From: Dorothy
Date: Tue, 5 May 1998

[There was a post] about putting some personal information inside a finished xs project for future generations who may someday inherit the piece and want to take it apart for cleaning or whatever. When I frame my work, I've been doing just this, and it seems like I've been putting in more and more information.

What I do is write on the back of the foamboard, before I lace it, a message like who the piece is for and the occasion for giving it, when I started stitching it and when I finished, the name of the piece including the designer, and of course my full name and the year.

You could really write anything in there that you want, i.e., important events happening during the year just passed, information about you, the stitcher, information about any specialty stitches or threads used in the project, and the list goes on and on. I just use a regular black ball point pen to write this and since I'm writing on the acid-free foamboard, I would hope that this writing would not deteriorate over time.

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From: Marcia Johnston
Date: Wed, 6 May 1998

Since I design many of my own samplers and include motifs/figures which have special meaning to me or to the person I'm stitching it for, I backstitch a fairly detailed explanation in the part of the fabric which will be turned over the mounting board. At the very least I include my name and that of the person for whom the sampler was stitched. This information is also typed on a label which I stick to the dust cover backing sheet. This way, even if the sampler becomes separated from the frame many years down the line, the information is available for future generations.

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From: Jill
Date: Wed, 6 May 1998

With regard to putting a piece of paper in the back of your stitching. I read somewhere that if you are maybe doing a birth/wedding/something similar then put in a photo, a lock of hair, clipping announcing the birth/marriage from the newspaper or some other keepsake.

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From: Jill Martz
Date: July 5, 1999

I use backstitch for signing and dating because it makes the letters and numbers less obvious. By doing so, I can also make them smaller than the other stitching in the project, especially on evenweave fabrics.

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From Susy
Date: May 23, 2000

I have been going to the trophy shops and getting gold plated name plates about 4 inches square. I get my name, the designer, and the pattern printed on it along with the date of completion. I get my framer to cut out a small slit in the mat and put it in this space on the front and it is really attractive. Over the years you forget who the project is by and what it was called. It only cost about $2.00 and they can engrave it in any color you want.

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Reproduction Samplers

From: Judy
Date: Fri, 25 Jun 1999

I stitch repros exactly as designed...including the original date and name....then below the border, I stitch the following..."respectfully reproduced by".....and my name and date. I think it is misleading to put my name and date in the main piece. It is a terrible disservice to the young girls who designed and stitched them. Their names should be preserved!

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From: Christina
Date: Fri, 25 Jun 99

If I'm working on an Authentic Reproduction Sampler, I stick as close to the original (pattern) as I possibly can.... including the original signature and date. But if it's a Sampler made to look old and like a Reproduction, I'll stick in my own name and the current date.

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From: Charlotte
Date: Fri, 25 Jun 1999

I NEVER sign and date a reproduction sampler where it is visible after framing. To me that is a cardinal sin. I stitch my name and the year it was stitched in the hem of the work. This is not seen when it is framed but I also put a sticker on the back of the frame with my name, date, ame of sampler, and who the creator of the reproduction was.

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From: Ellen Chester
Date: Sat, 26 Jun 1999

I usually try to "hide" my initials in the lower left hand corner and the year in the lower right hand corner of the completed sampler. I pick a color that blends in so as not to distract from the piece.

Recently I have started to add further information. (Guess that I have been around Joanne Harvey too much--have heard her over and over talk about the importance of documentation.) I now add my whole name, city, state and date, but put it lower down on the linen so that it doesn't show when the piece is framed.

Another thing that I do is to have my framer put a plastic pocket on the backside of the frame. There I write a brief history about the sampler as well as a little information about myself. Joanne suggested that I also put this inside the frame, so I try to remember to make an extra copy to put in an envelope which goes inside the frame. Sometimes I even add the needle I used and some of the actual floss (other suggestions from Joanne).