Jump to content

New embroidery designs

City and country .. New embroidery designs for your living room . 
Buy Now

You Love them all

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

Paris, Girl and bicycle

You love this when you stitched it. Would love more of same designs
Buy Now
  • Articles

    Our website articles

    A few words about the rules of creating monograms for machine embroidery

    Original text by Marina Belova 
    Monograms are stylized initials of somebody’s name, surname or patronym. A monogram is a personal logo of sorts. Known since the 4th century BCE, monograms have a very long history.

    Embroidering a monogram is an excellent and popular way of creating a personalized gift. You can embroider on anything, including bath and kitchen towels, clothes, bed linen, handkerchiefs, pillows, lambrequins, bags and toys. These are just a few of the things that can be given as gifts.
    A thought struck me just now that there are common traditions one must stick to in order to avoid making a blunder. It turned out, there exists a monogram creation and usage etiquette. According to it, you need to know for whom the monogram is intended and to separate a person from a couple, a man from a woman, a kid from the betrothed. This knowledge will define the typography. In every case, there are nuances. Everybody knows, for instance, that monograms are always read from left to right and from top to bottom.
    A traditional way of creating monograms
    Choosing a font
    According to the tradition, all the letters in a monogram are capital and should be of the same type.
    Square letters are for men, slant handwritten letters – for women and married couples, and calligraphic script is for women only. You can read more on the topic in my article about Fonts. Types of monograms.
    The outer look
    In a woman’s monogram the first initial is a name, a small letter. The second is a surname. This is the biggest letter in the monogram. And the third initial is a patronym, again, a small letter. In a man’s monogram, the order is the same, but all the letters are equal in size. It is possible to omit the patronym in a monogram. If that’s the case, you first write the name, then the surname, the initials being equal in size.
    As a rule, a child’s monogram consists of only 1 letter.

    In a monogram for a married couple, the first, small, initial belongs to the wife. A big initial denoting a surname follows, then comes the husband’s initial – again, small. The levels at which the letters are placed, may be different.

    If a couple has double surname, these 2 initials are made big and positioned in the center. For household use, you might employ just one letter in a monogram – a surname.
    Naturally, there exist simple monograms, consisting of separate letters, and also of linked ones.

    Monograms usage
    If a monogram contains several letters, it is intended for official use. One letter is for unofficial cases.
    A modern way of creating monograms
    It’s XXI century now, many things have been changed and simplified, so now we have an opportunity of using any style we like, even the most bizarre. Yes, the way you like, not the conventional way.
    Choosing a font
    There is a great variety of fonts that can be used in monograms. Traditional types with serifs are still popular, but there are also the ones without; fancy fonts with excessive decoration in the form of flowers, leaves, berries in a so called “French style” are very common. And of course, one cannot forget to mention the convoluted calligraphic script, which is widely used to this very day. Men’s and women’s preferences in the character style have changed as well. Nowadays women prefer simple elegant fonts. One multicharacter monogram may contain fonts of different styles, in order to reflect the personality of its owner.
    The outer look
    Many women’s monograms of today consist of just 1 letter (denoting either a name or a surname), and men’s still have 3.

    If all 3 of the letters are of equal size, their sequence is changed: first comes the name, then the patronym, and the surname is the last.
    Personal monograms of 2 letters (name and surname initials) are possible. Both 2-letter (two names) and 4-letter (two names, two surnames) monograms can be used for the betrothed. The sequence of letters is not fundamental as it used to be. But those in the know advise following the tradition when creating monograms for bed linen, decorations and silverware. Monograms are often fit into a geometrical figure: a circle, an oval, a diamond, etc.


    Garlands of flowers, crests, crowns and wreaths of various kinds may be used as well.

    Apart from the initials, an entire name is often embroidered today – one should keep this in mind.
    The collection of ancient monograms, now in public domain, can be found on the Web and used as a starting point for your own creative effort. The only thing you’ll need to do is to follow the rules above.
    There is a huge variety of the already existing monogram templates. They can be incorporated into the average embroidery software.
    Some editors are even tooled for the creation of monograms only. Here you can find free monograms from the (Stitch Era Universal). You can see similar ones in any other editor, only chances are that there will be more of them there than coming from a free source.

    Well, they’re not the sharpest tools in the shed, but these monograms are better than nothing if you need to create a present.
    Read here how the embroidery designs, monograms included, are usually positioned on an item.
    So, if you cannot draw or don’t like what you see in the free circulation, you can turn to a professional that creates various monograms to order. And if you need something simple to embroider it on an item, you can use a very handy application that has a built-in set of various fonts, vignettes, monograms, emblems and crowns.

