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    Why My Embroidery Looked Better on the Back: A Beginner’s Machine Embroidery Lesson

    By diver361, in Machine embroidery materials and technology, , 0 comments, 23 views
    My First Embroidery Machine Project: Why the Front Looked Terrible (But the Back Looked Great!)
    Hi there! I'm brand new to the embroidery world, and I recently gave my very first machine embroidery a try using my Brother SE700. I was super excited, but... let’s just say, things didn’t go exactly as planned.
    I used:
    Simthread 40wt embroidery thread on top
    Simthread 60wt embroidery bobbin thread
    Sulky Cut Away Plus Midweight stabilizer
    The result? The front looked awful—loose, gappy, and uneven—while the back looked amazing… as if it was meant to be the front! Totally confusing, right?
    Take a look:


    My Embroidery Looked Backwards?!
    I tried adjusting the top tension (each “B” in my test has a different setting), but nothing fixed it. The middle bar of the “B” even looked like it wasn't attached to the vertical stroke.
    I had no idea what was going wrong. I started wondering things like:
    Did I hoop my fabric upside down?
    Could the design file be corrupted?
    Was the machine trying to stitch from the wrong side?!
    The online community (thank you amazing folks!) chimed in with some solid tips, hilarious theories, and reassuring support. Here's a breakdown of what I learned.
    Top Lessons I Learned (So You Don’t Have to Go Crazy Like I Did)
    1. Tension Matters... A LOT
    Several people pointed out that my bobbin tension was likely too loose. That would explain why all the bobbin thread was being pulled up and dominating the front.
    Fix: Tighten your bobbin tension in tiny increments. A quarter turn clockwise on the tension screw is a safe place to start.
    2. Thread Weight Differences Count
    Using a 60wt bobbin thread and a 40wt top thread is totally normal—but it means your tension has to be dialed in perfectly. The thicker 40wt should dominate on top, but if the bobbin tension is too loose, the thinner thread will get yanked to the surface.
    3. Threading Must Be Perfect
    Yep—rethread the machine from scratch. Make sure your presser foot is raised when threading so the thread goes through the tension disks properly. A lot of machines won’t apply correct top tension if this step is skipped!

    4. Double Check Your Bobbin Direction
    Several people mentioned that a backwards bobbin can cause major chaos. So if you’re seeing weird results, reinsert it carefully and make sure it’s turning the correct way in the case.
    5. Stabilizer Is Your Best Friend
    Turns out, I got drastically different results depending on whether I used stabilizer or not. When I skipped it? Disaster. When I used it? Much better!
    Always use stabilizer (especially as a beginner!) and consider topping it with a wash-away if you’re working on stretchy or textured fabric.
    The Verdict?
    It was a mix of things: bobbin tension, thread weight difference, and possibly threading mistakes. But now I know, and I hope this helps you avoid the same frustrations.
    Most importantly, if your embroidery looks better on the back, don’t panic—you’re not crazy. You’re just learning, and we’ve all been there.
    Thanks to everyone who helped troubleshoot—I genuinely would’ve gone nuts without you
    Have you ever had a similar embroidery fail?
    Share it in the comments—I’d love to hear your story (and feel a little less alone ).
    Happy stitching,
    A New Embroidery Addict

    Recreating a Patch Design: When Learning Meets Resistance

    By diver361, in Machine embroidery materials and technology, , 0 comments, 54 views
    Recently, I was asked to recreate an embroidery design for a client who used to outsource their patches but now wants to support local makers. It sounded simple enough—just reproduce an existing 2.25-inch patch. I’ve done similar work before, so I figured I’d digitize it myself and get stitching.
    Cue: frustration.

    No matter how many adjustments I made to the file or tweaks I tried on the machine, I couldn’t get it to look as clean and professional as the original version. The fill stitches looked okay, and tension wasn’t the issue (I double-checked needle gauges and everything), but the lettering—especially at the bottom—just wouldn’t cooperate.

    So... Is It Me? Or Is It My Machine?
    At a certain point, I started to wonder if the real issue was my Ricoma machine. It seems like it's just not built for super fine lettering, especially when it gets down to those 2-inch patch sizes. I know machines have their quirks, but when your file looks great on screen and stitches out like a mess, it’s enough to drive you up the wall.


    The Community Weighs In: Actual Life-Saving Tips
    Thankfully, I wasn’t alone in this. I reached out and got some solid advice from folks who've been in the same boat:
    1. Design Size vs. Font Size
    Even though the patch is 2.25 inches (which matched the original), that still doesn’t leave a lot of space for clean, crisp lettering. Fonts get tricky fast when they drop below a certain size, especially if you're using standard 40wt thread and a 75/11 needle.
    2. Stitch Strategy Tweaks
    For the yellow outline around “Penn”, instead of outlining it literally, try making a wider fill base and letting the white letters overlap slightly.
    Add or adjust pull compensation: set it between .010 and .012 for better coverage.
    Don’t skip underlay, even for thin elements like ribbon lines. A single run underlay can stabilize the stitches and reduce distortion.
    Bump density to .014 for words like "Construction" or "Comprehensive Design" that sit on curves or small spaces.
    3. Small Fonts Need Special Tools
    For really fine lettering:
    Use 60wt thread (Gunold is a favorite for this).
    Switch to a 65/9 needle for better control and less distortion.
    Increase density slightly (around .011) to help with clarity.
    4. Removing Underlay Isn’t Always the Fix
    I was removing underlay from thinner text elements because it was getting messy, but without it, things didn’t look much better either. Sometimes, the messiness is a sign the design just needs more support—not less.
    On the Topic of Outsourcing: A Learning Perspective
    I got a few suggestions to outsource the digitizing entirely—just pay the $25 and be done with it. And honestly, I get that. Sometimes, it is the smartest path.
    But here’s where I stand: I already spent a year having my designs digitized professionally. I’ve studied every stitch from those files, reverse-engineered how they’re built, and have been digitizing my own work for over a year and a half now. Most of the time, the results are solid. But these patch-style designs really push the limits, and that’s exactly why I want to do this myself.
    I have the time. I have the drive. And this project gives me a chance to truly figure it out—not just imitate the look, but understand the logic behind it.

    A Reminder to Fellow Creators
    If you're in the same boat—frustrated with inconsistent results and tempted to throw in the towel—you're not alone. Sometimes, the hardest projects are the ones that push your skills to the next level. Take the feedback that helps, ignore the noise that doesn't, and give yourself space to improve.
    At the end of the day, I’m not just trying to make this patch. I’m trying to master the craft.
    Have you wrestled with small fonts, tricky underlays, or machine limitations? Drop your thoughts below or send me your go-to fixes. Let’s keep learning together, one stitch at a time.

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