Jump to content

  • Articles

    Our website articles
    Show all categories

    Types of stabilizers in machine embroidery. Where to use them, how and why 

    By Irina, in Machine embroidery materials and technology, , 0 comments, 6,139 views
    Original text by Marina Belova 
    Proper stabilization of the fabric during the embroidery in order to prevent the distortion remains one of the most acute problems. Even in my not so long embroidery career, numerous garments were ruined simply because of disinclination or, more often, inability to use the stabilizers (or interfacing materials). It goes without saying that, unfortunately, I don't always use them even now. 
    The rules of choosing a stabilizer (or interfacing) are very simple and quite logical. It only takes to comprehend them once in order to use a suitable kind of stabilizer in any particular case in future. 
    In my opinion, all stabilizers should be divided into two main categories: 
    Backings  Toppings  Below I'll only list the types of stabilizers commonly used. 
    Backings 
    Backings are special materials, usually non-woven, which are placed under the fabric. They serve to support and stabilize the fabric when it's being embroidered, prevent creasing, distortion, stretch and pull, both during the embroidery and after washing or dry-cleaning. 
    There are several types of backings: 
    Tear-away  Cut-away  Adhesive  Soluble  Fusible  Tear-away stabilizers 
    This type of stabilizers is good for most fabrics made of natural fibers and gives only a temporary support. Main recommendations: this type of backing is easily removed and can be successfully used with the items where the wrong side can be seen (towels, plaids, scarfs and so on). It is also widely used with non-transparent fabrics of fair colors, with thick and densely woven fabrics made of natural fibers — like denim. Not recommended for knits. 
    Tear-away stabilizers are usually made of paper. And their thickness may vary. 
    Cut-away stabilizers 
    Cut-away backings are used when it is necessary to hold a highly stretchy fabric in place during the embroidery and stabilize it properly. They are necessary to embroider a design with a lot of stitches, in order to avoid gathering of the fabric, preventing the appear of bulges or concavities even after several washes. 
    A cut-away stabilizer is always thicker than a tear-away one. Usually, this is a non-woven fabric made of long fibers on the basis of polyester or rayon. The distribution of the fibers in the backing is also of huge importance. 
    If the fibers are mainly single-oriented, it stretches in tears in this one direction. Therefore, to stabilize the fabric properly you need to use 2 layers of backing, positioning them perpendicularly. Such backings are of varying density. 
    If the fibers in the non-woven material run in multiple directions, it has an uneven grainy structure with knots here and there. This unevenness can make the fabric less stable. But this kind of material is good for the embroidery nevertheless and is used often because it's cheap. This kind of stabilizer can also be of varying density. 
    Bonding short fibers (polyester, rayon, cellulose) together by solvent treatment, you'll get a non-woven fabric of high quality, which is soft like a tear-away stabilizer, has a smooth surface and does not stretch in any direction. This stabilizer can be of varying density and just 1 layer of it is sufficient. It is considered most optimal for stabilizing because it does not add extra volume to the embroidery and is invisible through the fabric. 
    Recommendations: to add stability to this kind of backing you can spray it with temporary spray adhesive. 
    Among the cut-away stabilizers spunbond stands out — thin, very soft material that resembles a waffle. There are stabilizers produced in the USA that are called Poly Mesh or No Show Mesh. This kind of backing is good because it does not stretch at all, providing support all the time and is not visible through the fabric. It comes in various colors and densities. This kind of stabilizer is good for embroidery on knitwear. 
    Adhesive stabilizers 
    They allow the item to be stuck onto them, thus stabilizing the fabric. There are several types of them: 
    Ordinary stabilizer with glue on one side. The item is stuck onto such backing with an iron.  Adhesive paper with glue on one side that is covered with a protective layer. This paper is necessary when embroidering tricky fabrics: velvet, cashmere, leather, which are not recommended for hooping. And also for the items that are hard to hoop: collars, cuffs, small details.  The paper is placed in the hoop with the sticky side up, then the protective layer is removed and the item is placed on top. Afterward, you simply tear the paper away from the item. 
    Solvent stabilizers 
    Solvent stabilizers include a water-soluble stabilizer that is very much like fabric and water-soluble film of varying density. They are used for stabilizing the embroidery when it is necessary to remove the backing for good so that it was not at all visible. For example, organza, transparent fabrics, FSL and also cutwork. Read more on using this kind of stabilizer here. 
    Fusible stabilizers 
    They are used when it is necessary to stabilize the fabric, which cannot be made wet, but the backing leftovers need to be removed. They can be successfully used for embroidering FSL, as well as water-soluble film. They are usually removed with a very hot iron (no less than 120°) or with the pressing machine through the ordinary paper. Under no circumstances should steam be used with fusible stabilizers. 
    Toppings 
    Toppings are special materials that are placed on top of the fabric. 
    They are necessary to prevent the stitches from sinking into the pile, loops, fur and other such materials, also in loosely-woven fabrics like knits.
    Gelatin-based toppings are used most often because they can be easily solved in water. We call them wash-away toppings or water soluble toppings (film). 
    There are two main kinds of water-soluble toppings: thin and thick (dense) ones. The thin film is used practically with everything, and thick ones only with high piles. 
    The other type of toppings are fusible toppings (we call them heat-away, fusible or heat-soluble). They are used in cases when the fabric cannot be washed, and therefore, the water-soluble film cannot be used. They are usually removed with a very hot iron (no less than 120°) or with the pressing machine through the ordinary paper. Under any circumstances don't use steam with fusible stabilizers. 
    Main rules of using the stabilizers
    The thicker is the fabric, the heavier the backing should be, and vice versa, the thinner the fabric, the less dense the backing. 
    The more stitches are in the design, the denser the design itself should be, and the thicker the backing should be for stabilizing the fabric. 
    When embroidering with metallic threads you should avoid synthetic backings and try to use the ones made of natural fibers (cotton or rayon), like Madeira E-ZEE Cotton Soft. This is necessary because stabilizers made of natural fibers are softer, they create less friction to the thread and needles, so the needle does not overheat and the thread breaks less often. 
    How does one decide which stabilizer to use? Every time you need to answer these questions: the stability of the fabric, the density of the design, stitch lengths, embroidery speed, thread type. All of these parameters determine what your choice will be. Also, you can read my article on matching the fabric with the stabilizer. 
    In the course of time, I singled out the stabilizers that I use the most. I've covered them at length in this blog. 

