The Basics for Successful Embroidery

Total Page:16

File Type:pdf, Size:1020Kb

The Basics for Successful Embroidery Slide 1 The Basics for Successful Embroidery Slide 2 Keys to Success • Quality Stabilizer • Quality Thread • Proper Needle • Proper Hooping Technique • Alignment • Appropriate Design Selection Slide 3 What is Stabilizer? • Every project needs a solid foundation to be successful. • Stabilizer provides support for the fabric being embroidered and prevents it from puckering or stretching during the embroidery process. • Projects that have not been properly stabilized often have misaligned outlines and the project does not hold up over time. • Protect the time invested in creating your embroidered projects by providing a stable foundation from the very beginning. There are three major types of stabilizer. They are classified by how they are removed from the back after the garment is completed. • Cut-Away • Tear Away • Wash Away Slide 4 When can you use a tear-away? 1) If the fabric is firmly woven 2) If you want to get rid of most of the excess stabilizer • Designs that have a low stitch count or to support decorative stitching • Keep in mind that as you embroider on a tear away product, it will become less stabile as it is being perforated through out the embroidery process 4 Slide 5 LIGHT WEIGHT TEAR AWAY • 8,000 or less stitches in design. • Easier to pick out than medium weight stabilizers. • Good for paper piecing. • More than one layer can be used if desired Slide 6 ULTRA CLEAN & TEAR OR MEDIUM WERIGHT BLACK • 8,000 to 25,000 or more stitches in design • If you are unsure – Use two layers. • Area behind stitches is very soft with Ultra Clean & Tear. • MediumWeight Tear Away is available only in black. Slide 7 FUSIBLE TEAR AWAY • Supports about same number of stitches as a medium weight stabilizer – but is lighter in weight. • Temporarily (lightly) fuse to the back side of the fabric and very easy to remove! Slide 8 HEAVY WEIGHT TEAR AWAY • 25,000 or more stitches in design. • It has a very firm stiff texture, but it will soften during washing and wearing. • Easy to pick up with tweezers and remove. Slide 9 When can you use a cut-away? • Cut-Aways are the most sturdy of all types of stabilizers and support the greatest number of stitches. • You should always use a cut away on knits or stretch fabrics, but they can also be used for woven fabric. • Stays in the design, to maintain the integrity of the design with washing and wearing Slide 10 HeavyWeight CutAway Advantages: • Supports the most stitches (25,000 or more) • Stitch out will look good Disadvantages: • Heavy • Does not drape as well • May see a line of demarcation 10 Slide 11 PolyMesh Advantages: • Supports 8,000 to 12,000 or more stitches • Flows with the body • No visible line on the front Disadvantages: • Is too soft for some designs with lots of satin stitches or long decorative stitches. Polymesh comes in three colors: white, black, beige. It would be considered a light weight cutaway and is good for t-shirts, knits and lightweight woven fabrics such as batiste. Another great benefit of this stabilizer is that it does not shadow through to the right side of the garment. Slide 12 Fusible PolyMesh • Designs with lots of outlines or detailing • 8,000 to 12,000 or more stitches in design. Slide 13 Gentle Touch • Protects delicate skin • Covers bobbin stitches Slide 14 Wash Away Stabilizer • Best used for projects in which it is important to remove all stabilizer. • Can be used for cutwork, stand alone lace, and reverse appliqué • Most common function of a wash away toppings is to keep the stitches from sinking to the fabric. Slide 15 AquaFilm Topping • A MUST for napped fabrics • Keeps stitches on top of fabric. • Used as a topping ONLY. Slide 16 AquaFilm Backing • 8,000 to 12,000 or more stitches in design • Can be used with tulle or organdy to create a lace “effect” • Can do double duty as a topping Slide 17 BadgeMaster • 12,000 to 15,000 stitches • A clear heavy water soluble stabilizer. • It can be torn away from the stitching after the design is completed • Can be used as a backing when you want all traces of stabilizer to be removed • Easy to tear away excess. Any remaining bits will be washed way with water Slide 18 AquaMesh • 12,000 to 25,000 stitches • An opaque water soluble stabilizer. • It is a very stable product and is not susceptible to premature perforation during the sewing process. • Can be used as a backing when you want all traces of stabilizer to be removed • Cut away majority of excess stabilizer. Any remaining bits will be washed way with water Slide 19 AquaMesh Plus • 12,000 to 25,000 or more stitches in design • Great for “hoopless” embroidery • Perfect for lapels, collars, etc. where the back will be seen • Do NOT