You have spent hours, maybe weeks, on a piece. Framing it well is what turns finished stitching into something you can proudly display. This guide covers everything from washing and mounting to choosing frame size, glass, and mats, so your work looks its best.
Framing is the step where a completed cross stitch becomes a finished object, and it deserves as much care as the stitching itself. A beautiful piece in a badly chosen frame, or mounted crookedly, never looks as good as it should. Done well, though, framing showcases all your work and protects it for years. The process is not difficult once you understand the steps, and much of it comes down to planning, particularly around size, which ideally starts before you even begin stitching.
This guide walks through the whole framing process: washing and pressing the finished piece, choosing the frame size from your stitch count, the mounting methods that hold the fabric taut, the choices around glass and mats, and how to avoid the common framing mistakes. Since frame size depends directly on the finished dimensions, and those come from your stitch count and fabric count, the Waldev cross stitch calculator is genuinely useful for planning the framing side of a project. By the end you will know how to finish any piece properly.
Why the margin matters for framing
Before anything else, we have to talk about the margin, because it is the one framing decision you make before you stitch a single stitch, and getting it wrong cannot be fixed afterward. The margin is the blank fabric you leave around your design, and it is what makes framing possible at all.
When you mount a finished piece, the fabric needs to wrap around a board or fold into the frame, and that requires blank cloth beyond the edge of the stitching. If you stitched right up to the edge of your fabric, there is nothing to wrap, nothing to grip, and framing becomes awkward or impossible. This is why every guide, including our own, stresses leaving a generous margin from the very start.
Fabric to leave = finished design size + at least 3 inches on every side
The standard is at least three inches of blank fabric on every side, which adds six inches to both the width and the height of your design. For larger pieces that will be laced over a mounting board, four or five inches per side is safer, giving enough fabric to fold and secure properly. This margin is planned at the very beginning, when you work out how much fabric to buy.
The margin is part of working out fabric size, which is best done before stitching. Enter your stitch count and fabric count into the free cross stitch calculator, which can add the margin so you buy the right fabric. Before making a decision, run the numbers with the calculator.
If you are reading this with a finished piece that has too little margin, do not despair entirely. There are float-mounting techniques and creative solutions that can sometimes rescue a tight piece, which we will touch on. But the clear lesson for next time is to plan the margin from the start, using the fabric calculation to buy the right amount. The fabric size guide covers exactly how to include the margin in your calculation.
Washing and pressing first
Before framing, the finished piece almost always benefits from a gentle wash and press. Over the weeks of stitching, even with clean hands, a piece picks up skin oils, dust, and often hoop marks, and framing it in that state locks the grime in behind glass. A little cleaning brings it back to its best.
Soak the piece in cool water with a little mild soap, swishing gently. Do not scrub or wring, which can distort stitches. Rinse in cool water until the water runs clear.
Lay the wet piece flat on a clean towel, roll it up to press out water, then unroll. Never twist or wring the fabric.
While slightly damp, lay the piece face down on a soft towel and press from the back with a warm iron. The towel protects the raised stitches from being flattened.
If your piece uses hand dyed threads or fabric, test for colourfastness first by dabbing a hidden area with a damp white cloth to check no colour transfers. Most standard cotton floss is colourfast, but hand dyed materials can bleed, and it is far better to find out on a corner than across the whole piece.
Pressing from the back on a towel is the key detail here. Ironing directly on the front of the stitches crushes their texture and dulls the surface, whereas pressing from behind through a towel lets the stitches keep their raised, dimensional quality. Make sure the piece is completely dry before you move on to mounting, since trapped moisture behind glass leads to mould and staining. A clean, well-pressed piece is the foundation of a good frame job.
Choosing the frame size
Frame size is where planning really pays off, and where the connection to your stitch count becomes clear. The frame has to fit your finished stitched piece plus any mat border you want around it, so you work outward from the stitched dimensions.
