sandwich looks, with the mat placed on top of the foam core board and beadwork.

The photo above shows a piece of mat board cut for the sandwich back (on the right). Note that I've drawn around the laced beadwork, and cut away a layer of the mat board to make space for the laced fabric in the sandwich. Do this by gently cutting along the drawn lines, being careful not to cut very deeply into the mat. Then, use a knife to lift one corner of the inside area and peel it back creating a shallow empty space.

This is what the completed sandwich looks like. The beading is supported well between two pieces of mat board, and can't shift when hung. No glue or tape (to later fail or chemically alter the mat or beading) is necessary in this process. And it looks so neat and professional!

Assemble the Frame

With the more challenging steps already completed, the final assembly goes very quickly !

Assemble the bottom and sides of the frame by inserting the metal corner plates, and tightening the tension screws. Insert and tighten the corner plates into the top of the frame. Make a double-decker sandwich by putting the glass with the attached risers on top of the mat. Be sure the glass is clean and clear of any finger prints. Slide the complete d-d-sandwich into the obvious slot in the bottom part of the frame. The hanging wire can be added now or later.

Slip the corner plates at the top of the frame into the slots on the sides, and tighten the tension screws. You should have gotten metal spring strips with your frame kit. Lay them out on the back, spaced evenly around. Push down on the center of a spring and slide it under the edge of the frame, between the backing mat and the frame. Do the same with each of the springs. If you haven't already, add a hanging wire. Add a felt or rubber wall-bumper to each of the lower corners.

That's it! You are finished... your bead embroidery is ready to hang on your wall!  For those who would like a little more detailed step-by-step explanation of how to assemble this type of frame, this is a good one or if you prefer videos, this one is pretty complete.

Tip: Whether using a metal or wooden frame, the depth of the frame is an important consideration because the d-d-sandwich will be thicker than a photograph or most paintings. The measurement of the depth, or space inside the frame structure to accommodate the thickness of the artwork, is called the rabbet. The rabbet measurement on the above metal frame is 9/16th of an inch, which is adequate with a single riser under the glass. But it's a tight fit, the springs having to be nearly flat when inserted. If I had used a double riser, I would need a frame with a deeper rabbet. I've found it rather difficult to find small, narrow, simple, plain, wooden frames with a deep enough rabbet.

Here is a link for downloading this post as a printable PDF. It's a free, and slightly expanded version of what you've seen above. Free Download: How to Frame Bead Embroidery by Robin Atkins

Beading + Quilting - a Happy Marriage!

It sure was a lovely surprise one day last fall when a representative from the Bead&Button Show called to ask if I would be interested in sending my beaded quilts for exhibition at the 2015 show in Milwaukee, WI.

Would I be interested? Of course I would!!! But since I'm more of a beader and don't have that many beaded quilts, I suggested they also contact my brother, Thom Atkins, who has made a mind-boggling number of beaded quilts in the last 10 years or so.

Brother-sister exhibition... how fun is that! You can see all 22 quilts in the Artisan Area of the Exhibition Hall if you're attending the show, May 27 - June 8. For those who can't make it, here are my quilts, the ones in the show. When you click on the first picture, you can see a slide show with full-size pictures.

It's really special how,in recent years, quilters are interested in beads, and beaders are playing with quilting, both finding ways to expand their creativity! And it's super fun to show with my bro!

Exhibition of my Beadwork!

Bringing my beadwork to the Museum

Many, many moons ago, when I first started beading, I made an important decision about my future beading career. I decided not to be in the business of selling my beadwork. That’s a huge and somewhat uncommon decision for an artist, because most feel that in order to justify the time it takes to do beadwork and the cost of materials, it has to be sold. Many also take sales of their work as a marker of their skill as an artist… “if it sells, then I am an artist; if I sell lots of it, then I am a successful artist; if a gallery takes my work, then my work is good,” etc.

Demonstration prior to the Opening on April 1st.

My dear friend, Liz, drove to La Conner for the opening!

Those are tempting thoughts, aren’t they?! However, I had previously been a metalsmith, making one-of-a-kind silver and gold jewelry for 5 years. During those years, I experimented with various methods of selling my jewelry – craft fairs, home shows, commissions, galleries – and found that I hated all of them. Marketing my work, talking about it, looking in people’s eyes as they walked by my booth without stopping, answering questions about how I made something, knowing the person asking was also a metalsmith and might copy my ideas – all of that was like a millstone around my neck, depressing, daunting, and no fun at all.

