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Beautiful design, Morning owl look amazing.

This embroidery work up perfectly and stitch out nicely. 
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Excellent stitches and original style

Stitched out beautifully! Looked amazing and no issues!
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Loving birds.. Wonderful designs, stitched out beautifully

Really cute, You love this when you stitched it. Would love more of same designs.
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Our designs looks great

Stitched out beautifully! Wonderful decoration!
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Adorable design. Stitches out beautifully.

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  • Applique in machine embroidery

    Applique as an embroidery technique
    Patchwork, or applique, is a way of creating a machine embroidery design by attaching pieces of material to the fabric with the help of various types of stitches. Applique covers a whole range of areas, from the rather laconic folk art and ornaments for kids to complex models, full of artistic value. Methods of creation of an applique depend on your machine’s capabilities and the structure of the design. 
    Applique goes back a long time. Perhaps, the first step toward the new technique was made by a man sewing a few skins together in order to make clothes, who looked at the stitches and realized they could be used for decoration. He attached the small pieces onto the big ones, and thus the applique was born.
    It is commonly believed that this technique came to Europe from Asia via the Silk Road.
    There are 10 kinds of applique in machine embroidery as yet, and the creation process largely depends on the one you choose.
    1. Joining applique is used for decoration, for dresses and blouses and also whenever you need to join together pieces of different fabrics. These fabrics should be of the same texture and color.  Make sure that the edges overlap so that they cover the entire embroidery design, plus 2 cm allowance on each side. Trace the design onto the applique fabric, and place it over the main fabric. Baste the two fabrics together, hoop with the design facing up and stitch the contours of the design twice. Trim the extra material around the seam, leaving 1 mm allowance. Finish the edges with a hemstitch or a satin stitch.
    2.  Patched applique means the attachment of details consisting of one or several layers onto the fabric with the help of various types of stitches and supplementary materials (cord, ribbon, etc.). This type of applique creates the raised effect. The extra pieces of material can be trimmed in two ways, either manually or with a laser, according to the preexisting pattern. The edges of the applique fabric can also be finished in two different ways: either covered with various stitches (traditional applique) or left as it is (raw edge/ragged edge applique).
    3. Backing applique – the simplest kind of appliqué, also called the put-under applique. It is used with thin transparent fabrics for holiday clothes decoration. Thin silk threads (No 65) should be used for this kind of embroidery. Baste the backing material to the underside of the fabric with the design traced upon it. The backing piece should be bigger than the design, leaving at least 1.5 cm on all sides.
    4. Openwork/reverse applique. Several layers of applique fabric are placed underneath the main fabric and the whole thing is stitched together. The main fabric is cut, and the edges are finished with satin columns or zigzags, or any kinds of stitches used in appliqué. 
    5. 3D applique uses additional objects (embroidered or not) that are sewn onto the main fabric, but only partly, in order to create volume.
    6. Quilt is a kind of appliqué where no less than 3 layers of fabric are used. A three-dimensional motif is created on the surface, thus giving it volume.
    7. Padded applique Padded appliqué is an ordinary kind of appliqué with a special material under the appliqué fabric called padding. Puffy, polyester batting, foam rubber, and other materials can be used for padding.
    8. Double-sided applique, where the appliqué fabric is placed on both front and back sides of the main fabric.
    9. Stained glass/Celtic applique, where pieces of fabrics are joined butt-to-butt and the joint place is covered with a satin stitch border. You get something that resembles a mosaic panel.
    10.  There are two purposes of using appliqué under the low-density fills.
    1. To get a tincture. Lower the fill density by 30-40% and put a fabric of a different color underneath to create an effect. For example, a blue applique covered with a yellow fill will appear green.
