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    The Ultimate Guide to Machine Embroidery Fabric: Everything You Need to Know

    By diver361, in Machine embroidery materials and technology, , 0 comments, 802 views
    If you're a modern embroiderer, you know that choosing the right fabric for your designs machine embroidery can be a daunting task. With so many types of fabric out there, it's easy to get overwhelmed and not know where to start. But fear not, this article is here to help you understand the three main categories of fabric used in machine embroidery and which fabrics work best with your embroidery designs.
    Nonwoven Fabrics: Felt the Way to Go Nonwoven fabrics, such as felt, are made by layering and bonding fibers together mechanically, chemically, or with heat. This creates a thick and dense fabric with no spaces between fibers, making it ideal for embroidery.

    Felt works well for embroidery because of its thickness and density, but it lacks drape and may pill, depending on the fiber used. While felt's uses in embroidery are limited, it's an excellent choice for creating patches and appliques.
    Woven Fabrics: Finding Stability Woven fabrics, such as cotton, linen, silk, wool, rayon, and polyester, are made by spinning fibers into yarn and weaving them together on a loom. The way the yarns are woven determines the fabric's weave, with the most common being the plain and twill weave.

    Woven fabrics have many variables, such as the fibers used, the weave used, and the thickness of the yarns. These factors change how much movement there is in the fabric, with looser weaves having more movement.
    To stabilize woven fabrics, use spray starch and lightweight interfacing to make them more stable for embroidery. And always use the right stabilizer for your project, as shown in the photos above, using the correct stabilizer can make a BIG difference in how your project turns out.
    Knitted Fabrics: Stretching Your Limits Knitted fabrics, such as French terry cloth, are formed by interloping one yarn and have a lot of stretch and movement, making them the least stable of the three fabric categories.

    To stabilize knitted fabrics for embroidery, use an iron-on stabilizer for where the embroidery will be placed. Hooping the fabric is also highly recommended as it reduces fabric movement while being embroidered on.
    Choosing the Right Fabric for Your Embroidery Designs Choosing the right fabric for your embroidery designs is crucial to creating something visually beautiful and functional. Understanding the properties of nonwoven, woven, and knitted fabrics will help you choose the right fabric for your projects.
    The Fabric Assist Tool: Your New Best Friend One of the greatest innovations available to modern embroiderers is the Fabric Assist Tool found in Hatch embroidery software. This tool allows you to change the dimensions of an designs machine embroidery at the click of a button to best suit the fabric type you're embroidering on.
    The Fabric Assist Tool is essential because different fabric types require different density and underlay settings for clean looking embroidery. Learning how to digitize your own embroidery designs or using intelligent software like Hatch can help you create the perfect design for your chosen fabric.
    In conclusion, choosing the right fabric for your embroidery designs is essential to create something both visually beautiful and functional. Understanding the properties of nonwoven, woven, and knitted fabrics, using the right stabilizer, and using the Fabric Assist Tool in Hatch embroidery software will help you take your embroidery to the next level. So, go ahead and experiment with different fabrics and techniques, and have fun creating unique and stunning designs machine embroidery !

    How choose compensation values for machine embroidery design

    By diver361, in Machine embroidery materials and technology, , 0 comments, 2,844 views
    Pull Compensation - options for different fabrics
    When the needle penetrates the fabric and the top embroidery thread connects and wraps around the bobbin embroidery thread it locks and creates a pulling in effect. Most fabrics require that Pull Compensation be added in order to compensate for this push and pull effect brought about when you stitch an embroidery design into the fabric. When stitches are applied to fabric some degree of pull or push may occur. The stitches can either pull the fabric in on the sides or push the fabric out on the ends, adding a small amount of extra stitches in the direction of the angle of the fill or column. Stitch length (long stitches as satin generate more problems), stitch type, density, underlay, fabric type and even type and amount of stabilizers (tear-away, cut-away, water.. etc.) used are factors that can account for the amount of pull or push you might experience. A very simple description is that pull compensation makes an adjustment to the width of the satin or fill stitch area that in appearance seems to not be wide enough. Compensation for pulling is used in 99% of machine embroidery designs. In this case, we used a multi-layer complex design from our collection Teddy Bears Machine Embroidery Designs.
    Best compensation value for Wilcom ES 2 drills, cotton - 0.20 T-shirt - 0.35 fleece, jumper - 0.40 lettering - 0.2-0 In other words, a gap may be forming between an outline stitch and a fill stitch area which may result in poor registration of the embroidery design. Pull compensation broadens the rows of stitches to adjust for this. You will not always see this problem when digitizing the embroidery design and viewing it on your embroidery software screen (example Tajima Pulse Maestro 13), but when embroidering the design, gaps will appear between fill areas or fill areas and outlines.

