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    Quality benchmarks. Controlling the stitch angle

    By Irina, in Machine embroidery materials and technology, , 1 comment, 4,958 views
    Original text by Marina Belova 
    Setting a stitch angle means fitting the stitch direction to the shape of the object. Only two types of stitches can change their direction: satins and fills. There are just two aspects of stitch direction you can control: 
    The first is the direction of inclination. This is true, first, for fills and, second, for straight satin columns. Important! Although all stitches in a straight column have one and the same direction, you need to set 2 parallel directions at the object's ends.
     
    Multiple directions. Multiple directions can only be set for the satins of a complex shape. This is true for almost all kinds of machine embroidery software. 
    Wilcom, with its Fusion Fill tool, is the only exception. 
    This tool is essentially an ability to set a complex outline as one object, which is basically several segments with branches (it often contains openings, too). 

    Every segment is a separate object, filled with satins running in their different directions. The editor automatically adds connectors between these objects, sparing you the routine of drawing them manually. The resulting number of segments within an outline depends on starting/end points and the number of stitch directions. The only thing left to do is to set the stitch directions in the object, which can be quite a challenging task. 
    In my example Wilcom divided a complex shape into 5 segments that looked like this: 

    Main factors that can influence your choice of the stitch direction: 
    Creating an effect  Adding volume  Avoiding distortion  General recommendations on the choice of the angle: 
    90° angle between the stitch and the outline is considered classical. 
    By changing a stitch angle you can visibly separate the stitches in the neighboring objects of the same color. For example, you can embroider an entire leaf with the stitches running in one direction or divide it in two and change the stitch direction. This will add volume. 
    When changing the stitch angle from classical to randomly chosen one, be sure to check whether the stitches won't become too long as the result.  Carelessly set stitch directions or an overabundance of them may lead to the embroidery looking untidy. 
     

    Embroidery on satin stitches

    By Irina, in Machine embroidery materials and technology, , 0 comments, 6,121 views
    Original text by Marina Belova
    Synthetic satin (polyester or acetate) is for some reason considered a rather tricky fabric, prone for puckering and other embroidery distortions, the one that does not tolerate any mistakes. So I decided to check if that was indeed so and why: to me, the fabric seems quite stable and not likely to present any problems. Except that it is very smooth and able to slip out of the hoop; there also can be hoop marks, like on silk or organza.
    But first, let's see some general recommendations on working with this fabric:
    When choosing the image or digitizing the design you should not forget to lower the density (0.45–0.5 mm would be OK). Understitching should be kept to a minimum. Although, in you ask my opinion, sparing the underlay seems strange for such a slippery fabric. Satin and filling stitches should not be over 3–4 mm in length. It is important to stick to the embroidery sequence (from the center onward). In order to avoid gaps, filled objects should be embroidered in one direction and not in multiple crossing ones. Read more about it in my article about digitizing complex shapes. The fabric should be hooped together with the stabilizer, trying to keep their contact to a minimum; also, don't forget to wrap the hoop in the fabric or paper prior to that. The stabilizer should be of a tear-away middleweight variety. Or, you can use an adhesive stabilizer like Filmoplast + an additional tear-away stabilizer under the hoop to avoid hooping the satin. Any kind of threads can be used, but everyone seems to prefer rayon. Needles should correspond in thickness to the thread and the fabric. SES light and round needlepoint is preferable. I created a flower design and embroidered it on the satin. The result, in my eyes, is very good:

    That is, despite the rather dense fill, all puckering and distortion were easily removed with an iron. There was no hoop burn whatsoever on any of these satin pieces. A slightly visible ring on the fabric was easily ironed out in both cases:


    I probably didn't problems with this because I usually wrap the smaller ring of the hoop in order to prevent the fabric from slipping. About this and other little things that make hooping more easy and efficient, read my article called "Hooping minutiae".
    The only embroidery defect I saw was shifting of the fibers along the perimeter (which is not a rare occurrence). The embroidery being dense, this defect is visible, but it doesn't bother me:

