Transcript
LESSON 11
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Even the most well planned, perfectly digitized embroidery design can cause much stress when sewn on something it was not intended for. Different fabrics and applications each have a set of rules or guidelines to follow for embroidery. Knowing what your design will be sewn on will give you the opportunity to plan and digitize your design to look and sew it's best on the garment. Once the digitizing is complete, special considerations are necessary for hooping and backing the garment and making any machine adjustments for sewing. In lesson 11, we will be outlining the various elements involved in the digitizing and sewing of different fabrics, and offering basic tips and tricks we have learned on the road to successful embroidery creation. Experimenting with different stitches, densities, underlays, threads, and backings will help you to create the right combination for top quality results in every sewing situation.
Backing
Using the right backing will ensure that quality can be maintained when dealing with difficult fabrics. By preparing a solid foundation for the design to sew on, we can reduce puckering, and prevent poor registration due to fabric movement in the hoop. The proper use of backing will relieve the stress on the fabric that occurs with the repeated needle penetrations. Backing can also put a barrier between fabric and the machine to prevent damaging build-up when sewing on very "fuzzy" fabrics. Sometimes more than one type backing is used together, and knowing the right formulas for different fabrics is a must for any embroiderer.
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Backing (cont.)
General guidelines for backing • • • • • • •
The right weight of backing should always be considered. Colour matching is not mandatory but looks better on some garments where the underside will sometimes be visible. eg: jacket back, towel The backing should be large enough to cover the entire sewing area. Cut-away backings should be removed with a sharp pair of scissors, as close to the embroidery as possible without nicking the stitches. Two hands should always be used on tear-away backings; one holding the center of the embroidered design, and one gently removing the backing. If more than one piece of tear-away is used, remove them one at a time. Save all scraps, even the smallest piece may be used on a different project.
Common types of backing • • • • • • • • •
tear-away (different weights) hard cut-away soft cut-away iron-on coloured buckram-in hats mesh wash-away heat-away Local sewing stores and wholesale suppliers will carry these products and others in large and small quantities. The use of common household products such as lightweight cardboard, plain newsprint, and wax paper can sometimes be an economical replacement for some applications. Be experimental, but always run a test on scrap material before using something new on a garment. Document your findings for future reference by developing a "scrapbook" and recording the results along with your test sew-off.
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Topping Toppings are important when sewing on fabrics with a nap, like towels, to keep the loops from poking out through the embroidery. It also helps the embroidery stitches to stand up on, and not get lost in thick, textured fabrics like corduroy or polar fleece. Toppings hooped with delicate fabrics such as velvet or silk help to eliminate "hoop burns" by providing a barrier between the inside hoop ring and the fabric. Hoop burn is an industry term for the marks made by the heat created from the friction of the hoop and fabric. When a topping is used for this purpose and is not required to aide in the embroidery, it can be hooped with the fabric and then cut away and removed from the center area where the stitches will sew.
General guidelines for topping
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Trim all jump stitches and trail threads before topping is removed. Prior to spraying or soaking dissolving toppings, gently pull excess topping off with one hand while other hand holds fabric and embroidery down. Save all scraps. Dissolving toppings work best with warm water. Be sure that topping extends past the hoop or is hooped with the garment to avoid folding over and doubling up while sewing. More is not always better, when it comes to toppings, one piece is adequate for most sewing applications.
Common types of topping • • •
wash-away heat-away tear-away Check with, and get suggestions from your supplier on the different products available and their uses. In some sewing situations, common household items can be experimented with to create an entirely different look. Plastic wrap and drycleaning plastic, for example, can have economical and practical uses in embroidery. Don't be afraid to experiment, document, and share your ideas!
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Topping (cont.)
Save your scraps of water soluble topping as they can be reused. •
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If you add water to your scraps they will dissolve and make a type of liquid stabilizer. Try brushing some of the liquid on material and let it dry. The material will be stiff and more stable for embroidery, yet when you wash the garment the material will become soft again. This works great for quilt squares where use of other backings would be less desirable. Add a small amount of alcohol to the liquid and store in your refrigerator for future use. Make new water soluble topping by dissolving your scraps in a small amount of water and then pour the mixture over some plastic wrap. Let it dry and peel the new water dissolvable topping from the plastic.
Hooping Examples of embroidery hoops Janome hoops Husqvarna hoops
Barudan hoops
Hat hoop
The most important factor for the machine operator, besides backing, is the proper hooping of the fabric. The hoop must be in the right place on the garment, must be straight, and not too tight. The fabric must be taut in the hoop but not stretched out of shape. The right size of hoop for the job will help to properly secure the fabric. There is no need to use an 8" hoop for a 2" design. Having a clean, clear work space is beneficial to successful hooping, as is patience. Hoop and re-hoop until you are certain that all elements are satisfactory, you can't go back once sewing begins. If the garment is lined, always check the underside after hooping to be sure that the lining is taut and smooth. If there is any puckering of the lining, never try to pull it straight while hooped, as you may rip it. Re-hooping is required.
Example of poor hooping The jacket hooping (shown below) looks good from the front but the back shows that re-hooping is necessary to straighten out the lining. Front Back
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Hooping (cont.)
Placement on garment A small, 2" long piece of masking tape can be a useful tool for marking the garment for hooping. The garment is either worn or placed flat on a table. The desired placement is measured (if necessary) and marked with the tape, making sure that the tape is not crooked, a small dot is then marked on the tape as a design center indicator. The garment is then hooped with the tape straight and in the center of the hoop. Once the hoop is attached to the machine and the operator is satisfied that the needle is directly over the tape mark, the tape can then be removed from the fabric. If a slightly less sticky piece of tape is used, it will be easier to remove from the fabric, especially very delicate materials. Use one hand beside the tape to hold the fabric down while the other hand gently pulls the tape away from the garment. It is not recommended to use the tape marking method on fabrics with a pile such as velour or terry cloth as the tape may damage the pile on removal. A very small mark with dressmaker’s chalk or pencil is best. It is very important to have the fabric as tight as possible in the hoop without stretching it in any direction. If the fabric is too loose, it will move around inside the hoop, causing the design to become distorted. Poor registration in a design can often be attributed to improper hooping. If the fabric has been stretched in any direction during the hooping process, the design will pucker the fabric when removed from the hoop. The finished product will be less than satisfactory.
