Embroidering with 60 Weight Thread

• Classic Rayon No. 60 or Polyneon No. 60 threads should be used when a design calls for small lettering or fine detail.
• Always use a #65 needle and increase density when sewing with 60 weight thread.
• When having a design digitized, always indicate which areas of the design will be sewn in 60 weight so that the digitizer can try to avoid having to use fill.
• Using a #65 needle, adjust your tension for the thinner thread. Where space and number of machines allow, you may want to prepare one machine head with the correct needle, set up for the thinner thread, so that you will not have to change back and forth.
• For best results, when embroidering on knitwear such as golf shirts, you will need a tone on tone fill stitch behind the 60 weight stitches.
• The smallest lettering achieved with 40 weight thread measures six to seven millimeters in height for block letters. The 60 weight thread allows block letters to be done as small as three millimeters in height.
• The finer thread weight of No. 60 will lend itself well to creating greater definition in lettering and monograms, reducing design size and clarifying small areas.

Personalize your embroidery with favorite fabrics, prints, and patterns through a process called applique embroidery.
Applique sewing is very simple to develop if the embroiderer understands the process of making it. Machine embroidered appliques are not only fun and easy, they also allow you to really get creative by using fabric pieces that you already have.

Step 1: Load your embroidery design onto the machine.

Step 2: Hoop the fabric or material that you need to put embroidered applique on. This would be the base fabric.

Step 3: Start the embroidery machine and let the embroidery start with the design that you loaded.

Step 4: The machine will first embroider running stitches. These are actually called GUIDELINE stitch. This guideline is actually a pattern to show you where you need to place your applique fabric on.
You can use any thread color for this guideline stitch since in the end this would be covered with the outline stitches.

Step 5: Once the Guideline stitch is done, please stop your machine.

Step 6: Place a piece of applique fabric over the guideline. Make it large enough to adequately cover the outline but not so large as to be cumbersome. You should also glue this fabric with some kind of stabilizer like spray glue so that this applique will hold on to its place.

Step 7: Start your machine again. This time the machine will run the second sequence onto the design. This second sequence is actually called TACK DOWN stitches. As what it says, it will tack the applique onto the base fabric.

Step 8: Stop your machine.

Step 9: Use the scissors to cut away the excess applique fabric from around the tacking stitch.

Step 10: Start your machine again. This time it will begin to embroider the final stitches onto the edges of the cut piece. Usually it would be covered with satin stitches, E stitches or V stitches.

As far as digitizing is concerned suppose that this design is a single color design. The embroidery file would contain three sequences. First sequence would be GUIDELINE stitch. Second sequence would be TACK DOWN stitch. And Third would be the complete covering stitches.

In case the embroiderer does not want to cut the applique fabric on the machine (please see Step 9). And the embroiderer has a die cut machine or laser machine in house, he/she can extract the first sequence (GUIDELINE STITCH) from the embroidery design file and use that as a cut file in die cut machine or laser machine.

Putting It All Together : A Needle / Thread / Backing Usage Chart

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Practical pointers to successful embroidery on caps

• Choose the cap brand that fits your frames: Caps from different headwear brands vary more than you might imagine, in terms of shape, size and so on. This means that some brands' caps will fit your cap frames better than others. Request sample caps from different manufacturers and check which products fit your quipment the best.
  
  Once you've identified the best fit, use only those products and brands. Put together a sample kit of the caps that you know will embroider well using your machinery and present this to customers as their product choices.
  
  If the customer insists on using another brand/cap style, make sure you request a sample and run it on your machines before committing to the order, and charge accordingly.
• Invest in a selection of cap frames: Many embroiderers have only a single type of frame-the one that came with their machine. This severely limits the range of caps they can offer to their customers.
  To extend product choice, invest in a selection of cap frames-it's an additional financial investment, but it's well worth it if you are serious about cap embroidery and customer service.
• Buy a 270 frame: These frames enable you to embroider both the front and the sides of the cap simultaneously, without the need to rehoop the cap and sew out a separate design. Using some creativity you can create stunning wraparound designs that will impress any customer and add value to any cap.
• Design height: The style of the cap you are embroidering will pretty much determine the maximum height of the design you can apply to it. A design that is too tall will cause the machine arm to push against the cap fabric, resulting in misaligned outlines, crooked letters and circles that are trans-formed into ovals.
  
  As a rule of thumb, stick to a maximum height for your designs of 5 cm (2")-it's much easier to increase the size for a larger cap, if required, than it is to decrease it for a smaller cap. If you need extra height, you can probably go up to 5.75 cm (2.25") on low profile, unstructured caps and visors, and 6.25 cm (2.5") on Pro-Style caps.
• Wide designs: For wide designs (more than 10 crnl4" wide) on the front of a 6-panel cap, or when embroidering small letters close to the peak on an unstructured cap, digitize from the middle of the design outward to avoid puckering.
• Coping with center seams: Firstly, try to source caps with flat center seams,as they will reduce puckering and make it much easier to achieve a high quality result.
  
  Then take a look at your needle-it often pays to switch your usual 75/11 to 80/12 to reduce the of the needle being deflected by the seam. You should also switch your ballpoint for a sharp point, as sharps cut through the fabric, again reducing the risk of the needle being deflected. Teflon-coated needles may provide an added performance benefit, since they are likely to penetrate the fabric more smoothly than traditional stainless steel needles. You might also want to consider using polyester thread, which is stronger than rayon and will reduce the risk of thread breakage.
• Outlined lettering: If your design includes lettering with an outline, digitize so that one letter is complete (that is, digitize both colors) before moving to the next letter. This will help to ensure that the outlines are aligned correctly .
• Choosing and using backings: Unstructured caps require heavy, stiff backing to maintain the cap's shape during sewing and limit distortion of the design. You could opt to use tear away backing-use two pieces on especially 'relaxed' cap styles-or instead, use sheets of copier paper, folded three times, like a business letter. Folded to this size, the paper will fit almost any cap front and adds more stability than the heaviest fabric backing.
  