    Basic methods of color blending in machine embroidery

    By Irina, in Machine embroidery materials and technology, , 0 comments, 8,781 views
    Original text by Marina Belova 
    Color blending adds realism to the design, which is often desirable when embroidering flowers and animals; logos also come with gradients.
    Everyone can use the color blending technique, and it does not matter, which machine embroidery software you employ. 

    There are several ways of making realistic-looking blends: 
    Use the software capabilities, applying the automatic gradient effect to the object.  Show the color tones and gradations, using a simple running stitch and standard fill. The latter can be only achieved manually and, in my opinion, requires exceptional digitizing skills.  Creating tonal gradations by mixing fill stitch or satin stitch layers of varying density and thread color.  Automatic gradients 
    Modern embroidery software offers its users an automatic gradient fill for blending colors and creating the effect of the smooth transition from one color to the other. This effect is present in many editors, but only for the fills. Let's see what possibilities this method can offer, using a standalone machine embroidery editor called Stitch Era Universal. You can download it here. 
    I chose a sole-colored object of a simple shape and filled it with the ordinary unidirectional Tatami. 

    3 types of automatic Gradient fills that use 1—3 colors can be applied: 

    In case you use only 1 color, it will look something like this: The result depends on the type of gradient used. This is what I got: 

    In the panel on the picture below you can see how much the density value will increase or decrease after this effect has been applied. And not only see: you can create your own gradient type with your own density values right there: 

    This is what I got with 2 colors: 

    After I chose a 2-color gradient and the way it should look, the editor automatically generated 2 objects of different colors and with different types of gradient applied to them. The stitches were packed tightly in one of them, and sparse in another. You can see and adjust it, using the panel pictured below: 

    When I applied a 3-color gradient to the same object, I got this: 

    In this case, the editor automatically generated 3 objects of different colors with different types of the gradient. You can see and adjust the density distribution, using the panel pictured below: 

    As you can see on the chart, the 3rd color has consistent density, and the first 2 change their density in different directions: the stitches are closely spaced in the 1st, and sparse in the 2nd, and vice versa. 
    This editor gives you a room to play with gradients, for it allows to make adjustments. And this is extremely helpful when you create color blending effects in machine embroidery. 
    The same settings can be applied to satins. 
    The color transfer with the help of the running stitch and a standard fill 
    This method is based on the use of a filling pattern, which creates the background that is emphasized by the running stitches on the front. 
    The filling pattern may be unidirectional or curved along 1 or 2 lines. On the top of the pattern, you draw a running stitch by hand, in order to create dancing shadows. You set the stitch density, the stitch direction — it should match the one in the lowest level — and the stitch length. The running stitch may follow a number of trajectories. 
    In order emphasize the contour of the objects, you need to place the running stitches so that they would follow the shape of the outline. 

    The stitches of that type do not intermingle with the stitches in the lower level and therefore create the contour effect. 
    To achieve the color blending effect with the help of this method you need to position the running stitches in the same direction as the stitches in the lower level. You should get something like this: 

    All outer colors are "painted" by the running stitch against the background layer. Only the stitch length varies in order to achieve the "sinking" stitches effect. 
    I've seen John Deer applying this technique in masterly fashion — not only for the fills but for the satins, too. I particularly liked the way he created color blends using nothing but running stitch. 
    Technically, this method can be recreated in a simple mode. Instead of drawing everything manually, you can replace them with satin stitches or fills, having set the proper density, stitch direction and stitch length. 
    Mixing colors by playing with density values 
    This is the most complex of the traditional color blending techniques, where the tonal gradation is achieved by intermixing the layers of different colors. Applicable both to the fills and the satins. 
    In this case, you create several contours and place them on top of each other. You'll need to pay attention to the density of each layer so that not to get the embroidery that sticks out. 
    Color blending: general recommendations. 
    When gradually reducing stitch density, keep in mind that the density value of the next layer should be a multiple of the layer number: 0.4 mm for the 1st, 0.8 mm for the 2nd, 1.2 mm for the 3d, and so on. 
    While digitizing, you should also remember that the shadow layers, despite being of low density, also cause push and pull effect. 
    Feathering is good for smooth tonal gradation. 
    The use of the threads of different brands and structure, but of the same color helps a great deal (this one is true for other color blending methods). 
    In order to achieve the "moving stitches" effect along the outline, you can try to split the shading layer into narrow satin columns and overlap them, changing the stitch direction only slightly in every one of them, creating the illusion of movement along a curve. 
    Be careful to avoid placing stitches along the specified line, because setting the trajectory automatically rarely achieves a good result. It is often better to use simple running stitches, added manually. 
    You can achieve the realistic look in any embroidery editor that has a basic set of tools. One thing is the necessity to control the density, stitch length, and texture. The knowledge of how to place the stitches manually is 90% of success. You should not forget that a satisfactory result can hardly be achieved by breaking the general rules of using the color wheel. 

