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    Quality benchmarks. Digitizing complex shapes: tips and tricks

    By Irina, in Machine embroidery materials and technology, , 1 comment, 3,449 views
    Original text by Marina Belova 
    Flat or decorative fills parameters are usually applied to the complex shapes with limbs and openings if they are big enough to be embroidered with satins. 
    At the first glance this seems the easiest object to digitize: first, you outline it, then mark the beginning and the end and specify only one stitch direction. Machine embroidery software does the rest. 
    But here's a trouble: you cannot just put the beginning and the end of the complex shape whenever it is logical and rational with regard to the embroidery sequence, i.e. in the shortest possible way from one object to another. Overlooking this point may result in a highly unpleasant defect – gaps between the segments of one big object. It is even more possible when embroidering segments that have opposite stitch directions on tricky stretchy fabrics. 
    The reasons for the gaps can be explained. During the sewing, the fabric stretches no matter what. It also begins to shift (you can see waves) in the direction of the embroidery. When the embroidery finish point is located in the middle of an element, and if stitches in segments lie in opposite directions, there will be a piece of unstitched fabric between them at the joining place. 
    All contemporary machine embroidery editors have an adjustable option called Overlap. It is used specifically for the gap prevention. 
    It is a value that defines the amount of overlap. Overlap is usually measured in the number of stitches (satins) or rows (fills) that will cover the assumed gap. 
    On the picture below you can see how to overlap segments in a rather simple object: 

    The algorithm depends on the stitch direction as well as start and end points. 
    As you can see, not only a complex but also a very simple outline can be split into segments. The number of segments will depend on the stitch angle as well as start and finish points defined by a digitizer. 
    Seems so easy: just set a value and that's it. Not so fast. Imagine a situation where you need to overlap not the stitches in a satin column but the ones in a flat or decorative fill. In this, a digitizer will need to find out how segments are overlapped in a particular editor so that the additional rows of stitches are in harmony with the texture of the fill. 
    Almost all popular editors give different patterns of needle penetrations even if there is only 1 row. It usually conflicts with the texture of the fill. 
    So as not to sound precarious, I'll give you an example: In each of the 4 embroidery editors, I drew 2 squares. Every square had its own texture. I set start and finish points for every object not at the ends, but about 1/4 from the edges. I chose horizontal stitch direction for every square. The objects overlapped for 1 row of stitches. 
    Wilcom in a standard mode does not show how the needle penetrations shift in the segments or in the additional line of stitches between them. But switch to the realistic mode and it will be a completely different matter: 

    The way segments of one object overlap in Wilcom 
    It is similar in Tajima. There is a shift in the rows of needle penetrations, and the overlapping line looks odd: 

    The way segments of one object overlap in Tajima 
    In WingsXP the texture in segments remained very similar, but the overlapping line seems out of place. 

    The way segments of one object overlap in WingsXP 
    In Stitch Era needle penetrations in the additional row create a texture closest to the specified. 

    The way segments of one object overlap in Stitch Era 
    I didn't compare the other editors. It is clear that the calculation algorithms in different editors are also different. And consequently, the result will look different, too. 
    But the bottom line is that you should minimize the number of segments in one object: 
    You should select your start and finish points so that they are located on opposing sides. Which ones will that be, depends on the stitch direction. Hence, you should adjust the stitch direction value to achieve the best result.  For example: 

    Create one object with different start/finish points and stitch direction, one objects with a different number of segments.  Reduce the number of overlaps to 1 per object where possible.  If the overlap is present, it should be at least 1–2 rows wide.  In case the start and finish points should be located in particular places, you can try to manually split a complex shape into segments with one stitch direction. 

    Quality benchmarks. Overlapping of the neighboring objects

    By Irina, in Machine embroidery materials and technology, , 2 comments, 5,388 views
    You can often see a machine embroidery defect where an outline pulls in the stitches of the bottom layer and the fabric becomes visible.
    Or there is a gap between the objects where the stitches run in the same direction.

    Or a gap between the design and the outline made with running stitches.