  When finished, it tears out just like standard tear-away backing. Don't bother with backing for leather caps, but do increase stitch lengths and column width, whilst reducing the density of fill stitches to avoid the 'etching effect', (whereby the needIe creates a perforated edge around the design allowing it to be 'popped' out of the cap fabric like a postage stamp). Use a single, continuous piece of backing when working with a 270 frame.
• Appliques: Consider using an applique for made from heavier weight fabrics with a high pile, such as corduroy or fleece-these cause stitches to become distorted or sink into the pile.Extra underlay and pull compensation may help, but using an applique will give you all the stability you need to embroider the design to the same high standard as when working directly on to a conventional cotton twill style.
• Digitize for caps: It may be tempting to save time and expense by using the logo for the customer's cap order that you digitized for the left chest embroidery on their polo shirts. Don't; save yourself a lot of problems by digitizing the design again, specifically for the caps.

NEEDLES: There are four basic types of needles:

1) Sharp Point Needle
2) Ball Point Needle
3) Wedge Point Needle
4) Metallic Needle

Sharp point needles:

Sharp needles actually pierce or cut the fibers, which can be useful for cleaner designs and less damage to texture or thicker fabrics. Note that sharp needles may be needed if you are using a heavier stabilizer.

Ball Point Needle:

They are a little bit different than the sharp in that they have a rounded point These will not penetrate threads as easily and will more than likely go between the threads instead of penetrating them. For example, a knit should have a ballpoint needle to prevent runs or holes in the knit. Within the Ball Point needles there are light ballpoint, medium ballpoint and heavy ballpoint to tackle a wider range of fabrics.

Wedge Point Needle:

These have a sword-like point. They are very sharp but instead of making a round hole penetration they will make more of a slit. In embroidery, the stitches and needle penetrations are so close together that if a large hole were made in these types off fabrics, the design might tear out the fabric. Wedge point needles are used for vinyl, leather, and fabrics that are not woven.

Metallic Needles:

They are sharp needles and have a hole that is almost rectangular. This allows for the stiffness of the metallic thread to flow through the needle very easily thereby creating less friction and less thread breaks.

Larger sizes indicate a larger needle tip and should therefore be used on heavier fabrics. 75/11 is suitable for most lighter weight fabrics and 90/14 for heavy fabrics such as denim and canvas.

Choose regular needle size by fabric weight When selecting a needle, start with needle size. European needles range in size from 60 to 120, which refers to the diameter taken on the shaft right above the eye. American needles are sized from 8 to 19 in an arbitrary numbering system, and paired with corresponding European sizes: for example, 60/8 or 75/11; the larger the number, the larger the needle.

For very fine fabrics such as bridal satin, satin, silk, linen or similar fabrics, you will want to use the smallest needle you have. A #60/8 Sharp, #65/9 Sharp or #70/10 Sharp would be appropriate sizes for this type of application. For denim and heavy woven fabrics, you will want to use a larger needle to penetrate this heavy fabric. For this application you will want to use # 75/11Sharp, #80/12 Sharp or #90/14 Sharp. Obviously these are ranges for these applications and you will need to make the decision which needle is best for your particular application. For knits and loosely woven fabrics you will want to use a ballpoint needle. The same size constraints will apply to these fabrics as well.

The finer the fabric, such as jersey knits and pique knits, the smaller the needle. If you are sewing on a loosely woven fabric such as tapestry you may also want to use a ballpoint needle. These will more easily go between the threads of the fabric instead of penetrating them. You will need to change your needle from time to time. This is because when the needles run, frictions are caused between the needle eye, thread and the substrate. If they are used longer than their life span, needle will break and cause a lot of trouble to the fabric and the quality of the designs. A rule of thumb is that the average life of a needle is about 2 million stitches, which comes to around 8 days if the machine is run continuously 24 hours at 650 stitches per minute.

When it comes to selecting backings, knowing what backings other embroiderers use with a particular garment is a good start. Unfortunately, this information may not provide all of the answers or, for that matter, any of the answers for your particular machine or design. Stability of the garment fabric, stitch density, color, stitch length, stitch speed, size of the embroidery, and stability of the design are some of the variables that can influence backing selection.

Fabric stretch is probably the most important factor in selecting backing. No matter what type, backing has to be stable enough to prevent movement during the stitching process. There are many different fabrics and many qualities within those types. Experimentation is often needed even when changing blank suppliers of what appears to be an identical garment. A fabric’s structure (weave or knit pattern) is apt to be a better indicator of stability than weight alone. This is particularly true of golf shirts.

How well you hoop your fabric has an impact on the finished product. Poor registration can occur from loosely hooped or insecurely hooped garments. This is not a backing problem. A secure grip on thick or slippery materials can be gained by using higher hoops. Fabric tension in the hoop can be checked by pushing your finger across the fabric. If you see wrinkles, your tension may be too loose.

How much backing inventory you want to carry is another variable not often discussed by backing suppliers. A small contract embroidery shop can complete most work with just two items: 1) a 2 oz/yd2 tearaway and 2) a 2.5 oz/yd2 cutaway. The larger shops will add a 3 oz/yd2 tearaway for caps and a roll of Peel and Stick for problem applications. Specialty embroiderers and large manufacturers tend to stock a broader range of products.

The least expensive way to acquire backing is to buy full or half-width rolls. This option allows the small embroiderer to have a sensible backing inventory of only two or three rolls. These rolls can be used for most any design requirements no matter what its size. Backing suppliers can supply precut sheets in virtually any size requested. The popular sizes are 6-, 8-, 12- and 15-inch squares. These sizes are usually stocked items. The additional cost for cut sheets is nominal. Cutting your own sheets can be a false economy. This is particularly true if your operators do it by hand or with a semi-automatic system. Some frugal users purchase cases of 15x15-inch sheets and cut them down with a paper cutter to maximize their use.

