Original text by: Irina Lisitsa
Embroidery on knitwear requires the use of supplementary machine embroidery materials. You have to embroider a knitwear jacket ASAP, but all the specific stabilizers have run out? You may replace them with a piece of cloth that does not stretch, thin organza for example.
This method is good for designs with loose fillings or made with columns, because organza will preserve the structure and prevent the stitches sinking into the fabric.
Embroidery on knitwear. Materials:
Machine embroidery design
The top stabilizer, a water soluble film
A piece of organza, big enough for hooping
Embroidery on knitwear. A step by step guide:
Hoop a piece of organza, like you hoop embroidery stabilizers. Spray it with adhesive, then mark the center of your design on an item or fabric.
Stick your item on your organza piece. Add a piece of thin water soluble film on the top so that the embroidery on uneven-surfaced knitwear would come out neat, and the stitches wouldn't sink into the fabric. Set you hoops in your machine. Run the basting stitch first: this will join all the layers together and will hold the fabric in place while embroidering. Run the embroidery.
After the embroidery is completed, remove the basting.
Tear the water soluble film from the right side of the item and carefully remove the organza pieces between the embroidered objects. The work is done.
Your embroidery on knitwear has been completed successfully!
Original text by: Tania Makarova
This master-class tells a secret of embroidering a machine embroidery design, which must be oriented along the seam. It is important to place a design on the item and stabilize it when positioning along the seam. This master-class will tell you how to do it.
Machine embroidery design
Temporary spray adhesive
Tearaway stabilizer (non-adhesive)
Upper thread (metallic)
Embroidering a design along the seam. Preparing for the job:
1. Hoop the cutaway non-adhesive stabilizer. Load your design into your embroidery machine. Draw a line on your stabilizer, along which your design will be oriented. To determine how to position the fabric, set you hoops in your machine and to the tracing. Mark the stabilizer at the extreme points of the design and spray it with adhesive. Take the hoops from you machine and add a layer of spray adhesive to your stabilizer.
2. Mark the upper and the lower edges of the future design on the item. Place your item so that the middle of a seam would match the drawn line. If your machine has an option of scanning the fabric, it will help you to quickly position the fabric on the stabilizer; the seam will be shown on display, and you will be able to move the design right or left, if necessary.
3. Temporarily stabilize the item with pins.
In the course of preparing of this master-class I added a basting stitch in the editor. It is used for holding the fabric in place and also to ensure that the middle of a seam coincides with the line drawn on stabilizer. How to add lines to the design, you'll read in our future blogs.
If you notice that your basting stitch does not coincide with your seam, you should stop sewing and remove the thread. Repeat the positioning of the fabric on stabilizer. You can also do it by hand, arranging the fabric so that the stitching line would go in the middle of the seam. Be careful and try not to put your fingers under the needle!
4. Run your machine and embroider your design. It's ready now! You just embroidered a design with the seam right in the middle. All you have to do now is to rip off the basting stitch.
You can use this method for embroidering designs, which are positioned at an angle. When embroidering a decorative pocket, I decided to run the stitch line along the contour of the pocket, under the finishing satin stitch. In this case you won't need to remove the basting.
Original text by: Lena Craftwork
Sometimes you need to add a nice edging to an item. There are many ways to do it, and we will see one of them here: creating a lace edging. You can decorate a napkin, a handkerchief or any other item with lace. There are numerous FSL machine embroidery designs; choose the one that suits you and matches your item.
Water soluble stabilizer
Fabric for your napkin
The process of creating a lace edging goes like this:
1. Hoop the water soluble stabilizer. Load your design into your embroidery machine. Begin embroidering. The first stitch will mark the position of the edge of fabric on stabilizer.
2. Add a layer of spray adhesive to your stabilizer. Stick your fabric to the stabilizer according to the outline and repeat the embroidery using the first thread color. This will secure the fabric in place. Then continue your embroidery and do the lace part.
If you created your design using special software, the embroidery will go along the fabric edge and also at the corner. To decorate other parts of the napkin repeat the same thing joining the lace parts together. Hoop water soluble stabilizer and embroider using your first thread color. Place the second corner of your napkin onto the stabilizer, and secure it there.
3. Repeat the embroidery along all the remaining edges.
4. Cut the stabilizer near the edge of your embroidery. After the work is completed, wash your napkin with a lace trim in a sufficient amount of warm water.
The napkin is ready. You can decorate a tablecloth or a handkerchief in this way, too.
Original text by: Lisa Prass
Once an idea came into my head — to change the size of the digitized machine embroidery design, which I have downloaded from one of the numerous machine embroidery design websites. Having loaded the design file into the machine, I resized it and pressed the Start button. Imagine my surprise when I noticed that the result differed greatly from the one I saw on the screen. I began to investigate this problem presented and arrived to a conclusion that it's better not to change the size of a design created with the use of the other software...
Changing the size of a digitized embroidery design: From the creator to the embroidery machine
Each machine embroidery design has its creator (puncher), a designer who creates a file using machine embroidery software. The name of this software is sometimes known only to the designer himself.
After the job is finished, the designer saves the embroidery design file in the special format, which is recognized by this software in case there is a necessity to resize the design or change the stitching sequence — in other words, to edit the file. Having decided to share his invention with people, the creator converts the file into various formats recognized by embroidery machines of various brands (*.HUS, *.PES, *.JEF, *.ART etc.).
And so this embroidery design fall into the hands of a demanding customer who wants to change its size and gets a result completely opposite to what is expected. If the spacing between the stitches becomes too narrow, all those beautiful filling patterns become flat or disappear completely. To understand why it happens one should look into the interior arrangement of a digitized machine embroidery design file.
The Inner Structure
A digitized machine embroidery design file is basically a series of stitches together with special codes understood by embroidery machines.
All file formats fall into one of the two categories: stitch formats and outline formats.
Outline formats retain the detailed information not only about stitches and machine commands, such as Trim, Jump or Color Change, but also about fillings, object outlines and the instruments that created the design.
We call this a "native file format". You can resize a design like that with no loss in quality using only the software in which it was created.
Usually, the outline file remains in the designer's collection, while the stitch file is the one that is shared with the public.
Stitch file only retains the stitch data and machine codes. All the details referring to object outlines and fillings are deleted from this file. A stitch file exist solely for the purpose of loading it into the embroidery machine and embroidering.
But as different embroidery software tools as well as different embroidery machines use their own "languages", the native outline file of one software program will be recognized as a stitch file by the other or not recognized at all, if there is no such option available.
Changing the size
You can change the size of a design using software for creation of digitized machine embroidery designs or convertor software or the embroidery machine itself, if it has such an option.
First, I want to point out that changing the size of an already digitized design is a thankless job and one should avoid it whenever possible.
But it you are determined to make a ready-to-use design smaller, here are two ways of doing it:
1. Changing the size of a digitized embroidery design by re-calculating the number of stitches.
Most of the software products for creation of machine embroidery designs have the object recognition option. In fact, this process may be called tracing from the stitch format into the outline one. If you are familiar with image editors, this process is similar to image tracing, i.e. converting a raster-based image into a vector-based one.
When loading the design into the software or changing it's size the user can use the option of object recognition and in this case the software will try to single out a group of stitches which, in its opinion, resembles an object created with the help of available tools.
I should point out that there is no contemporary embroidery design digitizing software that can fully recognize objects and recreate all the filling patterns. You will either get an object with wrong filling pattern or an object where the stitches are distorted.
Such objects as straight stitch, satin stitch columns with the invariable stitch length are recognized better than the others.
The objects that pose problems are the ones of an intricate shape with complex filling, made with alternate needle points, also satin stitch columns with different stitch lengths.
2. Changing the size of a digitized embroidery design without re-calculating the number of stitches.
The process of resizing a design without re-calculating the number of stitches is very similar to changing the map scale.
Remember your geography lessons. The map on the wall was much bigger than the outline map on your desk.
The distance between cities is similar to the spacing between the stitches in a design (we call it density). Making a design bigger or smaller, you change spacing proportionally.
When resizing a design without re-calculating the number of stitches you risk getting a design with not enough space between the stitches or too much space between the too long stitches. This happens because the program sees the design as the plain stitch with different spaces between stitches.
This method is useful when the density of the chosen design doesn't suit you for some reasons, and you want to change it whereas making the design 5-10% bigger or smaller is OK with you.
While changing the size of a design in that way don't forget to register the appearance of minimum and maximum stitches.
Change the design size for no more than 5-10%.
Consider that PES format is marked both as stitch and outline. Almost all software programs recognize it as stitch, and only PE Design considers it outline. But here's the nuance to it: a PES file must be created in PE Design, not converted into it in other software.
EMB is an outline file, a native format of Wilcom software. It doesn't have any relevance to EMB stitch format, which is recognized by Pfaff embroidery machine.
Original text by: Marina Belova
One would think that evaluating of tension of the thread is such an old chestnut. But no, last week it came as a revelation to me. It is strange that such an essential information is practically non-existent on the internet, whereas manuals only contain the instructions on how to do the most basic things. And it is such a shame, really.
So, everybody knows (including me) that after the embroidery has been completed, the backside of a perfect satin-stitch column should look like this: 1/3+1/3+1/3 (upper + under + upper). If the column is divided differently, it means that you need to adjust your upper thread tension or the under-thread tension on your bobbin case.
I shall be honest with you, I don't see this ideal picture often, certainly not all the time. Velles 15 is notorious for getting the thread tension wrong, of which I've written many times, and was supported by the others. But there is a problem with the dial itself, which is pretty crude and, consequently, lacks the possibilities the Velles 19 dial has. But no matter how the dial was made, you have to adjust it all the time.
