I am grateful to Susan Dawson for her permission to reproduce this article, which originally appeared in rec.crafts.textiles.needlework
Blocking is a process used to return the weave of a distorted fabric to square.
Before starting any embroidery the fabric should be square and cut with the grain ... I don't believe you can be sure the fabric is square if it is not cut on the grain. Canvas almost always is square.
Yard goods used in surface embroidery may not be, but usually are. Precut, evenweave often is not, particularly the prepackaged stuff sold in craft stores. If you start out with a fabric that is not square, it will be that much harder to square after you stitch.
First because the fabric is already used to being skewed and it will want to stay that way. Second because the stitches will work to hold the fabric as it was when it was stitched, skewed. If you then straighten the weave of the fabric, distortions will form around the embroidery where the fabric threads must to bend to accommodate the embroidery. It will look like your tension is too tight. Or the embroidery will have to shift so the fabric threads can go back to square distorting the work.
If you use a proper embroidery frame that holds the fabric square during stitching and exerts tension equally in both the warp and weft directions, blocking should not be necessary. If you work in hand, use a hoop or use a frame that does not hold fabric square blocking is required for a good finish.
Determine that everything used in the piece can tolerate wetting. Check that every thread, fabric, bead or bauble will be OK and colorfast with the wetting method that you choose to use: misting, steaming or soaking.
PS This too should be done before you start to stitch. Finishing should be part of the initial design/planning stage. Step one is really just double checking.
Get or make a blocking board. A blocking board is any strong surface that can withstand the pressure involved in pulling the fabric. It must have some way to attach the fabric to the board, usually pins. It needs to be able to be left horizontal until the work is thoroughly dry, which can take days. It needs to be clean or sealed so that there is no possibility of anything transferring to the embroidery
For small delicate items I use the ironing board and pin to the cover.
For big heavy items I use wall to wall carpeting in a place that kids and pets can be kept away for several days. When I use carpeting I place a clean sheet between it and the embroidery, just in case.
For in between sizes I use a piece of homosote (a fibrous board) sold as a mattress board. I covered it with plastic wrap (to keep any chemicals that might leach out, away from the embroidery) and then I stretched a sheet firmly over the top. I marked grid lines with a permanent pen to help me square the fabric. (The other side is covered with black wool and I use it as a background for photographing embroidery.)
Commercial boards are sold that either are bars with holes for pins that are put together to match the size you want to block or heavy wood boards with a network of holes like a peg board. (No, a peg board won't work. It bleeds on things and it can't stand the wetting.)
Check your pins. Whatever you use to attach the embroidery to the board must NOT rust! They also must be strong enough to withstand the pressure. If they buckle you will just have to start again. At various times I have used aluminum pins, aluminum nails (in the boards with holes), stapes, T-pins, push-pins and tacks.
Decide if you are going to block wet or dry. The terms refer to the state of the embroidery when it is mounted. Is it wet or dry? This decision is dependant on your materials ... and your nerve.
Wet blocking is the most aggressive approach. It works well for cotton and linen ground fabrics, if the embroidery can stand that much water. Upholsterers that do heavy woolen needlepoint soak the work for hours so they are sure that the canvas is wet and soft to the core. If the piece needs to be washed, the washing can double as the wetting process.
For older, more delicate embroidery use dry blocking. It may take several tries and you may not ever get things perfectly square but it is less aggressive. In dry blocking the work is dampened after it is mounted with either a mister or a steamer. The mister is the less aggressive approach. Steam penetrates and sets the blocking better.
Mount the work. You want the work as to be as tight, flat and square as you can get it ... without damaging it. I'm afraid experience is the only teacher. And you must use good judgement. New wet linen can with stand a lot more tension than old brittle cotton.
Start in the center horizontally and vertically. Get them set before pulling the diagonals.
Next set the corners square with the centers and no further. Because the corners pull on the diagonal it is easy to pull them too far out. Drafting triangles, rulers and T-squares are most helpful.
Once the cardinal points are set work around the edge bisecting each area going around and around until the pins are close enough that the edges are straight ( 1/4 to 1/2 inch apart) and not scalloped. If you can't get the scallops out, start again, working with slightly less tenstion.
Remember the goal is perfectly straight and square.
Important hint:
If the work is badly skewed, it does not have to be squared on the first try. It is better to progress slowly, in several steps. Each blocking will get a little closer to square.
In dry blocking now is the time to mist or steam the piece until it is damp.
Let the work dry COMPLETELY. If it doesn't completely dry, it won't be set and could return to its former state. Check it regularly particularly in the first hour or 2. If any color starts to bleed, IMMEDIATELY grab the hair dryer and start blowing. The faster the work drys, the less bleeding there will be. Hopefully you checked in step one and this won't happen because bleeding is easier to prevent than to correct.
Take the work off of the blocking board. Put your tools away. Then sit back and admire your work.
Good luck,
To discuss the contents of these articles, or for advice or information about needlepoint, write to me by clicking here.
Copyright © 1996 Robert Tusler
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