    Texture. Decorative fills

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,907 views
    Original text by Marina Belova 
    I'll continue my new series of articles on motif fills and standard fills. Today I'll inquire into the main principles for the creation of the decorative fills. 
    Program split texture is a texture where all the needle penetrations follow the specified pattern. During the embroidery slight shading is added to the place where the needle penetrates the fabric, thus adding volume to the filled area. The examples of the program split textures below: 

    I will divide decorative fills into 2 groups: 
    Simple pattern, which is made by the long smooth satin stitches (the 3 samples on the left).  Composite pattern, which is a combination of the standard flat fill and the raised flat pattern on top of that (the 2 samples on the right).  The rules of creating these kinds of textures are very much alike in all sorts of embroidery editors. The key difference of this particular software is the ease of handling, as I already mentioned. 
    Let's see how one creates a decorative fill in Stitch Era Liberty. Here you can see the result right away. 
    To create a simple pattern, select Creative Pattern in the pattern editing window. An empty white square appears in which you'll need to draw your future pattern with the help of Tools (on the right): 

    I decided to copy the braided pattern, which is inaccessible to me in the free version. Or, at least, something that resembles it. 

    I draw according to the grid like we used to do in Paint a long time ago. Every cell painted black is a future needle penetration. The size of the square (rectangle) is of a vital importance (Height and Width, on the top right). 10 points are equal to 1 mm if I'm not mistaken. Hence, the "80x80" on top of the photo means that the size of the pattern will be 8x8 mm. You'll need to calculate the distance between the penetrations in accordance with the grid in order to avoid too short or too long stitches. 
    This is what I drew: 

    Everything that you do inside the square field will instantaneously appear on the background. This is how it looks: 

    All that is left is to save it to the library under the new name, for the future use. This is the braided pattern I got in the end, having applied the newly created pattern to an object: 

    You should remember that the pattern can contain stitches of varying length. Especially where the lines of needle penetrations cross each other. This can cause problems when using a metallic thread. Therefore, you should pay close attention to the stitch length, with short stitches in particular. If there is no possibility of removing short stitches automatically, it's necessary to get rid of them manually. You can see on the picture below that the editor had erased the excessive needle penetrations in my pattern: stitches less that 1mm long were automatically removed by consolidating 2 stitches into 1. 

    Not every embroidery editor has the option for the simple creation of a composite pattern that consists of Tatami stitches and satin stitches. 
    I haven't found a convenient way of doing this with the flat fill in Tajima. I only noted that all needle penetrations must be drawn manually, which is not very convenient, is it? 
    In Wilcom we create a simple as well as a composite pattern in 2 steps (both are the parts of the same process): 
    Create a vector image of no particular shape. I did this: 
    Select the newly created object, click on Special in the menu and choose Make program split. Save it under the different name. 
    Now this new object is already a part of the library, and you can use it, adjusting the outer look of the pattern (simple or composite) with the help of Program split -> Combination split. 

    In Stitch Era Liberty the process of creating a decorative pattern is a lot more interesting than in Wilcom, and there are 2 steps in it: 
    Creating a raised pattern (satin stitches).  Combining this pattern with a flat background texture of your choosing. 
    To create a raised part of the pattern (print, mask), choose Pattern Masks in the pattern editing window. Again, using the grid, draw the white mask (your future pattern) in the black square that appears with the help of Tools. The whole white area will be covered with satin stitches. But first, you need to choose the size of the image (Height and Width), just like you did with the simple pattern — to understand how long the stitches will be. I drew this figure in the square (see the picture below), and immediately saw how it will look with my texture: 

    Then I saved my mask to the library under the new name. After that, I go to Combined Patterns and begin to put the flat fill from the library and the newly drawn mask together. First, I add a flat background texture (it may look the way you like). Mine is the simplest, but you can select any one from the library. 

    Now I add another mask — the one I've just created (or the one that is already there): 

    In the end, you can play with the settings a little. Shift the masks slightly and widen the space between the satin stitch columns and rows, using Offset and Spacing on the right: 

    The composite pattern is now ready. I save it for the future use: 

    Here's how this same mask looks with another texture: 
     

    Texture. Standard fills 

    By Irina, in Machine embroidery materials and technology, , 0 comments, 5,935 views
    Original text by Marina Belova 
    I'll continue my recent article about motif fills and how to manage them. Today I'll inquire into the main principles for the creation of the standard flat fills. 
    A standard flat texture is a number of simple running stitches grouped together in two or more layers. The needle penetrations are evenly spaced and every stitch has its fixed length (excluding the end of the stitch line before the edge of the object). Usually, Offset or Tilt is used to slightly shift each row of needle penetrations against the next one, which gives the texture a smooth look. 

    The rules of creating these kinds of textures are very much alike in all sorts of embroidery editors. The key difference of this particular software is the ease of handling, as I've already mentioned. 
    Let's see how does one create a decorative fill (standard fill, manual pattern) in the Stitch Era Liberty editor. Here you can see the result right away, which is a great advantage. 

