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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. 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.
  4. 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.
  5. 3 points
    Introduction to Embroidery Blending Colors. In this blog we will introduce you to some terminology the you will need to understand to make blends possible. We will also explain the different methods for creating blends in your embroidery software. Terminology Density The density is a value of how close the stitches are to one another, there are few ways to measure it depending on the units you use. The three units are Stitches Per Inch (spi) Points (pts) Millimeters (mm) the standard is listed below. Standard density is 63.5 spi = 4 pts = .4 mm Absolute Density Is similar to WYSIWYG the value is a true value. With this option checked your density would be 63.5 spi , if you lower it , 55 spi it will show that. If you do not have this option checked your starting point will be 0 and if you want to go to 55 spi you would have to put in -8.5. Traveling lines this is the line that connects part of a fill, often fills will divide at some point and re join you can manipulate this using your start and stop points. These lines often go through the center of the design, their is an option to force the to the outside I recommend using this option when blending fills. Blend Tool Depending on your version you may have an option to blend colors this is called the blend tool. This is standard in the TAJIMA Maestro Level Density Line Tool In version Tajima DGML by Pulse Version 14 and DG15 depending on the level you may have a icon called density line tool. This allows you to control the embroidery density at different increments of the blend. As you may know blending is a technique of layering two or more colors to get an effect of a blend, the digital world has been using blending for years however its not as common in embroidery. There are several different methods of blending that I am aware of. Blending with embroidery threads, or by layering one or more fills over each other. Another way to create an effect of a blend is to use the multimedia approach and add a image or vinyl behind the embroidery., which we covered in past blogs called multimedia designs. Blending with Embroidery Threads This technique is not new, it has been used in the home embroidery field for hundreds of years, and it allows you to create depth to a design. One option is to blend a heavy thread as a fill and covered by a top layer with a smaller thread. Another way to blend thread types is to have the blue fill going horizontal at 35 spit and the red fill going vertical at 25 spi when you sew them out like this it will blend the two colors creating an illusion of a third color, The Irish embroidery design use layers to blend the two colors together to get the effect of a pattern with the leaves, there is a light green background and a dark green layered on top. This technique can be applied to a wide range of designs and works best with similar colors. Samples of Blending Here are some samples, of types of blending that is available .. you can see the layers when zoomed in but remember the machine embroidery design is only a quarter of that size below. Blend Tool ( Maestro Level only ) For some of us we have a tool that allows us to create blends. This is a great tool for making the sunset fade into the water.. However it can be done manually its rather simple with this tool. Below is the Automatic tool for making blends. 1. Start a NEW document 2. With the eclipse tool draw a circle 5 inches You could also add greater depth by using two different weights of thread by doing this it will cause the top stitch to sit on top of the bottom stitch. 3. Convert the circle to a complex fill , right click or CTRL E to bring up the menu to convert too option appears. 4. Right Click on the fill and choose Auto.. and then select color blend and you will see the following . 5. Change the above setting to match the image and then click OK to save the settings 6. Then right click and choose Break up Note I change the colors so its visible to blue and orange, as red and orange will be hard to see on the screen. There are a couple things I would recommend is - High light each segment and goto properties, - Goto complex fill effects and change the travelling route to the edge, this will get rid of the lines going through the middle of the embroidery design. Tips for embroidery digitizer When working with blends they work best on contrasting colors that are closely related to each other, like light blue and dark blue, oranges and reds, orange and yellows, I recommend everyone make a blend and try different densities, angles and colors to experiment with the tools and develop and understanding how it cane be used. Author: Frank Prokator
  6. 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..
  7. 3 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).
  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
    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!
  12. 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!
  13. 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!
  14. 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.
  15. 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!
  16. 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?
  17. 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.
  18. 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
  19. 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
  20. 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
  21. 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.
  22. 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!
  23. 1 point
    Hi all, I try embroid a minie file buyed on Embroidery designs library shop in my new embroidery Brother Innovis-NV800E with hoop 260x160 and the border of pictures and the colours doesn't match. When I buy the minie file, it was possible download a "winnie the pooh" free file and when also I try embroid pooh file happens the same of minie file To Embroid I used the pes file, but i also try pec and phc files and happen the sames always. Exist any problem with the files? or exist any configuration i have wrong on my machine?, Anyone know what could be the problem? thanks for the help, Paulo Monteiro
  24. 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!
  25. 1 point
    How hair of animals and feathers of birds machine embroidery designs is imitated in editors of embroidery so that they looked nationalistically? In fact, there are 2 ways with which it’s possible to go in attempts to reach the necessary result: 1. To create all objects manually, using traditional methods of a digitizing. 2. To use the automatic effects, similar "Fur" which allow, from the point of view of developers, quickly and effectively to make that becomes hands. Opportunity to apply this effect is far not in all embroidery software editors. It is in Tajima DGML by Pulse of 14 versions and in my Stitch Era Liberty Plus. I am more while anywhere anything similar didn't meet. But I after all not saw everything the editor so, quite probably, somewhere else such "the fast button" too exists. But before using automatic opportunities, I believe that it is worth paying close attention and to deal with how wool is created in manually mode. And to start something doing in the computer, in my opinion, it is necessary from far away, having addressed to bases – to hand embroidery. It’s lower than two most excellent examples of hand embroidery from the book A-Z of Thread Painting: And it already diagrams to them with division into sections and the ornamented direction of a stitch which correspond to the real direction of growth of wool and feathers: A method which authors of this book suggest to use is the most traditional - a combination of a long and short stitch with careful selection of mixed thread colors: Something similar at manually input of contours also is required to be repeated in the machine embroidery editor . Only it will be necessary to be played a little more with settings of parameters – density, stitch length, and also to apply still some effects which will help to mix up to colors of an embroidery, type of fragmentary edge (jagged edge) or will help to set the direction of natural growth of wool – tatami filling on the 1st or 2nd curves. That’s, in the course of digitizing it will be necessary to try to create something similar: Process of creation of such objects is simple and quite realize in any of editors of machine embroidery, after all its creation requires only a standard tool kit: sateen (satin stitch), tatami, simple stitch. It will be long and dreary process. But, it for 100% pays off that all parameters can be supervised thus: both density of layers, and stitch lengths (that is the extremely important for high-quality mixing of colors of threads), and a form of edge of object, and degree of its roughness, and the sizes of elements and the directions of stitches in them. That you won't tell about automatic methods about which I will tell later.