Be cautious in using materials not specifically designed for embroidery backing. These products frequently are seconds and contain errors. Some products have large variations in weight. Extreme shrinkage, particularly dryer shrinkage, and bleeding colors are two other problems that can arise. Puckering can occur when using an inappropriate material with too much stretch. The use of poorly performing products can test an operator’s stamina. The cost per garment for backing of any type is very small. However, using the wrong backing can be expensive.

In general, a large detailed design with filled areas embroidered on an unstable knit might use a heavier backing than a small design on a stable woven fabric. However, this rule is broken on a regular basis.

Tearaways

A tearaway is the backing of choice for most embroiderers. Designs can usually be finished more quickly, safely, and cheaply with a tearaway than with a cutaway material. If you cut one expensive garment, the advantages of tearaways will be with you for life. Most tearaways range in weight from 1 to 3 oz/yd2. To perform well as a backing, a tearaway should be stable and able to withstand repeated perforations. The backing should tear easily and cleanly in either direction. This seems obvious but some embroiderers are still using backings that tear only in one direction.

These products have to be tugged at, leave long strings of fiber, and take some courage to remove. Pulling a tough tearaway too hard or too quickly on a delicate long stitch design can needlessly cause distortions.

No matter the type of tearaway, the accepted wisdom is you should tear the backing as close to the stitches as possible to reduce any chance of distortion. Using two light layers of tearaway pulled off one at a time is a technique that can avoid a distortion problem. However, this procedure is relatively expensive and time consuming.

Finally, in choosing a tearaway, most embroiderers consider ease of tear, cleanness of tear, hoop stability, and perforation resistance as important factors in their selection process. Tearaways can be used on most items but, in general, should be used with caution on exceptionally delicate or stretchy fabrics such as loosely knit sweaters. Swimsuits and socks are often exceptions to this rule, and here a washaway/tearaway is a good choice

Cutaways

Cutaways are needed to provide a stable base for delicate and stretchy fabrics both during the stitching process and afterward. Some fabrics are so stretchy they can force themselves down the throat plate. A cutaway not only helps maintain the crispness of a design’s details during the embroidery process, it also helps retain the design’s shape after repeated washings. Having an angry customer return a sagging or stretched design will remind you of a cutaway’s advantages. A quality embroiderer should insist that cutaways are both washable and drycleanable.

Accepted wisdom says you should not cut too close to the embroidery with your scissors and that a gliding scissor motion rather than a cutting one should be used. A cutaway that has some rigidity will enable this gliding scissor motion. When cutting, both the backing and the fabric should be kept in view. Do not allow the garment to fold over. Some industry consultants recommend blunt-end scissors to prevent snagging fabric. Many people use 3.5-inch to 4-inch double sharps because of their general utility. Nippers are not particularly useful for this operation.

Most cutaways range in weight from 1.5 to 3.5 oz/yd2. Cutaways, in general, tend to be more resistant to needling perforations than tearaways. In choosing a cutaway, most embroiderers consider ease of cutting, wash stability, hoop stability, and perforation resistance. Cutaways tend to have more bulk than tearaways. Softness, ease of cutting, and stability can often be mutually exclusive properties for cutaway backings. In some cases, the embroiderer needs to determine which property is most important for a particular design. The softer backings tend to have more hoop stretch and, accordingly, will not allow as crisp a design as stiff ones.

Specialty Backings

Many different items may be classified under this heading. Some of the major ones include:

Peel and Stick

This product is a tearaway backing with a pressure sensitive coating and a release liner. Peel and Stick has three general uses: Hard-to-hoop applications such as shirt collars, cuffs, etc; the stabilization of high stretch fabrics such as bicycle shorts, promotional sweatshirts, etc; and the elimination of hoop marks that can occur with certain problem materials, such as brushed denim and suede. A good Peel and Stick product should not have a gummy adhesive. The product is generally used by hooping the backing with the release paper facing upward. An X pattern is lightly cut in the hooped center such that the release paper is sliced through but not the backing.

Enough of the release paper is peeled back so the portion of the garment to be embroidered can be stuck to the backing. Every custom shop should have a small roll of this product.

Caps

Most cap backings range from 2 to 3 oz/yd2 in weight and are tearaways. A clean tearing product is generally preferred. Cap backing is used to improve the crispness of lettering and columns. This is particularly so with low profile and unstructured caps. There are several other less obvious production benefits in using cap backing. Backing keeps up the tension on the bobbin thread. This allows the embroiderer to switch from flats to hats and back again without touching the machine settings. The use of this backing can prevent cap fabric and fiber from being forced down the throat of the machine. An extra fold of backing can be used to get a firm seating on rotating cap frames to prevent registration slips.

Fusibles

There are several medium weight fusible backing products available that can be permanently fixed to garments with a hand iron. The primary application for these products is to stabilize very stretchy and hard-to-hoop materials such as fleecewear, leather, etc. Spray adhesives can also be used to fix backing to fabric. The nasty solvents and overspray problems often associated with spray adhesives make fusible or peel and stick backings preferred in such applications.

Metallic Thread

A secondary application area for fusibles is as a cover for completed embroidery designs that may have a rough surface or nibs on its interior surface. This situation is often caused by metallic thread due to its stiffness. This soft-to-the-touch fusible product adds a permanent quality finish to a garment. For a little extra effort you will receive compliments rather than complaints when using metallic thread. Before using any fusible product, you should first check that the garment can withstand hand ironing.

Puff

Puff backing is a lofty material used to generate a three-dimensional, trapunto, or quilted look. Do not purchase puff too thick or you will have difficulty completing the design. Before using puff products, test them or at least receive a solid guarantee that the product is washable and drycleanable. If the product washes down or falls apart, the results for the consumer can be disappointing.

Children’s Sleepwear

All components in children’s sleepwear should be fire retardant. These binder-free backings meet this requirement due to their fiber composition. Most materials range from 1.3 to 2.5 oz/yd2.

Black Backings

Black backings are used for dark garments, such as leather jackets and black sweatshirts. The use of these products prevents the generation of a distracting blaze in the interior of the garment that occurs when white is used. Both tearaways and cutaways are available.