use when creating stand alone lace Slide 20 Paper Backed Pressure Sensitive Adhesive • Stabilizer that has a sticky surface on one side with a protective paper coating. • The stabilizer can be a cut away, a tear away, or a wash away. You will choose the type depending upon how many stitches your design has, what type of fabric you are using, and how much of the stabilizer you want to have removed on the back side Plus Slide 21 Embroidery Thread • A high quality polyester thread that is strong and will not bleach. • You should always consider the project and the end use and care when selecting the thread. Slide 22 Facts about Isacord Polyester Thread • Isacord is color fast to detergent, chlorine and light. • Isacord has twice the strength of rayon thread. • Isacord has superior abrasion resistance both when dry and when wet, which keeps embroidery looking new. • Isacord is engineered from the finest raw materials. It has just the right amount of elasticity to embroider without looping or puckering while virtually eliminating thread breaks. • Isacord thread colors are created using tiny increments of dye that are verified by computer to assure that the dye lots are always true. • Isacord thread is never over-dyed. Over-dying means that a manufacturer will dye their “missed” colors to black, which weakens the thread. • Isacord thread has more twists than other brands; it unreels smoothly and does not loop. • Isacord has a special finishing process that improves performance. • Isacord thread is specially certified and approved for embroidery by the apparel industry. Before Bleach After Bleach Slide 23 Bobbin Thread • 60wt polyester (Bottom Line) • Not necessary to match colors-white on light and black on dark. If item may be seen on the back, you may want to make thread to the item’s color. Slide 24 Embroidery Needles • Not the same as your sewing needles. Embroidery needles should not be used for regular sewing either. • The eye in the needle is one size larger than it should be for the needle. • Non organ embroidery needles should be changed every 1-2 hours of embroidery • Standard Organ Embroidery Needles: Last about 8 hours • Titanium Organ Embroidery Needles: These needles have a high technology coating which extends the life up to five times that of conventional needles. (approximately 40 hours) Slide 25 Titanium needles • Great for longevity • Good for heavy fabrics • A MUST for sticky backed stabilizers Slide 26 Paper Backed Pressure Sensitive Adhesive Stabilizers • Clean the needle frequently Slide 27 Embroidery Hoops • In the world of embroidery, we work with the metric system. Approximately 25 mm=1 inch • Small 50 x 72 • Medium 130 x 100 (scant 4” x generous 5”) • Large 255 x 145 • Mega 400 x 150 • Jumbo 400 x 260 (15 ¾” x scant 10 ¼) • Deco Hoops: – Hoop A – Hoop B 200 × 140mm (7.9” x 5.5”) Slide 28 Proper Hooping • Spray embroidery adhesive on stabilizer • Use template for alignment • Hoop all layers Slide 29 Place the inner hoop with template over the marked lines on fabric Slide 30 Plastic template doesn’t fit? Slide 31 If the arrows match, the notches match Slide 32 Loosen screw before hooping Slide 33 Slide 34 Push inner hoop down ever so slightly Slide 35 Adjust center needle position if needed Slide 36 Proper Hooping To Avoid Hoop Burn: • Loosen Set Screws • Don’t Force Fabric Slide 38 A word on designs…. • Good Quality designs will result in good quality embroidery results • It is good practice to test stitch embroidery designs with the same fabric, stabilizer and thread that will be used for the final project. • When evaluating the appropriateness of a design for the fabric, a good rule of thumb is: if the stabilizer required for the design selected will significantly change the hand of the fabric, the design is too dense for the fabric. Slide 39 Planning your time • Round # of stitches up to the next 1,000 and multiple by 2. • 9 (# of 1000’s) x 2 = 18 minutes (approximately) Slide 40 How do I get more designs? • How to get designs from a design usb stick and embroidery cards • How to get designs from the internet – www.berninadesignstudio.com • How to get the designs from computer and cds Slide 41 Rules of Good Embroidery Keep the following points in mind when looking at embroidery designs, both your own and others: • Stitches are neat, smooth and even • Design looks good – shapes, colors, balance • Shapes are filled with correct fill and outline stitches • Stitches are angled to match shapes • Shapes are stitched correctly – no unwanted gaps • Details are clearly defined • Lettering is clear and easy to read. The stitchout should also have the following characteristics: • The design sews efficiently on the machine • The fabric does not pucker around stitched areas • The design is free of loose ends.