General guidelines for hooping • • • • • • • •
Marking pencils used for placement work best if the area will be completely covered with stitches, to ensure that the mark will never be visible. Never use tape on piled fabrics (velour, terry cloth) it may damage the fabric when removed. The hoop should never be so tight that it needs to be forced when hooping the garment. The hoop should never be so tight or loose that it pops apart while sewing. The hoop should never be so loose that the fabric can freely move around while sewing. Adjustments to the hoop should be made prior to hooping. Once a garment is in the hoop, the screw should not be tightened. If the hoop is made too tight at this point, it could break while sewing, or the fabric can be damaged by tearing or hoop burns. The fabric and/or lining should not be pulled once hooped. This can cause tearing or excessive stretching which will warp the design area, making it pucker when removed from the hoop. Hooping devices are available to help make the placement and hooping process easier and somewhat "foolproof". Shown below are various hooping boards, which come in many sizes. Check with local suppliers for more information.
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Hooping (cont.)
Examples of hooping boards
Hoop maintenance • • • •
Periodically checking the condition of your hoops will ensure that garments are not damaged during the embroidery process. Proper care will extend the life of your hoops, and if the need arises, replacement hoops are available for most machines. Inner and/or outer rings of large hoops can be wrapped with masking, twill or gauze tape to make them more snug. Any rough edges or nicks on the hoop should be smoothed out with a light sanding to avoid snags on the fabric. Ensure that the hoop is not too tight before hooping the garment by testing that the inner ring can be placed inside the outer ring and does not have to be forced. If there is minimal space at this point, there will not be any room for the garment in between the hoop rings.
Hooping tips for: Stretchy fabrics • •
Always hoop soft backing and garment together in hoop to decrease "slippage" of fabric. Do not "stretch" the fabric, but ensure it is taut in hoop.
Delicate fabrics-velour, suede, velvet, satin... • • •
Hoop topping with garment to eliminate "hoop burns". Never hoop too tight. This causes satins and sheers to run with every needle penetration and most fabrics can tear due to the pressure and stretching at the hoop edge. Backing suggestions for delicates have many combinations depending on other variables, such as the stretch and thickness of the fabric.
Very thick fabrics • •
Loosen the hoop a little at a time to accommodate thickness of fabric. The hooping should not be forced but also should not be too easy. If the hoop is too loose, the fabric will move or pop out when sewing. Backing and topping choices depend on other variables such as stretch and pile of the fabric.
Things that don't fit in the hoop (too small, too thick...) • • •
Self adhesives can be used to momentarily secure small pieces of fabric to a piece of hooped hard tear-away backing, and then be gently removed for intended use. If you can't hoop the entire garment (eg. cuff, side of hat) ensure that the cut-away hooped with it is completely hooped and fills the entire hoop. This will help to stabilize during sewing. Hoop attachments such as the "hoop-it-all" can be used on machines that do not have the ability to sew some garments. The "hoop-it-all" products helps to sew on many hard to sew items such as hats, baby socks, and golf bags.
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Tensions Proper tensions on the machine can be a very finicky thing, but the correct balance of the top thread to the bobbin thread is a must for smooth sewing of the machine and the embroidery stitches. Overly tight tensions can cause puckering of the fabric, and poor registration in the design. A too tight bobbin, in particular, will cause a build up of stitches on the underside of the design. If the top tensions are too loose, looping will occur on the top stitching. If the bobbin is too loose, it will come through the fabric and be visible on the edges of the top stitching. Some machines self-adjust the top tension, or have a "different fabric" dial which can control tension, while others may have a small manual adjustment screw at the tension rings. Knowing your machines options will help you to have more control over it's ability to produce beautiful embroidery. Janome tension screen Barudan tension screws
Bobbin Tension Test Good tensions will usually start at the bobbin thread and case. While holding the thread end with one hand, let the bobbin case fall into other hand, cupped about one foot below. The bobbin should gently and evenly fall into the cupped hand. If it falls very fast, the bobbin screw will need to be tightened. If it falls very slowly, or not at all, the screw will need to be loosened. Adjustments should be made in very small increments, about a 1/8th turn at a time, and tested again. As with all tightening devices, left turn loose, right turn tight.
Once your bobbin tension is adequately set, it will remain at that setting for all bobbin thread of the same type, for example, cotton. If the bobbin thread type is changed, for example, from cotton to polyester, then adjustments may be required for this new thread type. It is convenient and time saving to have multiple bobbin cases for your different thread types. Invest in another bobbin for regular sewing also, so that you are not wasting time adjusting for each application
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Tensions (cont.)
H Test for Top Tensions Once you are satisfied that your bobbin tension is properly set, it is time to test your machines top tensions. A common test for this is called the "H" test, where a one inch tall, capital H is sewn for each needle on the machine. If you have a single needle machine, only one H is required, but if you have a 12 needle machine, an H is sewn separately on each needle. Use white bobbin thread and a contrasting colour for the top thread in order to make them easy to see. Once sewn, check the underside of the embroidery. This is where the stitching will reveal the tension status, which should be 1/3 bobbin thread through the middle of the stitched column, and 1/3 top thread on either side of the stitched column. This 1/3 bobbin to 2/3 top thread rule always applies, on any design, on any fabric. If there is no bobbin thread showing, your top tension is too loose.