The question is, how do you do it? Sometimes it's quite difficult a task to adjust it properly.
As it happens, you have to act wisely.
First of all, I'll show you the most typical occasion which happens all the time when I use my Velles 15, and which has always puzzled me. These are my real works, not the test pieces:
As it turns out, this irregular outcome of the bobbin thread is a mark that something is wrong with a bobbin case. Is it either bent or damaged.
To check this just lay the bobbin case with the bobbin inside onto the table or any other flat surface with bobbin facing down. Then pull at the thread, holding the case slightly and allowing the bobbin to uncoil freely. It the thread is not uncoiled smoothly, but jerkily, it is the sign that the bobbin case has been damaged, so that it is not round anymore. Most likely, it was dropped on the floor in the past. I have dropped it, of course, even more that once, but I never thought about the consequences.
To cut the long story short, you must have a spare bobbin case. Sometimes the jerking like that cannot be corrected in any other way.
And now I'll tell you about two of the most typical examples.
a. The under-thread is just barely visible on the underside or not visible at all:
In this case you will have to find time to run your machine through all those tension tests at least once to find out what happens with every one of your needles. Here you can also see the perfectly emblematic old photo of the old I-test from the times when I already had huge problems with a bobbin case.
It turned out, to my surprise, that there are two ways of adjustment in this situation (this nuance of evaluation of the test results is hardly mentioned at all):
• If such is the situation with all or nearly all of your needles, loosen the under-thread tension.
• But if this happens only with 2 or 3 needles, tighten the upper thread on them.
b. The under-thread on the underside is more than 1/3 column wide):
Again, run your machine through all the tests using every needle and see. And again you can get two different results:
• If such is the result produced by all the needles, tighten the under-thread tension.
• If you get it only with 2 or 3, loosen the upper thread.
That is basically all. I didn't know that it was so easy and used to regard thread tension tests with disdain. One should love their embroidery machine and care about it, so that it could reciprocate and minimize the number of unpleasant moment in the course of embroidery.
We have so much yet to learn.
P.S. A thought just popped in my head: what about single-thread embroidery machines that don't have a lot of needles, which can help you to compare their performance and understand what tension needs to be adjusted? How do you adjust the tension there?
Some of my readers suggest buying a special device that helps to adjust upper and under-thread tension. And what do you think?
I found these designs and did them for a friend who is a serious cat lover, 7 at the last count and actually has a ring in ginger. I did these for gifts and she loves them and already is pdeciding which ones match her babies.
I didn;t have time to iron them before I took photos. When I ironed them they looked awesome.
Thanks for the designs.
Original text by: Marina Belova
I have once written a guide to all sorts of embroidery stabilizers (fusible interfacing materials) for manual embroidery. As we all know, the market is full of such auxiliary materials, which can be helpful to an embroiderer. Nevertheless, in these days I often think that not all of them are useful for me in my day-to-day work.
In the past I used to buy a lot of stabilizers of various brands, to see if they could be really helpful. I liked some of them and disliked the others; there were also certain products that I didn't know how and where to use even after having read the manual. In the course of time, after I gained some experience, it turned out that 3 or 4 types of stabilizer were sufficient for me to make a good embroidery. They really are enough for everything I embroider lately.
I'll show you what stabilizers I use for all routine projects and all types of fabric. I must specify though that the projects I do are rather simple: standard promotional designs on knitwear, terry cloth, occasionally caps, also ordinary materials like diagonal, coarse calico, two-thread cloth, sometimes the materials used in interior design, fore example silks and velvets of varying quality.
So, here's my basic embroidery stabilizer kit:
1. Heavy-weight cutaway stabilizer (I wouldn't call it tearaway, like most of the sellers, because it doesn't tear that good), made in China. Density circa 60 g/m2. This stabilizer has a strongly pronounced fiber orientation, which isn't always good. Works fine for knitwear. Here it is:
2. Medium weight cutaway stabilizer (some consider it tearaway) made in China or Turkey, density 35-40 g/m2. In my kit there is a cutaway stabilizer of 2 different brands, with and without fiber orientation (the last is my personal favorite). I use them for medium-level projects and ordinary textiles.
Photo: an example of a stabilizer with single fiber orientation:
And this is the one without any orientation:
3. A tearaway paper-like stabilizer, density circa 60 g/m2. It resembles recycled paper because it looks just as specked and non-uniform. I also have a punched-out variation of this paper, which also tears away easily. As it turned out, it comes in very handy when embroidering a design on terry cloth. But this paper-like stabilizer (and not only this one), as experience has shown, may be replaced by ordinary printing paper, which I sometimes do when it fits the size of design.
I rarely use other types of stabilizers, and usually as supplementary ones.
4. Thin water soluble film — a stabilizer topping for pile textiles, prevents the problem with pile piercing through the stitches. Nevertheless, I rarely use this film, too, but instead replace it with a stretch wrap or a plastic bag. I tested all the these materials in order to find a substitution for the expensive water soluble stabilizers, as I have already written.
Water soluble stabilizers are used for lace and cutwork.
There are also other types of auxiliary materials I use from time to time:
Temporary spray adhesive
Paper adhesive tape
Double-sided adhesive tape
And that's all there is to it. I don't keep a large variety of stabilizers. No spunbond, no heat away backing, no sticky backing paper-like filmoplast or other sticky embroidery stabilizers — I don't buy or use any of those. And even if I did buy some of them in the past, it was only for the purpose of examining them, because all these stabilizers can be replaced by their less expensive analogs. You can' have them all. Besides, if you embroidered on velvet using filmoplast as a stabilizer, it would turn out a real disaster, because filmoplast has a habit of taking the pile out, and it peels off easily, too. You have to be extremely careful with the projects that require a great number of stitches. Double-sided adhesive tape also tends to peel off the fabric.
Sometimes I think that everything new that pops up on the market is made with one goal in sight, and that is to induce customers to buy more and more materials. This happens because stabilizers become more and more differentiated, and not because they work better. It seems to me that the resulting embroidery is not always in connection with the price of a stabilizer and the innovations used in its making. What it depends upon is the quality of the design and the accuracy of hooping. Generally speaking, the resulting embroidery will be in strong connection with your experience in design making as well as handling different types of fabric and the embroidery machine.
Remember the general rule: the thinner the fabric, the thicker the stabilizer, however strange it might seem. You will get very soft lace using thermogaze, but it leaves residue which does not come off easily.
What stabilizers do you use in your work?
If you want to engage in embroidery on a professional level, you should buy a reliable embroidery equipment with manifold possibilities that won't fail at the most crucial moment. Melco Bravo is a highly efficient 16-needle embroidery machine designed for amateur embroiderers turned professionals.
A distinguishing feature of this machine is that it provides maximum efficiency for it's price. Melco Bravo allows you to embroider high quality designs on garments, hats, bags and large variety of textile products. Thanks to a smaller lower cylinder arm you can embroider on a wider variety of products while maintaining high speed.
Acti-Feed™, the patent system of active thread supply automatically adjust the thread tension and provides smooth working process without any thread breakage. BRAVO OS, the embroidery machine operational system, controls the thread tension and it's supply by providing a portion of thread needed and basing thread-tensioning upon three separate parameters for every thread regulated by piezotransducer. The better-quality embroidery is made on high speeds because of the lesser thread breakage. The system also allows you to embroider on some types of fabric without the use of the underlay.
Melco Bravo is an embroidery machine with manifold possibilities for doing business.
The small diameter cylinder arm allows you to embroider on various products, including the areas hard to embroider and also wider designs on caps. Cylinder hoops allow you to embroider on smaller areas, such as pockets and shirtsleeves, and also children's garments. The use of laser positioning mechanism will enable you to position you design properly.
Download Melco Bravo brochure
Melco Bravo comes with DesignShop Lite, a professional embroidery design editor. DesignShop Lite allows you to scale, mirror and rotate a design, edit it's main characteristics, such as density, type of the underlay and shape of the hoop, and also work with the text.
Embroidery is always in trend. Embroider with Bravo!
Original text by: Marina Belova
Suddenly it struck me that marking the position of an embroidery design on fabric before hooping is a major stumbling block to me. Is is so because I often get fabrics and garments that cannot be marked with a leftover sliver of soap or even with a disappearing marker. Another reason for the issue being of such a great importance to me, because I don't have any magic device for positioning of the hoops and most probably won't have one in the nearest future. I mean one of those.
In the course of my embroidery career I've learned several ways of marking various types of garments manually. Some of them were successful, others turned out to be a disaster; there were ones requiring a great deal of sweat and those that didn't require much time.
Let's begin with the least successful ones.
Marking with a pencil. When I was just a beginner (and I started working with fabrics rather suddenly) I made this mistake. I marked the fabric with an ordinary pencil. And of course, I had to do it all over again, the cutting and the embroidery, because it turned out that the marks made with ordinary pencil do not wash off.
Marking with a tailor's chalk. I can tell from experience that marking your fabric with a chalk is not really a good idea, because it leaves traces on some types of fabrics.
Eventually I gained sufficient experience having changed several jobs that involved dealing with unique designs on very expensive fabrics, which were extremely tricky to mark. It took a long time, too, not just because marking itself is quite a task, but because the size of the fabric was usually 3X3.5 m. So we used the following ways instead:
Marking a position with pins: first the center of the embroidery and then a couple of dots on X and Y axes. This is one of my favorites, because it is the quickest and never leaves any traces. But it's not always good. It is very handy when using a single needle Classic embroidery machine, which has a correction angle allowing for the machine to adjust to the fabric hooped rather haphazardly.