    Like in any other embroidery software, you have access to the following parameters: 
    Stitch length in mm (Length)  Number of lines that form a group and a pattern of needle penetrations (Lines)  Shifting of the neighboring rows of needle penetrations. As a general rule, this is a percentage of the stitch length (Line Offset)  Usually, the creating of the flat texture ends here. But this editor has 3 more parameters which you can tweak if you like. 
    Stitch Offset, which places the stitch above the specified position (Random equivalent). If the value is set to 50, you'll get the following texture for the object above: 
    Line Offset, which shifts the lines and groups against each other (Random equivalent). It's not quite clear for me, what it is used for. I set it at 50, leaving the other parameters as they were, and got this: 
    Tilt — another way of shifting the lines and groups of lines against each other. I set it at 7, left the other parameters as they were, and got this: 
    After you have achieved the desired result, you need to save the newly created pattern under the new name, and then select it right away through the library. 
    Here is an illustrative example. I created a classic flat texture which is present in any machine embroidery editor (I did not have it, but I do now). To do so I created a basis for it — 3 lines with 1/3 stitch offset. The rest of the settings were left as they were: 

    This is how it looks when applied to the real object: 

    Therefore, you need to have a clear view of the pattern you want to create. 

    Machine Embroidery Myths

    By Irina, in Machine embroidery materials and technology, , 0 comments, 2,689 views
    Original text by Marina Belova 
    Myth #1 
    Machine embroidery is very easy. Just pick up the fabric and threads, hoop, then load the file, press one or two buttons — and that's it. 
    It's a common misperception. In reality, a high-quality machine embroidery results from these things: 
    Knowledge  Practice and, consequently, experience and skills  Attention to details  Myth #2 
    You need to know how to sew in order to embroider, 
    In all the years of doing embroidery, I didn't need perfect sewing skills once. Only one sewing skill, in my opinion, will come handy — to add some more fabric, if the piece you have is too small to hoop. And for that, you'll only need to stitch a more or less straight running stitch on your sewing machine. 
    Myth #3 
    You don't need to test new files, better to save your money and consumables. 
    Testing is what allows you to see and correct mistakes in a design, choose your stabilizer, tune up your equipment before starting the embroidery on an item. This is exactly this process that will determine how successful your result is going to be. In order to know more read this article. 
    Myth #4 
    You can do a test piece on any kind of fabric to save money, with any kind of needle and on any kind of stabilizer — i.e. breaking all machine embroidery rules. 
    I fell for this one many times. The special aspects of the embroidery will be different in case you use some other fabric, some other threads, and consumables. On top of that, the design will be created with the special aspects of other materials in mind. And embroidery, in this case, will be full of surprises. 
    Myth #5 
    Any design could be embroidered on any kind of fabric. 
    There are no perfect designs that are good for all fabrics. But the creation of the design is only the small part of achieving a high-quality result in machine embroidery. The main part is technique. 
    Myth #6 
    If the contours shift during the embroidery, if gaps or other defects are present, this results from having a bad design. 
    As they say in the East: you need two hands to make a clap. Mistakes made during the embroidery, as well as the mistakes made during the creation of the design, can be the reason for the defects. Click here to know what is it that causes a particular defect. 
    Myth #7 
    If during the embroidery the thread and needle break often, if other troubles with the equipment are present, this indicates a bad design. 
    Though incorrect digitizing or the use of low-quality consumable materials may be the reason for the defects, the technical condition of your embroidery machine should not be overlooked. More about defects in machine embroidery here. 
    Myth #8 
    You can substitute specially designed consumables with cheaper materials to save money. For example, use building spunbond instead of a regular stabilizer or plastic bags instead of water-soluble film. Also, replace high-quality threads with the cheaper ones. 
    Machine embroidery stabilizers are considered the main part of a successful result. Cheap materials can fail to provide substantial support to the fabric, and this will lead to using a bigger amount of them. You can read about my own attempts to find the substitutes affordable to everyone in the articles: 
    Seeking for 3D Puff replacement Seeking for 3D Puff replacement again Seeking for 3D Puff replacement-2 Seeking for stabilizer replacement The same can be said about the threads. Cheap ones often break during the embroidery, which stretches the production time to the limit. I already wrote how much the thread breaks cost. 
    Myth #9 
    Try to follow general recommendations of how to choose the right kind of stabilizer for a particular fabric. 
    If those recommendations were always relevant, regardless of the fabric type, the design, the machine specs, it would be too easy. For the one giving those recommendations knows nothing about your current situation. Always test everything. 
    Myth #10 
    The fabric should be stretched drum-tight in the hoop. 
    If you stretch the fabric in the hoop too much, then after the embroidery it will try to return to its original shape — that will result in creases, which cannot be removed no matter what. This rule does not apply to those garments that will be worn in a stretched state. Read more on basic rules of hooping. 
    Myth #11 
    You should tighten the screw after hooping in order to pull the fabric more. 
    If you do that, you can damage the fibers. 
    Myth #12 
    Machine embroidery non-editable files can be scaled by as many percents as you want. 
    You can make the designs in the non-editable files 5—10% bigger or smaller, but not beyond that. It is commonly believed that such small scaling percentage won't damage the quality of the design considerably. The one thing would need to be checked: whether the stitches did not become shorter than 1 mm and not longer than 10—12 mm. Marginal length values can cause problems during the embroidery: thread breakage, needle breakage, etc. 
    Myth #13 
    All threads are interchangeable. 
    I came across the fact that the threads were not indeed interchangeable when it became clear to me that it was impossible to substitute #40 rayon with #40 polyester — the result would be unexpected. To say nothing about changing the thread brand without doing some tests first, even if the thread thickness remains the same. Amann #40 rayon thread may be used as an example. It is much thinner than other manufacturer's analogs.
    Click here to see how I embroidered the same design with the threads of different brands. 
    Myth #14. The most important one, in my opinion. 
    You can learn how to embroider, digitize impeccable design by only using recommendations, books, and other educational resources. 
    Without endless testing, reworking, without failures that give us food for reflection, theory, and someone’s recommendations remain recommendations that allegedly work. Machine embroidery is practice. You should not take anybody's word. But check every little detail yourself instead. Even the words of great authorities on the subject. 
     