    Satin or Fill stitches
    Tips: All types of stitches create the push-pull effect, but it is most prominent when you are using Satin stitches or fill (tatami or complex fill) stitches. This push-pull effect is more prominent in large areas of your design such as your complex or tatami fill areas. You do not add push or pull compensation to the run stitches that you are using for a border. If your borders do not stay in registration with your fill area, it is best to make adjustments to the fill area of your machine embroidery design.
    Pull compensation is only added to two edges of the embroidery design, relative to the angle of the fill (complex fill) area. Visualizing a square object, if the angle of the square is set to either 0 or 180 degrees (for any embroidery software probably any value - Punto Softeamweb -45 degrees), the pull compensation will be added to the horizontal edges of the design; if the angle of the stitching is set to either 90 or -90 degrees, the pull compensation will be added to the vertical edges of the design. Evaluation of your design before the final sew-out is an absolute must. There is a tendency with fill stitches to pull and push the fabric in opposite directions, causing the design to appear distorted. Often, compensation can be made when the embroidery design is digitized (on embroidery software), taking into consideration the fact that there will need to be some pull compensation added to design sections, making adjustments by varying the stitch direction, amount of underlay and the stitch density. An example of when you may need to add pull compensation is when a circle containing fill stitches is outlined with a satin stitch or straight stitch. The two areas may not meet, causing a gap between the outline and the fill stitch. If the circle tends to flatten out on one or two sides, an adjustment can be made during the digitizing of the design. What happens in this instance is that the fabric is being pushed in one direction by the actual stitching. By adding pull compensation to the fill stitch of the circle and/or changing the fill direction this can be corrected. If you are not the digitizer, you may be able to make your own adjustments by using editing software such as Embird Editor, adjusting the pull compensation slightly. You may not find the correct amount of pull compensation to add the first time, so it is critical that test sew-outs of the design be made after every change. Certain types of stitches do not allow for pull compensation. A fill or satin stitch has width to it as part of its design, so pull compensation can be added. Outline stitches such as a straight stitch, motif outline stitch or manual stitch outlines are used to define a shape or outline an embroidery design and do not have width to them, so pull compensation cannot be added to this type of stitch. If you did wish to add pull compensation to an outline, changing the outline to a satin stitch would be one way of overcoming this problem. One disadvantage to changing a straight stitch to a satin stitch is that it increases the final stitch count. If a stitch count is a consideration and the increase is too significant, try adding the pull compensation to the fill shape to meet the outline stitch. The actual stitch length of the fill stitch may also be altered along with the pull compensation and only slightly affect the overall stitch count.
    Pull compensation for text embroidery
    Tips: Text also needs compensation. Some letters have horizontal columns, while others have vertical columns. When the threads run horizontally, they lie nicely, but the density will push the threads apart and make the letters slightly taller. The pull is sideways and is not very visible to the eye. With vertical columns, however, the density pulls the fabric together and can make a particular letter appear shorter than the others. Good text will not appear even when viewed on a computer screen. Pull compensation will be worked into the text so that the letters will appear the same height when they are sewn onto the garment.
    Pull compensation will not solve puckering. If you are having puckering problems, one of the following may be the problem:
    Embroidery design may be too dense for the material on which it is being stitched. Reduce the stitch density of your embroidery design or portions of your embroidery design that are causing you problems. One of the keys to successful embroidery is to keep the density as low as possible and still get the look you want. If you think an area of fill needs more thread, many times you will be better off leaving the top thread stitch density alone and increasing the stitch density of the underlay stitches. As a starting guide, set the density for column (satin) stitches at 3.5 mm to 4.0 mm and fill stitches at 4.0 mm to 5.0 mm, adjusting as necessary after doing a test sew-out.
    Too many fills at 45 or 90. Change the fill to a direction other than 45 o or 90 o, even by only 5 or less and the machine embroidery design won't pucker so much.

    Hooping and stabilizer
    The fabric may not be hooped properly and is moving during stitching. Whenever possible, always use the smallest hoop possible for the embroidery design that you are stitching. A small embroidery design in an overly large hoop leaves more room for fabric movement. When hooped, your material should be tight but not overly stretched you should be able to run your little finger (with very slight pressure) in a circle over the hooped material and not push any material. If you are using the sticky paper method of hooping, be sure there are basting stitches around the outer perimeter of the design for embroidery.
    The stabilizer may be providing insufficient support for the embroidered design. Whenever possible, a good quality cut-away stabilizer should be used. Cut-away stabilizers not only provide the best support during stitching but also continue to support the embroidery design throughout the life of the garment. Using a cut-away stabilizer such as a light polymesh stabilizer gives you the strength of a cut-away (1 or 2) and the ability to layer (layers) the stabilizer by adding more layers if necessary.
    Improper thread tension. Check the tension of both the upper thread and the bobbin thread. An ideal tension is that the reverse of your stitching will show 1/3 top stitch on each of the outer edges and 1/3 bobbin stitch in the center.