Creasing all the necessary lines. A highly questionable operation, because it leaves crease marks on many types of fabric which could not be corrected with the help of a steam iron. Nevertheless, it can be used in some cases.
Using special markers which disappear when exposed to light. I should point out that in my opinion the best disappearing markers are the cheap ones made in China. They make a thinner line that disappear more quickly then branded markers such as Madeira. But! They left an unwashable trace on several types of fabrics such as 100% cotton, which left me with a thought that one should test everything before using it.
Using markers easily erased by water. Well, they should be erased by water. It is not a problem in case you are going to wash your handiwork in future, but what if you don't? We used to carefully wash off the marks with a tampon, trying not to leave splotches. The thing is that some manufacturers use such a strong pigment (Hemline for example) that we had to do it 3 or 5 times, because after the fabric had dried off the marks appeared again.
There are, of course, special erasers used with these two types of markers. But to buy both the marker and the eraser is not really cost-effective.
Soap. A sliver of soap is very good: the outline can easily be washed off with water and removed with steam, too. But there is a fly in the ointment: first you should find the brand that does not leave greasy splotches (and even soap without additives can do that), and when you find one, it may not be possible to use it on the specific type of fabric. I found this out when working with natural silk.
And now, encore: basting.
Basting is the best way to mark your embroidery. Yes, I mean the one done with a plain needle and thread along the lines on the back of the fabric (if you have such a possibility, you'd better use your embroidery machine instead). Sometimes you cannot avoid a laborious job of drawing lines and basting. There were times when such an elaborate grid was needed for multiple hooping and lining up the elements of a design on the garment that it took me 4 or 5 hours to do the marking. But this method can be used wit practically every type of fabric including silk and silk velvet, which can damaged just by looking at it. And what won't one do to achieve a good result.
Luckily, I haven't been working with a piece of a fabric about the size of a football field for some time now. But the question of placement and marking an embroidery remains one of the most important to me. I mostly work with similar garments nowadays, but the place for a design changes all the time. Up to a certain point in time towels and bathrobes made from terry cloth were my biggest problem. As they were mostly white, soap was out of question, because it would not be visible. Besides, the texture did not help much. That's why I made an outline with a disappearing marker and washed it off with water afterwords to make it disappear more quickly. But the terry cloth is a fabric of volume and bulk, so I had plenty to wash off, because the traces appeared again once the fabric was dry.
Once I was surfing the internet and stumbled across this photo where all the marks were made with writing pencil over the removable adhesive tape. This is how it works: first you place your garment onto the hooping device and do the hooping, then remove an adhesive tape and embroider.
So I tried applying this to a terry cloth. It proved to be very handy, especially when embroidering a design in the corner of a towel, which is not very easy to place into round or square hoops. To embroider a corner in such a way is not the easiest task, but even to place it into the hoops is a problem. That's why I use frames when embroidering towels. Placing an unmarked fabric into the hoops is a skill I am yet to master. Though I'm not very eager to do so, because I have embroidered an incorrectly hooped garment in the past (I didn't know the proper way then).
So, I need to embroider quite a big design in the corner of a towel.
1. I stick a piece of adhesive tape in the area where my marking is going to be.
2. Then I measure out all the distances and draw the lines.
3. Frame the fabric or the garment.
4. Trace it onto the fabric, then remove the adhesive tape.
5. Embroider a design.
6. Then I mark the back of a bathrobe before hooping.
You can use it for a big embroidery in the middle of a towel, too.
That's all that is to it. You don't have to wash the marks off. Of course, you have to deal with adhesive, but it is only a trifling matter in comparison.
One more way to mark your fabric is to use a tool called an alignment laser. It projects a perfect crosshair onto any surface you like.
To find the perfect center you should cut out your design pattern and place it onto your garment sprayed with a removable adhesive.
Even if you misplace it slightly, you may always adjust the hoops.
And what do you do use to place a design onto the fabric? Share your placement tips and tricks, please. Did something escape my attention?
Ten Tips for Baseball Cap Embroidery
Embroidery on caps is one of the most challenging tasks, because they have a whole set of special features that render usual embroidery equipment unfit for them.
Use only those caps that will really fit your cap frames. It doesn't matter what you're doing: walking along the street, taking part in a corporate event or even — you never know — supporting you team during a baseball match, you see baseball caps everywhere, and they all look identical to you. What you can't even imagine is that there are numerous types of baseball caps depending on their size, shape, number of panels, and that means that not every type will fit your cap frames. In order to avoid poor quality embroidery, you should buy several models of baseball caps and try to embroider a pattern. See where it fits better. Try to offer only these types of baseball caps to your clients, but in case they insist on a particular model, see if it fits your уour embroidery equipment first.
Don't economize on cap frames. The law of embroidery on baseball caps states that it is better to spend some money in order to buy various cap frames than to be able to embroider very few types of caps. So, if you plan to offer some promotional embroidery on baseball caps to your clients, buy a selection of cap frames. By doing so you will considerably expand your possibilities.
Buy a 270 frame, too. It is useful because it enables you to embroider both the front and the sides of the cap simultaneously. Such a cap will look good and creatively different.
Don't let the embroidery design height slip you mind. Every cap model implies design height of it's own. A 5 cm design height is standard for cap embroidery. If a design is too big, embroidery in the areas beyond the recommended 5 cm limit will come out warped, possibly with other defects. But you can go up to 5.75 cm on low profile and up to 6.25 cm on high profile.
How to handle a wide design. If the machine embroidery design on the front of a 6-panel baseball cap is wider than 10 cm or you need to embroider small letters close to the peak, you should digitize from the middle of design outward.
How to cope with puckering seams problem. Puckering center seams are the embroiderer's nightmare. They cause pulling and warp, which may damage your work. But there are some helpful tips on how to make an embroidery over a center seam neat and good-looking.
Try to choose baseball caps with flat center seams, this will help to avoid tension and warp.
Use a 80/12 needle, it won't bend when penetrating a seam.
You should also use a sharp point instead of a ballpoint needle.
Better use teflon-coated needles, because they penetrate the fabric more easily than traditional stainless steel ones.
Also use polyester thread, which is stronger than rayon and will reduce the chance of a embroidery thread breakage.
If your design includes lettering with an outline, digitize so that one letter is complete before moving to the next letter.
Choose you stabilizer properly. If you embroider on a soft cap, use a stiff backing or the design will be distorted. If you embroider on a leather cap, increase stitch length and column width whilst reducing the density of fill stitches, because the large number of perforations creates the "etching effect", and the design may pop out. Use a single, continuous piece of backing when working with a 270 frame.
Use your appliques carefully. Better not to use heavier weight fabrics with a high pile, such as corduroy or fleece for appliques on baseball caps. The stitches will sink into the pile and become invisible.
Digitize a unique machine embroidery design for a cap. Some "experts" think that for a cap you can use a design digitized for an embroidery, say, on a pocket. Though these designs may look alike, they use different types and density of fill stitches, and also different techniques. Please remember that baseball cap designs should be digitized separately and be unique, or the unsatisfactory result will be guaranteed.
Before ordering a embroidery design for embroidery on baseball caps you should tell the master all information required: the fabric of which the caps are made, the number of planes, the width of the center seam, the height of the crown. This will help to create a quality design.
In some areas of leisure you will find niche markets, I have found one being able to make custom carpets for custom cars and sport fishing boats. So if you live near the water this is something you may want to offer, or if you have any car clubs in your areas. First you need to make a sample and bring it to car shows etc, or display it at your local dealers.
Hi have done mats like the like the item Below, this was actually done for a young kids room.. As it was not going to be exposed to elements I was able to use some applique in the embroidery design.
I have made over 20 specialized customer carpet sets for sport boats , custom cars and some other client that like items on carpets. I am also trying to break into the yacht market and embroider on carpets and seat covers.
This is a niche market and I don't normally have standard pricing as you have to run your embroidery machine a lot slower it will take you twice as long to sew the designs, you will also go through more needles as once your done the job the needle are basically garbage, I would also recommend cleaning your embroidery machine between jobs the carpets give a fine dust that will get into the bobbin area when sewing. I have a small compressor right by the machine for blowing of the parts and lubricating. Most of my sets of carpets for a car go $250 to $400 and only quote on carpets for the trunk, I did one custom van and I had 5 carpets to do and I charge the customer $1200 for the job.
When embroidering on carpets, you should be aware that conventional hoops will not be able hoop a carpet & that your embroidery machines arms will not support the weight on its own. I would recommend if you have a table raise it up to support the carpet. I use large clamps metal clamps to clamp it to the bottom sides of the embroidery machine arms, I found if you clamp it to the top it will stress the needle too much.
I also recommend the following tips for sewing on carpets.
Use a 80/12 Titanium needle with a sharp point as regular needles will get dull from punching through the carpet backing.
All designs must be digitized for carpets as there are special requirements for the embroidery designs .
Slow your machine down to a minimum of 400 rpm
If its a Plush carpet please use topping this will prevent the presser foot from catching the nap of the carpet and or pulling out a strand or fiber of the carpet.
Shave the outer edge of the carpet to prevent the nap from folding over the designs makes it look cleaner I use a Peggy stitch eraser
If you want to sew you will either need to have the embroidery design made for carpets, keep in mind that you may run into problems if the embroidery design is not made properly.
I purchased a used Merro embroidery machine to make custom carpets to fit the application and allows you to purchase bulk carpet for the application, If you have to purchase carpets that are customer made for the vehicle you will have to get in contact with the vendor.
