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    The stitch length and its visual effect

    By Irina, in Machine embroidery materials and technology, , 2 comments, 4,933 views
    Original text by: Marina Belova 
    I have once already mentioned in passing that the stitch length greatly influences the overall visual effect the embroidery creates. I thought of it because I recently embroidered an eyelet for a towel. So, after much digitizing and trying various textures and fill stitch lengths to get a softer embroidery, I got two different results from the same embroidery pattern, but with different settings: 

    On the left you see the embroidery with the fill stitches 5.5 mm long, and on the right — the fill stitches 3-3.5 mm long. The embroidery on the left is softer than the one on the right, and it is only natural because of the greater stitch length. 
    Of course, the fill texture is also of great importance. Only now I've come to understand why a lot of professionals recommend to make a sample of every texture available in the embroidery software, at a different stitch length. Making these samples requires some labor inputs, but they will vividly illustrate the information a design creator needs and which he or she will knowingly use in their work in future: 
    The understanding of what the particular texture will look like in reality and not on screen. 
    How changing the stitch length will affect its look, and how and where one can use it. 
    The difference in stitch count for the same texture in case the stitch length is increased or reduced. 
    I'll give you a simple guide of how to create such a sample sheet. I embroidered just 9 squares and got a ton of information as a result: 
    The upper row consists of the satin columns with the stitch length increasing from 2 to 12 mm. The two lower rows consist of fills, also with the stitch length starting at 2 mm and gradually increasing in value. All the squares are of equal size, the only thing that differs the look of the outer layer of the embroidery. Here is the stitch count (each cell corresponds to one embroidered square): 
    814
     
    560
     
    321
     
    1094
     
    757
     
    594
     
    1101
     
    765
     
    598
     
    The advice to make such samples turned out to be rather a sound one. Sure, it is next to impossible to embroider all the textures that can be found in embroidery software, but if you do at least half of them, you'll get a perfect sample sheet which will make life for both you and your client much easier. 

    Testing an unconventional bobbin thread in order to get a neat wrong side

    By Irina, in Machine embroidery materials and technology, , 0 comments, 2,749 views
    Original text by: Marina Belova 
    Today I'll continue with the topic of keeping the wrong side of the embroidery neat. This time I'm interested whether it is possible to use a metallic thread both on the right and wrong sides of lace instead of inserting a polyester thread of a matching color into a bobbin. With polyester thread on the wrong side various snowflakes, medallions and other 3D Christmas decorations do not come out beautiful enough. 
    To maintain the experimental integrity and put the things right, I decided to embroider a design with a monofilament thread in the bobbin, to see what the result will be. 
    I have a standard monofilament thread made in China, only it is black. It is 0.12 mm in diameter: 

    I used a standard black polyester thread on the right side. It's a pity that there was no transparent fishing line, so I had to use the one that was available. 
    For the right side of the second sample I wound up a golden thread onto a spool: 

    So I hooped a water soluble film and tried to embroider with a monofilament thread in the bobbin. I was disappointed right away — the first loop was very badly formed, only on the very lower speed and in manual mode (about 120 rpm). But this a trifling matter compared to the fact that on the speeds above 400-450 rpm the upper thread keeps being cut by the fishing line in the bobbin every 5 or 10 stitches, so you cannot embroider at all. In the end, after several thread breaks and restarts, after several attempts of finding the right speed, I was bound to embroider on 400 rpm: 

    The worst thing was that my machine did not like the trimming part — the knife just could not cut the fishing line, and the machine began to utter strange noises, which I didn't like at all. In the end, I had to trim the fishing line by scissors. But the wrong side looks impeccable: 

    Golden thread + golden thread was a much better option: the loop formed effortlessly, there were no speed problems, neither upper nor underthread didn't break, and the trimming went as usual. The only thing that was different from the embroidery with the ordinary bobbin thread was that I had quite a job adjusting the underthread tension. This is what the front looks like: 

    This is the neat wrong side of the second embroidery sample: 

    Summary: I vote against monofilament thread in a bobbin, because I feel sorry for the machine. As for the golden thread, even a cheap one made in China, like the one I had, can be used on the wrong side without hesitation, and I will definitely do that in future. 

