Just taking the echo stitching a step further by filling the quilt block. Here is a video to show you how.
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Just taking the echo stitching a step further by filling the quilt block. Here is a video to show you how.
I have made a couple more videos with quilters in mind. Outlining or Echo Stitching and Creating a stipple background for a quilt block.
While the concepts are great for quilting in the hoop projects, they can also be used purely as decoration to enhance any design.
Both techniques are easy to do. The Echo Stitching video uses the Outline Design tool. Version 5 does not have this tool, so I have included instructions on how to get a similar look in that version.
The Portfolio section of the Bernina Designer Plus, is the file management area. Here you can navigate to any folder on your computer and view thumb nails of the designs in that folder. You can sort designs, access designs from zipped folders and open designs into the digitising part of the software for editing. You can convert designs from one format to another, either individually or in groups. You can also convert the designs to multiple formats at once. Here is my latest video showing you how to do all of this and more.
Well this is a bit overdue, but I have finally got there. Thank you to all who entered the competition to win the signed copy of Eileen Roche’s book . The entries were all wonderful which made my job of picking a winner quite difficult. Added to that The only guide I gave entrants was that I was looking for the most original entry. I have now realised this was quite vague and if I ever run another competition it will have more specific parameters.
I ended up picking Marian Hardman’s entry. Marian developed her project from a photograph she took while on holiday. Her vest is pieced so as to depict a typical Australian outback landscape. She further embellished the design with embroideries and appliques. The whole project was balanced in both layout and colour, and while her embroideries were not digitised by her, they were appropriate and well placed. Congratulations Marian!
For those of you who digitised your own designs I was very impressed so well done. Just goes to show what is possible. I wish I had more prizes to give away, because really all of you deserve one.
To see all of the entries go to the Hall of Fame page.
Puffy Foam is used in embroidery to pad stitching to give a three dimensional look. Sulky produce packs of this foam in 2mm and 3mm thicknesses. You need to use foam that tears easily. Not all foam sheets will work. Possible uses for this technique are lettering on hats, decorative projects and artworks including wall hangings.
Recently I shared a link on the Machine Embroidery and Digitizing Facebook Page to an article published by Wilcom on digitizing for Puffy Foam. I remembered doing a Puffy Foam design some time ago and thought I would share my experience and provide some additional tips.
I chose A chinese symbol, because traditionally they are created using a paintbrush, and therefore the individual parts don’t have blunt ends. Normal lettering has blunt ends, and as explained in the Wilcom article these are areas where the foam might poke out unless you digitize some covering stitches.
For those of you who are using the Bernina software, I set the Satin Stitch Spacing (density) to 0.23 (the default is 4). This is nearly twice as dense as normal. I made sure Satin Stitch was selected (not Satin Special) so that there were no needle penetrations in the middle of the design, and I deselected the underlay.
I was not in Artistic Mode and I had view Needle Points selected. As you can see some of the areas of the design were too wide for normal satin and the software has replaced the stitches with jump stitches and needle points. I decided to use the reshape tool to change the angle of the stitching to fix this problem. I also kept an eye out to avoid any long stitches forming along the outline of the object.
I set two underlays. For the the first underlay I chose ZigZag and changed the stitch length to 8. This eliminated any needle penetrations in the middle of the foam. The second undelay I chose was Edge walk. This was to add additional needle penetrations around the edges to help with tearing away the excess foam on completion, and to help with achieving a neat edge.
Next I checked my stitch order to minimise jump stitches. I then moved my start and end positions to put any remaining jump stitches in places where objects were close enough so that they wouldn’t show. In other projects I may choose to put the jump stitches where they are easy to trim, and depending on your machine you may get the machine to trim the jump stitches for you.
As a result of the above processes, the software has now put travel stitches running under the satin stitch.
As Travel on Edges is not available for Satin Fill, these have to be moved manually. I went into edit mode, (press”E” on your keyboard) And left clicked and dragged these stitches to the edges. (see my video on Manually Moving and Deleting stitches on YouTube for more info on moving stitches).
