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    The practical method of finding the proper stitch density setting for the threads of varying thickness

    By Irina, in Machine embroidery materials and technology, , 1 comment, 13,172 views
    Original text by: Marina Belova 
    I think that for an embroiderer it is not a secret that every thread requires its own stitch density in order to make a successful coverage. It involves not only the thread thickness, but also the variety of materials of which the threads are made, as well as different colors and brands.
    Changing any of these parameters is the reason why a design once embroidered successfully on the same fabric, but with a different type of thread, may come out a disaster. I've encountered such a problem more that once, that's why it's not the first time when I write about it. 
    Recently, when surfing the internet, I found an interesting test design from the Coats brand, which allows to find the proper density for a particular type of thread by conducting a simple experiment. 
    The professionals working for this company created a small test design, which will help you to measure the resulting stitch density when embroidering with 120/2 thread (the standard #40). 
    You'll need to do just a few things: 
    Hoop the fabric.  Embroider the design with the required types of threads.  Examine the result.  Choose a suitable option.  We can determine if the density is enough or too much by checking with this chart: 

    You should notice that the upper segment containing 8 squares is marked by the letter N and does not have any understitching. The lower segment with the letter U has an understitching. You should select one square in each segment, having examined them by look, by touch and other parameters. 
    You can download the test in a *.dst format from the Coats website. 
    In my opinion, this is a very useful experiment, especially when embroidering with a thread of a brand you haven't tried before. Sometimes you take a spool, and the label mentions only the usual things, or even nothing at all, but you can see that the thread is thicker or thinner that the standard one. And it is not clear what do about it. As it turns out, the answer is always in plain sight. 

    Securing the thread on a spool for storage

    By Irina, in Machine embroidery materials and technology, , 0 comments, 8,453 views
    Original text by: Marina Belova 
    Everyone knows that the threads are winded on the spools of different kinds. Some of these spools have a very convenient clasp, like this one: 

    I like it, because it allows to store a spool upside down without thread coming off of it. I store my threads in the plastic boxes with lids so they do not to get dusty or dry up, and also for easier transportability. And this clasp is what allows me to store much more threads in a box. 
    There is one more well-known way of securing the thread:

    And this way of securing the thread I don't like — it's neither convenient nor reliable. I always have to put such spools in the upright position in order to avoid problems. Yet still, this is better than no securing at all. Like here: 

    I know that such spools may be stored each in a small packet, net or a stocking. But, in my opinion, it just makes thing more complicated.
    Indeed, if one remembers that every time when we open a new spool or a bobbin (it doesn't matter if it is a sewing or embroidery thread) without a securing mechanism, we can see that the tail of the thread is not loose, but instead comes in an easily untied knot. This way the thread is secured tightly and will never unwind. 
    The way of making such a knot is no secret. It's very simple. 
    Unwind the thread a bit and hold it like on the photo below: 

    Holding on to the loose tail with the right hand, twist the thread in order to make a loop with the left: 

    Take this loop and slip it over the spool: 

    It'll look like this: 

    Take the loose tail of the thread and run it through the loop. It doesn't matter whether you do it from the top or the bottom: 

    Pull the loose tail of the thread, so the loop would sit tightly onto the spool. That's all. Now the thread is secured in place and does not unwind. 

    Everything is very simple and easy in use. 
    P.S. Only a year after having written this blog I realized that an easy way of securing the thread on a spool is using a price sticker (the one that comes in rolls). You should stick the tail of the thread to the plastic spool itself and not in any case to the thread, so as not to smear it with glue, or you will have a big problem in future. 

    Machine embroidery on a ribbed fabric. Embroidery on car foot pads 

    By Irina, in Machine embroidery materials and technology, , 3 comments, 10,098 views
    Original text by: Marina Belova 
    Several days ago I received an order that turned out a quite unconventional one for me — I was asked to embroider a monogram on the car foot pads as a present for a girl. 
    These foot pads were thick, densely woven, rubber-covered and foamed, with high ridges on the front side. In short, industrial carpet as it is.
     