    Color in machine embroidery. Basics

    Original text by Marina Belova 
    I wonder if anyone will ever argue that blending thread colors in machine embroidery is slightly different from blending printing colors or paints? But then again, even in painting, there have long been attempts to prove I.Newton’s classic theory of colors wrong. For those who are interested, there’s a book by Michael Wilcox called Blue and Yellow Don’t Make Green – go and read it.
    But let’s get back to the topic. All guides, books, and other information materials on color formation in machine embroidery are nevertheless based on Newton’s classic color wheel. For the sheer reason that you have nothing except them and your own experience to rely upon. Besides, choosing a right color with the help of the color wheel is much better than without it. Especially for the neophytes.
    That’s why I will take the liberty of touching on the subject of color in a machine embroidery design.
    Colors can be divided into 2 groups:
    Chromatic – the colors of the spectrum. Achromatic – white, black and all shades of gray. Let’s look at the canonical 12-part color wheel made of chromatic colors:

    It’s basis is formed by just 3 colors: yellow, red and blue (marked “I” in the photo). These are called primary colors, as they cannot be obtained by mixing other colors together.
    Secondary colors result from the intemingling of the two primary colors. In the photo, they are marked “II”. These are orange, green and purple.
    Tertiary colors are made by mixing two of the secondary colors (marked “III” in the photo). These are yellow-orange, red-orange, red-purple, blue-purple, blue-green and yellow-green.
    Also, there are such concepts as:
    Color hue – a property of color that defines its tone; we usually have separate names for them (lilac, magenta, etc.).
    Lightness – the shade of lightness/darkness. To get a shade you add some white or black to your source color. A mixture of color with white is called tint, and a mixture of color with black is shade.
    Saturation is the degree of intensity and purity of the color.
    Color temperature is connected to the idea of colors being “cool” or “warm”. On the basis of this idea, all colors are divided into warm, cool and neutral.
    There are several ways of creating harmonious color schemes, containing 2–4 colors, with the help of the wheel. For example:
    Mono – includes one color in different values. In this case, we only add shades and tints.

    Complementary – mixing of 2 (contrasting) colors on the opposite sides of the diagonal.

    Triadic – mixing of 3 colors that are located at the corners of the equilateral triangle:

    Mixing 3 analogous colors: Analogous colors are those that follow each other on the color wheel.

    Split-complementary: mixing 3 colors – two analogous and one contrasting.

    Mixing 4 colors: 3 analogous and 1 contrasting.

    Tetrad: mixing 4 colors arranged into two complementary pairs.

    Besides the ones above, there are other color harmonies that can be found in books and on the Web. The only thing left is to do is to practice, and don’t forget that the threads cannot blend together like paints. Also, the stitch types, stitch angles, textures selected will make their not so small impact on the end result.
    I’m curious if any software has algorithms helping to choose threads automatically, on the basis of the existing thread color palette, but using the methods described above?

    Sewing in the hoop: a decorative element

    Author: Seva Brother
    Embroidering a decoration is not difficult. Our website offers numerous masterclasses and step-by-step guides into embroidery on knitwear, cotton, wool, and velvet, choosing the right kind of stabilizers and threads. This masterclass was done on the Brother machine.

    Besides beautiful brightly colored photos, it offers some insights into making a ready-to-use item that could afterward serve as an appliqué. The machine was running in the embroidery mode.
    Sewing in the hoop: a decorative element
    There are no clear recommendations on the subject. Use any cotton fabric as your base. In this masterclass, I didn't use any stabilizers, but you can strengthen the fabric with a thin adhesive one if you are not sure of the result. This will add some density and will make turning the item inside out and forming fine sharp angles more difficult. You can use any kinds of embroidery threads (polyester or rayon).
    Depending on the fabric and the design color scheme, use black or white bobbin thread.
    Sewing in the hoop: a decorative element
    Hoop the fabric with its right side up. Open the design on your machine, choose the color scheme and embroider. Owners of Brother embroidery machines that have this nifty Color Shuffling option, may use it to create a color palette according to one of the available charts. Others will have to rely on their artistic flair.
     



    Sewing in the hoop: a decorative element
    Choose a 02-001 frame from the ones your embroidery machine offers. Change its size to fit your design and your preferences. In any case, see that it is not smaller than your design and bigger than the hoop you intend to use.