If there is too much bobbin showing, the top tension is too tight.
This last example shows the H test with fairly good results, although, you will notice slight changes from one H to the next. Since the bobbin case is adjusted for correct tension prior to this test and the same bobbin is used for all of the H's, the operator knows that the top tension will need to be slightly adjusted for the needle that was sewing the dark red colour (second from right).
Some operators will have the tendency to overly adjust the top tensions of the machine. Make adjustments in small increments and re-test. When the thread is pulled through the machine, all tension spools and other moving parts should move or turn freely, and the thread should come through with ease. Once you feel that you have the tensions on your machine set "just right", you will see a dramatic difference in the look of the embroidery and the performance of the machine. Download this design Look for this design in the Download Centre at the end of Lesson 11.
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Tensions (cont.)
General guidelines for tensions • • • • •
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More top tension(less top thread-more bobbin) is required on hats. This will decrease the looping of top thread that normally occurs because of the cylindrical shape of the hat (not flat in hoop). If the machine is sewing poorly, with bad registration or constant thread breaks, start tension adjustments at the bobbin case first. Make very small adjustments to the tightening screw; 1/8th turn at a time. While holding the thread end between your fingers, the bobbin in bobbin case should gently and evenly fall away from your hand. Read the machine manual carefully for tensions. They can be very finicky, and the slightest change to top tensions can make drastic differences in the behavior and sewing of the machine. If the bobbin thread is 1/3 but not in the middle of the stitch column, the hook timing may need to be adjusted. Refer to machine manual for any such adjustments. Most domestic machines would require that a professional service technician make these adjustments for you. To keep all tension rings from getting damaged and free of thread lint, always cut thread at spool and pull excess down through the machine, toward the needle. This is the natural path of the thread, and will allow the tension rings to turn in the right direction while thread is being removed. Bobbin tension can be disturbed by a lint or fuzz filled bobbin case. Clean in and around the case often, especially when working with fuzzy fabrics. Have the machine checked and cleaned by a professional service technician as often as your manual suggests.
Machine Speed The speed at which a machine sews is measured in Stitches Per Minute, or SPM. Every type of machine will have a different way to adjust the speed, with most home sewing/embroidery machines having a preset minimum and maximum. Even though the speed can be controlled and set at a desired level, most machines will automatically slow down for very long stitch lengths. On most commercial machines, however, once the speed is set for a design, it will sew at that same speed for all stitches in a design, long or short. As always, knowing your machines settings will help you to better understand it's capabilities.
A normal and comfortable machine speed of 600spm will work best for most medium weight types of fabrics. Heavy or thick fabrics such as leather or quilting will require a slower speed of approximately 450spm to allow the needle enough time to pass through the fabric. Very thin fabrics such as silks and sheers should also have a reduced speed of approximately 450spm to reduce the risk of runs and tears in the fabric. Different garments will also be affected by the sewing speed of the machine. Cylindrical items such as hats require that the machine speed be set at a maximum of 500spm, as a hat hoop does not hold the hat as securely as a round or square hoop will hold a flat piece. The extra movement of the hat will not be as severe at a slower speed. Some hats have a seam or seams in the sewing field. These seams are usually very thick and can cause sewing problems at normal speeds. The machine is slowed to allow the needle to pass more successfully over the seams.
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Machine Speed (cont.)
Example of a flat hat hoop
Example of a cylindrical hat hoop
Sometimes a design might not be sewing as well as it could, due to digitizing or fabric problems. Slowing the machine speed down could help to get to the end of the design and not ruin the garment. The digitizing and sewing aspects could then be analyzed and fixed for later use.
Embroidery Thread
Embroidery threads come in a variety of weights, types and beautiful colours. Having a good selection of threads and colours to choose from will make the creative process much easier and more fun. Choosing the right thread weight for the fabric is essential in producing a quality finished product. The price of the thread can directly relate to it's quality. Saving a few dollars on your thread spools may compromise the quality of your embroidery. Test new products by asking for a sample spool or only purchasing one spool and trying it on different fabric types. Old, soiled, wet, or even dry thread can be extremely problematic; therefore, proper storage of your threads is essential for it's longevity. Keep your thread spools in a cool, dark place, away from bright lights or direct sunlight. Leave the plastic cover on new spools until you are ready to use them, and when ready, remove plastic carefully. A well stocked thread collection can be a worthwhile investment if cared for properly, so protect it. Thread choice for each fabric can depend on the intended use of the finished product. A more utilitarian item, such as a towel or apron, will require a stronger, more colour-fast thread such as a polyester, whereas, thread type may not be a factor on a more decorative piece, a wallhanging for example.
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Embroidery Thread (cont.)
Use some netting over the thread spool to stop the thread from spooling off too quickly or unevenly. This will help to avoid sewing problems and also preserves the thread in storage. The netting (spool covers) are available in many sewing supply stores and at medical supply companies under the name “finger gauze”.
When changing thread colors on a domestic machine, always cut thread at the spool and pull the excess thread down through the machine, to the needle. This is the natural path of the thread, and will allow the tension rings to turn in the right direction while thread is being removed. Re-thread the new colour through the machine. On a multi-head production machine, cut the thread at the spool, replace with new spool, and tie the two ends (used colour and new) with a square knot. Grasp the used colours thread end at the needle, and gently pull through the machine's tension rings and thread guides. When the knot reaches the needle, gently wiggle and tug it through the needle eye. A square knot is very small and secure and will most often go through the eye, but occasionally re-threading the needle will be necessary. The time saved from not having to re-thread the entire thread path for each needle of a 12 head machine is well worth the two or three seconds spent tying the knot, and the minimal cost of the18 inches of thread used to pull through the machine.