Toppings

As a general rule, these films are used to prevent stitches from sinking into high profile fabric, such as terry cloth or corduroy. Available under a variety of trade names, they are composed of either polyethylene or water soluble plastic. These films can be expensive and some of the less expensive ones do not dissolve well.

You do need to understand the importance of maintaining your machine, and what is involved in order to do this. Most embroidery machine problems can be traced to poor general maintenance or neglect. With some simple tools and just a few minutes daily, weekly, or monthly, you can help keep your machine running smoothly.

Whether you are new to the industry or a veteran embroiderer, you cannot afford to operate your equipment without performing basic, manufacturer-recommended maintenance and cleaning procedures. Equipment breakdowns requiring factory-trained technicians are costly, and regular maintenance is an owner's best preventative.

Wind bobbins correctly
Be sure there are no thread tails hanging from the bobbin when it's inserted into the bobbin case. They can jam the machine and cause the upper thread to break. And note that there's no such thing as a generic bobbin. Always use a bobbin designed for your machine in order to avoid skipped stitches, loose threads, and noise, as well as permanent damage to the bobbin case.

Regular cleaning and oiling is essential
Get in the habit of cleaning your machine after each project. Follow the instructions in your manual, or ask your machine mechanic to show you how. If you look closely at the tension mechanisms and bobbin case, they are close fitting areas. Lint left in these areas can destroy machine parts. You will also find that inexpensive thread builds up lint much faster then inexpensive thread. Remove dirt and always oil the rotary hook. This actually should be done almost everyday. A medium size paintbrush or canned air can do the job very well by brushing and cleaning (blowing) the area that has dust and wasted thread.

Oiling is essential and the embroiderer should not leave the hook dry.
Take off the needle plate, clean the lint from the rotary hook, and then oil it. Because the rotary hook is the hardest working part of the embroidery machine, daily oiling is very important. At the end of each eight hours of operation remove the needle plate, clean the lint and remove thread pieces from the rotary hook and then apply the oil. Oiling the machine not only lubricates your moving parts, to prevent wear. It reduces the risk of rust. Rust forms rapidly with any dampness, even just the humidity in the air. Surface rust can act just like loose sand granule in your machine, and create excess wear.

Cleaning The Bobbin Case
A thorough cleaning and inspection should also include the bobbin case. Clean the bobbin case in side and out. Be sure to teach your machine operators to take care of the bobbin case because dropping the case can damage it.
The bobbin case tension spring is the curved piece of metal on the outside of the case and is held in place by two screws. The screw on the end of the spring holds the spring in place, and the screw in about the middle of the spring allows you to adjust the tension. An accumulation of lint under the bobbin case tension spring can cause erratic tension or no tension on the bobbin thread. Cleaning the bobbin case periodically can increase the life of your tension spring. When you clean the bobbin case and spring, you may find that all of a sudden the bobbin tension stabilizes and the overall sewing quality improves. It's an extremely good idea to keep a dozens of backup bobbins in case some break up.

Felts. Most machines use felts in their tension assembly to retard the thread. After years of dust accumulation, they need to be replaced.
You'll also find needle bar felts at the base of needle bars. These hold the oil close to the needle bars and soak up excess oil so that it doesn't drip onto the machine.

Needle screws. Over time, all needle screws — the ones used to replace needles — become grooved where they tighten against the needle. This causes the needle to slip out, even after tightening. If the needle drops into the hook at high speed, the machine will stop.

Take your machine to be serviced about every two years. Have the service professional perform a basic service, which includes cleaning, oiling, balancing the tension and a quick once-over of the machine. They should provide a stitch out of both straight and zigzag stitches to show the tension balance.

There are just a few boundaries to keep in mind when evaluating a design for 3-D foam. First, the type of garment or finished product you're working with. Stay away from unstable fabrics such as pique. The more stable the fabric the better the results will be. Foam can be used successfully on denim, sweatshirts, jackets and caps, as well as aprons, bags and any other similar stable surface.

Secondly, the portion of the design that will take on the 3-D effect must be the last, or only section to be sewn. As you will be laying down an opaque piece of foam over the design, so all flat sewing must be completed beforehand. The needle penetrations perforate the foam and allow for the excess to be pulled away upon completion of sewing.

By placing a stop command after the last section of flat embroidery is completed, the machine operator is able to position the foam and then begin the final sewing.

In addition to being the final, or only section to sew, the segment of the design that will take on the raised appearance must be hefty enough to allow the foam to work its magic.

Larger solid fields may be enhanced with the 3-D look in one of two ways. Overlapping satin stitches by a couple of millimeters will render the raised effect.
This process is the most widely utilized fashion of filling sizable areas in a design. It is important to keep the stitch direction fairly consistent as you place satin next to satin for the finest look.

After evaluating the design and determining where the 3-D application will work, the next step is digitizing it. After completing the areas that will be flat embroidery and inserting a stop command to allow the machine operator to position the foam, the 3-D portion can begin. Underlay is the most important factor with this application.

The finer the satin, the less the underlay will be necessary, if at all. The broader the satin, a single- or double- run underlay can be utilized along the outside edges of the satin, as it helps cut the foam. Zigzag or cross-stitching underlay should not be used, as they tend to defeat the elevated look of 3-D and work to compact the foam.
Since it is the needle penetrations that perforate the foam, special attention must be given to the ends of each satin. You may want to go in and manually place the run stitches as needed to provide the finished look. This process is commonly known as "capping off". An alternative would be to taper off or pinch the ends of the satin stitch. Placing the point/counterpoint of the satin .5mm apart, the foam perforates nicely. Depending on the aesthetics of the design, it is, ultimately, digitizer discretion that should determine the use of the capping off verses the pinching technique.