    A sole-colored Redwork design on the embroidery machine

    By Irina, in Machine embroidery materials and technology, , 0 comments, 5,915 views
    Original text by Marina Belova 
    Sole-colored Redwork designs are considered the simplest hand embroidery technique. It used to be made with a red thread on fair-colored — white or creamy — fabrics made of natural fibers (muslin, percale, linen and so on). The designs in only one color were used everywhere in the earlier days: on clothes, bedlinen, and table-cloths, also as room decorations. 
    Even now you can see a lot of sole-colored designs in various online shops. Only in those days the designs intended for hand embroidery were rather simple and crude. This is the reason why they used to be the first step in embroidery education. Running stitches, chain stitches, and french knots were used. Below you can see the example of the classic sole-colored design of the 30s from the book called Antique French Textile for Designers by June K. Laval. 

    Nowadays not only simple designs, embroidered just with running stitches, but also immensely complex graphic designs that contain other stitch types as well, are common in machine embroidery. For example, this piece embroidered with black threads, won a prize this year from the Stitches magazine: 

    Thence, not all sole-colored designs are dull, for they have something in them that justifies the focused attention. 
    The creation process is not at all difficult for this is just everyday embroidery. You simply hoop the fabric and embroider. There can be even simple designs, where a stabilizer is not needed, for they are embroidered with running stitches only. But if a design is big and full of stitches of various types (like the one pictured above), a stabilizer will be necessary. 
    Digitizing 
    I will only review the simple and most common type of sole-colored designs — the one made with the running stitches. 
    Digitizing recommendations are as follows: 
    Prior to the embroidery, the image should be simplified as much as possible. Small details should be either removed or combined with the others or upscaled a bit. The lines should be smoothed out.  The design should be digitized with a double or triple running stitch in accordance with the size of the elements. A single running stitch can be used for very small details.  I've seen an insistent recommendation to digitize such design with bean stitches. This type of stitches lowers the possibility of looping and misplacing lines on repeats, especially when embroidering on the fabric with polyester batting.  But in my opinion, a triple running stitch looks rather crude, and if a line fails to follow the steps of the previous one to a tee, it makes the work more lively and artless. And on top of that, when digitizing with a triple running stitch or bean stitch, one should plan the embroidery sequence with the utmost care, which does not help to save time. But, every man to his tastes.  Stitch length 2—2.5 mm. No less than 1 mm for small designs and details.  Try no to use the dynamic stitch length in order to follow the trajectory as close as possible.  The design should be digitized so that it is embroidered all in one go. It's better to avoid trimming. Therefore, it is necessary to carefully plan the embroidery sequence.  I point out that the process of digitizing this particular embroidery is the same in all editors, professional and amateur alike. 
    I picked a simple vintage image from the Briggs’ Patent and digitized it with only one color. 

    But digitizing took 30 minutes of my time. I created it manually, with the only 1 running stitch, with the stitch length equal to 2.3 mm, without trims — in a "single stroke" technique, that is. Every line was made by two simple running stitches. The stitch count is 1593. The image size is 74.8x72.2 mm. This is how it looks on the screen. 

    And this is how it looks already embroidered on the blue fabric with black threads, in a large 120x30 frame (which is not at all how it is intended).
    That's why the look is so lively and not sterile. 

    A very quick and economic embroidery technique. 
    P.S. The best free manual on how to digitize designs like that was created by Brad Martin, and can be found in Floriani Club on Youtube. In case you are interested, google Floriani Club — Making Lineart from a backdrop. 

    Changing satin stitch density according to the stitch length in Wilcom and WingsXP

    By Irina, in Machine embroidery materials and technology, , 1 comment, 11,159 views
    Original text by Marina Belova 
    Nearly every machine embroidery software that proudly calls itself "Professional" has a very interesting option that allows users to dynamically change satin stitch density, depending on the stitch length. When the option is enabled, the software lowers the density (makes the space between the stitches wider) for the short stitches and increases it (makes the space between the stitches narrower) for the long stitches. This is necessary for sufficient covering of the fabric without distortion due to the excessive density and gaps due to the deficient density. 
    This option in machine embroidery editors is called differently. I'll name just several. 
    Auto-Spacing (Wilcom)  Variable Pitch (WingsXp)  Ramping (EPC win)  I'll only examine the first two. 
    This thing is extremely handy. No trouble with dividing the objects into separate contours, in order to find suitable density for every one of them in accordance with the stitch length. This is not against any recommendations on how to choose a proper density. More in my article on density. 
    I'll show you how changing the stitch density looks using this example: 

