U.S. patent application number 11/689999 was filed with the patent office on 2008-09-25 for fabric artwork with mounting assembly for nesting in frame.
Invention is credited to Frederick A. Slautterback.
Application Number | 20080229641 11/689999 |
Document ID | / |
Family ID | 39773302 |
Filed Date | 2008-09-25 |
United States Patent
Application |
20080229641 |
Kind Code |
A1 |
Slautterback; Frederick A. |
September 25, 2008 |
FABRIC ARTWORK WITH MOUNTING ASSEMBLY FOR NESTING IN FRAME
Abstract
Framed fabric artwork features an artwork canvas with an artwork
body having a first set of tabs and an orthogonal second set of
tabs wherein the rectangular artwork body has a back surface
configured to be attached to a first composite backing structure.
The first set of tabs is folded beneath the first composite backing
structure and adhered to it. A second composite backing structure
is configured to be attached to a lower side of the first set of
tabs and the second set of tabs is folded beneath the second
composite backing structure and adhered to it. A third composite
backing structure is adhered to the lower side of the second set of
tabs and also joined to the artwork body which, in turn, is nested
in a unitary frame with a rectangular well with upright walls at an
outer periphery. The outer periphery of the frame may have bosses
adaptable for jewelry uses.
Inventors: |
Slautterback; Frederick A.;
(Sand City, CA) |
Correspondence
Address: |
SCHNECK & SCHNECK
P.O. BOX 2-E
SAN JOSE
CA
95109-0005
US
|
Family ID: |
39773302 |
Appl. No.: |
11/689999 |
Filed: |
March 22, 2007 |
Current U.S.
Class: |
40/773 |
Current CPC
Class: |
A44C 1/00 20130101; A44C
25/001 20130101; A44C 27/00 20130101 |
Class at
Publication: |
40/773 |
International
Class: |
A47G 1/06 20060101
A47G001/06 |
Claims
1. Framed fabric art comprising: a unitary frame having an outer
periphery and a central well less than one-quarter inch deep with
upright side walls; and a fabric artwork mounting assembly having a
fabric artwork body with peripheral tabs folded beneath the body,
the artwork mounting assembly adhesively secured in the central
well of the frame and contacting the side walls of the well in a
nested relation with the well.
2. The apparatus of claim 1 wherein the fabric artwork mounting
assembly has at least two composite backing structures beneath the
fabric artwork body.
3. The apparatus of claim 2 wherein at least one of the composite
backing structures comprises a substrate sandwiched between double
sided adhesive films.
4. The apparatus of claim 2 wherein a third composite backing
structure secures the fabric artwork mounting assembly to the
central well.
5. Framed fabric art comprising: a fabric artwork canvas, said
canvas including a fabric artwork body, a rectangular body back
surface with projecting tabs including a first set of tabs, and a
second set of tabs; a first composite backing structure: attached
to the artwork canvas including a substrate having first and second
adhesive films on opposite sides of the substrate, wherein said
rectangular artwork back surface is configured to be attached to
said first adhesive film, and said first set of tabs attached to
said second adhesive film, a second composite backing structure
attached to a side of the first set of tabs and opposite the first
composite backing structure and a second set of tabs attached to
said second composite backing structure on a side opposite the
first set of tabs, with both sets of tabs and composite backing
structures behind the artwork body; a frame having dimensions
nesting the artwork body within a rectangular well, said
rectangular well including a well rear surface, wherein said second
of tabs is configured to be attached to said rear surface by a
third composite backing structure.
6. The apparatus of claim 5 wherein the frame is configured as a
jewelry pendant.
7. The apparatus of claim 5 wherein the frame has at least one
eyelet projecting from the outer periphery of the frame.
8. The apparatus of claim 5 wherein the frame is selected from
metal, plastic, wood and ceramics.
9. The apparatus of claim 5 wherein the frame is configured as a
jewelry brooch.
10. The apparatus of claim 9, wherein at least one of said first
adhesive film, said second adhesive film and said third adhesive
film, includes a pressure sensitive adhesive.
11. The apparatus of claim 5, wherein said third composite backing
structure is an adhesive.