Satin density is a chief factor in the 3-D application since it is the needle penetrations that puncture the foam. By increasing the density 100 percent on the satin areas that will be covering foam, the finished product looks the best. This increase in density will elevate the total stitch count by approximately 20-25 percent.
There are a couple of tips for when the design hits the embroidery machine. Opening up the tension a bit on the areas taking the 3-D foam is helpful. Running the machine at no more than 800spm will help insure accurate needle penetrations. Ball point needles, as opposed to sharp needles cut foam the best. The bottom line is to use a needle that best supports the fabric in which the design is being sewn upon.

As the needle penetrations are perforating the foam, there will be residual foam flakes that tend to clog up your embroidery machine. Removing the throat plate and keeping the area free of debris after each shift of running 3-D foam will allow the machine to function its best.

If, after removing the excess foam, remnants remain between the stitches, there are ways of cleaning this up. Using a pressing cloth between the embroidered piece and a hot iron, hold the iron for a couple of seconds. The remnants will melt and shrink under the topstitching. A heat gun can also be used. Note: The 3-D foam made specifically for embroidery is NOT flame retardant, making it unacceptable for children’s sleepwear.
For an even more pronounced 3-D look, you can stack two pieces, just remember to compensate for the additional height. Experimenting is key to getting the look your after. Adjusting tensions, stitch lengths and density may be needed to achieve the correct 3-D look, but in many cases this extra effort can pay off with stunning results.

MORE TIPS
Avoid excessive Zigzag underlay - Designs should have a double edge walk underlay. Keep foam thickness around 3/16" to 1/4" for best results.

A ball point needle leaves a slightly larger hole than a sharp point, perforating the foam cleanly. A sharp point works as well, but the bottom line is to use a needle that is required by the fabric. Relax tensions so as not to overly compress the foam material.

Simplify shapes whenever possible to keep elements more rounded, rather than sharp, and keep columns as wide as possible.

The color of the 3d foam should be the same as the thread color that you are covering the foam to avoid foam material to show through.

Similar to graphic files, which can come in myriad formats, including JPG, GIF and TIF, embroidery files are available in a variety of formats, including DST, EXP, CND, PES and HUS. Further, just as all graphic files are either vector or raster (also known as "bitmap"), embroidery designs are either stitch or outline files.

Stitch files.

These encompass several different file types, such as DST and EXP, though most editing and digitizing software can easily convert from one type to another, depending on what your machine requires. All stitch files, regardless of type, contain the same three pieces of information: horizontal coordinates, vertical coordinates and machine function, including color changes, trims and jump stitches. The machine uses these bits of information to move the frame and plot each stitch.

Stitch files are more limiting than outline files, and they work best when you leave them as they are. However, with the stitch processing functions available in editing programs, embroiderers have more control over stitch files today than they did years ago. For instance, now embroiderers can make stitches within a stitch file thinner or thicker if need be. Such tools aren't perfect, but they're a big help when it comes to editing small design parts.

Outline files.

The best file type for editing is an outline file. Outline files don't contain the stitches per se, but rather the recipe to make the stitches. You can edit the recipe to suit your needs, meaning you have more control to edit designs. Designs in outline files are made up of separate shapes, and each shape has its own outline, which is then filled with stitches. Shapes also contain information on stitch density, underlay and other variables, which are easy to adjust in outline files. The outline file is like electronic rubber band. We can give the effect, alter the size, and add more details etc. without distorting the image.

Outline files generally are software specific, meaning they don't work well in software other than their own. For instance, Wings produces MLS ( NGS ) files; Wilcom produces EMB files; Pulse produces POF files; and Compucon produces REF files.

The reason these files don't work in different programs is twofold. First, software manufacturers want you to buy their software if you want to use their type of outline files. Second, software systems handle variables such as stitch density and underlay differently and have different features, so features found in one system may not work on another.

Resizing is arguably the biggest challenge embroiderers face with stitch designs. Because most of the stitch files, you're dealing with relatively fixed sizes. For instance, when you shrink a stitch design, the software doesn't reduce the number of stitches; it just squeezes those stitches into a smaller space. When you enlarge a design, the program doesn't add more stitches; it places stitches farther apart. Therefore, if you resize a design more than 10% to 15% smaller or larger than its original size, the result won't look good.

Stitch processing.

There are two ways to get around this problem. First, most editing and digitizing software systems have a feature that helps alleviate resizing issues through a function called stitch processing. When a program stitch processes a design, it adds or deletes stitches when they get either too far apart or too close together.

Don't assume that this feature will allow you to enlarge a left-chest logo for use on a full jacket back or vice versa. Stitch processing works best when you limit the resizing between 10% and 40% of the design's original size at the most.

Finishing Touches

Other issues that occur when editing stock designs include stray stitches and color changes, which usually happen when you're deleting a section. For instance, you may have an extra color change left over from the deleted section, or you may notice color changes that seem to appear out of nowhere. You can correct these problems with simple stitch editing tools available in any editing system. Just select the stray color change and delete it or move it to where it belongs.

If your design ends up with stray stitches or missed trims, go through each section stitch by stitch and find exactly where the problem occurs. Many times it's simply one stitch that gets out of place and needs to be moved. Specific instructions on doing such maneuvers vary among editing systems, so contact your software vendor if you're unsure how to move or edit stitches.

The best way to achieve good results when editing designs is to learn more about your editing or digitizing system. First, make sure you know what types of files it can open, and understand its features and functions. Second, don't expect to get perfect results when you significantly enlarge or shrink a design.

Email is the most popular Internet application. Over 700 million email boxes exist worldwide. 84 per cent of Internet users use email.

A recent report estimated that over 9 trillion emails were sent worldwide last year! Spam messages are jamming in-boxes across the globe and the average office worker now gets between 60-200 messages a day.

So, with that background, it makes sense that you need to use email effectively, not only to save you time but also to ensure that your messages get read by your audience correctly.

The lack of visual, auditory or physical cues can lead to miscommunication, and as people perceive email as being more like speech than writing there is a greater potential for communication breakdown.

Email is also seen as not being very suitable for conveying very complex information or information that could be misinterpreted.

