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    Machine embroidery on paper

    By Irina, in Machine embroidery materials and technology, , 1 comment, 5,674 views
    Original text by Marina Belova 
    Machine embroidery on paper is rapidly becoming more and more popular these days. This may be various postcards, gift-wrappings, labels, bookmarks, sachet, pictures and so on. Anything really. Any scrapbook can be your source of inspiration. 
    A year ago I became excited by the idea of embroidering on paper and decided to give it a try. This is my embroidered postcard: 

    I didn't find embroidery on paper all that supernatural. All you need to do is to follow several simple rules. It must be said, that the embroidery on any other kind of material has its own rules that should be followed. 
    The main rules of embroidery on paper are: 
    1. Get the paper of a particular kind. I've read many articles written by professionals in the field, and they recommend to use hand-made paper. Such paper is made of long fibers and is thus similar to a cut-away stabilizer in structure. The properties of such paper, such as density, texture, color, structure, etc, may vary. You can buy it at any place that offers scrapbooking essentials. 
    Nevertheless, in my opinion, you do indeed need the paper composed of long fibers as a basis for your embroidery, but use almost any kinds of paper for small details. 
    2. Any threads are good. 
    3. The only limiting factor will be thickness because the needles thicker than 75/11 will make too big holes. 
    4. Because paper cannot be hooped (or permanent crease marks will appear), you'll need a stabilizer (of a cut-away, tear-away or water-soluble variety), onto which your paper will be stuck. 
    You can use an ordinary temporary spray adhesive or even a simple glue pencil like I do. You can also use various adhesive tape if you like. The choice depends on the situation. 
    5. The designs for embroidery on paper should be very simple. They should be carefully chosen or created specifically for that reason. 
    Such can be designs of a very low density or containing just outlines (made with running stitches). If satin stitches and fills are present, use a dense cut-away stabilizer. 
    Stitch length should be no less than 2 mm. 
    In other words, you can use running stitches, motif stitches, appliques, low-density fills without an underlay, low-density zig-zag stitches and satins. 
    6. When embroidering an applique, it's better to use templates. 
    This is all, in a nutshell. 
    The rest is for trying and experimenting. 

    Machine embroidery on felt

    By Irina, in Machine embroidery materials and technology, , 1 comment, 10,878 views
    I think that felt is one of the most common fabrics for doing machine embroidery samples. It is also used for chevrons, appliques, and in any case, it is extremely popular nowadays. It is a non-woven material that resembles valenki by its outer look. Felt can be made of a variety of fibers, natural (wool) as well as synthetic (polyester). The thickness and color of this material also vary greatly, which is very handy.
    I first came across this material quite a long a time ago and only then noticed that the embroidery looked different from that on any other kinds of fabric — all the elements became narrower. But that was when I didn't use any stabilizer, so the such a result was hardly surprising.
    In reality, if you follow a production process and embroider on a stabilized fabric, felt is one of the easiest materials. You can embroider on it with no difficulty at all, and design creation for felt is also easy (it is used for samples for a reason).
    You can embroider almost anything on felt — big and small details alike will look good on it. Like with any other fabric, digitizing a design for felt and embroidering on it has its undemanding rules:
    For the ordinary designs, use a middle-weighttear-away stabilizer. For large objects with lots of stitches, a middle-weight cut-away will be just right. You can additionally sprinkle it with a temporary spray adhesive. You'll need #75 needles, with sharp needlepoint. But if you're going to embroider small details with thin threads, you'd better change your needle for the one matching the thread (#65). When embroidering with thick threads, you should likewise choose a thick needle. But the needlepoint stays sharp in all cases. Density values can remain standard, enough for sufficient coverage (0.4-0.45 mm). Understitching is traditional and unpretentious. Pull compensation is up to 10%. Felt is a very easy embroidery material. The only thing I don't like about it much — it's quite thick and therefore hard to hoop. But the quality of the embroidery saves it all.

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

    By Irina, in Machine embroidery materials and technology, , 0 comments, 6,532 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, 9,620 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, 4,405 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, 6,454 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, 3,012 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, 6,264 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, 11,884 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, 4,975 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. 
     

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