The first number you need is the finished stitched size, which comes from dividing the stitch count by your fabric count. A design 140 stitches wide on 14 count is 10 inches wide. Once you know that, you decide how much mat border you want around the stitching, if any, and add that to arrive at the frame opening size you need.
Frame opening = finished stitched size + mat border on each side
Say your stitched piece is 10 by 8 inches and you want a 2 inch mat border all around. You add 4 inches to each dimension, 2 inches for each side, giving a frame opening of 14 by 12 inches. If you frame without a mat, the opening simply needs to match the stitched size plus a little to tuck the edges. Either way, it starts from knowing the stitched dimensions.
Enter your stitch count and fabric count into the Waldev cross stitch calculator to get the finished stitched size, then add your mat border to choose a frame. You can estimate this faster with the free calculator than by working it out on paper, and you can plan the frame while you are still stitching.
A real advantage of knowing your finished size early is that you can buy or order the frame while you are still stitching, so it is ready the moment you finish. This is especially helpful for standard frame sizes, where knowing the stitched dimensions lets you pick a size that fits neatly. For pieces that fall between standard sizes, a mat lets you bridge the gap to the next frame size up, which is one more reason mats are so useful.
Mounting methods
Mounting is how you attach the fabric to a firm backing so it sits flat and taut in the frame. This is the step that most affects how professional the result looks, because loose or wrinkled mounting shows immediately. There are a few methods, ranging from quick to archival.
Lacing
Fabric is folded over a board and laced back and forth across the back with strong thread, giving even tension all around. Preferred for larger and treasured pieces.
Acid-free tape
Margins are folded and secured to the board with acid-free tape. Quicker than lacing, fine for smaller pieces, but less even and not as archival.
Self-stick board
Adhesive mount boards hold the fabric directly. Easy but permanent and not reversible, so best avoided for valued or heirloom work.
Lacing, the preferred method
Lacing gives the most even tension and is fully reversible, which is why it is favoured for pieces you care about. You cut an acid-free board to your chosen size, centre the stitched piece over it, fold the margins to the back, and then lace strong thread back and forth across the back, first top to bottom, then side to side, pulling until the fabric is taut and smooth on the front. It takes patience but produces a flat, professional result that can be undone later without harming the fabric.
Tape and adhesive methods
For smaller or less precious pieces, folding the margins to the back and securing with acid-free tape is quicker and perfectly adequate. Acid-free is the important part, since ordinary tape yellows and damages fabric over time. Self-adhesive mounting boards are the quickest option but bond permanently to the fabric, so they are best kept for casual pieces rather than anything you might want to reframe or preserve.
Whichever method you use, acid-free materials matter for anything you want to last. Acidic boards and tapes yellow and damage fabric over the years. For a piece representing weeks of work, acid-free mounting board and tape are a small cost worth paying. The finished size from the calculator tells you what size board to cut.
Glass or no glass
One of the bigger framing decisions is whether to put glass over your cross stitch. Both choices are valid and common, and the right answer depends on what you value: protection or texture. Understanding the trade helps you decide.
With glass
Protects from dust, dirt, and handling, keeping the piece clean long term. But it can flatten the texture and, if it touches the stitches, trap moisture. Requires a mat or spacer to keep it off the surface.
Without glass
Shows the full raised texture of the stitches and avoids any moisture risk. But the piece is exposed to dust and needs occasional gentle cleaning, and is less protected from handling.
The crucial rule if you do use glass is that it must not touch the stitches directly. Glass resting on the surface flattens the texture that makes cross stitch beautiful, and worse, it can trap moisture against the fabric, leading to mould over time. To keep the glass off the surface, you use either a mat, which creates a border and a gap, or a spacer hidden inside the frame. This gap is essential for glassed pieces.
Never frame cross stitch with glass pressed directly against the stitches. Besides flattening the texture, the contact can trap humidity and cause mould or staining over months and years. Always use a mat or spacer to maintain an air gap between the glass and the fabric surface.