  26. 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.
  27. 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.
  28. 1 point
    Avoiding pit falls of working with Caps When dealing with your customers you may need to educate them on what the placement and size of the logo for your particular machine is, as often the customer will want the designs to be too large for the cap frame. Some cap frames can accommodate a 270 degree rotation and some only do 180 degrees, the height will depend on the hat. Rule 1 , Placement The designs should be places 1/2 inch above the brim of the hat this allows the needle to clear the metal bracket that holds the hat to the frame. Rule 2 , Size The size of the embroidery designs for the front for most hats should be less than 4.5 inches wide and no more than 2.75 inches high. Some caps will allow for larger areas. Rule 3 , Backing Its very important to have precut sheets of tearaway backing, I recommend buying in a roll and should be med to heavy tearaway for caps. Rules 4 , Embroidery Design The embroidery designs should be made for caps, this will eliminate the push of sewing to the middle. All text should be design to sew from the center out, ( In Tajima Pulse their a tab called sew direction for setting this ) The embroidery design should be made specific for hats. Rule 5 , Speed of machine I recommend slowing your machine down to 600 spm when embroidering on hats, this will help reduce distortion,. Rule 6 , Needles When working with hats you may experience higher number of needle breaks as some caps, like the flexfit caps seem to have a hard ridge in the center of six panel hats, using an 80/12 needle will eliminate some needle breaks. Ridge on Six Panel Caps When working with six panel hats that are structured and feel thick in the center of the hat , there are several methods for making it easier to embroider on. Method 1 Water With a spray bottle wet the front of the cap where your embroidery design is going to be, this will make the material more pliable and easier to work with. Method 2 Heat With a hat press you can pre-press the area where you need to put the embroidery logo on this will soften up the areas specially on the seams. Alternate Placement Brims Often you will get request to place logos on other areas of the hat, and you may have seen designs embroidered onto the brim of the hat, this is only available on custom hat orders where they embroider the design on the material before adding the brim and sewing the hat. Alternate Placement Sides of hats This various methods for placing logos on the side of hats, however your limited to the hoop fitting on the side often the brim will get in the way of hoop large than 3.5 inches, so your designs should be no large than 3 inches wide. You can get around this by using specialty hoops, Alternate Placement Back of Hats This can be done with a standard 4 inch hoop and works with a wide range of styles, Often you will need to arc your text to match the contour of the back of the hat depending on the style. Check with your hat vendor many of them will have a custom hat program or pre made hats with logos embroidered on them . Usually a minimum order is required for custom hats to be made. I deal with AJM International or Headwear and they both have custom hat programs.
  29. 1 point
    Original text by: Marina Belova One would think that evaluating of tension of the thread is such an old chestnut. But no, last week it came as a revelation to me. It is strange that such an essential information is practically non-existent on the internet, whereas manuals only contain the instructions on how to do the most basic things. And it is such a shame, really. So, everybody knows (including me) that after the embroidery has been completed, the backside of a perfect satin-stitch column should look like this: 1/3+1/3+1/3 (upper + under + upper). If the column is divided differently, it means that you need to adjust your upper thread tension or the under-thread tension on your bobbin case. I shall be honest with you, I don't see this ideal picture often, certainly not all the time. Velles 15 is notorious for getting the thread tension wrong, of which I've written many times, and was supported by the others. But there is a problem with the dial itself, which is pretty crude and, consequently, lacks the possibilities the Velles 19 dial has. But no matter how the dial was made, you have to adjust it all the time. The question is, how do you do it? Sometimes it's quite difficult a task to adjust it properly. As it happens, you have to act wisely. First of all, I'll show you the most typical occasion which happens all the time when I use my Velles 15, and which has always puzzled me. These are my real works, not the test pieces: As it turns out, this irregular outcome of the bobbin thread is a mark that something is wrong with a bobbin case. Is it either bent or damaged. To check this just lay the bobbin case with the bobbin inside onto the table or any other flat surface with bobbin facing down. Then pull at the thread, holding the case slightly and allowing the bobbin to uncoil freely. It the thread is not uncoiled smoothly, but jerkily, it is the sign that the bobbin case has been damaged, so that it is not round anymore. Most likely, it was dropped on the floor in the past. I have dropped it, of course, even more that once, but I never thought about the consequences. To cut the long story short, you must have a spare bobbin case. Sometimes the jerking like that cannot be corrected in any other way. And now I'll tell you about two of the most typical examples. a. The under-thread is just barely visible on the underside or not visible at all: In this case you will have to find time to run your machine through all those tension tests at least once to find out what happens with every one of your needles. Here you can also see the perfectly emblematic old photo of the old I-test from the times when I already had huge problems with a bobbin case. It turned out, to my surprise, that there are two ways of adjustment in this situation (this nuance of evaluation of the test results is hardly mentioned at all): • If such is the situation with all or nearly all of your needles, loosen the under-thread tension. • But if this happens only with 2 or 3 needles, tighten the upper thread on them. b. The under-thread on the underside is more than 1/3 column wide): Again, run your machine through all the tests using every needle and see. And again you can get two different results: • If such is the result produced by all the needles, tighten the under-thread tension. • If you get it only with 2 or 3, loosen the upper thread. That is basically all. I didn't know that it was so easy and used to regard thread tension tests with disdain. One should love their embroidery machine and care about it, so that it could reciprocate and minimize the number of unpleasant moment in the course of embroidery. We have so much yet to learn. P.S. A thought just popped in my head: what about single-thread embroidery machines that don't have a lot of needles, which can help you to compare their performance and understand what tension needs to be adjusted? How do you adjust the tension there? Some of my readers suggest buying a special device that helps to adjust upper and under-thread tension. And what do you think?