    I've heard that it is possible to embroider on them, and besides, they bore an embroidered trademark on them. This one: 

    So I decided that if other people can embroider on the car foot pads, why couldn't I do the same? And I began embroidering. What's more, the design on those foot pads was a vivid demonstration of one of the ways in which that could be done – first fill the ribbed surface with Tatami in order to make it smooth, and after that embroider on this base. 
    The tricky thing is that I need to embroider not a 10х2 cm monogram, but instead large satin letters 23х21 cm each and with twirls. I can fill the space under them, of course, as on the photo above, but it would take a vast amount of stitches and also make the foot pads look worse. And I need to make them look good. 
    Then a new idea came into my head – to embroider an additional contour filled with black stitches as a leveler under each of the satin columns. The one that won't show much from below, but that will make the surface under the columns smooth. 
    But I reckoned how much time it would take and measured it by the amount of money I was paid. And decided that it is not worth losing my sleep over it, and besides, it was not clear that it would work anyway. So I began to seek a settlement that would take as little of my time and labor inputs as possible. And the answer came immediately — to use a water soluble film; long time ago it was suggested here by not-so-unknown Deborah Jones.
    She advises to use the Underlay-at-once embroidery technique on similar coarse fabrics. It's main point is that a water soluble film should be used as the means for smoothing of the embroidery surface, and that the embroidery pattern should be made in a slightly different way. It means that you should do a layer of understitching (underlay) in one go, then the pattern will tell the machine to stop (every machine does it in its own way), and only after removing the stabilizer you create a layer with satin columns. Of course, she does not disclose any embroidery parameters, but it is still clear where to go. 
    Having watched the video and pondered over the matter, I came to a thought that even this method is too long and wearing, because you'll need to draw understitching by hand. So I decided to do it as simple as possible, namely, to remove the film in the end of the embroidery, as if
    I was embroidering on a very coarse net, and make a standard pattern (all the elements are embroidered in a sequence). If it was good for a net, why should it not help me here? 
    No sooner said than done. I created a rather simple pattern with dense understitching in order to support the final layer, which should be beautiful and without a ragged edge. 

    For the basic supporting stitches I chose 2 edge runs with 1.5 mm stitch length and quite a dense double zigzag stitch (1 line/mm in my software). And I began embroidering. 
    Of course, you cannot hoop the foot pads of such density. So I decided to stick them onto water soluble stabilizer in a frame. I took 1 layer of water soluble stabilizer, stuck a double-sided adhesive tape along the perimeter of the frame, and put a foot pad down onto it: 

    I should point that I didn't have to stick anything apart from that, because the understitching held the foot pad in place sure as death. 
    Put a piece of a heavyweight film on top of it: 

    Embroider the design: 

    I take the film off and realize that because of a double stitching along the perimeters of the letters I should have increased the space between it and the elements, for I got several extremely unpleasant loops at the edges: 

    This can be corrected, though I will have to sweat over it a little. I also modified the pattern for other pads, so that the understitching would not show. In the end, I got a design of quite a decent quality. The edges of the satin columns became ragged whenever they encountered a ridge, but it's not so awful as it had been when I embroidered on the ribbed fabric for the first time: 


    These foot pads made me remember a curious detail: when selling embroidery machines, ZSK dealers tell their customers that they can embroider car footpads on them. But what I want to say is that it is possible  embroider foot pads not only on ZSK equipment, but on the Chinese embroidery machines (like the one I own) as well. 
    This time I used a standard needle, which came with my machine and the Fufu's polyester thread. I use standard DBxK5 75 SES needles for everything. And for all 100 thousand stitches the thread only broke once; as for the needle, it has never broken at all. In the end, everything is possible. 

    Seeking for 3D Puff replacement again

    By Irina, in Machine embroidery materials and technology, , 0 comments, 5,210 views
    Original text by: Marina Belova 
    Every time I see a high-quality 3D Puff embroidery somewhere, I begin to envy its creator. I've never managed to make 3D embroidery look so good that it would satisfy myself. The problem is not only the design, that I fail to digitize the image properly, but the way the embroidery looks. 
    Not very long ago I've embroidered a 3D inscription on a knitted cap. For a long while I was sweating over the way the stitches would lie, then, after having seen the same design, embroidered by the Chinese, I changed the stitches in order to get the same good result. It turned out to be not enough. Nevertheless, the look of my embroidery is not quite the same, and the feel is different, as is the height of the letters. 
    Whoever works with 3D Puff I saw and examined by touch recently, the height and the softness of the underlay that creates volume are entirely different from what we can do with the materials available here. 
    It's either me being all thumbs and in need of much more practice or... I have a sneaking suspicion that the quality of the embroidery materials delivered here is not too high. So, you need to find an alternative. Some materials of those that fell my way I've already tested for the same purpose. You can read more about my attempt of using the paper and 3D-Puff like foam materials here and here. 
    Not very long ago I've come across an underlay for laminate flooring, and an idea popped into my mind: why not to try this option, too? What if it works? This material is harder to the touch than an ordinary 3D Puff, so it reminds me of all the western 3D embroidery, and more fragile, which gives me hope that it will be easily perforated along the edges and come off the embroidery leaving no trace. 
    So I created a design according to the rules and began embroidering: The embroidery process was no worse than with 3D Puff: 