    Avoiding these may seem a hard task. But in reality, it is not so. Means have been invented long ago, beginning with choosing the right kind of stabilizer and hooping method, and concluding with foreseeing the possible damage at the digitizing stage and taking measures to avoid it.
    I'll skip the hooping methods and the choice of the stabilizer. Let's highlight the simple digitizing recommendations.
    If you have the neighboring objects where stitches run in the same direction, a digitizer should apply pull compensation. It is necessary for the needle not to make multiple penetrations at the joining places that result in huge holes. If the fabric is also not stable enough, you may get a huge gap like the one in the second photo. Compensation settings depend on the type of fabric to be embroidered, the density of the machine embroidery design, stitch length, and other parameters. But the usual advice is to overlap the objects at least by 1–2 mm.
    When the objects adjoin and the stitches in them run parallel, you should split the objects in order to avoid bulging. This means creating a distance between the objects no less than 2 rows of stitches. This gap will be closed during the embroidery due to push deformation of both objects in the stitch direction.
    If two objects where stitches run in opposite directions adjoin, you may have to tackle this problem: too much pull compensation may result in the ridge at the place where the two objects overlap.
    There may be several possible outcomes: if a green object is embroidered last, the stitches on its edge will become interlinked with the ones in the lower red layer and pulled to the side, separate from the fill. The longer are filling stitches, the more probably they will be pulled under the upper layer, leaving the gap and revealing the fabric. In order to avoid that, you'll need to add an underlay at the place where two objects join.
    Low-density satin with a jagged edge will be sufficient. Thus, even if the stitches will end up under the upper layer, you'll see not the fabric, but the underlay.
    If the direction of the stitches in the upper, red layer, is perpendicular to the one in the green layer, no deformation will occur. The stitches in the red layer work as a bridge in this case. Therefore, no preventive measures should be taken.
    Running stitch outline is believed to be the most difficult in machine embroidery – it allows of no mistakes. In case a mistake takes place, the outline immediately goes off the track. There are only 2 ways of avoiding a gap between the outline and the design: the first is to spare the outline altogether, and the second is to overlap the fill and the running stitch outline.
    That's why I mentioned that digitizing should begin with the image analysis. You can see the potential problems at this stage and avoid them while digitizing.