    Design alignment on home embroidery machines

    By Irina, in Machine embroidery materials and technology, , 0 comments, 5,769 views
    Original text by: Marina Belova 
    Today I decided to practice design alignment on my home embroidery machine. With that in mind I created a very simple border, which I'll now try to embroider along the specified line. And try to understand the difference in the alignment processes on commercial and home embroidery machines. And also to figure out how to create a design for future alignment. 
    Here is my design, consisting of 2 rapport orders, which I will attempt to repeat along the straight line: 

    My border is not wide — just 3.4 cm. Theoretically, a design like this one wouldn't be hard to align, for it has only one alignment point. The thickness of the elements doesn't matter for this type of border, because it is embroidered from top to bottom, and each of the already embroidered parts (marked green) will overlap with the next ones (marked red). 

    To help joining the parts I draw the alignment stitches — the special placement marks specially designed for alignment. One of them is located near end of the pattern and on the photo looks like a funny protruding stick – it is used for matching of the embroidery pieces together: 

    The second alignment stitch is located at the very beginning of the pattern hidden under the upper stitch layer. Here it is marked blue under the red satin columns: 

    The main goal for the red and blue lines is to coincide when rehooping. Usually this is enough to embroider a big design part-by-part on a single-head commercial embroidery machine. 
    Well, all that is now left is to try and align the design on my home embroidery machine using my usual technique. 
    My embroidery base is plain calico + a tearaway stabilizer. I did the marking — one long line with several perpendicular cross-lines (just in case). You can see the horizontal line on the photo below — this is the main guideline, along which the border will lie, — and also the vertical ones: 

    The I started the embroidery. The first hooping and the embroidery process are simple, the main thing here is to do the hooping properly: 

    You don't even need to align — there is no use in it yet: 

    But it was only after having embroidered the first part of my future border that I realized that design alignment on a home embroidery machine is anything but the habitual process of doing the same thing on a single-head commercial one. The whole thing is a bit more complicated and resembles the design alignment on a multi-head embroidery machine, where the design is confided within the boundaries indicated by the marks which work as the embroidery starting points. Because of this it was impossible to start the embroidery wherever I wanted in order to regulate the quality of the hooping. Now I understand where all this marking lines (plus signs, check marks, bars) outside of the embroidery area come from. 
    To solve this problem I had to add one more stitch into the pattern, which would be embroidered last, after the embroidery was completed, and which would be ripped off afterward. Here it is (marked blue): 

    This stitch has the following functions: 
    It helps hooping. I will continue to hoop the fabric in accordance with the long line, along which the border will lie. But this new cross-line will be the starting point of the embroidery. And I will make it the embroidery starting point after rehooping. I'm doing it because the fabric will be invariably pulled during the embroidery or, what is even more sad, may turned out having been improperly hooped. And then all these cross-lines, however well-placed they can be, will move so that the next part of the design will be misaligned. The design will either will not reach the lines or there will be overlapping. Therefore, I will position my design in accordance with the long straight line and the new cross-line. Only they are relevant.  It helps to check the quality of hooping — I'll stitch this line in the beginning, to make sure that the fabric has been hooped correctly. Only after that I'll embroider a little alignment mark in order to make sure that my border will indeed be seamless after alignment.  Thus, my modified embroidery pattern will look like this: 

    I copy the blue stitch and place it at the beginning of the design. This green guideline should coincide with the blue one from the previous hooping. Of course, one should bear in mind that the idea with an additional stitch will not be work on any kind of fabric. There will be perforations left on delicate fabrics even after ripping off the threads. But judging from my experience, it is good for many types of fabrics. 
    Now I'll show you what have I got out of all that. 
    As I have already embroidered the beginning of the design, I drew a line approximately where the green alignment line should be, as showed on the photo above, so I will use it — there is nothing else to align to. 

    Then I rehoop the fabric and continue the embroidery: 

    It seemed to me that it was not easy to hoop this thing properly on my Brother. But I mastered the skill in the end. I should definitely make some arrangement for easier hooping. Particularly because one can find a lot of these home-made things on the web. 
    Then I load the modified machine design into the machine and start the embroidery. I do not iron the fabric with the partly embroidered design, in order to avoid shrinkage. If the fabric shrinks, it will be unclear what parts to align and where — the overall size of the embroidery will change. 
    The most important thing is that starting point for the embroidery of the next part would be located on the crossing of the main line and the supporting one (in my case — the one I drew), which is now located on top of the hoop. I place the needle into the fabric to check if will get where intended: 