12. The apparatus of claim 11, wherein said adhesive is one of a
natural adhesive, a synthetic adhesive, a drying adhesive, a
contact adhesive, a hot melt adhesive, a reactive adhesive, a
pressure sensitive adhesive, and a removable adhesive.
13. The apparatus of claim 5, wherein said well has rounded
corners.
14. The apparatus of claim 5, where said frame is made of one of
metal, plastic, and ceramic.
15. A method of manufacturing framed fabric artwork comprising:
providing a fabric artwork canvas including a rectangular artwork
body back surface with projecting tabs in a Greek cross shape
including a first set of tabs and a second set of tabs; adhering a
first composite backing structure to the artwork body back surface;
adhering a first set of tabs behind the first composite backing
structure, the first set of tabs haying an exposed back surface;
adhering a second composite backing structure to the exposed back
surface of the first set of tabs; adhering a second set of tabs
behind the second composite backing structure, the second set of
tabs having an exposed back surface; providing a frame defining a
rectangular well; securing said second set of tabs in said
rectangular well.
16. The method of claim 15, wherein the step of securing said
second set of tabs in said rectangular well is by adhering a third
composite backing structure joining the second set of tabs onto
said rectangular well.
17. The method of claim 16 further defined by making a composite
backing structure by providing a substrate with opposed major
surfaces and double sided adhesive film on each major surface.
18. The method of claim 16 further defined by making a composite
backing structure by providing a double sided adhesive film.
19. The method of claim 16 further defined by making a composite
backing structure by providing an adhesive layer.
Description
TECHNICAL FIELD
[0001] The present invention generally relates to backing
assemblies incorporating fabric works of art for mounting in
special frames.
BACKGROUND OF THE INVENTION
[0002] Needlepoint exemplifies fabric works of art. It uses thread
stitches in woven canvas in order to create a new fabric. Typically
employing an open grid construction, the woven canvas includes
horizontal (woof) and vertical (warp) threads that are woven
together to create openings, called cells, in a special needlepoint
fabric. The size of the canvas is generally described by the number
of cells (counts, stitches, etc.) per inch (e.g., 13 cells per
inch, etc.).
[0003] Needlepoint thread or filling yarn is typically pulled
through the cells from the front to the back by techniques of
interlacing the yarn through the woven canvas typically using a
tapestry needle. The portion of the canvas with the needlepoint
thread or yarn is commonly called the stitchwork, and is generally
surrounded by an unstitched canvas border.
[0004] Often, the completed new fabric is subsequently finished
into a variety of items such as pillows, rugs, eyeglass cases,
clothing, etc. Since the integrity of the stitchwork is generally
maintained by the surrounding unstitched canvas border, the border
is generally hidden from view rather than cut away. For example, in
one technique, commonly used with pillows, etc., an additional
piece of cloth fabric is sewn onto the canvas such that the edge of
the fabric is aligned with the edge of the stitched needlepoint
covering the unfinished areas. However, this technique generally
requires that a visible perimeter boundary be displayed along with
the stitchwork.
[0005] In contrast, in a technique commonly used with display
frames, the canvas may be folded at a first parallel line of
unstitched openings and subsequently bent underneath and secured to
the underside of the stitchwork. However, although the perimeter
boundary is hidden from view, folding the canvas at each of the
canvas corners tends to be problematic. For example, since a
portion of one folded side is typically placed over another
perpendicular folded side, a double-thickness build-up is created
at each corner. Consequently, the unstitched canvas at these
right-angle corners may be difficult to hide, arid hence may be
unsightly.
[0006] Consequently, display frame molding with rabbets, i.e. deep
notches at the corners, is often used to hide some of the canvas
build-up. However, when mounted, a rabbet also tends to cover a
portion of the stitchwork, further detracting from the full
presentation of the needlework, particularly with framed
needlepoint jewelry applications, where the actual size of the
stitchwork tends to be relatively small.
[0007] In view of the foregoing, there is desired an enhanced
framed display apparatus for fabric works of art, particularly
stitchwork but also needlepoint fabric artworks, such as
quilting.