    Embroidery Digitizing: A Comprehensive Guide to Getting Started

    By diver361, in Machine embroidery materials and technology, , 0 comments, 1,125 views
    Machine  Embroidery is a timeless art that has evolved from hand stitching to modern machine embroidery. Digitizing embroidery designs, the process of converting an image or artwork into a digital embroidery design, is an important step in producing high-quality embroidered items. However, with so many options available, it can be overwhelming to choose the right digitizing software. In this guide, we'll share some essential considerations to help you make an informed decision.
    Choosing the Right Digitizing Software
    When selecting digitizing software, you need to determine the features that meet your needs. Here are some important factors to consider:
    File Formats: Check whether the program creates and saves the file formats that your embroidery machine can read. It is critical to ensure compatibility between your software and machine. Pricing: Digitizing software prices can vary significantly, from a few hundred dollars to more than $15,000 for professional-grade software. Consider your budget and requirements before investing in a program. Add-ons and Ad-vanced Versions: Most machiine embroidery digitizing software comes with basic features and add-ons or advanced versions that provide additional capabilities. Decide whether you need these extras or not.
    Support and Training: Look for programs that provide adequate support, training, and updates. User-friendly software with excellent customer support can save you time, money, and frustration. Auto Digitizing Function: Some software comes with an "auto digitize" function that automatically converts artwork to embroidery design. However, this feature may not work well for complex designs, and you may need to tweak the settings manually. Conversion to Multiple Formats: If you plan to sell your embroidery designs, it's important to convert them to multiple file formats. Not all programs can meet this requirement, so verify before investing. Density and Other Adjustments: A good digitizing program should provide easy-to-use density, pull compensation, underlay, and other adjustment tools to help you produce high-quality designs. Undo Steps: Digitizing requires attention to detail, and sometimes, you may need to undo a few steps. Consider a program that provides a sufficient number of "undo" steps or allows you to save designs at different stages. Fonts: Determine the number and types of fonts available in the software. Check whether you can use TrueType fonts and whether they can be digitized automatically. Brick and Mortar Sales: Finally, if you plan to purchase software from a physical store, be aware that salespeople may pressure you into buying a product that may not suit your needs. Do your research, and go in prepared. In Conclusion
    Digitizing embroidery is an essential process that can help you produce beautiful embroidered items. When selecting software, make sure to consider the factors we've discussed in this article. The right software can help you create stunning embroidery designs that stand out from the crowd.

    Ways of creating a backpack sewing pattern

    By Irina, in Machine embroidery materials and technology, , 5 comments, 10,283 views
    Ways of creating a backpack sewing pattern
    Backpacks remain in trend for a long time. Handmade backpacks, being unique, are valued most highly. A sewing pattern, suitable fabric, and decorations are all you need to create a stylish backpack at home. A creative approach and the enthusiasm of the seamstress also contribute to the success of the matter.
    Preparations
    In order to create a backpack by hand, you’ll need:
    A needle Threads A thimble Scissors Fabric A piece of dry soap for drawing.
    Best fabrics for a backpack:
    Denim (without elastane); Cotton — it breathes, maintains shape and is agreeable to the touch, an important point as you will wear it on your back; Dense synthetic fabrics — they come in handsome patterns, bright and printed. Bags made of such fabric do not need additional decoration.
    Make sure that the fabric doesn’t stretch too much under the strain and doesn’t crumble on bends. One disadvantage of synthetic fabrics is their ability to absorb smells. A synthetic backpack also feels unpleasant on the back in summer. Synthetic fabrics don’t breathe; they also hold water. You may use this to your advantage, making your bag double-layer to protect things in it from rain.
    For the lining, the following fabrics are most common:
    Satin — dense, reliable, and wear-resistant. Rayon — even more reliable than the satin. Cupro — similar to natural silk, soft, and stretchy. Polyester — durable and undemanding fabric, mud-resistant. Sateen — made of cotton and silk threads. Netting — has holes, breathes. Taffeta — a coarse fabric that maintains shape. Now, all that’s left is to decide how to sew a backpack without expensive garment accessories. You may create your own or take accessories off an old bag, coat, and other such things.
    You may use these for decoration:
    Belts, buckles, and other fasteners ripped off the old clothes. Leather or fabric fringe. A bunch of twisted colorful yarns (they will serve as strings). Curious-looking buttons, beads, and rhinestones. Ropes of various diameters and colors. Felt appliqué. Quilt, ribbon embroidery. Decorative zippers. Choosing decorations, you must keep in mind that they will be subjected to intense wear and tear and soil, too. So unpleasant when a ruined appliqué or a lost bead makes the whole garment unusable. Detachable garment accessories make washing much easier and allow you to revamp your old item in a simple way — by changing the color of a cord, for instance.