Meaning can be lost when emails are:
Too brief or abbreviated
Too longwinded
Miscommunication can happen when the sender makes incorrect or inappropriate assumptions, i.e. when the email refers to previous email history that has not been forwarded on or to a conversation that has not directly been referred to.

The speed and ease with which email enables people to communicate, the scale on which we can communicate, and the material that email communications are capable of containing, all create a unique set of challenges, issues, and questions. Some of these are simply old problems in new clothing, and the old rules still apply. Others are brand-new beasts, requiring a new set of guidelines to keep them reined in.

The following are hints on what to do and what not to do when using e-mail.

Be concise

E-mail is meant to be one of the quickest ways to communicate. It is much more informal than a letter or even phone call. Some people receive hundreds of e-mails a day, so keep e-mail short and to the point. But be aware -rushed messages can lead to bad grammar and miscommunication.
* Consider using bulleted points to clearly express your thoughts. You'll save time and your reader will appreciate it. Investing extra time while authoring an email pays big dividends by giving your reader a clear understanding of your message. Remember, if your email is written with the purpose to educate, inform, or persuade, then making sure to get your point across is even more critical.

Useful Subject Lines

Since many email messages go back and forth several times over the course of many weeks, it's important to accurately describe what the reader will find inside. A subject line that pertains clearly to the email body will help people mentally shift to the proper context before they read your message. The subject line should be brief, does not need to be a complete sentence, and should give a clue to the contents of the message.

Use Threads

Threads are a series of responses to an original message. When responding to a message, pursue the thread by replying to the messages instead of starting an entirely new message. Keeping the thread information together makes it easier for the participants to follow the chain of information that has been exchanged. This is most appreciated when responding to a newsgroup or a list serve, which may have multiple discussions occurring simultaneously.

Practice the 24-hour rule when you're upset

It's never a good idea to send an email when you're angry. We've all been guilty of this. In the heat of the moment we type up a literary bombast. If you compose an email in anger, wait a predetermined period of time before sending it. If your emotions are legit, then your issue will still be there tomorrow. But in 95% of the cases, you'll be glad you waited and toned things down after you've gain the perspective that can only come with some additional time.

Realize that once your message is sent, there's no getting it back

Email communication in the workplace has been around about 10 years. Before the '90s, if you composed a letter later deemed too harsh or in poor taste, there were more steps involved before the message was sent. Today, the stakes are much higher. People can literally ruin their career with a single 60-second lapse in judgment, by sending the wrong message to someone. Email is also ridiculously easy to edit and forward. Keep in mind that a message sent to one person can eventually be viewed by many other unintended parties. Always double-check the recipient line before sending any email. Horror stories about messages accidentally copied to "ALL" are becoming routine.

Answer your email quickly

Recent surveys have shown that a large percentage of email messages either go unanswered or are not responded to timely. Take advantage of this inherent competitive edge you can get. What do you think when someone doesn't respond to your phone messages? It's no different with email.

Attachments

If you are planning to send the attachment, make sure that it is the correct one that corresponds to the email message that you are sending. Wrong attachment leads to wrong understanding. Use proper naming conventions and file extensions to identify your documents. Within your e- mail messages, clearly specify that there is an attachment with its proper file name, application software version, content description and size of the attached file so the recipient can make an immediate judgment as to what will be required to view the file. A compression software could be used to compress your files to protect from damage-in-transit. Compression can make large files smaller to decrease the online time, but the more important benefit is the way it encloses the delicate artwork files inside a file type designed for proper transmittal. The two most popular compression formats are “zip” and “sit.”

Decide for good email software

It may seem like Microsoft has taken over the world, but there are still a few other fish in the sea. Whether you manage your email system yourself or let an ISP do it, you still want to pick the email client (the software that lets you send and receive email messages) that works best for your company's needs. Products range from the multi-tasking Microsoft Outlook, to simple web- based programs that do little more than send and receive basic text messages. The email client you choose will largely depend upon how you plan to manage your email system. Microsoft Outlook offers the most comprehensive program with the most versatility for business if you're looking for integrated features. And many of these features come free in Outlook Express. But if you don't need all the fancy stuff and find the interface too busy, go with Eudora or Netscape. And for more content driven, all-in-one communications packages, consider Netscape and AOL.

Pick the right ISP (Internet Service provider)

Choosing the right ISP is a matter of finding the best balance between your budget, your experience, how fast your connection must be, and what features really make a difference. When selecting a service provider, consider the way you will be using the Internet in your business. Many people use nationwide ISPs such as AOL, Earthlink, or MSN simply because they're well known. Many local ISPs know their customers well, and have a good handle on what they need. This is not to say that there is anything inherently wrong with using a nationwide ISP, but don't rule local ISPs out simply because they're smaller. ISPs are like restaurants - those with bad reputations survive, but by listening to what other people say, you can avoid them. Using anything less than a full-service ISP could cause frustration, especially with attachments of large files. You should be on the lookout for reliability, good support, quality of service, price, speed and performance of that ISP.

Why text / font needs to be converted to curves when sent from one computer to be read by another computer?

Text created on a computer uses a special resource file, a font, to draw the shape and size of the letters. The data describing this shape is stored within that font file, not within the artwork you create. Your artwork simply "points" to the font information This can lead to an unexpected problem when sending files from one computer to another. If the new computer opening your artwork does not have the same font resource that the original machine contained, it will attempt to draw the text by substituting another font resource, often one that is in no way similar to the original. As far as your design is concerned, this can be devastating. Not only do the letters look wrong, but the size and spacing of the words is likely to be very different as well! To prevent this, if you are using CorelDraw or Illustrator, simply use the tool ‘Convert to Curves’ in CorelDraw or ‘Create Outlines’ in Illustrator. Below are two screen shots where this function resides in your drawing program.

The software allows you the option to convert your text into "outlines" that can be read accurately on any computer. This way, the type is read by the computer simply as a formula of lines in the same way that a shape would be read, and the font cannot fail to load properly and cause an error. There isn't a quality loss when converting text to outlines.

