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Beautiful design, Morning owl look amazing.

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

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

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

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

"Thanks so much for this design It's lovely and stitched out beautifully on leather."
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Showing content with the highest reputation since 11/02/2013 in Blog Entries

  1. 5 points
    Original text by: Katya Ebber Your hoop is not one-size-fits-all. You become acutely aware of it when you need to embroider lace ribbons or edgings. This master-class will tell you how to align machine embroidery designs with lace so that the joining places could not be seen. This master-class shows working in the embroidery design software (creation of the alignment crosses), and also the embroidery process. Preparing the design in Embird Load a chosen machine embroidery design into Embird. Add the alignment stitches and half stitches at the top and the bottom of the design. Copy and flip them vertically. Having added the alignments stitches, change the order of steps in the embroidery, dragging the objects in the objects bar, and also change their color. The main objects should be located between the top and the bottom alignment stitches. Click 'Paste' in the toolbar. In the pop-up list choose 'Basting' and define the stitch length. After you click 'OK' the guide stitch will be added to specify the design's position in the hoop. How to align machine embroidery designs properly Load the prepared design into your embroidery machine and embroider the first color, according to the chart you added in the software. Hoop the water soluble stabilizer and embroider the first design (001). Alignment stitches are embroidered with the last color of the design. They will be used as marks for linking this part of the design with the next. Having embroidered the first design, trim away the water soluble stabilizer near the embroidery. Hoop water soluble stabilizer again and embroider first two colors of the design (the guide stitch and the alignment crosses). Remove the hoop from the machine and add a thin layer of spray adhesive. Using a short pin, join the center marks of the alignment crosses on the embroidery parts and on the water soluble stabilizer. Do the alignment stitches without the thread to check if the hooping went right. If all the crosses and stitches match, begin the embroidery. If the alignment crosses do not match, repeat the alignment process as mentioned above. This method is good for many items where you need to embroider a repetitive pattern. We have embroidered lace today, but if you need to do the edging of the table cloth or curtain, this method will work just as good. Use tearaway non-adhesive stabilizer for fabrics.
  2. 5 points
    Fur Stitch In Tajima DGML by Pulse there is an option which also come standard to allow you to make a stitch called a fur stitch. However I like the manual way which is available in many other levels. I will illustrate both in this document. Why should you use a fur stitch ? Well a fur stitch can be used as a layer to add depth to a embroidery design, here are a few examples where the embroidery design has a fur stitch as the base layer or as an accent. Example 1 Example 2 So what are the two methods ? Well in Tajima DGML by Pulse if you have Maestro level you will have the option to make a stitch called a fur stitch. This tool has some presets built into it . and here is what the tool stitch looks like. Here is what the satin tool option looks like both are very similar. Lower density is often associated with the fur stitch as its their to add texture.. When your using this technique your going to want to add a few layers of top stitches. Here are the next several layers. These layers are made up of similar color palettes to allow blending on the colors using various patterns, densities and stitch types will allow you to make detailed designs. In this case the embroidery design used the fur stitch technique for all these layers, but at a lower density of 28 spi. In the above layers they used run stitches, and regular satin stitches to add the detail. After you pull all the data together you get one awesome machine embroidery design. Author: Frank Prokator
  3. 5 points
    NEEDLE GUIDE 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, Needle Application 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.) Needle Tips 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, Needle Eye The are times yo will need to order a needle with a specific eye size, especially for working with Metallic embroidery threads. COATED NEEDLES 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. THREAD BREAKS 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. NEEDLES BREAKING 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: TROUBLESHOOTING NEEDLES 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 REVIEW 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
  4. 4 points
    General Information for placement When using the charts included in this document, the measurements are based on the following places to measure. (A) is the distance from the shoulder seem wear it meets the collar, down to the middle of the design.( is over from the center of the garment, if it has a zipper or buttons it should be measured from their. All measurements are in imperial system ( inches ) Recommended standard designs for a left chest should be around 2.25 inches high by 4.5 inches wide. Shirts with Pockets When working on garments that have pockets you may want to ignore the normal way of measuring as the design may not look appropriate. I center the embroidery design above the pocket usually about .5 inch and limit the design to a maximum of 2 high if not it will look to high on the shirt. Center it with the button hole on the shirt. When referring to the documentation its noted on the gender as this will impact the placement, typically its 5-7” (women) 6-9” (men) and 4-5” from the center. ( A ) DOWN ( B ) ACROSS Men S 6” 4” Men M 6” 4” Men L 6 1/2” 4 1/2” Men XL 7” 5” MenXXL 7” 5” Ladies S 5” 4” Ladies M 5” 4” Ladies L 5 1/2” 4 1/2” Ladies XL 6” 5” Ladies XXL 6” 5” Crew Cut Sweaters or T-Shirts There is two places to sew embroidery designs on sweaters or T-Shirts, left chest or center of the chest. ( A ) DOWN ( B ) ACROSS Men S 6” 4” Men M 6” 4” Men L 6 1/2” 4 1/2” Men XL 7” 5” Men XXL 7” 5” Ladies S 5” 4” Ladies M 5” 4” Ladies L 5 1/2” 4 1/2” Ladies XL 6” 5” Ladies XXL 6” 5” Center The center of the embroidery design should be parallel to where the bottom of the sleeves on tight fitted sleeves, on larger or loose sleeves the embroidery design should be 2” above the bottom of the sleeve. Hoodies When placing a design on the back , remember to adjust the designs location so the hood doesn't hide it. but on the front you can measure. ( A ) DOWN ( B ) ACROSS Men S 6” 4” Men M 6” 4” Men L 6 1/2” 4 1/2” Men XL 7” 5” Men XXL 7” 5” Ladies S 5” 4” Ladies M 5” 4” Ladies L 5 1/2” 4 1/2” Ladies XL 6” 5” Ladies XXL 6” 5” Center The center of the embroidery design should be parallel to where the bottom of the sleeves on tight fitted sleeves, on larger or loose sleeves the design should be 2” above the bottom of the sleeve. Jackets When placing design on jackets take time to look for garments that have the embroidery pocket , it allows for most machine embroidery designs to be embroidered on left or right side. Looks professional when completed, and less chance of the hoop popping off and or hitting a zipper. ( A ) DOWN ( B ) ACROSS Men S 6” 4” Men M 6” 4” Men L 6 1/2” 4 1/2” Men XL 7” 5” Men XXL 7” 5” Ladies S 5” 4” Ladies M 5” 4” Ladies L 5 1/2” 4 1/2” Ladies XL 6” 5” Ladies XXL 6” 5” General rule for jacket backs When working on jackets you will need to also know where to place some larger embroidery designs on the back. This will depend on a few variables. Partial back 6 x 10” design 4” down Full back 10 x 10” design 3” down Caps When working with caps you should make sure that the design has been made to stitch from the center out, designs that haven't been digitized for this will often push off of center. Except when you get customer that want them off center. Depending on the type and size of your cap frame will depend on how large your designs can be, it also will depend on the cap your using. Average embroidery designs are 2.5" H and 4.5" W When embroidering logo on the back try to curve them to match the back curve of the cap, use a regular hoop for hooping. The Design should be 1.5" H x 3." W they can be large if the cap supports them. Special Materials When working on any special materials there is no set rules on where you can place it, however you have to be able to hoop it, I often sew on the front side of a hoodies 1 inch in, I use the Hoop tech clamping system which allows me to clamp very hard to hoop items including some of the following bags, towels and carpets straps and many other items. When sewing on bags you will need another method for clamping them. Here are some locations where you might sew some embroidery designs. Typically I make the design , 3.5” W x 4” H but it can be longer if the embroidery logo fits..but try to center it to the best of your ability. If you would like to use the software to see if the design will fit , you have the option of viewing hoops in your embroidery digitizing software. In here you can pick the different styles of hoops.
  5. 4 points
    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.
  6. 4 points
    TREADING on DISASTER I wen to a customers shop over the Holidays and he expressed concern that he was having quite a few thread breaks and other issues of late in his shop, and I wanted to see why, they embroidery designs he has run worked for previously on his equipment and he mention he having a lot of issue now. I got their and he said they added the screen printing business several month ago to their shop and the printing press is very close to the embroidery area. I said this is a problem.. If its not causing you issue now it will down the road. When you screen print you often use a lot of are sol and chemicals which also put a film on items in the environment. I took a look at the machine and the threads on the wall and they all had a film on it. I told him he was treading on disaster, the environment is and will impact his embroidery machine. ENVIRONMENT The environment for any embroidery machine should be clean as possible as the needles and embroidery threads are very delicate. You should be cleaning the machines, tables and threads areas often as dust will build up in the area and impact your materials, and possibly your garments. I suggest that you keep the embroidery thread in boxes, or clear containers this will help minimize the dust on the threads. Did you know dust on the threads can cause tension issues , gumming up the top threading mechanism, dust can cause thread breaks and even broken needles if the particle is too large for the eye of the needle. You embroidery machine area should also be cleaned on a regular basis, this means wiping it down, oiling the machine and making sure its a clean environment. This will go a long way to helping your machine run smooth. THREADS Depending on the type of embroidery thread, and size of thread you use this could also effect your embroidering experience, Most shops use a polyester thread and its more durable and generally easier to use. Its a bit stronger than cotton threads, and sometimes cheaper. The average thread types for most shops is 40 wt this is the most common size, If you do a lot of small detail or letters you may have 50 wt or 60 wt thread on hand, if so you will need to be able to change the tension on your machine to accommodate the change, same goes if you use 20 wt or 30 wt thread you will need to be able to change your tension. TENSION Everyone needs to know how to adjust their machines but their is a simple test to check the machine , make a column stitch with no underlay or compensation for each needle of your machine, the columns should be a quarter inch thick and each column should be a different color, then sew each column out , flip it over and look at the image below and gauge the tension of each needle. Now its good leave it alone, if its too tight, loosen it with a quarter turn, if its too loose tighten it with a quarter turn. LEFT LOOSY, RIGHTY TIGHTY is the easiest way to remember your tension guides. Check your machine manual for adjusting the thread on the machine as each machine may be a bit different. METALLIC THREADS When working with Metallic threads you will also need to loosen your tension as they need a little more give as they often have a fleck embedded in the twine and it doesn't have the same give as a polyester thread. Use the above guide to set your tension for specialty embroidery threads. NEEDLES When on customer sites I often ask them when the last time they change their needles, I often get when they break,, A needle can drastically effect the clarity of your work, as well the sharpness of the machine embroidery design, a dull needle will often tear through the fabric instead of spreading the fibers, this can affect quality, thread breaks, and more, There are also different tips of the needles, different sizes and different size holes, which all can impact using embroidery threads. Important Points to Remember Needles DO NOT last forever, they should be replaced approximately every 8 hours The eye of the needle should be 40% larger than the diameter of the thread When going to a larger size of thread, a larger needle should be used Use the appropriate needle for the type of fabric being sewn When using metalic thread use a larger eyed needle TROUBLE SHOOTING NEEDLE ISSUES UPPER THREAD BREAKS, Check the upper thread path, tension is incorrect or replace needle BOBBIN THREAD BREAKS, Replace bobbin, check bobbin tension, check upper thread path SKIPPED STITCHES Check upper thread path, change needle , do tension test, check size of needle FRAYED STITCHES Eye of the need clogged or too small, upper thread caught check path, remove a meter of thread, THREADS LOOSE ON BOBBIN SIDE This is often caused by poor tension or improperly squenced upper thread path. BOBBIN THREAD SHOWING ON TOP This can occur if the bobbin tension is too tight compared to the upper tension, check bobbin tension and upper tension using the tension test. FABRIC PUCKERING A design that puckers the fabric can be caused by being poorly digitized, the fabric as nylon tends to pucker, and or can be caused by wrong tension usually too tight of a upper thread tension. Check bobbin tension and make sure your using the right backing for the material. NEEDLE SIZES Here is a chart of what size of needles work with the different embroidery threads.. OVERVIEW A clean shop and work area will help you and your embroidery machine, testing the tension on a regular basis will also help tabs on it to avoid disasters on jobs. If you have not changed your needles and you do a lot of embroidery starting up the New Year you may want to replace them all. Author: Frank Prokator
  7. 3 points
    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. Fusible Backing 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. Cut-away Backing I tend to use this on material that either stretch a lot , or are laundered a lot as it helps the embroidery designs 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 Golf jerseys Knit golf shirts Lightweight woven silks Wool / acrylic sweaters Bathing suits / Lycra / Spandex Tear-away Backing 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. Towels Hats Cotton / polyester Corduroy Sheets 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 Reverse applique 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. Stabilizer Review 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..
