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  1. Original text by: Irina Lisitsa Sometimes when I talk to the beginners or those in the process of choosing their first embroidery or sewing and embroidery machine, they ask me if there is a possibility of embroidering on terry cloth. The answer is: yes, but! You must follow the rules. The stitches of the already embroidered design may sink down and be lost in the pile and the thread or the needle may be tangled when embroidering on high speed. The needle breakage may follow, sometimes it may even spoil the embroidery. There are many useful videos on the internet, and I offer you one of them. It is a step-by-step guide, which will help you to understand hooping and embroidery processes even if you are not familiar with the terms. The master-class was done on a sewing-embroidery machine Brother Innov-is V7. Materials • 180*300 mm hoop • Upper thread • Underthread • Sewing and embroidery marker • Temporary spray adhesive • A terry towel size of 250x500 mm and bigger • Water soluble stabilizer • Non-adhesive cutaway stabilizer Embroidery on terry cloth: Tips When choosing a design for terry cloth, densely filled ones are preferable. The designs created with straight stitches may be lost in the high pile of the fabric right after the first wash. Water soluble stabilizer is used so that the stitches lie flat. It is used as the top stabilizer. Water soluble stabilizer comes as the film of varying density. I used dense water soluble film in my master-class, but don't hesitate to use a thin one. After the embroidery is completed, it can be removed more quickly and easily. Use a cutaway or a tearaway non-adhesive stabilizer as the underlay. Tearaway stabilizer is better, because it can be removed more quickly after the completion of the embroidery. Use printed templates to specify where your design will be placed. You can print your template with the help of PE Design. Embroidery on terry cloth: First option 1. Using the printed template, mark the center of the embroidery on the towel. 2. Add a layer of spray adhesive on the tearaway non-adhesive stabilizer. 3. Stick your terry towel onto stabilizer. 4. Put a layer of the water soluble stabilizer on top of it. 5. Hoop this 'sandwich', aligning them so that the center mark on the stabilizer is right on top of the center mark on the towel. 6. Screw it tightly. 7. Set you hoop into your machine. 8. Load a machine embroidery design from USB-flash or choose the design from the memory of the sewing-embroidery machine. 9. Embroider your design. 10. After embroidery is completed, remove the 'sandwich' from the hoop. 11. Cut or tear away you underlay. 12. Holding the material in place with your hand, tear the stabilizer away. 13. To remove the stabilizer between the objects saturate a sponge with water and give a dab. You can wash the ready embroidered item by hand. Embroidery on terry cloth: Second option 1. Using the printed template, mark the center of the embroidery on the towel. 2. Add a layer of spray adhesive on tearaway non-adhesive stabilizer. 3. Hoop your stabilizer and screw tightly. 4. Stick your terry towel onto the stabilizer. 5. Put the water soluble stabilizer on top of it. 6. Secure the towel and water soluble stabilizer with pins. 7. Set you hoop into your machine and embroider the design. 8. After the embroidery is completed, remove the top stabilizer and the underlay. See the video here.
  2. 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
  3. Small Letter Introduction In this Blog we will discuss terminology, techniques and how to digitize small letters for best results. There is no one rule for all fabric when it comes to digitizing small letters as every fabric will sew out a little bit different and some experimentation will need to be observed. We have included some terminology to help you with terms and measurements. General Rules for small letters 1) Machine Settings: Approximate speed of 400 stitches per minute. 2) Needle Size: Use the smallest needle possible: 65/9 sharp 3) Thread: Use a lighter weight thread such as 50-wt cotton or 60-wt rayon. 4) Hoop: Use the smallest hoop that will fit the design properly. 5) Backing: Use extra backing. Add a heavy piece of tear or cutaway. 6) Spray Adhesive: Use spray adhesive on thin fabrics. Measurements In this document we will be using “mm” millimeters instead of inches as its easier to define the stitch length, and small measurements accurately. Here is a quick reference chart for you to use. 25.4 mm is approximately 1 inch 3/16 tall letter is approximately 4 mm tall 1/ 4 tall letter is approximately 6 mm tall Tools Required To digitizing small embroidery lettering its recommended that you have and know how to use the following tools Run tool Manual tool Satin tool Enhanced Column tool Properties You should also be familiar with the properties windows and how to change the density and stitch length and pull compensation and be familiar with lock stitches and underlay. General Rules for digitizing small letters There are some general rules you should be aware of , but note they don't always apply but will the base line for making small lettering look good. Stitch length should not be less than 1 mm For best results recommend using 65/9 needle and 60 weight threads Use capital letters when all possible Make sure the letters are connected , DON'T trim except in between words Use manual underlay instead of automatic as it will push and pull too much Don't use complex fonts when all possible the detail will not show up as much Stitch Length When designing small text the golden fast rule is that you must maintain a minimum stitch length so your embroidery machine is able to sew the letters out, when you go below the minimum stitch length you may get undesirable results like holes or embroidery thread bunching up. In the figure below it shows where you should measure the art work to gauge your stitch