You can digitise a placement outline if you like, but I chose to use the basting stitch on my machine as a guide to where to lay the foam.
Getting the position of your embroideries correct can be a daunting task. Placing one design on a project is not so difficult, but when you want to combine several designs, it is easy to get it wrong. The issue is even more complicated if you are putting designs on to a garment. You don’t want your designs to dissappear under an arm, sit at an awkward angle, or draw attention to the wrong parts of your body.
Even when making flat projects, it is all too easy to work in the rectangular stitch area of our hoops, rather than arrange the designs in the most attractive layout for the project.
The best way to be sure your layout is how you would like it is to make templates of your designs and pin them to your project. You could then hoop up for each design and embroider the designs out one by one. However if you have a hoop that will cover more than one design, it would save a lot of time and stabiliser to embroider the designs in the one hooping. All you need to know now is how to place the designs in your machine.
Enter Eileen Roche and her new book “ Machine Embroidery in 6 Easy Lessons”
This easy to read book covers all the essential information someone starting out in machine embroidery needs. It is packed full of useful tips. Even those of us who have been embroidering for a while will learn something new. I particularly found her information on design placement very helpful and the book includes some tools to make the job so much easier. There were a few other tips I picked up about hooping also. I will need a second roll of painters masking tape now for my sewing room. (The other one is in my art trolley) I’m not going to let you in on all the secrets in her book though. You can click on the blog tour badge at the top right of the screen to learn more and buy it, or you can enter the competition at the end of this post and possibly win the signed copy Eileen generously donated. I am going to show you how I used the tools to get the placement of my designs into my sewing machine. This is just one use for the tools. The book covers many more uses.
You don’t need any computer software for this. In a later post I will show how the tool can be used with Bernina Designer Plus to layout designs.
As I mentioned before, you need to pin your templates on to your project in your preferred arrangement. The book tells you how to make templates if you do not have any for your design. I like to print my templates on tracing paper so that I can turn them over if I want to mirror image them. In the picture I have some printed on paper, so that you can see them better.
Next you need to mark the centre cross hairs, direction and whether or not the designs are mirror imaged. You can use a fabric marker, but Eileen’s target stickers make it so much easier. If you can see through your template, you can slide them under and press into place. If not, cut a hole in the centre of the template. Make sure the marks on the stickers line up with the cross hairs on your design and write MI on the sticker if the design is mirror imaged.
Now you can lay your hoop grid over the project, turning it to cover as many whole designs as you can. Any designs that do not fit in the stitch area of your hoop, including those that only partially fit, will have to be hooped seperately. If you do not have a hoop grid, lay your project in your hoop remembering to keep the designs within the stitch area. There are more hints about this in the book
Move your project to the hoop. I like to use a sticky stabiliser, or tearaway with basting spray so that I don’t have to worry whether the project fits in the hoop. Making sure your designs are still in the stitch area press the project on to the stabiliser.
Now for the placement. The Centering Ruler, Target Ruler and Angle Finder, that come with the book, will all help you get the information you need to place your designs in your machine. (If you don’t want the book, Eileen has tool kits available on her website www.dzgns.com ) If you have used target stickers, you can now remove your templates.
For each design you need to know how far the centre is from the cross hairs of your hoop. Measurements up and or to the right of the cross hairs will be positive. Measurements to the left and or down will be negative. Using either the Target ruler or the Centering ruler measure from the horizontal cross hair to the centre of the target sticker and again from the vertical cross hair, making sure your ruler stays parallel to the cross hairs. Record these measurements.
To find the angle you should rotate your design, lay the Angle finder over the design so that the centre hole is over the center of the sticker. Make sure the 0 degrees is pointing to the top of the hoop, and that the 0 to 180 degree line is parallel to the verical cross hair.
Holding the base of the Angle Finder steady rotate the top section until the red arrow points in the same direction as the arrow on the Target Sticker and the lines align with each other. The red arrow will be pointing to the angle you need to rotate your design.
Record this. Repeat these measurements for all the designs.
