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Found 6 results

  1. Im fairly new at this digitizing so this is probably a pretty basic question, but when i use satin stitches and there is a segment next to another one there is a gap between the two sections. im not sure how to get rid of the gaps. ive tried overlapping the segments but that doesn't always help. is there a trick in how to digitize the segments so they run together??? Help!!!
  2. Original text by: Marina Belova Not very long ago I've noticed a pretty-looking design embroidered on 3D Puff with a metallic thread. And I thought I could do it, too – there is seemingly no difference between embroidery threads, right? After all, in standard embroidery cases the difference is minimal. Nothing of the kind. See, how ugly the result is: At the beginning the embroidery runs smooth, then there are stitches missing, then everything is smooth again. And the reason for these gaps is not that the stitches in different embroidery segments lie in opposing directions and there aren't much overlaps — each of the contours equals one segment, and therefore, all of them are unidirectional. I don't understand what is the problem: the brand or the thread itself? Do I need to change my needle (system, needlepoint, thickness etc.)? Or do I need to change stitch parameters (density, carcass)? Or, perhaps, I should change the filler (3D Puff)? Those who have embroidered on , help me, please!
  3. There are several ways to estimate stitch count, you can look at the design and guess, or you can place a grid over the embroidery design and calculate the areas and stitch types. Grid Estimating Technique Below you will find a grid system composed of Ѕ” X Ѕ” blocks, along with a 5” linear ruler. (The ruler will be used for runs and satins.) Obtain a clear acetate sheet used for overhead projector presentations (8 Ѕ” X 11”), available from most Office Supply Stores and print out the measuring tool, so you can apply it as per the instructions of this article. Use a separate ruler to measure the blocks and verify that they are truly Ѕ” X Ѕ”. It’s possible that the grid sheet was inadvertently re-sized during printing or downloading. Most of the various grids found online use the same size blocks. However, they tend to differ when it comes to assigning fill stitch coverage values to those blocks. Thus, it’s important to understand that different software systems may come up with different coverage values such as density. The worldwide standard for density is 4.0 pts which is equivalent to 63.5 spi (stitches per inch). Theoretically this is the master density setting for all systems, but not necessarily. Plus, there are various auto-compensation functions which change the density based on user-inputs such as fabric type. Therefore, it’s important that you run a quick test of your own. I found that on the Tajima DG/ML by Pulse Microsystems software the value for a Ѕ” X Ѕ” square is approximately 300 stitches, using embroidery fill pattern 1 (the default). Realize too, that different fill patterns will give different stitch counts. Using this concept you can continue your calculations with the end result looking like this: FILL STITCHES (Density of 63.5 spi) 1” Square Area = 1000 stitches 200 stitches for underlay = 1200 Ѕ” Square Area = 300 stitches 150 stitches for underlay = 450 ј” Square Area = 100 stitches 100 stitches for underlay = 200 The graphic above is a ZOOMED IN view of a 1” long satin column with a density setting of 63.5 spi that I created. If you count the endpoints on either side of the column they add up to 64 per side – which adds up to 128 stitches total, as it takes two needle penetrations to make a stitch. (Said another way, a column of stitches is made up of two parts, the stitch and the return.) To be conservative, I use 150 stitches per linear inch in my estimates, rather than 128. You may feel more comfortable going as high as 200 stitches. You should end up with the following results: SATIN STITCHES (Density of 63.5 spi ) 1 Linear Inch = 150 stitches 50 stitches for underlay 200 stitches Ѕ Linear Inch = 75 stitches 25 stitches for underlay 100 stitches Run stitch estimation uses the same concepts as satin's. Set up a straight run segment that is five to six inches long. Measure the number of stitches that make up the segment. You should find that 1 linear inch has approximately 12 stitches, depending upon the run stitch length setting, in this case 3 mm. It can be hard to predict what run stitch length setting will be used on any given design, plus runs can be tricky as it may be necessary to double-back in some places, I use a conservative number of 20 stitches per linear inch. RUN STITCHES 1 Linear Inch = 20 stitches Depending on the amount of color changes I will add 200 stitches per color change. Please note that if you go over and it turns out to be less you may be able to refund the customer the difference or give them a discount, but do not ask them for more money cause your guess work was out. They won't like this too much. I would practice with this until you get a feel for machine embroidery designs. Author: Frank Profokator
