Basics
8 stabilizer, such as paper-release adhesive, and applying the fabric over it. FLEECE mat: the language an embroi• Match fleece fabric, such as polar fleece, Cuddle or machine uses to read a design. ready-made blankets, with a soft mesh cut-away machine make or model has • Jump Stitch: the long thread con-stabilizer (A). Fleece fabrics are typically stretchy and ecific format that’s usually necting one design portion to an- require a cut-away stabilizer to support the stitches, tified in the machine manual. other. For best results, trim jump particularly because the finished projects are washed t purchased design collections stitches between color changes. often. Lightweight cut-away stabilizer has a soft drape multi-formatted, which means 9 Some machines automatically trim that matches the fleece. Choose a stabilizer color that include many formats for jump stitches. blends closely with the fabric. Hoop the stabilizer and design. together as one unit. designs inspiration & techniquesfabric for digitized
Stitch: a series of stitches or of stitches used to fill an area.
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Basic Training ping: the outline stitches
t meet the fill stitches correctly fabric can be seen between Presents titches. This can be the result oorly digitized designs or rrect fabric stabilization.
PERFECT PLACEMENT POINTERS
Basics:
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Properly placed embroidery designs add a professional touch to any project. Learn tocmemag.com use paper templates and embroidery software to achieve perfect placement.
IV E M A CHINE EM B R O IDE R Y
Beginner’s guide
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Perfect Pairings
C REATIV E M AC H INE EM BRO IDERY Basic Training
DIAGNOSING
4 guides to successful machine embroidery
TEMPLATE TIPS aper templates are the key to erfect embroidery placement. hese full-sized representations f embroidery designs are printed n either black and white or color.
• Use to en
• Sele T-shi knits
• Lettering: creating letters using • Select a water-soluble topper to prevent the fabric embroidery. Most machines have nap from sticking up through the finished embroidery built-in lettering capabilities (10). stitches. Secure the topper in place over the hooped stabilizer and fabric using painter’s tape. U • Loading a design: the method • Use a size 80/12 ballpoint embroidery needle. proje 10 used to transfer a design into the than machine. Newer machine models Universal needles have a sharper point that cuts the t knit fleece, creating small holes or snags in the fabric. use a USB port or direct cable connection from the computer to the machine. Designs can also Embroidery be loaded via CD, floppy disks, or A special cards. by Kay Hickman Term Glossary B
Machine embroidery
p Burn: the hoop-shaped se that shows on fabric after s been removed from the p. Although usually tempo-
T-SHIR • Jerse and the f adde cut-a
MACHINE PROBLEMS by Kay Hickman
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• If a design collection doesn’t include templates, open the design A in either an embroidery editing, The4 quality of embroidery machines has improved over the sizing or digitizing software years. Machines are better built to accomthe speed of the embroidery arm as it moves. program. Adjust the software modate While embroiderers now experience far fewer problems, some issues
Perfect Placement Pointers
Machine Issues
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Machine Embroidery Basics: Beginner’s guide
Machine embroidery can seem a bit overwhelming to beginners. And understandably so: there’s a lot to learn. Maybe you’ve never tried machine embroidery? Or perhaps you learned when you bought your machine but need a refresher? Let us help!
Table of Contents 1
Embroidery term glossary Kay Hickman..................... pg 3
From basic terms to picking the right stabilizer to troubleshooting, we’ve got you covered with these beginner-friendly Basic Training articles from Creative Machine Embroidery.
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Perfect Pairings Kay Hickman..................... pg 7
We’ve hand-picked these articles to help you get started and inspire you to stick with it ... and we hope you do just that.
3 Perfect Placement Pointers Kay Hickman.................... pg 11
4
Machine Issues Kay Hickman....................pg 13
Happy embroidering!
Amanda Carestio Senior Editor/Creative Machine Embroidery
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E M B ROI DER Y TERM
GLOSSARY by Kay Hickman
Knowing correct embroidery terms is helpful whether you’re new to embroidery or a professional. Use this glossary to familiarize yourself with basic key terms and learn new ones.
A • Appliqué: applying one fabric piece to another fabric surface (1). Appliqué adds a decorative effect to embroidery designs and reduces the thread count. Cut appliqué shapes prior to the embroidery design stitching using the precut or pattern method, or during the embroidery process using the trim-in-place method. • Auto Digitize: the ability of a software program to automatically convert artwork into an embroi-
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dery design. Some programs allow for making manual changes to design fills and outlines. • Automatic Thread Cutter: the part of an embroidery machine that cuts threads at the end of a design or between color changes. Some machines also trim long jump stitches between design elements.
B • Birdnesting: the loose buildup of needle thread on the hooped-
fabric wrong side that resembles a bird’s nest. This buildup is usually caused by incorrect needle threading or thread tension. • Blanket Stitch: a decorative stitch usually used for outlining appliqué designs (2). This stitch is also referred to as a buttonhole stitch or an “e” stitch since it resembles a capital “E”. • Bobbin Tension: bobbin tension is usually set tighter for embroi-
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dery than for conventional sewing to pull the needle thread to the wrong side. Most embroidery machines have a second bobbin case or can be threaded differently for embroidery. Using the secondbobbin case or threading path automatically tightens the bobbin with no further need for adjustment. • Bobbin Thread: thread used in the bobbin for embroidery. Embroidery bobbin thread is usually lighter weight than embroidery thread. This increases tension on the bobbin thread to pull the needle thread to the wrong side (3).
C • Convert: the processes of changing a design file type from one format to another. A computer program is necessary to accomplish this task (see Format). • Customizing: the process of changing a design by adding lettering, combining other designs, enlarging or reducing the size or editing stitches (see Editing).
D • Density: the number of stitches used to complete a design. Very dense designs, sometimes referred to as bullet-proof designs, may need to have stitches removed. Sparse designs, meaning that fabric is seen between the individual stitches, may need a higher density. Some embroidery machines have a built-in feature for changing density. Most embroidery programs are able to change the design density.
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• Design File: contains the information an embroidery machine needs to stitch a design. Design files are either purchased or created using embroidery software. The design file has a specific format created for different machine makes and models (see Format). • Design Template: a printed copy of a design with horizontal and vertical centerlines used to determine proper design placement. Templates may accompany a particular design, but can also be printed using software (4). • Digitize: manually entering points and stitches to create an embroidery design using a computer program. Digitizers begin with artwork and create the file necessary to turn that artwork into stitches. • Dongle: a security hardware device required to operate specific embroidery software programs. These are commonly found in a form that resembles a USB flash drive. In order to open the embroidery program, the dongle must be inserted into a USB port on the computer (5).
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E • Editing: the process of altering or modifying a design by adding or removing stitches, adding text or scaling up or down. A limited amount of editing can be done using embroidery machine editing features, but a computer program can reshape designs or objects and create new designs. Copyright rules apply when editing an existing design; refer to the design creator for details.
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• Embroidery Thread: thread used in the needle that’s designed to withstand the high speeds of embroidery. Polyester embroidery thread is the most durable and is commonly used in the home market. Rayon, cotton and many other specialty thread types are also available (6).
F • Fancy Fill: a decorative fill stitch created when a specific pattern is formed within a filled area (7). • File Extension: the three letters at the end of a file name that identify the design format (see Format). • Fill Stitch: a series of stitches or rows of stitches used to fill an area. • Format: the language an embroidery machine uses to read a design. Each machine make or model has a specific format that’s usually identified in the machine manual. Most purchased design collections are multi-formatted, which means they include many formats for each design.