  30. 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.
  31. 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!
  32. 1 point
    It is very important for you to have a clear understanding of the different artwork type, quality of the artwork, and how to edit the artwork prior to bringing it into your embroidery digitizing software. It is also very important on educating your customer to provide you with the right type of artwork that you can work with. Why should you care, well a high quality image can save you hours and make your life easier than a low quality image. In the above image you can see some clear difference in the types of artwork, the preferred type of artwork is Vector as its been digitized for printing. This type of file show at the top of the image allows you to edit the artwork shapes. This means you do not need to redraw the design, you may need to simplify it, by slicing portions or removing aspects that will nor sew up. The next best thing is camera ready artwork for printing, usually high resolution jpeg like 300 dpi will also make your life digitizing design easy, with jpgs you have to draw all the shapes. The least although common art raster/bitmap files, this may include website artwork or low resolution jpg files. These will test your patients as when zooming in to draw the lines the image becomes fuzzy and hard to see the lines clearly leaving the design up to interpretation. VECTOR FILE PROS Vector files have been digitized for printing Vector shapes are all defined and coordinated by color Vector shapes can be sized with out distorting Vector shapes can be converted to stitches Vector shapes can be edited in your DGML programs VECTOR FILE CONS Vector files may contain too much information Vector files require special programs like Corel Draw or Adobe Limited Vector files support Customer may not have the files in this format Raster/Bitmap Pros Raster images are readily available Raster images can be edited with basic programs Raster images are easy to load into your software Raster/Bitmap Cons Raster images distort when sizing them. Raster file are hard to edit So when speaking with customers its in your best interest if you have the means of opening the files to get them in a vector file. I prefer Corel Draw but Adobe Illustrator has some advantages , some PDF files also have embedded vector shape information in the file, which can be very helpful when working with files. I would normally open up a PDF in Adobe, save it as an EPS file and open it up in Corel for editing. However, quite a few of your customers will provide you with a low quality file that will challenge your skills as an artist, when you need to digitize the file. Often the file will be small like 3 or 4 inches in width which is fine but generally when digitizing you need to zoom in and this is where the file distorts and becomes blurry, thus making your job at digitizing the image harder. Can it be done? Yes it can, there is some guess work and some trial and error but generally it can be done. Take a look at the example below. When working with Raster/Bitmap Files you may want to magnify the files and use an average of the different points to place your lines, When doing this you may need to average out the points and smooth out your lines. IMPORTING VECTOR FILES In Tajima DGML by Pulse Version 14 you have several ways of importing files into your digitizing program. Option 1 1. File New 2. Choose Import Vector , click okay Option 2 In your embroidery digitizing software in a new window go to your artwork tool bar and click the icon that says import artwork. This method allows you to open, for more details in your software go to HELP .. Importing Vector files. This out lines the steps and rules. Option 3 All the levels have the Draw Fusion tool ( If you have Corel Draw installed X4-X6) you can convert files to stitches or bring them in as artwork files. Option 4 For individuals with the Illustrator extreme levels you can also copy and paste vector files from Corel Draw or Adobe Illustrator right into your program. ( This method works best for me but it has some draw backs for high resolutions designs). CTRL C (copy) CTRL V (paste) standard windows commands. Because Vector files have already created an outline of the shape, if they are prepped for embroidery you can just high light the art segment , right click and convert the segment to stitches. 1. Copy and paste a vector file into your software 2. Select the segment 3. Right Click and go to Convert segment to 4. Choose the appropriate stitch type. NOTE : depending on your level you may not have all the tools illustrated in the picture, this screen shot is for Tajima Maestro users. 3. Select the file and click open In the embroidery industry vector files can be a power tool to help you digitize machine embroidery designs, some customers may actually have a vector file like a PDF file that if you have Adobe Illustrator you often can convert the PDF to Illustrator file. By opening it and saving it as such, allowing you to work with the native outline file. We will not be covering how to use these program, there are many videos on the web for Corel Draw or Adobe Illustrator , but editing the artwork or drawing the design in those programs can often be easier than in Tajima DGML for some users. Its a tool you should have in your tool box.