SUMMARY OF THE INVENTION
[0008] The present invention features fabric works of art mounted
snugly within a unitary frame that hides the perimeter boundary of
the artwork or stitchwork in the case of needlepoint. The fabric
work of art may project forwardly slightly from the frame but the
artwork is nested snuggly by walls of a well that are formed in the
frame. The well may be machined or otherwise formed in a block of
frame material such that the well only exposes the surface of the
artwork.
[0009] In accordance with the present invention, a fabric artwork
is prepared for mounting by establishing a shape resembling a Greek
cross, with the fabric art in a center section and members
extending outwardly from the borders of the fabric art. The
outwardly extending members are first and second sets of orthogonal
tabs that will be folded below the center section. The present
invention employs three composite backing structures, two
associated with each of the sets of tabs and one with a frame.
[0010] A composite backing structure preferably employs a first
double sided adhesive film, a substrate attached to the first
adhesive film and a second double sided adhesive film attached to
the substrate in a sandwich construction with exposed adhesive
facing outwardly on both sides. Alternatively, a composite backing
structure can be a layer of semi-viscous adhesive spread uniformly.
To avoid contact of semi-viscous adhesive with the fabric artwork
composite backing structures involving adhesive films are preferred
for the upper two composite backing structures. Double sided
adhesive film is commercially available.
[0011] A first composite backing structure is applied against the
center section of the fabric art. A first set of tabs is folded
beneath the first composite backing structure and attached to
exposed adhesive film. Preferably the tabs are cut so that they do
not overlap but rather fit like double doors closing over exposed
adhesive film of the composite backing structure such that folded
tabs form a substantially flat surface.
[0012] A second composite backing structure is applied against the
first set of tabs and attached to exposed adhesive film. Then the
second set of tabs is folded beneath the second composite backing
structure and attached to exposed adhesive film. The tabs, cut as
described above, close over the exposed adhesive film forming a
substantially flat surface. The fabric artwork is secured to a
frame having a rectangular or square well in which the fabric
artwork snugly rests. A third adhesive backing structure, the
lowermost, is used to adhesively secure the exposed side of the
second set of tabs to the frame. The preferred type of composite
backing structure is a layer of hot melt adhesive that is dispensed
by nozzles in uniform stripes across the well. When the second set
of tabs is pushed against the hot melt adhesive, the adhesive
spreads to create a bond across most of surface of the well and the
tabs. Another composite backing structure could a be a double sided
adhesive film of high adhesive strength without any substrate
attached.
BRIEF DESCRIPTION OF TBS DRAWINGS
[0013] FIG. 1 shows a plan perspective view of a jewelry necklace
and pendant having a decorative unitary frame nesting a fabric
artwork in accordance with the present invention;
[0014] FIG. 1a is a back side perspective view of an alternative
embodiment of the frame of FIG. 1;
[0015] FIG. 2 is a top view of a completed needlepoint woven canvas
used to create the fabric artwork shown in FIG. 1;
[0016] FIG. 3 is a top plan view of the needlepoint woven canvas of
FIG. 2 cut to the shape of a Greek cross;
[0017] FIG. 4 is a corner detail of the woven canvas of FIG. 3;
[0018] FIG. 5 is a detailed view of a corner of the completed
needlepoint woven canvas of FIG. 4;
[0019] FIG. 6 is a top plan view of an embodiment of a composite
backing structure used in making the fabric artwork illustrated in
FIG. 1;
[0020] FIG. 7 shows a side-sectional view of a composite backing
structure taken along lines A-A in FIG. 6 for use in mounting the
canvas of FIG. 5 on the pendant of FIG. 1;
[0021] FIG. 8 is a plan view of the woven canvas of FIG. 5
illustrating a preferred tab folding sequence;
[0022] FIG. 9 is a side plan view of fabric artwork for mounting in
a frame as shown in FIG. 1 in accordance with a first embodiment of
the invention.
[0023] FIG. 10 is a side plan view of fabric artwork for mounting
in a frame as shown in FIG. 1 in accordance with a second
embodiment of the invention.