    Cut a square out of a different fabric. The square should be larger than your frame. Place it on top of the design, with its wrong side up, as shown in the picture. Using an adhesive tape, stick it to the hooped area, to prevent it from slipping away during the embroidery.
    Embroider the frame.

    Unhoop. Trim the extra material, as shown in the picture. Please mark the way in which the fabric at the corners was trimmed! Cut small slits in the center on the side that doesn’t have the embroidery. Turn your item the right side out.


    Please note that the size of the resulting embroidery will be defined by the size of the chosen frame!

    Now let’s think where you can use this decorative element.

    Your little needle replacement helper

    Original text by Marina Belova 
    I consider it to be a common knowledge that one should turn a replacement needle 0–5° to the right.  That’s what every embroidery machine manual says. 

    A long time ago Vera Osinina asked me about a device that helps to position new needles. I was quite a bit surprised then, so I only shrugged and said that such a contrivance was unknown to me, and that I didn’t know where to find one. 
    But the cat always comes out of the bag, sooner or later. The answer came from a wonderful Melco Bravo website. They offer a cylindrical-shaped orientation magnet – you can buy it here. You need to attach its butt perpendicular to the long groove, to see at what angle and in what direction the needle is positioned.  
    You've set the right angle if the magnet is turned approximately 1 minute on a clock face, or 6 degrees. Genius lies in simplicity, as they say. 
    Of course, there is no need here to order a magnet from the U.S., at an astronomical price.  I guess a simple magnet instead of a brand one, will do for me
    There was a long argument about the diameter: I insisted upon buying a thin cylinder, as my American colleagues use, and my husband stood for a thicker one as more visible. 5 mm cylinders were purchased eventually. We tried the magnets and saw that they worked: the positioning of the groove was no longer the problem. One only needs to get used to it so that it doesn't hamper the replacement. I checked all my needles only to find out that all of them were set higgledy-piggledy – one of them was even turned let; that was immediately fixed. Small wonder that my threads kept breaking. 


    The magnet turned out to be a real helper to those whose eyesight and eye estimation leave something to be desired. 
     

    Snowflake-shaped pot holder  

    Original text by Olga Dushenkova

    Step 1 – put the “sandwich” you're going to embroider under the main fabric.  After an outline is stitched, you’ll need to trim the extra fabric (that is, everything beyond the outlined area). 

    Step 2 – put the second piece of fabric, of a contrasting color, and stitch the second outline (snowflake-shaped).  Now, trim the extras (the fabric beyond the outlined area). 

    Step 3 – embroider the design, take the hoop out and put the next piece of fabric under the wrong side of the embroidery.  Again, after an outline is stitched, you trim the extra fabric (from the wrong side) – that is, everything beyond the outlined area. 
    Step 4 – embroider what’s left. 
    Step 5 – attach an already prepared eyelet to the center, then fold the design in two and add the finishing stitch. 

    Oilskin and how to deal with it

    Original text by Marina Belova 
    On the map of my machine embroidery journey, I've reached another white spot – embroidery on the oilskin. As the rumor goes, this fabric, once washed, puckers like mad, and no matter how much ironing you do afterward, the damage will stay forever. So I've decided to try and see with my own eyes, what should be done and how to make the embroidery at least acceptable. 
    Little as I know about oilskin, it is enough to understand how to create a design and to plan the embroidery sequence: 
    It is a woven and, therefore, rather stable fabric.  It is thin.  And slippery, too.  It's coated with a special substance that repels water. And the embroidery damages the fabric, making it permeable to water in the places where it had been punctured.  Given all mentioned above, I can say that: 
    One would need the smallest hoop possible.  Cut-away stabilizer is the recommended choice for oilies. But I'm gonna pick the stabilizer I use for everything – a cheap middle-weight one with long fibers, made in Turkey, which was sold to me as a tear-away. It tears in any direction, leaving long fibers.  The type of the design does not matter. This is my own deduction: people usually embroider what they want or need to, and not what is recommended for this particular fabric. As a commercial embroiderer, you work with what the clients have brought you, and that includes simple designs as well as big and stitch heavy ones, with lots of fills.  There is not much sense in making the design denser, therefore, density value stays as it is. What you perhaps should do is to lower it, then adding a lot of understitching to compensate. Whether it works, we'll see after doing the test pieces. Don't forget, the more punctures I make, the less watertight the fabric becomes.  In my opinion, the only change one should do is to shorten the stitches in the underlay so that the fabric sits as tight as if it was nailed.  I decided to experiment a little and embroider several outlines with different stitch parameters. So I created 3 outlines: narrow 1.5 mm satins, also 5.5 mm satins and the filled squares. The density in the outlines on the left is 30% lower than my standard one (5 lines/mm or ~0.4 mm). The underlay stitch length in the less dense outlines is set at 1.5 mm along the perimeter and under 2.5 mm in the center.
    Under the wide satins and the fills lies the underlay is denser. The outlines on the right have standard density, but I used short underlay stitches only in the edge runs, and 3–3.5 mm ones everywhere else. 

