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10/28/2016 Working With Photographs <strong>Embroidery</strong> Article time. This is one of those times. The tires are underneath the car , and so, I also like the black thread that makes up the tires to be beneath the thread that stitches the body of the car . This technique adds dimension to the design. The same theory applies to the silver in the wheels and rims. This silver needs to be beneath the black, but the silver that trims the body of the car needs to be on top of the main body color . Also notice the running stitches (Screen Capture 1.3) from one silver section to the next. Though this adds stitches to the design, running stitches take less time than either machine trimming or hand trimming (for those who don’t have machine trimmers), and should be used to move from one color section to another whenever possible. Screen Capture 1.3 § The next color in the series is the black of the tires. Notice that the black detail on the silver hubcaps is stitched in the same sequence as the tires (Screen Capture 1.4), as is the black underbelly of the car . The order is determined by what appears closer in the view with the underlying things stitched first and the wheels last in this color on the bottom. Since the interior of the car is also black, I chose this time digitize that portion as well, using running stitches to get from one section to the next all the way through. Now it’s time to start working on the body of the car. Screen Capture 1.4 Though it’s a little difficult to see in a screen capture (1.5), I always do the windows, especially in a large car design where I have also digitized the interior, as a light fill. That way, you will be able to see the interior of the car through the stitches of the window , making the design look very realistic. Charcoal or gray are good colors for windows, Screen Capture 1.5 but another great choice would be a white or clear lamé thread. Lamé thread is shiny , as are windows. The next color is white, as you can tell from the color chart at the bottom of the screen (Screen Capture 1.6). The white is for the headlights, which in the dimensional scheme, are under the silver trim. A running stitch between the lights is possible since both the black that is already digitized, (but we are inserting the colors ahead of) and the silver will cover those stitches. I could have chosen to stitch the car body next. It really wouldn’t matter . Most of the time there are reasons for the choices. In this case, however , the white and the red of the car body do not intersect, so either choice would have been OK. Mine was the lights. I also chose to add the small light on the side of the car and the fog lights on the front, which I made deep yellow , or amber (Screen Capture 1.7). Stitching these before the body allows running stitches between the fill patterns again. Screen Capture 1.6 https://www.embroiderydesigns.com/emb_learning/article/564/workingwithphotographs.aspx 2/4
10/28/2016 Working With Photographs <strong>Embroidery</strong> Article Even though it appears that most of the car is left to do, the hardest work is now done! The body of the car is usually a series of fill patterns, and the outline that was digitized way back at the beginning serves as a guide for where to place the fills. One thing Screen Capture 1.7 that I really like to do is to break the body of the car (and other large areas, Screen Capture 1.8 as well,) into small sections, and choose dif ferent fill directions for each of them (Screen Capture 1.8). That process really brings out the shape of the car, and adds highlights because of the way that the light hits the threads. The final color, which is still inserted before that first black outline, is silver , which makes up all the trim on the car (Screen Capture 1.9). As stated back in the first paragraph, the secret to working with a photograph is to define the lines before you get started. Before onscreen digitizing was invented, it was a timeconsuming process to draw the outlines on an enlarged version of a photograph. Another option was to completely redraw the image, usually with the help of an overhead projector . It’s still timeconsuming to draw the outline with a mouse. One of the advantages of doing it in this manner is that one color of the design is already done when the outline is complete. The second is that the placement of all the other fill patterns is clearly defined and good registration is a snap. Try it. It’s not as hard as you think! Screen Capture 1.9 More From This Author Redwork Baby Quilt By Barbara Geer Redwork Baseball Quilt By Barbara Geer Play Food By Barbara Geer Share this project: 0 0 0 Meet The Author: Barbara Geer https://www.embroiderydesigns.com/emb_learning/article/564/workingwithphotographs.aspx 3/4
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TECHNICAL BULLETIN COMMON EMBROIDER
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TECHNICAL BULLETIN COMMON EMBROIDER
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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 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 Understanding Hoop Size
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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 and 118: Here are some general pull compensa
Page 119 and 120: When digitizing an embroidery desig
Page 121 and 122: Tie In and Tie Off & Trims Tie ins
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