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    Embroidering on a T-shirt. My first attempt

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,309 views
    Original text by: Marina Belova 
    Several days ago I was embroidering my first full-blown design on a T-shirt as a present. Previously, after several unsuccessful attempts, I wouldn't have touched the T-shirts with a ten-foot pole. I needed to embroider a text on the back which said: "Лёша я или не Лёша?". For this I chose not just a plain thread, but the one that glows in the dark. I bought the blue Glowy by Gunold. Although these cost quite a lot (slightly more than 1000 RUR for 1000 m), I was eager to work with them and see the result. 
    This is what the embroidered T-shirt looks like in the daylight: 

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

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

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

    What is basting stitch

    By Irina, in Machine embroidery materials and technology, , 3 comments, 5,140 views
    Original text by: Marina Belova 
    Some of these days it occurred that I overlooked the topic of a basting stitch, which is a special guiding stitch in embroidery. The reason why I overlooked the topic is that I myself never used this stitch: there was no need. Nowadays when learning to use a home embroidery machine, I understand why people invented this stitch and why it is used. Not every type of fabric can be ideally hooped on my home Brother, not to mention thick and bulky ones. 
    This stitch attaches the fabric to a stabilizer more firmly, and can also be used as a guideline. The fabric may be either hooped or just stuck onto the adhesive stabilizer (like filmoplast, for instance) or just the temporary spray adhesive. 
    Basting stitch is an ordinary running stitch with a 5-6 mm stitch length so it could be easily removed if necessary. You can create a basting stitch: 
    In the embroidery design editor, which is the best and the most accurate way that allows to create a shape you need.  With the help of the embroidery machine (home machine memory usually contains such a stitch) — it often looks like a plain rectangle similar to the one marked with the green dotted line on the image below: 
    Of course, basting stitch may be of any shape in case you digitize it yourself for every specific design. I've seen the recommendations to make a basting stitch along the perimeter of the embroidery — right under it, which I find rational in case all of design's elements are interconnected.
    Like the one on the photo below — marked with the yellow dotted line:

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

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

    How the high speeds affect the quality of the embroidery

    By Irina, in Machine embroidery materials and technology, , 1 comment, 11,974 views
    Original text by: Marina Belova 

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

    Once again about alignment/placement marks

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,917 views
    Original text by: Marina Belova 
    A few days ago I was thumbing through a blog of Eileen Roche, a founder of the Design in Machine Embroidery magazine, and came across an interesting blog post about the difference between the placement marks in embroidery. Those who are curious may read the original blog: 
    I've already mentioned several times that I use such alignment/placements marks for linking he parts of big-size designs that don't fit into the hoop. But prior to reading this article it never occurred to me to distinguish between the notions, to understand what exactly I draw and why — indeed, this trifle is but a small part of my general knowledge of machine embroidery. If you ask me, when you give any notion an adequate definition, it will be much easier to understand what it's all about, and to explain it to the others. 
    So, using the timely assistance from this well-known lady, I want to define the placement marks in embroidery once and for all. All these marks I draw in editor and then embroider are needed for placing the fabric in the hoop in such a way that the embroidery would fit into the place you intended for it, and not at random. Of course, the positioning is rather rough. But essentially, there 2 kinds of placement marks (at least, that how many I can think of right now):
    The one that marks the future embroidery on a item or a fabric (called placement guide) — an ordinary running stitch that is used for positioning of the design on an item or positioning of the fabric/item onto the hooped stabilizer. This line may take various shapes, depending on the item that is being embroidered. I always use it in my In-the-Hoop projects.  Here is an example: 

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

    Embroidering on tulle netting

    By Irina, in Machine embroidery materials and technology, , 0 comments, 18,556 views
    Original text by: Marina Belova 
    Judging by the craze on the web, everyone suddenly wants to embroider on tulle netting (of the starch kind). At a certain point in the past, long ago, I, too, made a couple of shots at it, but did not succeed and ditched the whole thing. But the fact the etched in my memory was that this netting is very fragile and breaks very easily. 
    Today I laid my hands on this material at last. I have 2 kinds of tulle netting with different mesh size: bigger and smaller. I don't like this material by touch, it reminds me of plastic and doesn't stretch much. Seeing it, I can hardly imagine where it can possibly be used. But if there are so many varieties on the market, there are people who want to buy. And the fact that people keep trying to find a way of embroidering on it means that tulle netting is indeed used. 
    Of course, the first thing I did, was to check if my tulle was fragile. It turned out that it tears effortlessly. And it is not important, whether the mesh size is big or not: 


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

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

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

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

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

    An interesting point on working with knitwear

    By Irina, in Machine embroidery materials and technology, , 2 comments, 3,827 views
    Original text by: Marina Belova 
    Everybody knows that the needle coming through the fabric must not leave a trace of small pin holes along the perimeter. But such a things happens, especially on knitwear in case the needle has not been chosen properly and because of other reasons, too. Often this defect is not evident right away, because the stitches lie close to each other. But several washes later it becomes apparent to anyone wearing the embroidered item in question. 