    You can create a hand-made backpack in two different ways: using your embroidery machine or your own hands. The first way is quicker and easier.
    Tools and materials:
    Dense sewing fabric
    title="Capro and polyester fabrics"
    The lining: cupro and polyester

    The lining: satin and rayon

    The lining: taffeta, netting, tulle netting
    Garment accessories
    How to use a sewing pattern
    If a newbie seamstress doesn't know how to sew a backpack with her own hands, a step-by-step guide and a sewing pattern is a must. They will help to bring her project to life. There are ready-made easy-to-transfer full-scale sewing patterns with measurements.
    To draft your own pattern, you’ll require the following:
    A sheet of paper (you may use tracing paper or a newspaper instead) A pencil A measuring tape A ruler A triangle ruler A French curve for rounding corners can be made by hand. Draw a circle on a piece of cardboard with an 18–20 cm radius and cut out one-third of it. With such a contrivance, you will be able to make symmetrically rounded corners.
    To draft a simple backpack sewing pattern, you’ll only need two measurements:
    shoulder width; center-back length from the natural neckline to the waist.

    On paper, draw a rectangle, its width less than your shoulder width. An important point: the backpack should not go below waist level, it would be inconvenient to wear. After that, draw a vertical line through the center of the rectangle — the center axis. Now fold the paper along the axis and draw the preferred outline of your backpack. Cut along the outline to get a symmetrical pattern piece. If you plan to attach things like pockets or cover or a movable bottom, it would be easy to mark them on the basic pattern, adjusting the sizes.
    In order to decipher the pattern, you need to learn the key notations:
    The line with the arrow — lengthen. The line with small triangles — the joining line is here. Identical numbers in the inner area — these pieces match together. The crosses work as alignment marks. The arrow between the lines is a place for a ruffle. A crisscross is the place for a button. If you've decided to use a ready complex pattern, you’ll need to enlarge it. On the pattern, measurements are given in cm. In this case, it’d better to use a dense fabric instead of paper. The cutouts are placed on top of the fabric and traced with a piece of soap, sharpened on one end. Before cutting out parts of the pattern, make sure that seam allowance is included. More often, it isn't, and therefore, you’ll need to add 1–1.5 cm on all sides. Sometimes the enclosed seam is used — first, the fabric is folded the wrong side out and stitched, then turned right side out and stitched again. Seams executed in this fashion look neat and add support to the backpack. They require a larger seam allowance.


    Making a sewing pattern according to the model
    Sewing your own backpack allows you to choose any model you like. What you need to understand that copying the manufactured models may be futile, due to the lack of the frame and finishing (plastic edges, metallic corners, coarse bottom, etc.). Even if your pattern is accurate, the backpack might turn out quite different.
    The advantage of homemade backpacks is the individual approach that makes them stand out. It improves the overall imagery, visible in decor and unusual joining seams.
    Backpack for kids
    Kids like backpacks shaped like animals. Bunny ears or button eyes are easy to attach, and will make a child happy.
    On a basic pattern, the upper part must be narrowed. The backpack should resemble a triangle with its apex facing upward. The bottom is made according to the pattern. You can make it two-part, joining the pieces accordion-style and strengthening the edges with a cord.
    The upper part will be gathered with a cord; to prevent the things from falling out, a flap cover may be added.  Pom poms look marvelous on kids’ backpacks.
    If the kid will wear it to school, you may add the compartments with fasteners for books and exercise-books. Use thin fabric that doesn't soil easily. A detachable lining will be easier to wash.

    Sewing a pineapple-shaped backpack
    Cut four rectangular pieces, two out of your main fabric, two out of the lining fabric.

    Cut and stitch the future rings for the cord.

    Stitch the rings to the main part of the backpack.

    Cut and edge finish two rectangles.

    Join the main part to the rectangular pieces and stitch the base.

    Align the openings, pin, and stitch.

    Prepare the four rectangular pieces, draw the lines and stitch.

    Cut out the pineapple crown.

    Join the lining to the main part.

    Join the lining to the main part.

    Insert the cord (a ready one or made by you).

    Draw the cord through the rings and fix them with a clamp.