Another options is to sew through the rubber backing however doing this requires a great deal of patients and often frustrate you more than not however it can be done, If you consider attempting this you will need to use 110 needle and 40 weight polyester thread and slow your machine down. In addition between carpets check for needle damage and clean the needles blow of the dust from the embroidery machine. You also will need a industrial sewing machine for this option.
Remember anything is possible however there is a learning curve when venturing into new areas.
Carving Your Way
Introduction to Line Carving
When it comes to digitizing vehicles, and other complex items the line tool can assist with adding dimension to the embroidery design with minimal embroidery effect on the stitch count this is great as stitch counts can be high when creating works of art.
The tool is available for higher level in Tajima DGML by Pulse, and is standard in Maestro level. This tool looks like the following in Tajima DGML by Pulse 14 or Tajima DG15.
The short cut for this tools is Shift + F10 on your keyboard. This tool works the best on fills or satin stitches and it works best going the opposite direction of the stitch angle. To use the tools follow the steps below.
1. Draw you shape with the complex fill tool, have the stitches going horizontal
2 Next with the Line Carving tool , draw a line across the image vertically or on a slight angle.
3. Complete the segment and force the embroidery digitizing software to regenerate by pressing Shift G and it will turn from a vector line to the above image.
This technique adds very little stitches , it basically tells the machine to stop and start again giving the appearance of two fills side by side. It only adds stitches where it needs to shorten them for the fill.
This tool can be applied to embroidery fills, and satin stitches and works well in designs where you do not want to use the run stitch or other tools. An example of where it can be used to add dimension is below.
In the above example the run stitches add decoration to the top of the tractor,and the line carved adds detail. These tools should compliment each other when used in the embroidery designs.
So if you have this tool you should learn when and how to use it, I use it a lot on vehicle designs, flower veins , and decorative stitches on patterns.
Avoiding pit falls of working with Caps
When dealing with your customers you may need to educate them on what the placement and size of the logo for your particular machine is, as often the customer will want the designs to be too large for the cap frame. Some cap frames can accommodate a 270 degree rotation and some only do 180 degrees, the height will depend on the hat.
Rule 1 , Placement
The designs should be places 1/2 inch above the brim of the hat this allows the needle to clear the metal bracket that holds the hat to the frame.
Rule 2 , Size
The size of the embroidery designs for the front for most hats should be less than 4.5 inches wide and no more than 2.75 inches high.
Some caps will allow for larger areas.
Rule 3 , Backing
Its very important to have precut sheets of tearaway backing, I recommend buying in a roll and should be med to heavy tearaway for caps.
Rules 4 , Embroidery Design
The embroidery designs should be made for caps, this will eliminate the push of sewing to the middle. All text should be design to sew from the center out, ( In Tajima Pulse their a tab called sew direction for setting this ) The embroidery design should be made specific for hats.
Rule 5 , Speed of machine
I recommend slowing your machine down to 600 spm when embroidering on hats, this will help reduce distortion,.
Rule 6 , Needles
When working with hats you may experience higher number of needle breaks as some caps, like the flexfit caps seem to have a hard ridge in the center of six panel hats, using an 80/12 needle will eliminate some needle breaks.
Ridge on Six Panel Caps
When working with six panel hats that are structured and feel thick in the center of the hat , there are several methods for making it easier to embroider on.
Method 1 Water
With a spray bottle wet the front of the cap where your embroidery design is going to be, this will make the material more pliable and easier to work with.
Method 2 Heat
With a hat press you can pre-press the area where you need to put the embroidery logo on this will soften up the areas specially on the seams.
Alternate Placement Brims
Often you will get request to place logos on other areas of the hat, and you may have seen designs embroidered onto the brim of the hat, this is only available on custom hat orders where they embroider the design on the material before adding the brim and sewing the hat.
Alternate Placement Sides of hats
This various methods for placing logos on the side of hats, however your limited to the hoop fitting on the side often the brim will get in the way of hoop large than 3.5 inches, so your designs should be no large than 3 inches wide. You can get around this by using specialty hoops,
Alternate Placement Back of Hats
This can be done with a standard 4 inch hoop and works with a wide range of styles, Often you will need to arc your text to match the contour of the back of the hat depending on the style.
Check with your hat vendor many of them will have a custom hat program or pre made hats with logos embroidered on them . Usually a minimum order is required for custom hats to be made. I deal with AJM International or Headwear and they both have custom hat programs.
In the spring, fall and winter you will often get asked to make machine embroidery designs for fleece, this fabric has some very unique properties compared to other fabrics. You should not be afraid of fleece if you follow some basic tips,.
The first thing you will need to know about fleece which way stretches, unlike jersey material fleece only stretches in one direction, so you will need to determine the fabrics your working with which way the stretch is this will directly impact how you compensate for the embroidery design when digitizing it.
When hoping fleece I recommend that you a adhesive backing and a water soluble topping.
Hooping the material
1. Lay the water soluble topping on the hoop making sure its flat with no wrinkles
2. Lay the fleece over the topping and hoop the fleece so its not stretch but taunt in the hoop.
3. Cut a piece of adhesive backing and place on the back of the fleece.
This will give it added support while being embroidered and reduce the amount of stretch in the fabric.
I recommend using a 75/11 needle that has a sharp tip for fleece.
Digitizing for Fleece
When digitizing for fleece you have to account for several things, (1) the nap of the fleece, (2) the stretch direction of the fleece (3) Use more underlay and reduce the density of the design,
The water soluble topping will generally protect and reduce the effect of the design shrinking into the fabric it will also keep the nap at bay. You will need to compensate for the stretch in the fabric I always recommend that you use .02 inch absolute compensation. The last thing you need to do is make sure you have a good foundation I recommend rotating the underlay 90 degrees on fills and use a density of 15-20 spi full lattice, and a contour underlay of .02 inset. I usually set my density to 55 spi when working with fleece.
When working with text or satin stitches I recommend using a perpendicular underlay, and high compensation for the columns, when using underlay opposite of the stitch direction it will minimize the distortion.
When outsourcing digitizing, simply notify the digitizer the design will be embroidered on fleece. Hopefully your digitizer is experienced enough to make the proper adjustments. If not, you need to call the shots. Ask for a slight density increase and heavier underlay. Ultimately, you have to sew this design out and your customer needs to love it. Don’t be satisfied with anything short of what you need and your customer wants.
You will need to cut away the backing fairly close to the embroidery design, make sure their are no sharp edges, you will need to use water to remove the solvy or water soluble topping, I find a gentle brush and spray bottle work best. This will also remove any marks made by the hoop, I like to brush opposite to the stretch , fleece is very forgiving on hoop marks and removing soluble topping don't be afraid of using enough water.
Stock Embroidery Designs
Often stock machine embroidery designs will work with fleece often they will be a bit heavy and you made need a heavier backing to support the garment however use the topping.
Organizing your Designs in DG15
At the end of last year Pulse Microsystems launched their newest version of their embroidery digitizing software, its called TAJIMA PULSE DG15 this program while it looks the same as DGML by Pulse 14 their is a lot of changes under the hood. Which makes organizing your designs easier and it even expands it for getting access to your designs on the road, at home or at other pc in your shop. This month we are going to introduce you to some of these new tools.
The drop box is a place for storing your embroidery designs and being able to access them from one pc to another is a smart add on to the TAJIMA PULSE DG15, when I worked for Pulse in the support department this was one thing they asked for all the time. This allows you the freedom to share designs from one work station to another, as long as they both have TAJIMA PULSE DG15 or access to the drop box. This options is included with TAJIMA PULSE DG15and makes for sharing embroidery designs from one computer to another very easy.
When you get TAJIMA PULSE DG15 you can register your product and get the Dropbox function activated which allows you to install a program on your pc and it sync with drop box so if you save an updated version it will sync with the online account., I use this when I need to sew designs up as my Embroidery Machine is in another location. I can save my files for the day to my drop box and I can access them at the shop computer, reduces the need for carrying a flash drive or forgetting a file.
You get 2GB worth of storage, so you can store a large number of designs, and if you need more space you can purchase it. I use this feature all the time since upgrading in December to TAJIMA PULSE DG15.
In the past to view files on your computer you either had to import them into librarian or browse via the open window, and when you found one you could click on it to view it. TAJIMA PULSE DG15 allows you to see all your PXF files in Windows Explorer I do not need to have TAJIMA PULSE DG15 open just the key plugged in.
Above you can clearly see the designs files in this folder . if you have a lot of PXF this way of viewing your embroidery designs is very easy, once you find the file you want just double click it and it opens up in TAJIMA PULSE DG15 I didn't know about this prior to me upgrading the only down side of this option is it only works with PXF files, I wish it would work with DST and other file formats.
Another innovative technology is to move the software to a whole new realm, Mobility, with the use of Pulse Cloud you now can access your design library on mobile devices, laptops and anywhere you have the internet. This is a standard option in the TAJIMA PULSE DG15 packages and is available to all levels. For customers that already have the design spooler and newer LAN based machines they can even send designs to the queue, monitor jobs in the que, and even get some reports on the machines.
This option allows you to view the designs on your mobile devices, and or another computer, if your machine is networked via ethernet cable you can send the design to the machine. I have not been able to test this yet, but I have used Pulse Cloud to show customers their designs in the field on my tablet. You can add comments, download the file on other pcs. share the design to Facebook, Twitter and Pinterest, In addition you can edit the text and more.