  8. 3 points
    Original text by: Nata Beloshveika Many of you have received big orders for t-shirts embroidered with logos. Sometimes rehooping takes more time than the embroidery process itself. I mean, the embroidery has to be in the same place on all items, if possible. So what do we do? Should we do the measuring and marking every time? But it is quite a laborious task, and boring, too. A solution exists! I want to show you my way of doing it. Embroidery on t-shirts. Materials and tools: A t-shirt A machine embroidery design Upper thread Underthread Double-sided adhesive tape Printing paper Embroidery stabilizer (Filmoplast) A ruler or a triangular Tailor's chalk, design knife, scissors Embroidery on t-shirts. The making process: I create all my designs by myself. Previous to the beginning of the embroidery I run a guide stitch 5-7 mm away from the contour. Hoop one layer of printing paper. Run the guide stitch without a thread. Carefully cut out a window in the paper along the stitches with the knife. Stick a double-sided adhesive tape around the perimeter of the window. Take off the first layer of adhesive. Now I'm going to mark out the placement of my future embroidery on the first t-shirt. To do this I measure the front side and mark the bottom left corner of the design with the chalk. Onto the marked t-shirt I put a layer of printing paper in order to create a template for hooping other t-shirts. I draw all the necessary outlines there — neck hole, shoulders, arm-holes (for small size t-shirts, because the L-size ones will not fit into the A4 format), central line or placket line for a polo shirt. Also I mark the left corner of my future design with the cross. Then I put the hoop on top of it, so that the cross on my template would be exactly in the lower left corner of the hoop. This is important! You should make sure that the hoop lines to the template and the t-shirt — check horizontal and vertical marks (vertical are very handy for checking against the knitwear loops), so that it would not move. Then I trace the hoop contour (it's better to use a felt pen to make the lines visible of the wrong side of the template) and cut out the template along the construction lines (neck line, middle, arm hole). The template is ready! All of this has been a preparation job. Now we proceed to the hooping. I cut a piece of filmoplast, so that it would cover all the adhesive tape frame. Stick it onto the adhesive tape, take off the protection layer. I take the t-shirt inside out and put the template on top of the left (!!!) half of the t-shirt. Then I superimpose the neck hole, the central line and the arm-holes. Put a hoop on top of it (with the layer of adhesive facing down), superimposing the hoop and the template. Carefully remove the template from under the hoop, so that it would not move. Once again carefully (the hoop must not move in relation to the t-shirt) fold the t-shirt around the hoop — first the sleeves and then the bottom. Then I turn the whole thing over and stick filmoplast to the t-shirt, smoothing it out with one hand. Carry it to the machine, without turning it right way round. Having unfolded the hoop on the side where the screw is, I set the hoop into the embroidery machine, smooth out the t-shirt under the foot and turn it the right way round to open the embroidery area. Now I begin to embroider. After having completed I take off the hoop from the machine and carefully unstick filmoplast from the adhesive tape. And after that I begin this all over again — stick filmoplast into the hoop, put a template on the t-shirt, stick the hoop to the t-shirt and embroider. All this is done very quickly and the result is of a high quality. I wish you the same!
  9. 3 points
    News in Embroidery Office Version 15.00 - New in this version File Menu redesigned. Application Button was replaced by a wider menu. The user interface of all the functions was improved. Start Page window redesigned, providing direct access to frequently used functions when opening the application. New function: Post embroidery design samples through Twitter. Several improvements in the organization of the ribbon bar. Improved thread/colors toolbar (embroidery). Thread/Colors palette window redesigned. Mark favorite embroidery thread codes. Improved hotfix beads toolbar (rhinestone, sequin, etc). Stones/Sequins palette redefined for faster selection. Mark the most used beads as favorites. New tool: Mathematics Shapes for creating new shapes (lines or areas) specifying just numerical values. New capture mode: Freehand to create embroidery objects. New capture mode: Freehand to create stones / sequins objects. Patterns Library redesigned. Programmable Stitches Library redesigned. Textures Library redesigned. Fonts Library redesigned. Stitch Styles Library redesigned. Hoops Library redesigned. Smart Design Improved, Fast mode switching: embroidery/hotfix editing, embroidery/hotfix creating, auto-digitizing vectors. Improved dialog boxes Open / Save Documents: Direct access to cloud-drives, access to the list of recently used folders. Export to file format TBF (embroidery). Export module for Hotfix redesigned: More functionality and equipment compatibility. Improved Information Card (Infocard), also presenting Hotfix features (stones and sequins). Estimated Costs / Prices for Hotfix (stones and sequins). New effects in the optional HF Effects (globe, grid, etc). New feature (optional) Team Names for Hotfix (stones and sequins). Solve Overlaps tool Improved (hotfix). Conversion from Embroidery objects to Hotfix objects and vice versa. Hotfix Ring In Fill improved: Preset Styles, density per layer, repetition control. New Hotfix style: Hotfix Ring Out (included in the optional Advanced HF Fill Pack).
  10. 2 points
    Большинство вышивальных машин и программного обеспечения неправильно отображают цвета на экране. Для того чтобы вы могли выбрать точные или идентичные цвета (мы используем Robison Anton цветовую палитру) к каждому дизайну идут дополнительный графический файл в формате JPG или PDF. Если у вас есть программа Embird (www.embird.net) вы можете увидеть коррктное отображение цветов. Для этого вместе с дизайном загрузите файл цветовой поддержки (наша абревиатура) в формате *.EDR. Тогда просматриваемый файл будет иметь правильный вид. На представленном ниже изображении мы можем видеть разницу. Слева дизайн использует правильную цветовую таблицу представленную в файле EDR, а справа цвета произвольные подобранные самой программой. Наличие файла в формате EDR позволяет вам при наличии программного обеспечения самостоятельно получить набор цветов для другой цветовой палитры.
  11. 2 points
    Master-class by: Irina Lisitsa Beginner owners of embroidery machines are at a loss when overlooking the vast majority of stabilizers. This series of master-classes will teach you the basic rules of hooping of various types of stabilizers. After having read this you will be able to hoop an adhesive stabilizer (Filmoplast) in the right way. This type of stabilizer allows you to secure fabric with a layer of adhesive. Works good for fabrics of high and medium density, and also fabrics that cannot be hooped, like leather, chamois and coated materials. How to hoop Filmoplast We will need: Hoop Filmoplast stabilizer Marker Scissors Ruler Put the stabilizer with its paper layer facing up. Mark the borders of the hoop. Cut a piece of stabilizer, using the marking on the paper layer. Put it on the outer ring with the paper layer facing up. Put the inner ring onto the stabilizer and press it down. Pull the edges of the stabilizer to smooth it out. Screw your hoop tightly. Put the plastic template on the hoop and mark the borders of embroidery area with a marker. Outline the borders of embroidery area with a marker or use the markings on the stabilizer. With the sharp end of scissors cut the paper layer along the lines. Take off the paper layer of stabilizer, to free the sticky side. Stick your fabric onto it. Embroider your design. When the embroidery is completed, take the design off the stabilizer.
  12. 2 points
    Original text by: Irina Lisitsa To demonstrate the process of making an openwork embroidery I chose two-thread french terry, because this type of knitwear is stable, trimming distorts it very little, and therefore, is perfect for this machine embroidery technique. You can do this on any sewing or embroidery equipment. The making process is the same as with openwork and cutwork embroidery on any other fabric. This master-class will help the beginners to understand that machine embroidery on knitwear is not all that difficult. Materials for embroidery on knitwear: • Knitwear fabric (0.3 mm two-thread french terry) • Tearaway adhesive, either Stiffy 1860B or 1640B • Water soluble film • Upper thread • Underthread • Machine embroidery design (download or buy one from our shop) Openwork: The making process Stick a tearaway adhesive of an appropriate density to the wrong side of your fabric. Hoop the stabilized fabric and turn in the screw. Embroider the first color of your design (usually it is the stitch, which will outline the future design and mark the areas that will be cut out. Take the hoop off the machine and make small incisions in the center of an embroidered area, using scissors, a razor blade or a ripper, then cut away the bits of fabric with scissors. Put a thin layer of a water soluble film on top of the fabric and secure it with pins. Be careful not to put pins into the embroidery area. Set you hoop into your machine and continue the embroidery. After having embroidered the design, remove the stabilizer leftovers from both the right and wrong side of the item. Press the embroidery on the wrong side, on several layers of terry towel, so that the machine embroidery would preserve its density and not become flat. Your openwork on knitwear is now ready!