Recommended publications
  • Schmetz Needle Guide
    NEEDLE GUIDE Needle Anatomy Butt: The beveled end allows easy insertion in the needle bar. Shank: Household needles have a flat shank, while commercial and industrial needles have round, threaded, notched or other special shanks. Shanks allow perfect positioning of the needle in the sewing machine needle bar. Shoulder: The sloping area transitioning between the shank and blade. Schmetz color codes appear on the shoulder. Blade: Needle size is determined by the blade diameter (i.e., size 75 is .75mm) Groove: The groove cradles and guides thread to the eye. The length and size of the groove vary according to needle type. Scarf: The indentation above the eye that allows the bobbin hook to smoothly grab the thread under the throat plate to create a stitch. The shape and size of the scarf vary according to needle type. Eye: The hole through which thread passes. The shape and size of the eye vary according to needle type. Point and Tip: Length, shape and size vary according to needle types. Change Your Needle 130/705 H Damaged or worn needles result in: Household sewing machines require a needle with a flattened shank. All needles in this system have a flattened shank for perfect needle • Broken or shredded threads positioning in the needle bar in relation to the hook. • Skipped stitches • Puckered fabrics • Damaged fabrics Schmetz Works with All Sewing Machines! • Uneven threads Schmetz needles work with all new, current and older household sewing machines! Replace Your Needle It’s the easiest way to How to Read a Needle Package improve your stitch quality.
    [Show full text]
  • Stitch Guide by Johanna Lindahl
    1 Stitch Guide By Johanna Lindahl In this stitch guide all the uncommon stitches used in my patterns are described. Note that sometimes stitches are made in a different way than in this guide and in that case that specific stitch is described in the pattern. Content, US terms: • Picot • Popcorn (pop) • Puff • Front post slip stitch (FPss) • Front post single crochet (FPsc) • Double crochet 2 together (dc2tog) • Double crochet 3 together (dc3tog) • Front post double crochet (FPdc) • Front post treble (FPtr) • Front post trebles 2 together (FPtr2tog) • Back post slip stitch (BPss) • Back post single crochet (BPsc) • Back post half double crochet (BPhdc) • Back post double crochet (BPdc) • Back post treble (BPtr) • Spike single crochet • Standing single crochet • Standing double crochet • Invisible join Ravelry Store: Johanna Lindahl Designs Blogg: mijocrochet.se | Facebook: Mijo Crochet | Instagram: @mijocrochet Mijo Crochet 2018. Picot 2 Chain one (or more). Then you make a slip stitch through the front loop and the front vertical loop in the single crochet (or dc) just made. Popcorn (pop) Make 4 double crochet in the specified stitch. Drop the loop from your hook and then insert your hook in the first double crochet you made. Grab the dropped loop and pull it through the stitch. Ravelry Store: Johanna Lindahl Designs Blogg: mijocrochet.se | Facebook: Mijo Crochet | Instagram: @mijocrochet Mijo Crochet 2018. Puff 3 Yo, insert the hook into the specified stitch. Pull the yarn through the stitch. [Yo and insert the hook into the same stitch and yo again. Pull the yarn through the stitch] 3 more times.