    It's ready now: 

    I remove all the extra material, but a lot of small bits are left around the perimeter: 

    Basically, 3D Puff does not tear off easily, therefore, it should be steamed or blow dried (in case you have a blow drier). I steamed it for quite a long time, but the bits of the underlay are still there, and I am not able to remove them: 

    Besides, it turned out that the underlay shrinks noticeably when steamed, so the stitches, especially the long ones, begin to sag. But a little volume is left, and the letters are hard to the touch: 

    Summary: this material won't make a good cheap and accessible substitution of 3D Puff. It can be used, but the quality of the embroidery will not be high. I'll go search some more. 

    Testing the upper and lower thread tensions

    By Irina, in Machine embroidery materials and technology, , 0 comments, 18,384 views
    Original text by: Marina Belova 
    Yesterday I once more learned from experience how much proper thread tension means — I embroidered a fluffy monster using acrylic yarn and got several 'birds nests' and plenty of thread breakage. I think that anyone would agree that the embroidery machine tension balance in important.
    For example, my upper thread tension was too loose, which resulted in 'bird nesting' on the wrong side and massive thread breakage together with the ugly loops on the right side of the embroidery. In case the upper thread tension was too tight, the underthread might have shown on the right side of the fabric. Which would not make the embroidery look better.
    The same with the bobbin thread. If the tension is too loose, the thread will appear on the right side of the fabric, too tight – the upper thread will be sucked underneath, causing all those loops on the right side. My lower thread tension was too tight, that's why there was so little of bobbin thread on the wrong side.
    In any case, finding the middle ground would be the best.
    What influences the thread tension during the embroidery? Everything. There are many issues that at first sight may seem irrelevant:
    Type of thread Thread thickness Embroidery machine speed Needle size Obstructions in the thread path. Not once nor twice I've seen the recommendations to test the thread tension before every new embroidery, new fabric or new type of thread. Is it necessary to get a 100% result.
    But how will one know whether the thread tension is correct if there are no special tools?
    There are several kinds of test designs. You can find them on the internet or create your own.
    It is believed that when the tension is correct, the upper thread takes 2/3 and the underthread — 1/3 of the width of the satin columns on the wrong side of the fabric. They should appear in such order: upper/lower/upper. This is what you take under control after all the tests are completed.
    I test
    This test design is an English letter "I" about 2,5 cm (1 inch) high and 3-4 mm wide. It is composed of single oriented stitches only. The design is embroidered with all the needles on a stabilized fabric or a dense cutaway stabilizer. After that you inspect the wrong side in order to see, what should be adjusted. According to results you make the adjustments and test again.
    H test
    This design is an English letter "H" about 2,5 cm (1 inch) high, with 6 mm wide vertical satin stitches and 5 mm wide horizontal ones. Stitches are oriented in 2 directions. The design is embroidered and the tension is adjusted according to the result.
    Т test
    This test design is an English letter "T" about 2,3 cm (1 inch), which is embroidered both directly and in the mirror image. Satin columns are about 5 mm wide, but there are plenty of angles. The design, too, is embroidered, and the tension is adjusted according to the results.
    Flags test
    On www.coldesi.com, where SWF embroidery machines are presented, I've found an interesting chevron-like test design. I suppose they didn't create it just for fun, so I recommend using it, too.
    FOXY 
    This test design is an English word "FOXY", written in capital letters consisting of satin columns. They are about 2,0 cm (circa 1 inch) tall. This test design is good because the stitches are oriented in many directions.
    Fill test
    This design consists of several 25x25 mm (1x1 inch) squares with 45° and 135° stitches arranged in a chess-board fashion. Again we embroider and then adjust. You can adjust the upper thread tension well so as to prevent loops.
    Madeira test
    I found another interesting test design on the USA Madeira website. It consists of a standard fill and 3 satin columns of varying width. A potpourri, so to speak. But it is single-oriented.
    The experts advise to check the thread tension no less that once in a month.
    Here I've tried to embroider one of the test designs:

