The Avid Embroiderer

The Avid Embroiderer Presents: Pashmina, October 3, 2008

2008-10-03T21:30:00Z

Some words cause us to think Luxury, and Pashmina is one of them. Pashmina is the Indian/Persian word for cashmere and is derived from the Kashmir region of India. Wherever it comes from, it is soft, very expensive and always very chic. Photos courtesy of boutiquejewel.

Pashmina comes from the Capra Hircus goat which lives above 14,000 feet where temperatures are around minus 30 degrees centigrade in the winters. The fiber is from the underbelly down, producing only about 3 ounces of wool each year. Obviously, not a lot of it can be harvested annually, and spinning it requires patience and dedication. This yarn must be hand woven and hand dyed due to its fragile nature.

Some shawls may include silk, which is usually woven with silk running the length of the weave and cashmere running the width of the fabric. If, on the other hand, you find a shawl that is ‘faux pashmina,' you probably have a rayon product that will do an excellent job of pretending to be more expensive and is a lot easier to care for.

Pashmina must be dry cleaned and I advise you know your dry cleaner well; some have the ability to clean special garments, and some, well, not so much.

A few other hints are:

Do not wear your garment daily; allow it to rest two or three days between wearing.
Do not wear your garment next to rough clothing, necklaces, belts, even purses, (That is why you see women carrying clutch purses when photographed.) etc. Rough items can cause abrasion and pilling will result. If that were to happen, you can use your Peggy's Stitch Eraser to remove the pilling.
Always clean your garment before storage and be sure to protect it from light, damp places and dust. Fold the garment with tissues and protect it with an appropriate moth repellent.

My garment, on the other hand, is rayon. It is very lovely just the same and I am taking good care of it as well.

Items I am using:

Shawl, mine is 34" by 109", not including the fringe
For my heirloom design, I chose Vintage Lace because I wanted to have an elegant look
Madeira Rayon Thread and Bobbin Thread
A fresh #70/11 Metallic Needle. or Economy Size Pack of Needles
ATG, Water Soluble, Adhesive Stabilizer
Badgemaster Stabilizer
Placement Ruler
A brayer
Seam Ripper

I placed my Badgemaster into my hoop and covered it with the ATG Water Soluble, Adhesive Stabilizer. My design is large and I placed the stabilizers only into the machine and used the ‘trace' feature as shown. I wanted to be sure that my center point in the hoop was aligned with the center point on my shawl. Use of the crayon worked because I could shorten it easily.

That ruler is terrific because it gives you exactly the center point and if needed, can be folded for smaller hooping.

I also made careful note of the place within my machine's layout because I was planning on placing two, each on opposite corners and wanted them to be in the same place.

Here I have stripped away the cover protecting the adhesive on the ATG stabilizer. I left the cross hair point to match to the placement on the fabric.

I have lightly finger pressed the fabric down while I prepare to place it exactly on the cross on the stabilizer and finger pressed it down on the adhesive.

Next, I use my brayer to adhere the fabric to the stabilizer. Nothing is going to be more evenly pressed or stronger than the brayer press results.

I am using a fresh needle, great design and checked my hoop to be sure it will not ‘bump' into anything. This is a large design.

The finished product is so elegant that I will be pleased to wear this light but warm wrap to any event.

I know that AnnTheGran is looking into stocking the padmina - please let me know if you would be interested in purchasing some of the Rayon Pashmina Shawls such as in this photo, and I'll pass the message on. It appears that they would sell for $19.95.

The Avid Embroiderer Presents: Candlewicking, September 19, 2008

2008-09-19T19:20:00Z

Embroidery has always been evolving and creating so many beautiful stitches and it is hard to keep up with all the latest techniques. One of my personal favorites was always the French Knot. I remember the first time I did that knot, I thought I had reached the highest level in embroidery. It was as if I had invented it myself and I was putting them everywhere.

American embroidery was brought from all over the world, but in the 1700's, techniques were generally from England. Tone on tone was a popular design, so to have embroidery standout, it had to stand out. That is, the French Knot was a great way to make the project "pop."