    Drawstring bag
    The most convenient shape for a hand-made backpack is a drawstring bag. It is a godsend for creative people. A simple structure leaves room for creating images, from dreamy and romantic to ascetic ones.
    A drawstring bag is a sack with strings on top and shoulder-straps. A well-known, traditional shape. A sewing pattern for such a bag is rectangular. The bottom edges may be rounded or left as is. The size depends on the maker’s wish.
    The upper part is not narrowed down, as it is gathered with the strings. The fabric should be soft, that ruffles beautifully — in that case, the upper part, folded like a hand fan, will be a decoration in itself.
    Romantic drawstring bags are ideal for slim young girls. You may decorate them with pleated straps, and to attach a fringe with beads to the edges. For a mature woman, a backpack bag may be made into a carry-all. The color of the bag should harmonize with the dress, and a brightly colored neck handkerchief may be wrapped around her neck and shoulders. A khaki drawstring bag is fine for men who prefer casual style. A drawstring bag made of thick water-repellent fabric will be indispensable while hunting, fishing, or just hiking. Thick ropes may be used instead of straps. You don't even need to sew them. Colorful ropes for women and restrained sole-colors for men. You may adjust the strap length simply by tying up the two ends where the knot will not rub sore. Straps like that make the backpack look stylish.
    A shoe bag made of an old pair of jeans:

    The necessary materials

    Shape and sew the bottom.

    Shape and sew a pass-through for the string.

    Sew the ring for the ribbon.

    Stitch the ribbon at the bottom. They will serve as straps.

    Backpack made from an old pair of jeans:

    Many people ask how to make a backpack without a sewing pattern. If you don’t have a ready sewing pattern, you can draft it yourself or find a tutorial that shows approximately what you want and take the pattern from there.
    The easiest way is to make your backpack bottomless. In such cases, a front part of the backpack is enlarged to serve as the bottom as well as the front. The following measurements are approximate, you’ll need to make some changes to them in order to suit the pattern to your tastes and needs.
    The back part, slightly narrowed down — 26 cm wide. You may add about 3 cm on each side in the middle. The front part is cut as a semicircle with a 38 cm radius. The flap cover is rounded. It should be one part with the back. It should drape freely and elegantly onto the gathered top. The straps are made of denim. If you don't have a sufficient amount of material, you may substitute denim for a decorative cord. If wished, a hanger is attached, so that the backpack is easy to pick up. The center of the semicircle and the lower edge of the back part are aligned along the vertical centerline of the pattern. The edges of the semicircle are stitched to the back part. The upper part of the backpack is gathered with strings and covered with a flap. The straps are stitched to the upper and the lower edges of the back part.
    For this model, you’ll need a very wide piece of fabric. If you don’t have a sufficiently wide piece, you may sew it from pieces, because this type of backpack may be quilted.
    A backpack from an old pair of jeans
    Draw the parts of the future backpack.

    Cut out the pattern.

    Sew the bottom, the parts, and the flap.

    Attach the denim straps.

    Sew the handles, if necessary.

    The fabric should not be threadbare.

    Patchwork backpack
    Being skillful at patchwork allows you to create beautiful garments out of scraps. You can join the fabric pieces haphazardly or create a particular pattern.
    It is not rational to cut the existing length of fabric to pieces, better to use the trimmings and leftovers already accumulated. For this reason, don’t try to make a facsimile of a backpack you’ve seen somewhere. Instead, find the backpack you like, alter it to suit your needs.
    A patchwork backpack without a bottom may be decorated according to your tastes. For example, a flap can be rendered as a divergent beam of light or a cluster of petals. The straps might be made of horizontal strips or pleated. The front part may be sole-colored or contain vertical insets that look beautiful between the pleats.
    Before sewing a new backpack, you should make a sewing pattern. Just draw the shape of the future item on paper, then cut and trace the pattern to the fabric. Don’t be afraid to spoil the materials in case something goes wrong. Failure helps you to master the necessary skill.
    Stitching the scraps of fabric into one piece.

    Cut the fabric according to the simple pattern.

    Out of the patchwork piece, prepare the flap with the clamp.

    Make the slash pockets with zippers on the front part.

    Slash pockets from inside:

    The front and the back parts remain sole-colored.

    Sew the hanger, the flap, and the straps.

    The back part and the lower part:

    Join the front part to the back.

    Draft the pattern of the bottom.

    Sew the bottom as pictured on the pattern.

    Sew the bottom to the front.

    Prepare the lining.

    Sew parts of the lining.

    Sew the base and attach the upper flap.

    Stitch the edging.

    A ready model should be supplemented with a cord.

    Make the openings for the grommets and draw the cord through them.

    A ready patchwork bag:

    Original text by sumki.guru
    title="Owl backpack"


















     

    Clothes repair: How to move a zipper to another side

    By Irina, in Machine embroidery materials and technology, , 5 comments, 8,427 views
    Clothes repair: How to move a zipper to another side
    While sewing a pair of shorts or pants, a beginner tailor might easily, in the heat of work, make a mistake of attaching a zipper on the ‘men’s’ side instead of ‘women’s’ and vice versa. These shorts with a zipper on the ‘women’s’ came to me as the result of a young man’s hasty shopping. An unusual order resulted in a tutorial, which I’m now sharing with you.
    How to move a zipper to another side. Materials
    Shorts A sewing machine A zipper foot A spare zipper (if necessary) Threads and needles, scissors, a seam ripper How to move a zipper to another side. The work order
    This is how the shorts looked before I started working on them. I want to call your attention to the waistband; we’ll be making changes to it as well.