[0024] FIG. 11 is a perspective assembly view illustrating the
mounting of the woven canvas of FIG. 8 in a special frame.
BEST MODE FOR CARRYING OUT THE INVENTION
[0025] Referring to FIG. 1, a fabric artwork pendant 102 may be
coupled to an attachment structure 110, such as a necklace, with a
set of eyelets 108 formed on a special frame 104 of the present
invention. In general, frame 104 may be manufactured from any
suitably machinable, tooled, or molded material, such as metals
e.g. aluminum, copper, steel, etc. or plastic, wood, ceramic, etc.,
preferably as a unitary article with a central well for the
needlepoint artwork and optional integral eyelets 108. In this
example, a pendant frame is shown with peripheral bosses, in this
case eyelets, adaptable for jewelry uses. As an alternative to
peripheral bosses, the backside of the frame could be provided with
a pin to form a brooch. However other frames may be used, such as
hanging frames, etc. The frame has a central well. typically
one-eighth to three-eighths inches deep to accommodate a fabric
artwork. The depth of the well is adjusted to the thickness of the
artwork so that a slight amount of the surface of the artwork is
exposed when the artwork is fully seated and attached to the well.
Secured to frame 104 is fabric artwork 106, having a backing
assembly, not shown.
[0026] Fabric artwork 106 may be created from scratch, or from a
kit, for example a needlepoint kit comprising an initial design on
a canvas, as well as required materials, e.g. plain, printed or
painted canvas, threads, needle, and instructions. Other artwork
kits, such as quilt kits also may be used.
[0027] Referring to FIG. 1a, the frame 104 may alternatively have a
back side pin 112 arid ho peripheral bosses for use as a brooch
displaying fabric art on the reverse side.
[0028] Referring to FIG. 2, an exemplary needlepoint canvas 124,
completed with the needlepoint artwork, is further adapted for
subsequent placement in frame 104 of FIG. 1. In general, canvas 124
may be divided into two sections, a stitchwork 125 portion with the
completed needlepoint design, as an example of a fabric artwork
body, and an unstitched portion surrounding stitchwork 125 at its
peripheral border.
[0029] In order to protect stitchwork 125 during the mounting
process, unstitched portions of needlepoint canvas 124 are
stiffened by adding a coating of liquid adhesive or other liquid
stiffener such as varnish. Penetrating the canvas threads, the
adhesive may adhere to the "woof" (horizontal) and "warf"
(vertical) threads together at the crossover points, consequently
creating a stable sheet that holds together when bent.
[0030] In an advantageous manner, a water-based polyvinyl acetate,
or other appropriate adhesive, is applied to the unstitched
portions of needlepoint canvas 124 with a brush. Without
substantially coating the thread, the adhesive may be brushed
substantially close to the stitchwork. Per example, the adhesive
may be placed on top of a row of unstitched thread that borders the
outside of a stitched needlepoint row in stitchwork 125. Once the
adhesive has substantially dried, corners 130 may then be removed
with a sharp knife, such as with a Xacto blade, with minimal
unraveling damage to the stitchwork, leaving the canvas in a Greek
cross shape, shown in FIG. 3.
[0031] With reference to FIGS. 2 and 3, the Greek cross shaped
canvas 200 has the central stitchwork 125, a first set of tabs 133a
and 133b and a second set of tabs 135a and 135b. The tab sets are
mutually orthogonal projecting arms of the Greek cross shape.
[0032] In a beneficial manner, the cross-shaped canvas of FIG. 3
allows the completed needlepoint pendant 102 of FIG. 1 to display
substantially all of stitchwork 125 of FIG. 3, as well as to
substantially reduce any wrinkles and ridges caused by excess and
overlapping needlepoint canvas material, when finally mounted on
frame 104.
[0033] Returning to FIG. 2, the first set of tabs 133a-b are
generally configured to be folded back away from the front of
stitchwork 125, such that outer borders 136a-b substantially rest
on midline 116 when folded over the corresponding fold lines 127a-b
like two doors closing an entry. In addition, the second set of
tabs 135a-b are also generally configured to be folded back away
from the front of stitchwork 125, such that borders 138a-b
substantially rest on midline 128 when folded over the
corresponding fold lines 129a-b like two doors closing an entry.