Browse Designs from any Device
• Constant access to all your designs from any mobile device
Create New Designs
• Use templates to create beautiful personalized embroidery designs
Monitor Machine Status
• Keep an eye on your production floor from anywhere
Send to Machine
• Send a design straight to your embroidery machine from the Pulse Cloud
• Allows you to view thumbnails of all your PXF files in your folders without Pulse open
Machine embroidery design management
When you enter into the embroidery business you will soon learn individual ways to track and organize your embroidery designs, some people use a specialty program, a filing systems on your computer, a database and other. Today we are going to take a look at organizing your designs with Librarian. This tool has been around for a while, while it has some limitations its a great tool for searching for designs.
What is Librarian
Librarian is a single user database that has been built into Tajima DGML by Pulse since version 11, the main structure of the database has not changed much over the years. This database allows you to store your PXF or a wide range of other stitch files. This database allows you to enter in information about the embroidery designs from vendor, special notes, it also keeps track of size, colors and more. You can search by a wide range of topics and or view the designs by image. It depends on how much type you want to spend setting it up.
Where is librarian , it can be found at the top of your screen and is available on a wide range of levels..
This tool is one of the most ignored tools in your software, when I worked with Tajima Pulse most customers did not know that it existed or what it could do for them, not to mention that it also comes with the option of a 1000 machine embroidery designs to start up with. While the designs are free its up to you to add them if you want them. When opening your software for the first time and you open librarian it will prompt you to choose a BLANK Database or PREMIUM Database, If you choose blank it will not show you any designs until you add them , if you choose premium database it will give you 1000 machine embroidery designs.
If you click on the Librarian tab at the top of your screen you will get a menu similar to the one I have illustrated below.
Open Design This allows you to visually view the embroidery designs in your database.
Search This allows you to search by various fields if entered
Save Design Manual way to add machine embroidery designs from your workspace to librarian
Save Design as Same as above but allows you to make a different version of another design.
Groups You can store embroidery designs in groups to catalog the embroidery designs easier
Favorites Allows you to set embroidery designs up as favorites for quick reference
Database info Path to the database for backing up and seeing how large your database is
Import A option for mass loading your designs, however it doesn't enter any additional data
Rebuild icons Sometimes the database will loose some image files, this option rebuilds the image files.
Multiusers This is only available to users that purchased the items.
Setting Librarian UP
Prior to setting up your librarian for the first time you will need to make sure you have permission to allow your system to right to restricted areas of your computer. Librarian needs permission from your windows to access this area. Contact your local distributor for help with this if needed.
When you click on the Open option in Librarian menu you will get the following screen .
This screen is a bit confusing for some while it may seem like you can choose the various options, you need to setup your librarian to use these features, the easiest method for this window is leaving everything as default and clicking open., There one option you may want to look at the datatype, this will also depending on what file types you have in your database.
The types included all embroidery files, stitch designs like DST, PSF and home embroidery formats, Outline files like PXF, POF, chenille embroidery designs and outline chenille designs.
Stitch Files Stitch files do not retain the color information in embroidery designs, and have limitation on sizing and editing
Outline Files These are the best files to save to librarian as they save all the editing information, and color info of designs, just like saving them to your system
Chenille files are only available if you have a chenille embroidery machine.
When you click open it will show your digitized embroidery designs in your window, depending on how large your window is will depend on how many designs it shows, also dependent on how many designs you have in the database as well.
Opening a embroidery design
To open a machine embroidery design you can just double click it and it will open up in Tajima DGML or you can right click to get more options, The main option you likely to use is the properties tab, but you can play around with the other options as well.
GENERAL TAB This tab will tell you basic info about the design, including when it was made, name of the file,
Design TAB This tab will show you information about the design including, Designer ID, Customer, Design dimension, stitch count, number of colors, number of trims etc.
User Tags Optional, I have used these tabs to hold customer information, you can also add notes or special instructions to the file as well
Color Information This tab will show you the color information of PXF and PSF and POF files but not dst files
Attachments Optional, I use this if I store a customer logo , I attach the original artwork to the database file
Groups Optional, you can add (1) embroidery design to several different groups. Dog design can be added to a Dog group or an animal group.
This option is listed as Import , but its basically a option of loading multiple designs at one time. This is a very taxing process for the computer as it has to generate alot of information for your files, You should do this when you do not need the machine for any other embroidery digitizing software task.
To use this option click the file types you want to add, choose the location where the embroidery designs are and click next and it will begin uploading you may also get a note that your embroidery program is not responding, ignore this and come back later.
When its done your screen will go back to the original window, Now you can go back into Librarian and see the machine embroidery designs you have added,
Now if you the import option you will need to add other details to each file if you want to know the vendor etc.
Searching Embroidery Designs
If you mass load , you will not be able to search all the fields, unless you edit each file. when you search for a machine embroidery design you can search by the following criteria
Design ID Optional , this needs to be manually added
Customer Optional , this needs to be manually added
Description Optional , this needs to be manually added
General Key Optional, but rarely used
Status Default is Production
Designer ID Optional , needs to be added
Customer Optional , needs to be added
Desing Dimensions Size of the design
Atributes Stitch Count, colors, trims, jobs etc,.
There are some other tabs but blank by default If you want the information to be all added its best to add designs as you use them , or several a day in your free time.
Thread Thickness and Digitizing Techniques
When digitizing or adding a new embroidery thread type to your system, you can also input the desired thickness of that thread.
this helps when trying to determine the coverage of a fill on a large area.
A bit of back ground the industry standard thread weight for most industrial shops is 40wt this has the best coverage on standard logos and works with a widest variety of applications. However there are specialty areas that can get better results when working with other areas.
Small Diameter 60 wt Threads
When working with small diameter threads you can use smaller needles like a 65/9 needle this allows for more detail and less bulk, applications that this excels at is small lettering under 4 mm or .25 of inch. The thread thickness is half the size of the standard thread and the needle is considerably smaller allowing for more needle penetration in a very small area, 60 wt threads are also commonly used in the craft and home embroidery segments, there is a wide range of colors available in this wt and often you get get 5000 m spools as well. In the example below you can see that we made very small text , using standard Pulse Microsystems Fonts. These fonts are specially designed for small lettering and have the underlay and compensation built in,
Large Diameter 20 pr 30 wt Threads
When working with large fills where you want to cover a wide are on a jacket or what to keep the density to a minimum then you may want to consider using a large needle and larger size embroidery thread. There are quite a few applications where you can substitute a larger embroidery thread but working on jackets like leather that rip when putting too many needle penetrations in the embroidery design using a larger needle and larger thread reduces the amount of needle penetration but allows for great coverage. It also reduces the puckering of the fabric.
In the example below you will see a design that is made by Campus Crew a Canadian Company that excels in using large threads. They use it to cover large areas with stitches and they also use it for effect on applique designs as well.
Changing thread thickness
When you need to change thread on your embroidery machine you should also change the thickness in your embroidery digitizing software so the appearance of the embroidery designs is correct, this will give you a visual que on how dense or how much detail to add. Its often over looked in the software when digitizing for these types of applications.
To change (1) color on demand without effecting the color chart follow steps below.
1. Right Click on the color
2. Goto Properties
3. Change the highlighted value
1. 20 wt thread very large thread
2. 30 wt thread
3. 40 wt thread default
4. 50 wt thread
5. 60 wt thread very small thread
This method changes the thread in the design only.. Its a great option for on demand digitizing for clients or embroidery designs when you normally do not work with the type of thread.
Author: Frank Prokator
Making Custom Thread Charts
In Tajima DG/ML by Pulse there is a number of pre-installed thread charts however there are times where you need to create a custom chart with different thread thickness and or colors
Thread Charts and Thread Palettes
Embroidery Thread charts are a collection of embroidery thread and color information. Tajima DG/ML by Pulse has thread charts installed that contain information on threads from many thread manufacturers. Threads from a selected thread chart are displayed in the lower right hand side of the Tajima DG/ML by Pulse workspace. Clicking the plus (+) sign at the edge of the thread chart list will allow you to change the selected thread chart for the current design.
Creating a New Thread Chart
The Thread Table Editor allows you to create and edit thread charts.
1. Open a new document2. Goto Tools , click on Manage and choose thread charts,. Click NEW
This will open a new tab , so you can add different threads.
Once your screen opens you can now start to add new threads to your chart. Please note you will need to know what thickness the embroidery thread is , they type of thread, have the color codes, and Manufacturer info. Normally available on the color thread chart
4,. To add a new thread color click EDIT and click NEW THREAD
5,. Fill in the fields on the screen.
Name - The name of the new thread color (such as Royal Blue or Snow White)
Manufacturer- The name of the manufacturer of the thread chart that contains this embroidery thread.
Code - The manufactures code number for the thread. This is a unique code that manufacturers use to identify the thread. A embroidery thread code is usually used to identify a thread when placing an order with the manufacturer.
Thickness - The thickness setting is a number used to define the thickness of the thread.
1. 20 wt thread very large thread
2. 30 wt thread
3. 40 wt thread default
4. 50 wt thread
5. 60 wt thread Very small
Type - The type setting is used to describe the type of material used to make the thread. Examples are Cotton, Rayon, Metallic, Nylon and Polyester.
Color - There are three different values used to define the color of the thread that is displayed. These values represent the amount of red, green and blue color that make up the color of the embroidery thread. These values, called RGB, are standard values for representing colors for computers. Clicking the Choose button will allow you to select from a list of basic colors or allow you to create a custom color. Once a color is selected, the RGB values for the selected color will be displayed in the color values.
Repeat step 4 until all the colors have been added.