    The upper satin column with uniform density throughout the length of the object, which is equal to 0.6 mm. 
    In the lower satin column short stitches are sparse, but when moving to the right edge they become longer and more fit together more closely.
    This is despite the fact that the basic density value is set at 0.6 mm for both objects. And the stitch count in these two object is different as the result. In the upper contour, where the density is consistent, there are 118 stitches, and in the lower one, where the density changes dynamically 132. 
    What's interesting is the way the editors allow their users to influence the density dynamic pattern. Customarily, you can set the percentage change value, beginning at 0. But, frankly speaking, it does not offer much help in my case. What does it mean, 50 or 70 or 150? I don't get it.
    What does it mean, more stitches if <100% and less if >100%? Any why the best result can be achieved at 75%, as it is stated in Wilcom manual?
    The whole algorithm is not clear to me. 
    Wilcom went even further and suggested the users to adjust the parameters to change the density, depending on the stitch length. You can insert your own density, stitch length and thread thickness values on the Auto Spacing panel, pictured below. 

    At the same time, the crafty manufacturers did not provide any coherent recommendations on which values are right and which are wrong. Either that or I've missed it. In any case, users have to choose from the number of pre-defined parameters that can be found in the table sheet here. The basic density value here is 0.4 mm. And if I need to increase or reduce it, I cannot use this option. What am I to do in such cases? 
    WingsXP does not allow the users to alter the algorithm by themselves. But the manufacturers don't make a mystery of how the density changes depending on the basic density value, which is set by the user when digitizing a design. 
    The density dynamic change table sheet is taken out from the WingsXP manual and looks like this: 

    What I like very much about WingsXP is that it is possible to calculate the density not only in accordance with the default 0.4 mm. And also the fact that I don't have to exert myself. You can use this table sheet to set density values manually in case you cannot use the automatic option.
    WingsXP generates stitches rather good, and can be trusted. 
    An undoubtedly useful option, in general, but, unfortunately, not every editor has it. 

    Minimizing thread breakage

    By Irina, in Machine embroidery materials and technology, , 1 comment, 4,535 views
    Original text by Marina Belova 
    I've been drawn to the idea of saving lately. Nothing can help you to save money better than the absence of the thread breakage. Just try to estimate how much money you waste on dealing with a broken thread, then come back and retrace the embroidery. One should also remember that the place where the thread had broken stands out to the naked eye. 
    In theory (and in practice), every design should not just be beautiful, but, with the good performance, able to be embroidered, too. I've read on Frank Gawronski's website recently that a machine embroidery design is considered good when the thread breaks less than once every 10—15 thousand stitches on the multi-head embroidery machine. And less than once every 60—100 thousand stitches on the single-head embroidery machine. 
    Unfortunately, the facts that I've picked up in the course of my embroidery career, say the opposite. Often the consumables — needles and threads — were to blame. I remember that once when I was using a Chinese brand, the thread broke every 100—150 stitches, and when a German brand was used instead, the trouble vanished as it by magic. The embroidery looked fluffy without using any acrylic threads. Sometimes, an embroidery machine had its needle in the pie. And also the designs often are third-rate. 
    The reasons for the thread breakage depend on all kinds of factors: 
    The design  The embroidery sequence  Embroidery machine settings  Consumable materials (threads, needles, stabilizers and so on.)  Embroidery machine operating skills  I will not enlarge upon the embroidery process itself and also upon the consumable materials — those are the topics for two separate articles. I'd better bring your attention to the things you should check out in order to minimize the thread breakage. 
    The design 
    The embroidery sequence begins with the good design. Before digitizing it, you'll need to make the assessment in order to find possible problems. Such problems as too many details that result in multi-layered embroidery, which can lead to the thread breakage because of its thickness. Too small details: thin outlines, curved in too many places, etc. It is possible that some of them can be spared or simplified. 
    Digitizing 
    There are 3 main reasons why poor digitizing leads to the thread breakage: 
    Wrong stitch length Automatic trimming in wrong places  Excess stitches squeezed into a too small embroidery area  Dealing with these reasons prevents about 75% of the thread breakage. 
    Wrong stitch length 
    As you know, almost any embroidery machine is capable of making stitches from 0.1 to 12.7 mm long. But in reality, it becomes clear that stitches under 1 mm and over 7 mm are the reason for additional thread breakage because of the curves and because the needle deviates from its axis. 
    Therefore, you should check out the stitch lengths in a design before digitizing. Modern embroidery software offers all kinds of handy tools, such as removing stitches shorter that the stated value. Also, there is splitting long stitches into shorter ones. 
    Carefully digitize automatic trims 
    I won't reinvent the wheel if I mention that a trim requires a tie-off before and after the trimming. Though I've often heard that you can dispose of the one after — the understitching is there, anyway, and it should not be secured with lock stitches, for they are underneath. Moreover, I tried this once. Technically the absence of lock stitch on the object that follows is a common reason for the thread coming out of the needle. And this can count as breakage. 
    Tie-offs protect the design from breaking loose. When the machine resumes the embroidery, in only has a short thread end to make the loop.
    Therefore, you should place a lock stitch and resume the embroidery on a low speed in order to avoid thread coming out of needle at this moment. 
    Nowadays the digitizer won't have any trouble inserting a tie-off. For virtually every editor has a logical value that automatically does that after color change and trims. This makes the job much easier. 
    Lower the density 
    The excessive stitch count in a small embroidery area will lead to the thread breakage because of the high density. It is necessary to lower the design's stitch count, simplify the details, decrease the number of layers and use motif stitches and patterns. I.e. reduce the number of stitches as much as possible. I've expanded on the subject here. 
    Proper digitizing depends not so much on the software, but on the knowledge and skills of the design creator. For any embroidery editor is only the instrument for making the task quicker and easier. It cannot estimate whether the design is made right or wrong. Machine embroidery software does not know, what can be done and what is not recommended. It does not have an algorithm for such things. 
    It has been said that everybody who can draw in a computer program can learn to digitize machine embroidery in no time. But based on the above, one can conclude that a digitizer should know the embroidery process inside out and also have a profound knowledge of the theory of machine embroidery. This is necessary for understanding what embroidery software options work well enough, and what would be better done manually. 
     