    All of my test pieces (see below), while still in the hoop, were pulled in more or less the same fashion, but the outer look is different in every case. The lack of density is very much visible: the fabric is not entirely covered with stitches. 

    If you hold them to light, you can see that the perforation along the outlines is approximately the same, except the narrow satin column, top right: 

    After unhooping, the amount of pull in all three test pieces is roughly the same, no matter what stitch parameters were used: 

    Looking at how the tests came out, I reached the following conclusion: you can lower the density of the upper stitch layer only slightly, to avoid damage to the outer look, and you should use shorter stitches only in the edge runs; the rest should stay as it is. 
    This mosquito was the result of my efforts: One can see that, both before and after unhooping, the surface of the fabric stayed even, despite the 12000 stitches having been added to it. Nothing shifted. 

    Nor would I say that the puckering was oh so awful – this is how it looked before pressing: 

    It turns out that the embroidery on the oilskin isn't difficult at all. 
    And what about the punctures? Some say that you can lubricate the threads with 100% silicone or natural wax, that will fill in the holes, serving as a stopgap. Whether it is true, I do not know. But Gunold recommends strengthening the wrong side of the waterproof fabrics with a special film called THERMOSEAL, once the embroidery has been completed. 

    Embroidery sewing: joining together two fabrics with the embroidery

    Creating bed linen, tablecloths, napkins, even garments, you may need to sew two different pieces of fabric together. This masterclass shows how to do that with the help of the embroidery. It also shows how to decorate a seam with an array of flowers. As the result, you'll get two pieces of fabric stitched together, and the seam will be hidden away. In this masterclass, we join two pieces with curved borders. If you want to stitch pieces with even borders, you'll need another design for that. 

    Embroidery sewing. Materials: 
    1. Tear-away non-adhesive stabilizer 
    2. Temporary spray adhesive 
    3. Upper thread 
    4. Underthread 
    5. Machine embroidery design 
    6. Two pieces of fabric of different colors 
    The process of embroidery sewing goes like this: 
    Hoop the cutaway non-adhesive stabilizer. Insert your hoop into the machine and stitch the outline. Add a layer of spray adhesive onto the stabilizer. Press a piece of the light-colored fabric in the center of the hoop area. 

    Change the thread color and stitch the outline again. Cut the fabric close to the stitched line. Place the second piece of fabric, a dark one, on top of the first. Position it in such a way that it covers the outline with 1 cm margin. Embroider the third outline. Now cut the dark fabric. 

    Insert your hoop back into the machine and embroider the design. The closely spaced elements will hide the seam. 
    This is how the ready embroidery looks like, front and back: 

    Remove the tear-away stabilizer from the back of the fabric. Iron the embroidery from the wrong side. Carefully use steam in order to prevent puckering and waves. The embroidery is ready! 