So, when beadlust jumped in my heart, I almost immediately decided I would not sell my work. Instead, I would make my living by selling beads and beading supplies, teaching others how to bead, and writing books about beading. It’s been a great pathway for me, almost always fun, challenging, exciting – and, it has paid my bills and given me the means for many beady adventures. To be sure, I have sold some of my beadwork, especially jewelry, here and there. But it’s always when opportunity comes to me, not when I’ve struggled to be accepted for a show.

Twenty-seven years later, I am looking back down my beaded pathway with great satisfaction, pleased as punch about my initial decision. Twenty-seven years later, I also own a substantial stash of beaded objects that I’ve made over the years – beaded jewelry, bags, books, dolls, wall art, sculptures, and quilts. While many of them decorate my studio and home, some live in boxes, stored away in cabinets. I feel a bit guilty about those poor babies. Shouldn’t I get them out, brush the dust off, and sell them? Oh yeah, I forgot, I hate selling/promoting my beadwork.

All of the above is to introduce a fabulous and unexpected opportunity that came my way recently… The curator of the La Conner Quilt & TextileMuseum contacted me to ask if I would be willing to exhibit my beaded quilts and other beadwork in a one person show at the museum for the month of April, 2015. WOW! Would I be interested? You bet I would!!!!

Twenty-eight pieces! Once I cleared the pieces for the show out of my studio, the nearly empty walls and display counter was depressing. Guess what happened?  I opened up those boxes, and brought out things I hadn’t ever displayed, or at least hadn’t displayed for a long time. What great fun to see them every day this past month! I love it!

Two days ago the show closed (waaa), and my work is back home again. Here it is, all piled up on my studio tables. Nice to have it home; not so nice to decide which pieces go back into boxes.

Exhibition closed - beadwork back home again

And then there is the question of what is to become of it in the long run. I am 72 years old. It might be time to start thinking about that. Some will go to my beady friends, and some to my nieces and nephews (if they want it). And, I’d die happy if I knew that some of the best pieces were in the permanent collection of a museum or two. Rosie, The Uncaged Hen, for example should be in a museum, don’t you think?

Rosie, The Uncaged Hen

Having the show in La Conner, seeing my work so beautifully displayed there, gives me the energy to start thinking about the future of my beadwork, to make a list of my all the pieces, place an "insurance value" on them, and start talking to acquisition curators about it. Although the idea of this task seems a little like “selling my work,” the show in La Conner makes it worth the effort.

La Conner Quilt & Textile Museum

Exhibition of My Beadwork... April 1 - May 3!!!

Beadlust 

an exhibition of bead and fiber works by Robin Atkins

This is the first solo exhibition of my work! I am very pleased and honored that the La Conner Quilt & Textile Museum offered me a show in their new Local Artist Exhibit Program's first-floor Landmarks Gallery.

There are 28 pieces in the exhibition, including beaded quilts, books, dolls, and framed art. Several of the pieces are new and have not been exhibited previously. Below is one of them, a beaded and embroidered collage using some of my hand-dyed, re-purposed fabrics.

Every Child Should Have Her Own Tree, hand-dyed, beaded, embroidered fabric collage

I hope some of you will be able to come see my work, as well as the work of the other two featured quilt artists in the upper floor galleries.

Exhibition Information:

• Where: La Conner Quilt & Textile Museum, 703 2nd Street, La Conner, WA 
• When: April 1 - May 3, 2015. Museum hours are 11-5 Wednesday through Sunday (closed Mon. & Tues.)
• Contact Museum: 360-466-4288; web www.laconnerquilts.org 
• Info about the exhibit: http://www.laconnerquilts.org/beadlust---robin-atkins.html 
• Other exhibits: The work of Denise Miller and Nancy Ryan is on the 2nd & 3rd floor of the museum; Robin’s work is on the 1st floor 

Exhibition Events: 

• Opening reception at the museum: April 1, 4 to 7 pm; all three artists will be there; free admission
• Demonstration at the museum: Robin demonstrates process and techniques of bead embroidery, April 1, 2-4 pmWorkshop: 
• Robin teaches Improvisational Bead Embroidery, May 2-3 in La Conner http://www.laconnerquilts.org/improvisational-bead-embroidery.html

A couple of readers have contacted me asking if the above work, or any of the other pieces will be for sale...  Nope, afraid not... exhibition only, although the museum's excellent gift shop does carry my books.

Artists Studio Tour... June 4 & 5... More Letting Go!