It is very important to note that when converting type to outlines it will then become impossible to go back and edit that type by typing on your keyboard, since each letter has already been converted into a shape. Therefore, always make sure to save two versions of your artwork when converting type to outlines, one with the fonts as type and one with the fonts as outlines. This way, you can always go back and edit the type-version, and then resave the graphic file in outline format when the final version is ready to be sent to us.

For Corel Draw all versions:


For Illustrator all versions:

Good embroidery requires a good understanding of digitizing to avoid problems that can occur with the forces of thread while embroidering call Push and Pull. Or in digitizing term we call it Push and Pull compensation.

So what is actually Push and Pull effect in embroidery?
Because most of the substrates we embroider on are fabrics, which have “give” as a part of their nature. This means they push and pull as the machine moves back and forth with the stitching, causing distortion, unevenness etc. There is a tendency with fill and satin stitches to pull and push the fabric in opposite directions, causing the design to appear distorted.

During embroidery application, stitches "pull the fabric in", with the direction of the stitching. Also, in the case of an area of fill, the stitching "pushes out at a right angle to the line of stitching". Understanding this embroidery phenomenon is important because it explains why design detail lines may appear to be off when viewing a design on screen, and yet the design will stitch fine upon application to fabric. During digitizing, compensation is made considering for the "push and pull" effect and the stitches are set accordingly. Fill size and density affect how much "push and pull" compensation to use.


Text also needs compensation. Some letters have horizontal columns, while others have vertical columns. When the threads run horizontally, they lie nicely, but the density will push the threads apart and make the letters slightly taller. The pull is sideways and is not very visible to the eye. With vertical columns, however, the density pulls the fabric together and can make a particular letter appear shorter than the others. Good text will not appear even when viewed on a computer screen. Pull-compensation will be worked into the text so that the letters will appear the same height when they are sewn onto the garment.

A good digitizer is aware of the pull compensation and can make adjustments by varying the stitch direction, amount of underlay and the stitch density.

When working with a digitizer it is always best to let them know the type of application, what the intended use is and what fabric is to be stitched. By doing this, the digitizer will better understand the possible need for additional pull compensation ahead of time, eliminating down time for you, and possible last minute changes.

Thread tension is one of the most critical elements of machine performance. In order to form a stitch correctly and ensure quality sewing, the amount of tension or drag placed on both the upper thread and the lower thread must be precise and balanced.

Think of the stitch process as a tug-of-war between the upper and lower threads. The desire is that neither overpowers the other. Too much tension on the upper thread, (or too little on the bobbin thread) will result in bobbin thread being pulled up from below, such that it's visible in along the edges of the area being stitched. Too little tension on the top (or too much on the bobbin thread) leads to loops forming in the area being stitched.

For the beginner, setting thread tensions can be a frustrating chore, as adjustments will have to be made periodically depending upon sewing conditions.

Setting The Upper Thread Tension (Using the Tajima Tension Gauge)

Each time you install a new cone of thread, you must check the tension for that specific thread. Also, you may need to make some adjustments for different types of garments being sewn.

1.Pickup the thread tension gauge and hold it so that you can clearly see the numbers.
2.Verify the gauge is set to Zero. If not, turn the middle knob near the hook end of the gauge to unlock the gauge adjustment knob. Turn the inner knob until the red line is at the zero point. Adjust the middle knob to lock the adjustment knob in place.
3.Hook the desired thread with the end of the tension gauge.
4.Gently pull the gauge away from the machine with the numbers facing up. Pull no further than 2 feet.
5.The tension should read:
   100-130 grams for rayon thread
   110-150 grams for polyester thread
6.If the upper thread is too loose adjust the #1 Tension Set and the Rotary Tensioner by twisting the control knobs in a Clockwise direction, which will increase the amount of tension. Recheck with the gauge.
7.If the upper thread is tight, adjust the #1 Tension Set and the Rotary Tensioner by twisting the control knobs in a counterclockwise direction, which will decrease the amount of tension. Recheck with the gauge.

Setting The Bobbin (Lower Thread) Tension

Each time you install a new bobbin, you must check its tension. Also, you may need to make some adjustments for different types of garments being sewn. In addition, the last 10% of a bobbin thread tends to have a rapidly changing degree of tension, so it's acceptable to discard the bobbin before it completely runs out, in order to avoid this problem.

Though an optional bobbin tension gauge can be purchased for your machine, the tension can be accurately set using what's known as the "drop test." Perform the following steps to learn this simple process:
1.Remove the bobbin case from the rotary hook.
2.Unwind the bobbin thread from the pigtail, but do not remove it from under the thread tension spring.
3.Place the bobbin case, with the bobbin installed, in the palm of one hand. With the other hand grasp the end of the bobbin thread, and gently pull out about 12 inches of thread.
4.Gently left up and suspend the bobbin case above the palm of your hand.
5.The bobbin should not drop, but remain suspended in the air about an inch above your hand.
6.Gently bob your wrist (hand holding the bobbin thread) and check that the bobbin drops a few inches then stops.
7.If the bobbin does not drop, then the tension is too tight. Adjust the tension screw (the larger one) on the tension spring (clip) counterclockwise to reduce the bobbin tension. If the bobbin drops freely, then the tension is too loose. Adjust the tension screw clockwise to increase it to increase the bobbin tension.
8.Wrap the bobbin thread back around the pigtail and install the bobbin case into the rotary hook.

NOTE: IF dirt builds up under the Thread Tension Clip/Spring on the bobbin case, it will cause the tension to be too loose, no matter how much the screw is tightened. Each time you change out the bobbin, you should inspect and clean the bobbin case.

Testing The Tension Setting - The FOX Test

Once you have adjusted both the Upper and Lower Tensions, you should perform the FOX test. This involves sewing the word FOX in 1" tall, block letters on a test sample of fabric. Upon completion, examine the backside of the embroidery. You should see three parallel sections of thread, from left to right across each column as follows Upper/Lower/Upper - in even thirds. (This is also referred to as the "thirds" test.)