    I also want to point out that the design of a lower stitch density, embroidered on the same fabric, puckered as well. But, again, it is not a big problem and can be removed by washing and ironing:

    I think, this fabric is nothing to be afraid of. I used the ordinary threads and #70-75 needles with SES needlepoint present on my machine. And one layer of 40 g tear-away stabilizer. But I added temporary spray adhesive because I thought that my fabric, a very fluid one, needed it. I didn't use any additional fabric or paper between the rings, and the front side of the satin touched the hoop.
    I digitized the design as usual, except lowering the density in the fills. The resulting density was 15–20% lower than the default one in my embroidery editor. And it is usually set at 5 lines per mm (~ 0.4 mm). To prevent the fabric showing through the stitches, I added density to the underlay.
    The bottom line is, the more I embroider on different fabrics, the more intuitive I get considering both the digitizing and embroidery processes.

    A souvenir made of the toilet paper

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,379 views
    Original text by Marina Belova 
    Yesterday I was writing an article about the embroidery on paper and remembered an old video on YouTube that described the embroidery on toilet paper. My American colleagues regard embroidery on the rolls of toilet paper as a joke gift or a gag. And they also match the designs to the various dates and holidays so that it did well. 
    And not only Americans! Last year (or was it the one before last?) on Textillegprom you could see an embroidered roll of toilet paper on the
    Amaya exhibition stand, which was demonstrated to everybody who was interested. Like Amaya was the only paper on which this stunt was possible. 
    I'll show you my own attempt at that step by step. 
    For this, may I say, intimate item, I chose the design carefully. This is the one I settled upon (naturally, it came from an open source): 

    Then I picked up a roll of the ordinary cheap toilet paper: 

    Checked the size of one section to fix upon a size of the design: 


    Having done that, I created a simple design containing only satins: 

    I set the stitch density at 3 lines per mm (In Stitch Era), used no underlay and tried to avoid jump stitches between the segments. The stitch density value depends on the quality of the paper, I guess. 
    Anyone can create a design like that in no time. 
    Let's go to the machine. 
    Hoop a cut-away stabilizer only: 

    Find a center of the section of the paper and mark it with a dot – this will be the starting point. I decided to embroider not the first, but the second section so that I could later roll it properly. 
    Then I took a temporary spray adhesive, sprinkled my stabilizer and stuck the paper onto it, trying not to skew it. 

    I started the machine and began embroidering. 

    The embroidery is ready! Sure thing, in only has 770 stitches: 

    I unhoop the embroidery and carefully so that not to ruin the paper trim the extra stabilizer from the wrong side: 

    In the photo below you can see the result of my efforts: 

    I didn't fold the paper in several layers, like my American colleagues do, but decided to embroider on just one layer. And everything went well. As a gag gift to someone, it will do. Not everybody will be glad to receive such a present, but you know who will, don't you? 

    Mylar as an appliqué fabric

    By Irina, in Machine embroidery materials and technology, , 0 comments, 5,191 views
    Original text by Marina Belova 
    I've long set my sights on mylar (wrapping film used for presents) as a possible material for machine embroidery. The manufacturers in Europe and the USA have been producing the machine embroidery variety for ages, but where I live only the wrapping film can be found, or, as a last resort, you can turn to the old kids' balloons filled with helium. 
    The film, of course, is not a durable material, so you hardly can use it for clothes. But it will be good for the items that don't require washing and pressing with a hot iron, for instance, bags or embroidered postcards. It is said that you cannot have the film dry-cleaned, but it can endure 10–20 washing cycles. On the other hand, this film comes in all kinds of colors and ornaments, and it also has a shine, which is its undeniable advantage. 
    This is a spring tree with birds that I created today, but, unfortunately, it is hard to capture that shine with my camera: 

    The most important thing is, this film is very easy to use. It can be used as an appliqué, topped with low-density fills, through which the shine is visible. 
    The design digitizing is even more simple than for the traditional patched appliqué because you don't need to do any trimming; the films tear off easily along the line of needle penetrations: 
    First, create an outline where the film should be.  Then, create the rest of the design.  Settings recommendations are very similar to the ones for machine embroidery on paper: low density, the use of motifs, removing short stitches and so on. 
    I'll show you how to do it, using my own attempt as an example. 
    I hoop the fabric together with the stabilizer: 