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

    Shifting of the embroidery parts: Believe it or rather not

    By Irina, in Machine embroidery materials and technology, , 1 comment, 4,336 views
    There seems to be so many information on embroidery design distortions — parts of the design overlapping or, on the contrary, having gaps between them. Even I have expatiated upon the subject often enough, either covering my own unsuccessful attempts or just musing about how the things should be and how they are in reality.
    One should think that if I wrote about it myself, I would take it into consideration, but no, the same trouble continues to arrive at my doorstep from time to time.
    Now then, I have digitized a design for a client so that she would embroider it on her own machine. I created a design with the knitwear peculiarities in mind, like I always do. I have already become a skilled hand at that, and even if there are imperfections, they are not critical.
    Then she sent me photos, and I saw that it was a disaster:

    It was embroidered on the dense knitwear. Something akin to the french terry, I guess. To say the outlines were displaced is to say nothing.
    This notwithstanding the fact that I arranged for the thread to be changed often, in order to the object fill to be embroidered first, and its outline right after that.
    I immediately began to doubt of my capability of digitizing anything and think that I'd probably better be done with design creation and machine embroidery in general.
    So I rushed to embroider it on my own equipment, to see what was wrong with the pattern that I had created. As I didn't have any french terry to do the test, the only thing I managed to find was a piece of thin knitwear used for beanie caps. I hooped it, embroidered the design in question and got this:

    No so awful; there are some imperfections here, but considering that this was a big design embroidered on knitwear — a material with more than 50% stretch, it is not so bad at all. Well, I probably should have lowered the density of the red fills, but in general, everything is OK.
    The only possible answer to the question of why my client got a result depicted on the first photo is that during the embroidery there were technical mistakes, such as:
    Knitwear being slack in the hoop. Wrong stabilizer. Now I'm curious: are these the only possible causes? Is it possible that the equipment is to blame?
    So I went searching for the literature on the subject and asking well-informed people what exactly should I search for and where. In the end, I got to understand this. If such a trouble occurs, you should not only check the pattern, the hoop and the stabilizer, but the machine as well:
    Whether the frame holder is correctly attached.
    The hoop is badly attached to the holder and bounces out of it (I have a similar trouble with my Velles 15). The embroidery shifts, but not in the way I described. The hoop bounces.
    Something obstructs its movement; you should check for the presence of foreign objects around the X and Y axis drivers. I've had this problem before, and the hoop bounced, but it looked different.
    You need to check the tensions on the X and Y axis drivers. How to do it? I haven't figured this out yet, though I have the material.
    The fabric may get caught in the parts of the machine. I've encountered a similar problem before. But this is not the case.
    Voltage drops in the power system can also be the reason.
    I have a strong suspicion that the machine is not to blame in this case; the embroidery technique is the problem.
    I cannot say that having embroidered the design on my own machine took a load off my mind. I've mentioned in the past that the end result equally depends on the design creator and the embroiderer.
    And now I'm all uncertain if one should do such a thing as digitizing for someone else? There is a possibility of them getting bad result, and you will be the one taking all the blame. How should one digitize an image remotely so as to be sure the outcome will be good? I haven't received the money for my pattern, by the way.
     

    Summary on my first cutwork

    By Irina, in Machine embroidery materials and technology, , 2 comments, 3,609 views
    Original text by: Marina Belova 
    About a year ago I tested all kinds of cutwork stabilizers available — water soluble and heat away one — on small pieces of lace. In those days I arrived at the conclusion that any kind of stabilizer is good for lace, because the lace patterns are relatively small, and in most cases do not require alignment. But now, after numerous trials and errors I arrived at the conclusion that for cutwork it is better to use not a water soluble film or thermogaze, but a water soluble stabilizer instead. Even despite the fact that it is easier for me to cut away pieces of film — the possibility of making a wrong cut is lesser, because the scissors glide along the film surface. Water soluble stabilizer is better for cutwork embroidery than thermogaze even despite the fact that with latter you don't have to wash the item for a prolonged time — thermogaze is too fragile and therefore not easy to hoop. 
    One day I've been surfing Youtube and saw a video by Deborah Jones, in which she showed how easily the fabric would attach to a water soluble film if the latter was dubbed with a wet cloth and therefore became sticky. And of course, I became excited with the idea, because in that way you don't have to hoop the fabric, just smooth it while attaching to stabilizer. Adding supporting stitches like the ones described here will be enough, but this time it's more simple, because there will be no pins: 