    [Show full text]
  • Faculty Development Grant Report Sumi Lee Professor of Fashion
    Faculty Development Grant Report Sumi Lee Professor of Fashion Design Faculty Development Grant Report Submitted Sep.11th, 2017 Sumi Lee Professor of Fashion Design Project Description: In Fall 2016, I received a Faculty Development Grant to fund a textile art workshop titled “Places, Spaces and Traces” in Les Carroz, France. This workshop focused on creating artistic textile surfaces, while experimenting with found materials, different media, novel techniques, mark-making (i.e., use of stitch as a “line”), and paint methods on fabric (e.g., sun prints with silk dyes). These different approaches to creating textiles are often described as “painting with cloth.” This workshop was instructed by a renowned textile artist from the U.K., Cas Holmes, author of several books and articles including “The Found Object in Textile Art” and “Stitch Stories”. She utilizes a unique “hands-on” approach that showcases her experimental use of found materials and inventive application of textile and mixed media procedures. Significant Activities: According to Cas Holmes, the most important aspect of “creating art” is the process of developing one’s own approach to subject matter in a meaningful way. Specifically, Holmes showed how she makes connections to natural environments in developing her narratives and her personal vision as a textile artist. #1. Stitch- Sketching: Drawing and recording daily observation, and the realization of those ideas in textile is a process. Sketchbook by Cas Holms Sketchbook by Sumi Lee The colors, textures, and changing light over the meadows, fields and landscape can provide a stimulus for the narrative, formal, or abstract quality in textile works.
    [Show full text]
  • Sewing Technique: Lock Stitch (Hem 1”)
    Sewing Technique: Lock Stitch (Hem 1”) The lock stitch is a hand stitch used for hemming purposes. It gives a secure hold with limited view of the thread on the outer side of the garment. STEP 1: Stay stitch ¼-inch from the fabric edge. (A stay stitch is a single line that is used for guidance and to keep the fabric from fraying. It is a normal stitch length and backstitching is a personal preference.) STEP 2: Fold the hem edge back 1-inch. Press fold in order to make a crease in the fabric. Press fabric 1 again ¼-inch. This press will follow the stay stitch seam. STEP 3: Secure thread to the folded edge of fabric on stay stitch line in order to hide the knot. STEP 4: Moving left, make a small stitch (1/2 to ¾ inch). The stitch should first go through the ¼-inch fold; then a small stitch is made that only goes through the outside layer of the garment. Pull thread gently back through to the inside of the garment. Avoid pulling the thread tight as the needle passes back through the loop created from the stitch. 5 3 5 STEP 6: To tighten lock stitch, pull thread to the left. STEP 7: Continue moving left and repeating step 5 until seam is complete. STEP 8: Once finished, secure thread to prevent it from unraveling. NOTE: The lock stitch can be used in place of a catch stitch. 7 6 Industry Standards for a Well-Constructed Hem: • Hem is level • Hem lies flat • No puckers, twists, or extra bulk • Hand stitching is not visible on correct side of garment • Hand stitches are evenly spaced • Topstitching is even and parallel to hemline References: Readers Digest.
    [Show full text]
  • Learn to Sew!
