Jump to content

Beautiful design, Morning owl look amazing.

This embroidery work up perfectly and stitch out nicely. 
Buy Now

Excellent stitches and original style

Stitched out beautifully! Looked amazing and no issues!
Buy Now

Loving birds.. Wonderful designs, stitched out beautifully

Really cute, You love this when you stitched it. Would love more of same designs.
Buy Now

Our designs looks great

Stitched out beautifully! Wonderful decoration!
Buy Now

Adorable design. Stitches out beautifully.

"Thanks so much for this design It's lovely and stitched out beautifully on leather."
Buy Now
  • Converters: comparison

    Original text by Marina Belova 
    Converters is a small but pleasant bonus from the embroidery software manufacturers. A converter is a small app that allows users to watch, scale and save machine embroidery files in a variety of formats. Besides the aforementioned functions, some of them have additional options.
    For example, they allow you start/finish the embroidery, remove the short stitches and change colors. Some apps even have a simple in-built stitch editor. 
    Judging from the information on the official websites, all converters also include a stitch generator that is a part of their "older brothers" – machine embroidery editors. This feature enables the apps to recognize not only the machine embroidery files but also the native ones. That is, the converter is able to open an object file that was created in the embroidery editor by the same manufacturer. An inbuilt stitch generator will recount the stitches every time you make some changes. 
    Not all converters are alike. I use converters a lot because I often work with the ready files. Sometimes it is more convenient to use more than one. Looking back at my article on how to choose machine embroidery software I decided to write a review for every converter that can be downloaded and/or tried for free. 
    To make everything I said more clear, I suggest you consult these: 
    Download the trial version of the TrueSizer converter here. Register and use the Ambassador on the official website.  Register and download My Editor on the official website.  Download a free trial version of MelcoSizer here.   Download TESViewer for free on the official website. Register and download an old Coats EDV converter, My Editor analog with fewer possibilities. The last two are based on WingsXP.  In the table below you can see the parameters I used to compare converters. 

    The conclusion offers itself when you look at the software capabilities. No explanation needed. A lesser known free MyEditor converter outshines all the others. Bravo. However, MelcoSizer comes a close second. 
    P.S. I didn't mention the famous online converter from here. Its only function is converting files into 19 formats and nothing else. Nevertheless, it's a quick way of changing a file format if you don't have a converter on your PC. Of course, one has to register before conversion. 

    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!
     
  • Free machine embroidery designs

  • Topics

  • Embroidery Blog Entries

×