    Machine embroidery for beginners. Where do you start?

    By Irina, in Machine embroidery materials and technology, , 1 comment, 2,711 views
    Original text by Marina Belova 

    What should one know to begin machine embroidering? You should have the following equipment: 
    Embroidery machine Ready embroidery designs  Fabrics  Threads  Stabilizers  Time  And, the most important thing, the knowledge of how to use all that. It would also help to know what kinds of things can be done on an embroidery machine. 
    The embroidery machine manual will tell you how to operate if you there is no one there demonstrate. You don't need to be afraid of the machine, just follow the manual as accurately as possible. 
    There are tons of ready designs on the internet, which you can download. You can also find pretty designs in our shop. 
    There would be no problems with buying the fabrics for your first attempts, either. The crucial thing is to distinguish between the various fabric types, to understand their specs, and how that can influence the embroidery. 
    As for the embroidery consumables, things are a little tight where I live nowadays. Embroidery threads range is not big in the ordinary crafts shops, but it is possible to buy them nevertheless. The stabilizer is one of the most enigmatic of the consumable materials: you need to be able to distinguish between them, in order to choose a right kind of stabilizer for a right kind of fabric. Not only is it enigmatic, but you need to search for the particular one you need. 
    And the last thing before you start the embroidery is hooping. It is no mystery either: the fabric should be drum-tight in the hoop. So that it is not distorted. But it is not so in every case. A bit of practice with different kinds of fabrics and everything will be fall in place. 
    It would be useful to know the most common machine embroidery myths. 
    Frankly speaking, having assembled a library that contains more than several tens of thousand ready design files, I've hardly embroidered 10 of them over the course of my whole career. And why? Because it is much more interesting to create the designs yourself. 
    You'll only need 2 things to do that: 
    Machine embroidery software. How to choose a proper one? You can read my article on the process of choosing machine embroidery editor.  Twice as much time for design creation and for testing.  Where do you start digitizing? General theory, I believe. I have some here, and I would suggest the following order: 
    What is digitizing in machine embroidery?  Check list of a machine embroidery design creator  Tips for productivity in the design creation. Getting started  Image analysis before the digitizing takes place Design creation: tips for productivity. Operational standards in machine embroidery software  The difference between the editable and working embroidery formats  Types of objects to be digitized  Four main types of stitches Quality benchmarks. Object characteristics  Quality benchmarks. Choosing the stitch length  Quality benchmarks. Understanding density  Quality benchmarks. Secrets of pull compensation  Quality benchmarks. Push compensation  Quality benchmarks. How to use understitching Quality benchmarks. Controlling the stitch angle Quality benchmarks. Shortening stitches on the inner side of the contour  Quality benchmarks. Rendering corners  Quality benchmarks. Tie-offs  Connector stitches between the objects and inside them in the machine embroidery  Embroidery navigation  In my opinion, this information is sufficient to grasp what various tools in machine embroidery editors are for, and to start doing something on your own. The rest (such as the shape of the edges, varying density, the creation of fill patterns and motif stitches, etc.) can be saved for last when you digest all this information. 
    After you get wise to it, you can proceed to master a machine embroidery editor and create your own simple designs. You can learn how one does that in my article "On the crossroads between knowledge and mastery". Unfortunately, I haven't yet found time to write a beginner's guide to machine embroidery software. Eventually, I'll come to that. 
    And after that, when you figure out nuts and bolts of the machine embroidery editor, and it becomes your ally, you can try various techniques, to practice what you've learned. 
    Of course, this is not the end of the machine embroidery. This is only the beginning. Just try it, and you'll know why. 

    Cord and thick thread couching

    By Irina, in Machine embroidery materials and technology, , 0 comments, 5,397 views
    Original text by Marina Belova 
    Sometimes even in machine embroidery, there is a place for enlightenment when a technique seen many times before elsewhere assumes its own meaning or begins to shine with the new colors. "The penny dropped!" they usually say. 
    I'll take the roundabout approach to the subject. 7 or 8 ago a manager of one of the Chinese thread manufacturers was showing an embroidery sample where the key component in the creation of the design was the underthread instead of the upper thread. Accordingly, the front side of the embroidery was situated on the back side of the hoop. 
    Even then the Chinese manufacturers had a small collection of bobbing threads of different colors and thickness specifically for that purpose. In those days, this information fell deaf on my ears. And after that, while thumbing through the books on the free-motion machine embroidery technique I often saw that instead of an ordinary underthread you could use virtually any thread, even the one that cannot be used as the upper thread because of its thickness or twist. It can be a mouline thread or special decorative sewing thread like Madeira Overlock #4 or the ordinary not so thick knitting thread or a thin ribbon. Anything that can be wound up on a bobbin and tucked in a bobbin case. These are the threads I have: 