  33. 1 point
    Introduction When learning to digitize you need a good understanding of some of the basic tools including the select tool, understanding the beads and how to use them. Will help you when working with text to match a embroidery design. Text Tool bar and Digitizing When digitizing embroidery designs its very important to understand the different text tools and how to manipulate them , in this blog we will look at the tools, and options for kerning individual letters , this is required for matching your customer designs. Each of the above tools have a different use, Text Tool : This tool is great for text in multiple lines, text on straight or curved lines, and name stacking Vertical Tool : This tools is used for making stair case letters up or down. Arc Tool : This tool allows you to put text in an arc formation Circle Tool : This tool allows you to put text in and complete circle Monogram tool: Used for monograms only Line angle tool : Used for making straight line text. Work space setup You will need to familiarize your self with your work space to take advantage of some tools for embroidery digitizing. There are some buttons you should have features turned on.. The beads in version allow you to see the kerning points how you move them varies depending on how you set up your software. Here is how to check if your Beads are turned on they should be depress or yellow. Kerning Review When learning to digitize you need to know how to space and manipulate the text on the base line or within vertical or horizontal positions. This section we will review some terms and tools you will need to understand how to use them, The videos will also demonstrate using these tools. Kerning Definition Kerning is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result. Kerning adjusts the space between individual letter forms, while tracking(letter-spacing) adjusts spacing uniformly over a range of characters. Horizontal Kerning Beads Using the horizontal Kerning bead allows you to slide the text left or right, You need to have your beads turned on for these to show up, See image below of this bead and example of it being moved, to make it easier to see Tajima Pulse has change the outline to PINK when moving or adjusting the kerning. Vertical Kerning Beads Using the vertical kerning beads give you a few more options, when you click on this bead a pink box will circle the letter with nodes on the corner and arm at the top with a circle. This is very similar to using the power edit feature in some levels of the software. Skew or Slanting Letters To the right by grabbing the top right most node you can skew a letter left or right. This will enable you to move in real time instead of guessing the slant or italicize the letter. This also know and skew, slant or italicize. The node should be pink in your software. Zoom in to make it easier to see. Vertical Height Adjustments To the left we show you how to adjust the height of a letter using the kerning tools, if you grab the top node on the box click and drag it up this will make the letter taller, if you need to make it proportional you need to use another tool. The node should be pink in your software , zoom in to make it easier to see. Proportional Size To the right you should see which node to grab to adjust the letter in proportion this means equally tall and wide as the original.The node should be pink in your embroidery digitizing software , zoom in to make it easier to see. Horizontal Width Adjustments To the right you will see how to grab the node to make your letters wider, or stretched without adjusting the height. Grab the pink node on the right side of the letter and move it to the left to make the letter thinner, or to the right to make the letter fatter. Vertical Kerning Adjustments To the left you will see how to grab the node to make your letters wider, or stretched without adjusting the height. Grab the small ring in the center of the letter this will allow you to move the letter lower or higher on the axis. Its great for working with script letters to get the letters to align. But it also can be used when making the first letter larger and re-positioning it on the line. Rotate Kerning Tool To the right you will see how to grab the top node on the stick pointing up and rotate the letter, you can rotate the letters upside down if you need to mirror text or match an angle, I use this in 5% of designs for editing text. Next blog we will look at the advanced tools for text. when using them to digitize lettering
  34. 1 point
    In the embroidery industry digitizing for caps is unique, you should plan your designs to sew out from the center, a cap embroidery design will also work on left chest with out any issues but not usually the same way around. Here are the standard rules that would apply to the machine embroidery design: Sew from center out. Sew from bottom up. Sew each element completely. Lets take a look at the image and go through the process for digitizing this design for caps. 1. On the artwork draw a reference line in the center 2. In a new document in your embroidery digitizing software go to Image choose your design. 3. Following the rules above you start at the Brim of the hat which would be the Varsity Softball. If possible you should try and find a font that is matches the design letters. From my knowledge of the fonts this appears to look similar to Brush Script New font. So I drew my line the length of the Varsity Softball and it very close to the original, but it needs some tweaking. The V S and f do not see to line up with the embroidery design. I would turn my beads on, and using my select tool grab the kerning bead illustrated in photo below. I would then pull down the letter so it matches up with the design below, Next step I would go to the properties by right clicking and going to properties and go to text tab and choose sew sequence. The default sew sequence for all text is from the left , you will need to choose to sew from center.. Optional you can also go to the text tab , general and change the trim distance to .05" so it will trim between the a V when sewing from center to the left. Now we can digitize the main part of the embroidery design , I would to the black inner area first from the center to the right.. To do this you will need the satin tool, do each letter at a time and simplify it. Once you are done digitizing the right side letters I would do the border stitch around the edge so it does distort when sewing out the other side of the cap. Using the Steil tool if you have it set the width to .06" and on the edge of the satin stitch place your points for the steil.. Remember what you see on screen is NOT what sew up, all stitches shrink usually the direction of the stitches. embroidery_caps_design.bmp Once you have the right side done, then you can start at the reference line and digitize the inner design using a satin stitch and go toward the left side and then repeat adding your steil border. Now that you have a properly stitched machine embroidery design you can either choose a recipe for caps or you can add your own underlay and compensation. Author: Frank Prokator