    Machine embroidery techniques. Appliqué: its types and purposes

    By Irina, in Machine embroidery materials and technology, , 0 comments, 6,453 views
    Original text by Marina Belova 
    Appliqué in machine embroidery (from Latin word "applicare" – to join, to attach) is a technique that involves cutting out pieces of fabric and attaching them to a background with a thread, using various types of stitches. 
    Appliqué is one of oldest decorations that goes back at least 2500 years. Appliqué samples excavated in Egypt are dated by 980 BC. It is commonly believed that this technique came to Europe from Asia via the Silk Road. 
    So far I've counted 10 types of appliqué in machine embroidery: 
    Patched appliqué. Attaching details consisting of one or several layers onto the fabric using various types of stitches and supplementary materials (cord, ribbon, etc.). This type of appliqué creates the raised effect. 
    There are different ways of cutting out a patched appliqué: 
    Removing the excess fabric directly in the hoop, by hand or with a laser cutter  Cutting your future appliqué by a template in advance:  Depending on the edge, there are several kinds of appliqué: 
    Distressed/raw edge appliqué where the edges do not have any finish and the yarns stick out. 
    Traditional appliqué, where the edge has a border made of various stitches. 
    Reverse appliqué One or more layers of appliqué fabric are placed underneath the main fabric that will be used as a background. A design is embroidered and the main (background) fabric is removed layer by layer in specified places. The reverse appliqué remains flat, but creates an illusion of distance. 
    The excess fabric is cut directly in the hoop, by hand or with a laser cutter 
    3D appliqué is a ready free-standing appliqué that is stitched to the garment in one place and has flaps (petals of a flower, wings of a butterfly and so on). 
    Double-sided appliqué – the appliqué fabric is placed on both front and back sides of the main fabric.  Stained glass/Celtic appliqué – pieces of fabrics are joined butt-to-butt and the joint place is covered with a satin border. You get something resembling a mosaic panel.  Placing an appliqué under low-density fills 
    If you lower the fill density by 30–40%, you can create a shading by placing fabric of a different color underneath. For example, a blue appliqué covered with a yellow fill will result in a green tincture. 
    To save on stitch count you can reduce the fill density if you place an appliqué of the same color underneath. 
    Padded appliqué uses puffy, polyester batting and other materials of this kind.  Kiss-cut appliqué. This type of appliqué is based on several layers of fabric of a particular variety (100% Poly Twill or Tackle Twill of different colors). The fabrics are laser-cut by templates. The edges don't need finishing, because they do not fray; all you have to do is to stitch your appliqué to the garment with a border. The advantage of using this kind of fabric is 40% less production time. This method is frequently used for embroidering sportswear. 
    Quilt appliqué is a popular technique that involves stitching together pieces of different fabrics to form a pattern.  Purposes of appliqué in machine embroidery 
    Lower the stitch count to fill large areas (more than 10000 stitches per segment).  To create a decoration using a piece of other fabric.  Camouflage the defects of the fabric.  Make the embroidery softer – with an appliqué, your garment will be less coarse than if you cover the same area with the embroidery.  Choosing a fabric for appliqué  Heavy fabrics that do not fray, are preferable.  The appliqué fabric should behave similarly to the main one when pressed and washed.  It should also have the same level of shrinkage.  General recommendations on fabrics 
    Polyester fabrics are durable and can be washed frequently.  Fabrics with prints may tarnish and tear after repeated washing.  Cotton has low shrinkage rate, which is important for the future washing. Cotton is the best fabric for an appliqué.  Twill is one of the most popular appliqué fabrics in commercial machine embroidery.  Jersey is a good material, which is often used for sportswear, T-shirts, because it does not fray.  Felt behaves good, too. But washing and wearing can cause the appearance of pills on the fabric surface.  Chamois and velvet are used fairly often. They require careful digitizing, embroidery and wear.  Mylar is a thin transparent film that helps to achieve the shine. It is very popular decorative finish nowadays.  Tips: All fabrics used in appliqué need decating. If the fabric can be washed, better do so. Fabrics that stretch and fray, if you use them for creating an appliqué, can be fused. 
    I'm planning to write a separate article about every type of appliqué. 

    Lettering in machine embroidery. The basic rules of digitizing text by hand

    By Irina, in Machine embroidery materials and technology, , 0 comments, 9,659 views
    Original text by Marina Belova 
    Even now I consider digitizing letters one of the most complex subjects in machine embroidery, of which I cannot tell much. I have more questions than answers because this embroidery technique requires accuracy and precision so that people could read the letters afterward. But there are some rules of digitizing characters over 5 mm high that I use in my work, and I'll gladly share them with you. 
    1. It is not important in what direction you'll stitch: from right to left or from left to right. 
    2. Letters over 5 mm high can be embroidered directly on the fabric, but smaller ones require a fill put under them. 
    3. No character stroke should be less than 1 mm wide. Adherence to this rule often leads to changing the size or width of the letter or even the font itself. 
    4. The letters extend over the baseline even more than they do in print. This is caused by push and pull compensation. I.e. you'll need to trim several stitches off the open edges of the letters and also increase the width of the columns. Letters that have openings in them, for example, "a", "o", "e", should be increased by 3–4% in size. This holds for both upper and lower-case letters. The result of your digitizing should look something like this: 