  13. 2 points
    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: Embroidery threads Machine embroidery design The top stabilizer, a water soluble film Your item 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!
  14. 2 points
    If you are reading this article, it means that your interest for machine embroidery has overcome the beginner stage, and you have decided to master the embroidery software to choose the right one for creating cross stitch patterns. A lot of manufacturers, in order to increase embroidery editor capability, add a software module that allows creating cross stitch patterns and saving them into the formats recognized by the embroidery machines. What are these software products you'll learn from this article. I want to bring to your attention the fact that in this review I only point out those software products that allow creation of cross stitch patterns for embroidery and sewing and embroidery machines. Also note that you'll find only the widely known software products on this list, for I skipped the lesser known ones. Creation of the cross stitch patterns Creating cross stitch patterns for embroidery machines, on one hand, is the easiest of all digitizing tasks, but on the other hand, the most complex one. It depends on the principle of creation: whether a designer will work with ready patterns or create the new designs completely out of his head or using the images (such as photographs) of his own. Fortune favors a designer that has decided to try and digitize a ready pattern. There is no need to think about such design characteristics as basting, density and pull compensation. There is no need for using imagination to convert a photo into a cross stitch pattern. One just needs to figure out what types of cross stitch there are in hand embroidery, which ones can be created in the software, and after having mastered the tools, to create stitches one by one. A designer that wants to create cross stitch patterns from images or photos has to face all the problems with color scheme, stitch types and their size. This requires a creative approach and artistic thinking. To be through with the embroidery software once and for all, you need to understand that it comes in standalone editors and also built-in modules. I don't want to throw my weigh around and influence your decision, and yet I want to make some comments about the usefulness of various software products. The software for creation cross stitch patterns falls into two main categories: Standalone editors Of all the software meant for creation of cross stitch patterns and conversion of the files into the format recognized by embroidery machines we can single out two products: • PatternMaker for CrossStitch • CrossStitch Professional Platinum Both of these software products were designed for creating hand embroidery cross stitch patterns, and only later the manufacturer added an option of saving the result in a format recognized by an embroidery machine. Although both of these editors were designed for creating hand embroidery cross stitch patterns and have practically all the tools for creating machine embroidery designs, in my opinion, CrossStitch Professional is slightly superior to PatternMaker. Notably, the latter of the two lacks an option of saving most of the special stitches (cross stitch) into a format recognized by a machine. Both software products work with scanned patterns as well as process images automatically and create designs with the help of the tools. Additional modules Nearly all big embroidery editors have additional modules that allows creating cross stitch designs. Sometimes they come as an in-built solution, sometimes you need to buy them separately. Embird (bought separately) has an automatic conversion tool, and also an option of fitting the scanned patterns into the open documents to make the process of creation more easy. You can also create cross stitch patterns with tools. Conversion of the special stitches is present. Wilcom ES – has an automatic conversion option, is able to create cross stitch designs from scanned pattern and has tools for object creation. There is also canvas changing option and the possibility to set the stitch count. The capabilities of the software are sufficient for creating cross stitch patterns, but one would wish more operational comfort. Bernina ES (in-built) — practically the same as Wilcom ES. Digitizer MBX/Pro (bought separately) — practically the same as Wilcom ES. They cost about $160-200 each. PE Design (in-bulit) – this software had an automatic conversion option, and you can also work with scanned patterns. Creation of the cross stitch patterns with the help of tools is not the best here. Compucon EOS — automatically converts images into cross stitch patterns and also has tools for creating objects with cross stitch fill. Tajima DGML by Pulse (in-built up to v. 14) — starting form the next version there is no automatic conversion tool. The software only has a tool for creating objects with motif fills and also one for creating cross stitch lines. Which software product to choose for creating cross stitch patters, is entirely up to you!
  15. 2 points
    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. Materials: Water soluble stabilizer Spray adhesive Upper thread Underthread 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.
  16. 2 points
    Original text by: Olga Ionova This master-class will tell you how to do cutwork embroidery. Cutwork embroidery has its own aspects, and if the design is beyond the hoop so that you have to join its parts together, the amount of the aspects doubles. This master-class will tell you how to do cutwork with alignment and border designs without the special hoop, but with the help of alignment stitches instead. Cutwork embroidery. Materials: • Fabric or an item to be embroidered • Tearaway stabilizer • Water soluble stabilizer (film) • Upper thread (white) • Underthread (white) Cutwork embroidery. The making process Prepare your fabric. Iron it and press the tearaway adhesive to the wrong side. In keeping with the design do the marking. Mark the fabric in accordance with the plastic pattern of your hoop. Tightly hoop the fabric and the stabilizer. You can add pins, too. Cutwork embroidery design must include several colors, which will mark the places for your machine to stop. The first color will be a Ran stitch, also zigzag may be added. Having embroidered the first color, stop the machine and take the hoop off. Marked are the areas that will be cut out. These are always enclosed areas. Don't unhoop the fabric! It must stay in the hoop. With the help of scissors cut away the areas inside the objects from the stitching, trying not to damage it. Use the stork embroidery scissors or the ones that were specially designed for cutwork. Put a layer of thin water soluble stabilizer on top of the fabric and secure it with pins. Set you hoops in your machine run the embroidery with the second color. The embroidery consists of finishing the open areas with zigzag stitches and later with satin columns, while water soluble stabilizer is used as a substitute for the fabric. It holds the fabric and the cut-away details together. The order of cutting and finishing depends upon the programmed sequence. The details here should be cut away and embroidered one after the other. Embroider all the details as was described above. Embroider all the elements of the design. Cutwork embroidery. The alignment of the elements When embroidering borders or repetitive design patterns you have to do the alignment. Therefore, draw the central line while doing the preparations. To get the exact match between the different parts the design must contain the alignment stitches and crosses (dots and lines). In the first part of the embroidery they are embroidered the last. The alignment spots marked violet on the photo. If you add the alignment crosses by yourself (it can be done in any embroidery software editor), mark them with different color from that of the last part of the design. You can mark the places where the needle will hit the alignment crosses by moving down the balance wheel, but not perforating the fabric. This works extremely good for leather. The last part of the embroidery before next may include tacking down the first object of the part that will be hooped next. You can use this stitch as an additional alignment mark. Cutwork embroidery. Rehooping Take the embroidered detail out and press it flat, moving the iron carefully up and down. Never use steam! Hoop the next part of the fabric to be embroidered in accordance with the marking and the hoop pattern. Set you hoops in your machine and make sure that the first is the color of the alignment crosses. All alignment spots must match! You don't have to embroider them, just move the balance wheel down and see if the needle hits the marks. After that the embroidery will go as was described above. Having completed the embroidery, unhoop the fabric. Cut away the excessive water soluble stabilizer on both right and wrong side. Tear away the tearaway adhesive stabilizer. Wash the water soluble stabilizer in the warm water until it will go off completely. Dry the embroidery until it becomes only a bit wet. Press your embroidery on something soft like a folded terry towel covered with a thin cloth. Press the embroidery flat in up and down motions only! Never move an iron side to side or back and force. It's done!
  17. 2 points
    This step by step instruction for free machine embroidery design Hardanger is based exactly on the same principle as cutwork. Hoop the fabric together with the water-soluble stabilizer. With the first color, you embroider the outline to mark the area where the holes will be cut. After that, without making a stop (to avoid extra knots), add a zigzag stitch on top of the outline. Having done that, take the hoop off the machine and cut holes in the outlined area, trying not to damage the stabilizer (Image 1). Second color – a laced net is added in place of the cutouts (Image 2). Third color – it's recommended to use the thread of a matching color here in order to create a drawn fabric effect (Image 3). With the fourth and the fifth colors, the design itself is embroidered, ending in a zigzag border. After that, you need to take the hoop off the machine and trim the fabric along the edges of the embroidery without touching the stabilizer (Image 4). Sixth color – a decorative stitch is stitched along the bottom part of the design (Image 5). Seventh color – lastly, the lips, nose and cap are embroidered (Image 6).
  18. 2 points
    Original text by: unknown Every embroiderer has been in a situation where an embroidery machine that was running smoothly only a day before, suddenly begins to break the upper or the underthread almost every stitch. Such a problem, in case you eliminate the possibility of mechanical breakage, is connected with certain processes, and also with the quality of the embroidery materials you use in your work. If such a situation occurs, try to solve the problem yourself before calling a service engineer. In this article we tried to describe possible problems and their solutions, ranking from the easiest to the complex ones. Resume the embroidery process after having done this or that, to check if the problem has disappeared. Why does the thread breakage occur Upper thread Underthread Stabilizer Needle Shuttle 1. Upper thread Tension regulation. Check your upper thread tension. Often the reason for the thread breakage may be too tight a tension. Wrong threading may be the reason for thread breakage, too. In this case rethread your machine in accordance with the manual. An upper thread of poor quality. If breakage occurred after replacing the upper thread, get back the bobbin you used before that. If breakage stops, buy embroidery threads of some other brand. Rayon thread. This thread often causes thread breakage trouble for beginners. Threads literally "leap off" the bobbins. This problem is very easily solved. Place a grid on the bobbin case and reduce the embroidery speed. Metallic thread. When working with this thread use a special grid, set a needle for metallic threads, and also reduce the embroidery speed. 2. Underthread The wrong size of the bobbin. However strange it might seem, such a problem exists. Check your manual to see what type of the bobbin is recommended for your machine. Wrong winding may become the reason for thread breakage, too. In this case unwind the bobbin and rewind it after that. Wrong threading. One of the common reasons for thread breakage. Carefully read that section in the manual that describes how to insert the bobbin, and do accordingly. Thread thickness. One of the well-known reasons for thread breakage. Some of the sewing-embroidery machines just won't work with a very thin bobbin thread. In this case you should get a thicker thread. All sewing and embroidery threads have their own thickness, determined by the number. The greater the number is, the thinner is the thread, and vise versa. For example: An upper thread #200 is thinner than #30 3. Stabilizer Glue particles adhere to the thread and the needle, holding back their movement, which causes the thread to break. If that's the case, stop the machine, clean the needle with alcohol, and rethread. Repeat every time your thread breaks until the embroidery will be completed. After that refrain from using this particular type of adhesive stabilizer or spray adhesive in your work. On the internet you can find many recommendations on the original use of various materials. You can count the use of double adhesive tape and sewing stabilizers, which are not manufactured specifically for our purpose and may cause thread breakage. The problem itself, together with the solution, was described above. If the cleaning does not help and the thread continues to break, stop the embroidery and change the stabilizer. 4. Needle A bent needle, burrs and a blunt needlepoint may also be the reason for thread breakage. In this case change the needle to a new one. Also if the needle type is wrong for the particular kind of fabric, this may lead to the thread breakage, too. Read the information on how to choose needles, in our future articles. 5. Shuttle In some embroidery machines the bobbin case used for the embroidery is different from the one used for sewing. If you have encountered the problem with thread breakage, check the one that is currently in use. Burrs on the bobbin case are often the reason for the thread breakage. Take out the case and inspect it. If there are burrs and scratches present, polish them with a soft abrasive cloth. When it will be possible, buy a new bobbin case. Scratches on the throat plate caused by the needles hitting it may lead to the thread breakage. Inspect the throat plate from above and from below, and if you find burrs and scratches there, think of buying a new one.