    Then I start the embroidery. First I embroider the horizontal alignment line, and in this case it is hard for me to predict the outcome. Another alignment line follows, the one to which I will align my embroidery. It will be splendid if in coincides with the one that already exists. 
    In order to do so, you need to move the hoop, and rehoop in case the two lines do no coincide at all. This time the new stitch was slightly lower than the one in the previous part, about 1-1.5 mm. On my commercial machine I would shift the hoop in the required direction right away, in order for the two stitches to match, and I wouldn't get a gap between the parts of the border. 
    But to my profound disappointment it turned out that on the home embroidery machine it was impossible to move the hoop while embroidery was running. Well, I will embroider as it is and see where it will get me. Though, you can do one thing to fix that — to go back and shift the starting point in a pattern, which is what I did. 
    So this is what I got aligning the first and the second parts — the gap between them is a bit wide, but it does not stand out: 

    It turns out that I mispositioned the line — it is located too far from the previous part of the embroidery, but there is no gap in between. 
    I rehoop once again. This time the cross-line is already there: 

    I place the needle into the point where the main line and the supporting line cross: 

    The first check was perfect: 

    The second check almost matched the embroidered line, running just beside it, which was acceptable: 

    The result: 

    Well, you can go further from here; the more meters you have to embroider, the more times you will have to rehoop. Of course, not everything will go smooth right from the start, but it is possible to work with it. 
    Here is the photo of what I got, before cleaning of the embroidery: 

    The photo of a border: 

    This is the conclusion I've come to: you can embroider a design part-by-part and align it on a home embroidery machine, like the one I own.
    There always is a way out. But on the whole the method is neither very reliable nor accurate, there are many cons. 
    So I arrived at the conclusion that my cross-line should have looked like this, and not the way it does on the photo above: 

    As you can see, the horizontal lines here assumed T-shape, in order to make it easier to set the embroidery starting point. They would have formed a cross in case the alignment went well. 

    Preventing the cheap metallic thread twist on the commercial embroidery machine

    By Irina, in Machine embroidery materials and technology, , 3 comments, 3,843 views
    Original text by: Marina Belova 
    Perhaps, everyone who had used a cheap metallic thread (made in China, Taiwan etc.) knows that they have one huge disadvantage — they are much more coarse, just like wire, that any thread made by the big brands. And because of their coarseness they often cause a 'small' problem leading to the thread breakage. 
    This is how the problem looks like in my case: the thread,coming off the spool — even before it comes into first hole in its path — forms a big loop that twists, becoming even more coarse. This loop is very flexible, because the thread constantly goes around the spool. And while making one of these rounds the loop begins to catch the threads from the neighboring spools that go upwards. This loop not only touches these neighboring threads, but intertwines with them and drags them along. Hence the thread breakage. I still don't have the thread nets that can straighten the loops up, therefore, I have to find my own key to this situation. 
    This is how the newly formed loop looks like: 

    I have lots of such cheap metallic threads; I bought them to see if they were quality enough and whether it was at all possible to use them in embroidery. An average price of a three-five thousand meters is not high — about 90-150 RUR. What is good in these threads beside their price that there is a vast array of colors. And despite such a nuisance as thread twisting, I embroider with them quite successfully, because they don't break often on my embroidery machine, therefore, it is possible for me to use them. The only thing that I don't like is the quality of the outer layer of the embroidery. But it is quite sufficient for experiments and test runs. 
    The most interesting thing is that all of the guiding holes, plates and discs in my machine, through which the thread goes on its way to the needle's eye, are not enough for straightening up all of the loops formed on the way. Even in the commercial embroidery machines they are not enough! And I was under the illusion that such problems only existed in home embroidery machines. Last summer I encountered a twisting problem there, and successfully solved it. 
    As for my commercial embroidery machine, I had to wreck my brains a few days ago, to find a way of preventing the appearance of the annoying loops. I've tried a whole bunch of options, but the most successful one on my machine was the use of supplementary materials described below. 
    I took an ordinary plastic straw that go with the cartons of juice for kids (I have plenty of them anyway): 

    Inserted it into the first hole in a thread path, shortening its way from the spool to this hole. It is only 17 or 18 cm long, but this is enough for a loop to appear: 

    This is how my guideway for metallic threads looks like now: 

    Further in the thread path I inserted a piece of a soft foam material, which I once tried to adapt for 3D embroidery. I placed it right after the first tension knob and ran the thread through in order for it to straighten out even the smallest loops: 

    As usual, it turned out that one should not cast off the tricky threads right away, because you can work with them, too. It just requires some additional effort sometimes. 