G • Gapping: the outline stitches don’t meet the fill stitches correctly and fabric can be seen between the stitches. This can be the result of poorly digitized designs or incorrect fabric stabilization.
H • Hoop Burn: the hoop-shaped crease that shows on fabric after it has been removed from the hoop. Although usually tempo-
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rary, delicate fabrics may have a permanent crease if the fabric is removed from the hoop without loosening the set screw on the outer ring (8). • Hoop Template: usually a clear plastic template that is placed inside the hoop when positioning a design. The template features grid markings as well as a horizontal and vertical centerline (9). • Hoopless Embroidery: hooping the stabilizer and floating the fabric over it. Use this method for hard to hoop items and fabrics that may suffer hoop burn. The fabric is held in place by temporary spray adhesive or a specialty stabilizer, such as paper-release adhesive, and applying the fabric over it.
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J • Jump Stitch: the long thread connecting one design portion to another. For best results, trim jump stitches between color changes. Some machines automatically trim jump stitches.
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L • Lettering: creating letters using embroidery. Most machines have built-in lettering capabilities (10). • Loading a design: the method used to transfer a design into the machine. Newer machine models use a USB port or direct cable connection from the computer to the machine. Designs can also be loaded via CD, floppy disks, or special cards.
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• Lock Stitch: stitch formed by three or four consecutive stitches spaced closely. They’re usually found at the beginning or end of a thread color, or at the end of any element where a jump stitch is needed. The lock stitch prevents thread from coming loose and is sometimes referred to as a tie off or tie on stitch.
• Pull Compensation: a component built into a design during the digitizing process to compensate for the push and pull on the fabric caused by the stitching process.
• Looping: loops that are formed on the fabric right side as a result of incorrect needle threading or tension problems.
• Proportional Resizing: sizing a design so that the width and height are in direct proportion to the original size.
over the exposed adhesive surface. This stabilizer type is available in water-soluble, tearaway or cut-away forms (12).
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• Mirror Image: reversing a design vertically or horizontally. This is usually done using machine editing features or a software program.
• Registration: refers to the design and detail alignment. If design elements don’t line up properly, it is often a result of incorrect stabilization or digitizing.
• Motif: generally refers to an individual design. • Multi-Hooping: splitting a design into segments that are stitched separately when a design is larger than an embroidery hoop or stitching field. A computer program is necessary for this task.
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• Rotate: depending on the machine, designs can be rotated in increments of 45° or 90° or in 1° units. A design can also be rotated in software programs.
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• Running Stitch: a straight stitch running between two points. This stitch is used as an outline or for adding fine details to a design.
• Needle: the embroidery needle eye is larger than that of a conventional sewing needle of the same size. This allows the thread to pass through the needle easier and prevents fraying (11).
• Outline Stitch: a stitch that outlines a design or a portion of a design. There are many types of outline stitches, including a single running stitch, triple stitch, stem stitch or satin stitch (13).
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• Paper-Release Adhesive Stabilizer: stabilizer that is hooped with the paper side up, the paper removed, and then fabric placed
• Satin Stitch: a narrow, dense zigzag stitch that can be used as a design outline, or as an independent design element (14).
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• Skew: distorting a design horizontally along either the upper or lower edge. A letter design that is skewed is italicized. • Stabilizer: a material placed behind fabric to stabilize it during embroidery. The most common stabilizer types are cut-away, tearaway and water-soluble. Stabilizer prevents the stitches from distorting the fabric (15). • Step Fill: sometimes referred to as a Tatami stitch, this fill stitch features parallel rows of slightly offset stitching and is used to cover large areas. It takes its name from the resemblance to a woven rug (16).
T • Tension: the tightness of the needle and/or bobbin thread. The proper balance between needle and bobbin thread is achieved when the needle thread is pulled to the fabric wrong side and no bobbin thread is visible on the right side.
• Thread Chart: a list of thread numbers and colors that identify the portions within a design. It’s usually included with a purchased design collection but can also be printed using embroidery software (17). • Topper: a stabilizer that’s placed over the hooped fabric prior to stitching and is used with any fabric that has a nap, such as velvet, velveteen, corduroy or toweling. A topper prevents the stitches from sinking into the nap and gives the design a smoother appearance (18).
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U • Underlay: a pattern of stitches that are stitched prior to the actual satin or fill stitching in a design. An underlay is used to secure the fabric to the stabilizer, and also reduces puckering around the design. • USB: Universal Serial Bus connector transfers designs from the computer USB port to a USB port on a machine. 18
DESIGNS
SOURCES
Adorable Ideas provided the Hearts for Everyone Collection image for 13; adorableideas.com.
Bernina of America provided the design template: bernina.com.
Husqvarna Viking provided the Eden Rose Limited Edition Machine: husqvarnaviking.com.
Amazing Designs provided the Blanket Stitch 3 image for 2 and the All Seasons Floral Borders collection image for 16; amazingdesigns.com.
Bosal provided the heavyweight & tear-away stabilizer: bosal.com.
OESD provided the wash-away aqua film topper: embroideryonline.com.
Brother International provided the bobbin and rayon thread: brother-usa.com.
Schmetz provided the embroidery needles: schmetz.com.
Coats and Clark provided the variegated rayon thread: coatsandclark.com.
Sulky of America provided the bobbin, metallic and rayon thread and the cut-away stabilizer: sulky.com.
CME Sea Critters Collection provided the image for 17; www.shopsewitall.com. EmbroiderShoppe provided the Crazy Birdie Appliqué image for 1; embroidershoppe.com. OESD provided the Classic Floral Monograms image for 14; embroideryonline.com. Pam's 3D Designs provided the Bunnies on a Swing image for 7; (850) 535-1614, pams3ddesigns.com.
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DMC provided the rayon embroidery thread: dmc-usa.com. Floriani provided the Stitch N Wash water-soluble tear-away stabilizer: rnkdistributing.com. Hilos Iris provided the rayon embroidery thread: hilosiris.com.
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Basic Training
PERFECT PAIRINGS by Kay Hickman
Learn how to select the correct stabilizer, topper and needle combinations for six common fabrics to expand your project possibilities.
FLEECE • Match fleece fabric, such as polar fleece, Cuddle or ready-made blankets, with a soft mesh cut-away stabilizer (A). Fleece fabrics are typically stretchy and require a cut-away stabilizer to support the stitches, particularly because the finished projects are washed often. Lightweight cut-away stabilizer has a soft drape that matches the fleece. Choose a stabilizer color that blends closely with the fabric. Hoop the stabilizer and fabric together as one unit. • Select a water-soluble topper to prevent the fabric nap from sticking up through the finished embroidery stitches. Secure the topper in place over the hooped stabilizer and fabric using painter’s tape. • Use a size 80/12 ballpoint embroidery needle. Universal needles have a sharper point that cuts the knit fleece, creating small holes or snags in the fabric.
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T-SHIRT KNIT • Jersey knit T-shirts or active-wear knits are stretchy and require a soft mesh cut-away stabilizer to allow the fabric to drape properly on the body (B). For added stability during stitching, adhere a fusible mesh cut-away stabilizer to the knit fabric before hooping. • Use a water-soluble topper on waffle or piqué knits to enhance the finished embroidery appearance. • Select a size 75/11 ballpoint needle for lightweight T-shirts or a size 80/12 ballpoint needle for heavier knits, such as golf shirts.
tip
Use an embroidery needle for most projects because the eye is one size larger than the shaft, which allows the thread to easily pass through the fabric.