    Now I'll go to adjust the thread tension in my embroidery machine.
    And last, the Drop test (yo-yo test)
    This method is used for checking if the bobbin thread is correctly adjusted. You won't need your machine for this one.
    Take the bobbin case out of the machine.
    Wind the thread on your finger and pull about 15-22 cm out of the case.
    Then you shake your hand up and down slightly
    The thread must be pulled out of the case a bit.
    How much — on that subject I've heard different values from different experts. They start on 1 inch and end on 3 inches (or 2,5-7,5 cm). Like always, you should try and see for yourself.
    You can learn how to conduct this test if you watch this video.
    You can read my blog on how to detect if the thread tension was correctly adjusted and what to do about it.

    Once again about hooping

    By Irina, in Machine embroidery materials and technology, , 0 comments, 4,899 views
    Original text by: Marina Belova  
    There seem to be so many hooping rules, and I've read them many times, but yet, a new idea sometimes springs to my mind. What's more, I get new ideas about simple things, which I've seen more than once, and simple principles I've more or less successfully tried to put into practice. 
    So, the January issue of the Impressions magazine contained a wonderful article on 10 basic rules of hooping by Deborah Jones, titled "Hooping": The Foundation of Embroidery". The first thing that caught my attention were the photos of a hoop for commercial machine embroidery designs with a very interesting-looking outer ring. What was so interesting about it was that it lacked the familiar screw. Instead it had an unknown device, a wonderful know-how, which, as this woman, respected by a lot of people (including me), wrote, was a part of so-called "new self-tensioning hoop": 

    The photo was taken from the Impressions magazine, January 2014 
    This means that from now on you won't have to adjust the hoop screw by yourself; it is now done automatically. I haven't found any description of this remarkable product or its working principle neither in the article (maybe I haven't been attentive enough) or on the internet. Pity, for it would be rather curious to know. 
    Second, and maybe even more important, I was amazed by this photo: 

    The photo was taken from the Impressions magazine, January 2014
    Why amazed? Because a year ago I expatiated upon about wrapping of the hoop in order to make the contact between the hoop and the fabric better. 
    Everything written there is true except one little detail: with round hoops for the commercial embroidery, you should wrap the inner ring and not the outer one like I demonstrated. To bind (or wrap in fabric) the outer ring of the round hoop would be a waste of time and material. I distinctly remember why I decided to wrap the outer ring instead of the inner one — because it was more easy to do so using a long narrow strip. 
    So far I've wrapped only one hoop using this method: 

    I hope now that it will help me to solve the problem with embroidery on slippery fabrics that tend to escape from the hoop (thin sharkskin, laminated fabrics), because the contact between them and the hoop will be better. But I won't guess at the future and try embroidering on these fabrics instead. 
    P.S. What is the most interesting, a lot of people have read my previous blog describing the wrong way of wrapping the hoop, and nobody corrected me on that. 

    A questionable method of machine embroidery without hooping

    By Irina, in Machine embroidery materials and technology, , 2 comments, 8,092 views
    Original text by: Marina Belova  
    The question of machine embroidery without hooping was raised on the embroidery forums more than once. This method is presented as the one that reduces the time of production by replacing the laborious hooping procedure with sticking an item on the hooped paper. 
    It includes the following steps: 
    a piece of a heavyweight paper or a water soluble stabilizer is hooped or framed  a window of a slightly bigger than the size of the future design is cut in it  a doubled-sided adhesive tape is stuck perimeter-wise (we used the builders adhesive tape, the wide one. It is of a highest quality and therefore costly)  the item is stuck to the adhesive tape  the hoop or the frame is lifted and a stabilizer is put under them  the item is embroidered as usual  After embroidery the item is unstuck and the other one goes in its place. The process repeats.  When the adhesive tape gets littered with pile from the fabric, another layer is stuck on top of it, or the fabric won't hold in place. In general, this method is alike to the one where sticky paper (Filmoplast) is used. Only here the sticky underlay is reusable. 