Many experienced stitchers frame without glass specifically to preserve the tactile, dimensional quality of the stitches, accepting that they will need to dust or gently clean the piece occasionally. Others prefer the long-term protection of glass and use a mat to keep it off the surface. Anti-reflective and UV-protective glass options also exist, which reduce glare and protect colours from fading, useful for pieces displayed in bright rooms. There is no single right answer, only the trade between protection and texture.
Mats and spacers
A mat, sometimes called a mount board in this context, is the border of card that sits between the stitching and the frame, with a window cut out to show the design. Mats serve both a practical and an aesthetic purpose, and understanding them helps you frame pieces more attractively.
Practically, a mat creates the gap that keeps glass off your stitches, solving the flattening and moisture problem discussed above. Aesthetically, it frames the design with a clean border that draws the eye inward and gives the piece room to breathe, much as a mat does for a photograph or print. A well-chosen mat can dramatically improve how a finished piece looks in its frame.
Mat colour. Choose a colour that complements the stitching, often a neutral or a shade picked from the design. Avoid colours that overwhelm the piece.
Mat width. A border of two to three inches is common and pleasing, though it is a matter of taste and the size of the piece.
Acid-free matting. As with mounting, acid-free mats prevent yellowing and protect the fabric over time.
Double mats. Two layered mats in complementary colours add depth and a professional touch for special pieces.
If you prefer the look of no mat but still want glass, a spacer is the alternative. Spacers are thin strips hidden inside the frame edge that hold the glass slightly off the surface without a visible border. This gives the clean, borderless look of direct framing while still protecting the stitches from glass contact. Whether you choose a mat or a spacer, the goal of keeping glass off the surface is the same, and both let you frame at the right size once you know your finished dimensions.
Hoop and alternative finishes
Traditional framing is not the only way to finish a cross stitch. Several popular alternatives suit different pieces and styles, and knowing them gives you more options, especially for smaller or more casual work.
Hoop finish
The piece is left in or remounted in an embroidery hoop, with the back tidied and often covered with felt. Popular, quick, and gives a charming round display.
Flat mount
The piece is mounted on a board and displayed without a frame, sometimes on a small easel. Clean and modern for smaller works.
Made into an object
Turned into a cushion, bag, ornament, or card rather than framed. Suits designs meant to be used rather than hung.
The hoop finish
Displaying a piece in an embroidery hoop has become very popular, especially for smaller designs. You mount the finished piece in a clean hoop, often a nicer wooden one than you stitched with, trim the excess fabric leaving enough to secure, and tidy the back by gathering the fabric and covering it with a circle of felt glued in place. The result is a charming, ready-to-hang round display that suits modern and casual pieces beautifully, and it avoids the cost of framing entirely.
Turning stitching into objects
Not every piece is meant to hang on a wall. Small designs make lovely ornaments, cards, cushion fronts, bags, and keepsakes. These finishes suit designs stitched specifically to be used or given, and they open up cross stitch beyond framed art. The finished size still guides these projects, since a cushion front or a card aperture needs to fit the stitched dimensions, which the calculator gives you.
The choice of finish depends on the piece and how you want to display or use it. A large, detailed picture calls for traditional framing, a small motif might shine as a hoop or an ornament, and a design meant for daily use becomes a cushion or bag. Knowing all the options means you can pick the finish that suits each piece, rather than defaulting to a frame every time.
Common framing mistakes
A handful of framing mistakes come up repeatedly, and each can undo the good work of hours of stitching. Knowing them means you can avoid the disappointment they cause.
Not leaving enough margin
The most common and most final mistake, made before stitching even begins. Too little blank fabric around the design leaves nothing to mount with. Always leave at least three inches on every side, planned when you calculate your fabric. The fabric size guide shows how to include this margin.
Letting glass touch the stitches
Framing with glass pressed against the surface flattens the texture and risks trapping moisture. Always use a mat or spacer to keep an air gap between glass and fabric.
Mounting crookedly
A piece mounted even slightly off-square is immediately noticeable and spoils the finish. Take time to centre and align the stitching on the board, using the fabric grain and the design’s own lines as guides, before securing it.