    I first learned about the extension of the letters about two years ago, and it was like a revelation to me. 
    5. Don't forget to measure the letter voids. They should be no less than 1 mm in diameter. If they are smaller, you'll need to increase them in size, otherwise, they will remain stitched and the letter will not be recognized. 
    6. Stitch type requirements are much more strict than in ordinary machine embroidery: 
    Any element less 1 mm wide is made with running stitches (manual, single/double/triple run or bean). The optimal stitch length for the outlines is 2.5–3 mm.  The elements 1–7 mm wide are embroidered with satins.  The elements 7–10 mm wide are embroidered with split satins.  Also, all elements more than 3 mm wide can be digitized with filling stitches. At the same time stitch length can be increased up to 4–4.5 mm in large areas.  7. An underlay of a corresponding type should be used. Main recommendations are as follows: 
    Center run under columns 1–2 mm wide with stitch length equal to 1.5–2.2mm; variable stitch length is also possible.  Edge run under columns 2–3 mm wide, with stitch length equal to 1.5–1.8 mm.  If columns are more 3 mm wide, put zigzag + edge run under them.  8. You may consider these underlays, which, in my opinion, can only be applied to the simplest fonts like Arial: 
    When letters are under 7 mm high, use center run with stitch length equal to 1.5–2.2mm, variable stitch length is also possible.  For letters 7–12 mm high – zigzag or double zigzag.  For letters 12–20 mm high – zigzag + edge run or zigzag + edge run.  Full lattice at 90 degrees or at 45 and 135 degrees under fills.  Of course, these recommendations do not say anything about the fabric that will be used for the embroidery. You should take the fabric properties into consideration. 
    8. Density: 
    For narrow (under 3 mm) segments of the letters, stitch density should be lowered by circa 0.4 mm.  For the columns between 3 and 5 mm use standard 0.4 mm density.  For the columns over 5 mm, the density should be increased.  Light-colored threads, when used for the fills, require higher stitch density than dark ones.  In order not to change density manually, thus dividing one outline into numerous segments, you can use variable density options if it is present if your embroidery software.  You should remember that the excess density results in embroidery deformation.  9. Trimming: to be or not to be? Perhaps, the hardest question of all: 
    It's better to use jump stitches between the two nearest points wherever possible.  If the distance between the two letters is 1–1.5 mm, trimming is not necessary.  But when this distance is more than 2 mm, you should consider making a trim.  Don't make a straight line of jump stitches, it will be visible to the eye. Better to use connector stitches on different levels.  10. Needles and threads: 
    #40 embroidery threads for the designs of normal size. The thinner the needle, the better – 70/10 or at least 75/11 is the best. #60 threads for small letters and elements of the design; 65/9 is the matching needle.  Here are the questions that I don't yet have the answers to: 
    Should the serifs and crosslines in digitized letters overlap as if they were written by hand I've seen this assertion more than once and found it debatable.  How to digitize corners properly?  How to digitize serifs properly?  How to outline letters in a right way? You can also read about digitizing low letters here. 

    Quality benchmarks. How to recognize machine embroidery defects by sight

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,606 views
    Original text by Marina Belova 
    Quality and defects in machine embroidery go hand-in-hand. You cannot speak of one and not the other. 
    Shape deformation and other defects are the most common problem for an embroidery digitizer and embroiderer. The "what you see (on your computer screen) is what you get" does not work in machine embroidery". Instead of an excellent design, you may get something completely different. 
    I've often had to face the fact that different embroiderers have different quality benchmarks. Some embroiderers might tolerate a mistake that would be unthinkable for their colleagues. But despite their differences, quality benchmarks in machine embroidery are the same for everyone, so everyone must be familiar with them. 
    One can catalog all possible embroidery defects for ages. I'll mention some of my own: 
    the outlines are not where they should be 
    the contours are misplaced 
    the shapes are distorted: round objects become ovals and squares turn into rectangulars  stitches sink in the pile 
    gaps between the stitches where the object with different stitch direction meet 
    the underlay shows  the stitches overlap visibly  There may multiple reasons for the defects: 
    Technical 
    the fabric too tight/loose in the hoop without regard to its type and properties  wrong hoop size  tension regulation is not proper  wrong type and/or size of needle  wrong stabilizer Learn how to match the fabric and the stabilizer here.  embroidery speed is too high  fabric properties not taken into consideration  threads properties not taken into consideration  Project-related 
    high density of the design  too much or too little push/pull compensation  stitch length varying greatly in one contour  incorrect embroidery sequence  a large number of short stitches  incorrect underlay type  The easiest way to solve these problems is to add one more layer of stabilizer. The other way is to understand the reasons behind the embroidery defects. Then to start foreseeing the possible defects at the digitizing stage. 
    There are several tips for digitizers to prevent the appearance of defects while creating machine embroidery file. 
    Overlap the contours to avoid gaps between them. I've written about it in my article called Overlapping of the neighboring objects. 
    Correct the stitch angles for the objects where stitches run in opposite directions and insert a "patch". 
    In order to find the reason for the gaps and learn how to get rid of them turn the design for 90° and embroider. If the gap is still present, it is a digitizing mistake. 
    If the fabric is correctly hooped but still pulled or the embroidery is distorted, check out the density of the design and the type of understitching.
    Correction formula for the excessive density: add density to the underlay and remove it from the upper layer. 
    If the density and the underlay are consistent with the design requirements, hooping may be the problem. If the fabric in the hoop is too tight, it will pucker around the edges of the design. And if it is too loose, there will be humps on embroidery surface. 
    So you'd better not to follow the established guidelines but find the reason of every particular problem in order to avoid the same mistake in future. 
    The most important advice is: practice makes perfect. 