    I first saw this method on Yaroslavl embroidery factory. Practically everyone there embroiders using this method. Of course, I was inspired by the prospects it gave, because they advertised it like a new Japanese technology. 
    But when I tried it myself, I found out that there were many nuances, which, of course, nobody was too eager to tell me. 
    The first nuance was wickedly commonplace — 2,5 years ago it was extremely difficult to buy a thin double-sided adhesive tape in Moscow. A adhesive tape of a similar kind, which I bought from Chinese not long ago, is shown on the photo: 

    The only place where you could find a sufficient quantity of it (for using this method you consume quite a lot) at a rather immoderate price was the factory I mentioned earlier. Strange coincidence, isn't it? The price remains to be rather high — about 35 RUR for a roll of tape. Only the builder's adhesive tape was in free circulation on the market; it sometimes didn't hold the fabric in place, and besides, it wore out quickly. Not any kind of builder's adhesive tape is good for fabrics, so you should test it before use. I remember several occasions when an adhesive tape stuck to the paper rather badly, but at the same time stuck to the fabric like glue, so it would not come off. 
    The second nuance — it is not suitable for all kinds of fabrics. Slippery fabrics, and also piled ones, tend to unstick in the middle of embroidery process, damaging the result. That's why you have to stop your machine all the time and press the fabric down on tape. And as if that is not enough, you need to renew the sticky layer much more often. 
    The third nuance – not all of the designs can be embroidered in that way. You may forget about big designs with large amount of stitches in them once and for all. 
    The fourth nuance is that the embroidery is mercilessly warped. And this is despite all the gimmicks with the stabilizer. 
    The firth nuance — not all frames can be lifted so that the stabilizer could be put under them. ZSK frame is thick and heavy. You won't lift it up so easily:

    On the photo below a similar border frame — a thin and bendy Tajima: 

    The sixth nuance is that the stabilizer on a ZSK split table puckered all the time and got into the rolling elements of the central guide frame, which caused the frame to jerk and resulted in shifting of the design. 

    In other words, there are hidden pitfalls... everything we are told and advised of — all of that we should by all means try for ourselves. 
    But today I decided to quicken the production process, using the method of sticking. We have embroidered a batch of napkins with a small design of 3000 stitches with its help. A quick method, without a doubt. But an unreliable one. And without a stabilizer. But the fabric was a first-rate one – the embroidery almost didn't warp. 
    P.S. Do I use this method nowadays? Yes, I do. But only for very small designs containing a small amount of stitches, which are not easy to hoop (for example, you need to embroider something at the distance of 1 cm from the corner of a towel). But I've noticed that once the design is bigger that 10x10 cm or the number of steps reaches 5000, you have to stand in front of the machine and watch the fabric: whether it does not slide off such an insecure affixment. 

    What is 'bird nesting'?

    By Irina, in Machine embroidery materials and technology, , 0 comments, 11,146 views
    Original text by: Marina Belova 
    Today I'll tell you what is the 'bird nesting' in machine embroidery and how to avoid it. 
    'Birds nest' is a thick wad of thread (knot) that appears on the wrong side of the fabric in the course of embroidery. It is a cluster of upper and lower shuttle threads intertwined with each other. 

    I can tell from experience that the machine does not usually stop right after the beginning of the tangling process. It often happens that this knot is sucked into the hole in the throat plate together with the fabric. And then the best you can hope for is that the fabric won't tear up and that the item won't get unhooped. But the needles often break when trying to go through this wad of thread, wherefore the potential risk of damaging the item increases. 
    5 reasons for 'birds nests' appearance 
    Incorrect setting of the thread: either upper or lower (bobbin) thread or both.  The machine was threaded incorrectly. For example, the bobbin thread is tight and the upper is loose. In my opinion, this is the most likely reason of all.  The fabric was hooped too loosely.  In commercial machines the cutting mechanism sometimes malfunctions and the shuttle may not be properly adjusted.  Design imperfections — too much short stitches with too little space between them.  Ways of preventing of the 'birds nesting' occurrence 
    Pay attention to how the embroidery process goes. Usually when an embroidery trouble is about to begin, the machine makes a different sound. If you pay attention to the embroidery process, you can stop the machine at the right moment, carefully lift the hoop and peek at the wrong side, in order to see if there aren't any knots.  Adjust the thread tension.  Learn to hoop in the right way.  Supervise every step in the embroidery software before starting the embroidery: remove the short (under 1 mm) stitches.  If the 'birds nest' has appeared anyway, you should carefully remove the knot. How to remove 'bird nesting'? There are no ready answers for that question. Usually I start from cutting the threads under the throat plate. Then I try to reduce the 'nest' in size using a pair of tweezers. Often I have to rip off the embroidery on the right side of the fabric, pulling 1 or 2 threads from the knot at a time. You should always act according to the situation. It does not require haste and fuss.  What if a hole had appeared in the item? Then you need to repair it. 
    For example, I use stretch fabrics in my work as the rule, like a polyester net. That's why I simply sew or tie up the opening it and embroider the element that was botched. It usually comes out good. 
    On the internet I've read some recommendations on repairing holes in common fabrics: they suggest covering the hole with a piece of a water soluble film or an organza. And then to proceed with the embroidery. But I didn't try this method. 
     