Using acidic materials
Ordinary card, board, and tape are often acidic and will yellow and damage the fabric over the years. For anything you want to keep, use acid-free mounting board, mats, and tape throughout.
Framing a dirty or damp piece
Sealing dust, oils, or moisture behind glass leads to staining and mould. Always wash, press, and fully dry the piece before framing, so what goes into the frame is clean and dry.
Most framing mistakes trace back to two things: not planning the margin and size in advance, and rushing the finishing. A little planning at the start, including sizing with the cross stitch calculator, and a little patience at the end, prevent nearly all of them.
A worked example: framing a finished piece
Walking through a real framing project makes the whole process concrete. Imagine you have just finished a floral picture and want to frame it well. Follow the steps from finished stitching to hung frame, and see how each decision connects.
You start by measuring what you have. The design was 154 stitches wide and 126 tall, stitched on 16 count Aida. Dividing gives a finished stitched size of about 9.6 inches by 7.9 inches. You left a three-inch margin on every side, so your fabric is about 15.6 by 13.9 inches, plenty to mount with. Knowing the stitched size precisely, confirmed with the calculator, is the anchor for every choice that follows.
Next you wash and press. The piece has faint hoop marks and a few weeks of handling, so you hand wash it in cool water, roll it in a towel to remove water, and press it face down on a towel while damp. It comes up fresh and flat, ready to mount. You let it dry completely overnight before going further.
Then you plan the frame. You decide you want a two-inch mat border to set off the flowers, so you add four inches to each dimension of the stitched size, giving a frame opening of about 13.6 by 11.9 inches. You round to a standard frame that fits, choosing an opening slightly larger and letting the mat take up the difference. Because you knew the stitched size while still stitching, you already bought the frame and mat in advance.
Now you mount. You cut an acid-free board to the size you want to show, centre the pressed piece over it carefully using the fabric grain to keep it square, fold the margins to the back, and lace them with strong thread, top to bottom then side to side, until the front is taut and smooth. You take your time getting it centred and straight, since a crooked mount would spoil the result.
Finally you assemble. You place the mat over the mounted piece, add the mounted board into the frame, and because you are using glass, the mat keeps it off the stitches with a clean air gap. You secure the backing, attach a hanger, and the piece is done, ready to hang. From finished stitching to framed art in an afternoon, with every step flowing from that first known measurement.
| Step | Key number or action | Why it mattered |
|---|---|---|
| Measure | 9.6 by 7.9 in stitched | Anchors frame and mat sizing |
| Wash and press | Cool water, press from back | Clean, flat piece to frame |
| Plan frame | Add 2 in mat each side | Frame opening of about 13.6 by 11.9 in |
| Mount | Lace over acid-free board | Taut, square, reversible |
| Assemble | Mat keeps glass off stitches | Protects texture and prevents moisture |
Notice how the finished stitched size drove the whole sequence, from margin to frame to mat. That is why sizing early, with the calculator, makes framing so much smoother: every later decision refers back to that one measurement.
Framing materials and what they do
It helps to know the materials involved in framing and the job each does, so you can shop for them confidently and understand why the archival versions are worth it. Here is a rundown of what goes into a framed cross stitch.
| Material | Job | What to look for |
|---|---|---|
| Mounting board | Firm backing the fabric wraps around | Acid-free, cut to your show size |
| Lacing thread | Holds folded margins taut on the back | Strong, non-stretch, colourfast |
| Mat board | Border and gap to keep glass off stitches | Acid-free, complementary colour |
| Glazing (glass or acrylic) | Optional protection from dust | Anti-reflective or UV if in bright light |
| Spacer | Keeps glass off stitches without a mat | Hidden, right depth for the piece |
| Frame | Holds everything and displays the piece | Deep enough for board plus fabric |
Why acid-free matters so much
The recurring theme in framing materials is acid-free, and it is worth understanding why. Ordinary paper-based boards and tapes contain acids that, over years, migrate into the fabric and cause yellowing, brown spots, and brittleness. For a piece representing weeks of your work, this slow damage would be heartbreaking. Acid-free materials are chemically stable and will not attack the fabric, preserving your stitching for decades. The extra cost is small relative to the hours invested in the stitching itself.