Saving your Thread Chart
When you have added all your threads now you need to save the file .
5. Goto File, choose SAVE AS , add your file name and it will add it to your charts folder.
Now prior to accessing the chart you will need to close your Pulse Program and reopen it .
Author: Frank Prokator
In the embroidery industry we often encounter issues with specialty embroidery threads, and or applications these sometimes require special threads, backing, and needles.
When working with Metallic threads you will notice that they have fibers wrapped around a core, which may be nylon, polyester, or rayon. This can cause issues when using standard needles and you may need to look at the following tips. below.
1. Use needle with a large eye
2. Use if possible a 80/12 needle
3. Loosen your tension for that needle
4. Slow your machine down
5. Reduce your bobbin tension
6. Designs should be made for metallic threads
7. Metallic thread works best as an accent thread color
FIRE RETARDED THREAD
We use fire retardant Nomex™ and Kevlar™ for sewing designs and attaching patches to clothing and gear used by first responders, race car drivers, and others who need protection from fire and heat. This embroidery thread does not melt and can withstand temperatures of 700єF (366єC) before it decomposes. It has a flat, cotton-like finish. Both Nomex and Kevlar give the same protection. Please note you should use a backing that will work for this application too
WATER PROOF EMBROIDERY
It is now possible to embroider on waterproof or water-repellent fabrics without compromising their waterproof properties. Just apply THERMOSEAL to the back of your embroidery and water and moisture will not penetrate the fabric through the tiny embroidery needle punctures. Rain gear, outdoor jackets, functional clothing can be embroidered and everybody stays dry-use on work clothes e.g. for road construction, gardening and for all outdoor jobs. You will need a heat press for this backing. Gulnold Thermoseal seals all holes caused by the needle..
ActionBack is an exciting new cut-way product that is exclusive to Gunold. It is highly effective backing for stabilizing stretchy, slippery garments like today's popular performance wear. Stable in both directions, ActionBack will prevent drifting outlines, puckering and pooching.This takes the worry about jobs that sag or pucker even though the design works fine on other fabrics. I still recommend a small needle , the smallest hoop the design fits into and do not stretch the fabric.
Soft and Sheer Fabrics
Gunold's cut-away Soft n' Sheer embroidery stabilizer is a textured, non-woven, spun-bonded nylon embroidery backing that it is most popularly used as a knitwear backing. Soft 'n Sheer embroidery backing is multipurpose and is available in both black and white. This style of backing is great for active wear on dance uniforms, where conventional backing or stitches can irritate the skin. it has a soft feal and offers great support for the embroidery designs.
GLOW N THE DARK THREADS
Who doesn't love things that glow in the dark? Gunold offers two glow-in-the-dark embroidery thread options. You'll find "Glowy" luminous embroidery thread and "Fluor" fluorescent embroidery thread both have the same high quality as all our products. Both are designed specifically for multi-head embroidery machines. Fluor is a white thread, while Glowly comes in seven different embroidery thread colors. While both threads can be used as a fun and decorative touch for a wide-range of applications, such as Halloween costumes and stage costuming, they also have a practical, durable application.
There are always new products coming out that can make your designs stand out , there are now new threads coming out that change color in sunlight, glow in the dark colors, transparent threads and much more, If you can image it , likely someone has it .
NO SHOW BACKING
Another product that is great to have in your shop, is no show backing, this backing makes designs appear like they are floating on the shirt, it works well on light color shirts where you need a cutaway backing but you don't want to see the backing through the shirt,often you will see a square or shadow on the shirt on light fabrics.
Another tip black backing works great on dark colors as it not as obvious as white, its great thing to have in your shop works well on sweaters, t-shirts and jackets when their is no pocket and you do not want to see the white backing on the inside. Black backing cost a bit more but customers would appreciate the effort.
Author:: Frank Prokator
Embroidery stabilizer is often very confusing, in this blog we hope to enlighten you and help you understand why we use backing and why one doesn't one type work for all garments. Please note backing comes in all shapes and size, from rolls, to cut sheets and
may be available in Black for dark fabrics too..When it comes to selecting the type of backing to use for a application its good to know a little about why you should use a certain type of backing. We will try and cover this. There are several factors that you will need to consider when making a choice on which backing to use, the garment fabric, stitch density, color of the garment, color of the design, special consideration like for a jacket back or heavy design or whether it has small text and how much will the design be laundered. These are all factors, that should impact your decision on what type of backing to use.
Below is a chart I like that explains the Elasticity of types of fabrics,
The higher the stretch often means you should be using a very stable fabric, and or underlay type, usually the backing works hand in hand with the underlay of the design and the compensation. Here is a visual that just changing the backing type will impact how a design will take when being sewn on a loose knitted fabric. ( Tearaway Backing )
The embroidery design would be greatly improved if underlay was used in addition to 2 pcs of tearaway, and a bit more density.
No Show Backing - Another factor that is rarely talked about is how translucent the fabric is, If you fabric is a light colored garment you may want to opt for a No show type cutaway backing as some backing you will see through the shirt. I always keep some no show on hand for when embroidering on a beige knitted shirt, as cutaway will otter show through and no show cutaway works the same with out showing through.
Another type of backing which is not used often enough is fusible backing this is great for applications where its hard to hoop and item, like belt, napkin corner , patches and is also known as sticky backing. I use this on fabric where I am hooping half of a garment like tuque. Once its down being embroidered it can be torn away just like Tearaway.
I tend to use this on material that either stretch a lot , or are laundered a lot as it helps the embroidery design hold it shape. I will also use cutaway when sewing a heavy design or in an application where the backing will not been seen, like inside an embroidery pocket on a jacket, or for a large jacket back. Here are some other material I will use Cutaway.
Loose knit fabrics
Fine knit fabrics
Knit golf shirts
Lightweight woven silks
Wool / acrylic sweaters
Bathing suits / Lycra / Spandex
I often use Tearaway its my personal favorite, however you will need to look at the application before deciding if it can be used. I often will double up on the number of sheet. Remember that tearaway removes cleanly from the embroidery design...
Cotton / polyester
Nylon satin jackets
Leather or vinyl
Wash away Backing
This I only started using when I started working with a boring tool for my machine, it allows me to do cut work, But I have started experimenting with free standing lace , great for ornaments and decorative embroidery designs.
Free standing ace
Cut work designs
Wash away Topping
This I use when ever the garment or application calls for it, if the pile is high on a garment where the pressure foot might catch a strand of the thread from the garment I will use it , also provide the top stitch more stabilization. There are many more types out there ,
Pucker Resistant Backing
This is fairly new but its like a fibre backing, it a man made backing where the horizontal and vertical support is the same.
This backing also comes in black, its expensive but it helps reduce puckering. Also use the smallest needle when stitching on fabrics that pucker.
In embroidery there are always going to be variables, try different backing types from different vendors or manufactures, you will find that the support various , and their several thickness and colors as well. Backing will always be dependent on the design, needle, the size of the hoop, the fabric.
There is no right way or wrong way, only the way that works for you..
Author: Frank Prokator
Knowing your Needles
The needle: It’s a small innocuous component of every embroidery machine that tends to get overlooked, even ignored – until it breaks. Even then, the typical response is to change it out and keep going. Small, inexpensive, rather boring, but extremely critical to the embroidery process. Without a needle, stitches could not be formed. Knowing your needles are critical. Needles have various components, including tips for applications,
While most shops are guilty of this or just don't know they use the same needle for all their designs and jobs. There are many types of needles available and we will cover some types of needles, applications for needles, types of needles and troubleshooting needles.
Needle Sizes and Applications
Below you will find a needle recommendation chart, which has the garment type, needle size and type of needle, While you can use the same needle for various applications sometimes the quality will be affected due to the wrong needle choices that you make or ignore.
The System Number
The system number is an additional descriptive term for needles. It is actually a combination of numbers and/or letters referring to the total length of the needle and variations in the needle eye. Each machine is setup to use a specific needle system number. Changing to a needle with a different system number may require changing the timing of the embroidery machine.
Here are some examples of commonly used needles for commercial embroidery machines. Your manufacturer will tell you which is appropriate for your model.
DBxK5 – This is considered the standard needle for many of the popular brands of commercial embroidery machines. It works well with most threads.
DBx7ST – This needle is similar to the DBxK5, except that it has a larger eye that is elongated and rectangular in shape. It’s designed to be used with metallic threads.
DBx9ST – This needle is designed for use with heavy embroidery threads and has an eye size twice as large as a basic needle such as the DBxK5. (In most cases, the above-listed needles are interchangeable.)
The are a wide range of tips the most common is the sharp , but there are times when a wedge point or ball point can come in handy,
The are times yo will need to order a needle with a specific eye size, especially for working with Metallic embroidery threads.
Needles may be available with a special non-stick coating that will reduce heat buildup and allow the needle eye to remain clear of embroidery thread or garment fibers. These needles are referred to as Teflon®-coated or Cool Sew, depending upon the manufacturer. Their ability to reduce friction makes them ideal for synthetics like cordura and nylon. The most common problems caused by needles are thread breaks, thread shreds and broken needles. In order to troubleshoot these problems you have to visualize the movements and path of the needle.
Needles only break when they encounter a solid obstruction. The only parts of a machine that the needle can run into are the hoop, the trimmer knife, the bobbin hook and the needle plate. Hitting the hoop is a pretty obvious problem that can be attributed to operator error. If a hoop crash does occur, either the embroidery design is larger than the hoop or the hoop was not centered properly before sewing.