    A ready garment is not that different from a semi-finished one when it comes to preparation. You’ll need to get rid of unnecessary stitches and deconstruct the unit. Pick up a seam ripper and carefully deconstruct the whole thing. Don’t touch the cording or edge finishing made with a serger.


    Let’s proceed to the zipper. On the fly front guard there already is a line that will serve you as a guide for sewing a zipper. Baste the zipper to the wrong side. Install a zipper foot on your machine and stitch the zipper tape.
    Baste or pin the front fly extension to the other side of the tape and stitch. In order to prevent the pieces from getting nipped in the course of sewing, you may fold them in half and pin.



    On the right side of the garment, mark where the topstitch will run. Align the edge of the zipper unit with the edge of your garment. Stitch the parts together.


    Fold the zipper unit to the wrong side and topstitch along the edge from the lower to the upper edge. Edge stitch foot is your little helper here.


    Set the values according to your own taste. You can easily determine the stitch length by simply measuring it with a ruler on a ready item. Different embroidery machine models have different stitch settings; there is a lot written about them in the manual. It often has tables that help to quickly choose the right stitch and the values.


    Topstitch the fly guard along the drafted line. After that, join the free edge of the zipper tape and the garment.


    This is how my shorts looked like after I relocated the zipper. Stitch the lower part of the front seam under the topstitching line to the center point where the seams meet, one or two times. Join the parts with their wrong sides together, and topstitch on the right side (optional).


    All that’s left is to sew a waistband. In order to do it evenly, join the waistband and the garment, beginning at the center back. Evenly distribute the waistband, paying attention to where the side seams meet. If there are the belt loops, use them as guides. Stitch the waistband to the garment, then fold the waistband lining to the wrong side and topstitch along the lower edge or do the shadow seam. This will help to lower the burden on the first seam, and also to join the inner side of the waistband to the outer one.


    Sew the buttons back on.
    Compare the two photos. On the left are the shorts how they came to me, on the right — the shorts after I repaired them. This tutorial uses an unusual way of sewing a zipper.


    In the clothing repair shop where I saw it first, it was called ‘the quick one’ and was intended for speedy clothes repair.

    Wardrobe revamping: a dress with ‘bat’ sleeves

    By Irina, in Machine embroidery materials and technology, , 4 comments, 2,614 views
    Wardrobe revamping: a dress with ‘bat’ sleeves
    A serger machine should not remain idle. Let’s use it to freshen up your old clothes and sew a knitted dress with ‘bat’ sleeves. In this tutorial, I’ll be employing simple dress sewing techniques: doing a blind hem on the serger and also attaching neckline facing. You’ll enjoy the work and the new dress will uplift your mood.
    To do this job, you’ll need:
    Fabric Sewing threads Serger and invisible stitch foot Adhesive sewing interfacing material for knits T-shirt or blouse pattern with 'bat' sleeves In order to buy the right amount of fabric, you need to know the length of your dress. Place the measuring tape at your shoulder and go all the way down (make sure that it is straight). Measure the desired length. The length of the piece of fabric will equal two lengths of the dress plus 20 cm.
    Wash or soak the fabric in hot water for approximately an hour. You need to do this in order for the fabric to shrink before you cut it. Skipping this step, you risk getting a smaller dress after the first washing.
    A dress with ‘bat’ sleeves. Cutting
    Fold the fabric in half, with its right side inside. Fold the T-shirt in half and align its fold line with the fold line of the fabric. Trace the outline with a piece of chalk.
    If you don’t have a blouse with ‘bat’ sleeves in your wardrobe, use a close-fitting T-shirt to find the key points, or a sewing pattern, changing the values to suit you.



    Having traced the outline and taking all basic measurements — chest, waist, and hips circumference — cut the back part with a 0.7 cm seam allowance. Place the cutout on top of the second piece of fabric, folded in half, and cut out the front part, making the front neckline approximately 3 cm deeper.



    Out of the remaining fabric, cut out a strip for the loops that will keep the belt in place. Sew, turn it right side out and press.


    Place the front and the back parts together, their right sides together. Position the belt loops at a waistline, over the side seams. Pin the side and shoulder edges, stitch the parts together on your serger with a 4-thread stitch. Attach the belt loops to the side seams.


    A dress with ‘bat’ sleeves. Facing
    Transfer the back and front neckline to the tracing paper, move down 3–4 cm down and cut out your future facing pattern. Glue the sewing interfacing material for knits to the piece of fabric. Cut out your front and back facing, together with seam allowance.



    Stitch the short sides together. Baste and finish the edge with a 3-thread stitch on your serger. Place the facing and the neckhole to each other, right sides together, and pin.



    Stitch with your serger, pin, and press lightly. Sew the facing to the neckline with invisible stitches.