Now we can go to the machine. Open your first design and go to your editing screen. Mirror image the design if necessary. You should have somewhere on your machine that shows where the center of the design is in relation to the centre of the hoop. It should read 0,0 or x=0,y=0 as designs open in the center of the hoop by default. Move your design
until these numbers match the measurements you took.
Next you need to rotate the design by the measurement you took with the Angle Finder.
Continue adding your designs and poitioning them.
When you have all your designs in place, remove the target stickers and you are ready to embroider. You can add a basting stitch if you like.
Voilla! Your layout has been embroidered exactly where you want it. I used one of my metallic splendour designs here. I haven’t used metallic thread though. You can get this design for just $1.00 by clicking on the image below.
I am excited to announce that very soon I will be launching the first of my in depth courses. These courses will include videos, downloadable PDF’s and the opportunity to ask relevant questions. It will be like participating in a webinar, but you will be able to do the course at what ever time you like and in your own time. You can stop and start as you please, revisiting the course as often as you wish. To keep informed about this, you can do any of the following. Join Networked Blogs and subscribe to my website there. (There is a link to Networked Blogs on the right of the screen). Like my Facebook page https://www.facebook.com/pages/Machine-Embroidery-and-Digitizing/166231250108809 or subscribe to my Youtube channel. Talk again soon.
This page will feature photos of projects made by you with any of my embroidery designs or with embroidery designs you have digitized as a result of something you have learned from one of my tutorials. If you have a photograph you would like displayed to inspire other machine embroiderers and digitizers, contact me and I will let you know how to send it to me.
Click on the images to enlarge them.
Pat Marsh made this wonderful table runner with my Creatures from Oz designs.
Here are some detailed shots of the designs.
The free motion quilting of gum leaves finishes the quilt off perfectly.
QUILTING IN THE HOOP
I reccently uploaded a video on creating quilt outlines from lettering in the Bernina Designer Plus software. I’ve embedded it at the end of this post, but it occurred to me that it might be helpful to post about the process of quilting in the hoop.
GETTING YOUR QUILT IN THE HOOP.
It is much easier to quilt each block of your quilt before you join it together. Quilting a large completed quilt in the
hoop, even with the longer arm machines can lead to all sorts of problems. The weight and bulk of the quilt could
easily impede the movement of the embroidery arm. Keeping the parts of the quilt, not being embroidered, clear of the embroidery area would be very difficult. In short, I would not recommend attempting large quilts in the hoop. Having said this, smaller quilted projects, such as table runners, small throws and individual blocks are easily machine quilted in the hoop. I will post next week on how to join your blocks after quilting.
The thickness of your wadding will determine how you hoop. It is possible to hoop your quilt “sandwich” if you are using pellon or a simmilar thin wadding. The wadding itself assists in stabilising, but depending on your design you may need to add additional stabiliser. I have used a sheet of tearaway slid under the hoop, but if
your quilting is intricate and you don’t want to pick out lots of tearaway you could baste a water soluble on top.The heavier weight solvy should be fine.
If your wadding is too thick to hoop, you will need to hoop an adhesive stabiliser of your choice ( there are watersoluble versions available) and lay your quilt sandwhich on to this. I recommend doing a basting stitch to hold the layers together. Use a fine needle, so that you are not left with needle marks when you remove the basting. No additional stabiliser should be necessary.
ALWAYS TEST FIRST, which brings me to the next point.
Most embroidery machines automatically drop the upper tension down to about 2 for
embroidery. This ensures that the bobbin thread does not pull up to the top. However this results in the top thread being pulled to the back.I did a sample with the default embroidery tension using green thread on the top and red thread in the bobbin to illustrate.
The top tension is normally somewhere between 3 and 5 when not using the embroidery
Check what your machine defaults to when not embroidering. Hoop up for a test sew using
the same weight thread, fabric, wadding and stabiliser that you will be using in your
project. Increase your top tension to the default for normal sewing. Sew part of the design
and check the back.
Fine tune if necessary and continue the design. When you are happy
with the result you are ready to commit to your project.
Here is the video on how to digitize these designs.