    I don't know whether we don't have the right kind of film here or did I get something wrong, but it didn't quite work out. I dubbed the film with water, and it became sticky, of course, but not enough to hold the fabric in place. The film instantly warped, became thin and loosened in the hoop — what accuracy can you expect, if the fabric can shift during the embroidery process. Then, having remembered an advice I read somewhere, I additionally sprayed the film with a temporary spray adhesive. The spray held the fabric better, but likewise was not very reliable as the fabric shifted in the hoop. So, my first attempt was unsuccessful. 
    That was the end of one more embroidery myth for me — the one on the possibility of embroidery without hooping. 
    This is the napkin I embroidered using a water soluble stabilizer: 

    I liked the water soluble stabilizer because it was soft and flexible, and was easy to hoop and align. It did not pucker or change its shape during the embroidery, did not warp like the film or get perforated along the edges, even when the stitch density was high. Besides, the look of the bridges surprised and embraved me. Everything that caused me trouble the last time, when I tried to find the right kind of thread and the right stitch parameters for embroidery on a film, here came out neat and good-looking on the first attempt (I used the same cotton threads and the same stitch parameters): 


    Truly, you understand nothing until you try, and besides, nobody will tell you anything. That's how important it is to know the types of threads and stabilizers when creating a machine embroidery design! Otherwise you won't be able to set the parameters right and it'll cause you suffering. 
    I never doubted that it was possible to align cutwork designs. It is not hard, even if you do it helter-skelter, like I did. 

    Where the embroidery thread can go wrong

    By Irina, in Machine embroidery materials and technology, , 2 comments, 5,756 views
    Original text by: Marina Belova 
    With ever increasing frequency I now become aware of the fact that there are no insignificant things in machine embroidery. Just overlook this or miss that, and hello, an inexplicable trouble, which you don't quite know how to handle. In support of this conjecture is a very interesting blog post by Embroidery Professor about the ways in which the thread should come off the spool/cone, which I found recently. 
    One would think, what's the fuss about how one should position a spool, horizontally or vertically? But it is not so simple. It turns out that one should not change the way the thread comes off the spool/cone based on wind. It will lead to the twisting of the thread, which may cause several problems, especially on high speeds: 
    Frequent thread breakage.  'Bird nesting' on the wrong side of the embroidery.  There are 2 ways of thread winding. As I don't know the right terms for them, I'll call them in my own way and show how they look like on the photos: 
    Straight winding. 
    Cross winding. 
    One of the easiest ways of avoiding the aforementioned problems is to position the spools so that the thread will not twist when unwinding. As for the ways of achieving that, everybody should find their own, according to their situation and possibilities. But you should do the following: 
    In case of a straight wound spool, the thread should come off across its central axis, like on the photo below: 

    As for the cross wound spool, it should come off along the central axis: 

    That's all there is to it. 

    Seeking for 3D Puff replacement-2

    By Irina, in Machine embroidery materials and technology, , 0 comments, 3,539 views
    Original text by: Marina Belova 
    Today I uncovered yet another embroidery myth — about the possibility of replacing 3D Puff with a similar material. As they say, why waste money if there is no difference? Especially keeping in mind that I finally managed to find a 3D Puff replacement by trial and error. 
    On weekend, while being in my country cottage, I had my eye on a couple of thermal insulants, used in home building, which turned out to be quite voluminous, rather soft and flexible by touch, and besides, one of them looked exactly like 3D Puff: 

    The material on the left is rather spongy, soft and flexible. It's about 5 mm thick. The one on the right is similar to embroidery foam: it is soft and flexible. It's about 6-7 mm thick: 

    Seeing them I immediately got an idea to try and make the 3D embroidery with them. Though everybody on the internet advises against it. 
    I created a pattern according to all of the rules of creating the 3D embroidery patterns and started the embroidery. I used the spongy insulant first. The embroidery process went smooth, I had no problems with the material: 

    It tore off very neatly along the perimeter, leaving practically no traces: 

    As for the expected volume, the things were much worse: there was no volume at all. For this insulant crinkles badly, and does not retain volume afterwords. Therefore, it should be discarded once and for all. 
    I used the Puff-like insulant second. I had high hopes for it. The embroidery process went extremely good: 

    After having took the hoop off the machine, I immediately noticed that this material crumbs terribly, leaving a trace of small bits, which is a huge disadvantage. 

    And when I began to remove the insulant, I was extremely disappointed: the volume of the embroidery was insufficient, despite the material being relatively thick. It pales in comparison even with 3 mm thick, but solid 3D Puff. 
    It takes quite an effort to tear if off along the perimeter, and leaves bits that cannot be pluck out or even fused with the help of a lighter.
     
    The second material that looks so much like 3D Puff, turned out to be entirely unsuitable for embroidery. 
    Summary: all is not gold that glitters. 

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