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PRODUCT PAIRING CHART TOPPER
NEEDLE
FLEECE
MESH CUT-AWAY (weight to match fabric)
YES (water-soluble)
80/12 BALLPOINT
T-SHIRT KNIT
SOFT MESH CUT-AWAY (fusible for added stability)
YES (water-soluble for textured knits)
75/11 (lightweight knits) 80/12 (heavy knits)
MEDIUM- TO HEAVYWEIGHT CUT-AWAY
YES (water-soluble or opaque permanent)
80/12 or 90/14 SHARP EMBROIDERY
YES (watersoluble)
80/12 SHARP
LIGHT- TO MEDIUMWEIGHT TEAR-AWAY (weight to match fabric)
NO
75/11 or 80/12 SHARP
WATER-SOLUBLE MESH or TRANSPARENT
NO
70/10 or 65/9 SHARP
MEDIUM- TO HEAVYWEIGHT TEAR-AWAY; HEAVYWEIGHT WATER-SOLUBLE; PRESSURE-SENSITIVE ADHESIVE
FINE FABRICS
(batiste, organza, sheers)
STURDY WOVENS
(quilting cottons, linen, chambray)
TERRY CLOTH
STABILIZER
DENIM
Cut out this handy guide and hang it in your sewing area to use as a reference when planning projects.
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tip
Always prewash jeans to eliminate fabric shrinkage before embroidery.
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DENIM • Select a medium- or heavyweight cut-away stabilizer for denim fabrics, such as jackets or jeans (C). Denim has a twill weave that stretches and needs cut-away stabilizer to support the stitches. Use heavyweight cut-away stabilizer for dense, detailed embroidery designs on denim. • Denim fabric texture needs a water-soluble topper to improve the design appearance. Or select an opaque permanent topper for dark denim fabric and a lightcolored embroidery design to prevent the dark fabric from showing through the design. • Use a size 80/12 or 90/14 sharp embroidery needle depending on the denim weight.
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TERRY CLOTH • Towels or bathrobes need a medium- to heavyweight tear-away stabilizer to provide adequate support (D). Towels are reversible, so the the stabilizer needs to be concealed. Tear-away stabilizer leaves some small pieces visible, but they eventually wash away. Use a heavyweight water-soluble stabilizer to prevent any stabilizer from showing, but test the stabilizer on an old towel or similar-weight terry cloth fabric scrap to ensure the stabilizer supports the design. Use pressure-sensitive adhesive stabilizers with caution on towels. The knit loops stick to the stabilizer and may pull when the stabilizer is removed. • Use a water-soluble topper to prevent the knit loops from poking through the finished embroidery stitches. Secure the topper in place over the hooped stabilizer and fabric using painter’s tape (E). • Select a size 80/12 sharp needle for best results.
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tip
Use a matte cotton embroidery thread when embroidering on fine linens for a more authentic vintage look.
STURDY WOVENS • Use a light- to medium-weight tear-away stabilizer for quilting cottons, medium- to heavyweight linens and chambray, depending on the design density (F). Use lightweight stabilizer for less dense designs, such as redwork. • Select a size 75/11 or 80/12 sharp needle for best results. FINE FABRICS • Use a water-soluble stabilizer for fine fabrics, such as batiste, organza and sheers (G). Select a mesh stabilizer for denser designs and a transparent stabilizer for less dense designs. • Select a size 70/10 sharp needle for most fine fabrics; however, some very lightweight fine fabrics need a smaller size 65/9 size needle.
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DESIGNS Flowers & leaves: OESD, Caravan Collection (#82006); available at participating Design Studio dealers Leaves & swirls appliqué: OESD, Autumn Couture Collection (#12482); available at participating Design Studio dealers or online at embroideryonline.com Monogram appliqué: Katelyn’s Kreative Stitches, Circle Monogram Appliqué; katelynskreativestitches.com Monogram letter: Created from True Type Font “Precious” and converted into embroidery using Bernina Software 7; available at participating Design Studio dealers Unicorn: OESD, Mystical Equine Collection (#12234); available at participating Design Studio dealers or online at embroideryonline.com Zebra: OESD, Baby Africa Collection (#12315); available at participating Design Studio dealers or online at embroideryonline.com SOURCES OESD provided the AquaFilm Wash Away Stabilizer, LightWeight Tear Away Stabilizer, PolyMesh Cut Away Stabilizer, TopCover Cut Away Stabilizer and Ultra Clean & Tear Away Stabilizer: (888) 223-6943, embroideryonline.com.
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PERFECT PLACEMENT POINTERS by Kay Hickman
Properly placed embroidery designs add a professional touch to any project. Learn to use paper templates and embroidery software to achieve perfect placement.
TEMPLATE TIPS Paper templates are the key to perfect embroidery placement. These full-sized representations of embroidery designs are printed in either black and white or color. Most templates have intersecting lines marking the design center. • Templates are often included with design collections as a PDF. Some designs include preprinted templates ready to be cut out. 16
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• If a design collection doesn’t include templates, open the design in either an embroidery editing, sizing or digitizing software program. Adjust the software settings to include the vertical and horizontal centerlines (A). If using a design light in color, change it to black in order to create a template. Print the placement template, ensuring
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tip
Search the internet for free embroidery editing, sizing and digitizing software programs. the software prints the design at 100%. Deselect “scaling” or “print to fit page” in the print screen, as these features change the template size. • If using the same design more than once, print the template as many times as necessary. If using more than one design, print templates for each design. • Mark the template upper edge with an arrow on the vertical centerline (B). • Cut out the design leaving a 1/4” border around the edges. Using a rotary cutter, cut a small slit along the horizontal and vertical centerlines. Fold back two corners from the center, creating two small triangle shaped openings (C). • Use the templates to audition the design placement(s) (D). Pin or tape the templates to the project and if embroidering a garment, try on the item on to confirm that the designs are flattering. Arrange the templates until satisfied, and then pin in place. Mark each design center using a removable fabric marker or tailor’s chalk. Also
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mark an arrow denoting the design upper edge (E). Remove the template once marking is complete. • If using more than one design on a project, number the designs in order of the stitchout, writing the number onto the paper template.
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Write the corresponding design number on the garment near the centerline marks. STITCHING SUCCESS • Hoop the project with stabilizer, centering one design in the hoop and aligning the upper-edge
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F
tip
Take a photo of the designs laid out on the project to refer to when using multiple designs. Refer back to the photo to confirm proper placement during hooping and stitching.
arrow with the hoop upperedge arrow. If necessary, place the template over the center marks to confirm the design is centered in the hoop (F). Remove the template before stitching. • Load the design onto the machine. Using the machine’s edit feature, move the needle position to the marked center on the garment. Lower the needle to double check proper placement. • Embroider the design, keeping any excess fabric away from the needle. Remove the fabric from the hoop, and repeat to hoop the next design, centering it in the hoop per the first design. TIGHT SPOTS Some areas, such as collar points, cuffs and pockets, are tricky to stitch. Simplify the process by creating a placement line. Used as a guide for placing garment areas that are difficult to embroider, placement lines are stitched onto
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G
hooped stabilizer as a first step. Create placement lines using digitizing software. • Begin by scanning the project area you intend to embroider. Check the scanner to ensure the scan is completed at 100%, meaning that the image is the same size as the project. • Import the image into the embroidery software (G). Double check the software settings to ensure that the image is at 100% and not scaled or otherwise adjusted in size.