Steps to making a square knot step 1
step 2
step 3
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Common thread types and weights 40wt. rayon is the most commonly used thread for embroidery and is the thread weight that most designs have been digitized for. Rayon has a beautiful sheen and hundreds of colours to choose from. It does not shrink, lose it's shine, or fray when laundered, and can be used in the bobbin when both sides of the embroidery are visible. 30wt. rayon is approximately 1/3 thicker and heavier than 40wt. thread. It is a substitute when sewing with Puffy foam as it provides extra coverage. Some embroiderers prefer this weight for leather projects. Because of it's added thickness, less density is required for proper stitch coverage, which makes 30 wt. thread a desirable substitute when stitch count is a factor. A larger needle is necessary for best "sewability". Rayon thread cannot be laundered with bleach, as colour will fade. Polyesters have added strength and colourfast qualities that rayon threads don't have. They are best used on fabrics and garments that will be laundered often like kids clothes, and/or with bleach, such as chef coats and table linens. Polyesters are similar to rayon thread in sheen and when combined in the same design, it is hard to tell the difference. Cottons are available in many different weights from 30wt. up to a very delicate 100wt. 50wt. and 100wt. cotton are very fine, thin threads that are sometimes used for delicate fabrics such as organza or silk or where an extremely fine detail stitch is desired. Some thicker fabrics do not work well with 50wt. thread due to stitches sinking into the fabric. Top tensions should be loosened for this thread use and proper toppings help stitches to stand up on fabric surface. Silk threads have a beautiful sheen and unmatched colour brilliance. They have the strength of polyesters, and sew very smoothly without breakage. Silk threads come in many weights, with 30wt. to 50wt. being the most available and usually provide the best results in embroidery. Consider the cost when choosing this type of thread as it is more costly than others, but when sewing on very luxurious fabrics, it provides wonderful results. Metallic threads can add an exciting, and artistic touch to any embroidery project, but to produce the very best results the design must have been digitized for them. Stitch density and column width are the two important factors for the digitizer to consider. As a general rule, the density for most satin and fill stitches should be doubled to provide proper coverage. Very small lettering and narrow column stitches should be avoided as the metallic thread does not bend well, and will cause thread break after frustrating thread break. Adding overall pull compensation to a design will help the very fine threads to stand up on the fabric. The digitizer should "just say NO" to very fine detailing whenever possible. If they must be used, then the machine should be slowed down considerably for this part of the design. Once the digitizing aspects have been compensated for, there are several sewing factors that are relevant in order to produce a beautiful finished product when using metallics. Metallics are very delicate and any rough areas on a machine will affect their sewing abilities. Rough fabrics and backings are a bad choice to sew metallics on, as they cause the thread to fray and break. Thread and bobbin tensions should be reduced, and the machine speed slowed for best results. A new, sharp needle with a large eye is best to avoid fraying. It is recommended that metallic threads not be used in the bobbin. Friction can cause the thread to heat up to the point of melting and can seriously damage the case and hook assembly. Variegated thread is available in a variety of colours and can be a decorative addition to any design. The same digitizing and sewing properties apply for variegated thread as for regular coloured threads of matching weight and type.
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Common Thread Types&Weights (cont.)
Special effects threads can definitely give your embroidery an exciting or funky new edge, but each type has it's own handling and sewing techniques that must be followed for the best results. There are many different types of specialty threads available from fuzzy wools to glow in the darks. Some threads even change colours when exposed to sunlight. Make sure to digitize for and sew these threads with the manufacturers recommendations in mind. The right size of needle and sewing situation for each thread type will make a difference in how the embroidery turns out.
Needles
Needles come in a variety of types, sizes and brands, each with individual characteristics and purposes. The differences from one needle to another is most commonly found in the eye size and point type.
General guidelines for needles • • • • •
Ball points glide easily between the fibers of knits Sharp cuts through heavy, tightly woven fibers Universal works well on most fabrics Wedge pops through leather leaving a very small, less noticeable hole Teflon coated used on coated fabrics, as coating will not stick to needle and cause it to "gum up"
Look for the Needle and Thread Recommendations Chart in the Download Centre at the end of Lesson 11.
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Stretchy Fabrics Digitizing for and Sewing on Stretchy Fabrics Examples • • • • • • • • • •
Light knits/ t-shirts Pique Heavy knits Sweaters Sweat shirts Fleece Spandex/lycra Silk Leather/suede Velvet/velour
General formula for stretchy
• • • • • • • •
Increase underlay Decrease density Pay special attention to stitch angles. Avoid stitches that are parallel to grain. Designs should be digitized "center out" to avoid puckering. Avoid splitting segments in the middle and having the two sides sew towards each other. Never stretch knits when hooping. Stretch spandex slightly when hooping, in the same direction that it will be stretched when worn, this will make the embroidery look slightly puckered but it will lay more naturally when worn. Never hoop too tightly. Hoop soft, cut-away backing with fabric and use appropriate tear-away backing.
There are a number of factors to consider when digitizing for and sewing on stretchy fabrics. Proper underlay will create a foundation to stabilize the fabric, provide enough loft for the top stitching, and hold the nap of the fabric down. In most cases, it is best to increase the amount of underlay used in order to prepare the garment for the top stitching. The density of the objects in a design is also an important factor on stretchy materials. Reducing the amount of stitches in a design will decrease the possibility of fabric movement in the hoop while sewing. Pathing a design with all or most stitches sewing center-out, or away from the center of the design, will keep the fabric from moving into the middle of the sewing area and causing puckering.
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Large Filled objects on stretchy fabric Large filled objects should have edge run underlays coupled with grid or double grid underlay to provide a very stable foundation. The density of the fill should be slightly less than normal coverage, and avoid stitch angles that run parallel to the grain or texture of the fabric.