    Embroidering on a T-shirt. My first attempt

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,064 views
    Original text by: Marina Belova 
    Several days ago I was embroidering my first full-blown design on a T-shirt as a present. Previously, after several unsuccessful attempts, I wouldn't have touched the T-shirts with a ten-foot pole. I needed to embroider a text on the back which said: "Лёша я или не Лёша?". For this I chose not just a plain thread, but the one that glows in the dark. I bought the blue Glowy by Gunold. Although these cost quite a lot (slightly more than 1000 RUR for 1000 m), I was eager to work with them and see the result. 
    This is what the embroidered T-shirt looks like in the daylight: 

    I didn't manage to capture the glow of the inscription with my low-powered camera. Perhaps, I did not expose the thread to light long enough. I really cannot say: 

    But it looks good — everybody who had seen it, liked it. It makes a nice present. 
    The thread that glows in the dark is 100% polyester. Let the professional tell that embroidering on knitwear with a polyester thread is harder than with a rayon one — I decided to do it nevertheless, despite my recent result of the embroidery with polyester thread on knitwear being a huge disappointment for me 
    So, I'll tell you a bit about this thread, because there is very little information available. But there is nothing so hard about embroidering with it. 
    According to the brochure, this thread begins to lose its qualities approximately after 50 washes. In order for it to glow in the dark you should expose it to the strong (lamp) light for 15-20 minutes. 
    Any design created for the ordinary #40 thread will be good. But I saw the Gunold promo embroidery samples and noticed that their fill density was very low — you could see the fabric through the stitches. Therefore, I immediately decided to lower stitch density, too. So as to save the stitches and the threads. 
    The ordinary 75/11 SES needles can be used for the embroidery. 
    As well as the standard bobbin thread. 
    Now that I had an idea of what I wanted to embroider, and I had created a design and a pattern, when I'd got the T-shirt and threads, the only thing that left was to choose the right kind of stabilizer. I wouldn't want to ruin all that. 
    Everybody knows that the best embroidery stabilizer is a dense cutaway, that will tolerate everything. But I am wary of embroidering quite a big design on the back of a T-shirt using a cutaway stabilizer. It would impossible to wear. So I decided to be in trend and try to embroider on spunbond. 
    The funniest thing is that to find this much-lauded spunbond was not an easy thing to do. There was simply no such thing on the market — and nobody knew if and when there was going to be one. Therefore, I was sitting at the stabilizers manufacturer, searching for a replacement, and thumbing through a wonderful Gunold stabilizer layout. 
    The layout is a sort of a book that contains stabilizer samples. The most remarkable part of this book are the recommendations written in English and German languages on its margins, which tell how and where each type of the stabilizer should be used. That's when it dawned upon me: every manufacturer always gives very clear instructions for customers, which can be used for choosing the right product. And you need no courses to master the technology — everything is there: what to use, with what to use it, how, when and where. 
    So, I've studied the Gunold layout, and visited their website after that, and then the Madeira website, in search for the type of a stabilizer that would the best for embroidering on a T-shirt. I came to the following conclusion (which, actually, came to my mind before, when I was embroidering on knitwear pique): you should use an adhesive stabilizer on knitwear, which will secure the fabric right away and won't allow to pull it while hooping. All you have left is to choose the right density of the stabilizer. 
    I had the thinnest adhesive — circa 25 g/m2. It was the one recommended for T-shirts. During the test run the first word of the inscription showed that the fabric was not stabilized enough — the embroidery was pulled and the shapes became distorted, because the stabilizer was perforated and began to tear off along the perimeter while the embroidery was still running. Therefore, I put a piece an ordinary tearaway stabilizer right under the hoop. Now everything has fallen into place. I had an idea to use 2 layers of the stabilizer: a thin adhesive layer + a tearaway one (40 g), which were to be hooped together with the T-shirt. 
    It turned out that for me the hardest part of embroidering on a T-shirt was hooping it. Various appliances for making positioning and hooping easier instantly popped into my mind. Hooping a T-shirt in a standard way on a flat surface is not an easy task if you lack the habit. To create a pattern, to get it right, to choose the right kind of stabilizer — those are the mere trifles. 
    I did a test run with the standard polyester #40 threads — for costs reasons, naturally: 