  35. 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-/
  36. 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
  37. 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
  38. 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
  39. 1 point
    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
  40. 1 point
    In embroidery shops we all fall into a similar pattern, we stock a variety of standard towel gift sets for baby showers, some promotional products for companies , some screen printed t-shirts, a large embroidered jacket back and possibly some embroidered hats with various logos on them. I was guilty of this myself. Since opening up my new retail shop this past May I started thinking outside of the box on what I could decorate to make my work stand out. I went down to a local thrift store and picked up some garments that looked great on a mannequin and started to showcase different works. Here are samples of traditional promotional items , including aprons, golf shirts, jackets, bags and hats are among the common promotional apparel items in most shops. The more you can do to show off your skills as an embroider the better, most of us know that our spouses love their purses and bags, I have found that this is a huge specialty item that I carry and or decorate for clients. Specialty items like purses do have challenges but the profits on embroidering these items as its custom or specialty. Another marketing item you will see at this time of year is embroidered towels, stockings, and custom blanket sets. Towels often are quiet affordable I sell them in a basket for baby showers, and themed products like that but can be for the sports fan, family towels or personalized towels, napkins and more. Presentation is key.. Embroidery designs by Urban Threads Alice in Wonderland Another way to think outside of the box is to showcase items that can be embroidered, I sell a similar sweater like this one for $100 , the sweater cost $12, and I embroider 10 location on the sweater, I did this on my personal embroidery machine. These machine embroidery designs only have 1500 stitches mainly run stitches very light but detailed and run great and look very nice on towels, napkins, sweaters. But it show cases where you can place embroidery, and looks great on the display rack. Any of the items that you can embroider will make you stand out from the rest. It takes time yes but the rewards will pay off when customer come in to order custom items, I charge 50% more for logos on purses and specialty items, In addition for multiple logos on a single garment may be time consuming but the rewards pay off. Author: Frank Prokator
  41. 1 point
    Blending Application In this section we will take a closer look at how to make and use blends, the shape depends on the method your using as not all methods will work for all the shapes. There are several tools that you can use to create blend with including the Satin Tool, Complex fill tool, Radial Fill Tool, Auto Blend Tool, and for Tajima Pulse version 14 users the density bead tool. We will look at the above tools and walk you through making blends and the settings for each tool. Satin Tools Split Blend The satin tool split technique is useful when you want the embroidery pattern or fill to fit a shape or radiate out from a point, you can make the split as narrow as you can place the angle points or as wide as you want. For Tajima Pulse users this option is available to users from Creator to Maestro levels Version 11 or newer. The steps are below. Below I used contrasting colors. Step 1 Draw your shape ( pressing enter or right clicking) Step 2 Add your angle lines ( be care full to grab the right side) Step 3 Generate the stitches ( pressing enter or right clicking) Step 4 Go upto the top and change the satin pattern to random fill Step 5 Go upto the top and change the density to 20 spi Step 6 Draw another fill shape 35 spi density in behind the stitches Satin Tools Basic The satin tool technique that generally for a one dementional shape. It works great for leaves and other similar type projects and its available for Tajima Pulse users this option is available to users from Creator to Maestro levels Version 11 or newer. The steps are below. I used a dark green blend with a light green fill .. Step 1 Draw your shape ( pressing enter or right clicking) Step 2 Add your angle lines and generate the stitches Step 3 Go upto the top and change the satin pattern to random fill Step 4 Go upto the top and change the density to 20 spi Step 5 Draw another fill shape 35 spi density in behind the stitches Fill Tool Basic The fill tool technique is only to create basic blends or colors, that generally for a one dementional shape. It not as flexible when using this tool, and the only people who should use this is the Creator level , high levels should use some of the more advanced options. Step 1 Draw your shape ( pressing enter or right clicking) Step 2 Add your angle lines and generate the stitches Step 3 Go up to the top and change the density to 15 spi Step 4 Draw another fill shape 35 spi density in behind the stitches Step 5 Re sequence the blend over top of the other fill. Satin Tools with the Contour Option The satin tool with the contour option is useful when you want the pattern or fill to fit a shape and or follow the contour. This option is available on Tajima Illustrator Extreme Version 13 or higher , it allows you to add a bit more depth to a embroidery design. Step 1 Draw your shape ( pressing enter or right clicking) Step 2 Add your angle lines and generate the stitches Step 3 Go upto the properties.. and goto the Satin Path/Column Effects page and check Contour Stitch Step 4 Change the density to 20 spi Step 5 Add a fill in behind the contour pattern and you have a very nice contour blend. Radial Tool Blend Technique This tools is called a Radial fill but its basically a Satin stitch with a floating center point. It adds some demention to a design with the ability to move the point around to radiant outward. This option is only available in Tajima Illustrator Extreme with the Artistic Pack or the Maestro level . Its very useful when making eyes, flower and many other designs. Step 1 Draw your shape ( pressing enter or right clicking) Step 2 Change the satin pattern to random, Step 3 Change the density to 20 spi Step 4 See the Bead in the center step 4 you can move this around see the difference step 3 vs 4 Step 5 Add a black background and change the fore ground color to red and you have a nice eye.. Auto Blend Tool This tools is called a Radial fill but its basically a Satin stitch with a floating center point. It adds some demention to a embroidery design with the ability to move the point around to radiant outward. This option is only available available in Tajima Illustrator Extreme with the Artistic Pack or the Tajima Pulse Maestro level. This tools is great for sunsets or water fading into two colors together. Step 1 Draw your filled shape ( pressing enter or right clicking to finalized) Step 2 