  19. 2 points
    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?
  20. 2 points
    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?
  21. 2 points
    Original text by: Irina Lisitsa Sometimes when I talk to the beginners or those in the process of choosing their first embroidery or sewing and embroidery machine, they ask me if there is a possibility of embroidering on terry cloth. The answer is: yes, but! You must follow the rules. The stitches of the already embroidered design may sink down and be lost in the pile and the thread or the needle may be tangled when embroidering on high speed. The needle breakage may follow, sometimes it may even spoil the embroidery. There are many useful videos on the internet, and I offer you one of them. It is a step-by-step guide, which will help you to understand hooping and embroidery processes even if you are not familiar with the terms. The master-class was done on a sewing-embroidery machine Brother Innov-is V7. Materials • 180*300 mm hoop • Upper thread • Underthread • Sewing and embroidery marker • Temporary spray adhesive • A terry towel size of 250x500 mm and bigger • Water soluble stabilizer • Non-adhesive cutaway stabilizer Embroidery on terry cloth: Tips When choosing a design for terry cloth, densely filled ones are preferable. The designs created with straight stitches may be lost in the high pile of the fabric right after the first wash. Water soluble stabilizer is used so that the stitches lie flat. It is used as the top stabilizer. Water soluble stabilizer comes as the film of varying density. I used dense water soluble film in my master-class, but don't hesitate to use a thin one. After the embroidery is completed, it can be removed more quickly and easily. Use a cutaway or a tearaway non-adhesive stabilizer as the underlay. Tearaway stabilizer is better, because it can be removed more quickly after the completion of the embroidery. Use printed templates to specify where your design will be placed. You can print your template with the help of PE Design. Embroidery on terry cloth: First option 1. Using the printed template, mark the center of the embroidery on the towel. 2. Add a layer of spray adhesive on the tearaway non-adhesive stabilizer. 3. Stick your terry towel onto stabilizer. 4. Put a layer of the water soluble stabilizer on top of it. 5. Hoop this 'sandwich', aligning them so that the center mark on the stabilizer is right on top of the center mark on the towel. 6. Screw it tightly. 7. Set you hoop into your machine. 8. Load a machine embroidery design from USB-flash or choose the design from the memory of the sewing-embroidery machine. 9. Embroider your design. 10. After embroidery is completed, remove the 'sandwich' from the hoop. 11. Cut or tear away you underlay. 12. Holding the material in place with your hand, tear the stabilizer away. 13. To remove the stabilizer between the objects saturate a sponge with water and give a dab. You can wash the ready embroidered item by hand. Embroidery on terry cloth: Second option 1. Using the printed template, mark the center of the embroidery on the towel. 2. Add a layer of spray adhesive on tearaway non-adhesive stabilizer. 3. Hoop your stabilizer and screw tightly. 4. Stick your terry towel onto the stabilizer. 5. Put the water soluble stabilizer on top of it. 6. Secure the towel and water soluble stabilizer with pins. 7. Set you hoop into your machine and embroider the design. 8. After the embroidery is completed, remove the top stabilizer and the underlay. See the video here.
  22. 2 points
    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.
  23. 2 points
    Digitizing Technique When you start to digitize or whether you have been embroidery digitizing for a while we seem to all develop bad habits. One problem I see with designs is they all look the same, There are quite a few different techniques that we can apply to designs, to give the design a bit of lift or texture. In the past we have covered Blending, Advanced Blending , Blending Applications. However there are lots of ways to add depth to a design. Often design will have basic stitch types like satin stitches, or fill stitches and while there is a place for these I would recommend you experiment with newer techniques.. Lets take a look a leaves or peddles there are quite a few different techniques that can be used. Please note not all levels will have all these tools check with your distributor. The above stitch types can be add dimension to your embroidery designs in addition you can add a bit of flare by introducing another layer to the design, this is another way to add depth to a design, this also can be labelled blending, is very simple to do by just putting another layer over top of the other. I recommend playing around with the density to find the look your looking for. Also by changing the fill pattern , density and or stitch length or in some cases spacing of the fill or satin like in the fractal fill or cascade fill to will adjust the density. ( See Below ) When working with any type of stitches you can further change the effect by changing how the edge looks on a fill or satin stitch, do take a look at the settings here are the four types of connections for the edge of each embroidery pattern. This controls how ruff the out side edge is going to be stitched, and can have an impact on how it looks. The ends will also have an impact on how the pattern sew up.. or how smooth the edge of the embroidery design is. Another great tool that most of you have if you have a embroidery digitizing program is the run stitch, this is a very versatile tool , although often its over looked, It can be used to make a wide range of patterns, from the basic run, bean, half been and programmed run. this embroidery stitch type can also be used to reduce trims by connecting items with a manual line from a section to another section, it can also be used for manual underlay, and it can be used for decorative stitches on top of a fill or satin to add detail to the design. This tools is very simple to use, for a sharper points or more detail reduce the stitch length, for large areas increase it. If you have a run tool you can make any of the other stitch types. There are hundreds of possible combinations, settings and textures you can make as long as you explore your software, try new things sew them up you will be amazed as some textures you can make. Author: Frank Prokator
  24. 2 points
    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 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 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 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. COTTON 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 STORAGE 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
  25. 2 points
    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.
  26. 2 points
    Specialty Threads In the embroidery industry we often encounter issues with specialty embroidery threads, and or applications these sometimes require special threads, backing, and needles. Metallic Threads 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.. PERFORMANCE BACKING 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. BLACK BACKING 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
  27. 2 points
    Digitizing Corners 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; Auto-Turn Cornering Mitered Cornering Hand Sewn Cornering Capped 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 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. Terminology 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. Settings 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. Splitting Anchors 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
  28. 1 point
    Free embroidery software download here Question: For some reason this will not completely install and I've tried several times. I'm using windows 10 with 4 core processor and 8 GB of ram and over 400 GB of free space. I have No issues downloading other programs so it must be some sort of problem with the program I believe. I hope someone else can confirm this. Support answer: Please try the following: 1. Clean up all temp folders. In an explorer’s address bar type %temp% press enter. Delete all files that are allowed to be deleted. 2. Go to C:\windows\temp Delete all files. 3. Disable you antivirus software and try to make a new installation.
  29. 1 point
    A question we have been asked many a times on our blog and via our audience. However, we were keen to poll the community and find out exactly which brand you find the best, what better place to do it than here. Please vote on your best embroidery machine and we will update the results to our recent guide to share with our embroidery fanatics! Happy Voting!
  30. 1 point
    Printing of labels requires that materials be of the right label and the one that suits the customers and specification. The materials need to have long-lasting and quality prints, with amazing number of colors you need and with the right layout or barcodes. There are numerous number of ways in which labels can be produced, some of which require great equipment although others are just easy, reliable and very convenient to use. These methods or technologies include; DIRECT TO GARMENT PRINTER. It involves printing on textiles using a certain amazing technology of using ink jet. The DTG printers hold the clothes at a constant position, the specialized ink jets smear the ink on the garment using the print heads, and they directly absorbed by the fibers in the garment. It generally used in printing of T-shirts, canvases, bags among others. The most attractive features about the direct to garment printer is its incredible features which include high quality printing which actually requires low cost per print, its vast24 by 16 printing area and eventually its removable platen system. These features ensure that this printer stands out from the others and hence preferred by most people. DIRECT GARMENT INK. It offers an exclusive simplicity of the fixation process and an eco-friendly way of printing on natural fibers. These inks are largely suited to fabric materials and they are mostly used in printing of garments.DTG Ink is made in such a way that it can highly improve performance on fabrics and its associated blends. These inks can bring about fantastic results especially due to their color strength. This in turn will bring about excellent results of the DTG printer. Before the process of printing begins, the garments should coat with a pre-treatment liquid with the sole purpose of enhancing color reproduction so that the color can appear on top of the fabric. KEY FEATURES OF DTG INK. The color strength is high. The jet ability is reliable and accurate. Clog free print heads. Great print head performance. One of the key things to note is that DTG Ink is not applicable on all types of fabrics. It mostly recommended on cotton, polyester, poly-cotton, cotton blends, jute and viscose. GAMUT PLUS INK. These are designed to bring about exclusive results on polyester and cotton fabrics. They work in a way that ensures that the brightness after washing are retained which result in less waste and also helps you in retaining your customers. One interesting feature about the gamut plus ink is that it ensures optimal production. This is brought about by the fact that the gamut plus ink is made to’’ set’’ faster meaning that there is no need to wait for the white ink to set before printing since one can easily take advantage of the pass modes which are on the printer. ADVANTAGES. It is more reliable since ink flows better in the printer. It uses an advanced technology. It is very compatible since it can be used on any direct to garment using Epson(R)DX5, DX7 printer heads. REATREAT MACHINE FOR DTG PRINTERS. It allows for faster cleanup, which means that the quality of the prints will be highly improved, and hence production increases.
  31. 1 point
    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 Embroidery is always in trend. Embroider with Bravo!