The colonists had limited resources and the tariffs from the Old World were a real sore spot, vis-à-vis, the Boston Tea Party. (Isn't history more interesting when the example relates directly to the people?) The designs were simple, if you have some example from some distant relative, you know I mean. Please post a photo in "media" if you do happen to have an early design, we are always interested in those.

If a woman was in a family where seeking new places was a life style, she found herself in a covered wagon and living in harsh, lonely places. As is still the case today, the woman mostly made the humble structure a home which she did by embroidery, among other things.

Perhaps due to the fact that materials were scarce, she may have changed the French Knot into the Colonial knot. That is my guess, and I am sticking to it. This is an example of the Colonial Knot, on the left, and the French Knot (I do need some practice if I am going to do these!) is on the right.

Traditional candlewicking is white on white or cream on cream with the fabric being fine muslin. The thread is usually thicker such as a pearl cotton or Cordonnet. Cordonnet is usually a multi-cord mercerized 100% cotton thread used for crochet or tatting.

Machine Embroidery cannot duplicate the twist of the hand style, so it invented a version of candlewicking which gives designs a 3D effect. The design I am using is a Bird on Holly circled by candlewicking. The holly berries are also candlewicking.

When I chose a design to demonstrate a stitch, the first consideration is to show the topic. But, I try to go further to show other things about good design. In this case, the bird design is extremely well digitized. For just under $6.00, all the stitching is ‘placed,' meaning that the feathers are laid on top of feathers, like shingles on a roof, beginning at the tail feathers. So, when you complete the design, there is another element of natural lying of the stitches. On some designs, the digitizer might choose to do a ‘fill' where the stitches will run the length of the bird, but not in the way the feathers actually grow. The leaves, branches and holly are all done in the same manner. Another feature of this design is that the branch, bird and feet are all separate colors, but all listed as "dark brown." The separation of color allows for three separate dark browns, again making it more natural. Quality digitizing is a joy to stitch out and make a detail oriented gift.

Refresher: Hoopless Embroidery Blog for hoopless work on a small tote.

The tiny tote I chose is only 5" by 5" and the design is 3.9" x 3.9." So, I reduced the design area to 3.5" x 3.5." My original test sew out was in the original size. When I compared the two, they were identical except for the size. Since my area was so tight, I did slow down my machine in case I had a problem. I did need to use ATG Adhesive, Water Soluble Stabilizer to hold this project, it was perfect for the small area I had to work with.

I am really pleased with the results. The flash from my camera shows off the sheen from my Polyester threads nicely.

Money Saving Tip: When buying thread, colors for flowers and various items can be your own choosing. However, when it comes to doing animals, birds and other fauna, you will want to have certain browns, golds and greens for a more realistic design. ATG has a 40% off sale on "Fall Thread Collection."

This is 25, 1000-meter spools of 40-weight polyester embroidery thread collection for less than $2.50 per spool. Whether you do a puppy or a whale, you will be reaching for these spools over and over again. I see kitten in a meadow of daisies in this group of colors right now.

The Avid Embroiderer Presents: Trapunto, September 5, 2008

2008-09-05T22:30:00Z

Embroidery has been a time honored craft for many centuries. When cloth was first available, the first embellishment was probably some sort of thread design. The first known examples of embroidery were dated 3000 B.C. and done by men. The first commercial embroidery machines were invented in the mid 1800’s and caused financial devastation for many hand embroiderers.

Trapunto is one of the many methods of embroidery; the word has two meanings. In Latin, it means to ‘***’ and in Italian, it means to embroider. During the 1400’s, embroiderers began to do ‘raised’ work which was stuffed with wool, leather and even wood. Trapunto is the direct result of these early workings.

Most often done in a ‘tone on tone’ manner, the following designs are in multiple colors making the Trapunto more visible. The photos and designs below are courtesy of: M. Deans House of Design. The artistic designs, in 8.75” by 11” size, have a price tag of $75.00 each. I was so taken by them that I ordered a Queen Size for a mere $2,500.00 (OK, not really. . . .). While detail is difficult to view in a photo, the backgrounds and larger unstitched areas are all plumped with batting. The third photo is courtesy of the Smithsonian Museum. While the Trapunto appears to be a simple linier design, this jacket sells for $148.