The trimmer knife is sometimes the culprit behind a needle break. Though not a common occurrence, there are occasions where the trimmer knife (located below the needle plate) doesn't fully retract, placing it directly in the path of the descending needle. This is usually caused by a build-up of dirt in the retract area where the knife normally resides. You should periodically remove the needle plate and clean out any dust, dirt or lint buildup to prevent this from happening.
If the bobbin hook timing gets out of synch, the needle may run into the bobbin hook as it descends. Machine timing is something that should not need frequent adjustment. However, in the case of a hoop crash, the timing might be affected, such that an adjustment becomes necessary. You can make a quick check by turning off the embroidery machine and manually rotating the main shaft while watching the needle go through a stitch cycle (remove the needle plate while doing this). It will be obvious if the needle is coming into contact with the hook. Most machines can be reset manually check with your embroidery machine manual.
By far, the most common source of needle-related problems is the needle coming in contact with the needle plate. As it sews, the point of the needle may be deflected slightly as it pierces the fabric being sewn. (Obviously a smaller needle such as the 65/9 will see more deflection than a larger one). If a mild deflection occurs, the needle will pass very close to the inside edge of the needle plate hole, possibly grazing it. This in turn may allow the upper thread (being carried by the needle) to rub along the edge of the needle plate hole as well, resulting in thread shreds or breaks.
If a more drastic needle deflection occurs, the needle itself may catch the edge of the needle plate hole, resulting in a broken needle. A prime example is a six-panel cap with a heavy center seam. As the needle encounters the edge of the seam, it may start deflecting slightly, which in turn leads to thread shreds, thread breaks and even needle breaks.
Thread shreds and thread breaks can also be caused by at least three other needle problems as follows:
- Using a needle with an eye that is too small in relationship to the thickness of the embroidery thread.
- A burr in the needle eye or along the front of the blade.
- High temperature caused by friction during the sewing process.
If you start having sewing problems that can be attributed to the needle, don’t hesitate to change it out, since the cost of a needle is only a few cents. Periodically replace your needles as they do get dull over time. Is there a recommended frequency for replacement? Ask your needle supplier. In reality, some fabrics will dull a needle faster than others, plus it’s nearly impossible to track the usage of each needle on a multi-needle machine. So, it’s difficult to determine needle life. When you see the quality of your stitching starting to decrease, then it might be time to change the needles.
Though small in size, needles can have a big impact on sewing. Don’t take them for granted. Before starting each job, take a minute to analyze the needle requirements, then choose the correct needle for the job. This small sliver of silver can help you bring in the gold on every job.
Sometimes during the sewing process, you can end up with small cuts or holes around the edges of the embroidery (not to be confused with large holes left behind after a bird’s nest develops). These small defects usually are less visible after the garment is unhooped, but they are still there, and can lead to quality problems in the long-term. In the case of a knit garment, small holes and/or cuts can lead to “runs” in the fabric after one or two washing. Here are the likely causes:
Replace the needle. Dull needles have difficult time getting through the garment, causing some fabrics to tear.
Wrong Needle Point Type , Sharp-point needles can cut some delicate knits. Try a ball-point needle.
Needle is too Large- Large needles can stretch fibers excessively, causing them to burst or become distorted. needle size that is still acceptable for the thread size you are using.
RULES FOR NEEDLES
Rule #1 – Sharp point needle for woven. Ball point needle for knits.
Rule #2 – Larger diameter needle for stiff, thick and/or heavyweight fabrics.
Rule #3 – Smaller diameter needle for lightweight and delicate fabrics.
Rule #4 – Smaller diameter needle for intricate designs and/or small details.
Rule #5 -- Small text under .30 inch use a 65/9 needle with 60 weight thread
In taking a look at the different types of needles they also work hand in hand with your thread choices, not all jobs can be achieved by one type of needle will it work yes, will it look its best know.. In my shop I keep several types of needles a box of titanium coated 80/12 needles for carpets, 65/9 needles with 60 wt thread for doing small letters, and a box of ball point needles when sharp needles won't work. A box of Wedge point needle for leather work. While a sharp needles are used primary in the industrial shops its a good idea to use special needles for some applications so you get better results.
Author: Frank Prokator
There is a wide range of thread choices available to today’s embroiderer. However, unless time is taken to experiment with different choices, they may never get a chance to offer them to their customer. Most new embroiderers purchase a start up kit with their equipment that contains one type of thread. They start with and continue to use this same thread as if it is the only style available, without ever considering if there is a better alternative. As it turns out, there are several types and styles of thread and the professional embroiderer needs to be aware of their characteristics and applications.
Commercial embroidery threads are most commonly grouped by fiber content as follows: rayon, polyester, metallic and cotton. Within each fiber group, threads are available in different thicknesses or weights.
Weight is an important consideration, as it can affect the visual quality of a design. A 40 weight is considered the standard for the industry. A higher number is thinner, while a lower number is thicker. Most designs are digitized with a 40 weight thread in mind. For example, a large area designed to be filled with stitches created using 40 weight thread would appear nice and solid upon completion. If the embroiderer switched to 60 weight thread, which is not as thick, then the “filled” area would have many gaps. One trick for reducing thread counts is to use a heavier thread such as 35 weight. Because it is thicker, fewer stitches are needed to cover the same area than if a 40 weight thread were being used.
Rayon embroidery thread has been the mainstay of the commercial embroidery industry for many years. It is soft, brilliant and durable. Rayon is available in a wider range of colors, than any other thread. It can withstand dry cleaning and multiple washings. However, some colors do not resist bleach very well.
A 40 weight is considered the standard for rayon. Several manufacturers offer it in other weights such as 60, 35, 30 and 12. A 60 weight rayon is ideal for creating smaller detail work. To be successful, it should only be used with a smaller needle such as a 60 or 65. When using a heavier weight thread such as 30 or 35, a larger needle will be required.
Polyester embroidery thread has gained popularity in the last few years and is fast overtaking rayon as the thread of choice among st commercial embroiderers. Though not available in as many colors as rayon, there is still a wide range of choices, with more being added every year by the manufacturers. Polyester thread is considered more durable than rayon and can withstand the harsh effects of bleaching. This makes it the ideal choice for garments that will undergo frequent washing, such as service uniforms that are worn in “dirty” environments.
Like rayon, the standard weight for polyester is 40. Some manufacturers offer it in 30 weight as well. Because polyester is slightly stiffer than rayon, fine design details may need to be digitized differently when using it.
Another characteristic of polyester thread is that it is more elastic than rayon. Thus, some stretching followed by rebounding can occur while sewing. The result is tiny loops forming on top of the embroidery design. Therefore, the thread tensions should be increased (on the machine) to control this problem.
Metallic embroidery thread is a specialty thread that is used to create unique textures and special effects. Their construction is very unique and they come in three different variations: core-wrapped, twisted and flat-foil. All of them have some sort of foil used in their construction. These foils are generally metalized polyester. Core-wrapped is the most common and gives the smoothest, most even shine. It is created by wrapping the foil around a core yarn of rayon, polyester or nylon, resulting in a round thread with a metallic covering.
Metallic threads can be difficult to use. They are less flexible than rayon or polyester and do not flow easily. In fact, there is a tendency for them to “kink” while sewing which leads to thread breaks and “bird nests.” Thus, when sewing with metallic thread, slower machine speeds are required along with the undivided attention of the machine operator.
Once again, 40 weight is the most common size. However, even though it is approximately the same thickness as a 40 weight rayon, the density of an area sewn with metallic should be programmed five to ten percent less than if rayon were being used.
I recommend a large eye needle when using metallic threads.
Rayon and polyester threads are known for their high luster finishes. Cotton on the other-hand has a low luster, almost dull finish. This can be quite useful for creating different looks. It is available in many weights, with 40 being the standard, but a limited number of colors. It withstands repeated washings very well, but not bleaching. Cotton is an excellent choice for sewing designs with high detail. It is also very useful for creating designs where the desire is for a low key, understated appearance.
There are many thread choices available to the embroiderer. Chances are you will use 40 weight rayon or polyester for the majority of your work. But take some time to experiment and see what you can create using different weights and styles.
Thread should be stored in a cool, dark location. Manufacturers suggest a humidity level of 40% to 60% and a temperature ranging between 50 and 70 degrees Fahrenheit. Direct sunlight is also not good for embroidery thread, as it can cause discoloration over time. Threads should also be kept covered to prevent dust and lint buildup, which will cause the thread to soften. This leads to thread breaks.
Thread is one of those things that we depend heavily on, but typically ignore until it causes a crisis, such as excessive embroidery thread breaks and/or shreds. Such problems may be the result of a defective cone, but it is far more likely that the quality issues are the result of improper handling and storage.
The most important aspect of thread care is proper storage. Most embroiderers use the same system for managing their thread inventory – all over the place. Walk in to almost any shop and you will see various cones piled up in every available location – counter tops, shelves, desks, the back of a machine, etc.
This is the worst possible way to handle your valuable thread as it can lead to the following situations:
Thread Dents – (What the heck is that?) When a cone falls onto the floor, the point of impact can “dent” the thread, resulting in a weak spot (or spots) that can ultimately lead to problems as the thread travels towards the needle. If you are one of those people who sees the machine as the idle storage location for unused cones, then you are at high risk for causing embroidery thread dents, as those cones will “walk” across the machine table due to the vibration of sewing and ultimately end up on the floor.
Discoloring & Fading – Threads, especially rayon, will fade when exposed to sunlight for extended periods of time. If your threads are stored on a window sill or anywhere that sunlight can strike them full force, you risk fading and discoloring.