    Stitch the outline: 

    Put the film on top of it. I have sprinkled mine slightly with a temporary spray adhesive to prevent it from slipping and creasing at the very beginning: 

    Then embroidered the entire design. The film, as I found out, can be torn off even along the running stitch line: 

    But it is better to tear it off along the satin stitch line. The rest can be removed with pincers, which is not difficult: 

    The most important thing is to keep an eye on the embroidery so that the folds on the film do not appear, otherwise, you'll get a ribbing under the fills. You cannot spot it in the photo, and that's why I don't show it, but in reality, it is very much visible. 
    Before my second attempt, I decided to iron my already wrinkled film to smooth it – mine is of a simple wrapping variety, remember? It turned out that you can smooth it a little. I set my iron at the most delicate regime and used a thin piece of cloth for protection. The result was splendid. 
    I used the most ordinary SES needle, but a thin one – #70. The threads were both rayon and polyester, the most standard #40. 
    Such are the secrets of working with this film. 

    Machine embroidery converters: comparison

    By Irina, in Machine embroidery materials and technology, , 3 comments, 4,629 views
    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 designs, 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 Wilcom TrueSizer converter here. Register and use the Ambassador on the official website.  Register and download My Editor on the official website or  Download a free trial version of MelcoSizer. Download TESViewer for free on the official website or  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. 

    Embroidering a postcard

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,561 views
    Original text by Marina Belova 
    I decided to embroider a postcard. I somehow don't have the mood for a Christmas postcard — perhaps, the reason is that I haven't found a proper design. But I stumbled upon a design for a Valentine's Day postcard instead. Here's a step-by-step report of me making it. 
    This is how the drawing looked like after some manipulations over the size (the original image came from an open source): 

    I settled upon 20.5x20.5 cm. 
    Here is the design preview: 

    It has altogether 7 colors: 6 for the hearts and the 7th for the stitch along the perimeter: I need this stitch because I'll trim to it. 
    I set a low density: 0.7–0.9 mm. I also removed the underlay. All connector stitches between the segments and the outlines were hidden on the edges of the objects and were made with running stitches. The stitch length was no less than 3 mm. I drew the tie-offs manually on hearts and inserted them automatically on letters. You can see the result in the photo below. 
    Naturally, I embroidered on paper. Read here on how to make a design for the embroidery on paper. 
    I chose the handmade paper, not a heavyweight variety but with long fibers that can be seen with the naked eye. 

    I chose the threads of the same thickness (#40) but of different structure: rayon, polyester, metallic. 
    The first thing I did was to frame a cut-away stabilizer. 

    Then I sprinkled it with temporary spray adhesive and stuck the paper to it: 

    I must point out that this adhesive is bad for securing the paper on the paper. They unstuck practically right away. I thought of that in advance, therefore, the first thing in my embroidery sequence was an outline that stitched the base of my postcard to the interfacing material.
    Having embroidered the squares, I trimmed the extra paper along the perimeter using scissors: 

    Now I could embroider safely – nothing would shift. 
    The design was embroidered rather quickly – hardly surprising as it only had 6105 stitches. The embroidery went well, the thread laid smooth, the paper didn't become perforated. 
    This is the embroidery still in the hoop but (almost) without the connector stitches: 

    After that I unhooped my semi-finished product and trimmed it along the outline: 

    This is how the wrong side looks like: 

    One should notice the tie-offs. If I wasn't lazy and drew them manually everywhere and not only on the hearts, the wrong side of my embroidery would be clean and I wouldn't need to cover it. But I decided to automatically insert tie-offs; the only thing I did was to increase the stitch length compared to the default one in my editor. 
    In the photo above you can see the ugly knots almost everywhere in the letters, and these are not easy to get rid of. 
    So the ready postcard looks like this: 

    The only thing left is to glue some interesting-looking paper to the inside, write something and give as a present. 