It's been about 5 years since I participated in the San Juan Island Artists Studio Tour as a guest artist in Ev Tuller's weaving studio. This year I've been invited to join fine artist, Cinda Sue Dow, in her studio. I'm excited about this opportunity, as I haven't shown my jewelry for quite a while. This is my page on the Studio Tour site.

And this year, something new! Continuing with efforts to let go of things, I've decided to add some of my more artful pieces, ones that have been featured in books and magazine articles (some are shown below).

Location: from town of Friday Harbor, going toward the fair grounds on Argyle, take a right on Spruce, and then a right on Alder Ct. to 545. Cinda Sue's art will be shown in the garage studio, mine in a detached studio accessible through her garage studio.

Time: The open hours are 10 am to 5 pm on both Saturday and Sunday.

Drawing: Both Cinda Sue and I will be giving away a prize, so be sure to sign up when you come!

The pictures below show some of my typical jewelry... fibula pins, earrings, bracelets, necklaces, key chains, zipper pulls/cell phone fobs. These are moderately priced ($14 - $75), yet are made from quality materials - sterling silver and gold filled wire, lampwork beads, Swarovski crystals, silver charms, vintage beads and charms. These items make lovely accessories and gifts. I offer free gift packaging.

Earrings and fibula pins featuring beautiful lampwork beads.

Fibula pins and wire-worked pendants on variable-length silk ribbons featuring special lampwork beads.

Finger-woven necklace featuring hand-made, one-of-a-kind raku porcelain beads.

I decided to put some of my long-hoarded sterling silver pendants from China, India and southwest USA on silk ribbons. These are definitely unique!

These are vintage glass (lampworked) beads from China. They are a unique lusterous blue color, not available in today's bead market. I've paired them with sterling silver beads from Thailand.

Below are pictures of some of the art pieces, most of which were made to showcase a technique or design/color element for publication in books or magazine articles. I haven't decided on prices for these one-of-a-kind items yet. If you, as a Beadlust reader, are interested in purchasing one of these prior to the Studio Tour, please contact me and we'll figure it out.

I love working with Margie Deeb, author of The Beader's Color Palette. I made 11 pieces which showcase specific color palettes for this book. The 8 pieces shown below will be for sale at the Studio Tour and are page referenced to Margie's book, because her pictures are WAY better than mine!


Air Currents ~ What color is air? How can one make a necklace that represents the nature of air? I chose vintage beads with various finishes in clear, white, light grey and pale blue with a beautiful swirling lampwork focal bead, real pearls, and silver bells on the tassels. Pg. 17

Ring of Fire ~ Inspired by our spring-time, giant burn pile, this off-loom woven bracelet, is a blazing ring of flames. Pg. 20 (I don't seem to have a picture of this piece in my files; I'll take one and add it later.)


Stained Glass Tassel ~ My assignment for this piece was to create a piece using the color palette of Medieval or Byzantine stained glass church windows. Fun! All the beads are transparent, so hung in a window, the light will come through it and pass it's lovely colors into the room. Pg.44. (Note: This finger-weaving technique is featured in my book, Beaded Treasures, on pages 36 - 39.)


Sea to Sky ~ The color palette for this necklace is based on a painting by Claude Monet (Morning on the Seine near Giverny) I loved blending the greens to blues to pale lavenders to whites giving close to the same affect as Monet with his paint brushes! This piece features a large, one-of-a-kind, vintage, sterling silver fish and butterfly clasp from northern Thailand in the Golden Triangle area. These two silver pieces, alone, are worth a lot as collector, possibly even Museum-quality, pieces. Pg. 55.


Courtesan ~ The colors and emotional content of this nine-strand necklace are inspired by a Japanese kimono. Many vintage pressed glass, lampwork and gold-filled beads are included. Because the strands are graduated, this necklace will sit comfortably on the chest. Pg. 91.


Emperor Penguin ~ The shape and colors of this bead-embroidered pin are inspired by a photo of an emperor penguin with its head tucked down on its breast. I loved the way the yellow feathers showed under the lower edge of the wing. Pg. 129.


Fancy Dangle Bracelet ~ Everything about this piece was inspired by a colorful sea anemone, the vibrant fuchsia, chartreuse, lavender and ivory colors and the fluidly moving tentacles. Pg. 132.


Festive Time ~ This nine-strand necklace is bold and architectural. It features vintage lampwork and pressed glass beads, some of which can slide along the strand (fun for busy fingers). Bright and happy, it's all about summer fun! Pg. 152.

I guess that's enough to give you an idea, but there will be more, I promise! Hope you can make it to the show!