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• Digitize a single-stitch outline along one garment corner. Add a color change to the outline; this is the placement line. Make sure that the placement line is a different color than the design to allow the placement line to stitch first. • Load the intended embroidery design and place it accordingly (H). Take note of seamlines,
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tip
If the garment can’t be hooped, refer to “Basic Training: Hoopless Embroidery” in the May/June ’14 CME for stitching tips.
topstitching and other details. For a professional finish, avoid placing designs over stitching details.
PLACEMENT POINTERS
• Save the design and exit the embroidery software. Load the design onto the embroidery machine.
garments, print the template onto transparency film. The see-through film lasts longer, but don’t pin it too often to prolong its life. Use transparent tape when deciding placement and marking centerlines in lieu of pins.
• Hoop a piece of stabilizer. Place the hoop onto the machine. • Stitch the placement line; this is the first color change (I). • Spray the stabilizer with temporary spray adhesive and position the project area using the placement line as a guide. Finger-press the fabric to secure. • Return the hoop to the machine and embroider the remaining design. Repeat to embroider any remaining designs. § DESIGN Floral designs: Bernina Exclusive Collection, Caravan (#82006); bernina.com SOURCE Bernina provided the ArtLink embroidery software: available for free at bernina.com.
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• Traditionally, if only one side of a garment is embroidered, it’s the left side.
Use these tips to place your designs like a pro! • If a design will be used multiple times on multiple
• When stitching several designs onto a garment, begin in the center and work outward. Alternatively, embroider the largest design first and then proceed to smaller designs. Use this method to avoid unsightly puckering.
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DIAGNOSING
MACHINE PROBLEMS by Kay Hickman
The quality of embroidery machines has improved over the years. Machines are better built to accommodate the speed of the embroidery arm as it moves. While embroiderers now experience far fewer problems, some issues still arise. Read on to discover handy fixes for common problems. 16
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BEFORE ADJUSTING • When encountering any stitching problem, always check the machine threading paths. Since embroidery machines stitch at such high speeds (up to 1,000 stitches per second) for prolonged periods of time, missing even one thread guide distorts the design. If thread breakage is a consistent problem, consult the machine manual to ensure the ma- chine is threaded correctly.
EXCESSIVE UPPER THREAD LOOPS • If loops appear on the design right side, the needle tension is too loose. Gradually tighten the needle tension until the loops disappear.
BOBBIN THREADS PULLING • Most embroidery machines have a separate bobbin case or different way of threading the bobbin than sewing machines. The embroidery machine bobbin thread should be tighter than for normal sewing. • Always use high-quality embroiDuring normal sewing, the needle dery and bobbin thread. Quality and bobbin threads should be thread is imperative for embroidery balanced so the upper and lower because it’s tested to withstand stitches are identical. For embroiheat and friction associated with dery, the needle thread should high stitching speeds. Embroidery pull to the wrong side, so the bobbobbin thread is typically a lighter bin thread is invisible on the right weight than the needle embroidery side. On the wrong side, both the thread. The difference in weight bobbin and needle thread should helps pull the bobbin thread toward be visible. If only bobbin thread the design wrong side. is visible on the wrong side, or if the bobbin thread is visible on the NO STITCH IS FORMED design right side, loosen the upper • When the machine isn’t forming a thread tension, or tighten the stitch, this issue is best left to the bobbin tension (A). Loosen the experts. If the needle hit a pin needle tension before attempting during stitching, it may have to tighten the bobbin tension, as thrown the machine out of time. dealers prefer a service technician Check the needle and bobbin adjusts the bobbin tension. If you threading paths. If the stitch still decide to tighten the bobbin tenisn’t forming, take the machine to sion, a small change to the bobbin a technician or dealer for repairs. tension can significantly change cmemag.com
A
the stitch. A quarter turn is an extremely large adjustment for the bobbin tension. NEEDLE KNOW-HOW • Needles are crucial for proper stitching. Always use a high-quality machine embroidery needle. The embroidery needle eye is one size larger than the shaft. For example, a size 80/12 embroidery needle eye is the same size as a standard 90/14 needle eye. The larger eye prevents the thread from breaking as it’s pulled through the stitching. • Choose the needle size based on the weight of the fabric/stabilizer combination. The most common size for embroidery is an 80/12 embroidery needle. When experiencing problems, always check the needle first. Even a small burr in the needle can cause bobbin thread to pull upward. A titanium-coated needle increases the longevity of
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a needle because the coating protects the tip from dulling and makes it strong enough to stitch heavyweight fabric. A titanium needle is also useful for stitching adhesive stabilizer. The coating keeps the adhesive from gumming up the needle during stitching. A needle that has adhesive buildup can cause the thread to fray. When stitching with adhesive stabilizer, check the needle frequently. If a gumball appears at the needle point, stop the machine and wipe the needle with a damp cotton swab. Don’t allow the gumball to fall into the bobbin mechanism. • If the needle breaks, check the thread paths. Needle breakage commonly occurs when the thread gets wound around the thread spindle or slips beneath the spool. Use the proper spindle for the thread type. Stacked thread usually flows well with a vertical spool pin, while crosswound thread usually works with a horizontal spool pin. Use the caps that come with the machine. Using a needle that’s too small for the fabric/stabilizer combination can also cause a needle to break, so change to a larger needle. Stitching a design that’s very dense can cause needle breakage as well. Try changing to a smaller needle. This may seem counterintuitive, but the smaller needle passes between threads more easily. CLEANING & OILING • Cleaning is important for sew-
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CREATIV E M A CH INE E M B R O I D E R Y
ing machine maintenance, and even more vital for embroidery machines. The machine stitches at greater speeds, which creates more lint and fuzz than normal sewing. Lint build-up in the bobbin area causes tension problems. Check for thread bits that fall into the bobbin case. Clean the machine after every project. If you brush out the machine, oil it at the same time since the old oil gets brushed away with the lint. Technicians have different opinions as to how often to oil, but the minimum is after every two projects. Check with your technician and follow their guidance. PROFESSIONAL CLEANING • Even if you clean your machine, follow the manufacturer’s suggestions for routine professional cleaning. Technicians are trained to clean areas that are inaccessible to the consumer. Technicians are also trained to check for burrs on the stitch plate and bobbin case. If the thread continues to break or fray after following the previous suggestions, a burr might be the problem.
plastic template indicates the design center. If the hoop isn’t correctly calibrated, it’s generally only slightly off. However, when stitching a design that fills the sewing field, or an intricate design that requires exact placement, an uncalibrated hoop is problematic. MISPLACED DESIGN ELEMENTS • If the design appears to have stitched over itself, or some parts are misaligned, the most common reason is that the module arm bumped against the wall or a chair. If the arm bumps into an object, the arm might move out of its original position. If there’s a fluctuating electrical flow, such as a power surge, the machine might misread the surge and cause it to move to another position to finish stitching the design (B). In this case, turn off the machine and restart the design. Otherwise the machine may try to re-create the same misplaced design. §
B
HOOP CALIBRATION • If the machine isn’t stitching the design in the hoop center, the hoop may need calibrating. Follow the manual instructions for calibrating the hoop. Calibrating positions the embroidery arm so it’s in the design-field center, which isn’t necessarily the physical center of the hoop. The hoop’s 18 cmemag.com
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Stitch: a series of stitches or of stitches used to fill an area.