    Water-soluble stabilizer in machine embroidery

    Original text by Olga Armyakova 
    Broidery Magazine 
    A wide variety of stabilizers is used in machine embroidery. Today we'll dwell on the subject of water-solubles. 
    Given that the only the imported stabilizers of this variety can be found on the Russian market, here's the list of names that you may read on the package or a website: 
    Water-soluble  Wash Away Stabilizer  WSF  Water-soluble film  Dissolve stabilizer  All of the above denote stabilizers that are removed by water. 
    They are commonly used as a backing, just as their cut-away and tear-away counterparts. Equally, this is the only type of stabilizer that can also serve as a topping or as your base fabric without any additional materials.  Water-soluble stabilizers are used when absolutely no traces of additional materials are tolerated. Along with that, they do not contain formaldehyde and, therefore, can be used in underwear and other items where the embroidery is intended to come into contact with the skin.  Water-solubles can be removed the moment the embroidery is completed or while washing. Having finished the embroidery, you can easily cut or tear the extra stabilizer beyond the outlines of the design, and the bits within them are destroyed with steam or damp sponge. If necessary, a water-soluble stabilizer is washed away in the running water or first soaked in water and rinsed afterward.  To dissolve the stabilizer in water, use the temperature between 10 and 40° C: this way the color and other fabric properties will stay intact. Just how long it will take, depends on the manufacturer. The higher the temperature, the quicker the stabilizer will dissolve. I strongly advise against heating the water too much: the stabilizer leftovers may turn into lumps and solidify.  Make sure to read the stabilizer specifications, because they might contain important points on how to work with this particular type.  In general, water-solubles expire in 1 year. Better to keep them in a box in a cool dry place away from direct sunlight. Once the expiration date has passed, try to use your stabilizer as quickly as possible, otherwise, it will lose all its properties. This is especially true for thin water-soluble film. 
    CHOOSING A WATER-SOLUBLE STABILIZER: 
    In order to choose a right stabilizer for machine embroidery, you need to take into account the following factors:
    The structure of the fabric, type and properties of the fibers  the density of the embroidery and whether the embroidery will come into contact with the skin For a lacy design embroidered with polyester threads two layers of lightweight stabilizer will be sufficient, but the same design embroidered with metallic threads will require a denser one.
    Let's try to sort the wash away stabilizers into categories and describe their fields of application. I will hereafter use the most common names in circulation. 
    WATER-SOLUBLE STABILIZER: DENSITY 
    The principal characteristic of a water-soluble stabilizer is its thickness (specified by the manufacturer in microns) or density (g/m2). 
    Thin, or lightweight stabilizer 
    Thickness: 10 microns 
    Composition: Different manufacturers specify different raw materials: 100% polyvinyl alcohol or 100% modified rayon. 
    The product looks like a thin plastic film. It is used to prevent the stitches from getting lost in heavily textured fabrics. For example, in knitted garments or ones made of terry cloth, also in piled fabrics. First, you create a stabilizer-fabric-stabilizer "sandwich". Then, in case the fabric is thin or you have an outline embroidery design, you hoop it. 
    Medium-weight 
    Thickness: 20 microns 
    Composition: 100% polyvinyl alcohol or 100% modified rayon 
    Some manufacturers' wash away resembles a non-woven cloth, akin to the interfacing material used in sewing, others' is like a thick film. Use it to strengthen the tricky fabrics whenever stabilizer must not be seen. On see-through fabrics, for example. You can use several layers of medium-weight stabilizer spare the fabric. 
    Heavyweight 
    Thickness: 30 microns
    Composition: 100% polyvinyl alcohol or 100% modified rayon 
    This one looks like a very thick greenhouse covering film. It is used for embroidering FSL or 3D designs. Fix it in the hoop without your main fabric. The design should be created in such a way that all its elements are interconnected, in order to prevent it from falling into separate pieces once the stabilizer has been removed. 