    2. To save stitches.  In this case, the applique and the threads used for the filling should be of the same color.
    Appliqué covers a whole range of areas,
    Clothing decoration and alteration (especially, kids’ clothing)
    clothing repair (you can cover wear and tear with patches of various shapes)
    creation of one-of-a-kind garments (by using your own imagination and skills)
    making the embroidery softer (a garment with an appliqué is softer than the one covered with machine embroidery)
    saving stitches on big-size objects
    Before embarking on such a project, you’ll need to choose an applique fabric. There are several rules you need to follow:
    Better not to combine light-colored single-tone fabrics with vibrant ones, for the sheer reason that lighter parts will get smudged during washing as well as steaming;
    Fabric structure should be similar;
    Combining steaming-friendly fabrics with the ones that don’t respond well to steaming is not preferable;
    When in doubt, try dousing a piece of fabric in water and drying it with a steamer – if it has not warped, if its shape hasn’t changed, the fabric will most probably suit you just fine;
    Bear in mind that the grain line of the applique fabric should be consistent with the one in the fabric, onto which you are sewing it.
    Working with applique will require a wide selection of threads. This is due to the fact that every piece of appliqué should have a matching thread color (or a contrasting one). Sometimes you’ll need to choose a thread of a lighter or a darker tone in order to create a shade. The essential point is to remember that the upper and the lower threads should match in thickness, thus enabling your machine to not overload. 
    Various kinds of threads can be used (silk ones and metallics), the main thing is to choose them appropriately.
    Some general tips on fabrics: 
    Jersey is a thin and compliant knitwear fabric that doesn’t fray. Very rarely used in appliqué, it is positively unsuitable as a backing.
    Denims are excellent for the backing. They hold the line of stitches in place and stick to the main fabric without slipping.
    Thin drape cloth is also good for the backing, provided that it is not ribbed. You can choose any kind of main fabric, including the narrow mesh.
    Dense satins are very good for the backing, too. Satins are slippery, and thus require a dense main fabric (ticking or two-thread). Try to avoid excessive needle and pin penetration – that will leave holes in it. Do not go overboard with the steaming, or the fabric will lose part of its sheen, and its muslin foundation will become visible.
    Velvet is good for patchwork but very demanding. Better to patch it onto the thin interfacing material. If you own an old sewing machine model, you’ll need to adjust it in a particular way. If possible, avoid steaming (the pile will sink, exposing the foundation, and the all the sheen will go away).
    Coat canvas is a bit too coarse for the foundation material and comes in a limited number of colors, but this is a matter of preference.
    Velour is perfect for an applique. It cuts well, doesn’t fray or change its shape, and responds well to the needle.  
    Rayon can only be used with the dense stabilizer.
    Gabardine can be used as a backing if it is thin and has minimal ribbing.
    Chamois with its nice clean edge is, too, used for patchwork. Dense chamois requires reducing the stitch count.
    Crepe-de-chine is indispensable due to its color effects but should be stabilized.
    Linen is ideal for the backing. Almost any appliqué will look good on such a natural-looking, unassuming background. Retains its smoothness when embroidered or decorated with rhinestones.
    Polyester is an omni-purpose fabric, very durable and often pleasant to the eye. Thin polyester is an excellent backing material.
    Basketweave is also very good for the background. It behaves well under the needle, doesn't crease much, and its density and thickness are just right.
    Cotton is only used for the simplest household items (pot holders, napkins, tablecloths, heating pad covers).
    Flannel behaves well without the stabilizer, but one should avoid sharp angles when cutting on the bias – the fabric begins to stretch.
    Chiffon of all kinds and colors can be used in patchwork, though it should be strengthened with a dense white interfacing material. White is essential to make the colors stand out and cover the background. Chiffon is excellent when you need airiness and transparency, for example in the wings of a butterfly.
    We wish you many exciting discoveries when working with applique!