Lint Build-up – If your thread is sitting out, exposed to the elements of your shop’s environment, chances are that dust and lint are building up on it at a rapid clip. Over time, such buildup can sink down into the threads. When the thread travels through the upper thread path, it takes the crud with it, dispensing it along the way onto critical surfaces (such as tensioners) that need to remain clean and smooth. The result will be inconsistent upper thread tension and possible thread breaks.
Brittleness – In addition to discoloring and fading, excessive exposure to sunlight can dry out the thread and lead to brittleness in the fibers. Obviously, this will weaken the thread and lead to excessive thread breaks.
So now that you know the results of improper thread storage, it is time to focus on how to prevent such problems. The key is to store your threads the right way each and every day.
The best storage system is one that keeps the threads in a secure location, out of sunlight and free from dust and lint. In addition, it should be a cool environment. If you are a small shop with only a hundred cones of thread or so, then a large plastic container with a snap-on lid will probably work just fine. Avoid the clear-plastic models.
For larger shops, running multi-head embroidery machines, thread storage becomes a bit more complex. Consider a large cabinet with shelves and pull-out bins, either plastic or cardboard. Such bins should not be mechanically connected to the shelves, such that they can be fully removed from the cabinet for easy access. Usually such bins are available in a wide range of sizes. If you have a six head machine, then you want to find bins that can hold at least six cones of thread each. This way, you can store all of one color in one bin and label it on the outside for easy reference. Such a storage system not only protects your threads, it also increases your efficiency, as all threads are stored together and labeled for quick identification.
Of course, if you don’t put the embroidery threads away promptly after using, then any thread storage system you invest in probably won’t help very much. You can also invest in plastic sleevs for your embroidery threads
Author: Frank Prokator
Converting stitches to Outlines
When all you have is a stitch file like a DST or a design from a catalog its very important to know how to convert a stitch file to an Outline file their are two ways depending on your needs.
Sometimes when you convert a whole file you may get artifacts or portions of the machine embroidery design that do not look proper, if your just adding text leave the file as a stitch file, if you need to re-size it then you will need to convert it to an outline, below are the two methods.
1) You want to edit a portion of a embroidery design but not the remaining, use this option , in the sequence view high light the segment that you want to edit and right click or press CTRL E and a menu should appear..
Go to process... and choose stitch to outline. This will convert the high lighted section.
Above you should see the stitches as they would appear after converting the selection , take note of the stitch types, somethings were originally a fill but now that they're converted they are a satin stitch , it was originally 1 piece now its broken in to several pieces and if you need to adjust it it make cause some issues. where gaps will be formed , at these times you may want to repunch that section.
But now you can add underlay or remove components, however unlike a true outline you can only add you cannot change the underlay as it there and you can see it but the software doesn't so you manually have to delete the segment and add to it.
The second method of converting the file is to convert the whole file, you can do it by selecting the whole file and right clicking or pressing CTRL E like previously noted or you can use the second method.
Opening a stitch file as an outline file.
In the file open window, when you have a DST selected you can open the file as a stitch segment see below
When working with stitch files you should be aware of certain attributes and rules that apply to this format. When resizing it doesn't adjust the density, or the stitch count of the design. Which will make for a poor sew out if resized more than 10%. Files that are considered stitch files include, DST, EMB, PCH, PES, PSF, and SEW, HUS and many others. When working with any stitch file you can convert the stitch file to an outline and resize it, this can affect the embroidery design and sometimes it will distort it and editing will be needed to adjust it.
Stitch files are geared for the embroidery machine to sew out the design and do not contain data for outline editing.
When working with outline files you can edit and resize the design and it will make changes and compensate for resizing. Outline files are extremely flexible however not all outline files are created equally. Some files like POF, PED, KWK and CND also contain outline information but their not a PXF file. These files only contain portions of the outline data, and can be edited but have limitations.
NOTE PXF files in Tajima DGML by Pulse are a Unified file format , they include the stitch information and the outline information. Some customers will have PXF files that they cannot edit as they have saved a DST file as a PXF file, and its not the same thing, Just because you can paint an apple orange doesn't make it an orange its still an apple painted orange. A DST files saved as a PXF will steel be a DST file.
Author: Frank Prokator
Drop Shadows and Simple Borders
Adding A Drop Shadow
1. Start with a NEW page in your Tajima Pulse version 14
Go to " New File "
Choose " Blank Design"
Click " Ok "
2. Click on your line angle text tool .
3. Enter in the name " John " it should be about 1 inch tall and about 3 inches long or proportional.
4. Now we can add the Drop Shadow,
Select the text on your screen
Go to the properties tab on the right
Scroll down to where it say
" Auto Shadow "
Check the box beside " Drop Shadow "
You will need to set the offset
Change the X offset to 0.05
Change the Y offset to 0.05
Change the thread color to 2 or desired
Adding A Border to Text (Simple)
This technique is designed for Tajima DGML by Pulse Version 14 Maestro users, while you can if you know how to digitize you can accomplish adding a border to a font generally its quite a bit of work. The difference between this option and the simple is this make a steil border and the simple add a satin stitch underneath, this option only works with a limited number of fonts.
1. Start with a NEW page in your version 14
Go to " New File "
Choose " Blank Design"
Click " Ok "
2. Click on your line angle text tool .
3. Enter in the name " John " it should be about 1 inch tall and about 3 inches long or proportional.
4. Now we can add the border ,
Select the text on your screen
Go to the properties tab on the right
Scroll down to where it say
" Fill Border"
Check Add Border
Change the Border offset to 0.03"
Change the Border Color to Red
Change the Border thickness to 0.03
Now you know how to add special effects to standard fonts, depending on the font the results may vary and depending on your level the option may or may not be available. This tool can be an asset to anyone that needs to add a border to text , while its not a Steil border it gives the illusion that of a border. It can save you an hour of embroidery digitizing by a few simple clicks.
Charge Extra for adding a border to text.
Samples with Borders
Look at these popular fonts, Heather , Marker Brantford.
Author Frank Prokator
Traditionally for most of us we are self taught when it comes to techniques and how to punch, there are general course available that teach us how to use the embroidery digitizing software and some specialty course but very few delve into the advanced options. This topic is one of those advance options as we will take a look at the type of corners available, embroidery software settings for cornering and how to manually adjust corners and the effects of cornering.
Types of corners
There are several types of corners used in the embroidery field;
Hand Sewn Cornering
Auto Turned Corners
Generally in most designs you will often see the auto turned style of corner, where the corner is used at right or obtuse angles, they allow for the angle lines to be placed in a manner that they can curve in a natural fashion. Below is an auto turned corner.
Mitered Style Corners
Generally mitered corners are used when the corner is really acute or tight angles or when your working with small lettering. The example below is primitive , normally a mitered corner would over lap a bit so they do not pull apart or leave gaps.
Hand Sewn Corners
You would thing that this is not ideal but there are a lot of fonts out their that use this cornering method. Here is an exampled of the letter "V" with the hand sewn corner.
Capped corners is a way of hiding the dividing lines when sewing a corner, and sometimes they use a high bread corner like on this font It caps the top but then mitered part of it too.
There are several terms that you will need to understand when working with corners.
Angle Lines Are lines with beads on either side the give the direction to how the stitches are to be sewn.
Angle Line Tool The angle line tools allows you to select and manipulate or draw angle lines on the embroidery designs. Works with Beads. See the tool below.
Beads The beads are line nodes or black dots on when end of the angle lines, they can me moved by clicking on them with the Angle Line Tool.
Beads Tools This tool turns on the beads so that you can view them and be able to edit them.
Tips for Cornering
When you use angle lines to go around the corner give the stitch time to travel around the corner try not to force it into a small area as it will cause the stitches to bunch up and it will have a greater tendency to cause puckering on some fabrics. Usually you will see puckering when a corner has too many stitches and no short stitches . This is very common with digitizers that are newer and that is why a lot of design opt for using a miter corner or a capped corner or a combination of them both.
If you your using a corner like a mitered make sure you over lap part of the design or gaps will appear and it will look shabby.
Do not get angle line happy, some digitizer will tend to put too many angle lines and its not necessary. Typically you need one angle line near the start on the column one about 1/4 inch from a corner on either side with a slight angle to it and one near the end, on circles four or five is all that's necessary.
When using steil stitches you will need to watch how it tries to do a corner and there is some simple fixes that can help you. Here is a example of steil of the letter M where the circles are.
You can edit the steil to correct the wrap around the corners , this is often needed on applique style fonts that have a steil border or outline fonts and other embroidery designs where steil is used.
Typically what you can do this by using the vertex select tool drawing a small box around the area this will highlight the anchors, right click on the anchor you want to separate, choose separate anchor.
Here is what the results will look like. Very much improved. This will help on any steil border.
On satin stitches you cane either edit your angle embroidery stitches or slice it or cap it to get the same look.
When doing satin stitches you want your right angle corners to auto short stitch this is seen below, this will not pucker.
However if you do not take this into consideration when cornering with the satin tool you will end up with stitches like this. In this examples all the needle penetrations are very tight too many stitches in one area will cause puckering on nylon, satin and delicate fabrics.
Note: For digitizers you need to master how to corner the design properly, watch how you put your angle lines down, try not to put them so close together the software will try to space the corners out, when your using a satin style stitch, as long as you do not force to many angle lines on an area.
Tip .. Go to your local fabric store pick up some satin and use this to practice making corners, this is one of the fabric that will pucker if you do not do your corner, if you master it on this fabric all other fabrics will sew out correctly.
Author: Frank Prokator