    The four pillars of stitch types

    By Irina, in Machine embroidery materials and technology, , 3 comments, 6,258 views
    Original text by Marina Belova 
    All machine embroidery designs are made with only 4 basic types of stitches. All other stitches that can be created in various embroidery editors are just the offsprings of these basic types. Even the most complex design is a combination of these 4 basic types. 
    The main types of stitches are: 
    Manual stitch  Running stitch (also called Walking stitch)  Satin stitch (also Column stitch)  Tatami (Fill, Seeding stitch, and so on) 
    I'll describe each of these types in a few words. 
    First: Manual stitch 
    This is the most basic stitch type in embroidery. Every separate stitch is created manually, without using the automatics. 
    Manual stitch can be used instead of the auto-generated running stitch when it's not possible to create the desired effect with the help of the editor. 
    Second: Running stitch 
    Running stitch is considered the simplest and most creative stitch at the same time. Why is that? Because a digitizer, not the software, controls every stitch that is laid on the fabric. 
    Running stitch has a small number of properties: 
    1. Stitch length (one should avoid short stitches) 

    2. Number of runs (how many times every stitch is repeated) For example: 
    Single running stitch  Double running stitch  Triple running stitch  Motif stitch (follows an established pattern)  There are several effects that can be applied to the running stitch. Their variety depends on your embroidery software. For example: 
    Variable stitch length for better registration 
    Stitch offset (or Swing) 
    Shifting rows of needle penetrations with several repeats 
    There is a large number of occasions on which the running stitch can be used: 
    Design details  Decoration (motifs)  Contours (the most complex outlines)  Manual understitching  The Outline Designs  Redwork Quilt  Jump stitches between the objects  Preliminary stitches (basting stitches, guidelines)  But the greatest advantage of this type is that it makes the least impact on the fabric of all four. 
    Compare 2 basic stitch types here. 
    Third: Satin stitch 
    Satin is the type of stitch that is most widely used. It consists of stitches that can change their angle after every penetration. There can be more than one stitch angle in the object embroidered with satins. 
    When creating satin stitch objects you should pay attention to: 
    Stitch length (it's necessary to avoid too long or too short stitches)  Stitch angle  Stitch density
    Pull compensation  Push compensation Stitch shortening  Edge shape There are tons of effects that can be applied to satins. Their variety depends on your embroidery software. For example: 
    Satin stitch with consistent width (Satin border, Satin column, Serial satin) 
    Tatami Patterns 
    Decorative fills 
    Feathering (jagged edge) 
    Variable density 
    Radial fill 
    Satin stitches are used for creating the following objects: 
    Small lettering  Contours  Column of varying geometry  FSL (lace that does not use the fabric as a basis)  Satin is also used for creating dancing shadows as its surface reflects the sunshine 
    Satin distorts fabrics. 
    Fourth: Fill 
    Fill consists of rows of running stitches that form patterns in accordance with needle penetration parameters. An object made with these stitches usually has only one stitch angle. 