Large filled areas have the tendency to move the fabric along with it, in the direction that it is sewing. If the end point for the segment has been placed in the center of the fill, the stitches will sew to the center, walk to the other edge, and sew to the center again, to where the end point was placed. Because of the fabric movement, this can cause a pucker of fabric that will not be covered by the stitches. If a large filled area has the end point placed at one end, the stitches will sew in that direction, moving the fabric with it. This can cause the garment to become warped in the sewing area, and poor registration of subsequent stitches will occur. The best direction for the stitches to sew is center-out, or away from each other. This is accomplished by splitting the area in half. The underlay should still cover the entire area to stabilize it, followed by fill stitches that begin at center and sew to one side. Travel stitches then move back to the center, where the first fill began, and fill stitches sew from there in the opposite direction to the first stitches, to the other side.
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A grid underlay can be created by using a very open density fill (stitch spacing of 3mm) and a shortened stitch length of 3mm. This method of grid underlay is useful when the stitch angle needs to be controlled.
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Satin Columns on stretchy fabric Satin stitch columns should have edge run underlays wherever possible. Zig-zag and double zig-zag underlay can also be added to larger columns widths, or used alone on smaller columns widths to prevent underlay stitches from sticking out. Normal density can be applied to the columns with edge run underlay, and slightly reduced density for the columns with zig-zag underlay. It is recommended that your stitch angles not run parallel to the grain of the weave in knits.
A zig-zag underlay can be created by using an open density satin stitch that sews before the actual regular density satin stitch.
Small lettering on stretchy fabric Very small lettering can be a problem on stretchy fabrics. Too much underlay will be visible outside of the columns or make the letters too bulky and closed up, while not using enough or the right kind of underlay for the fabric might cause the letters to become jagged and lost in the fabric. Generally, using a zig-zag underlay will give the best results by providing enough stability to the fabric and loft to the top stitching. When possible, add a fill stitch segment under the letters to give them something to sit on. This fill segment can have a very loose density and can be sewn in the same colour as the garment to make it less noticeable, if desired.
Stretchy fabric hooped with backing Stretchy fabrics are most stable when hooped with soft cut-away backing together in the hoop. This decreases the amount of movement in the hoop, slipping from side to side and also flagging where the fabric is pulled up and down with every needle penetration.
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High Pile Fabrics Digitizing for and sewing on High Pile/Nap Fabrics Examples • • • • • • •
Micro & polar fleece Corduroy Terry cloth Pique knit Velvet/velour Fun(faux) fur Suede
General formula for High Pile fabrics
• • • • • • • • •
Underlay type, placement and amount is key to controlling the nap of these fabrics. Increase pull compensation on thick fabrics like polar fleece. Increase column widths. Avoid vertical (90 degree) stitch angles (especially on fills) Increase density on thick, high pile fabrics. Use proper topping to hold nap down, and to eliminate hoop burns Reduce machine speed for very thick fabrics Regularly clean fuzz out of needle, bobbin case, and other areas of machine and work station. Choose appropriate backing to accommodate for stretch and weight of fabric.
Underlay and column widths are the two main concerns when digitizing for high pile fabrics. Using a dissolving or tear-away topping is a must on these fabrics to ensure that no part of the nap can poke through. But even with the use of a topping, adequate underlay is still necessary. The topping helps to keep the stitches down through the middle of the columns, but once removed, the nap of the fabric pops back up along the edges of the stitched columns. This causes them to become blurred and lost under the nap. Double zig-zag underlays are the most common and effective way to hold the nap down, and stabilize the fabric without making the embroidery appear too bulky. Extra density and pull compensations are necessary when sewing on very thick fabrics.
Large filled objects on High Pile fabrics Large filled objects can shift the fabric and cause puckering if not adequately stabilized. Very high pile on some fabrics will poke through the rows of stitching if the underlay does not hold it down. Edge run underlays, as usual, are placed first to secure the fabric, followed by a grid underlay to hold down the pile or nap. Long stitch lengths are used on the underlay stitches so that they stand up on the fabric and not get lost in the thickness of the pile. The stitch angles of the underlay and top fill stitching are a very important factor on these fabrics. Always try to avoid vertical, 90 degree stitches on both top and under stitching. Using an angle that is slightly off of 0 or 90 degrees will produce best coverage. If your digitizing software does not have a setting to choose stitch angle for the underlay grid, then it is best to manually create the grid underlay using one of two methods. A run stitch with a 3-4mm stitch length, or a loose density fill(23mm stitch spacing) with a stitch length of 3-4mm can control the angle of the underlay stitches. The density of the top stitching fill can be increased slightly and the stitch length shortened if bits of the pile still persist on poking through.
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High Pile Fabrics (cont.)
Satin columns on High Pile fabrics Satin stitch columns that are too narrow in width will sink in to very "thirsty" piled fabrics such as polar fleece, fun fur and terry cloth. The minimum stitch width for each fabric will be different depending on the height of the pile, but maintaining an automatic minimum of 2mm and building from there is a good rule of thumb. Satin columns should have edge run underlays wherever possible. Double zig-zags can also be added to larger columns widths, or used alone on smaller columns widths to prevent underlay stitches from sticking out. Increased density can be applied to the columns with edge run underlay, and normal density is used on the columns with zig-zag underlay. It is recommended that your stitch angles not run parallel to the grain of corduroys and that your stitch width is wider than the "wale" as well.
Very Small Lettering on High Pile fabrics Very small lettering should be avoided on heavy pile fabrics. Choosing a larger letter or omitting them all together is recommended. When this is not an option, a foundation that will hold that nap of the fabric down can be created for the letters to sew on. This can be a decorative addition to the design by creating a fill segment with a pattern or interesting shape that will lend itself to the overall design.