J
L
Basic Training ping: the outline stitches
t meet the fill stitches correctly fabric can be seen between Presents titches. This can be the result oorly digitized designs or rrect fabric stabilization.
PERFECT PLACEMENT POINTERS
Basics:
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Properly placed embroidery designs add a professional touch to any project. Learn tocmemag.com use paper templates and embroidery software to achieve perfect placement.
IV E M A CHINE EM B R O IDE R Y
Beginner’s guide
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Perfect Pairings
C REATIV E M AC H INE EM BRO IDERY Basic Training
DIAGNOSING
4 guides to successful machine embroidery
TEMPLATE TIPS aper templates are the key to erfect embroidery placement. hese full-sized representations f embroidery designs are printed n either black and white or color.
• Use to en
• Sele T-shi knits
• Lettering: creating letters using • Select a water-soluble topper to prevent the fabric embroidery. Most machines have nap from sticking up through the finished embroidery built-in lettering capabilities (10). stitches. Secure the topper in place over the hooped stabilizer and fabric using painter’s tape. U • Loading a design: the method • Use a size 80/12 ballpoint embroidery needle. proje 10 used to transfer a design into the than machine. Newer machine models Universal needles have a sharper point that cuts the t knit fleece, creating small holes or snags in the fabric. use a USB port or direct cable connection from the computer to the machine. Designs can also Embroidery be loaded via CD, floppy disks, or A special cards. by Kay Hickman Term Glossary B
Machine embroidery
p Burn: the hoop-shaped se that shows on fabric after s been removed from the p. Although usually tempo-
T-SHIR • Jerse and the f adde cut-a
MACHINE PROBLEMS by Kay Hickman
3
• If a design collection doesn’t include templates, open the design A in either an embroidery editing, The4 quality of embroidery machines has improved over the sizing or digitizing software years. Machines are better built to accomthe speed of the embroidery arm as it moves. program. Adjust the software modate While embroiderers now experience far fewer problems, some issues
Perfect Placement Pointers
Machine Issues
4
Machine Embroidery Basics: Beginner’s guide
Machine embroidery can seem a bit overwhelming to beginners. And understandably so: there’s a lot to learn. Maybe you’ve never tried machine embroidery? Or perhaps you learned when you bought your machine but need a refresher? Let us help!
Table of Contents 1
Embroidery term glossary Kay Hickman..................... pg 3
From basic terms to picking the right stabilizer to troubleshooting, we’ve got you covered with these beginner-friendly Basic Training articles from Creative Machine Embroidery.
2
Perfect Pairings Kay Hickman..................... pg 7
We’ve hand-picked these articles to help you get started and inspire you to stick with it ... and we hope you do just that.
3 Perfect Placement Pointers Kay Hickman.................... pg 11
4
Machine Issues Kay Hickman....................pg 13
Happy embroidering!
Amanda Carestio Senior Editor/Creative Machine Embroidery
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Basic Training
E M B ROI DER Y TERM
GLOSSARY by Kay Hickman
Knowing correct embroidery terms is helpful whether you’re new to embroidery or a professional. Use this glossary to familiarize yourself with basic key terms and learn new ones.
A • Appliqué: applying one fabric piece to another fabric surface (1). Appliqué adds a decorative effect to embroidery designs and reduces the thread count. Cut appliqué shapes prior to the embroidery design stitching using the precut or pattern method, or during the embroidery process using the trim-in-place method. • Auto Digitize: the ability of a software program to automatically convert artwork into an embroi-
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CREATIV E M A CH INE E M B R O I D E R Y
dery design. Some programs allow for making manual changes to design fills and outlines. • Automatic Thread Cutter: the part of an embroidery machine that cuts threads at the end of a design or between color changes. Some machines also trim long jump stitches between design elements.
B • Birdnesting: the loose buildup of needle thread on the hooped-
fabric wrong side that resembles a bird’s nest. This buildup is usually caused by incorrect needle threading or thread tension. • Blanket Stitch: a decorative stitch usually used for outlining appliqué designs (2). This stitch is also referred to as a buttonhole stitch or an “e” stitch since it resembles a capital “E”. • Bobbin Tension: bobbin tension is usually set tighter for embroi-
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dery than for conventional sewing to pull the needle thread to the wrong side. Most embroidery machines have a second bobbin case or can be threaded differently for embroidery. Using the secondbobbin case or threading path automatically tightens the bobbin with no further need for adjustment. • Bobbin Thread: thread used in the bobbin for embroidery. Embroidery bobbin thread is usually lighter weight than embroidery thread. This increases tension on the bobbin thread to pull the needle thread to the wrong side (3).
C • Convert: the processes of changing a design file type from one format to another. A computer program is necessary to accomplish this task (see Format). • Customizing: the process of changing a design by adding lettering, combining other designs, enlarging or reducing the size or editing stitches (see Editing).
D • Density: the number of stitches used to complete a design. Very dense designs, sometimes referred to as bullet-proof designs, may need to have stitches removed. Sparse designs, meaning that fabric is seen between the individual stitches, may need a higher density. Some embroidery machines have a built-in feature for changing density. Most embroidery programs are able to change the design density.
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• Design File: contains the information an embroidery machine needs to stitch a design. Design files are either purchased or created using embroidery software. The design file has a specific format created for different machine makes and models (see Format). • Design Template: a printed copy of a design with horizontal and vertical centerlines used to determine proper design placement. Templates may accompany a particular design, but can also be printed using software (4). • Digitize: manually entering points and stitches to create an embroidery design using a computer program. Digitizers begin with artwork and create the file necessary to turn that artwork into stitches. • Dongle: a security hardware device required to operate specific embroidery software programs. These are commonly found in a form that resembles a USB flash drive. In order to open the embroidery program, the dongle must be inserted into a USB port on the computer (5).
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E • Editing: the process of altering or modifying a design by adding or removing stitches, adding text or scaling up or down. A limited amount of editing can be done using embroidery machine editing features, but a computer program can reshape designs or objects and create new designs. Copyright rules apply when editing an existing design; refer to the design creator for details.
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• Embroidery Thread: thread used in the needle that’s designed to withstand the high speeds of embroidery. Polyester embroidery thread is the most durable and is commonly used in the home market. Rayon, cotton and many other specialty thread types are also available (6).
F • Fancy Fill: a decorative fill stitch created when a specific pattern is formed within a filled area (7). • File Extension: the three letters at the end of a file name that identify the design format (see Format). • Fill Stitch: a series of stitches or rows of stitches used to fill an area. • Format: the language an embroidery machine uses to read a design. Each machine make or model has a specific format that’s usually identified in the machine manual. Most purchased design collections are multi-formatted, which means they include many formats for each design.
G • Gapping: the outline stitches don’t meet the fill stitches correctly and fabric can be seen between the stitches. This can be the result of poorly digitized designs or incorrect fabric stabilization.