Frame depth, an easily missed detail
One material detail beginners often overlook is frame depth. A framed cross stitch is thicker than a photo, because it includes a mounting board plus the folded fabric plus possibly a mat and spacer. A shallow photo frame may not close over all that bulk. When choosing a frame, check it is deep enough, sometimes called the rebate depth, to hold the whole assembly. This is one reason frames sold specifically for needlework, or custom framing, can be easier than repurposing a photo frame.
Knowing the finished stitched size helps you buy the right size of every one of these materials, from the mounting board to the frame. That size comes from your stitch count and fabric count, which the calculator turns into dimensions in seconds. For a quick result, use the Waldev calculator before shopping for framing supplies.
Displaying and caring for framed work
Once framed, a cross stitch can last generations, but where and how you display it affects how well it survives. A few considerations keep your framed pieces looking their best over the long term.
The main enemy of displayed textiles is light, particularly direct sunlight, which fades thread colours over time. A piece hung in a sunny window will gradually lose its vibrancy, especially the more fugitive dye colours. Where possible, display framed cross stitch away from direct sunlight, and if a bright spot is unavoidable, UV-protective glazing helps slow fading. This is a genuine consideration for pieces you want to keep vivid for decades.
Keep out of direct sun. Sunlight fades thread colours over time. Display away from windows or use UV-protective glass.
Avoid damp and extremes. Bathrooms, kitchens, and areas of high humidity or temperature swings risk mould and warping. Choose stable, dry rooms.
Dust gently. For glassless pieces, dust lightly with a soft brush. For glassed pieces, wipe the glass, not the fabric.
Check periodically. Occasionally inspect valued pieces for any sign of moisture, fading, or material yellowing, and address issues early.
Humidity is the other consideration. Damp environments encourage mould, and swings in temperature and humidity can cause fabric to expand and contract, loosening a mount over time. Stable, dry rooms are kindest to framed textiles. This is one reason to avoid hanging cross stitch in bathrooms or directly above heat sources, however tempting the spot.
With sensible placement and the acid-free, glass-off-the-stitches approach covered above, a framed cross stitch will stay beautiful for a very long time. These pieces genuinely become heirlooms, passed down and treasured, and a little care in display honours the hours that went into them. It all began with planning the piece properly, including its size, which set up everything from the margin to the frame to how it hangs on your wall.
Good framing starts with knowing your finished size from the very beginning. The Waldev cross stitch calculator gives you that size from your stitch count and fabric count, so every step from margin to mounting to framing is planned. Before making a decision, run the numbers with the calculator.
DIY versus professional framing
A final decision is whether to frame the piece yourself or have it done professionally. Both are valid, and the right choice depends on the piece’s value to you, your budget, and how confident you feel. Here is how to weigh it up.
DIY framing is rewarding and far cheaper, and for many pieces it is perfectly achievable with care and acid-free materials. Small and medium pieces, hoop finishes, and casual works are all well suited to framing at home. The main requirements are patience for mounting evenly and using the right materials. For most everyday stitching, DIY framing gives a lovely result at a fraction of the cost.
Professional framing costs more but brings expertise, especially valuable for large, complex, or treasured pieces. A good framer will mount the piece perfectly flat, advise on mats and glass, use archival materials, and handle awkward sizes. For an heirloom, a gift of great sentimental value, or a large piece representing many months of work, professional framing can be worth the investment for the quality and protection it provides.
Choose DIY for small to medium pieces, casual works, hoop finishes, and when budget matters or you enjoy the process.
Choose professional for large or complex pieces, treasured heirlooms, valuable gifts, and awkward sizes needing custom work.