Right click and choose Auto color blend a window will pop up Step 3 For the example we choose Linear increasing,black and linear decreasing Red and click ok Step 4 Then You right click and choose break up for the patterns to emerge. There are several different combinations for using this tool. Concave, Convex, Linear increasing and decreasing, Concave Starts gradually decreasing the density in a selected segment from the Maximum density value to the Normal density value. Then, begins gradually increasing the density from the Normal density value to the Maximum density value at the center of the selected segment. Convex Starts gradually increasing the density in a selected segment from the Normal density value to the Maximum density value. Then, begins gradually decreasing the density from the Maximum density value to the Normal density value at the center of the selected segment. Linear increasing Gradually increasing the density in a selected segment from the Normal density value to the Maximum density value. Linear decreasing Gradually decreasing the density in a selected segment from the Normal density value to the Maximum density value. Version 14 Density Beads for Fills This tools is still new to me and it can be quite tricky to figure out the density, but it can give you an added demention to the above techniques. You will need the Maestro level to use this feature. Step 1 Draw your shape ( pressing enter or right clicking) Step 2 Click on the Density Bead Tool and add a density bead to the line Step 3 Click on the pink density beads and click set density. Step 4 Use a negative value only -35 spi Results You have control over the density at each bead. General Tips when working with Blends Rule 1 Random or manual stitches will offer the most realism for blending layers. Rule 2 Play around with the density of both the top and lower segments for various results. Rule 3 Blends look best with 2 or more layers close to the color, like orange reds & yellows Rule 4 Add decorative stitches to the top of the embroidery design for more dimension to the design Rule 5 Remember to experiment with the different patterns Author: Frank Prokator
  42. 1 point
    The new Tajima DG15 uses the same platform as Tajima DGML by Pulse Version 14 so the look and feel of the layout should seem quite familiar for those migrating over from version 14. If your migrating over from version 11, 12, or 13 you may want to read the document on setting your embroidery digitizing software up as many tool bars, and settings are optional. While this version looks quite similar to Version 14 they have stepped up the usability of the platform to include some key components that make this version stand out. NEW FEATURE The first thing I noticed apron installing the digitizing software is I can view all the PXF files on my computer using Windows Explorer and or My Computer, the trick with this is the files need to have the a picture embedded in the file. This will go a long ways to helping me sort out the files.. Pulse Cloud The second new feature will apply to shop that are expanding or network their machines they included a few different tools to allow you to move files around. The biggest advantage would be Pulse Cloud which is included with Tajima DG15 By Pulse, this allows you to some key mobility options for network machines including; Key Features of Pulse Cloud 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 This new add on allows you to store, manage, and browse 100,000 of your embroidery designs on multiple devices through the Pulse Cloud service, included with Tajima DG15. It also allows you to edit embroidery design, create new embroidery designs, monitor your machines, send machine embroidery designs from your mobile device. Contact your distributor on how this can work for you.. I am not sure of the restrictions or how to set it up, I do know there is an app for mobile devices for Pulse Cloud. This feature also allows you to share free embroidery designs on popular social media feeds. Drop Box This is another new option great for customer that have their embroidery machine at one location and their digitizing software at another location. You can store your designs and move them to the drop box and open them up and edit them and save back to the drop box. New Monogram Wizard This is the first time they have made the wizard for monogramming very simple to use, its great for someone who doesn't digitize or wants a simple but powerful tool to use to make monograms, this tool works with both the monogram fonts or regular fonts and offers a wide selection of borders, decorations and placement options., you can also edit the font per digit in this utility On the left side you can select your placement or style of text , on the right side you can select the font and or size, you can also change the border and the design all through this wizard and standard on this product. I found it very easy to use and their over 15 text placement styles, Access to all your fonts in your embroidery digitizing software, color of the font and size. You can have each letter a separate font and color too which makes it nice. To change a frame you select the frame and you can scroll through over 25 frames and over 25 decorations for inside the frame. You can also choose no frame or no decoration, and you can edit the decorations independently. Touch Screen Support This new feature also allows those of you to have touch screen monitors to use them with the software, I do not have a touch screen so I am not sure how it works. But it could for some applications be easy to use. Vector Tool Improvements They have made some improvements to the vector tools which can make it easier to slice and edit curves much like in Corel Draw. Embroidery Machine Instruction This new version will also allow you to implement warning or special instruction to the embroidery machine including, speed limitation and or notes. Vertical Text Tool This allows you to put text up or down great for arms and pant legs, Wave Fill Options They also now allow you to use complex fill and carved tiles with the wave tool allowing for better creation of flags in my view then programmed runs but it great tool for other applications too. Improvement to Quotation Tool They made some changed to how the quotation tool works, I do not use this as I have my own template for quoting jobs for customers, but for a beginner its a great way to price jobs for yourself. Supports Corel Draw Version 7 This latest version also supports the latest version of Corel. In review , I installed the software on Windows 7 64 Bit Premium Edition with no issues, it made all the necessary updates as it installed the program, it doesn't over right any existing version which I like as I make videos and documentation for all versions. Pulse Cloud is available on all the current levels and the levels have not changed they still include Composer, Creator, Illustrator Extreme, Artist Pulse and Maestro.
  43. 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.
  44. 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.
