Embroidery Basics Articles

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Spacing Space is an extremely important element to consider when creating quality embroidery. Where a space is desired, it is necessary to allow at least 1mm of distance between each column of embroidery. If two columns are placed side by side with insufficient space, the result can actually cut the material or leave the embroidery looking solid, with no definition. The space within an embroidery object must also be considered. Using the letter 'O' as an example, if the inside or hole in the letter is too small, the inside of theletter may close up. In this case, slight adjustments to the dimensions of the letter would be necessary. Too much space between two embroidery objects can also be a problem when trims are unwanted. Maintaining a consistent distance between objects ensuressmooth machine operation and reduces theappearance ofconnections. This idea is explained more thoroughly later in this unit under Tie Offs and Trims. Corners The importance of a clean looking corner in embroidery can never be underestimated. There are three basic ways to turn the same corner. The standard method (A) to turn a corner in embroidery requires at least three sets of points to suit the corner. The use of short stitches (D) allows less stitching on the inside of the corner to avoid thread breaks and sewing problems while ensuring enough stitches on the outside edge to create a clean and consistent line. Example (E) shows a corner without short stitches. Note the excessive density on the inside. The second method (B) is called a capped corner, and is formed by breaking the corner into pieces that all sew at the same angle. This type of corner works well for large, sharp corners as they produce fewer stitches. The third method (C) to turn a corner is called a mitred corner. In this case, the corner is split into two segments that overlap each other in the center. This method works well for corners between 75 and 90 degrees, and also on objects that must appear as if the stitch angle is turning. Connections Page 17
When digitizing an embroidery design, we create objects that combine to make the different elements of the design. Each satin stitch, run stitch and fill stitch we create are individual objects. The digitizer must consider how to connect the objects for smooth sewing. If the objects are close enough together, they can be closest point connected. If they are too far apart to connect, plan a jump stitch to connect the objects. If possible, plan for the start and end point of an object to be in the same place, so that both threads can be trimmed at the same time (see figure below left). Also consider the best place for each object to start and end, in order that the jump stitch connection does not get sewn over by subsequent objects (see figure below right). Proper pathing procedures will be more thoroughly explained later in this unit. Overlapping When we create embroidery objects, we need to overlap any objects that touch each other. In a perfect world we could make all embroidery objects exactly as they appear in the original artwork, but we know that in reality, Push and Pull, along with the give of the material, would cause gaps. These gaps make embroidery look very poor. To avoid these gaps, we need to overlap our objects. The object that is sewn first is over punched under the top object that will sew later. In the object that sews first we also need to consider the stitch angle of the areas that overlap. Parallel Stitch angle overlap When the Stitch Angle of the objects are parallel, the stitches will finger together. The use of an Edge run underlay would stop the objects from bleeding together. We use a double edge run underlay for the top layer of stitches. TIP TIP Double Edge run underlay. As in an example like the Canada flag shown here we want to keep all the fill objects with the same stitch angle so that the flag will always stay square. To ensure that the red and white Fill stitches do not bleed together we use a Double Edge Run underlay on the sewing that comes on top. Page 18
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TECHNICAL BULLETIN COMMON EMBROIDER
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TECHNICAL BULLETIN COMMON EMBROIDER
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Embroidery / Digitizing Glossary -
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10/28/2016 Digitizing Glossary E
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10/28/2016 Needles Getting To Th
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10/28/2016 Needles Getting To Th
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10/28/2016 Thick and Thin: So Many
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10/28/2016 Thick and Thin: So Many
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Pattern Fill Density TruE 3 Create
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Fill Areas with Line TruE 3 Create
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Motif Fill Areas Motif and Other Fi
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TruE 3 Create 11 12 13 14 15 16 17
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TruE 3 Create 31 32 33 34 35 36 37
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TruE 3 Create 51 52 53 54 55 56 57
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TruE 3 Create 71 72 73 74 75 Shape
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Continuous Columns TruE 3 Create Co
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TruE 3 Create Satin Density Satin D
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TruE 3 Create Line Types 2mm Runnin
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Satin vs. Fill Stitch | Applique Ca
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Satin vs. Fill Stitch | Applique Ca
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• Hole Stitch Type: The type of s
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Density : Density is a calculation
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• Second Side: Applies the random
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• Narrow Curve Approach: ➢ ➢
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• Outline: The outline control wi
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➢ Continuous: This is the default
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➢ ➢ Stretch: When stitches are
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➢ ➢ Connect Blocks: What type o
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10/28/2016 Threads & Bobbins Embroi
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10/28/2016 Threads & Bobbins Embroi
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Page 69 and 70: 10/28/2016 Understanding Hoop Size
Page 77 and 78: 10/28/2016 Understanding Alphabet a
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Page 81 and 82: 10/28/2016 Lettering Setups: Mach
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Page 97 and 98: 10/28/2016 Pointers for Appliqué S
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Page 101 and 102: 10/28/2016 Tips For Using Pufy Foam
Page 103 and 104: Run Stitch A run stitch is formed b
Page 105 and 106: Jagged Edge This is an effect that
Page 107 and 108: Bean Stitch This is a variation of
Page 109 and 110: Underlay Types Underlay is the most
Page 111 and 112: Stitch Length The length of a stitc
Page 113 and 114: Tatami Stitch The density of a Fill
Page 115 and 116: Push and Pull Learning to identify
Page 117: Here are some general pull compensa
Page 121 and 122: Tie In and Tie Off & Trims Tie ins
Page 123 and 124: 10/28/2016 The Pros & Cons of Resiz
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Page 127 and 128: 10/28/2016 Troubleshooting Design P
Page 133 and 134: Common Problems with Digital Embroi
Page 135 and 136: Common Problems with Digital Embroi
Page 137 and 138: 10/28/2016 Working With Photographs
Page 139 and 140: 10/28/2016 Working With Photographs
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