    There is a handful of parameters that should be controlled when using this type of stitches to create objects: 
    Stitch length (it's necessary to avoid too long or too short stitches)  Stitch angle  Density 
    Pull compensation  Push compensation  Edge shape (sharp, square/straight, chiseled/acute)  What other effects than can be applied to the fills? Their variety depends on your embroidery software. For example:  Decorative fills  Motif fills (can be programmed)  Waving effect – bending the fill along one or two curves 
    Spiral fill 
    Gradient fill 
    Textures 
    Feathering 
    Fills are used for large embroidery areas. 
    They distort fabrics the most. 
    P.S.: Some other stitch typologies 
    Having written this article I encountered Helen Hart Momsen's, a famous digitizer's, article called The Building Blocks Of Embroidery in the Printwear magazine. Helen thinks that there are only two stitch types: running stitches and satin stitches. Manual stitch, according to her, is a running stitch where the position and length of every individual stitch are determined by a digitizer and not the software. She also doesn't think that filling stitches should be singled out as fills are simply clusters of running stitches. 
    Traditionally, there are only three stitch types: 
    Running stitch  Satin stitch  Fill 

    Once again to the basics

    By Irina, in Machine embroidery materials and technology, , 0 comments, 2,193 views
    Original text by Marina Belova 
    Today I read the latest blog of Erich Campbell called "How do I learn embroidery digitizing?", in which he writes about his own learning path in machine embroidery digitizing and gives recommendations. This blog once again raises the familiar question: how exactly does one learn digitizing? My own hardships instantly sprang to mind: where I live, a digitizer's education consists of memorizing all the buttons in the software, omitting much more important things. And the crucial thing, in my opinion, is to grasp what all these buttons are used for, i.e. the technical aspects of the embroidery. Until you don't fully understand what is the purpose of every option in the software, you won't be able to digitize properly. 

    So, after reading the article, I realized that I neglected one more aspect of the utmost importance, which comes even before the technical one – that is, the understanding of how to transform an image into stitched objects. This understanding is based not on digitizer's violent imagination, but on some knowledge. Sure, I wrote about the image analysis before digitizing, but to me, it seems like a drop in the ocean of what one needs to know and be able to do. It is insufficient to know what stitch type is better for an object of a particular shape and size. You also need to work with colors and reproduce textures. You never know what you may need to do one day. 
    I personally haven't yet fully grasped how to convert certain elements into stitches so that to achieve a fine-looking result, and many shapes still puzzle me. I wish someone would teach me how to digitize from an artist's standpoint... I believe that not only artists can digitize pictures. Though many people claim the opposite. 
    Eventually, Erich suggests a formula that should be followed when learning how to digitize. It's not really a formula but rather three interrelated questions that should be answered either by you or your teacher: 
    How one learns to convert an image into a stitch object?  How to control stitches?  How does one learn to use a machine embroidery editor, whichever one you may choose?  Erich suggests only one answer to all three questions. It is called "observation". You should observe what you get while transferring an image from your computer into a hoop. 

    In-the-Hoop: Coin purse made entirely on embroidery machine

    By Irina, in Machine embroidery materials and technology, , 5 comments, 5,972 views
    Original text by Marina Belova 
    Nowadays any self-respecting online shop with machine embroidery designs has In-the-Hoop projects to offer. Also, projects where even a zipper is stitched right on the embroidery machine, simple as they are from a sewer's standpoint, have become commonplace. In other words, you won't need to do any sewing at all. 
    I've long set my eyes on such items and finally decided to make something like that myself. After all, why buy a design if I can create one with my own hands? Moreover, step by step master-classes that cover the creating process in details are ten a penny on the Web. Just pick the one you like and go! 
    For starters, I decided to give the easiest of such projects a try. On the photo below you can see the result of my first attempt – a coin purse: 

    This is how it looks from within: 

    It turned out that it is rather simple to make an item like that, zipper and all, entirely on the embroidery machine, from a digitizer's standpoint as well as an embroiderer's standpoint. There were mistakes, of course, and today I'll write about them, too. But mistakes are what ignites the thinking process and causes progress, aren't they? 
    I'll cover the creation process in details. I picked an ordinary blind zipper. I didn't risk to use an ordinary zipper, for I didn't know how the machine would behave. A blind zipper is thinner, after all. Before creating the design, I measured its width. It was necessary for the basting stitches: 

    Then I digitized a very simple design, just 14 outlines, and 2900 stitches. Below is preview of the machine embroidery file: 

    After that, I selected fabrics for the front side of my coin purse, and also the filler. For the front side, I chose an ordinary cotton print and cut 3 identical squares out of it. I used thin fleece trimmings for a filler, because they were the only suitable thing I had, thinking that they could add some volume. I cut out 2 squares, and then cut one of them in half. 