H • Hoop Burn: the hoop-shaped crease that shows on fabric after it has been removed from the hoop. Although usually tempo-
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rary, delicate fabrics may have a permanent crease if the fabric is removed from the hoop without loosening the set screw on the outer ring (8). • Hoop Template: usually a clear plastic template that is placed inside the hoop when positioning a design. The template features grid markings as well as a horizontal and vertical centerline (9). • Hoopless Embroidery: hooping the stabilizer and floating the fabric over it. Use this method for hard to hoop items and fabrics that may suffer hoop burn. The fabric is held in place by temporary spray adhesive or a specialty stabilizer, such as paper-release adhesive, and applying the fabric over it.
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J • Jump Stitch: the long thread connecting one design portion to another. For best results, trim jump stitches between color changes. Some machines automatically trim jump stitches.
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L • Lettering: creating letters using embroidery. Most machines have built-in lettering capabilities (10). • Loading a design: the method used to transfer a design into the machine. Newer machine models use a USB port or direct cable connection from the computer to the machine. Designs can also be loaded via CD, floppy disks, or special cards.
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• Lock Stitch: stitch formed by three or four consecutive stitches spaced closely. They’re usually found at the beginning or end of a thread color, or at the end of any element where a jump stitch is needed. The lock stitch prevents thread from coming loose and is sometimes referred to as a tie off or tie on stitch.
• Pull Compensation: a component built into a design during the digitizing process to compensate for the push and pull on the fabric caused by the stitching process.
• Looping: loops that are formed on the fabric right side as a result of incorrect needle threading or tension problems.
• Proportional Resizing: sizing a design so that the width and height are in direct proportion to the original size.
over the exposed adhesive surface. This stabilizer type is available in water-soluble, tearaway or cut-away forms (12).
M
R
• Mirror Image: reversing a design vertically or horizontally. This is usually done using machine editing features or a software program.
• Registration: refers to the design and detail alignment. If design elements don’t line up properly, it is often a result of incorrect stabilization or digitizing.
• Motif: generally refers to an individual design. • Multi-Hooping: splitting a design into segments that are stitched separately when a design is larger than an embroidery hoop or stitching field. A computer program is necessary for this task.
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• Rotate: depending on the machine, designs can be rotated in increments of 45° or 90° or in 1° units. A design can also be rotated in software programs.
N
• Running Stitch: a straight stitch running between two points. This stitch is used as an outline or for adding fine details to a design.
• Needle: the embroidery needle eye is larger than that of a conventional sewing needle of the same size. This allows the thread to pass through the needle easier and prevents fraying (11).
• Outline Stitch: a stitch that outlines a design or a portion of a design. There are many types of outline stitches, including a single running stitch, triple stitch, stem stitch or satin stitch (13).
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S
• Paper-Release Adhesive Stabilizer: stabilizer that is hooped with the paper side up, the paper removed, and then fabric placed
• Satin Stitch: a narrow, dense zigzag stitch that can be used as a design outline, or as an independent design element (14).
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• Skew: distorting a design horizontally along either the upper or lower edge. A letter design that is skewed is italicized. • Stabilizer: a material placed behind fabric to stabilize it during embroidery. The most common stabilizer types are cut-away, tearaway and water-soluble. Stabilizer prevents the stitches from distorting the fabric (15). • Step Fill: sometimes referred to as a Tatami stitch, this fill stitch features parallel rows of slightly offset stitching and is used to cover large areas. It takes its name from the resemblance to a woven rug (16).
T • Tension: the tightness of the needle and/or bobbin thread. The proper balance between needle and bobbin thread is achieved when the needle thread is pulled to the fabric wrong side and no bobbin thread is visible on the right side.
• Thread Chart: a list of thread numbers and colors that identify the portions within a design. It’s usually included with a purchased design collection but can also be printed using embroidery software (17). • Topper: a stabilizer that’s placed over the hooped fabric prior to stitching and is used with any fabric that has a nap, such as velvet, velveteen, corduroy or toweling. A topper prevents the stitches from sinking into the nap and gives the design a smoother appearance (18).
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U • Underlay: a pattern of stitches that are stitched prior to the actual satin or fill stitching in a design. An underlay is used to secure the fabric to the stabilizer, and also reduces puckering around the design. • USB: Universal Serial Bus connector transfers designs from the computer USB port to a USB port on a machine. 18
DESIGNS
SOURCES
Adorable Ideas provided the Hearts for Everyone Collection image for 13; adorableideas.com.
Bernina of America provided the design template: bernina.com.
Husqvarna Viking provided the Eden Rose Limited Edition Machine: husqvarnaviking.com.
Amazing Designs provided the Blanket Stitch 3 image for 2 and the All Seasons Floral Borders collection image for 16; amazingdesigns.com.
Bosal provided the heavyweight & tear-away stabilizer: bosal.com.
OESD provided the wash-away aqua film topper: embroideryonline.com.
Brother International provided the bobbin and rayon thread: brother-usa.com.
Schmetz provided the embroidery needles: schmetz.com.
Coats and Clark provided the variegated rayon thread: coatsandclark.com.
Sulky of America provided the bobbin, metallic and rayon thread and the cut-away stabilizer: sulky.com.
CME Sea Critters Collection provided the image for 17; www.shopsewitall.com. EmbroiderShoppe provided the Crazy Birdie Appliqué image for 1; embroidershoppe.com. OESD provided the Classic Floral Monograms image for 14; embroideryonline.com. Pam's 3D Designs provided the Bunnies on a Swing image for 7; (850) 535-1614, pams3ddesigns.com.
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DMC provided the rayon embroidery thread: dmc-usa.com. Floriani provided the Stitch N Wash water-soluble tear-away stabilizer: rnkdistributing.com. Hilos Iris provided the rayon embroidery thread: hilosiris.com.
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Basic Training
PERFECT PAIRINGS by Kay Hickman
Learn how to select the correct stabilizer, topper and needle combinations for six common fabrics to expand your project possibilities.
FLEECE • Match fleece fabric, such as polar fleece, Cuddle or ready-made blankets, with a soft mesh cut-away stabilizer (A). Fleece fabrics are typically stretchy and require a cut-away stabilizer to support the stitches, particularly because the finished projects are washed often. Lightweight cut-away stabilizer has a soft drape that matches the fleece. Choose a stabilizer color that blends closely with the fabric. Hoop the stabilizer and fabric together as one unit. • Select a water-soluble topper to prevent the fabric nap from sticking up through the finished embroidery stitches. Secure the topper in place over the hooped stabilizer and fabric using painter’s tape. • Use a size 80/12 ballpoint embroidery needle. Universal needles have a sharper point that cuts the knit fleece, creating small holes or snags in the fabric.
A
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T-SHIRT KNIT • Jersey knit T-shirts or active-wear knits are stretchy and require a soft mesh cut-away stabilizer to allow the fabric to drape properly on the body (B). For added stability during stitching, adhere a fusible mesh cut-away stabilizer to the knit fabric before hooping. • Use a water-soluble topper on waffle or piqué knits to enhance the finished embroidery appearance. • Select a size 75/11 ballpoint needle for lightweight T-shirts or a size 80/12 ballpoint needle for heavier knits, such as golf shirts.
tip
Use an embroidery needle for most projects because the eye is one size larger than the shaft, which allows the thread to easily pass through the fabric.