Either way, plan the size early. Knowing the finished dimensions helps whether you frame at home or brief a framer.
Whichever route you choose, knowing your finished size in advance makes the process smoother. For DIY, it tells you what board and frame to buy. For professional framing, it lets you plan and budget, and discuss options with the framer knowledgeably. That finished size comes straight from your stitch count and fabric count, which is a quick calculation.
Enter your stitch count and fabric count into the free cross stitch calculator to get the finished size, so you can plan mounting, mats, and frames with confidence. The guide explains the concept, but the calculator helps you apply it.
The Wikipedia entry on cross-stitch covers finishing and display of completed work.
The Wikipedia entry on picture framing gives background on mats, glazing, and archival materials.
Keep learning
These related guides pair naturally with framing your work:
How to calculate fabric size
Working out the finished size and the margin you need for framing, with worked examples.
Cross stitch fabric
Choosing fabric and count, and why the margin you leave is essential for mounting later.
How to cross stitch
A full beginner walkthrough from supplies to a finished piece ready to frame.
How to read a cross stitch pattern
Finding the stitch count that determines your finished size and frame requirements.
And to size any piece for framing, the cross stitch calculator and the wider Waldev calculators collection do the arithmetic for you.
Frequently asked questions
How do you frame a finished cross stitch?
Wash and press the finished piece, then mount it over a firm board cut to size, securing the fabric on the back by lacing or using acid-free tape. Place the mounted piece in a frame, ideally with a spacer or mat so the glass does not touch the stitches. The blank margin you left around the design is what wraps around the board, which is why that margin matters.
Do you need glass over framed cross stitch?
Glass is optional and a matter of preference. Glass protects the stitching from dust and handling but can trap moisture and flatten the texture if it touches the surface, so use a mat or spacer to keep it off the stitches. Many stitchers frame without glass to show the texture, accepting that the piece will need occasional gentle cleaning.
How much margin do you need to frame cross stitch?
Leave at least three inches of blank fabric on every side of the design, which is six inches added to both the width and height. This margin wraps around the mounting board and gives you something to lace or tape. For larger pieces laced over a board, four or five inches per side is safer. Plan this margin before you start stitching.
Can you frame cross stitch without a mat?
Yes, but a mat helps in two ways: it creates a gap so the glass does not touch and flatten the stitches, and it frames the design attractively with a border. Without a mat you need a spacer to keep glass off the surface. You can also frame without glass and without a mat for a simple, textured look, mounting the piece directly.
How do you mount cross stitch over a board?
Cut a firm, acid-free board to the finished size you want to show. Centre the stitched piece over it, fold the margins to the back, and secure them either by lacing back and forth with strong thread across the back, or with acid-free tape for smaller pieces. Lacing gives even tension and is preferred for larger or valued pieces.
What size frame do I need for my cross stitch?
The frame size depends on your finished stitched size plus any mat border. First find the stitched size by dividing the stitch count by the fabric count, then decide how much mat border you want around it, and choose a frame opening to fit the total. A calculator gives you the stitched size instantly so you can plan the frame while you stitch.
Should I wash cross stitch before framing?
Yes, in most cases. Even with clean hands a piece picks up oils and dust over weeks of stitching, and hoop marks are common. A gentle hand wash in cool water with mild soap freshens it, and pressing it face down on a towel removes creases. Make sure the piece is fully dry before mounting and framing to avoid trapped moisture.
Can I use a standard photo frame for cross stitch?
You can, if the size suits your piece and you add a spacer or mat to keep the glass off the stitches. Standard photo frames work for smaller pieces, but they often lack the depth for a mounted board plus fabric, so check the frame is deep enough. For larger or treasured pieces, a proper framing setup or custom framing gives a better result.
A note on framing: the methods and materials here reflect common good practice, but framing is partly a matter of taste and the value of the piece. For treasured or valuable work, consider archival materials and professional advice. Always test any washing or cleaning on a hidden area first, and use acid-free materials for anything you want to preserve.
