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Beautiful design, Morning owl look amazing.

This embroidery work up perfectly and stitch out nicely. 
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Excellent stitches and original style

Stitched out beautifully! Looked amazing and no issues!
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Loving birds.. Wonderful designs, stitched out beautifully

Really cute, You love this when you stitched it. Would love more of same designs.
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Our designs looks great

Stitched out beautifully! Wonderful decoration!
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Adorable design. Stitches out beautifully.

"Thanks so much for this design It's lovely and stitched out beautifully on leather."
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    Embroidered Paper Towels

    A fun, unique decoration for a kitchen is to embroider on the first sheet of a roll of paper towels.  It is very easy to do, but looks difficult.  Here’s how:
    Unroll several sheets from the roll.  You can tear them off and tape back on the roll when done, or just leave them attached to the roll.  I left mine attached to the roll and unrolled enough so that the roll rested under the sewing arm out of the way.
    Cut a piece of cutaway backing stabilizer to be wider than the hoop all the way around and at least as wide and tall as the piece of paper towel.  Using spray adhesive (I like Madeira’s MSA 1000 because it works well but doesn’t smell bad), spray the backing and stick it to the back of the first sheet.  If you need more room to get the entire paper towel in the hoop, you can embroider on the second sheet so the first will be inside the hoop.  When finished, just discard the first (unembroidered) sheet.
    Hoop the backed paper towel in any hoop that fits the machine embroidery design.  I thought a magnetic hoop would be ideal, but did not have the right size for my design, so I used a round, regular hoop.  Pop it on the machine, and let it sew!  I slowed down the embroidery machine a bit, just in case.
    When finished, remove from the hoop and cut the backing to the same size as the sheet of paper towel.  I did not cut around the Catwoman machine embroidery design the way I would for garments.
    You may need to use more spray adhesive so the corners are stuck together before you hang it up.
    When I finished the design shown here, I was going to carefully iron the paper towel to remove the hoop marks, but was called away before I could do it.  By the next morning, the marks had disappeared all by themselves!

    Contrary to the theory

    Today I suddenly decided to check an assertion, which I read somewhere and took on faith, that the multidirectional filling stitches warp the embroidery so much that it is extremely difficult to take it under control. That's why such effects should be applied with care. 
    The same source (and not only that, for this is written in many other places) stated that the best complex fill is the one composed of unidirectional stitches, better horizontally oriented, because it allegedly warps the fabric less that the other and is easy to work with. This is the classical view on machine embroidery digitizing. It's not a coincidence that a vast number of designs is made with unidirectional stitches. 
    And though I have said a hundred times that you should not just believe in something, there never was a good time for checking it out. So, I fell for that bait, too. But I conducted an experiment of my own. 
    Out of leisure interest I made the simplest sequence possible: three circles with the contour made by three simple stitch lines. 

    This is a more realistic look: 

    The left circle has a fill composed of simple horizontally oriented tiles without any understitching or pull compensation + a plain contour. The edge of the fill and the contour coincide perfectly. The central circle is very much like the first one, except it has the understitching as well (full grid) and pull compensation (0.6 mm), and also stretch compensation (I trimmed away 2 or 3 stitches from the top and the bottom). The right circle is again pretty much the same as the left, but I changed the direction of stitches, having made them curvy by using the Liquid Effect, kept the pull compensation as in the second example, but discarded the stretch compensation to see what would happen if I did. 
    One should point out that Wilcom does the pull compensation in a rather strange way when creating the curve stitch effects. If a 0.6 mm compensation is very much visible with unidirectional stitches, in this case it is not clear if the editor does compensate these 0.6 mm, how and where: 

    However strange it looked on the screen, I nevertheless proceeded with the embroidery. I embroidered all of this in one hoop, using a sheet of printing paper as a stabilizer. Here is what I got: 

    If we look at every one of these pieces separately, we'll see that: 
    The left circle has a slight pull (on the right and left the fill does not reach the contour) and stretch (the edge of the fill on the top is beyond the contour).
    The central circle was embroidered almost without these defects:
    And the right circle with multidirectional stitches emerged nearly perfect. Whilst according to the theory they should have looked like this: 
    And this despite the fact that I did not do anything to prevent the stretching; as the for pull compensation, calculated by the editor according to my data, it was minimal. The only visible difference is that the fabric around the embroidery is puckered a bit more than it would around the standard fill. But this is not critical and can be easily corrected by ironing. It turns out that to create an embroidery design using this type of filling stitches is somewhat easier, but ironing and getting into shape will take a bit longer than usual. 
    As they say, you win some, you lose some. It turns out that the easiest method of getting a good result is not doing everything by book, but going outside the established framework. The fact that horizontal and vertical stitches are not the best ones in the context of embroidery deformation is known, perhaps, to every novice. And this example proves it once more. 

    Plans for organizing an ideal embroidery workspace

    Original text by: Marina Belova
    I dream of the times when I bring my embroidery workspace to an order. I want to make the working process comfortable and have everything I need ready to hand. That's why I've been reading on the issue and discovered a lot of interesting information.
    Many words have been written on how to organize your workspace, but here are the things I singled out and to try in the  nearest future.
    I liked the scheme by Frank Gawronsky in the Images magazine depicting how the tables should be arranged for such manipulations as hooping and giving the finishing touches to an item. Doing so will help to minimize the number of steps in your working process.

    But arranging tables is, of course, not enough. You need to always have the working instruments on them, too. Such as, for example, scissors for trimming away the stabilizer or marking tools or the hooping device — the object of dreams of every embroiderer.
    But what is also important for me is keeping all my threads in one place close to the machine so that they will be easy to find without opening all the boxes in search for the one bobbin you need. So, you need to create a threads database, even it is only a simple one. That is, actually, not so difficult to do.
    Several times I've come across an interesting suggestion: to cut the stabilizer according to the size of your hoop in advance. In my opinion, this recommendation is considerable for mass production, because it saves time which otherwise would be wasted on cutting the stabilizer before every hooping, allowing to simply take the prepared piece. But in my case, which is trying to use as little stabilizer as possible, it is more advantageous to use pieces of stabilizer beyond the size of the hoop. Therefore I just plan to make the stabilizer unreeling device to make the use of stabilizers more practical.
    I also dream of placing a needle change reference guide behind my embroidery machine so that to be sure which needle to use.
    And I also want to write a plan for the scheduled maintenance of my embroidery machine.
    I dream of installing the source of bright light above my workplace at last, to make everything visible so that I don't need to squint when threading a needle.
    One more curious recommendation that I cannot turn into reality is having the right kind of floor under the embroidery machine. Frank Gawronsky writes that the best floor on which the embroidery machine stands is a wooden one.
    I also cannot change the lack of space around my embroidery machine for such needs as thread change, service maintenance and framing (which needs about 90 cm of space around). The good thing is my machine being a compact one that can be moved around on tiny wheels. These wheels make the embroidery machine a bit too high for me, making the thread change not the easiest task either. The bed plate should be no higher than 70—80 cm, and mine is no less that 90.
    But it is possible to put the other things into action.
    After all, the hardest thing is not to have all this, but to bring all things in your workspace to an order so that the tools and threads and devices could be found in their proper places.
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