    After all these simple manipulations, I went to my machine. I hooped a tear-away stabilizer: 

    Loaded my design and hit the start button. First, I embroidered a guideline. I did that to outline my future embroidery and to mark the place where the zipper would be. 

    Now it was time to stitch it. I placed my zipper face up and secured it with a painter's tape: 

    Started the machine again and stitched my zipper to the fabric. I used a running stitch for that: 

    After that I picked up one of the cotton squares, put it on the table wrong side up and covered with a strip of fleece: 

    Then I folded the cotton piece like a book. The strip of fleece ended up inside: 

    I repeated my actions with the remaining cotton and fleece cuttings. All the preparations for my future coin purse were finished. I took the first "book", positioned it with its fold along my zipper and secured it with sticky tape: 

    Same with the second "book": 

    I started the machine again and stitched both of them along the zipper, then outlines my future coin purse with a zig-zag stitch: 

    I should have half-unzipped it at this stage. But I forgot about it – like many other first timers, I believe. 
    Only when almost everything was ready did I remember about it, so I had to partly unstitch the whole thing in order to go back and do it. In the end, I got it right: 

    Now I needed to make a "layer cake" for the back side of my coin purse. When I started to arrange the pieces of fabric, I saw that I had forgotten to prepare the backing. Again, I had to make a detour in order to cut out one more square. 


    Then I assembled the following "layer cake" right in the hoop (layer after layer): Cotton print, with its front side to the already embroidered piece: 

    Fleece (for the filling) on top of it and also the backing with the right side up: 

    I started my machine and stitched all these layers perimeter-wise. I used the 3d stitch for this. And also E-stitch for the edges to prevent fraying:
     
    This is the wrong side of my coin purse: 

    I unhooped the item and removed the stabilizer: 

    Then trimmed along the perimeter: 


    Mind you, trimming so many layers of fabric didn't come easy! At last, I turned my purse the right way round. 
    Everything is now ready. 
    Summary: 
    a coin purse is very easy to make, just pay attention so that not to forget anything.  An embroidery machine and a zipper go along fine.  I've also noticed that the diagonal positioning is not the best: it distorts the item, and zipper crawls out of seams.  It would also be a good thing to add a loop beside the zipper, which would not be difficult.  A bar tack on the zipper should be strengthened, my usual 3 runs are not enough.  And if you divide the whole process into 2 stages, you can also embroider the back side of the purse. 

    In-the-Hoop: Stuffed Cat toy. Free design included!

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,831 views
    Original text by Marina Belova 
    It occurred to me that I never did anything like that, so why not? Here's a cat made in the minimalistic style typical of all French designs, which are the subject of my respect and admiration. There is also a bit of quilt in it (a decorative strip across its chest), also made right in the hoop. 
    The idea for the design came from the open sources online. The design may be used for non-commercial purpose only. You may also publish it on the Web with the reference to my website. 
    The design is in a *.dst format. To convert the file into other machine embroidery formats you'll need a converter. You can read more about it here. 
    Soft kitty (download) 

    The design size: 8.7х12.2 cm Stitch count: 1411  Number of colors: 1 or 2. Number of colors depends on whether you want to change threads. I used two threads, a black one for the nose and eyes and a beige one for everything else.  The embroidery sequence goes like that: 
    Hoop a stabilizer (tear-away): 

    Stitch the first outline directly on the stabilizer: 

    Put the first front piece right side up, aligning it with the horizontal line: 

    Cover it with another piece of fabric with its wrong side up to make a narrow strip on cat's belly. Align the edge with the outline: 

    Start the machine and stitch the strip that joins these two pieces together: 

    Turn the fabric back to flatten the seam: 