    I set only the standard embroidery parameters: and lowered the density of satin columns by 20-25%. also lowered the fill density by 25-30%. I split the stitches that were longer that 5 mm so as not to pull the fabric. Pull compensation was 0.4 mm in each case. I used the edge run + zigzag stitch for the underlay, and only edge run under the narrow satin columns. And the grid with stitch length no more than 3.5 mm and density no more that 2 mm under the fills. All of this works rather fine on knitwear. The embroidery doesn't warp or become too dense, the pliability of the fabric does not change. 
    What was my surprise when I unpacked the spool of luminous thread and set it to embroider the T-shirt. Despite the manufacturer's claims these threads are visibly thicker that the ordinary rayon and polyester threads, the twist is not so tight. This means that the fill density could be lowered even more, allowing to save even greater amount thread. You could easily spot the difference between the design embroidered with an ordinary polyester thread and the one that glows in the dark. 
    There was also another trouble with the glowing thread during the embroidery process — it turned out that to find a proper tension for them was not at all an easy task. And this despite the fact that I had used this very needle with polyester before. I had to make the tension substantially higher, or there were distinctive loops. It is possible that I, trying to do the best, chose the needle thinner (#70) than the one recommended by the manufacturer. And I got to face the music, according to the logic of choosing the right needle. 

    What is basting stitch

    By Irina, in Machine embroidery materials and technology, , 3 comments, 4,616 views
    Original text by: Marina Belova 
    Some of these days it occurred that I overlooked the topic of a basting stitch, which is a special guiding stitch in embroidery. The reason why I overlooked the topic is that I myself never used this stitch: there was no need. Nowadays when learning to use a home embroidery machine, I understand why people invented this stitch and why it is used. Not every type of fabric can be ideally hooped on my home Brother, not to mention thick and bulky ones. 
    This stitch attaches the fabric to a stabilizer more firmly, and can also be used as a guideline. The fabric may be either hooped or just stuck onto the adhesive stabilizer (like filmoplast, for instance) or just the temporary spray adhesive. 
    Basting stitch is an ordinary running stitch with a 5-6 mm stitch length so it could be easily removed if necessary. You can create a basting stitch: 
    In the embroidery design editor, which is the best and the most accurate way that allows to create a shape you need.  With the help of the embroidery machine (home machine memory usually contains such a stitch) — it often looks like a plain rectangle similar to the one marked with the green dotted line on the image below: 
    Of course, basting stitch may be of any shape in case you digitize it yourself for every specific design. I've seen the recommendations to make a basting stitch along the perimeter of the embroidery — right under it, which I find rational in case all of design's elements are interconnected.
    Like the one on the photo below — marked with the yellow dotted line:

    On the Embroidery Professor's blog I saw an interesting idea of using this stitch when embroidering on a terry towel. It will look like this, and you'll need to remove it from the item after having completed the embroidery: 

    That seems to be all that can be said about a simple stitch like that. 

    How the high speeds affect the quality of the embroidery

    By Irina, in Machine embroidery materials and technology, , 1 comment, 11,010 views
    Original text by: Marina Belova 

    When it comes to machine embroidery, every trifle has its significance, even such thing as embroidery speed. It is clear that we want to embroider faster, therefore we want to increase the speed. But before we do that we should remember what might happen on a very high speed:
    The pull is greater than planned. The push is greater than planned. There are missing stitches in the beginning. There are gaps between the contours. Thread breakage is present. The delicate fabrics are warped and ruined. I'll say a few words about every one of these.
    Everything is clear with the first two — the higher the speed is, the more visibly the machine pulls the thread, which effects the look of the embroidery.
    The missing stitches occur when the machine begins embroidering and the thread 'escapes' from the needle's eye because the point of a hook cannot reach it. A situation like this is equal to the thread breakage, which, as our experience has shown, costs us a lot. Besides, it changes the look of the embroidery to the worse.
    The gaps between the stitches occur mostly due to the increased pull.
    One can easily understand why there are more thread breaks — the threads cannot withstand the strain on the high speeds. Besides, on higher speeds the needle deviates from its axis more, which, too, can lead to the thread breakage.
    As for the warping and ruining of the fabric, my experience has shown me that the main reason for them is the same old pull.
    In general, embroidery on high speeds causes great stress and nerve strain.
    I've seen the recommendations to embroider on 550-650 rpm, which I consider questionable, considering what the modern equipment is capable of. But I will agree that the embroidery made on lower speeds looks a lot neater, and that the embroidery process itself is much less painful. Personally I like to embroider on 700 rpm. There is little thread breakage and the productivity is rather good. Though I've seen the results of the embroidery on 950 rpm. Not to speak of Amaya embroidery machines with their fantastic speeds.