  45. 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
  46. 1 point
    Puckering (also known as cupping) is the gathering of material in an embroidery design which results in noticeable mounds of fabric and/or curled embroiderydesigns. This is undesirable in quality stitching and when it occurs, the cause of the problem should be determined and corrected. There are a number of factors which can contribute to puckering and they include: The embroidery design Often design stitch densities are simply too high and editing is required to reduce this density. A quality digitized design will produce a stitchout which compliments and flows with the garment .... not protect it, like a layer of armor.Insufficient or improper underlay stitching can also lead to puckering. Underlay stitches serve a number of purposes and one of them is to attach the material being stitched to the stabilizer before the actual top stitching begins. This helps to control some of the “push - pull” effect which will occur during stitching. Long stitch lengths tend to apply more “pull” to the material being stitched than short ones. Sometimes puckering can be reduced or eliminated by using shorter stitch lengths. For example, reduce 6 mm long stitches to 3 or 4 mm. Stitch direction can contribute to puckering. Embroidery designs having the majority of fill stitches running in the same direction or those that do not take into account the bias of the material being stitched, can produce puckering. If possible, direction of stitching should vary from one fill area to another and should run at an angle to the bias of the material. Improper patching can also cause puckering. Stitching the outside areas of the design first and working towards the inside can result in the material being “pushed up” in the center. Generally, it is best to have a design stitch from the center - out [as much as possible]. Stabilization Stitching without sufficient, proper stabilization can produce puckering [especially in lighter and/or problem materials]. As a general rule in embroidery, consider using a quality 2 - 3 oz. cut-away for most jobs because not only does the cut-away offer the best support during stitching, it also continues this support for the life of the garment. Switch to specialty stabilizers (tear-away, mesh, water solubles, etc.) only when the job warrants it. Hooping Using a large hoop for a small design can lead to excessive movement and shifting of material .... which in turn can result in puckering. In order to limit material movement and reduce the chance of puckering, always use the smallest hoop possible and when hooping, the material / stabilizer should be taunt [but not stretched] in the hoop. Embroidery thread tensions An embroidery machine with excessively high thread tensions can cause unnecessary “pull” on the material being stitched, which in turn can contribute to puckering. Properly tension ed, smooth, consistent running top and bobbin threads go a long way in creating a quality stitchout and help reduce problems like puckering. Materials being stitched Some materials [like nylon, silk, and light knits spandex and jersey materials simply tend to be more prone to puckering than heavier, more stable ones [denim, fleece, heavy cotton, etc.] and when working with these more problematic materials, the embroiderer will have to do all that they can to eliminate the potential for puckering. Proper editing of embroidery designs, good stabilization , good hooping practices and avoiding overly tight embroidery thread tensions all contribute to reduced puckering problems. Use the above information on puckering as a guide. However as with most things in embroidery, each job will offer its own variables and challenges which often need to be dealt with on an individual basis.
  47. 1 point
    Embroidering on to Leather Embroidering on leather is one of the most sought after applications by high end customers, including sports fans, corporations and more. In this blog we will give you tips and tricks on how to work with leather to help familiarize your techniques. The problem with leather it comes it different thickness, and different cuts or skins, making your life a battle. Leather Thickness You will be asked to embroidery on different materials for different applications in the image below you will find a chart that indicates the different thickness of leather. Its very important that you compensate your needles and threads and the design for the different thicknesses. Soft Leathers When embroidering soft leathers you will find that they can take a wider range of stitches as they have a bit of give to them. I recommend using a adhesive with your backing , I also recommend a weaved med-heavy backing to hold the stitches from coming through the back. I often use a 30 weight embroidery thread and a 75/11 sharp needle for this application. I tend to slow the machine down to 400 rpm Thick Leathers On thick leathers, from 4 ounces and thicker I recommend using a 75/11 Titanium Teflon Coated Sharp point needle and a polyester thread, I also recommend a weaved med-heavy backing to hold the stitches from coming through the back. I tend to slow the machine down to 400 rpm I also try to stagger the stitch pattern and avoid underlay, when possible. Depending on the thickness you may need to go to a 80/12 needle or a 90/14 needle if you end up with this make sure your using 30 or 20 weight of thread to compensate. Hooping Leather Depending on the type of hoop your using , you may want to place tear away backing where your hoops are going to be placed on the garment this will reduce the amount of marks left of the leather from the hoops sliding against the surface. If you have a clamp or magnetic hoop they work the best. Design Characteristics When digitizing your designs I recommend using programmed fills, and or light densities to create patterns, large fills with dense areas will cause the leather to rip. Opt out on this using a heavier thread type to fill in the area. a 30 weight thread you can often get away with a density of 50 spi and a 20 weight thread you can get away with a density of 35 spi. If you can use satin stitches, stagger the over laps, change the stitch direction when ever possible this will eliminate some of the over lapped penetration points. Keep trims to a minimum. Alternate Methods If you have the option I would recommend embroidering the embroidery design on to a structured surface like felt and embroidering that on to the leather. This is great for sports jackets, motorcycle jackets, and similarly style of coats where it make not take a heavy design. Applique can be used to make the jacket look great. Finishing the Garment You need to take great care in trimming the leather, it will not give like other fabrics, On some leathers the machine may leave foot depressor marks, caused by the machine, if you get these use a soft brush or tooth brush and stroke the leather this will often take the marks out. If the leather has nicks in it you may want to get a dye similar color to the leather and treat those areas. Samples 1. Appliqued embroidery designs stitched on felt. 2. Stitched on the arm of a garment . Author: Frank Prokator
  48. 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 ,
  49. 0 points