B
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PRODUCT PAIRING CHART TOPPER
NEEDLE
FLEECE
MESH CUT-AWAY (weight to match fabric)
YES (water-soluble)
80/12 BALLPOINT
T-SHIRT KNIT
SOFT MESH CUT-AWAY (fusible for added stability)
YES (water-soluble for textured knits)
75/11 (lightweight knits) 80/12 (heavy knits)
MEDIUM- TO HEAVYWEIGHT CUT-AWAY
YES (water-soluble or opaque permanent)
80/12 or 90/14 SHARP EMBROIDERY
YES (watersoluble)
80/12 SHARP
LIGHT- TO MEDIUMWEIGHT TEAR-AWAY (weight to match fabric)
NO
75/11 or 80/12 SHARP
WATER-SOLUBLE MESH or TRANSPARENT
NO
70/10 or 65/9 SHARP
MEDIUM- TO HEAVYWEIGHT TEAR-AWAY; HEAVYWEIGHT WATER-SOLUBLE; PRESSURE-SENSITIVE ADHESIVE
FINE FABRICS
(batiste, organza, sheers)
STURDY WOVENS
(quilting cottons, linen, chambray)
TERRY CLOTH
STABILIZER
DENIM
Cut out this handy guide and hang it in your sewing area to use as a reference when planning projects.
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tip
Always prewash jeans to eliminate fabric shrinkage before embroidery.
C
DENIM • Select a medium- or heavyweight cut-away stabilizer for denim fabrics, such as jackets or jeans (C). Denim has a twill weave that stretches and needs cut-away stabilizer to support the stitches. Use heavyweight cut-away stabilizer for dense, detailed embroidery designs on denim. • Denim fabric texture needs a water-soluble topper to improve the design appearance. Or select an opaque permanent topper for dark denim fabric and a lightcolored embroidery design to prevent the dark fabric from showing through the design. • Use a size 80/12 or 90/14 sharp embroidery needle depending on the denim weight.
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E
TERRY CLOTH • Towels or bathrobes need a medium- to heavyweight tear-away stabilizer to provide adequate support (D). Towels are reversible, so the the stabilizer needs to be concealed. Tear-away stabilizer leaves some small pieces visible, but they eventually wash away. Use a heavyweight water-soluble stabilizer to prevent any stabilizer from showing, but test the stabilizer on an old towel or similar-weight terry cloth fabric scrap to ensure the stabilizer supports the design. Use pressure-sensitive adhesive stabilizers with caution on towels. The knit loops stick to the stabilizer and may pull when the stabilizer is removed. • Use a water-soluble topper to prevent the knit loops from poking through the finished embroidery stitches. Secure the topper in place over the hooped stabilizer and fabric using painter’s tape (E). • Select a size 80/12 sharp needle for best results.
tip
Embroidery looks best on well-pressed woven fabrics. Press embroidery over a towel or press cloth with the wrong side facing up for a professional finish. 20
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tip
Use a matte cotton embroidery thread when embroidering on fine linens for a more authentic vintage look.
STURDY WOVENS • Use a light- to medium-weight tear-away stabilizer for quilting cottons, medium- to heavyweight linens and chambray, depending on the design density (F). Use lightweight stabilizer for less dense designs, such as redwork. • Select a size 75/11 or 80/12 sharp needle for best results. FINE FABRICS • Use a water-soluble stabilizer for fine fabrics, such as batiste, organza and sheers (G). Select a mesh stabilizer for denser designs and a transparent stabilizer for less dense designs. • Select a size 70/10 sharp needle for most fine fabrics; however, some very lightweight fine fabrics need a smaller size 65/9 size needle.
F
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DESIGNS Flowers & leaves: OESD, Caravan Collection (#82006); available at participating Design Studio dealers Leaves & swirls appliqué: OESD, Autumn Couture Collection (#12482); available at participating Design Studio dealers or online at embroideryonline.com Monogram appliqué: Katelyn’s Kreative Stitches, Circle Monogram Appliqué; katelynskreativestitches.com Monogram letter: Created from True Type Font “Precious” and converted into embroidery using Bernina Software 7; available at participating Design Studio dealers Unicorn: OESD, Mystical Equine Collection (#12234); available at participating Design Studio dealers or online at embroideryonline.com Zebra: OESD, Baby Africa Collection (#12315); available at participating Design Studio dealers or online at embroideryonline.com SOURCES OESD provided the AquaFilm Wash Away Stabilizer, LightWeight Tear Away Stabilizer, PolyMesh Cut Away Stabilizer, TopCover Cut Away Stabilizer and Ultra Clean & Tear Away Stabilizer: (888) 223-6943, embroideryonline.com.
G
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Basic Training
PERFECT PLACEMENT POINTERS by Kay Hickman
Properly placed embroidery designs add a professional touch to any project. Learn to use paper templates and embroidery software to achieve perfect placement.
TEMPLATE TIPS Paper templates are the key to perfect embroidery placement. These full-sized representations of embroidery designs are printed in either black and white or color. Most templates have intersecting lines marking the design center. • Templates are often included with design collections as a PDF. Some designs include preprinted templates ready to be cut out. 16
CREATIV E M A CH INE E M B R O I D E R Y
• If a design collection doesn’t include templates, open the design in either an embroidery editing, sizing or digitizing software program. Adjust the software settings to include the vertical and horizontal centerlines (A). If using a design light in color, change it to black in order to create a template. Print the placement template, ensuring
A
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tip
Search the internet for free embroidery editing, sizing and digitizing software programs. the software prints the design at 100%. Deselect “scaling” or “print to fit page” in the print screen, as these features change the template size. • If using the same design more than once, print the template as many times as necessary. If using more than one design, print templates for each design. • Mark the template upper edge with an arrow on the vertical centerline (B). • Cut out the design leaving a 1/4” border around the edges. Using a rotary cutter, cut a small slit along the horizontal and vertical centerlines. Fold back two corners from the center, creating two small triangle shaped openings (C). • Use the templates to audition the design placement(s) (D). Pin or tape the templates to the project and if embroidering a garment, try on the item on to confirm that the designs are flattering. Arrange the templates until satisfied, and then pin in place. Mark each design center using a removable fabric marker or tailor’s chalk. Also
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C
B
D
mark an arrow denoting the design upper edge (E). Remove the template once marking is complete. • If using more than one design on a project, number the designs in order of the stitchout, writing the number onto the paper template.
E
Write the corresponding design number on the garment near the centerline marks. STITCHING SUCCESS • Hoop the project with stabilizer, centering one design in the hoop and aligning the upper-edge
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F
tip
Take a photo of the designs laid out on the project to refer to when using multiple designs. Refer back to the photo to confirm proper placement during hooping and stitching.
arrow with the hoop upperedge arrow. If necessary, place the template over the center marks to confirm the design is centered in the hoop (F). Remove the template before stitching. • Load the design onto the machine. Using the machine’s edit feature, move the needle position to the marked center on the garment. Lower the needle to double check proper placement. • Embroider the design, keeping any excess fabric away from the needle. Remove the fabric from the hoop, and repeat to hoop the next design, centering it in the hoop per the first design. TIGHT SPOTS Some areas, such as collar points, cuffs and pockets, are tricky to stitch. Simplify the process by creating a placement line. Used as a guide for placing garment areas that are difficult to embroider, placement lines are stitched onto
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G
hooped stabilizer as a first step. Create placement lines using digitizing software. • Begin by scanning the project area you intend to embroider. Check the scanner to ensure the scan is completed at 100%, meaning that the image is the same size as the project. • Import the image into the embroidery software (G). Double check the software settings to ensure that the image is at 100% and not scaled or otherwise adjusted in size.