    Napkins embroidered in-the-hoop

    By Irina, in Machine embroidery materials and technology, , 0 comments, 6,132 views
    Original text by Yelena Kraftwork 
    The history of napkins goes back for centuries. People used them to clean their hands in the times when forks and spoons hadn't yet been invented. Napkins come in various shapes and sizes: rectangular, square, even round. Even the simplest napkin may become a nice decoration for your dinner table if you machine embroider it. This master-class will tell you how to embroider 4 napkins in one go. 

    Embroidery on napkins Materials: 
    Tearaway adhesive stabilizer  Embroidery threads  Machine embroidery design  Embroidery or sewing and embroidery machine  200*200 mm frame (or larger)  Four 300*300 mm napkins or pieces of fabric 
    In this masterclass, I used a custom design from Brother Innov-is 1E sewing and embroidery machine's memory. You are welcome to choose any of embroidery designs from our shop. 
    Embroidery on napkins The making process: 
    Cut a piece of stabilizer slightly bigger than your hoop. On the adhesive side draw the central lines with a fabric marker. Put your napkins onto the stabilizer in accordance with the lines. 


    Provided that you have a frame over 200*200 size, you can embroider all 4 of them in one go. 
    Place the napkins onto the stabilizer and press them together with an iron. The temperature depends on your type of fabric. Hoop the stabilizer together with the napkins so that the center lines register perfectly. 



    Choose your design and place it at the angle of 45° on all napkins. 


    Embroider the designs. Finish the borders with rolled hems on your overlocker or in some other way. Now you have a set of embroidered napkins that can make your friends envy when you invite them for tea. 
     



    In-The-Hoop. A doorknob hanger

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,045 views
    Original text by Marina Belova 
    To be honest, I don't like to sew, despite the fact that I'm fairly tightly bound to the sewing industry. Therefore, I've long set my eyes on creating a freestanding double-sided appliqué where you don't have to sew anything and a ready item comes right off your machine. What's more, this item is embroidered on both sides. Last year I tried to create New Year trees using this technique but something went wrong. Now I'm ready to try again. 
    This is the doorknob hanger I got as the result (the inscriptions say, accordingly, "Occupied" and "Vacant" — translator's note):
    Side 1: 

    Side 2: 

    For avoidance of doubt, the two sides view of the embroidered design: 

    Let me tell you about the making process. 
    I started, of course, with choosing a design. I found these free smile-shaped oranges on the Web, added some letters and drew my doorknob hanger: Here is what I got: 

    I created 2 embroidery sequences: First was the design itself. 

    And second was the edge finishing (same as in the traditional appliqué): 

    Now let's embroider. 
    I hoop the basic fabric for my hanger with the stabilizer. I commonly use a cheap Chinese cut-away middleweight one — it works well. 

    Embroider the main part of the design: 

    Unhoop the whole thing (carefully!) and trim very close to the stitch that shows us the edges. 

    Proceed to the second part of the embroidery. Hoop only the cut-away stabilizer. 

    Put the pieces of fabric with their wrong sides facing each other and fix them with a temporary spray adhesive or an ordinary paper glue (we won't embroider them anymore, only finish their edges, so you can use the glue if you like). 

    After that, I changed my standard bobbin thread for the upper thread specially winded on a bobbin. After all, my item has two faces, so it won't look good if one side of a thick satin column is embroidered with an ordinary white thread: 

    I load the second part of my design to the machine and embroider the outline: 

    Sprinkle the hooped stabilizer with the temporary spray adhesive and stick my semi-finished product onto it by either side so that it fit the hoop: 

    Now I do an E-stitch that stitches my item to the stabilizer perimeter-wise: 

    At this stage, you still have a possibility of adjusting the hoop if the stitch shifts. Because if it does, it is highly probable that the finishing border won't cover enough fabric, which will result in it falling off the item. For this reason, you need to carefully check everything and, in necessary, adjust the hoop. 
    I embroidered the finishing border: 

