Needles         

•  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 would 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. 

• 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:

1. 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.
2. If possible, use different brands of threads.
3. Observe your test.  The appearance of the majority of your test indicates your general tension.
4. If adjustments are needed, make them in small increments, and repeat the test.
5. Naturally, the factory setting is the most accurate, but over time, wear and movement will make a reset inaccurate without a fully trained technician.
6. Keep the stitched out pattern for future reference.
7. Check often.

TensionTestDST.zip                     TensionTestEXP.zip                    TensionTestHUS.zip

TensionTestJEF.zip                        TensionTestPCS.zip                     TensionTestPES.zip

TensionTestXXX.zip

To print this blog:  Print

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:

1.  HEIRLOOM/WING NEEDLE
2. PLACEMENT GUIDES
3. ENDLESS HOOPING
4. YOUR IDEA

I have been embroidering for just over 7 years.  I was generally self-taught and I started without a clue about machine embroidery (ME) at all.  Over that period of time, I have been learning by trial and error (make that trial and frustration).  During the past year, I have been fortunate to meet a good instructor whose group that meets regularly in my area.  I have been able to learn correct methods of embroidery; and, have had to unlearn some bad habits.

These are my thoughts on things I wish I had known when I started.  I am sure you will recognize some and have a few of your own.  Please share your thoughts too and we will smile at the naiveté we once had.

LEGEND:

A)     TOPIC/CATEGORY

a)      The reality of beautiful machine embroidery

A)     INVESTMENT:

a)      Just like any artistic craft, the initial, major investment will be central to the craft. 

b)      Multiple appropriate tools will be required for truly professional and artistically beautiful results.

c)       A cigar is just a cigar, but the right pair of scissors is worth its weight in gold.  Keep them in the family vault, behind yellow police tape.

d)      Some of those tools will be priced higher than I want to pay.  I must consider the specific benefits, my time and frustration into the equation.

e)      A ‘deal’ is only a ‘deal’ if the quality remains high.

2)      I am computer savvy (taught software for 5 years) I can make a program to organize my designs

a)      After all the hours I put into this, I still don’t have a picture, size and other important information for my designs.

b)      Good and simple software for ME was hard for me to find.  Catalog Express is ME specific and insightfully user friendly.  Everything I need to have is at my fingertips.   (I would never recommend any item I deemed to be second class.)

B)      MATERIALS:

a)      Specialized materials are necessary to achieve desired results. 

b)      Not only did those old materials not measure up, they would damage my equipment and cause me frustration.

c)       New and more inventive materials are being developed constantly.

a)      A quality thread in ‘best seller’ colors is a true bargain.

b)      Quality thread often comes in exceptional storage containers helping us stay/get organized. [Photo below courtesy of Madeira]

(ATG carries the Thread Treasure Chest in White or Teak)

c)       I personally purchase here at ATG because quality is of utmost importance to me.

C)      Learning Curve:

a)      The book only shows the technical aspects of the machine.

b)      Lessons were actually inadequate from my dealer. 

(1)    I would be learning with every project.

(2)    I ask questions and answer some others as well.

(3)    I discuss and listen to experiences from users worldwide.

(4)    There is always some new technique to learn.

(5)    I keep notes on my computer (and use “favorites” at ATG-mark by clicking on "Favorites" in upper right corner of post, retrieve through your profile) on forum discussions, sites, lessons learned and possible resources, etc.

2)      I can figure this stuff out, I have been sewing since I was 12, I will just work through any issue. I got "A's" in Home Economics.

a)      Computers and their associated items have traditionally become obsolete in a brief period of time, and ME has the very same time frame.

b)      Innovations are coming available all the time.

c)       Keeping up to date will be an unending journey.

d)      Learning keeps us young.

D)     Alphabets versus Fonts:

a)      Monogramming is only a single facet of ME.

b)      Placing words or phrases requires a ‘keyboard’ style of fonts.  Alphabet Xpress is very easy and versatile in this function.

c)       Monogram and words need to be in a large variety of styles and sizes.

d)      Professionally designed monograms come in so many motifs such as floral, bridal, sports to name just a few.  I don’t need to reinvent the wheel.

E)      Machine Embroidery’s Place in my life:

1)      I sure hope I get enough usage of this machine because it was so expensive!

a)      ME is an addiction which I am delighted to have.

b)      ME has a uplifting and honorable place in my life.

c)       ME is a joy.  I cannot draw a straight line, but I can create a lovely keepsake for each of my grandchildren.

2)      This is going to take over my life and I will become a recluse-

a)      I am so thrilled to have found so many new friends with which I have so much in common. 

b)      There are so many thoughtful and caring people who make my life even more fulfilled. 

c)       There are wonderful people in the ME community who make me laugh, cry and make me jump up and down with pure joy.

I suppose that few if any of us researched, prior to purchase, what ME really requires.  In the earlier days, where would we have found information anyway?  I think many of us saw a machine sewing away, got excited and the purchase was a forgone conclusion.  Computers have turned the world of embroidery delightfully upside down. 

Excitement is what this craft is all about, catch it!!

Next time, Needles Make Things Happen.

•   Always use the smallest hoop which will accommodate your project
•  A flat, sturdy space larger than your hoop is required to complete hooping
•  Make sure your hoop is free of any glues or other debris
•  Replace a hoop which is damaged in any way
•  Check and mark the grain of your fabric before hooping
•  Utilize hooping aids such as double faced tapes made specifically for sewing
•   Not all projects can successfully be hooped
•   Not all projects need to be hooped 

Together with stabilizers, the hoop is equally important to prevent poor registration of a design. 