    A dress with ‘bat’ sleeves. Hemming
    Mark the hemline on the right side of the fabric. Do the blind hem on your overlocker. You’ll know how to do that from our Blind hem with your serger tutorial (Link will be here in the future).



    Cut out the belt 11 cm wide (length should be equal to your waist circumference plus 3 cm). Attach the hooks, folding seam allowance inside.



    Your dress is now ready! Get your hair done, add some bijou and show off your new garment!

    Original text by Irina Lisitsa
    P.S. Sewing pattern

    Decorating a kitchen: an embroidered pot holder

    By Irina, in Machine embroidery materials and technology, , 10 comments, 5,271 views
    Decorating a kitchen: an embroidered pot holder
    Not only will an embroidered pot holder protect your hands from scalding but also make your kitchen look lovely. In the course of our collaborative projects, the participants are required to embroider any of the kitchen or table textiles of their choice. No need to do something complex, as one can always make a pot holder.
    An embroidered pot holder. Materials
    Sole-colored cotton, 2 pieces Printed cotton, 1 piece Tearaway adhesive stabilizer Upper thread Underthread Scissors Cotton lace Padding material
    An embroidered pot holder. The making process
    I used two sole-colored pieces of different fabrics for the embroidered part and for the back part of my pot holder, with a binding. I could have cut the front and the back parts out of the same fabric, as it would look more natural if the whole thing was white. But I didn't have the necessary amount of white fabric, and therefore, I supplemented it with beige one.
    Let’s embroider a design first. Stabilize your fabric and hoop it. Select your threads (I do it beforehand, and sort them in the order of sewing), and start the embroidery. While the machine is going, you can make yourself a cup of coffee, pausing occasionally to change the thread.

    Once the embroidery is ready, unhoop the fabric and do the cutting. Natural fabrics, being heat-resistant, are preferable. My pot holder was a simple square one, with no bells and whistles. As for the batting, felt, wadding or drape cloth are most common, but if you don't have any of those, and you only plan to use the pot holder for the decoration, you may use polyester batting instead.
    Attention! Polyester batting is highly thermal conductive and has a low melting threshold.
    You’ll need to cut two square pieces, one sole-colored and one printed. Don’t use vividly colored prints; the fabric should not distract attention from the embroidery. It would be better if one of the colors of the fabric will match one of the main colors in your design.
    Out of the embroidered piece, cut out a pocket with seam allowance, so that the design is right at the center. Lay a piece of lace on top of it, facing into the right corner. Cut with allowance, in case it shifts during sewing, and you don’t want to rip it off.
    Prepare the binding. It is usually cut on a bias, but if you don’t have enough material, you may use a simple rectangle instead.
    First, I stitched the batting and the beige fabric for the back part of my pot holder. These are simple square pieces, no difficulties here. You may mark them for better alignment, but I did it by eye, and it came out fine.

    Then I stitched the pocket and the lace to the front part. I ironed out the edging so that it would sew easier, pinned the corners and carefully stitched along the edge. Now be very careful and make sure that the stitch goes along the top edge of the binding in one go and doesn’t slide down the lower one. If you set your machine at a low speed and keep steadying it along the way, it will come out fine. Be extra careful at the corners (alas, I didn’t manage to achieve perfection here).

    I don’t like basting and step-by-step stuff, all this dilly-dallying just doesn’t agree with me. But if you prefer to work that way, you can baste the thing first.
    Cut your binding a little longer than the perimeter of the pot holder; we’ll make the surplus into an eyelet. Your pot holder is ready! You may insert your favorite recipe into the pocket.


    Original text by Mary Stratan

    Clothes repair: Changing a zipper in a jacket

    By Irina, in Machine embroidery materials and technology, , 0 comments, 2,661 views
    Clothes repair: Changing a zipper in a jacket
    If a zipper in your favorite jacket stopped working, don’t despair! Don’t be haste to chuck it. With a sewing machine at home, you’ll be able to repair it for a very small price. In this tutorial, I’ll show you how to change a zipper with a cord in a kids' jacket. The method used here is identical to the one in this article (link coming soon!).
    Changing a zipper in a jacket. Preparations
    To prepare for the job, you need to rip the seams open to remove the broken zipper, to buy a new one, preferably of the same length. Clear away the thread remnants.


    Close to the teeth of the new zipper, baste the cord.


    Changing a zipper in a jacket. Sewing
    To sew a zipper, you’ll need two pressure feet: a standard zipper foot and a cording foot. Prepare your machine for cording. Choose a straight stitch, with the needle in the center position, and set the stitch length at 3 mm.


    Place the zipper with the cording under the foot and stitch carefully.



    After that, baste the zipper to the jacket, and fold the cording to the wrong side.