    Thread tension and factors that influence it. Testing and adjustment

    Embroidery manufacture is a rather complex and nuanced technical process that requires vast knowledge and a huge variety of skills. Thread tension maladjustment is one of the main sources of troubles for beginners. In order to choose the right thread tension, one needs to adhere to these rules:
    While drawing the thread through a needle, follow your embroidery machine guide step by step. Having loaded the design into your machine, make adjustments to the thread tensioning mechanism until you get the necessary quality. ALL the threads should be checked. Many embroiderers use the so-called l-test that allows one to check the tension of every thread. Having embroidered the ‘l’ letter with all the threads of all colors, unhoop your test piece and inspect the wrong side. Ideally, the upper thread should only occupy the middle part of every satin column (if satin stitches were used). If the middle part comes out small or is absent entirely, the upper thread tension needs adjustment.
    Another way of checking the thread tension is a “FOX” test, also called the “Thirds” test. Stitch out the letters “FOX” on a piece of fabric that will be used for sewing, approximately 4 cm high. After that, turn it with its wrong side out and check the underside: there should be three visibly discernible parts. The lower thread should occupy the middle, while the upper thread fills the two-thirds flanking it. If the upper thread fills more than two thirds, you need to lower the thread tension.
    Thread-tensioning is done by operating the two knobs, the upper and the lower ones. Turning a dial two complete circles each way will set it in the outermost position. One shouldn’t forget the factors that may influence the thread tension that seem completely irrelevant but will become important once you've changed the machine’s speed. You can compensate by setting the dial at the outermost position. Let’s look upon some of those factors.
    Color The coloring process may alter the thread surface so that it will pass through the machine in a different way. Thread weight Number 40 threads are commonly used on embroidery machines; denser or lighter threads will pass through the machine in a different way. The machine's speed Putting on speed, you increase the thread tension. Needle size Smaller eye causes more friction and increases the thread tension. Litter Thread tension may be excessive because of the small particles of dust or dirt that have accumulated on the thread

    Machine embroidery consumables: what and how to use: Stabilizers

    No high-quality machine embroidery is possible without a stabilizer. Various manufacturers offer a gazillion of stabilizers for any taste and budget. Beginners sometimes feel lost in the midst of it all, now knowing which ones to purchase.
    Let’s try and figure it out.
    Stabilizers can be divided into two types: toppings and backings. Backings are intended to shoulder the load during the embroidery in order to avoid puckering, while toppings are used to prevent stitches from sinking – for example, on piled fabric or loosely-knitted items, – and also partly shoulder the load during the embroidery.
    1. Tearaway stabilizers
    These stabilizers are made of cellulose or pressurized paper. They are the ones used most often.  They are either hooped together with the fabric or separately, with fabric placed upon it and stitched to hold it in place.
    Tearaway stabilizers vary in density, measured in g/m2. There is a common belief (a wrong one) that one should pick a lower-density stabilizer for thin fabrics, and higher-density stabilizers – for thick ones. The more support a fabric needs, the denser should be the stabilizer. For example, it’s better to use an 80 g/m2 stabilizer for a capricious satin, while for the dense linen or denim fabric 40 g/m2 will be enough.
    A high-quality tearaway stabilizer should be easily removed after the embroidery; when crumpled, it becomes soft and flexible, and in water, it should split into separate fibers.
    For me, at this particular moment, the best tearaway stabilizer is an 80 g/m2 Rainbow Doklas, also a tearaway stabilizer by Vilene; the one by Gunold is not so good.
    2. Adhesive tearaway stabilizers
    They consist of a tearaway stabilizer with a sticky side. They are attached to the fabric by ironing without steam.
    These stabilizers are intended for holding in place elastic and stretchable materials so that they don’t spread out during the embroidery. Are often paired with a simple tearaway. An adhesive topping prevents the fibers from stretching, and a tearaway backing shoulders the load during the embroidery in order to avoid puckering.
    Density and quality requirements for such stabilizers are the same as for the ordinary tearaways. Vilene stabilizers have a good reputation.
    3. Water-soluble stabilizers
    These include fusible interfacing and films of varying density.
    Fusible interfacing is used:
    ⦁    for cutwork and lace;
    ⦁     for 3D embroidery;
    ⦁     where the wrong side should look neat;
    ⦁     for the embroidery on netting, etc.
    Density also varies. A high-quality stabilizer should be easily dissolved in water, leaving no traces. It is the one most often used as a backing.
    Water-soluble films can be thin (20 microns) or thick (about 80 microns).
    Thin films are used as a topping for piled fabrics (velour, velvet, fleece, terry cloth, etc.) or loosely knitted materials (jersey, knits) in order to prevent stitches from sinking.  They are easily torn away after the embroidery, and the rest can be removed by a slightly wet sponge

    Thin film is used on its own when embroidering lace.
    Vilene interfacing materials and Gunold water-soluble films have an excellent track record.
    4. Heat-away stabilizers
    Are used in a way similar to the water-soluble, with the fabrics that can be damaged by water (velvet, natural silk and so on).
    Termofilm Consists of a heat-away film. It’s operating principle is similar to the water-soluble film’s. It is placed on top of the fabric with its grainy side facing down. Iron without steam, moving in circles, will easily remove it. During this, the stabilizers leftovers are rolled into balls that can be brushed off later.