Starting with a top fabric, middle ‘batting’ and backing, Trapunto is done by several different methods:

· The first is to utilize extra batting in selected areas for a simple raised effect. Often the design is a flower, leaves or feathers but anything can be made as Trapunto.

· The second method would be to use a pointed, blunt object such as a toothpick and gently move the fabric threads to the side creating a small opening which can be stuffed and manipulated closed.

· The last method would be accomplished by cutting a small slit in the back of the fabric, stuffing and use of a whipstitch to close the slit.

In each event, the design can be as simple as a circle or complex as a kaleidoscope style design. Your imagination is your best guide. Regardless of method, if a shear fabric is used as the topping, the design may be referred to as “Shadow Trapunto” because the stuffing is more visible. Shadow style can be filled with color threads for an interesting effect.

With the invention of water soluble threads, Trapunto gained another method. Using a standard bobbin thread, the (turtle) design is sewn with the soluble thread. In the design shown, only the outside details were stitched with standard thread. After removing the soluble thread with a spray of water, the fabric shrank a small amount creating a softer, fuller design.

Design courtesy of Debora Konchinsky, Critter Pattern Works

For my project, I decided to work with standard thread and I created a design for my favorite t-shirt. I chose a medium blue thread so that it would stand out and am using the ATG Trapunto Hearts Design Pack. I selected my design from that pack. I made a single adjustment and downsized it to 4.5” from the 5.0” in the pack.

My “test sew out” had been done with a single layer of medium batting. I felt it was insufficiently padded and for my sew out, I added a second layer of batting.

Since the layers were so thick, I only hooped my Badgemaster stabilizer.
The shirt was attached to ATG’s Water Soluble Adhesive Stabilizer.
I divided my shirt into quarters and tied up the sleeves and back with some left over ribbon, this helps to keep foreign parts away from the needle.
I then assembled my shirt with two layers of batting and placed them together in the machine.
If you read my blogs regularly, you know that I believe there is no way to “over” stabilize a project but certainly an item can be “under” stabilized. So, I placed a basting stitch around the design.

The trick of the basting stitch is to remember that it will be last in the order of sewing. The reason is that you place your design in to your machine first and add the ‘baste’ and adjust it to be a little larger than the design. So, be sure to remember to baste first, a reverse of the stitch out.

(Refresher: Basting is accomplished by using the “frame” feature on your machine and the ‘single’– non decorative – stitching in your frame section.)

As you can see, the basting stitch did go astray on the left side. The adhesive stabilizer is in place correctly, but the batting caused some movement. To fix that, I clipped the thread in that area as seen in the 2^nd photo. I did have to keep the area manually adjusted somewhat because of the loft of the batting.

After the stitching is complete and before removing my project from the hoop, I always view the underside of my design. I do this for several reasons, one of which is to remove the ‘jump’ stitches. Removing the bottom jump stitches makes the front jump stitches easier to remove and less likely to cause damaged during removal.

I love my new t-shirt and hope you find a project to do that will please you as well. Your project is not only unusual but also part of a rich and creative history in embroidery

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The Avid Embroiderer Presents: Badgemaster, August 22, 2008

2008-08-24T07:17:00Z

If you read the forums, you will see lots of great opinions and terrific suggestions. One of those threads was about an item called Badgemaster. Users felt it was a good product. Since the AnnTheGran crew work hard to give ME enthusiasts the highest and best quality, the site decided to carry Badgemaster.

When I got my first look at Badgemaster, I was taken aback at the price. The photo did not show much but the description was very encouraging. I was interested in their comparison with two well known water soluble stabilizers (wss). I had used one, but not the other. I decided it was time to put Badgemaster to a test!