  32. 1 point
    Master-class by: Irina Lisitsa Dense adhesive water soluble stabilizer is your first helper when it comes to embroidering lace and working with delicate fabrics: chiffon, organza, thin knitwear etc. A new machine embroidery stabilizer Solufix is different from the water soluble stabilizer we know, because of an additional layer of adhesive. It helps working with materials that cannot be hooped and also can be easily removed afterwords. An adhesive layer of Solufix secures the fabric while the embroidery process, and the water soluble part goes off by rinse with a warm water once the embroidery is completed. In this master-class I'll show you how to hoop a water soluble stabilizer Solufix. Materials: Adhesive water soluble stabilizer Marker Scissors Hoop Fabric Place the hoop onto the stabilizer and mark the outer edges with a little allowance. Link the marks with the lines. Cut the stabilizer along the lines you just draw. Put the stabilizer onto the outer ring of the hoop with the paper layer on top. Press the stabilizer into the hoop slightly. Put the inner ring on the top of it and press it inside to secure the stabilizer. Using your template, mark the edges of your embroidery area. Take the template off. Link all the marks together. With the sharp edge of the scissors cut only the paper layer of your stabilizer. Remove the paper layer. Stick your stabilizer onto the fabric. There can be one or two layers of different size. Now the fabric is secured with the stabilizer, and you may proceed with your embroidery.
  33. 1 point
    Original text by: unknown Everything has its reason, and it is good when these reasons can be analyzed and understood and mistakes prevented before the material has been hooped and stabilizers, fabrics, threads and, what's most important, time have been wasted. Are you familiar with the situation when you overexert yourself, but all you get is an ill-looking embroidery with objects dislocated and the fabric pulled? How to prevent it? On the quality of machine embroidery Problems with a design One of the reasons of a bad embroidery is a low quality design. The main signs of the low quality design are: the lack of basting where it is needed, large quantity of stitches that are too short or too long, and also Tatami fill, which is the result of an automatic processing (90% of the designs created automatically are of poor quality and can be more or less normally embroidered on dense, well-stabilized fabrics). If you come across such a design, the result will most probably be deplorable. The reason for this are the mistakes made by the designer in the process of digitizing a design or the ones made by the user in the process of altering it. Identify a low quality design How to do it? In future, when you gain sufficient experience, you will discern problems in a design at the first glance. Problems with embroidery technique You have made some mistakes when preparing a design and then embroidering it, which resulted in a work of poor quality. Like using a stabilizer in a wrong way or embroidering a design on a wrong type of fabric. For example, a beginner may embroider a dense design on leather. As a result, the embroidery may just fall out, because numerous needle perforations will separate the embroidered piece from the rest of the fabric. Another embroidery technology mistake is loose hooping. The choice of a needle also may influence the quality of your embroidery. This particularly concerns embroidery on thin knitwear or such materials as leather, faux leather, upholstery fabrics and coated fabrics. Sure, you won't always have to put up with fabrics that give you problems, but you need to consider fabric+needle+thread in any case. For example, beginners and even experienced embroiderers often encounter a problem with embroidery on a perforated fabric or knitwear, because a thin and sharp embroidery needle only cuts the threads up. You should use a thin ballpoint needle for knits when working with such fabrics. Leather, especially cordovan or the the thick one used for belts, should be embroidered with leather needles, and the use of designs such as Blackwork or Redwork, where stitches are sparse, is preferable. Disregard for the rules of embroidery making may lead to a disagreeable result. For example, in case when a thin film, which is intended to be used as an upper stabilizer, is used as an underlay for a fabric or a main stabilizer for lace. Preparing for embroidery you should choose your stabilizer properly and carefully read the manual. A very common mistake is to hoop the fabric in a wrong way. When the fabric is loose, there are creases and cramps on it. And of course, you'll get a defective result, even if the design is good. To get a neat embroidery, with an even fill and without any creases and shifting of the details, you need to press the fabric beforehand, in order to stabilize it properly, to straighten the fabric in the hoop (try not to overdo it!) and to tighten the hoop screw so that the fabric would not move. Another mistake made by many embroiderers, especially those who just begin to learn the technique by themselves, is embroidering a dense design on knitwear fabric. Despite using a stabilizer an embroidery does not look good, because the fabric is pulled at the edges, and the embroidered area is much more rigid than the rest of the fabric, to the point where it seems like a piece of wax. If you have embroidered right on the item, without doing a test piece first, your favorite pullover or your client's jacket is ruined. To avoid problems like that choose the fabric that matches your design in density. Problems with embroidery equipment. If your machine breaks the thread • The main reason for it may be an accumulation of thread fragments and lint in the tensioner and also the dirt under the throat plate. Take off the top that covers the lamp (you won't lose your guarantee, but will be able see everything inside) and inspect your machine carefully (you can use a magnifier). If you find fragments of threads and other litter, remove them. • One more reason for the thread breakage is the poor quality of embroidery threads.Try the threads of some other brand and see how they work in your machine. • The third reason for thread breakage are needles. The needles need to be replaced from time to time, because they wear down. It's not very economical to replace them often, but if the thread breakage continues, it's time to do it, because there may be a burr in the needle's eye. • Also the thread may break because of adhesive<. even adhesives specifically manufactured for machine embroidery may if applied in large quantities stick not only to the fabric but needle too. lint accumulates thread gets stuck it and breaks as a result. Clean your needles with a cotton swab dipped in alcohol and try to apply less adhesive in future. Too much stabilizer In some cases, such as embroidering a painting, you need it to be very dense, but a thin stabilizer or several layers of printing paper, which is used by many money-saving embroiderers, adds friction, so when the thread goes through a lot of layers, it becomes frayed and eventually breaks. What is the most unpleasant, the thread may be in this state for a while, and the machine won't signal its breakage, and the embroidery will be done incorrectly for a long time. This won't happen if you choose a stabilizer of an appropriate density. Too loose or too tight upper thread or underthread tension may have a negative impact on the quality of the embroidery. Underthread may show on the right side and ruin the look of your design. You need to regulate it, either by yourself, following the instructions in your manual, or with the help of a service engineer. Loops on the wrong side usually appear when the upper thread is loose because it did not get between the tension discs. Some models have their own way of threading: in some the foot must be up, in the others — down. In order to fix it you need to rethread the machine, in accordance with the manual. The automatic trimming between the objects does not always have a good impact on the design. For example, it's better not to trim a cross-stitch design that has numerous individual crosses lying very close to each other. In case of automatic trimming the you'll get a thick fringe of thread ends and the machine will have trouble embroidering. Each case requires a unique approach, depending on the design, and you should turn down the automatic trimming option if needed, either in the software or in the machine. This is an incomplete list of embroidery technique irregularities and the reasons for low quality output. Beginners sometimes get rather inventive. Nevertheless, if you read this and learn to avoid some mistakes, the success is guaranteed. We wish our readers to accomplish only the best quality while embroidering!
  34. 1 point
    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. Menu Options 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. Opening Designs 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. Mass Load 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 General Tab 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 Designs Tab 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.
  35. 1 point
    When learning to digitize half the battle is knowing how to use the tools and what tools to use to get a desired look. Whether you have a basic digitizing level or the highest level possible if you do not know how to use the different tools you are no further ahead. In this blog we look at using the basic tools, including the RUN tool, satin tool and fill tool. I consider these the most simple of design as your only using one tool. When you get a grasp for this tool then you can start adding additional types of strokes .. If you have a some punching tools usually you will have the most basic of stitch tools in Tajima Pulse they call it a RUN Stitch however its a basic stitch , you place the points and set the stitch length, If you can learn to punch embroidery designs with this you will be able to add more detail with fewer stitches, and if you get good at it you can make a whole embroidery design with no trims. Here is a simple outline of a cat and dog dancing in the rain. You should be able to digitize this embroidery design with just the run tool. I would set the stitch length between .07 and .10 sometimes shorted on smaller detailed areas. The run tool should produce a stitch similar to the one below , basically its gets tacked down by the bobbin embroidery thread at specified by the stitch length,. In the Tajima Pulse branded embroidery software you have another option on some levels it called a manual stitch this allows you to control the stitch length as it makes a stitch when you place each point, this is also known as stitch by stitch digitizing and is considered old school as you have control of each stitch. When looking at the image shown above you need to start at a place and try to finish at another place, If your new to embroidery digitizing I recommend you get in the rabbit of punching from the bottom up, and out from the center, its usually not a problem for left chest design but caps require it to reduce the push of the embroidery design. If you do it on most of your embroidery design it won't seem like a problem when you punch designs for caps and jacket backs. You will see a graph on the image 1 this is how I mark my designs to give me reference lines. Some people can eye ball it with out the lines. Above in image 3 you will see where I have placed my points there is no set way you have to draw it the only thing you have to try to do is to keep the stitch length above .02 inch going smaller sometime will automatically get truncated by the software, Here is what the embroidery stitches look like zoomed in and out images 4 and 5. The smaller the stitch length the sharper the corners and the more detail however it also increase the number of stitches in the design, so generally its a balancing act, Some times you may need to retrace your steps , in order to minimize trims. Take your time, map it out if you can ,and omit any detail that is too small to reproduce, you may also need to place more gaps in between the stitches than what you would need if you were printing this. I recommend at least 1 to 1 1/2 stitch widths. Halfway point of the design Image 6 When your down punching the design Image 7 Now you should be able to compare image 1 and image 7 before and after to see if you like the amount of detail that you have added. Now you can take this design and if you want add some satin or fills to it. Image 8 Or you can go 1 step further and make it a full color designs or leave it at a one color design. If you sew out the outline version no fills, you only need to add underlay to the satin style of stitches, if you add the fills in you will need to add a contour stitch to the fills and a lattice to and add some compensation to the fills and satin stitches, the run style stitches or programmed runs do not need any underlay or compensation. Author: Frank Prokator
  36. 1 point
    The present focused market calls for imaginative ways to deal with advancement of custom embroidery services. From imaginative introductions to simple to-explore online web stores to stunning IT administration frameworks, we give our clients the ability to broaden their corporate marking activities and surpass their showcasing objectives. Also, our far reaching request preparing and satisfaction administrations enable them to stay concentrated on their center business while our turnkey operation deals with the difficulties of the advancements and satisfaction business. Considering your alternatives for custom attire, embroidered clothing conveys a fundamental feeling of value that addresses the intuitive of customers and clients, giving a sentiment trust and fulfillment. Advantages of custom embroidery: It gives you a professional appearance. It can be put on a wide assortment of materials. It lasts longer (doesn't wear off like silkscreen paint does). It can be washed easily. Large amount of shades are accessible in it. Some typical examples of custom embroidery embroider clothing are: Hoodies – flexible for a scope of icy climate outside work. Sweatshirts – like hoodies, a sweatshirt is extraordinary to keeping warm and agreeable. Fleeces– Zipped fleeces are a decent hindrance against unforgiving conditions. Shorts – In summer, shorts for men and ladies are accessible to keep cool. Action Trousers – A more down to earth and hard wearing other option to brilliant pants. Body warmers – Another extraordinary expansion to icy climate work.