    Stitch one more basting stitch over it. You'll need it to know where to put the next piece of fabric for cat's lower part: 

    You may trim this piece of leave it for later: 

    On top of it place the lower part piece with its wrong side up, aligning the edge of the fabric with the basting stitch: 

    Stitch it: 

    Turn it back to flatten the seam. Stitch the whole thing along the perimeter to secure all three pieces on stabilizer: 

    Embroider the eyes and the nose (black in my case): 

    Cover it all with yet another piece of fabric with its wrong side up. This time, we'll make cat's back side: 

    Stitch the cat perimeter-wise: 

    Unhoop it, remove the stabilizer, cut it out along the perimeter (don't forget seam allowance!): 

    Turn it the right way round: 

    Fill it and stitch the opening: 

    That is all. Nothing overly difficult. 
    P.S. You can download other free designs from our online shop. 

    Embroidery on burlap: my first attempt

    By Irina, in Machine embroidery materials and technology, , 0 comments, 6,356 views
    Original text by Marina Belova 
    So, I've got to the Russian national material — burlap. Though I've already written about loosely woven fabrics, this may be considered a super-loosely woven one. There are only 4 or 5 strands per cm in burlap, and their variable thickness adds to the brain twister of design creation. But this is also what makes it interesting. 
    I have laid my eyes on a brand new vegetable sack, which I'm planning to use it in my experiment. I only have one attempt, so I hope everything will be fine. 

    Actually, the embroidery technique for the burlap is very similar to the one for other loosely woven fabrics; the only difference is that burlap surface has more texture. Therefore, much of the listed below is pretty obvious: 
    Hoop the fabric and the backing – a semi-transparent cut-away spunbond or a piece of organza so that it wouldn't show between the yarns. If you aren't keen on saving up on the stabilizer, you can use a thick water soluble film. For my fabric, I would also add a temporary spray adhesive, just in case. Thin water soluble film goes on top to make the surface smoother.  You can use the threads of any thickness and structure.  Loosen the upper thread tension.  Use the most ordinary needles matching the threads and the fabric in thickness. Sharp needlepoint is preferable.  You also need to lower the speed a bit so that the loosely woven yarns aren't pulled.  To create a machine embroidery file, I: 
    Picked a rather simple design to avoid excess stitches.  Paid particular attention to the strengthening layer: an additional basting stitch at the very beginning of the embroidery would attach the fabric to the stabilizer. It outlined my future design, the basting stitch being of the same color as my burlap so that in case something went wrong it wouldn't be visible.  I manually drew a lattice under the entire design. It would be of a matching color as well, provided that there was one in my collection.  I made a complex edge run and zigzag underlay for wide satins. For narrow satins only edge run was used. A very open lattice at 90 + edge run was put under the fills.  I set the density at 0.43–0.45 mm (my usual value).  Increased pull compensation up to 0.5-0.6 mm on each side and also deliberately changed the shape of the outline to make it wider (I mentioned this in my article on pull compensation).  I reduced satin stitch length to 3–4.5 mm in order to avoid the excess distortion.  With these settings I proceeded to the embroidery and got this: 

    I can't say that the result is outstanding: it needs correction. Mainly, the underlays – I should have given them more strength, like the ones for the FSL where the purity of the outline does not depend on the texture of the surface. But to do that I need to buy more burlap and try again. This sack is already full of potatoes. In my own opinion, the design for such a coarse fabric should on the big side, because small objects look ridiculous on this texture. One should not be afraid of using large elements in a case like this. 
    The first problem I encountered during the embroidery was the difficulty of hooping because this is not just cloth, but a garment. Special devices for such occasions once again popped in my mind. 
    Also, it is inconvenient to embroider such things on my home embroidery machine. In these circumstances, one fully understands the advantages of the "free arm embroidery" in the tubular hoops on commercial embroidery machines. In my case, it's the back side of the sack, but someone else struggles with the back of a T-shirt or a hoody. A free arm is usually kept under the rest of the working gear and does not interfere with your embroidery process. You don't have to rack your brain over positioning the garment properly so that is does not get stitched or loose in the hoop. 

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