Badgemaster says “it maintains its integrity even when stitched through repeatedly.” Well, I had the opportunity to check that one out and found this statement to be true. I had some difficulty with my thread and I actually sewed 3 times over a single area, a notorious problem for FSL. Badgemaster held up very well and did not tear or pull away from the design.

I checked the Internet to find a stabilizer that would call itself ‘heavy duty’ and comparable with Badgemaster. I found one and selected two other wss at random. I compared them for costs and here are my results:

The three wss cost were: $3.01, $3.49 and $3.67 per square yard respectively. The $3.67 wss was the one called ‘heavy duty’ by the seller. At $2.69 per yard, Badgemaster was the most reasonably priced.

So, I have been using Badgemaster for two weeks on several different projects. Did I like the Badgemaster? Yes, and here is why:(Please visit the site to view this media)

· It is industrial sized. For a home user, I approximate this to be about a year’s supply of wss. You won’t be running out of it quickly and, therefore, saving money on shipping and handling costs. A standard size of Sulky is on the left and Badgemaster on the right.

· It is industrial quality. I found it to be very strong and when stretched it returned to its original size. For Free Standing Lace, I normally would use 2 layers. But I only used a single layer because I really wanted to challenge Badgemaster. I was very happy with the results.

· It gave industrial results. I used the “soak” method to clear the stabilizer. I was pleasantly surprised that the resulting lace was so much softer** than anything I had used before. It felt like the fine laces at my fabric store.

· It is versatile. I personally use wss if I am out of another stabilizer and frequently use as a ‘floating’ (under or over the hoop) piece of stabilizer.

· I can use scraps. I melded two pieces together with a light basting of water to one edge, pressed edges together and allowed to dry for 10 minutes. I had created a new sheet ready to be put into my next project!

**About a year ago, I attended a seminar where I saw this wonderful embroidered sweater. It was not a sweater that had embroidery on it, it was a whole sweater made from FSL. I remember how soft it was and more beautiful than any sweater I had ever seen. I know that they must have used Badgemaster because all my other FSL had been ‘stiff.’ As noted, this sweater was soft to the touch.

Did I find anything negative about Badgemaster? No, and I plan to use it for a long time to come. If in the future it fails in any way, I will let you know. After all, most materials have some drawback to them, but I did not find one with Badgemaster.

The manufacturer recommends that once you are done embroidering your design, cut away as much as possible and immerse in warm water. If you want more firmness for projects such as Christmas ornaments, run under warm water but don’t soak your design. For a softer** result, soak your finished embroidery. This film will reconstitute itself, so when you are finished with any water, dispose of the water properly. If you were to put it down a drain, it might cause some future plumbing problems. All film types of wss should carry this warning. After all, it is better to err on the side of caution.

I thought that it would be appropriate to thank the community for suggesting this product, and it would seem that there is agreement from the "powers that be". AnnTheGran is offering you a free gift with the purchase of Badgemaster for the next week. This group of sayings that is being offered as a free gift, called Home is a Garden Sayings, is my personal design, so I am really pleased that I've contributed something that you'll be able to use to create something special.

To make sure you get the free collection, you just need to type in ReaderAppreciation1 in the 'Promotion Code' box and click the little disk next to it when you check out. The collection will be sent to you by e-mail within 24 hours.

Expiration: August 31, 2008, midnight, Pacific Daylight Time

Home is a Garden Sayings as shown on these towels:

FREE with purchase of BADGEMASTER

The flowers are a separate design (click the flower below to see the collection), so you can sew just the sayings or include them as you like.

Accent Floral Designs: (used in the project), on sale, using the same promotion code (ReaderAppreciation1)

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The Avid Embroiderer Presents: Cutwork, August 8, 2008

2008-08-09T21:18:00Z

I just returned from a short trip. By the time I got to Phoenix, it was 112° and it was 115° where I was staying. Naturally that got me to thinking about . . . Christmas. (I am sure there must be some sort of relationship there!)

When I think of Christmas and all those gifts, I have three guiding thoughts; gifts must be unique, usable and unpricey. (This is my blog, so I can make up words, Greg told me so!)