    Val Holmes encyclopedia of machine embroidery calls this embroidery technique a "Cable Stitch". A similar way of attaching a bobbin thread or a thin cord imitates a hand embroidery technique where a thread, a cord or a ribbon is couched. This is a godsend for those who need to sew down the cord, but whose machine is not equipped with a special device for it. 
    This week I saw a photo of the embroidery with the ordinary knitting threads in the very same technique and was illuminated by it. I wanted to try it right away and see what would happen. 
    The design can be made very easily: you just draw the trajectory with a running stitch or a hand stitch — depending on the idea or an image. In my opinion, the embroidery design should be created so that you won't have to return to the same place several times. I.e., the design should be drawn "in one stroke". The stitch length is set at about 2.5—3 mm. But, in my opinion, one should experiment with the length, for everything depends on upon what you embroider with. Below is my first test piece: 

    I decided to do without bar tacks for fear of the knots and "bird nests". Stabilizer is not necessary for this kind of work if I understand correctly. As for the tension, the adjustment will take some time. 
    First, you must loosen the tension on the bobbin case in accordance with the thread type. Too loose a tension, theoretically, will result in the loops on the wrong side, not unlike the one on the terry cloth. Tension adjustment changes the size of these loops. Suitable tension makes couching imitation possible. No, not imitation — for it is real embroidery couching.
    Second, you should just as well adjust the upper thread tension in accordance with the desired effect. In case it is too loose, the upper thread will form loops on the bottom of the fabric, creating an additional embellishment. This means that the upper thread will contribute to the design creation. If the upper and the lower thread tension are balanced, as usual, the result will be a simple running stitch with the upper thread slightly pulled across the lower one. 
    On the photo below you can see a bobbin with a knitted thread wound up on it. I wound it up manually. To my regret, only a small amount of thread can be placed onto the bobbin in this way: 

    I insert the bobbin into the bobbin case, loosen up the tension:
     
    Start the embroidery: 

    It runs smoothly. Even the trimming works well: 

    This is the wrong side of my fabric — the upper thread has formed some loops:
     
    And this is after I've tightened up the upper thread tension so that is wasn't pulled through the fabric to the wrong side: 

    Unfortunately, no matter how long I've been adjusting the wheel, I haven't managed to get the underthread loops on the bottom of the fabric.
    And on the photo below you see the fabric embroidered with the Overlock #4 thread in the bobbin: it looks similar to the mouline thread — multi-layered and not twisted.

    It turns out to be that easy. Just imagine, how many interesting designs you can create in this way!

  • Top Downloads

    Week

    1. More information about "Two loving parrots free embroidery design"
      Two loving parrots free embroidery design
      By Berez
         281   1
    2. More information about "Flying stork with baby free embroidery design"
      Flying stork with baby free embroidery design
      By Berez
         173   0
    3. More information about "Moomin with flowers free embroidery design"
      Moomin with flowers free embroidery design
      By Berez
         122   0
    4. More information about "Tribal owl one color free embroidery design"
      Tribal owl one color free embroidery design
      By Berez
         89   1
    5. More information about "punto croce 2"
      punto croce 2
      By Tifui Paul
         85   0

    Month

    1. More information about "Cornflowers free embroidery design"
      Cornflowers free embroidery design
      By Berez
      302   4
    2. More information about "Two loving parrots free embroidery design"
      Two loving parrots free embroidery design
      By Berez
         281   1
    3. More information about "Giraffe free embroidery design"
      Giraffe free embroidery design
      By Berez
         272   1
    4. More information about "Stitch and toy free embroidery design"
      Stitch and toy free embroidery design
      By Berez
         265   0
    5. More information about "Red Kitten free embroidery design"
      Red Kitten free embroidery design
      By Berez
         262   0

    Year

    1. More information about "Christmas reindeer cross stitch free embroidery design"
      Christmas reindeer cross stitch free embroidery design
      By Berez
         1,638   1
    2. More information about "Christmas tree made of cones cross stitch free embroidery design"
      Christmas tree made of cones cross stitch free embroidery design
      By test8
         1,583   1
    3. More information about "Girl with red glasses free embroidery design"
      Girl with red glasses free embroidery design
      By Berez
         1,492   1
    4. More information about "Green christmas tree free embroidery design"
      Green christmas tree free embroidery design
      By Berez
         1,335   1
    5. More information about "Christmas gnome with gift boxes free embroidery design"
      Christmas gnome with gift boxes free embroidery design
      By Berez
         1,300   1

    All Time

    1. More information about "Snowball game cross stitch free embroidery design"
      Snowball game cross stitch free embroidery design
      By Berez
         39,812   25
    2. More information about "Zebra free embroidery design"
      Zebra free embroidery design
      By Berez
         36,862   27
    3. More information about "Free embroidery decoration for dress"
      Free embroidery decoration for dress
      By test5
         27,401   8
    4. More information about "Cats meet free embroidery design"
      Cats meet free embroidery design
      By lone
         27,151   3
    5. More information about "Caffe free embroidery project"
      Caffe free embroidery project
      By test5
         21,260   8

  • Recently Browsing   0 members

    • No registered users viewing this page.
×
×
  • Create New...