For optimal appearance, a smooth stitched surface is desirable
without bumps and depressions. An optimal way of achieving this
result is to keep a solid, even surface made of folds and
laminating adhesive underneath.
[0034] Referring to FIG. 4, to achieve the Greek cross shaped
canvas described above, a first set of two perpendicular cuts
190a-b may be made from the outside edge of canvas 124 to the
border of stitchwork 125, offset from corners 131. Next, a second
set of smaller perpendicular cuts 122a-b is made to remove the
remaining unstitched portions of the needlepoint canvas from around
the set of corners 131, created by the offset, and held in place by
the application of the adhesive.
[0035] Consequently, a substantially Greek cross-shaped canvas 200
may be created with a first set of tabs 133a-b (as shown in FIG. 2)
of width W3 as shown in FIG. 2 that is smaller than stitchwork
width W2, and a second set of tabs. 135a-b (as shown in FIG. 3) of
length L3 as shown in FIG. 2 that is smaller than stitchwork length
L2. In addition, each of the corners 131 that are cut out form a
W-shape, more clearly seen in the detail of FIG. 5. In corners 131,
the W-shape 132 creates relief for folding tabs 133a and 135b
without the need for rabbets in the frame so that a rabbet-less
unitary frame can easily be made with machine tools or by molding.
The central point of the W-shape is ideally a right angle corner
but in practice may be slightly rounded.
[0036] Referring to FIG. 6, composite backing structure 139, for
mounting the needlepoint canvas of FIG. 3, has areawise dimensions
slightly smaller than the stitchwork that will overlie it. In one
configuration, the adhesive films 143 and 144 comprise
pressure-sensitive adhesive films (e.g., 3M 486 MP, etc.). In an
alternate configuration, only a single adhesive film or even a
layer of adhesive is used without a substrate.
[0037] In contrast to structural adhesives that form a permanent
bond, hardening via processes such as evaporation of solvent,
reaction with radiation, chemical reaction, or cooling, pressure
sensitive adhesives (PSAs) form a bond by the application of light
pressure to bond the adhesive with the adherent, here substrate
140.
[0038] Pressure sensitive adhesive are generally designed with a
balance between flow and resistance to flow. The bond forms because
the adhesive is soft enough to flow, or wet, the adherend. The bond
has strength because the adhesive is hard enough to resist flow
when stress is applied to the bond. In addition, in an advantageous
fashion, in order to further allow adjustment of a needlepoint
canvas during the assembly process, the pressure-sensitive film may
be initially removable, but build adhesion to a permanent bond
after several hours of days. Hot melt adhesives, applied by
multiple parallel nozzles are useful applicators for bonding a
completed artwork assembly to the well of a frame.
[0039] With reference to FIG. 7, an exemplary composite backing
structure 139 is seen to comprise a central self-supporting
substrate 140 which may be felt or heavy paper or thin cardboard.
Fibrous material is preferred in order to have fibers wet by
contacting adhesive. Double sided adhesive films 142 and 144 form a
sandwich contacting substrate 140 to complete the composite backing
structure. Protective release paper sheets 146 and 148 are
discarded when the composite backing structure 139 is ready for
use.
[0040] In the configuration of FIG. 7, a first adhesive film 142
with a first release paper 146, and a second adhesive film 144 with
a second release paper 148, is attached to substrate 140 in a
sandwich arrangement. Release papers 146 and 148 are subsequently
removed and discarded. The papers are not part of composite backing
structure 139 but rather serve as protective members. The Greek
cross-shaped canvas as described in FIG. is attached after assembly
as seen in FIG. 6. Composite backing structure 139, in turn,
provides a semi-rigid support to modified needlepoint canvas 124
for insertion into frame 104 of FIG. 1.