    Having embroidered the finishing border, I checked whether the fabric didn't fray and found that it did in a couple of places, in spite of all the hoop shifting. I've arrived at the conclusion that I was too skimp – the border would do better if it was a couple of mm wider (mine was only 4 mm).
    Then indeed nothing will fray and the border won't detach from the fabric. Also, the black outline that I stitched for the purpose of trimming, is exposed. It had better be covered. 
    So I created an additional embroidery sequence with a wider border and embroidered it right on top of the already existing ones. Just how much wider it was, you can see in the photo below: 


    This is my hanger still in the hoop, front side: 

    This is the wrong side: 

    After that, I unhooped the item, thoroughly tore off the stabilizer, cut the ends of the tie-offs, and singed the leftover fibers sticking out of the satin edges with a lighter. And get this hanger as a result: 


    All my efforts resulted in the following conclusions: 
    Such an item is quite easy to make. The finishing border should not be less than 6 mm.  The letters didn't come out good enough but if I ever going to make a hanger in the future, I'll correct my mistakes.  Gradients painted along a straight line look very crude on round objects. I should master the technique of painting gradient along a curve. Or, I should have blended all 3 colors instead of 2. But this is another topic. 

    Quilt on the embroidery machine. For the lazy ones )

    By Irina, in Machine embroidery materials and technology, , 0 comments, 2,551 views
    Original text by Marina Belova 
    An embroidery machine can do many interesting things besides the common embroidery. Not by itself, of course, but with the help of a person sitting at it. Nowadays there are many projects called Piece in the hoop. If asked to explain what it means, I would answer in that way: these are projects that allow getting a ready item or a semi-finished product without the use of the sewing machine. 
    What you can do in such a way: 
    Almost ready soft toys: you'll only have to stuff them and sew up the opening.  Eyelets of different shapes with double-sided appliqué for towels.  Various embroidered accessories that are sewn up right on the embroidery machine – smartphone cases, eyeglass cases and so on.  Semi-finished quilts. Both with the embroidery or not.  Could be many other things, for all I know. 
    All of them, of course, are made in a proper sequence tailored to their individual purposes. You can easily find all the instructions on the Web.
    The designs are necessarily digitized in a proper technique. 
    I've long observed how the quilt on an embroidery machine is made. Today I, at last, decided to create a square with a very simple design myself.
    In my opinion, quilt can be regarded as a type of appliqué, so why not to make it in the hoop? Especially if you dislike sewing as much as I do. 
    Here's what I got as the result: 

    a quilt square made on the embroidery machine
    Below is the step-by-step guide. 
    First, I created a simple design containing the running stitches only. About 1020 stitches in general. 

    Design preview from the quilt editor 
    I selected 5 different kinds of fabric and went with them to the machine. 
    The first thing I did was to hoop a stabilizer. Not long ago I bought a 60 g/m Chinese perforated tear-away stabilizer. It is very soft, despite being rather dense. I decided to use it. 
    Quilt: step 01 
    The first thing I embroidered was an outline for my future quilt. I settled upon the black threads – so that everything would be visible. 

    Quilt: step 02
    Then I placed the basic fabric so that it completely covered the embroidered square. 

    Quilt: step 03
    After that I stitched my fabric along the perimeter so that it didn't shift, crease or fold. Perhaps I shouldn't have done it, I don't know. But I thought it would be right. 

    Quilt: step 04 
    Then I embroidered the upper ornately shaped border and also the first outline to which I'd fit my first piece of fabric. 

    Quilt: step 05 
    I picked up the fabric and placed it face down with its edge to the stitch: 

    Quilt: step 06 
    I started the machine and stitched this piece of fabric to the one that was already there: 

    Quilt: step 07 
    Now it was an interesting moment – I folded the fabric into the face: 

    Quilt: step 08 
    Then I embroidered one more stitch on top of everything, to which I would trim the extra blue fabric and with which I would align the next piece: 

    Quilt: step 09 
    I trimmed all the extra material: 

    Quilt: step 10 
    Put the next piece of fabric: 

    Quilt: step 11 
    Again and again, I stitched, folded, trimmed and added new pieces of fabric – until the embroidery was completed. 