One of the most difficult to buy for is likely to be a woman who ‘has everything.' But I have an edge, ME and ATG, so I have lots of ideas and I am going to share one with you today.

When one has ‘everything,' they may be a fan of items that others will cherish, such as heirlooms and keepsakes. Family items such as wonderful china or sterling silver items may be terrific, but I am seeking something less expensive. Occasionally, I will hear one of my children remark about something that they remember from their grandparent's home, like the special cloth napkins that were only used for special occasions. I consider those napkins to be special even if there were stains or they showed significant signs of use. All of the aspects of the napkins were part of the warm memories and stories of blueberry stains are a part of that. There was even one gathering when Uncle Fred tried to bake a pie for a Family Dinner. All we have to hear is "Uncle Fred's Pie" and everyone laughs joyously (it was still rather raw!)

So, I selected napkins from ATG's collection of blanks. When I received the package of 12, I was just in awe. I love the Ecru for its heirloom quality. Then the fabric is 60/40 Linen/Cotton blend. That will make it easier care than 100% linen and the size is so grand at 21" square. A border of 1.5" is charmingly edged in a cutwork style of embroidery. For illustration purposes, the background is my mat (What took me so long to buy one of these? They have so many uses!)

Photo courtesy of Neiman Marcus $120 per dozen

When I was seeking the perfect design, there were so many here at ATG that just made me feel like I was creating something really special. I know you understand that feeling; it is what this embroidery is all about. I wanted to show you how easy it is to do a ‘cutwork' style of design and take your breath away at the same time. I hope I succeeded.

My test sewouts exceeded my expectations! And my first napkin was ready to be sewn. This is really where "Perfect Placement Kit" does come in quite handy. I worked with the placement and felt confident of my workmanship. In the photo below, there is a ‘v' shaped mark which is barely visible, and that is the key for placement.

The floral design I selected has two rows of cut area placement. I chose to do the first outline twice and the second outline once. That is a personal preference because it makes the cutting line stronger. The eventual design will make all the area sturdy. I was very impressed with the digitizing on the design. I have several other brands which did not have the ‘edging' stitches that this digitizer had placed in their work.

I did not hoop my fabric because I wanted to be sure there was no movement in the linen. Linen is loosely woven and can have some variation in the thread lines. So, I started with my basting circle. Barely visible in the second photo is the outline. I am ready to begin cutting.

I did my ‘rough' cut to start out with my over all cut. Make sure that you do NOT cut your stabilizer! The cutwork style is a ‘cousin' to free standing lace; therefore, that water soluble stabilizer (wss) is important to your project. You can use a cut away stabilizer if you prefer but I felt my wss was working just fine for me.

Once I completed the cutting (and snipping off any loose threads), I placed my hoop back into the machine. I did use an identical color in the bobbin threads since this is a napkin that is going to be used from either side. I was careful to cut the threads between change of colors so that those threads could not be a problem.

After finishing the cut, I replaced the hoop in the machine and embroidered away.

My completed design is ready for the final removal of the stabilizer. The small openings inside the leaves were cut away using my smallest scissors. That part is tricky and if a little amount of stabilizer remains, I could use a little water to complete the removal. I am using a coin (sometimes I use a spoon) to hold and preserve the stitches and cut or tear away the stabilizer as appropriate. This helps me take the pressure off of my fingers and hands.

If for any reason you think you might have cut the threads make sure you use something like "Fray Check" so that washing will not damage the embroidery. It is so easy to nip a thread. If you feel the need to press the napkin, place a dense towel on your ironing board and place the design face down on that towel. Use a steam setting and your embroidery will not loose its 3D appearance. I personally think that linen is meant to have a casual quality to it, so for me, ironing is counterproductive to the fabric's properties.

I hope you will find time for this eye-catching project. I know I had fun doing it and cannot wait to finish the set for a special Christmas gift, maybe for me!

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The Avid Embroiderer Presents Endless Hooping, July 25, 2008

2008-07-19T06:37:00Z

Thanks for responding to my request for what you wanted to talk about! Endless Hooping was the winner by far.