    Likewise, fold the upper edge of the jacket to the wrong side and baste. Make sure that the two halves of the cording are equal in length. Now install the zipper foot, and position the needle at the right or at the left.
    The side depends on which side of the zipper you’re going to attach first.


    Sew the zipper to the jacket.
    The work is done, and the jacket gets the second life.

    Original text by Irina Lisitsa

    Circular embroidery attachment

    By Irina, in Machine embroidery materials and technology, , 0 comments, 1,828 views
    Circular embroidery attachment
    Being an owner of a wonderful Brother Innov-is 950 sewing and embroidery machine, I constantly seek to add functionality to it. I’m able to do it with various accessories and attachments. Today, I want to tell you about a circular embroidery attachment which is not listed among the Brother machines accessories. I bought it on a trial basis, without being sure whether it is compatible or not. Now I am able to state with confidence that it is indeed compatible not only with my machine but also the whole number of other models.

    Circular embroidery attachment. Materials
    Dense fabric Circular embroidery attachment Sewing threads Scissors Embroidery or sewing and embroidery machine
    Circular embroidery attachment. How to install and sew
    I covered all the key aspects in my video. I want to additionally stress several, in my opinion, important points:
    During the attachment installation, the long lever should hover over the screw that holds the needle in place. Only in that position the attachment will move in the proper way, forming a circular pattern.
     The upper thread should be above the attachment prior to the beginning of the embroidery. Make sure that is doesn’t get underneath. The lower side of the attachment is covered with a thick non-slippery material that allows moving the fabric in the right direction. If the thread gets under the attachment, the fabric will shift, and the embroidery will come out warped.
      If you’re going to use thin fabric, make sure to strengthen it with a machine embroidery stabilizer prior to the embroidery. A tearaway adhesive works fine, as it is easy to remove after the work is done.
     You may choose from a multitude of decorative stitches (including zigzag) in your circular embroidery. Before starting on the real thing, do not forget to do a test sew first.
     Turn off the feed dog before starting the embroidery. The attachment itself will feed the fabric.
    With its help, you will be able to embroider circular designs of three different sizes: large, medium-sized and small. To change the size, you’ll need to loosen the screw, move the attachment to the “plus” or “minus” side and tighten the screw again.

    Double needles, too, may be used for circular embroidery.
    The attachment is also compatible with such Brother machines as: Boutique 27, Comfort 10, Comfort 15, Comfort 25, Comfort 25A, Comfort 35A, LS2125, LS3125, Prestige 100, Prestige 200, Prestige 300, Prestige 50, Universal 17, Universal 25, Universal 27S, Universal 37S, XL-2130, XL-2140, XL-2240, XL-2250, XL-2600, XL-3500, XL-2120, XL-2220, XL-2230, XL-5050, XL-5060, XL-5070, XL-5500, XL-5600, XL-5700.
    Original text by Mary Stratan

    Machine embroidery with subsequent coloring

    By Irina, in Machine embroidery materials and technology, , 0 comments, 2,859 views
    Machine embroidery with subsequent coloring
    Today, I want to share a very interesting project that involves machine embroidery and coloring. A ready-made child raincoat was used. In the course of making, a lining had to be ripped off, and sewn back again after the project was completed. I needed to do that to keep the inner side of the garment neat and clean. The idea was to embroider an outline and then to paint the inner areas with different colors, using color textile markers made specifically for such purposes.
    For this project, I needed:
    A child’s raincoat Tearaway stabilizer Black embroidery threads and lower (bobbin) thread Color textile markers (permanent) Brother embroidery or sewing and embroidery machine   Design creation and editing software Creation of the design
    First, I created an embroidery design. Suitable vector images were found on the Internet. You can use bitmap images, too, if you like, but they usually take much more time and effort. Several fragments of the embroidery were thus converted and later aligned with each other during the embroidery.

    Embroidery
    In this particular case, it was convenient to use the largest hoop available. As the embroidery was conducted on Brother Innov-is V7 machine, it was practicable to use a 300 x180 cm frame that comes with the machine – it helped to reduce the number of rehoopings.
    A rightly chosen stabilizer is a must if you want to get a high-quality embroidery. I used Filmoplast.

    In order for the outline to look sharp and distinguished, it was digitized as a double stitch.

    After the embroidery was completed, I removed all stabilizer leftovers from the wrong side.

    The embroidery ran along the lower hem of the garment, and also around the sleeves (which were, too, unseamed in advance). The embroidery took quite a lengthy amount of time, but the result was worth it! The raincoat looks very original and exquisite!

    Let’s proceed to the coloring.
    For the last step, we required permanent textile markers. A happy owner of the future raincoat was invited to join the process; she readily employed all her skills to her heart’s content.



    A few hours of pleasant collaboration – and an exclusive raincoat is ready! It’s certainly one and only! 

    Original text and sewing project by Olga Milovanova

     

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