The fill can also be less noticeable, if desired, by decreasing the density and sewing it in a matching thread colour to the garment. If the foundation is meant to be as invisible as possible, a grid can created that follows the outline of the shape of the letters and is sewn in a matching thread colour to the garment.
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Thick fabrics Digitizing for and sewing on very Thick fabrics Examples: • • • • • • •
Leather/suede Vinyl Wool/acrylic Polar fleece Melton Down filled Quilted
General formula for very Thick fabrics
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Increase pull compensation Avoid column widths under 3mm Increase underlay Increase density Loosen hoop to accommodate thickness of fabric Use appropriate topping or backing for nap, weight, and stretch of fabric
Generally, when working with these garments, the thicker the fabric, the higher the density of the stitching. Thicker fabrics tend to "eat" the stitches, as the thread needs to pass through more material to create a stitch. This challenge can be dealt with by increasing the underlay, using more pull compensation, wider stitch widths, and increasing the density. Density can be tricky for softer leathers and suedes as too many stitches will actually cut the leather. In some situations, for example when sewing large filled areas, using a heavier thread weight than usual(30wt.) will provide better coverage without having to drastically increase the density. In fact, when using heavier thread weights, the density can be reduced. This will also help to keep the stitch count down. Certain modifications can be made in the art stage to compensate for the thickness of the fabric. Column widths can be exaggerated and large filled areas distorted to compensate for the push of the fabric. When digitizing for thicker fabrics, such as quilted materials, it is important to keep the amount of run stitches for detail and bordering to a minimum. The thickness of the fabric can cause run stitches to not form well, making them unstable and susceptible to unraveling. Run stitch detailing will not register well, as the fill or satin segments that it is bordering will have been absorbed by the thickness of the fabric. Using run stitch as the border for "outline only" type designs(no fill stitching) is also not an effective stitch type as the stitches will have the tendency to sink in to the fabric and become lost. A better option is to try to use satin stitch detailing and bordering where ever possible to maintain sharp, clean embroidery. Hooping very thick fabrics can be difficult, to say the least. The hoop has to be at exactly the right tightness to secure the garment and not tight, it could break if forced when hooping, or the movement of the machine can cause the inner hoop to pop out and ruin the embroidery. Re-hooping at this stage is nearly impossible. If the hoop is too loose, the garment will not be adequately stabilized and the excessive movement inside the hoop while sewing will again, ruin the embroidery. Always be confident that a garment is perfectly hooped before sewing begins. It can be frustrating, but well worth the extra time to ensure that the very best embroidery can be produced.
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Hats Digitizing for and sewing on Hats General formula for Hats
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Always digitize designs center out, and bottom to top Extra pull compensation. Never exceed maximum height or width of the sewing field for the hat. Be sure to use a hoop or hoop attachment designed for hats
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Hats (cont.)
The golden rule of "always digitizing center out" is the most guaranteed way of producing a versatile, quality embroidery design for any sewing situation, the worst scenario or application being a hat. Because of their unique cylindrical shape, they cannot be hooped completely flat; therefore, they move differently while being sewn. Hats also tend to be quite loose inside the hoop and unless a design is digitized with special hat considerations, puckering and poor registration are sure to diminish a quality result. The size of the design and it's components, and what type of hat it is intended for is crucial in the decision making process. Some newer machines have a special 270 degree, full field hat frame which allows the user a much larger sewing field, but most common are the standard sized hoops. Today's market also offers hats in every shape and size imaginable, from a 5-panel, cotton, low-rise ball cap to a wool bucket hat. Whatever the style, the digitizer must know the specific size of the hat's sewing field. Most designs that are intended for hats should not exceed 55mm high (2.25"). The pathing of the design should be well planned so that all or most stitching can sew away from center, and from bottom to top. Even the simplest line of lettering will cause the hat to pucker if they are sewn left to right. Rather, they should start at the center, even if it means splitting a word somewhere in the middle, and sew in one direction to the end of the line, jump back to center and sew in the other direction, to the other end of the line. Shown below, is an example of the center-out pathing process.
If two colour lettering is being used on a hat, the same center-out pathing applies but with a sequencing "twist". The letters start at center and sew to one side. The border colour is then sewn on those same letters in the same direction. The colour is changed back to the letter colour and sewn in the other direction, completing the line or word. The border for those letters is then sewn. Example below.
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Hats (cont.)
In an extreme case of registration problems, two colour lettering can be sequenced to sew center-out and each letter separately in order to eliminate any chance of poor registration. This type of sequencing can add colour stops to a design and might only be necessary in the most extreme cases. In the example movie below, notice how the pathing and sequence are created by sewing the D and then it's border, followed by the E and it's border, and the F and it's border. The design jumps back to the center and continues with the C, B and A in the same letter-border sequence.
Large filled areas will look and sew their best if they are split in half with one side sewing out to the edge of the shape, followed by a travel or jump stitch back to center and then the other side sewing, in the opposite direction, away from center out to the other edge of the shape. Finishing large fills with a satin stitched border helps to reduce the saw-toothy look on the edges.
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Hats (cont.)
Less puckering will occur towards the brim of the hat if stitching sews away from the brim, towards the top of the hat. This applies mainly to larger stitched areas that will push the fabric as they sew. The brim is stationary in the hoop and any fabric movement towards it will cause a wave of excess fabric that will pucker. Stitch angles are another important factor when embroidering on a hat. Exact vertical, 90 degree fill stitching is not a good choice, especially when the hat has a center seam, as with a 6-panel ball cap. Extra zig-zag underlay along any seams will hold them down and provide a better foundation for the top stitching.
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Pull compensations should be increased and densities reduced for crisp, clean lettering. Underlays used should reflect the size of the lettering. Small lettering (4-6mm high) will sew and look their best with zigzag underlays and larger lettering (7mm and up) should start with edge runs and add additional underlay where necessary.