I selected "Celtic Crosses" because it is robust with great designs and methods. There are interlocking and non-interlocking designs, pre-designed corners and some interesting keepsake designs for linen. Of course, you can Search for "Borders" and find many others here at ATG.

The first thing we need to discuss about ‘endless hooping' is that your project needs to be well thought out before you begin. That may seem obvious, but with so many factors entering your project, planning is essential.

Decide on the fabric/item. I am doing an old pair of pillowcases for practice and to bring them back to the ‘front' of my linen closet.
Consider a design. Do you want floral, scroll or whimsy? Does your partner like the design too? I chose a Celtic design for its lovely curves and simple design.
A pillow case border is generally placed an inch or two above the cuff seam. I would discourage putting something this lengthy on the cuff since the lower fold of the fabric could shift making a ‘twist' in the fabric. However, ME enthusiasts can choose anything they want, including a design from the hem vertically to the top edge of the case.
In software that resizes, like Catalog Express, make your design size a simple number to deal with. In my case I resized to 5" x 1.5" since the pillow case is 21" wide. I will sew out my design 4 times and there will be a little left over on each side, which is fine with me.

This pillow case costs $55.00 EACH. (We better learn to do this!)

Photo courtesy of Horchow, Fashion Bedding.

I am marking the pillowcase, following the line of the cuff which is how the case actually lays. I am using a 1" distance centering line for my design.

Next, I am preparing to set my fabric in my hoop. Ann has the best stabilizer for this project, Adhesive and Water Soluble which is just perfect for this project. It will hold the design securely and wash away when I am done!

I carefully press the fabric into the hoop making sure I have my alignment set. Using my hoop grid and when I am satisfied with my layout, I finger press the fabric into the stabilizer and finish with a hand roller. This makes the adherence even.

I begin to sew out the design and make note of the machine parameters of where I am placing my design and hoop. The placement of the design will be the same for each sew out. Please note in the second photo, the arrow is pointing to an opening where the second color will land. This is one of the marks of good digitizing because it alleviates density and pull issues.

After completing my first design and before removing my fabric from the hoop, I will reinsert my grid. Using a crayon or non-permanent marker, I will be tracing the top of the original design. The second photo shows my tracing artistry.

I then disassemble my fabric and prepare the hoop and stabilizer for the repeat design.

Here is the fun part. Before I place the fabric back into the hoop, I align my grid and tape it down to the fabric. When I place the fabric back into the hoop, the grid seats the fabric in the hoop where the next design will be sewn. And when I am happy with the position, I press the fabric to the stabilizer. I use my machine's layout function to make any last minute adjustments. I prefer to have my additional designs closely abut the original design or actually land a little on top of the original design. As you are working through your repeats, keep your eye on the finish spot and make adjustments if required.

Another method would use the same principles of placement, but you would print out your designs with appropriate software and lay the trimmed design prints where you want them to be sewn.

Either method requires that you plan ahead and prepare to adjust when and where necessary.

Corners are for the practiced and courageous. Doing a design completely around a square or rectangle table cloth would require much planning and careful placement.

These are examples of "interlocking" designs. This has a much closer tolerance but creates a really beautiful and endless design.

Last but not least, this pack has one of the loveliest keepsake designs I have ever seen.

Greg was kind enough to find the background of the design. It is in this link if you would like to read and/or print it. It has a romantic story!

Don't forget to backup your designs often. I just completed backing up my designs on Wednesday. I did not back up this blog, and guess what? ...this blog became corrupt! BACKUP!