• If there is more Lower Thread visible than upper thread, then the upper thread tension is too tight or the lower thread tension is too loose.
• If there is more Upper Thread visible than Lower Thread, then the Upper Thread Tension is too loose, or the Lower thread Tension is too tight.

Referencing the diagrams above, the sample of the left illustrates the desired tension. The sample in the middle doesn't have enough bobbin thread showing, while the one on the right has too much bobbin showing.

Metallic thread is something of magic if used properly. It can really create life to a simple design. However, if not used appropriately, there lies a beast beneath its beauty. Embroiderers prefer not to use it unless necessary. Metallic thread is more breakable than ordinary thread. Secondly, it is more expensive than rayon or polyester thread. Then again, if you utilize it successfully, you can WOW! your client.
The following are some useful tips for using metallic thread.

1) Digitization for metallic thread should be different. You will need to inform your digitizer if certain part of the design you will use metallic thread. Stitch length and density needs to be adjusted since the metallic thread is thicker than the ordinary thread.

2) Try not to use metallic thread in all of the design. Try to decorate only some parts of the design with metallic thread to add glitz and glamour. Too much of metallic thread may make the design uninteresting. Use it sparingly.

3) Use larger needle. Since metallic thread strand is larger than the rayon or polyester, a larger eye of needle can compensate for this type of thread. Tear and wear would be lessened. It’s always good to start with a new needle.

4) The machine needs to be slowed down a bit. Since metallic thread is more fragile than the common thread, slowing down the machine may get the thread to run delicately. Also downtime would be reduced. The amount of speed can be adjusted by seeing how well the design is running at that moment.

5) Do not use cheap low quality thread. Use particular type of thread that has a good brand name and has been there for a long time in the market. Thread from a company with good reputation can take away all of your headaches.

6) Small letters or minute details should not be embroidered with metallic thread. Short stitches can cause lots of kinks and strip threads.

7) Check your machine to make sure that there is no barrier or rough spots.

9) Test run it before actual production. As embroidery is comprised of endless factors (thread type, needle, backing, thread tension, design details etc), it is better to test run it to find various variables so that the design runs to its highest quality.

8) Try to embroider on soft but not too delicate fabrics. It’s also better to use soft backing so that needle or thread will heat up less while embroidering.

Even though machines have been designed and constructed to prevent production problems, thread break will occur and can be a troublesome to many embroiders.There are some simple solutions to keep them to a minimum.

There are actually many elements that can cause thread breaks such as:

1) For the top thread,

a) there is a scratch on the hole of the top plate;
b) the machine is not threaded correctly;
c) the thread is trapped under the spool;
d) the wrong needle selection has been made;
e) there is oil or dust in the bobbin case;
f) the needle is bent, dull or inserted incorrectly;
g) the upper thread is knotted or tangled;
h) the thread is too large for the eye of the needle;
i) the upper tension is too tight;
j) the rotary hook is rough or damaged.
k) and the list goes on…

2) For the bobbin thread:

a) the bobbin is inserted incorrectly;
b) the bobbin tension is too tight
c) the bobbin is incorrectly wound
d) the upper thread is tangled.
e) and the list goes on…..

The following are ways to eradicate the problems:

THREAD:

a) Thread tension. Upper thread tension should be no more than 100 to 150 grams. Bobbin tension should be no more than 25 to 35 grams. Refer to our TIPS FOR ADJUSTING THREAD TENSION. Thread tension should be checked from time to time.
b) Change thread cone. Problem could be coming from the bad production lot of that particular thread or the thread cones have been kept in a bad storage condition.
c) Check thread path to find areas where thread touches that can cause friction and abrasions that can cause thread to break.
d) Check whether it is actually a thread break or just a thread pull out. Thread pull out usually occurs after the thread is trim.
e) If thread breaks occur abruptly without fraying, check to see if the thread is getting caught under the cone on the thread rack. Also make sure the thread dispenses vertically off the cone. If thread leaves the cone at an angle, it could cause breakage.

NEEDLE:

a) Try replacing the needle.
b) Look for burrs or rough edges in the presser foot, holes in the needle plate and finally the rotary hook-point and castoff.
c) Adjust the needle depth.
d) Check the timing of the rotation of the rotary hook or in other words hook-timing to avoid the needle hitting the bobbin case before it should.
e) Check bobbin quality. Worn or damaged bobbin cases also can cause top-thread breakage. Try using a new bobbin case.

DIGITIZING:

a) Check for the stitch length in certain parts of the design. If the stitch length is too short, thread breaks can occur. If designs are digitized with no stitches shorter than .60 mm and none longer than 9 mm, thread will not break.
b) Check for the density of the design. If the density is too much, it can prevent needle penetration and so the thread can break.
c) Each part of the design should be LOCKED and FIXED with stitches to prevent unraveling. This will also prevent the thread from pulling out of the needle at startup and at stop.

FABRIC:

Certain fabrics also can cause thread breaks. Materials such as low-melt polyester or polypropylene foam, found in mesh-back baseball caps and canvas bags, can melt under the heat of the needle and gum up the needle's eye. Materials made from blended nylon fibers, which are found in products such as carpeted mats, are abrasive against sewing threads.

In the end everything should depend on the operator’s analytic skills. If the operator is on the look out during the sewing of the design, he can immediately figure out whether its an actual thread break or if its just the thread pull out. The operator can test several points by pulling on the upper thread as it passes through the needle's eye and the presser foot. He should check tension and texture and identify problems with the cone, thread path, thread quality and needle.

The operator should check thread tension, needle orientation, bobbin quality and bobbin tension consistency. Next, he should check the thread path, and if necessary, rethread the needle path in question. If breakage still occurs, he should check the design by noting location of thread breaks within the design and paying attention to stitch length. If the stitches seem too short or long, the operator should ask the digitizer to check the design. However, if the design doesn't have any questionable areas, look for mechanical causes.