    Why test every machine embroidery design

    By Irina, in Machine embroidery materials and technology, , 2 comments, 6,012 views
    Original text by: Marina Belova 
    Why should every new or modified embroidery design be tested? And what's more, tested on the same fabric out of which the item will be made? To avoid mistakes, at least partly, and save yourself a disappointment of embroidering a design that looks splendid on screen and getting a result far from what you have expected on the fabric. 
    When I was working for my current employer's competitors, they did not have a habit of embroidering a full-blown test design before it went into production. Such were the rules in that place. I think it was done so for costs reasons only. Practically all the designs were large-size ones, so trying to embroider them all would take a lot of time and effort. 
    That's why we made a clean copy right away, using the fabric the client had brought. Of course, you had to stand there and keep a watch over the embroidery process so that to stop the machine on time in case there was some mistake in the file. And if it did, to run to the computer to make changes and load the modified design into the machine afterward. To rip off the elements you didn't need right in the hoop and then try to land this particular part of the design in the right place. 
    Imagine how many mistakes, glitches and bugs were there? You could not detect them all when still under development. Besides, some mistakes cannot be corrected after the embroidery is completed. But it's quite an experience! 
    So. What reasons do we have for testing the designs on the machine? 
    We should see: 
    How the design will be embroidered on that kind of fabric  How the design will be embroidered with this type of thread and of this particular brand  How the design will be embroidered with this stabilizer  How the design will be embroidered with these needles  How to adjust the thread tension for this design and this type of thread  Whether the design was digitized correctly:  Is it dense enough  Whether the understitching was done correctly  Whether there is enough compensation  Without this 'integrity test' it is impossible to create a good machine embroidery design. 
    One more poignant question related to the testing of the designs: Who should conduct the tests: a creator of the design or a user? I have a strong opinion that the tests should be conducted by the creators themselves. And not by anyone else. Because otherwise no one will give the creator a good feedback once the tests are completed. 
    Therefore, the embroidery design will not be of a high quality. The creator gains experience not so much from using the software and digitizing designs, as from standing in front of an embroidery machine and keeping an eye on the embroidery process. Only in that way can he or she understand the causal connection between what was done on the computer and the resulting embroidery.

    Low density design on knitwear is possible

    By Irina, in Machine embroidery materials and technology, , 0 comments, 5,136 views
    Original text by: Marina Belova 
    I prefer a density of 0.45 mm, which is splendid for knitwear with a right kind of understitching. It doesn't always work, I must say, but it usually does. I have previously written that you should lower the stitch density when embroidering on knitwear, but during the last few months I used to be firmly convinced that the high-quality machine embroidery on knitwear (ordinary t-shirts, quilt) was possible only on the condition of having high density about 0,3 mm with an understitching. Such a high density conceals a lot of digitizing imperfections, which is very convenient, but it increases the number of stitches. Which is what you sometimes want to avoid. 
    I was browsing through a selection of clippings from the Printwear magazines, and came across several interesting photos depicting a very good-looking embroidery on knitwear. The reason these photos seemed so interesting to me was because the making of the design was approached in a very original and creative way — low stitch density both in satin columns and fills, a large number of stitches, simple appliqués with ragged edges and trapunto imitation to add volume. But then, on consideration, it is not all that special, because all of this has been known for a long time, though I, for some reason, did not use it: 

    The photo was taken from the Printwear magazine, July 2013 

    The photo was taken from the Printwear magazine, July 2013 
    As it usually turns out, you need to look at the other's works from time to time. 
    So I, too, decided to give it a try and to see the advantages and disadvantages of saving a great number of stitches, having remembered that
    I've previously seen simple designs for knitwear in Urban Threads more than once. All their showcase photos were more that decent. 
    I must say that the use of low density did not disappoint me, even on pique.
     
    Everything is smooth, no warp and bulge whatsoever. And how few stitches are there! 
    Sometimes you really should depart from the rules and try something new. It helps to have a fresh approach. 

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