    Thermogaze A fusible material used a base fabric for creating lace or as a backing. When heated by an iron, disintegrates into tiny fibers that can be removed by a brush.

    5. Filmoplast
    This is an adhesive stabilizer, intended for embroidering of the items and fabrics, which cannot be hooped (leather, fur, small ready items).
    Filmoplast is hooped separately with a sticky side facing up. A protective layer slightly bigger than the embroidery area is peeled off, and the item or a piece of fabric is attached onto it.
    One of the disadvantages of this kind of stabilizers is that Filmoplast takes effort to remove.
    My recommended basic set of stabilizers for beginners:
    1. Tearaway stabilizer of a varying density, 2–3 m each
    2. Tearaway adhesive stabilizer, 1–2 m each
    3. Water-solubles and films, 1 m each
    Others are bought on demand, depending on the money available.
    Other machine embroidery consumables
    Puffy is a puffed up foam used to add volume to the machine embroidery designs.

    Temporary spray adhesive Necessary for temporarily gluing the fabric to a stabilizer, such as cutaway, or the appliqué material to the main fabric. 
    An adhesive should be sprayed onto a stabilizer, not the fabric, in order to avoid stains.
    Starch spray Used to stiffen thin or flowing fabrics (chiffon, batiste). A starched fabric is easier to hoop. Sometimes it allows embroidering without other stabilizers. As a result, the embroidery stays soft and flexible.
    “Clean backing” is an adhesive interfacing material, used to cover the wrong side of the embroidery out of the aesthetic reasons. It is ironed from the wrong side after the embroidery has been completed.
    I hope that this article will help the beginners to make their first steps or broaden the horizons for the more experienced embroiderers in the colorful world of machine embroidery.
    Easy stitching to you all!
     

    Needle types for sewing and embroidery machines

    The correct choice of needle type depends on the type of work you want to do and kind of fabric you use.
    Fabric type and needle diameter
    The number in the name of a needle denotes its thickness (diameter) in hundredths of a millimeter or an inch. The greater the number, the thicker is the needle. Some manufacturers may specify two numbers for one needle, e.g. 100/16 and 120/19. This means that the needle size is given both in mm and in inches.
    An 75/11 needle is 0.77 mm in diameter
    An 80/12 needle is 0.82 mm in diameter
    An 90/14 needle is 0.92 mm in diameter
    An 100/16 needle is 1.02 mm in diameter
    Fabric type and needle number:
    highly stretchable knitwear, cloth with added lycra and other elastic materials – 65-90 size needles;
    lightweight fabrics for shirts, blouses – 60-70 size needles;
    thin fabrics (batiste, chiffon, crepe-de-Chine, etc.) – 80–90 size needles;
    cloth, coarse calico, fabric made out of synthetic fibers or cut fibers, for costumes – 80–90 size needles;
    lightweight woolen fabrics and heavyweight synthetic wool, denim – 100 size needle;
    heavyweight woolen fabrics – 110 size needle;
    coarse cloth, beaver fabric, burlap – 120 size needle;
    heavyweight and extremely heavyweight materials (leather, tarpaulin, etc.), for which the needles should be selected individually. Needle number may vary from 100 to 200, depending on the fabric thickness.
    Needles may be marked not only with numeric characters but also with letters that denote their application areas, i.e. fabric types and embroidery techniques.