    Original text by: Lisa Prass Every embroidery or sewing and embroidery machine has its maximum embroidery area. The hoops for designs of that size are supplied with the machine. The embroidery process goes like this: you set your hoop and embroider your design from the beginning to the end, not moving the hoop once. Sometimes, the hoop with maximum design area much bigger than specified in the user’s manual also comes with the machine. Such hoops have their own names depending on the brand: jumbo magna hoop, giga hoop, mega hoop. These hoops allow you to embroider designs that exceed the maximum embroidery area. Giga hoops for embroidery machines All the listed hoops belong either to the multi-position or the rotating hoops. Their primary purpose is to allow the customer to embroider designs exceeding the machine's maximum embroidery area. The embroidery in such hoops is done stage-by-stage, without rehooping the material. Multi-position giga hoops For embroidery machines with the hoop holder located on the left multi-position hoops are produced. The hoop is located between the holder and the body of the machine, which imposes restrictions on the hoop size. The embroidery area can be increased only lengthwise. The embroidery usually goes from top to bottom, changing the position of the hoop in the process. The embroidery process in this hoop goes like this: you set the hoop and embroider one part of your design (marked by the blue dotted line on the photo). Then you change the position of the hoop and embroider the next part (red dotted line), then change the position once more and embroider the last part of your design (green dotted line). There can be from 2 to 4 positions in general. Multi-position hoops are fixed only on one side. Rotating giga hoops Rotating giga hoops are made for embroidery machines with the holder on the right side or at the rear. The embroidery area may be increased both lengthwise and breadthwise, because there is no restriction in the form of the body of the machine. Rotating hoops are fixed in two places (on the right and left). There can be from 2 to 6 positions. The embroidery process goes like this: you set the hoop and do the first part of the design (1). Then the hoop changes its position, and you do the second part of the design (2) After that the hoop rotates, you do the third part of the design (3), then the hoop changes its position, and you do the last part of the design (4). Machine embroidery designs for giga hoops Now a bit about designs. The main problem with the beginners is that buying a giga hoop they think they can take any machine embroidery design that fits giga hoop embroidery area and embroider it. But it turns out that the machine cannot recognize the design. The key to that problem lies in understanding of this fundamental truth: Design that are to be embroidered in the giga hoop must either be split into separate files beforehand or be prepared in machine embroidery design software by the embroiderer himself. Some manufacturers make machine embroidery designs for giga hoops, which gives users an opportunity to embroider without doing all the preparations in the embroidery design software. These designs are usually marked "for giga hoops" and have a list of recommendations in their supplementary sheet. If you downloaded a design that exceeds the maximum embroidery area of your embroidery machine, but fits the giga hoop, you should use the design editor. Every embroidery software has its own ways of splitting the design, and every design must be treated individually. But this will be the topic of some other blog. Meanwhile we invite you to discuss the ways of splitting the designs for giga hoops on our forum.
  50. 0 points
    Original text: unknown Good afternoon! Among the lovers of the machine embroidery there are those who prefer step-by-step tutorials, master-classes and other guidance materials, and there are also the ones who try to master the great variety of working practices all by themselves. For whose who are on the brink of engaging into learning machine embroidery techniques by themselves, here's a little bit of advice. The phrase "learn by yourself" does not mean "turn a blind eye to all that has been previously written on the subject", but "to use what has been previously written and to fill the gaps". Learning machine embroidery technique by yourself What you should notice when mastering the technology of embroidering on a specific type of fabric. The fabric and its characteristics You should know the fabric you are going to work with. Learn, if only superficially, its characteristics. Whether is stretches or not. Whether it is loosely or densely woven. Whether its surface is smooth or piled. If we are talking about using machine embroidery techniques on different types of fabric, I'd like to name it "Machine embroidery on the types of fabric that give you trouble", because in most cases embroidery on a densely woven smooth-surfaced material does not you cause any trouble at all, even the chosen design is a bit too dense. Stabilizers and hooping methods First of all, learn the main types of stabilizers in existence. We have already described various types of embroidery stabilizers and where to use them; also you can search our forum for tips. Try to figure out what type of stabilizer will be better for you fabric. Whether you should use a water soluble stabilizer or not. Whether you need an underlay and of what kind. When to use a tearaway stabilizer and when a cutaway will be better. Whether you should hoop the fabric or better go without it. Needles and threads You have probably noticed that many needles for machine embroidery and sewing are made for specific purpose. There are omni-purpose needles, embroidery needles, also needles for metallic thread, silk, woolen fiber etc. First, learn the materials available and then use what you have. Perhaps, the main recommendation on using needles will be as follows: You should not use expensive needles when working with densely woven fabrics that do not cause trouble, and when working with delicate fabrics such as silk or calico you should not use the same needles as you do for densely woven ones. Try to use rare and expensive needles for their intended purposes. The threads come in different types, too, and each of these types has its own usage recommendations. The main types of thread are polyester, viscose rayon, wool and cotton. The last two are the common polyester threads without luster, but with the addition of wool and cotton. Try using different threads with different types of needles available in your machine. When choosing which ones to use pay attention to the width of needle's eye and thread thickness. When you use a thick woolen fiber, you'd better not choose a narrow needle's eye. And so, gradually, you will understand, whether you should use a thick thread when embroidering on silk if you cannot use a thin needle with it. Whether you should choose a big eye needle when working with a thin thread. How many needles for silk will you need to embroidery a dense design on the tarpaulin... The Designs For a beginner all machine embroidery designs look the same. Beginners don't pay attention neither to the density of the design nor to filling characteristics. They don't yet know what the words "satin", "tatami" and "motif" mean. But such a situation won't last long. After having embroidered a dense chevron on a thin knitwear and having got a "bulletproof vest" as a result, or having embroidered a rare stitch on a terry towel you will understand that you should pay attention to design characteristics. To understand how a satin column pulls the fabric, how the tatami behaves, what restrictions apply to the stitch designs and where they will look good and harmonious. We will definitely write about all this in our blogs, and meanwhile we suggest that you embark on a journey of learning the machine embroidery techniques by yourself.
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