[0041] Referring to FIG. 8, in a first step, a composite backing
structure 139 of FIG. 6, slightly smaller than stitchwork 125, is
attached via a first adhesive film of a first composite backing
structure to the rear surface (opposite the needlepoint artwork) of
the stitchwork 125, after release paper 146 is removed and
discarded. Next, tabs 133a and 133b are folded over and contact a
second adhesive film on the opposite side of the composite backing
structure, again after the removal of the release paper. Next a
third adhesive film associated with one side of a second composite
backing structure 149 is applied to exposed surfaces of tabs 133a
and 133b. Next, tabs 135a and 135b are folded over to almost
complete the artwork mounting, assembly 150. In an alternative
configuration, steps are reversed, such that tabs 135a and 135b are
folded over first, while tabs 133a and 133b are folded over
second.
[0042] Alternative artwork mounting assemblies are seen in FIGS. 9
and 10. With reference to FIG. 9, the stitchwork 125 or other
center section of Greek cross shaped fabric art is attached to a
first composite backing structure 139a. The first set of tabs 133a
and 133b are wrapped behind and attached to the first composite
backing structure 139a. A second, preferably identical, second
composite backing structure 139b is attached to the first set of
tabs 133a and 133b. The second set of tabs 135a and 135b is wrapped
around the second composite backing structure and securely attached
with the resultant artwork mounting assembly 150 in FIG. 8 ready
for mounting in the well of a frame. A third composite mounting
structure 170 that may be the same or similar to the first and
second composite backing structures or may be a piece of double
sided adhesive film or stripes of hot melt adhesive, as shown. The
entire fabric artwork mounting assembly is now snugly nested in
well 154 of frame 104.
[0043] In FIG. 10, the stitchwork 125 is attached to a first
composite backing structure 174 that is comprised of double sided
adhesive film. After the first set of tabs 133a and 133b are
wrapped behind and attached to the first composite backing
structure 174, a second composite backing structure 176 that is
comprised of double sided adhesive film mates to tabs 133a and 133b
before the second pair of tabs 135a and 135b are wrapped on the
other side. As in FIG. 9, a third composite backing structure 170
secures the assembly into well 154 of frame 104. As an alternative
to double sided adhesive films, the first and second composite
backing structures 174 and 176 may be formed of viscous adhesive
layers.
[0044] Referring to FIG. 11, the artwork mounting assembly 150 of
FIG. 8 is inserted in and secured to well 154 of frame 104 in a
nesting relationship, with the needlework art body exposed and
closely surrounded on non-exposed sides by the well walls.
Generally, the length L2 of artwork mounting assembly 150 is almost
the same as the length L4 of well 154. In addition, the width W2 of
combined composite backing structure 150 is almost the same as the
width W4 of well 154. Note that dimensions L4 and W4 refer to
internal wall-to-wall well dimensions. The frame is preferably a
unitary structure, such as a block of metal with a central well
less than one-quarter inch deep, in which a needlepoint artwork is
nested as described herein.
[0045] In one insertion method, artwork mounting assembly 150 is
mounted into well 154 first by placing the third composite backing
structure in the well and then placing one edge (two corners
160a-b) inside well 154 against a well wall, and then slightly
buckling the pad and placing a third corner 160c down inside. The
final corner 160d may be insured with a narrow edged insertion
tool, such fan a Xacto knife.
[0046] In addition, internal corners 152a-d of frame 104 are
machined or manufactured in a curved manner in order to
substantially reduce the wrinkles when the combined composite
backing structure 1150 is inserted into well 154.
[0047] The third composite backing structure has the greatest
variety of possibilities to secure the artwork mounting assembly
150 in well 154. Examples of possibilities include natural
adhesives, synthetic adhesives (e.g., elastomers, thermoplastic,
and thermosetting adhesives, etc.), drying adhesives (typically
polymers dissolved in a solvent), contact adhesives, hot melt
adhesives (e.g., thermoplastic adhesives, etc.) reactive adhesives,
pressure sensitive adhesives, removable adhesives, and viscous
adhesives (e.g., GE Household Glue (Clear Silicone), etc.).
[0048] While a needlepoint canvas has been described as a preferred
embodiment, other fabric artworks could be used, such as
micro-quits and the like. Advantages of the invention include the
ability to create an enhanced framed fabric artwork apparatus for
use in jewelry.
* * * * *