    Quilt: steps 12-25 
    In the end, when everything had been stitched and folded, I decided to add one more black stitch along the perimeter of my square. Now I think it was unnecessary. The stabilizer is wrong, too – it shows through the fabric. I should have used a different one. Something like spunbond, I think, which wouldn't be visible through the fabric. You need to test every time, you know. 

    This technique requires quite a lot of effort. But me having tried it suggested the following: I could add ornaments to the jointing edges to get something akin to crazy quilt. Must look interesting. Also, there are tons of patterns for this purpose on the internet. 

    Cutwork with a pair of scissors

    By Irina, in Machine embroidery materials and technology, , 6 comments, 8,104 views
    Original text by Marina Belova 
    I'm giving a serious thought to creating cutwork on the embroidery machine. Once and for all I decided to work out the technique to the last detail and to learn all the secrets of cutting out the holes by hand. 
    I've encountered this embroidery technique many times before. Even drew the designs for it in Corel Draw. Though I'm not an artist. Like the majority of designers that create their own embroidery designs, I've never thought how to make a drawing of such quality that it could be embroidered right away. To take into account all the slight and subtle differences (what should be done and what shouldn't), one must understand both the digitizing and the embroidery processes. Well... that's why the embroiderers offered some criticism of my designs. After all, the resulting look of the embroidery depends on the original idea a great deal. 
    In my grandmother's coffers, I found a cutwork curtain, make in a free-motion embroidery technique. This machine made piece was created 40 or 50 years ago. 

    The curtain has been washed and washed again many times but the embroidery is still there: nothing has frayed, nothing has worn away! I also want to point out that the embroidery on this particular piece is very delicate. Which cannot be said about machine embroidery designs created on a computer. Here's a typical design from one of the most popular Russian embroidery shops, Advanced Embroidery Designs. (Nota bene: you can also find a variety of such designs in our shop). 
    Thin borders are not perhaps the best-looking but their main advantage is that nothing will fray or detach. Such items are not excessively thick, the embroidery is very soft and looks more delicate. 
    Having seen all this once again, I decided to create my own design and achieve as thin bridges as possible. 
    So I found 2 designs. A flapper for sachet: 

    A rosette-shaped drink coaster: 

    I digitized the first design, for the sachet with a flapper: 

    After two unsatisfactory attempts and further corrections, I arrived at the conclusion that the density should be reduced to at least 0.7-0.8 mm and the number of running stitches under the bridges narrowed down to just 2. The bridges themselves should be made with two narrow zigzags running in the opposite directions. 
    A special focus should be on the first part of the design which contains the first parallel underlay with very short stitches and small zigzag stitches over it. This is the basis for the embroidery. The stitches should interlink so that the bridges won't detach and the satin borders around the holes won't fall off. You need to plan your embroidery sequence so as to keep the number of trims to a minimum. 
    An even greater attention should be paid to the choice of fabric. My first fabric was so battered with old age that it raveled out in my hands when I started to fiddle with it after the embroidery: 

    In the end, I embroidered this design on a linen piece and then sewn the sachet. I showed the photo in my article about cutwork creation: 

    I'll elaborate upon my second design because it turned out so much better than the first. Below is the preview of the ready design: 

    I planned to embroider it not with a rayon or a polyester thread, but with a cotton one (~30–35 g). In my opinion, lustrous embroidery threads are not suitable for cutwork because they make it look like a cheap Chinese product. 
    First, I hooped a heat-away stabilizer called Thermogaze from Gunold together with a piece of linen fabric. 

    Hit the start button and stitched a double outline along the perimeter of the design: 

    Right after that I added a small zigzag on top of it: 

    I took the hoop off the machine – time to cut out the holes. Cutting out took as much time as the embroidery and didn't please me the slightest bit.
    One hell of a task, not for the weak-nerved! In spite of all effort, I cut the stabilizer in several places: 

    Then I inserted the hoop back into the machine and embroidered the rest in one go: 

    This is the wrong side. It is rather neat. 