H
I
• Digitize a single-stitch outline along one garment corner. Add a color change to the outline; this is the placement line. Make sure that the placement line is a different color than the design to allow the placement line to stitch first. • Load the intended embroidery design and place it accordingly (H). Take note of seamlines,
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tip
If the garment can’t be hooped, refer to “Basic Training: Hoopless Embroidery” in the May/June ’14 CME for stitching tips.
topstitching and other details. For a professional finish, avoid placing designs over stitching details.
PLACEMENT POINTERS
• Save the design and exit the embroidery software. Load the design onto the embroidery machine.
garments, print the template onto transparency film. The see-through film lasts longer, but don’t pin it too often to prolong its life. Use transparent tape when deciding placement and marking centerlines in lieu of pins.
• Hoop a piece of stabilizer. Place the hoop onto the machine. • Stitch the placement line; this is the first color change (I). • Spray the stabilizer with temporary spray adhesive and position the project area using the placement line as a guide. Finger-press the fabric to secure. • Return the hoop to the machine and embroider the remaining design. Repeat to embroider any remaining designs. § DESIGN Floral designs: Bernina Exclusive Collection, Caravan (#82006); bernina.com SOURCE Bernina provided the ArtLink embroidery software: available for free at bernina.com.
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• Traditionally, if only one side of a garment is embroidered, it’s the left side.
Use these tips to place your designs like a pro! • If a design will be used multiple times on multiple
• When stitching several designs onto a garment, begin in the center and work outward. Alternatively, embroider the largest design first and then proceed to smaller designs. Use this method to avoid unsightly puckering.
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DIAGNOSING
MACHINE PROBLEMS by Kay Hickman
The quality of embroidery machines has improved over the years. Machines are better built to accommodate the speed of the embroidery arm as it moves. While embroiderers now experience far fewer problems, some issues still arise. Read on to discover handy fixes for common problems. 16
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BEFORE ADJUSTING • When encountering any stitching problem, always check the machine threading paths. Since embroidery machines stitch at such high speeds (up to 1,000 stitches per second) for prolonged periods of time, missing even one thread guide distorts the design. If thread breakage is a consistent problem, consult the machine manual to ensure the ma- chine is threaded correctly.
EXCESSIVE UPPER THREAD LOOPS • If loops appear on the design right side, the needle tension is too loose. Gradually tighten the needle tension until the loops disappear.
BOBBIN THREADS PULLING • Most embroidery machines have a separate bobbin case or different way of threading the bobbin than sewing machines. The embroidery machine bobbin thread should be tighter than for normal sewing. • Always use high-quality embroiDuring normal sewing, the needle dery and bobbin thread. Quality and bobbin threads should be thread is imperative for embroidery balanced so the upper and lower because it’s tested to withstand stitches are identical. For embroiheat and friction associated with dery, the needle thread should high stitching speeds. Embroidery pull to the wrong side, so the bobbobbin thread is typically a lighter bin thread is invisible on the right weight than the needle embroidery side. On the wrong side, both the thread. The difference in weight bobbin and needle thread should helps pull the bobbin thread toward be visible. If only bobbin thread the design wrong side. is visible on the wrong side, or if the bobbin thread is visible on the NO STITCH IS FORMED design right side, loosen the upper • When the machine isn’t forming a thread tension, or tighten the stitch, this issue is best left to the bobbin tension (A). Loosen the experts. If the needle hit a pin needle tension before attempting during stitching, it may have to tighten the bobbin tension, as thrown the machine out of time. dealers prefer a service technician Check the needle and bobbin adjusts the bobbin tension. If you threading paths. If the stitch still decide to tighten the bobbin tenisn’t forming, take the machine to sion, a small change to the bobbin a technician or dealer for repairs. tension can significantly change cmemag.com
A
the stitch. A quarter turn is an extremely large adjustment for the bobbin tension. NEEDLE KNOW-HOW • Needles are crucial for proper stitching. Always use a high-quality machine embroidery needle. The embroidery needle eye is one size larger than the shaft. For example, a size 80/12 embroidery needle eye is the same size as a standard 90/14 needle eye. The larger eye prevents the thread from breaking as it’s pulled through the stitching. • Choose the needle size based on the weight of the fabric/stabilizer combination. The most common size for embroidery is an 80/12 embroidery needle. When experiencing problems, always check the needle first. Even a small burr in the needle can cause bobbin thread to pull upward. A titanium-coated needle increases the longevity of
C REATIV E M AC H INE EM BROID ERY
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Basic Training
a needle because the coating protects the tip from dulling and makes it strong enough to stitch heavyweight fabric. A titanium needle is also useful for stitching adhesive stabilizer. The coating keeps the adhesive from gumming up the needle during stitching. A needle that has adhesive buildup can cause the thread to fray. When stitching with adhesive stabilizer, check the needle frequently. If a gumball appears at the needle point, stop the machine and wipe the needle with a damp cotton swab. Don’t allow the gumball to fall into the bobbin mechanism. • If the needle breaks, check the thread paths. Needle breakage commonly occurs when the thread gets wound around the thread spindle or slips beneath the spool. Use the proper spindle for the thread type. Stacked thread usually flows well with a vertical spool pin, while crosswound thread usually works with a horizontal spool pin. Use the caps that come with the machine. Using a needle that’s too small for the fabric/stabilizer combination can also cause a needle to break, so change to a larger needle. Stitching a design that’s very dense can cause needle breakage as well. Try changing to a smaller needle. This may seem counterintuitive, but the smaller needle passes between threads more easily. CLEANING & OILING • Cleaning is important for sew-
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CREATIV E M A CH INE E M B R O I D E R Y
ing machine maintenance, and even more vital for embroidery machines. The machine stitches at greater speeds, which creates more lint and fuzz than normal sewing. Lint build-up in the bobbin area causes tension problems. Check for thread bits that fall into the bobbin case. Clean the machine after every project. If you brush out the machine, oil it at the same time since the old oil gets brushed away with the lint. Technicians have different opinions as to how often to oil, but the minimum is after every two projects. Check with your technician and follow their guidance. PROFESSIONAL CLEANING • Even if you clean your machine, follow the manufacturer’s suggestions for routine professional cleaning. Technicians are trained to clean areas that are inaccessible to the consumer. Technicians are also trained to check for burrs on the stitch plate and bobbin case. If the thread continues to break or fray after following the previous suggestions, a burr might be the problem.
plastic template indicates the design center. If the hoop isn’t correctly calibrated, it’s generally only slightly off. However, when stitching a design that fills the sewing field, or an intricate design that requires exact placement, an uncalibrated hoop is problematic. MISPLACED DESIGN ELEMENTS • If the design appears to have stitched over itself, or some parts are misaligned, the most common reason is that the module arm bumped against the wall or a chair. If the arm bumps into an object, the arm might move out of its original position. If there’s a fluctuating electrical flow, such as a power surge, the machine might misread the surge and cause it to move to another position to finish stitching the design (B). In this case, turn off the machine and restart the design. Otherwise the machine may try to re-create the same misplaced design. §
B
HOOP CALIBRATION • If the machine isn’t stitching the design in the hoop center, the hoop may need calibrating. Follow the manual instructions for calibrating the hoop. Calibrating positions the embroidery arm so it’s in the design-field center, which isn’t necessarily the physical center of the hoop. The hoop’s 18 cmemag.com
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