length After measuring the capital E @ 10 mm high the stitch lengths should be greater than 1 mm in length a 1.9 mm, b 1.3 mm. c 1.5 mm, d 1.3 mm, e height of the letter is 10 mm When looking at minimum embroidery stitch length you will need to recognize that there are factors that can affect the out come even when the rules are followed. You will need to compensate for the push and pull compensation of the letters, and the underlay, and compensate for the material your sewing on. The rules indicate the minimum stitch length should be no more than 1 mm this is cause the embroidery machine cannot sew stitches beside one another that close. We recommend using a smaller needle 65/9 and a smaller thread for best results, 60 weight embroidery thread when all possible. On some materials you may need to increase the pull compensation so when the you sew 1 mm stitch it sews out at the 1 mm size without pull compensation it will sew out smaller and either bird nest or cause the embroidery machine to make a hole in the material. Note when sewing on Pique you may be able to get away with a stitch length of .8 mm but you must use a sharp needle Underlay When digitizing small letters do not use the underlay within the properties as it will cause undesirable results on your letters, automatic underlay cause to much pull and push on the letters and will cause the letters to look funny, keep the underlay to a minimum and manually ad it using a run stitch or manual stitch. You want to keep the underlay as basic as possible. When dealing with small lettering putting too much underlay will cause the stitches to push and pull too much to occur so you want to use just enough. On larger stitch length of 1.2 mm make sure there are no more than 2 passes, but when the stitches are 1 mm or less make sure the underlay only makes 1 pass or don't use underlay at all See above “e” Cornering Techniques When manually digitizing small letters you will want to pay special attention to the corners, unlike a regular text you don't want too many stitch around the corners or it will cause it to pucker and or put a hole in the embroidery design, you need to be delicate, we recommended using a mitered corner see below. Using the mitered corner will look a lot better do to the reduced stitch count and less overlapping of the stitches. Stitch Angel When digitizing small letters, you may run into situations where the embroidery stitches will be too long for the embroidery design of the letters, at these times you may want to change the angle of the stitches so you can make sure that the stitches are minimum 1 mm in length In the above illustration you can see that change the angle will allow for the stitch to meet the 1 mm length requirement. Some people will say that it will make the edge jagged but it not the case. Usually jagged edges are caused by not enough density or the underlay showing through. Special conditions When digitizing letters that have an opening in them like P D O B R you will need to alter the artwork or the stitches a bit so they don't join, there needs to be a gap as the stitch will sometime close up as they will expand to compensate see below. You will want to make 1 mm gap between 2 sides of the stitches Expansion When your digitizing small fonts with feet or tails your going to need to allow for expansion. Your going to want to make sure there is room for the expansion of the stitch as some stitch cause the material to push into one another. See Fig 1 An effect of the material pushing you will see the design sew out like Fig 2 Expansion can also cause the lettering to sew out crooked , when you manually digitize small letters you going to want to make the stitches all go the same way. Take a look at the path of the stitches
  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. hi there, is there a standard density satin stitched lettering should have when going over the top of a complex fill stitch? when i do say 5-6mm lettering on top of a complex fill, i usually have the density at -.5 to -.6, with the pull comp at approx .12 to .15 - it normally comes out looking great, except where the stain stitch letters have the same angle as the complex fill, causing the lettering to fall away and get lost in the complex fill.making these letters look thinner than the rest. and should there be an underlay on small text when going onto of a complex fill stitch?? i normally use a single line underlay stitch at approx length of 1. to 1.5. can anyone out there help, this is lettering our digitizing and quality down your help would be greatly appreciated thanks
  6. Hi there, i have been digitizing for awhile now and sometimes i notice when i have digitized a rectangle or square complex fill with either a 45 or 315 degree angle stitch, it sews out crooked. does anyone out there know why this is?? the fabric? the underlay? the density? its getting quite frustrating as the rest of the design will look fantastic but the simple block behind the logo just lets the overall look of the logo down.any help would be hugley appreciated, thanks
  7. Hi guys, Is anybody else having this issue? I'm working on a design and I go to add underlay and all of the fill stitching disappears. I tried resizing the embroidery design and everywhere I had done shading all of the fill underneath disappeared. This just started today. I did another design with some of the same features 2 days ago, and it worked just fine. I thought perhaps I was missing a release update, so I checked and yes, I was one behind and ran that, but the problem still exists! HELP!!!!!!
  8. What type underlay stitch you use? Whether you use a manual method of laying machine embroidery stitches.In Printwear I read an article about the ability to make some digitizers using manual non-standard methods. Question how is it necessary? This requires more time, ie, the order will cost more.
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