    Then I trimmed the rosette along the perimeter. 

    I now have little left to do – to remove the stabilizer. I put my rosette between two layers of paper: 

    And then place a very hot iron (no steam!) on top of it: 

    Wait for about 2 Tequilajazzz songs until Thermogaze will get darker. This is what I got on the wrong side:
     
    Rumple and pull the embroidery to remove the stabilizer. Also, this will help you to test the embroidery for endurance and resistance to wear.
     
    Here is the ready rosette: 

    It has the most ordinary look, and the bridges are not as thin as I wanted. But neither are they the thick monsters from the other designs. I believe that if embroidered with the ordinary #40 threads the bridges would be much thinner. A very pleasant fact is that nothing shifts or comes apart. 
    Why did I choose Thermogaze as a stabilizer instead of a water soluble film? Because it's much easy to use; the film would be very hard to wash away afterward. The only thing I like about embroidery on film – it is practically impossible to snip it with scissors when cutting out holes, which cannot be said about a heat-away stabilizer. 
    My entire design had only 2 trims: the first one for cutting out holes and the second one for trimming after completion. This was not easy to achieve. Also, I had to rack my brains over joining the parts of the embroidery with the underlay so that it would keep it together after the embroidery. My only mistake was not enough reinforcement of the edges. Satin border, in my opinion, insufficient. You need more reinforcement along the perimeter, like in a festoon. I'll do that next time. 
    Now I understand that the experienced pros of free-motion embroidery would make the best digitizers. They, too, try their best to avoid trims and plan the embroidery sequence right in the course of the embroidery. 
    In general, I learned that there is no sacral knowledge behind this type of the design. A cutwork design can be created in any embroidery editor.
    All the digitizing laws are just as relevant here. The only thing you need is to use your brains. 
    Download the ready design here. 

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    3. More information about "Cute small tiger free embroidery design"
      Cute small tiger free embroidery design
      By Berez
         102   0
    4. More information about "Sunflower free embroidery design"
      Sunflower free embroidery design
      By test5
      62   15
    5. More information about "Zebra free embroidery design"
      Zebra free embroidery design
      By Berez
         44   27

    Month

    1. More information about "Blue pattern free embroidery design"
      Blue pattern free embroidery design
      By test8
         356   1
    2. More information about "Easter egg wreath free embroidery design"
      Easter egg wreath free embroidery design
      By Berez
         338   1
    3. More information about "Forget-me-not bouquet free embroidery design"
      Forget-me-not bouquet free embroidery design
      By Berez
      314   7
    4. More information about "Cat free embroidery design"
      Cat free embroidery design
      By embroidery_bler
         255   1
    5. More information about "King unicorn free embroidery design"
      King unicorn free embroidery design
      By Berez
         225   0

    Year

    1. More information about "Christmas garland free embroidery design"
      Christmas garland free embroidery design
      By test8
         1,147   1
    2. More information about "Grape free embroidery design"
      Grape free embroidery design
      By Berez
      873   2
    3. More information about "Dog in a bag free embroidery design"
      Dog in a bag free embroidery design
      By Berez
         756   1
    4. More information about "Two loving parrots free embroidery design"
      Two loving parrots free embroidery design
      By Berez
         745   1
    5. More information about "Dwarf with lantern outline free embroidery design"
      Dwarf with lantern outline free embroidery design
      By test5
         704   0

    All Time

    1. More information about "Snowball game cross stitch free embroidery design"
      Snowball game cross stitch free embroidery design
      By Berez
         40,105   25
    2. More information about "Zebra free embroidery design"
      Zebra free embroidery design
      By Berez
         37,170   27
    3. More information about "Free embroidery decoration for dress"
      Free embroidery decoration for dress
      By test5
         27,696   8
    4. More information about "Cats meet free embroidery design"
      Cats meet free embroidery design
      By lone
         27,376   3
    5. More information about "Caffe free embroidery project"
      Caffe free embroidery project
      By test5
         21,356   8

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