Needlework artists use needle and thread in creating their art similar to how a painter uses brush and paints. This kind of work is also often referred to as needlepoint, cross stitch or embroidery. This time-consuming art produces treasured pieces that may be passed on as family heirlooms. As with paper art, textile art needs to be protected from acid-burn which will yellow the fabric over time. It is important to always use acid-free boards and adhesives.

 Flower Fairy by Stephanie Clifford (CC BY 2.0)

Properly mounting needleart requires knowing the right method for doing so to maximize protection of the work to be framed. There are readily available books on how to frame needle art. This article will cover two of the simplest methods: quick mount board and pinning. For a more detailed explanation and other needle art mounting techniques, here is recommended further reading: Needlework Framing Volume 3 by Vivian C. Kistler.

Quick Mount 

The easiest method for mounting needle art is using an acid-free quick mount board. In quick mounting the edges of the needle art are attached to the back of the board with adhesive. There are some quick mount boards claiming the fabric may be lifted and re-applied indefinitely. Remember, if the adhesive becomes permanent with time, this mounting method will be irreversible, therefore your piece could be ruined if disassembled. For valuable antique needle art be wary of this method, as the results of using pressure sensitive adhesives is still questionable. Some of these boards come with batting attached to the board. Be sure the batting is heat bonded, if it is not, it may migrate and push through  through the surface of the needle art causing what is called a "beard."

Matting is more than just reduction of white space around a painting giving the artwork appropriate presentation. It is also key in preservation.

Matting example, artwork by permission of T. Davis

A mat is a border used to enhance and protect artwork.  If you are framing a work on paper (watercolor, pastel, drawing, etc.) you need to protect the front of the artwork with a piece of glass. Oil and acrylic paintings do not need glass in front of them.  It is these framed works that should also be matted so as to not end up sticking to the glass.

Humidity always has an effect on paper, causing it to expand and contract. If paper comes in contact with too much moisture, tide lines or even mold can develop.  On the other hand, if paper becomes too dry, the fibers become brittle and could crack and tear. Matboard separates the artwork from the glass and protects it from direct contact with moisture. When matting, it is important to use acid-free matboard to prevent acid-burn which can cause yellowing in artwork.  You should only use a mat window and back board made of 100% rag board or the lignin-free, alkaline-buffered mat board especially for art preservation.

Over time due to UV light and pollutants in the air, both standard and neutralized matboard will return to its acidic state, turning yellow to brown. It should not be used with any work of monetary or sentimental value.  Museum quality matboards are:

• 100% rag board is made from cotton and therefore contains no acidic wood lignin. Use for fine art, signed prints and needle art.
• 100% Alpha Cellulose is matboard made from wood fibers that have been pulped extensively and chemically purified to remove lignins and other acid-causing materials to make it acid-free, then buffered for an alkaline reserve to protect against airborne contaminants.  Safe for fine art and signed prints.