    Once again about alignment/placement marks

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,444 views
    Original text by: Marina Belova 
    A few days ago I was thumbing through a blog of Eileen Roche, a founder of the Design in Machine Embroidery magazine, and came across an interesting blog post about the difference between the placement marks in embroidery. Those who are curious may read the original blog: 
    I've already mentioned several times that I use such alignment/placements marks for linking he parts of big-size designs that don't fit into the hoop. But prior to reading this article it never occurred to me to distinguish between the notions, to understand what exactly I draw and why — indeed, this trifle is but a small part of my general knowledge of machine embroidery. If you ask me, when you give any notion an adequate definition, it will be much easier to understand what it's all about, and to explain it to the others. 
    So, using the timely assistance from this well-known lady, I want to define the placement marks in embroidery once and for all. All these marks I draw in editor and then embroider are needed for placing the fabric in the hoop in such a way that the embroidery would fit into the place you intended for it, and not at random. Of course, the positioning is rather rough. But essentially, there 2 kinds of placement marks (at least, that how many I can think of right now):
    The one that marks the future embroidery on a item or a fabric (called placement guide) — an ordinary running stitch that is used for positioning of the design on an item or positioning of the fabric/item onto the hooped stabilizer. This line may take various shapes, depending on the item that is being embroidered. I always use it in my In-the-Hoop projects.  Here is an example: 

    This kind of stitch will be invaluable if you need to accurately position details like cuffs, collars, napkin corners, neckbands or pockets etc. that are extremely tricky to hoop. 
    The arrows or lines used for linking parts of the embroidery (called alignment or placement marks). I call them checklines. A mark of this kind is also an ordinary running stitch or even hand stitch. They often recommend to do it in the shape of a cross, a star or a letter Z, and to position it outside the embroidered area, with which I myself don't quite agree, because, in my opinion, marks like that do not help to align the parts of the design accurately.  In short, the process of linking of the parts of the design too large to fit into the hoop, looks like this: 
    I draw the marks of a great variety of shapes, depending on the object being embroidered, and always place them under the embroidery — it is easier to hide them this way, and I you almost never need to remove them afterward. For more information on how to align big-size machine embroidery designs in practice, read in our future articles. 
    There, one more concept in machine embroidery in now clear to me. 

    Embroidering on tulle netting

    By Irina, in Machine embroidery materials and technology, , 0 comments, 17,544 views
    Original text by: Marina Belova 
    Judging by the craze on the web, everyone suddenly wants to embroider on tulle netting (of the starch kind). At a certain point in the past, long ago, I, too, made a couple of shots at it, but did not succeed and ditched the whole thing. But the fact the etched in my memory was that this netting is very fragile and breaks very easily. 
    Today I laid my hands on this material at last. I have 2 kinds of tulle netting with different mesh size: bigger and smaller. I don't like this material by touch, it reminds me of plastic and doesn't stretch much. Seeing it, I can hardly imagine where it can possibly be used. But if there are so many varieties on the market, there are people who want to buy. And the fact that people keep trying to find a way of embroidering on it means that tulle netting is indeed used. 
    Of course, the first thing I did, was to check if my tulle was fragile. It turned out that it tears effortlessly. And it is not important, whether the mesh size is big or not: 


    And because it tears easily, one should hoop this material with extreme care — tighten the screw just a bit too much, and the mesh will split up. Nobody wants that, for sure. 
    Remembering my own experience of embroidery on the ordinary netting, I decided to spare myself a headache and hoop the tulle together with a water soluble film. Because my experiment then showed that it would be right. I took a thin film, despite the relatively big mesh size. 