  37. 1 point
    Прочитал такой как мне показалось унылый пост Марины Беловой который обозначен как Комплекс мер по выживанию. Поскольку эти вопросы волнуют наверное многих работающих в этой сфере, попытаюсь дать свое видение. И тут я добавлю слово дилемы . А не проблемы.. И дилема эта проста , что лучше красить машины или рисовать картины.. Да да именно так это и звучит. Раскрою чуть ниже. Занимаюсь машинной вышивкой более 15 лет и каждый раз не перестаюсь удивляться немного идеалистичному представлению о машинной вышивке многих начинающих. Традиционно многие думают, что машинная вышивка это это такой полный творческих идей и постоянное креативное состояние.. Увы разочарую вышивальный бизнес это просто работа, такая же как и все остальное.. Ничем не отличающееся от остальных видов деятельности.. И если вы хотите зарабатывать деньги, выкиньте глупости из головы.. Вы должны думать только о прибыли и производительности. 1. Миф -людям нравятся сложные и интересные работы. Я обязательно достигну больших высот, если освою все тонкости программного обеспечения.. и буду делать шедевры.. Практика - на шедеврах не заработаешь. Есть мало желающих покупать дизайны под 50000 и более стежков с 15-20 сменами ниток (строго по палитре) и вышивать их 2 и более часов подряд.. Увы большиство людей любят простую вышивку - в 3-5 простых цветов без тонкостей оттенков, теней, переходов (черный, белый, зеленый...). Вышивая слоника и надписью "я люблю тебя" - можно заработать больше чем, на шикарных похожих на настоящие орхидеях. 2. Понимание - вышивальный бизнес, это онлайн бизнес. Т.е 24 часа. И в Новый Год и в свой день рожденье вы должны быть готовы к падениям сервера, отказов по IPN. диспутами с платежной системой, хостингом и покупателями. Быть готовым всегда быть на связи, вне зависимости от суммы покупки и времени дня и ночи... 3. Дигитайзить и творить вы будете меньше - теперь вам нужно знать что такое фтп, egate, разбираться в тонкостях настройки сервера...работы различных протоколов. 4. Реализм - цены на дизайны машинной вышивки непрерывно падают... Их слишком много... Я начинал в 98 и вначале были файлы по 25-40 долларов.. Сейчас реальность, такова что мы непрерывно идем к 1-2 долларам.. А может и ниже. Это при том что стоиммость программного обьеспечения , практически неизменна.. А разходы растут.
  38. 1 point
    Какой стабилизатор нужно применять? Для большинства вышивальных работ требуется применять стабилизаторы. Вследствие плотного расположения вышивальных стежков и высокой скорости вышивания может произойти значительное растяжение или сморщивание материала или же его разрыв из-за сильного перфорирования. Основными пребованиями к материалу с подложкой являются: 1. Материал подложки во время вышивания не должен смещаться. 2.>Он должен быть растянут в пяльцах наподобие барабанной кожи или соединен с пяльцами таким образом, чтобы ткань не растягивалась. 3. При большой плотности стежков и скорости вышивания основной материал во время вышивания не должен стягиваться или растягиваться. Из этого следует, что особенно сильно деформирующиеся (тонкие или растягивающиеся материалы) для вышивания должны быть укреплены стабилизатором. Стабилизаторы - Укрепляющие материалы - Прокладочные материалы Эти понятия относятся к нетканым, волокнистым, пленочным или бумагообразным материалам. Они так же применяются при машинном вышивании в промышленных условиях. Выбор стабилизатора зависит от вида основного материала (ткань, кожа и т.д.) и выбранного мотива вышивки. Приводимая ниже информация должна помочь вам найти нужное из многообразия предлагаемых материалов. В качестве основного принципа следует принять: используйте только материалы промышленного качества. Такие материалы обычно предназначены для промышленных вышивальных машин и, как правило, содержат силикон, обеспечивающий смазку иглы и этим сокращающий износ иглы и, соответственно, машины. Не применяйте никаких заменителей, например, кофейный фильтр, шелковую или "бутербродную" бумагу, так как они нередко содержат другие материалы, такие как целлюлоза, которые могут повредить машину. Они могут быть не только неприятными при непосредственном контакте с кожей, но и непредсказуемо вести себя при стирке или при воздействии тепла и воды. Выбор подходящего стабилизатора является первым шагом для успешного вышивания. Стабилизаторы помещаются с изнаночной стороны материала и обычно закрепляются вместе с ним в пяльцах. Что нужно делать после вышивания со стабилизатором? Выступающие остатки обрезаются или обрываются. За исключением водорастворимых стабилизаторов, материал стабилизатора остается только под вышивкой. Из этого следует, что при вышивании на тонких, прозрачных и рыхлых материалах стабилизатор требуется обрезать. Равным образом, применение водорастворимого стабилизатора часто является лучшим вариантом, так как его легко можно удалить без остатка. 1.Отрываемые стабилизаторы сохраняют форму и не растягиваются. Они закрепляются в пяльцах вместе с материалом. 2. Обрезаемые стабилизаторы являются прочными и весьма сохраняющими формы, они не растягиваются в любом направлении. Они закрепляются в пяльцах вместе с материалом. 3. Приутюживаемые стабилизаторы могут иметь различную толщину. Они прикрепляются к материалу подложки горячим утюгом. После вышивания выступающие части стабилизатора обрезаются или обрываются. Рекомендуется провести пробное приутюживание стабилизатора, так как клей в сочетании с нагревом может оставлять следы на ткани. 4. Самоклеющиеся стабилизаторы представляют собой обычно тонкий слой нетканого материала с клеящим слоем. Клеящий слой покрыт защитной бумагой. Изделия, которые невозможно растянуть в пяльцах (например, шапочки, детали готовой одежды и т.п.), можно зафиксировать в пяльцах, используя самоклеющиеся стабилизатром. Равным образом, в пяльцах можно закреплять такие материалы, как замша, кожа и т.д., чтобы предотвратить появление отпечатков пялец. Стабилизатор растягивается в пяльцах бумажной стороной вверх. Внутри пялец защитную бумагу надрезают и удаляют по контуру фиксируемого в пяльцах материала. Затем прижимают материал к клеящей поверхности. 5. Водорастоворимые стабилизаторы и пленки после вышивания можно полностью удалять. Их применяют во всех тех случаях, когда после вышивания требуется удалять все остатки стабилизатора, например при вышивании в технике ришелье. Они используются также в качестве защитного слоя лицевой стороны некоторых ворсовых материалов. Такие стабилизаторы могут иметь различную толщину. Решающее значение имеет цель применения. Основным условием является возможность стирки основного материала. Если материал нельзя подвергать стирке, то вышивку никогда не следует вводить в соприкосновение с водой, так как иначе стабилизатор начнет растворяться, образуя маслянистую пленку. Возможности применения весьма разнообразны: 1. В качестве стабилизатора, удаляемого при стирке. На внутренней стороне вышивки не останется никаких следов стабилизатора, на основном материале будут видны только вышивальные нитки. 2. Тонкие ткани можно вкладывать между двумя слоями стабилизатора или пленки. 3. В качестве основного материала при кружевной вышивке. Растяните один или два слоя стабилизатора в пяльцах и вышейте образец. После растворения расстелите образец для сушки на плоской поверхности. Если мотив вышивки состоит из не связанных между собой контуров, вложите между слоями пленки кусок вуальной ткани, органзы или тюля. После того как будет растворен стабилизатор и высохнет вышивка, обрежьте лишнюю ткань по наружному контуру мотива. 4. Использование в качестве защитного слоя лицевой стороны. Распыляемый клей Это вспомогательное средство особенно рекомендуется в качестве дополнения к стабилизаторам. Оно является клеящим средством с временным действием. Распыляемый клей позволяет эффективно наносить связывающее средство на различные поверхности. Применяйте исключительно распыляемые клеи временного действия, разработанные специально для текстиля. Эти чудесные продукты могут использоваться любителями вышивания различными способами. 1. Вы можете временно соединить простой стабилизатор с тканью. 2. Вы можете вышивать на деталях, которые нельзя закрепить в пяльцах, таких как шапочки, воротничках и других предметах готовой одежды. Растяните обычный или водорастворимый стабилизатор в пяльцах и приклейте к нему в требуемом положении деталь, на которой требуется вышивать. 3. Без проблем можно вышивать на таких материалах, как замша, кожа-велюр и т.п., на которых могут оставаться отпечатки от пялец. Растяните обычный или водорастворимый стабилизатор в пяльцах и приклейте к нему в требуемом положении материал. 4. При выполнении аппликаций можно точно приклеить выкройки аппликаций. 5. При выполнении разрезных аппликаций можно после прорезания еще раз наклеить кусок водорастворимого стабилизатора на растянутый в пяльцах материал, чтобы обеспечить достаточную жесткость для последующего вышивания. Стабилизаторы для лицевой стороны Под накладными стабилизаторами понимают прозрачные или очень тонковолокнистые материалы, которые накладывают на лицевую сторону ткани. Но такой стабилизатор ни в коем случае не заменяет нормальные укрепляющие стабилизаторы. Усиливается всегда изнаночная сторона. Накладные стабилизаторы используются только для дополнительного усиления, чтобы предотвратить погружение вышивальных ниток в ворс таких материалов, как махровые ткани, рубчатый бархат, замша и т.п. Объемная прокладка из нетканого материала Чтобы мотивы квилта выглядели особенно рельефно, можно подкладывать под ткань объемную прокладку. Рекомендуется растягивать под объемной прокладкой тонкий стабилизатор, чтобы подошва вышивальной лапки могла скользить беспрепятственно. Фирмы "Freudenberg", "Madeira", OESD, "Sulky" и "Van Looy" предлагают широкий ассортимент различных стабилизаторов.