Hats sewn in a flat hoop Most domestic embroiderers will not have a cylindrical hat hoop. In this case, a special apparatus is necessary to secure the hat for embroidering. There are many such products available on the market today, one being the "Hoop-it-all" for caps. It replaces your machines medium sized hoop and will embroider many hard, or impossible to hoop items. Check with your machine dealer or local sewing store for accessories. Also, many companies can be found on-line and full product list and descriptions are available. Example of a Hoop-it-all Example of commercial hat hoops
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Baseball Bat and Ball Download this design Baseball Bat & Ball Look for this design in the Download Center at the end of Lesson 11.
This design has been digitized with the intention of hat application. All elements of the design sew from center out and/or from bottom to top. The digitizing has been planned to work with the hat movement in the hoop rather than against it. When you are sewing this design, pay close attention to the pathing and stitch directions used to effectively create a design that will sew well on difficult applications, especially a hat.
3 Dimensional Embroidery Examples • • • •
Puffy Foam Appliqué Quilting Free Standing Embroidery - No Garment
Incorporating dimension into your embroidery designs is not as complicated as some would have you think. By using the right tools, digitizing techniques, and knowledge for the application, these specialty looks can be exciting instead of exasperating.
General formula for 3 Dimensional Embroidery
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Proper tools are mandatory for most of these applications Embroidery must be specifically designed for application Adjust machine tensions to appropriate settings for fabric type and thickness Use needles and threads that best suit the fabrics
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3 Dimensional Embroidery (cont.)
Puffy Foam Adding foam to an embroidery design can give your creations an exciting, 3-dimensional flare, however, a design must be specifically digitized for foam in order for this application to work. Foam will have it's most effective loft when used under designs that have satin stitch elements and underlay techniques to successfully perforate the edge of the foam.
Digitizing Tips • •
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Keep columns as wide as possible, but still able to be satin stitch. Fill stitches will not puff, but can still be used with less effect. In order for the underlay to properly cut the foam prior to the stitching of the satin column, always use edge runs and double zig-zags.
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Avoid any underlay or travel stitching through the center of the stitch as it will flatten the foam and reduce the loft effect. Always travel along edge. Increase the density of the satin stitches 40% - 60% above the normal setting for it's width. Try to taper or round off the ends of the columns to cut the foam, otherwise, it will have to be cut by hand and will not produce the best results. In the image below, the left side is rounded, the right side is tapered.
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3 Dimensional Embroidery (cont.)
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Open-ended satin columns should be "capped" where there are no stitches to cut the foam. Run, manual, or loose density satin stitches (in blue, below) are placed at an opposite angle to the top stitching, along the edge of the column. The inside edge of these stitches should be varied or jagged so that the foam is cut only along the outside edge of the open end. This capping method cuts the foam and cleans off the end of columns so that no foam will be visible.
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Foam will collapse and lose it's loft in any areas where columns intersect. "Planking" these sections by placing jagged edged stitches (in blue, below) through the center of the intersection will stop the satin columns from cutting the foam.
Puffy Foam Sewing Tips: • • • • • • • • •
Loosen top tensions on the machine. Choose foam colour to best match the thread. If any small gaps appear in the top stitching, it will be much less noticeable. Cut foam slightly larger than area to be puffed. Hold foam in place for first few stitches to tack it to the fabric. If more than one piece of foam is being used, a light spray adhesive can hold them together. Trim all jump and trail threads before removing foam from finished design. Use one hand to hold design down while other hand gently pulls excess foam from design. Save all scraps for other projects. Foam should not be dry cleaned as it will dissolve with the harsh chemicals. Be sure to check the garment's laundering instructions prior to sewing. Any bits of foam that are still attached to the edges of the embroidery can be shrunk with the steam from an iron or the heat from an appliqué iron. Place the iron very close to, but not touching the embroidery.
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Three Dimensional Embroidery (cont.)
Avoid the use of heat guns and blow-dryers when removing excess bits of foam from the edges of the embroidery, as the excessive heat can burn the thread and yellow the fabric.
Some less expensive craft foams are available for use in embroidery, but are recommended only for decorative applications, such as wall hangings, where laundering is not a factor. These craft foams have the tendency to dissolve with regular laundry detergents making them an unsatisfactory choice on clothing and household linens.
Floral design with center in puffy foam Download this design. Floral design with center in puffy foam Look for this design in the Download Center at the end of Lesson 11.
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Appliqué To add a decorative touch or simply to reduce the amount of stitches in a design, try using an appliqué. The only digitizing rule that must be followed closely is the need for a good tack down at the edge of the appliqué fabric and a border of sufficient width to permanently affix the appliqué to the garment. Refer to Unit 7 for appliqué digitizing and sewing techniques.
Snowflake Appliqué Square Download this design Snowflake appliqué square. Look for this design in the Download Center at the end of Lesson 11.
General guidelines for Appliqué
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One or two pieces of cotton batting can be placed under material, to create a lofty, more 3-D effect. When cutting around cutline shape, it may be easier to maneuver if the hoop is removed from the machine. Be careful not to cut any stitches in the cutline. When shape is cut out, re-attach hoop to machine, continue sewing sequence (tack down). Appliqué scissors are available to make the cutting process much easier. They are specially designed with a guard to allow the scissors to cut very close to the cutline without being able to actually cut the stitches.
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Quilting Quilting has long been a staple for the home sewer. Adding embroidery to your creations turns craft into art, and allows to you personalize your creations. It is always recommended that quilt squares are embroidered prior to piecing together for a number of reasons. It is much easier to hoop and sew one layer of fabric, than to have to work with thick quilt batting. Exact placement is not as necessary if the squares are cut slightly larger than needed, also, if any errors occur, just cut a new square! Digitizing or using existing designs will not have as many variables to consider, one being, again, the thickness of the fabric. When working with pre-quilted fabrics and garments, consider the thickness of the piece when digitizing the design. Refer back to the section on Very Thick Fabrics, in this lesson, to get an idea of the digitizing and sewing requirements necessary for quilted materials.