Put your machine to work, Pat

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The Avid Embroiderer Presents: Needles, July 3, 2008

2008-07-03T21:33:00Z

Needles

General Information:

The lower the number, the smaller the needle regardless of the type.
Fine fabrics, satin, silk, linen, require the #60/8 Sharp or #65/9 Sharp. Either would be good choices. Those fabrics are snagged by a dull or overly large needle.
To pierce heavy fabric like denim, use #80/12 Sharp or #90/14 Sharp.
Knits and loosely woven fabrics need a ball point needle. The finer the jersey and pique knit use a smaller needle.
Cotton fabrics work well with sharp or universal needles.
Tapestry is also loosely woven so you will want to use a ball point needle. These will more easily go between the threads of the fabric instead of penetrating them.
Wedge point needles are made for plastics, vinyl and leather goods. Wedge point needles make a ‘slice’ rather than a hole. If your needle is causing the design to be "cut" out of your fabric, try a wedge point. Here’s a deal! Originally $4,999.00 and on sale for $39.99…
Cardstock demands a very fine, sharp needle and the smaller the better. It will also require a fine thread, at least a #50 or #60 thread.
Metallic needles are sharp and have a larger hole. This allows the metallic thread to feed easier and therefore, less thread breaks. Nothing that I know about will stop metallic thread breakage.
If you think your needle (not yet attached to the machine) might have an eye that is too small, you can take a 12” piece of the thread and put it through the hole. Hold the thread vertically and spin the needle, this demonstrates how easily the thread moves through the hole.

Embroidery needles have a slight amount of flexibility to them, allowing better movement. Sewing needles are generally more rigid.

If you have a dual machine that sews as well as embroiders, you may have been given two different bobbin cases. Other than thread and needle, the reality is that sewing and embroidery have very little in common in their process. Here is why:

A sewing machine uses the top and bottom threads equally to combine two fabrics together. You will use an equal amount of thread with the top and bottom. This diagram shows the process.

However, an embroidery machines uses the top thread to cover your fabric while the bottom thread holds the top thread snugly to the fabric. This method uses approximately 40% more top than bottom thread. This diagram is courtesy of Designs in Machine Embroidery), you already know that you will see top thread on the bottom of your design, as it should be.

dumpING the needle Let’s all put a dollar into a bank account for every time we wondered when to change the needle. The account will be in my name and I promise to tell you about all the fun I have spending it. Options: Listen to the ‘experts’ (not including yours truly).

When you start a new project
When you are doing delicate or detailed designs
When your machine starts to sound different
When you think of it
When you have done 70,000 or 150,000 stitches
When the needle is bent
Give up and take up a new hobby.

Drum Roll (as Cathy would say)! I don’t have a simple answer. I do, however, follow a few rules.

When I begin a new project, I think about the prior age/usage of the needle, I might change here.
When I am doing small words and want those “o’s” and “e’s” to have good definition, I probably will change here.
I do listen carefully to my machine. But noise in general does not mean the needle is in need of change. Any unusual sound requires an immediate stop of the machine. I might consider changing the needle here.
When I change the bobbin, I see lint in the bobbin case area; and I may think about changing the needle while I am cleaning up that area.
I do keep an eye on the number of stitches I have been creating. It reminds me it is time for a check up at my dealers. But I may change my needle just because of usage by count.
I always change a bent needle immediately.
I believe in strong stabilization, which dulls a needle. I change that needle.

A worn needle can be one cause of tension issues. Here are “Test Your Tension” files for the most common embroidery formats. I have placed the test file in my machine’s memory. If you don’t have a memory on your machine, keep this file handy and use it periodically. Here’s how:

Use contrasting threads for top thread, bobbin thread and fabric so that you can readily see where your thread is landing at the current tension setting.
If possible, use different brands of threads.
Observe your test. The appearance of the majority of your test indicates your general tension.
If adjustments are needed, make them in small increments, and repeat the test.
Naturally, the factory setting is the most accurate, but over time, wear and movement will make a reset inaccurate without a fully trained technician.
Keep the stitched out pattern for future reference.
Check often.

TensionTestDST.zip TensionTestEXP.zip TensionTestHUS.zip

TensionTestJEF.zip TensionTestPCS.zip TensionTestPES.zip

TensionTestXXX.zip

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Did you see the New Photos Section? It is called “Challenges and Advice” and it will be great for all those discussions and suggestions that ATG users are renowned for sharing!

What would you like the next Blog to be about? I have several subjects in mind:

HEIRLOOM/WING NEEDLE
PLACEMENT GUIDES
ENDLESS HOOPING
YOUR IDEA