  39. 1 point
    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. Materials: An item Machine embroidery design Temporary spray adhesive Tearaway stabilizer (non-adhesive) Underthread 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.
  40. 1 point
    Original text by: Lisa Prass The problem of splitting a design emerges when a beginner understands that his (her) embroidery machine does not recognize the design only because it exceeds maximum size and does not fit the largest hoop that comes with the machine. Or, it fits the giga hoop, but the machine still fails to recognize it. If you have encountered such a problem, this article is for you. Splitting a machine embroidery design First, I want to mention that here we'll discuss only the machine embroidery designs saved in a stitch format. The ones that you have downloaded from our site or got other sources. It is the format your machine can recognize, and if it cannot, change the format into the one your machine can recognize and then continue reading this article. Got it? Splendid! So, you have a machine embroidery design in a format that can be recognized by your machine, and this design exceeds your maximum embroidery area. Maximum embroidery area Beginners are often surprised by the fact that even if they have a giga hoop and design that fits, their machine still fails to recognize it. The problem is that the machine has such a parameter as maximum embroidery area, and if the size of a design exceeds it, it does not matter whether you have a giga hoop or not. The size of the maximum embroidery area is determined by the manufacturer, and the machine cannot go beyond that. Therefore, if a design is bigger than specified, you will have to split it. Giga hoops are just a tool for embroidering designs beyond the maximum embroidery area. You can find out the size of your machine's maximum embroidery area in the manual. If all written above is clear, let's proceed... Splitting a machine embroidery design So, the size of your design goes beyond the specified limits, therefore, you have to split it and embroider stage by stage. This assumes that you have some embroidery software on your computer and also the experience of working in it. How the design will be split in many ways depends from the design itself. You should approach each case individually. I don't see a decision that could satisfy them all, and describing every single one of them seems futile to me. We'll better look into them in our next articles. I may just say this: you'll encounter problems while splitting a design only in the beginning. Having split 2 or 3 designs, you'll understand the whole process much better. You also learn all the nuances. When splitting a design and placing it in the hoop like the picture below shows us, you should bear in mind that the hoops must superimpose, otherwise there parts of the design won't match. Part of the design situated in the hoop must be a bit smaller than the hoop itself, so that in case of unsuccessful hooping you could move or turn it, to align with the previous part. Aligning a machine embroidery design Any case of splitting a design assumes the future alignment. A similar process goes between the two apparatuses on the satellite trajectory. But in that case the alignment is done by a special mechanism, whereas in machine embroidery the two parts of the same design are aligned with the help of alignment stitches, of which we will tell a bit later. There are two main ways of aligning parts of the same design: • Alignment in giga hoop • Rehooping the fabric The difference between these two ways is only that in the first case you join two or three parts of the design with the help alignment stitches and without rehooping, whilst in the second case you align the parts of a split design with the help of alignment stitches, but still need to rehoop every time. About the alignment stitches There are different kinds of those. They can come in the shape of a border stitching or straight lines going across the embroidery area or special alignment crosses. Everything the embroider's imagination can produce. But regardless of their type, the alignment stitches are used only temporarily and are deleted after the completion of a design. The alignment stitches are added in the embroidery editor either automatically or manually by the user. How it is done depends on the software that is currently in use, its possibility to save the design for giga hoops, the alignment method and your own wishes. The alignment stitches must be present in both parts of the design. The embroidery process goes like this: 1. Do the first part of the design. 2. Embroider the alignment stitches. 3. Rehoop your fabric or change the position of your giga hoop. 4. Join the alignment stitches. 5. After the perfect match is achieved, you do the second part of the design. 6. Repeat the process the necessary number of times. In my opinion these are the main points on splitting a design and its future alignment when embroidering. In conclusion I want to bring to your notice a problem, which the owners of the old machines or the beginner level machines can encounter. Splitting a design by layers There can be situations when the machine does not recognize the design even if it does not exceed its maximum embroidery area. This usually happens with the designs that have many colors and large stitch count. The machine simply is not able to read such an amount of information from one file. Photostitch designs are notorious for that. Nowadays, with all the contemporary machines such occurrences have become quite rare, but if you use the equipment made at the dawn of the previous century you might encounter a problem. The design is split into 2 or 3 part to be embroidered one by one. You don't rehoop the fabric. The design is embroidered without moving. For example, a design has 25 flowers which will be embroidered one after the other, in this case the 1st file will contain first 15 flowers, and the 2nd one — the remaining 10.
  41. 1 point
    Master-class by: Irina Lisitsa Cutaway non-adhesive stabilizer works very good for embroidery on knitwear. Using this type of stabilizer allows keeping the shape of the embroidered area while the item is in use. Cutaway non-adhesive stabilizer is used with temporary spray adhesive. This master-class will tell you how to hoop a cutaway non-adhesive stabilizer in the right way. How the right and wrong side of the item secured with the non-adhesive stabilizer look like. The embroidery was made on the fabric with thin stockinette structure. Materials: Cutaway non-adhesive stabilizer Hoop Temporary spray adhesive An item Unscrew your hoop and take the inner part out. Put a cutaway non-adhesive stabilizer onto the outer ring. Put the inner ring onto it and press it down to secure the stabilizer. Pull the edge of a stabilizer so that it is tight in the hoop. Shake up a tube of spray. Put a layer of spray adhesive onto the stabilizer. Stick your fabric onto the stabilizer. Set you hoops in your machine and embroider the design. After the embroidery is completed, cut stabilizer away near the contour. The embroidery is ready!
  42. 1 point
    Introduction "Hoja" showcases a technique used for irregular mix of colors, achieved by overlapping Fill Patterns with different levels of Density and Jagged Edges, and some Running Stitches. With 118 sections and 4 colors, this simple design took a little over an hour to complete. General Design Details We digitized “Hoja” manually, using the 006.bmp file as artwork. We tried to keep the overall size to approximately 90 x 126 mm (3½” wide by 5” tall). To create the leaf veins we basically used Satin Stitch columns and some Running Stitch Paths in color 4 (dark brown). Just three Area Fill sections in color 1 (light brown) make up the overall base layers for the leaf, over which we digitized some Running Stitches and Areas in color 2 (khaki) to add some shading effects and highlights. Finally, we created some Areas in color 3 (medium brown) for the stem, also adding some irregularity to the mix of colors. The picture shows the sequence we followed to digitize this design, which does not necessarily reflect the final sewing sequence, rearranging it upon design completion. Effects for irregular mix of colors To achieve the effects desired for an irregular mix of colors, we first created the Area Fill sections that will constitute the base color. We then digitized over these sections other Area Fills with Jagged Edges and less Density than the base one, also adding a few Running Stitch Paths to give some highlights to the definition lines. Much of this effect would be lost if inadequate colors were to be used. Best results are obtained when using varying shades of a same color for the leaf layers, rather than different colors. This picture shows the sections that create the irregular mix of colors on the right portion of the leaf. Section 2 (light brown), the base layer for that area Section 2 (light brown), the base layer for that area of the design, was digitized as a Area Fill section with regular Density (5 lines/mm). On top of this you will find sections 28 and 29 (medium brown), which are also Area Fill sections, although with a considerably lower Density (1.67 lines/mm) than that of the base layer, and they also have Jagged Edges on, with a 40% setting. The Running Stitch Path in the khaki color (section 7) adds the highlights along the edges of that area. The sections above described have been created with these parameters: For the Path section we set the stitch type to Running Stitches, with a single pass and a Stitch Length of 1.7 mm. Notice the results achieved after applying the described settings to this geometry of sections. Additional Information Suggested Colors This chart shows the Pantone values for the colors we suggest for this machine embroidery design: http://embroideres.com/forum/files/file/226-/
  43. 1 point
    What is Chenille ? Chenille embroidery is textured embroidery that is created by forming loop stitches on the top side of the fabric being embroidered. Using wool, cotton, or acrylic yarns, it creates a unique texture that sets your embroidery apart from common, everyday embroidery designs. What do you need ? You will need a digitizing level of the embroidery digitizing software, the option for Chenille and a Chenille machine, contact your distributor for information on Chenille machines and software packages. I recommend that you have Tajima Illustrator Extreme with the Chenille option pack and fonts. What units should I use? When working with Chenille its recommended that your units and density be set to the Metric system as it allows for easier adjustments on values. When using the Metric system every thing is a base of example 10 mm =1 cm one inch equal 2.5 cm or 25 mm. Recommend secondary tools In addition to using Tajima Pulse I would recommend you have Corel Draw for designing the vector files with all the offset set ready to go, I recommend Corel as you can bring the artwork in using the draw fusion tool. If you design all the embroidery designs you will have many more flexible tools for the artwork side before converting it into chenille, ( Optional) you can punch it in Tajima Pulse but it may be more time consuming. Chenille Stock Fonts When you purchase the Chenille option and font pack you will be given a few fonts , However you may want to check with your distributor about purchasing some of the specialty fonts available. Not all Chenille fonts listed are standard in the Chenille package. Check with your local distributor. Chenille Tools Depending on your level and whether you have the option for Chenille you may or may not have these tools. These embroidery software tools only work with the software for Chenille,regular embroidery machines do not need these tools. Chenille Stitch Types When working with chenille its important to understand the different applications or types of stitches. In the image below we have high lighted different stitch type and what they look like, Chenille Tips When working with chenille you should have a good understanding of the settings, also you need to know how to use your vertex select tool, your artwork tools as its easier to convert artwork to chenille than draw with it. You will also need to know how to reduce nodes and edit the artwork for chenille. Computer Recommendations for Chenille Its very important to have a well tuned digitizing computer, I recommend a Pentium 4 or equivalent Quad core computer with Windows 7 or Windows 8 64 Bit with 8 to 16 GB of ram. I also recommend the fastest chip and at least a 64 MB video card for working on Chenille. If your computer is not fast enough you will have a lot of idle time when converting your large file, and or it will crash causing you to loose your work, the converting process is very taxing on the computer. Chenille Uses What can you use Chenille for often on sport jackets for racing teams, football , soccer team jackets and or specialized patches. It requires a solid structure to hold the wait, usually stitched on felt which is then stitched on to the jackets. How ever Letterman jackets can hold the stitching well. Author: Frank Prokator