    What I didn't like in hooping was that the tulle turned out to be very slippery: it kept being loose and escaped out of a tightly screwed hoop. I created a simple low density embroidery design and reduced the density of satin columns by 20%, so as not to pull the fragile mesh. I used 2 edge runs for underlay to all stitches, just to maintain the outline. Ordinary rayon threads were used, and the result was the following: 

    It turned out that the main mistakes you can make while creating a design on tulle as well as on an ordinary netting are: 
    Thin outline that may reveal the understitching.  Small elements (the size of a mesh cell) — they don't have enough support. Unless you embroider on the most dense water soluble film possible.  Small distances between the objects (less than the size of a mesh cell) — the stitches hit the mesh cell from different sides, stretch it and this results in a hole.  A simple design hardly pulls the tulle at all, the mesh is not damaged by a needle, despite the fact that I use a standard one (SES), which is not suitable for the embroidery on tulle netting. The resulting embroidery is soft and does not resemble a bullet-proof vest. All I have left is to make corrections. 
    In the course of altering the design according to the rules listed above, I decided to add density to the fills, because it seemed not enough, and increase pull compensation up to 0.5-0.6 mm. My second attempt resulted in this: 

    I increased the density so that the fills looked less transparent, but not so dark as satin columns. I wanted to play with light and shadows, but did not quite succeed: 

    Summary: It is quite possible to embroider on tulle netting, but you should choose simple low density designs, without small and thin elements (less that 2 mm thick). I would recommend a dense water soluble film as a stabilizer or a cutaway stabilizer in order not go get rugged edges like I did (see the photo above). You should hoop the tulle netting together with the stabilizer. The hoop should be wrapped (read about it here). You should choose a thin #70 needle, with a light ball point. 

    An interesting point on working with knitwear

    By Irina, in Machine embroidery materials and technology, , 2 comments, 3,519 views
    Original text by: Marina Belova 
    Everybody knows that the needle coming through the fabric must not leave a trace of small pin holes along the perimeter. But such a things happens, especially on knitwear in case the needle has not been chosen properly and because of other reasons, too. Often this defect is not evident right away, because the stitches lie close to each other. But several washes later it becomes apparent to anyone wearing the embroidered item in question. 

    The best way of avoiding such a problem is to look through the fabric at a light bulb when testing the design. The main point here is not to confuse the genuine holes with the stretched loops. Those who are not sure of what exactly they are looking at, may take a magnifying glass to see more clearly. 
    I, too, was sometimes lost in the thoughts, trying to figure out what was wrong with those holes and why. Now, having looked over the materials on the subject, I came to understand some of the criteria needed for choosing a proper needle. What I am especially interested in are the reasons behind all this. I'll share my knowledge with you. 
    As you undoubtedly know, knitwear is constructed by the loops of yarn, of which some are bigger and some are smaller. Therefore the most important thing when embroidering is to choose the needle so that its diameter would not in any case outsize the smallest loop. This, among other things, will guarantee that the yarns won't be ruined by the stretch and distortion caused by the needle. Such a small trifle, which, nevertheless, has remained unknown to me. 
    The second thing that will guarantee that the loops will remain intact during the embroidery is the properly chosen needlepoint. I've already mentioned in my blog post that you need a ballpoint for embroidery on knitwear. It is necessary for the needle not to pierce the yarns, but to move them apart, so the loop would glide along the side of the ballpoint. Preparing to work on thin knitwear you should change your needle for the one with a light ball point (SES) at least. Moreover, you should change the needle more often when embroidering on knitwear than on woven textiles. You should not wait until the needles are damaged so much that they will ruin the fabric. 
    A curious detail is that the needle is not always the reason for pin holes The reason for their appearance may be the knitwear being too dry. When the knitwear is dry, it loses its ability to stretch and be flexible, and becomes coarse. This means that it does not matter what needle you use — the yarns will not glide around its ball point, but rather be pierced with it. 
    One of the oldest existing ways of avoiding that is to store your item in a dark humid place. It is true for the items made of cotton. Or you can sprinkle them with water prior to the embroidery. But here is a possibility of applying too much water — you should not forget that the embroidery machine parts are made of metal, which tends to get rusty. Therefore, you should not sprinkle water close to the equipment or get the fabric thoroughly wet. I've also encountered a clever recommendation to spray the knitwear with silicone used as a lubricant for some parts of the machine. It is also used for oiling the metallic threads so they could slip through the fabric more easily. But before using the spray you should first make sure that it is a 100% silicone — this way it will not leave stains. Silicone, too, shouldn't be used in close proximity to the equipment. 
    Such are the nuances of working with knitwear. Embroidery design creation as well as embroidery technique is important. An these two go together, not separately. 
    This text was written by me on the basis of Roy Burton's article in the Wearables magazine.
     

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