This photo is a simple method of hoopless.  I was embroidering on a small tote that was difficult to hoop because of the size and the seams involved. 

will be cut away before I place my fabric.  I will be doing my own grid line for placement. The pins are only secured in the top fabric.  My objective is to have a stable fabric where I will accurately place my design. 

Next, I will be combining my fabric and stabilizer.  The hoop is also given a grid line.  

Once you do a hoopless project, you just may be hooked.  I know that I am.  I only use hooping when necessary and that is not too often.  Fabrics like silk can get a ‘burn’ from the hoop and towels and heavy fabrics can be damaged.

When a group of embroiderers gather, one subject is certain to come up . . . . . stabilizers   

The stores are loaded with these important products.  Annthegran alone has dozens of different stabilizers for every need.  Some of the types are Tear Away, Cut Away, Water soluble, and adhesive, the list goes on and on.  It is no wonder we have trouble with what stabilizer to use when doing our beautiful craft. 

We can presume that some fabrics can be paired with certain stabilizers and be reasonably certain we have a good match.  For instance, if we have a very heavy fabric such as canvas or denim, we can use a light weight stabilizer for the optimum results.  In this case, I would use a light weight tear away or water soluble over the TOP giving the very best 3-D effect of the design. 

I cannot even estimate how many fabric types are available today.  Those numbers challenge today’s embroiderers  to have a consistently beautiful product.  

Let me try to summarize some of the information I think you will find useful.

First of all, if you are not already doing a ‘test sew out’ of your project, you are opening the door to disaster.  That failure may not be apparent at the time of sewing, but failed after being cleaned.  Even Ann, Always, always, always strongly recommends that test sew out.

Let’s consider some of the variables

1.       Stability and weight of fabrics,

a.       weave (cotton, polyester, blends, linen, etc.)

b.      knit (t-shirt, double knit, two way stretch, etc.)

c.       unstructured (felt, leather, fleece)

2.       stitch density

3.       stability of the design

4.       stitch length

5.       amount of detailing in the design

6.       size and weight of the resulting embroidery

7.       no puckering of design (see image at right)

8.       design does not sink into the fabric

9.       registration keeps its alignment

10.   design maintains its integrity for its useful life

Here are my findings on different stabilizers. 

Tear Away – Tear away is great for medium to heavy weight fabrics.  However, a poorly performing tear away will test your stamina.  If it completely falls apart with just a few needle holes or does not tear away cleanly, you have a stabilizer that is underperforming.  Use a quality tear away such as found here at Ann’s for best results (as a bonus, an Ann’s Club Membership saves you money).  Using two layers of tear away backing pulled off one at a time is a technique that can avoid a distortion problem. There should be some modest effort on your part to separate the tear away from your design and no fuzz left on the back of the design. 

Cut Away – A better selection for light weight fabrics as well as one that can remain with the design permanently, cut away tends to have more bulk than tear away, but will not distort fabric or designs. It can be used in two and even three layers on a delicate fabric.  Another great feature to cut away is enhancing colors.  For instance, if you are doing a snow scene, cut the stabilizer the approximate size of the field and place it atop your fabric at that area.  The snow area will be more dense and defined.

Adhesive/Iron on – Generally the strongest variety because it becomes a part of the fabric with which you are working.  Its major drawback is that frequently these will gum up your needle and/or machine.   Its best use is for super stretch items such as bicycle shorts.  Adhesives are a must because some fabrics are so stretchy they can force themselves down the throat plate with a lesser stabilizer. Be careful when applying these stabilizers to avoid stretching your fabric.  Many embroiderers use adhesives for hard to hoop items such as suede.  I will be discussing hooping in my next blog.  Be sure to mark your calendars for June 7 for my take on hooping.  I just might knock your hoops off…

Water Soluble – Multiple weights and ease of use are the two main attributes that make these stabilizers a work horse in embroidery.  They can be used under, over and even in between fabrics and bottom stabilizers.  Used on the top of towels, corduroy and any fabric with a loose topping will allow the stitches to remain well above the fabric.  Again, use the best quality you can afford, a few cents of savings can result in disasters making the inexpensive too expensive for most of us.  It is also used in Free Standing Lace and great for Cut Work.  I will be discussing those two specialized, and my personal favorites, embroidery methods in future blogs. 

Each of the above varieties comes in multiple weights.  A good rule of thumb is to match light weight fabrics to heavy weight stabilizers and vice versa.  Don’t fear using multiple layers of stabilizers.  In the case of tear away, some tear only vertically and not horizontally.  In this case, it is sometimes effective to use two layers in a crossed pattern creating even greater strength.

Conclusions:

Ø  Create a very firm piece of fabric by use of the proper weight of stabilizer

Ø  Test sew outs with the same materials can guide you accurately

Ø  Use multiple sheets when necessary

Ø  Use top stabilizing for maximum thread uplift

Ø  Water soluble stabilizers can be used in the same manner as a tear away

Ø  If you are seeing puckering as you are sewing, you are already under stabilized

Ø  You can add stabilizers after you start sewing, slipping either under the hoop or atop the design

Ø  You cannot over stabilized, but you can under stabilized

Ø  Use the best quality stabilizers you have available

Your tests and results may vary and you need to rely on your own judgment.  This blog is my findings and personal experiences.  I believe the information to be accurate and the best practices available today. 

It is doubtful that you can over stabilize.  A rock solid design, perfect registration and stitches lying just above the fabric can be its own reward in beauty and personal satisfaction.

Break the rules at your own risk, you may be able to get away with less, but you are gambling your hard earned reputation.  Stabilizers are generally an inexpensive assurance of quality.

Pat