  44. 1 point
    BORING TOOL NOTE: This chapter will be covering some advanced options for Maestro users, however to the full benefit of this chapter you will the Boring tool, cording tool, for your machine. This tool can be used for decorative stitching, by placing holes in the garment and embroidering around them. You will need to check with your Distributor if your embroidery machine supports the hardware and get the option in your software, standard on Tajima Pulse Maestro optional on Tajima Illustrator Extreme. INTRODUCTION Depending on your line of work and digitizing path you may or may not need to learn this tool. Its designed for the decorative digitizer that either does fashion, home furnishing production pieces etc. If you find yourself doing corporate logos you will not need this option. However a lot of home embroiders, craft embroiders and fashion embroiders could use this feature to add some styles to their embroidery designs. BORING TOOLS The boring tool style presents a beautiful eyelet characteristics, boring lends itself to the home furnishing and fashion apparel decorating markets, specialty areas like ladies fashions you can incorporate this style of stitches for those embroidery designs. Its critical when using the boring tool to make sure your garment or raw material is tight in the hoop as the tool will tend to stretch the fabric or put pressure on the fabric. Magnetic clamps work great for this application. Tips on ideas for boring the general rule for boring decorative holes are small is better than large. The larger holes can distort the fabric and cause some alignment issues. generally 5 to 7 mm holes are a good size. Note when digitizing for the boring holes the needle sits 12mm in front of the knife blade for the holes so the design will need to be offset by 12 mm to line up the design. You also need at least 2mm spacing between holes. This tool takes quite a bit of practice to line up the embroidery design with the holes. See Artwork Design below. TAJIMA DGML by Pulse Option In your Tajima DGML by Pulse embroidery digitizing software you will have 3 boring tool options Triangle , Oval and a square. When working with these tools you will to make sure your density is between 70-90 spi to get the desired shape of the design,.saving stitches here will likely cause distortions. NOTE: the reason you need a lot of stitches for this application is the stitches pull back the fabric and hold it in place, the knife or boring tool doesn't remove the fabric but pierces it, the satin stitches pull the fabric back and tuck it in, thus the reason the embroidery stitch density must be strong enough to hide and cover the fabric edges. BORING TIPS - If sewing several holes together, sew manual underlay all at once for all the sections. If sewing other heavier designs elements near the bore hole, sew the boring holes first, this way the holes will not be covered by the other components. if doing an eclipse or oblong holes, sew the satin stitch at an angle to the holes edge rather than perpendicular to it, this will grab any extra threads and pull them in. Always use underlay so the fabric and its backing material won't shift and the cause the hole to close up. EXAMPLES The boring tool is a great attraction for those who also do sequins as you can get a lot of diversity using both these tools. Sequins are covered later in this chapter. CORDING TOOLS Most of you think of unique embroidery processes as being applique, puffy foam and tackle twill. Those are actually categorized as applications rather than processes. Processes typically involve a special attachment that enables a machine to produce a different type of embellishment. Unfortunately, very few shops make use of, or even know about, such options. One of those unique processes that has been around for quite a number of years is cording. This process is simply the attachment, through the stitching process, of a small cord or rope to the item being sewn. The selected cording material is stored on a spool and fed down to one of the machine needles which has been modified slightly. The needle doesn’t sew with the cord, but rather, uses embroidery thread to stitch the cord to the garment. Contact your dealer for options. Cording is a relatively simple process and easy to embroidery digitize for. Basically, you will just create running stitches in the areas where cording is to be applied, to sew the cord into place. However, keep in mind that the automatic trimmers do not trim the cord, only the thread being used to attach the cord. CORDING TOOLS So, the cording portions of a design must be continuous without jumps or trims, as the machine operator will have to stop and manually trim the cord with scissors. In addition, tight circles and curves should be avoided. Some designs can use heavy thread or even wire. In your embroidery digitizing software you can switch between standard embroidery to the Lock Stitch Chenille depending on your equipment and setup. For mixed mode machines its very simple just selecting a needle color for the machine. Cording Tool You can use the cording tool as a run stitch via the left design or program it with a zig zag stitch on the right side. On the machine side you can control the swing pattern , consult the manual of your embroidery machine. Cording Tool Examples of pattern 1 Tip ... You have to make sure that the stitches are not to sharp, the minimum stitch is 1.5 mm and the maximum stitch should only be 5 mm.. Each of the techniques can open up new markets, research them when buying new embroidery equipment. Author: Frank Prokator
  45. 1 point
    Spiral Chenille Tool When you convert artwork to Spiral Chenille ( in Tajima Pulse Maestro embroidery digitizing software) or draw with the tool it will default below; Spiral Chenille Properties Order of the stitch types, Spacing settings between the segments or chains Moss Path Settings Spiro Fill Settings Chain Walk Tool Moss Walk This tool allow you to draw standard Moss embroidery patterns or segments Moss Walk Tools This tool allow you to draw standard Moss swirl patterns or segments Here is the settings for controlling the swirl densities Author: Frank Prokator
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    This week we are going to cover Manual Applique, this technique can be reproduced for jobs in production without the use of an inline cutter. All you need is a pair of scissors and some patience. ( This technique is great for those who DO NOT have an inline cutter ) Requirements You will need the following to make a design like these. - 13 inch Hoop - some felt - some time - scissors - digitizing software. - Fabric temp adhesive Step 1 Digitizing the embroidery design. Load the design into your embroidery digitizing program, plan the design from that point. I like to add the black back ground behind the applique letters, You can exaggerate the black lines as the layered applique will hind them, I would also do all the text at this point as well. Next I would add the white, I would use either a run tool and a steil tool to tack down the white material. Note you will need to make a separate file to cut the material out use the run from the applique to stitch the material out, and then cut it out by hand. I would then digitize the Florida Gator design. I would do the F first with a solid fill and then put the orange over top with a steil border around the F , the green and then accent it with black. I would add pull comp and underlay for the lettering and the gator at .01 percent and full lattice under the whole guy, and then and a density of 65 spi. For those of you whom do not have a digitizing program but would like to sew out this design I have enclosed the design below. Step 2 Manually cutting the design out When you sew the first run down on to the material take your time with very sharp scissors and stay true to the line as close as possible, any deviations from the line may lead gaps. Step 3 Hoop your Fabric Make sure when hooping the fabric its tight enough for the fabric and applique. Step 4 Embroidery Start the embroidery the first color is black and then start the second, it should put down a white placement stitch. Use fabric temp adhesive to hold the fabric in place while the top stitches go down. Step 6 Finish the design Here is what my applique design looked like, I sewed this on a orange t-shirt, with cutaway backing and used felt for the applique material. This technique can be applied to a wide range of embroidery designs, but if you had to stitch out this design with out the applique for a full sweater you would end up with 80-120 thousand stitches. Large embroidery designs can take a long time to sew out , applique can reduce this time as long as you can get the material cut to precise portions. I have recently starting using flock cut on my vinyl cutter for applique and I have much improved speed, and consistency. it also allows for seamless conversion , I export the file or use the vector file. Author: Frank Prokator
  47. 1 point
    Patches Do you tremble when a customer comes in and asks you to do embroidery patches, patches is not as difficult as it may seem, but even if you do not want to digitize and make the patches your self you can out source the patches to companies that specialize in that sort of thing. Today we will take a look at digitizing tips for patches, supplies you will need and general information about patches. Equipment and supplies needed 12 x 12 hoop or 20 x 28 hoop tearaway backing (optional) Color of twill for the fabric Sheet of Heat n Press Glue Frabic fray check glue heat press or industrial iron Digitiizng the embroidery design In the example below I have made a karate style patch with a black fill , white fill for the karate man, a run stitch for his outline and satin stitch for the lettering , and using the Pulse Font Judo Kick for the text. The border is a steil stitch with a density of 85 spi and has perpendicular and zig zag underlay. In Tajima DGML by Pulse Version 14 or Tajima DG15 the embroidery digitizing software comes with a utility to make embroidered patches, and its fairly easy to do and works with a wide range of embroidery design types, 1. Digitize the file, save it to your PC 2. Goto File New , 3. CLICK on the PATCHES icon and a wizard will come up. 3. Once the file has been generated then we can goto through the process for hooping your fabric. I would recommend that you hoop the twill by itself but if you want backing to stabilize the twill use tearaway. 4. Load the embroidery design on your machine , center the embroidery designs and trace to make sure it fits. 5. Embroider the patches. 6. Remove from hoop , press to flatten the patches, ( recommend at heat press @ 320 degrees for 5 seconds 7. With some Fray check or clear glue , coat the edge of the threads around the patch. 8. Tear away the backing 9. Cut them into smaller pieces, and heat press Heat n Bond or similar glue material using a heat press for 10 seconds. @ 320 degrees 10. Trim around the steil stitch as close as possible, 11 . With the Fray Glue go around the edge to seal up any loose ends, repeat for all the patches.. Thats how easy it is to make a patch.
  48. 1 point
    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. Needles 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. Quality Control 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.
  49. 1 point
    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. DROP BOX 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. VIEWING FILES 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. PULSE CLOUD 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. KEY FEATURES 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 Viewing Thumbnails • Allows you to view thumbnails of all your PXF files in your folders without Pulse open
  50. 1 point
    In digitizing machine embroidery designs its important to understand the embroidery design characteristics, this helps if you have taken some time of art courses as it can prepare you to look at the embroidery different. It also depends on the size, and quality of artwork you have to work with. In this blog we are going to look at the three "D" of digitizing, Depth Density and Dynamics. Whether a embroidery design comes from a line drawing, clipart or a photograph, you need to understand how to get the digitizing software to be able to recreate the density, depth and dynamics of the design. This is not an easy task as you really need to know some settings in your embroidery digitizing software. Lets take a look at a embroidery design and how it was made. ORIGINAL IMAGE AND DESIGN INFO LAYER 1 BACKGROUND LAYER 2 HIGH LIGHT OF TREES LAYER 3 DETAIL OF TREES LAYER 4 AND 5 GRASS AND FENCE LAYER 6 CHEST BACKGROUND LAYER 7 AND 8 DEPTH AND DYNAMIC OF THE CHEST LAYER 9 AND 10 CHEST HIGHLIGHTS AND ANTLERS LAYER 11 HIGH LIGHT OF ANTLERS LAYER 12 DETAIL OF ANTLERS LAYER 13 HIGH LIGHTS IN DEER HEAD COMPARISON FROM THE ORIGINAL IMAGE TO THE SEW OUT OF THE EMBROIDERY DESIGN. The image on the left is the original image supplied and on the right the sew out ,
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