    Water-soluble stabilizers in machine embroidery 
    WATER-SOLUBLE STABILIZER: VARIETIES 
    Unfortunately, there are not many brands of water-soluble stabilizers on the Russian market at the moment. Nevertheless, machine embroidery in our country is buoyant. Many consumables, and that includes stabilizers, can be ordered from online shops. For this reason, I'll describe all types of wash aways that can be found these days. 
    First three or four types are non-transparent non-woven fabrics. 
    Adhesive 
    This is a water-soluble stabilizer with a paper backing. A spray adhesive and a stabilizer rolled into one. Pull away the paper to expose the stabilizer's sticky side. Stick it onto the embroidery area before or after hooping. Having done the embroidery, dissolve it in water. 
    This type of stabilizers is used as a backing. 
    Fusible 
    A tear-away, webbing-like stabilizer that is pressed to the fabric with a warm iron. After the embroidery is completed, it is rinsed away with water, leaving no trace. 
    Preventing the fabric from shifting, it is as handy as the adhesive stabilizer, and is, too, used as backing. 
    Mesh 
    Dense wash away stabilizer that is used for FSL and other laces, or heavily textured fabrics such as velvet, corduroy or knitwear, and also diaphanous and light-colored ones. 
    Transparent film 
    Is placed on top of knitwear or heavily textured fabrics. Its main purpose is to prevent the stitches from sinking deep. 
    The film's advantage is that you can see the fabric and the design through it. That allows us to avoid problems that may arise when we join the designs or their parts together. 
    This kind of stabilizer can be used instead of the fabric for such things as 3D designs or FSL. 
    It takes a trained eye to define whether the thin transparent film will be able to withstand the pressure of the design at a mere glance. 
    Liquid 
    Soak the fabric in it prior to the embroidery and let it dry. Embroider your design and wash the design in water. 
    Water removable spray 
    Is sprinkled onto fabric prior to the embroidery. Be certain to let it dry properly before starting the embroidery. It is rinsed away with water once the embroidery is completed. Besides the spray, you can use the starch powder for ironing that comes in aerosol form as well. 
    There are also such domestic methods of firming up fabrics with gelatine or starch, which can be considered the subvarieties of the last one. 
    CONCLUSIONS 
    Every stabilizer has its specifications and user's manual. I advise you to create a special file to keep track of all the stabilizers, needles and threads used in every project. This will make your future choices much easier. 
    Dense water-soluble film. You will easily discern it by sight. It looks very similar to the greenhouse covering material. This stabilizer is used as a backing for laces or, sometimes, as a background fabric. 
    Thin stabilizing film. This type of stabilizer looks like a thin polyethylene bag. It is primarily used as a topping to prevent the stitches from sinking into the fabric. 
    Dense wash away stabilizer. This one is used as a background fabric for laces. It looks like a sewing interfacing material. 
    If the stitches have sunk and the resulting embroidery looks untidy, try choosing another stabilizer or use two layers of the present one, also readjust the thread tension or simply change the bobbin thread and see whether it makes any changes. If nothing helps, blame the design. 
    SOME TIPS 
    When using the fusible stabilizer, make sure that the iron is set at the lowest temperature possible and do without the steam, otherwise, your embroidery will suffer.  Don't throw away the accompanying materials to your consumables. It may contain important information, such what time does it take for a stabilizer to dissolve and at what temperature, the density, the brand name and the item number. Staple this information to the stabilizer's package. In future, it will make the process of choosing a right fabric in a shop much easier.  Don't throw away the stabilizer leftovers after the embroidery has been cut out. In future, they might come in handy: arrange them in the embroidery area of a hooped fabric, and they'll do just as good as a whole piece.  For denser designs and thicker fabrics, another layer of stabilizer may be needed. I recommend testing the design and the fabric first, in order to estimate the required number of layers.  Provide yourself with several pieces of stabilizer that will fit your hoop. It is not too demanding a task; arranging those pieces in the hoop in advance will save you time and fabric.  Before using a water soluble topping, make certain that your fabric doesn't fade.  When embroidering on knitwear with a film on top, don't forget to stick the background material to the underlay – it will prevent puckering.  Small trims can be dissolved in warm water and used as a stabilizer liquid to temporarily fix the tricky fabrics. 

    Embroidering a textile ball

    Textile toys can make an unconventional and creative present. They can be given as gifts to the occasion or even without one, just to please someone you love. Today I'll tell you how to make a ball on your embroidery machine. Depending on the chosen fabric, its color, and the design, the ball can become a kid's toy, a decoration or a souvenir. 

    Embroidering a ball. Materials: 
    Sole-colored non-stretchy fabric  Padding Tear-away adhesive stabilizer  Upper thread  Underthread  Scissors Machine embroidery design 
    Embroidering a ball. The making process: 
    If you have prepared the materials, let's begin. Load the design into your embroidery machine, choose the thread color that suits you and matches your fabric. Strengthen the fabric with a tear-away stabilizer. 
    I used a tear-away adhesive here, but you can use a tear-away + temporary spray adhesive combination. 
    Insert the hooped fabric into your machine and hit the start button. 

    In order to create the ball, you'll need to embroider 12 identical pieces. If your embroidery machine has a large frame, this won't take long. In that case, you'll be able to embroider several pieces at once. If the frame on your machine is small – well, arm yourself with patience. 
    In any case, the embroidery is not the most toilsome part of the job! 

    When finished with all the pieces, carefully trim the fabric along the outer outline, leaving 0.5–1 cm for seam allowance. 
    The most difficult part is joining all the parts into a ball. In order to get one, you'll need to carefully sew all the pieces together. Below you can see a picture that will help you to assemble the ball quickly and easily. I found it on the Web and haven't seen anything more useful for the purpose. Join the parts using back stitches in the outer row of the design. You can do that on a sewing machine, but in that case, perfect register and the neat outer look would be harder to achieve. 

    The ball consists of two parts, so to speak, each having a pentagonal bottom, around which the pieces are attached. Then, you join these two parts together. When the item is almost sewn up, you need to add filler. Any one will do: cotton, wool, chlorofibre, polyester batting, underwool, etc. 
    The more carefully you stuff your ball, the rounder and more beautiful it will be. 

    Embroider your own textile ball, play with colors and sizes and surprise your friends! 

  • Recently Browsing   0 members

    No registered users viewing this page.

×