  4. In this blog we will look at preparing the fabric for your designs, and understanding why you should use a particular type of underlay in building a foundation for the machine embroidery design. Underlay Types There are many names for the basic types of underlay in Pulse products you have several types, including Contour, Parallel , Perpendicular, Zig Zag, Lattice , Full Lattice and Center run. Contour Underlay When no underlay is applied, the embroidery thread making up the satin column lays flat on the fabric. This not only makes the embroidery look flat, but it allows the grain or nap of the fabric to peek through. Many new designers would increase density to block out the fabric peeking through, but it would be more effective to apply the proper underlay. Tip set the contour to .02 inches on the inset to make sure it doesn't stick out on corners. Never use by itself on a fill. Parallel Underlay My favorite for text , I use the parallel underlay on any column stitch or steil stitch when ever possible, I find it gives the columns a good foundation prior to the stitching, its like a zig zag stitch but not as dense. I use it on knits and many of the stretchy type materials, including golf shirts, t-shirts, sweats, and hats and knitted caps. Perpendicular Underlay The perpendicular underlay puts a column of lines down the center of the column and is often with each line just off center. I have used this with towels when I want to raise the text up a bit in addition to using zig zag. Advantages of this it will help push the column apart as the stitching goes in opposite direction of the satin stitch. Zig Zag Underlay Zig zag underlay provides additional loft than what can be achieved by Perpendicular or Contour. These two underlay types are especially effective at lifting the top stitches on fabrics such as pique, terry cloth and fleece. Due to their lofting characteristics, they are also used to give life to embroidery design aspects such as leaves or muscle tone to animals. Zigzag underlay is often used in addition to center run underlay where the center run is securing the fabric and the zigzag is creating the loft. This combination is the most under-used of the underlays, but when used at the appropriate time can set your design apart from others. Best used on satin stitches, Lattice Underlay It can best be described as a light density fill, normally running perpendicular to the top stitch. The fill underlay anchors the target fabric to the backing and is the best way to reduce the push and pull factor so common to fill embroidery areas. It also lifts the top stitches up and allows a much less dense fill to be applied. This is the best way to prevent your designs from suffering from "bullet proof" fill areas. First placing a Contour underlay and then a lattice underlay has proven to be the best combination for medium to large fill areas. Center Run ( New Version 14 only) In Tajima DLML version 14 there is a new underlay option called center run it places a stitch right in the center of the column. This is very useful on small text as it helps keep it conformed to the space provided, and doesn't usually cause to much bulk for theses small letters. Automatic Underlay Automatic underlay can be applied with a recipe or style when using the embroidery digitizing software or you can apply it by going to properties and adding the type of underlay you want. You can also adjust the inset, density, the stitch length and angle of the embroidery stitches, number of lines, drop stitch or angle of the underlay. It can be very useful. Manual Underlay I use manual underlay when working with fills that have steil borders and or when the garment has a lot of stretch too it. Typically Automatic underlay goes under each segment, however there are times when you want the underlay to go under both segments all at once. This will eliminate the two parts pull apart, the easiest way to make this is to use the complex fill tool draw a shape around all the segments and cover them completely, see comparison below; Above you will see both the manual and the automatic have both a lattice and a parallel underlay applied, the Automatic the two underlays do not overlap where as the manual you can place the underlay underneath the parallel which will prevent the two from separating. I use this method quite a bit when digitizing. Terminology for Underlay Settings Angle The angle of the underlay Connection End The type of end used , option include, Sharp, Square Chiseled and Zig Zag. You can change the connection end to adjust either the appearance or how the design sews out. Density The density of the underlay how thick the underlay stitches will be, normally around 10.5 spi Drop run stitch Is a setting to ensure the proper placement of the run stitches, setting include None, At Anchor, Chord gap. At Anchor Drops the run stitch and penetrates it at the anchor points - None forces the run to stitches to follow the stitch length - Chord Gap places the stitches fit to the top portion of the curve smoothly by shortening stitches at the top of the curve Inset The distance the underlay stitches are placed from the edge of the top stitching. Inset A The outside inset Inset B The inside inset Max Chord gap The Max Chord Gap is the maximum gap between two points on a bezier curve. Min Stitch length The minimum stitch is usually set to .02 normally you do not want to go under this however sometimes you want this stitch higher. Override Some setting in the underlay they use a particular pattern, there are times when this is not suited for the application Repeats This is a setting when you want the underlay to repeat Sometimes it better to go over the same spot Sequence The sewing order of which underlay goes down first sometimes you want a perpendicular to go down before doing a parallel stitch to give some extra support. Stitch Length The length of each stitch on the underlay, the shorter is ideal when working with smaller sizes, but does increase the stitch count Application Notes 3D Foam When applying underlay to use with foam you have to remember that you do not want to suppress the foam, if you feel the need