    Types of needle points for sewing and embroidery How to read and understand needle markings
    H — universal needles. The needlepoint is slightly rounded; these needles are intended for non-tricky materials, such as linen, coarse calico, cotton, etc.
    H-J (jeans) — needles for dense fabrics. Being sharper, they will come handy when sewing thick materials such as denim, twill, tarpaulin, etc.
    H-M (Microtex) — thinner and sharper Microtex needles. They are used for piercing microfiber, thin and tightly woven materials, rain slicker fabrics, coated or not, silk, taffeta, etc.
    H-S (stretch) — needles for stretchable fabrics. These have a special edge that almost excludes the possibility of skipping stitches while stretching the seam. A round point pushes the yarns apart without damaging them. These needles are used for sewing medium weight knitwear and synthetic elastic fabrics.
    H-E (embroidery) — embroidery needles. These have a small eye and a slightly rounded point. Besides, these needles have a special scarf that, along with other elements of a needle anatomy, helps to prevent damage to the fabric or threads. They are intended for decorative embroidery, for which special embroidery threads are used.
    H-ЕM – needles for sewing and embroidery with metallic threads. They have a big polished eye and a groove to prevent metallic threads from splitting. Numbers 80 and 90. No 80 needles for thin fabrics. No 90 needles for denser, heavyweight fabrics.
    H-Q (quilting) — quilting needles. They are tapered, with a smaller eye and round point in order to prevent skipped stitches and holes on the fabric. These needles are commonly used for decorative stitching.
    H-SUK (jersey) — round point needles. They easily separate the yarns and go between them, thus avoiding damage the fabric. They are ideal for thick knitwear, jersey and knits.
    H-LR, H-LL (leather) — needles with a cutting point for leather items. They penetrate fabric at an angle of 45° towards the seam. As a result, you get a decorative seam with slightly inclined stitches.
    H-O – wing needles. They are intended for decorative seam stitching and hemming with

    Needlepoint types decorative stitches. Needles of this type have wings of varying width. Wings can be located on one or both sides of the needlepoint. Using them in places where a needle penetrates the fabric several times will enhance the decorative effect.
    H-ZWI – a twin needle. It is two needles bound together with a holder. It is intended for decorative stitching and pin tucks. Also hemming the edges of knitwear items (there will be a zigzag on the wrong side). These needles come in three sizes (70, 80, 90) and three types (H, J, E) only. The distance between the needles in mm (1.6, 2.0, 2.5, 3.0, 4.0, 6.0) is indicated on the package. The higher the number, the greater the distance. 4.0 and 6.0 needles can be used only for stitching straight lines.
    H-DRI – a triple needle. Only comes in two sizes (2.5, 3.0). This needle works in a way similar to H-ZWI. One should use stitches specially designed for such needles. If one chooses a wrong stitch, a needle may break and damage the machine or traumatize the embroiderer.
    Topstitch – special needles for decorative stitching. They have a large eye and a large groove for a decorative thread (in order to be visible on the fabric, it must be thicker than a standard one) to easily pass through. If you need to stitch a line with loosely spun threads, this is the best needle for that. Sizes 80 to 100. For lightweight, middleweight and heavyweight fabrics.
    Needle shank may be color-marked.
    blue color denotes a needle for denim;
    purple – a Microtex needle;
    yellow – a needle for knitwear;
    red – an embroidery needle.
    Needle types and purposes Needle type Needle design Purpose Needle # Universal130/705 H
    Normal point, slightly rounded For almost all types of textiles, fabrics, and knits 60-100 Jersey/elastic
    130/705 H-S
    130/705 H-SES
    130/705 H-SUK Ballpoint Jersey, knits and elastic fabrics 70-90 Leather
    130/705 H-LL
    130/705 H-LR Cut point All kinds of leather, faux leather, plastic, film, oilcloth 90-100 Denim
    130/705 H-J Very slim point Densely woven materials (denim, sailcloth, work clothing) 80-110 Microtex
    130/705 H-M Very slim point Microfiber fabrics, silk 60-90 Quilting
    130/705 H-Q Slim point Stitching, quilting 75-90 Embroidery
    130/705 H-E Big eye, ballpoint Embroidery on all kinds of natural and synthetic fabrics 75-90 Metaphil
    130/705 H-MET Big eye Sewing with metallic threads 75-90 Cordonnet
    130/705 H-N Small ballpoint, long eye Stitching with thick threads 80-100 Wing
    130/705 HO A wide needle with wings Openwork, hemstitch 100-120 Twin-wing
    130/705 H-ZWI-HO   Special openwork effects 100 Twin
    130/705 H-ZWI Distance between the shanks: 1403 / 1404 QE / 1405: 1.0/1.6/2.0/2.5/3.0/4.0  1405 also: 6.0/8.0 Elastic materials hemming, edge stitching, decorative seams 70-100 Triple
    130/705 H-DRI Distance between the shanks: 3.0 Decorative work 80
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