Set of two Quilt squares Square #1 - Corner1
Square #2 - Center
Download this design Quilt Corner & Center. Look for this design in the Download Center at the end of Lesson 11.
This set of quilting squares is intended to be sewn multiple times in any arrangement desired. A suggested arrangement on a nine square quilt would have quilt square #1(shown on left) sewn in the four corner squares, and quilt square #2 (shown on right) sewn in the center square. These designs can also be sewn on matching pillow shams and other bedding. Be creative with colour and arrangement for a one of a kind look!
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Free standing embroidery Creativity abounds with this application! Toys, greeting cards, and ornaments are just a few of the imaginative creations possible with embroidery today. In order to appear 3-dimensional and finished, most free standing embroidery pieces are at least two-sided. Backings and/or toppings are sometimes used as the fabric for the design. When creating lace, a piece of water-soluble topping is hooped as the fabric and both top and bobbin threads are the same colour. It is important that all areas of the design are bordered with satin stitches and that everything within the design is connected. When the soluble material is dissolved, any stitches that are not connected to the design will fall away from the piece. Shown below, is a two-sided doll that has been included as a download. Two separate designs are needed to achieve this 3-dimensional look. Each design is sewn using the same thread colours. One piece of thick tear-away backing is hooped and a second piece of lighter tear-away is placed under the design. All outer elements of the design must be bordered with a satin stitch, so that when the tear-away is removed, the edges are finished. The separate sides are then attached either by loosely basting or spray glueing together.
Clown doll - front and back (Ki265a-b) Clown front
Clown back
Download this design Clown doll front and back. Look for this design in the Download Center at the end of Lesson 11.
Instructions for dolls 1) Hoop a piece of heavy (thick) tear-away, and slide a piece of lighter (thin) tear-away under hoop. 2) Sew all colour stops in the sewing sequence. 3) When design is complete, remove from hoop and gently tear all backing away from border edge. Try to remove as much "fuzz" as possible at this point. 4) Sew 2nd design in set (opposite side) following same directions. Be sure to use the same thread colours for same areas, eg: hat on front - blue, hat on back - blue 5) Front and backside of ornament/toy can be attached by spray glue or by hand stitching together. 6) Attach a length of thread or ribbon, or an ornament hook, if design is intended for decoration.
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Clown Doll (cont.)
he Clown doll. • • • •
Use a felt marker of the same colour as the border to clean up the edges (if tearaway is evident). Run the felt marker along the edge of the underside, prior to joining together, to ensure that no white bobbin stitches can be seen. Different colours of thread can be used for front and backsides, if desired, but the same thread colour should always be used for border colour. If design is intended as a toy for a small child, attaching by hand stitching is recommended over spray glue, as toys might be put in mouth.
Free Standing Lace Make your own lace designs by sewing on water-soluble material. Once design is sewn you can soak the embroidery in warm water. You are left with only the embroidery.
Finishing Once the sewing stage is complete and the garment is removed from the hoop, some finishing steps are required to get the garment ready for presentation. Both sides of the embroidery must be scrutinized for clips, trims, backing and topping removal, etc. It is important to have a very good pair of sharp clipping scissors available for this last stage of the embroidery. The top stitching is checked first, with any trail threads carefully clipped as close to the embroidery as possible without cutting the stitches. Any loose, excess topping is removed at this point by gently pulling it away from the embroidery, but spraying, soaking, or heat dissolving comes later. Next, the embroidery is turned over and all long bobbin threads from jump stitches or colour changes are clipped to avoid getting snagged when the garment is worn or laundered. It is important not to trim these threads too close to the knot, as even slight clips to the knot can cause the stitches to unravel. Tear-away backing is carefully removed next, using two hands; one hand gently pulling the backing away while the thumb of the other hand follows the removal along the edge of the embroidery to stabilize it. Cut-away backing is now visible and ready for removal. Assuming that you are right handed, hold the cut-away in your left hand and very gently pull the fabric with your right hand to expose the area where the stitching, backing, and fabric meet. Release the fabric from your right hand, and now using a good pair of sharp scissors, slowly follow the embroidery design along the edge, maintaining a distance of approximately 3mm away from the stitching. It is important that the scissors not get close enough to the stitches to nick or cut them, as this would cause the embroidery to unravel and be ruined. Final steps can now be taken to prepare the garment for presentation. Any excess topping that may not have come off easily can now be sprayed, soaked, or heat/steam dissolved. The garment can be ironed, if necessary, to flatten the embroidered area, and a light steaming from the iron can remove hoop marks. The garment can now be folded.
A piece of very soft, iron-on backing can be applied to the underside of garments where the stitching may irritate very delicate skin, as with babies clothing, for example.
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Conclusion In the pursuit of taming difficult fabrics, a digitizers best tools are patience and understanding! The patience to experiment, and the understanding of what is happening to the design and the fabric when combined. At the start of each new project, all factors must be considered, from digitizing properties to intended use of the finished garment. The individuality and uniqueness of each fabric requires a set of guidelines for digitizing, hooping, and sewing techniques. Experimentation and notes are the keys to developing your own set of preferred combinations. There are a number of designs to download in this lesson, each with a specific application in mind. Using a sample piece of the intended fabric, hooped with the grain in the right direction, and the appropriate needle, thread, tension, backing, and topping (if necessary), sew each design. Pay close attention to the digitizing techniques from underlay to pathing, save the sew-out, and record any notes that might be helpful in the creation of your own designs.
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