to add underlay use a contour underlay with a short stitch length. Make sure the design is made for puff.. Leather With leather you do not want the underlay to punch a hole where the designs is going to go through this can cause the material to rip , With leather reduce the density of the underlay, and rotate the underlay to a 45 deg of the top stitch pattern. Small Lettering I recommend using either the center walk on small letters or punching the underlay manually, watch the stitch lengths, and use a smaller needle and thread. Large Lettering I using parallel or a lattice to compensate for the amount of stitches going down, recommend cutaway to support large letters in large hoops. General Recipes Fabric / Backing / Underlay / Compensation Notes Broadcloth / Cutaway / Parallel / Percent 110 Burlap / Cutaway / Perpendicular / Percent 110 Canvas / Cutaway / Perpendicular / Absolute .01" Chamois / Cutaway / Parallel / Percent 110 Chartreuse / Cutaway / Perpendicular / Percent 110 Chiffon / Water-soluble / Perpendicular / Percent 110 Cloth Diapers / Tearaway / Parallel / Percent 110 Corduroy / Cutaway / Perpendicular/zigzag / Percent 110 Denim / Cutaway / Parallel / Percent 110 F aux Fur / Cutaway / Perpendicular / Percent 110 Use 505 spray on backing F aux Suede / Cutaway / Perpendicular / Percent 110 Use 505 spray on backing F aux Leather / Cutaway / Perpendicular / Percent 110 Use 505 spray on backing Felt / Tearaway / Parallel / Percent 110 Flannel / Tearaway / Parallel / Absolute .01" Fleece / Cutaway; / Perpendicular/zigzag / Absolute .01" Jersey Knit / Cutaway / Perpendicular / Absolute .01" No stretch cutaway Leather / Cutaway / Perpendicular / Percent 110 Use 505 spray on backing Linen / Tearaway / Parallel / Percent 110 Micro Pique / Cutaway / Parallel / Absolute .01" No show backing Microfiber / Cutaway / Perpendicular / Absolute .01" Neoprene / Cutaway / Perpendicular / Percent 110 Use 505 spray on backing Nylon / Cutaway / Perpendicular / Percent 110 Organza / Water-soluble / Perpendicular / Percent 110 Pique / Cutaway / Perpendicular / Absolute .01" . Satin / Cutaway / Perpendicular/parallel / Absolute .01" no show backing Silk / Cutaway / Perpendicular/parallel / Absolute .01" no show backing Spandex / Cutaway / Perpendicular/parallel / Absolute .02" Sweater / Knits / Cutaway / Perpendicular/parallel / Absolute .02" Sweatshirts / Tearaway / Perpendicular/parallel / Absolute .02" Cutaway can be used T-Shirts / Cutaway / Perpendicular/parallel / Absolute .02" Towels / Tearaway / Perpendicular/zigzag / Absolute .01" Topping can be used Velor /Cutaway / Perpendicular/parallel / Absolute .01" Velvet / Tearaway / Perpendicular/parallel / Absolute .02" Wool / Cutaway / Perpendicular/parallel / Absolute .02" NOTES 1 On most machine embroidery designs you can get away with a 75/11 needle, however if you find yourself needing small detail and or small text invest in some small needles like 60/8 or 65/9 needle and some 60 weight thread this will allow your small designs or designs that have a lot of detail to be crisp without bulking up the design. Small fonts in your software have underlay built in, you will need to 2 sheets of cutaway to helps support the text. NOTES 2 If you plan on using the recipes in your software please note they are general notes, the design the type of backing, manufactures and shirt type can all impact the design. Its your job as an embroider to learn when you need to change the backing, and to troubleshoot your choices. NOTES 3 Make sure you use the smallest hoop that will fit the embroidery design. Author: Frank Prokator
  5. How can I control the blend points, like 30% of the segment height the increase is done. I've done blends, but never can find the controls of transition, only density of stitches.
  6. I am trying to figure out how to skew or distort segments or groups of segments in version 14 (maestro). I am updating from v9.1 (designer), and am use to just placing my cursor along the edge I want to skew until it turned into an arrow and then left clicking and sliding it until I get the shape I want. This could be done on any of the 4 sides of the segment box. Now, I cannot find how to do this. A simple example would be if I did a horizontal line...just a rectangle, but then I want to slide the right end up while keeping the left side anchored in place. I understand under this scenario that I could move the individual points, but this is a simple item. What if I am doing something like this to a group of segments that might have dozens or hundreds of points. I found the Power Edit option (ctrl + O), but that skew only does left to right skews, not vertical. Also, it skews around the center point of the segment. It does not appear to allow me to leave one side anchored and then slide the opposite side. I frequently need the vertical skew option when digitizing custom lettering that then needs to be placed along an odd curve. I find digitizing the lettering on a straight line allows me to establish good base lines for sizing and adjusting for pull compensation. Then I can slide the letters one at a time into the right position. I have also downloaded V13 since it looks more like the V9.1 I am use to, but it has the same situation on the skewing. The skewing and distorting of segments is something I need to use nearly every day. This leaves me stuck on V9.1 until this can be done. On another point....Is there a way to send suggestions for other features directly to Pulse outside of the Forum posts? I have over 20 years of full time digitizing experience that might help in developing the software.
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