    Fun at Home Learn to Sew When people think of sewing, they think of sewing machines. Sewing machines are wonderful but are still a fairly new invention. What were humans doing before machines? Sewing by hand! Humans started sewing by hand as far back as 40,000 years ago. The original sewing needles, like all tools, were made from bone, antler, and ivory. At Bone needles found at Historic Jamestown this time, humans were making cordage, or twined fibers, to use as thread. The first record of an invention like the sewing machine dates to a man named Thomas Saint in 1790. The first successful machine came in 1830 from a Frenchman named Barthelemy Thimmonnier. On the American front, no one is as well known as Isaac Merrit Singer. Singer worked off the designs of other inventors, including Thimmonnier and American Walter Hunt, to create his Singer Sewing A Singer Sewing Machine, machine. Since its creation, it has allowed for easier Smithsonian Archives and quicker creations. There’s an example of a sewing machine in our 1890s Farm House. There have been improvements since Singer’s original designs. For example, Helen Blanchard has 22 patents for sewing machine related inventions! Even though machines make tasks easier, it’s always a good idea to learn how to do things by hand. Learn two basic stitches to fix and sew some projects of your own! Helen Blanchard Craft: Stitches Here is an outline for two basic stitches. All you need is a needle, thread, and some scrap pieces of fabric. Once you get the hang of these, search for more to master! The Running Stitch 1.
    [Show full text]
  • Just Sew-It Twin Needles
    BERNINA eBook Series JUST SEW IT! Exploring Twin Needles Written by Megann Freese EXPLORING TWIN NEEDLES In the wide array of techniques used in the sewing, quilting, and embroidery worlds, different needles are needed to provide the best results for every project. Twin needles, or double needles, are a type of needle that is often overlooked, but prove to be very useful in every category of sewing, not to mention that they are fun to use. Twin needles are two needles leading to two identical rows of parallel stitching accomplished using a single bobbin. Available in different types, sizes, and needle distances, there are few techniques that the twin needle cannot accomplish. This eBook discusses the anatomy of the twin needle, the different sizes and types, how to set up the sewing machine to operate with this type of needle, and different sewing techniques that are enhanced with the twin needle. ANATOMY How is the twin needle designed? The anatomy is simple: The two needles are connected to a single shank by a plastic bridge piece. The bridge piece acts as the shoulder for both needle shafts. Each needle has its own groove, eye, and point; however, both are the exact same size. The shank of a twin needle has a flat side, like that of a singular needle, which should be positioned to the back when inserted into the machine. Each needle has its own thread supply. Two spools of thread are needed for proper threading. NEEDLE ANATOMY LABELED Point Eye Shank Bridge Groove Two Needles PAGE 1 © 2020 BERNINA of America bernina.com EXPLORING TWIN NEEDLES HOW THE STITCHES ARE MADE In order to use a twin needle, or double needle, the sewing machine must be able to do a zigzag stitch.
    [Show full text]
  • Stitched Textile Technology in Womenswear Design
    2nd International Conference on Advances in Social Science, Humanities, and Management (ASSHM 2014) The stitched textile technology and its emotional consideration property in fashion design Yushan Zou; Desheng Zhang (College of textiles and garments, Southwest University, Chongqing China, 400715) Abstract fashion design. By stitching, textured fabric would well decorate design. In the modern world, fashion designers have kept In the field of product development, fashion exploring more skills on fabric in the field of product designers start to explore more on fabric. As Hedley development. The stitched textile technology attracted (2010) agreed that line has great versatility, which is a increasing attention due to its characteristics of emotion basic element in fashion design; it could be used to create expressing, easy-sculpting and color-matching. The texture, mark and form. Stitched textiles combines fabric present paper introduced this textile redesign skill and a painting and printing, applied fabrics and hand and fashion artist named Gwen Hedley who did an excellent machine stitchery. I have paid great attention to the stitch job in stitched textile application. Additionally, a vivid artist named Gwen Hedley. She is an English textile artist case of this technique adopted by us in womenswear who is strong recognized in textile. She can use stitching design was shared in this paper. We conclude that well on fabric. What she did is fabrics redo by using the stitched textile can help to enhance the uniformity of techniques of stitching and hand sewing and most whole collection and emotion consideration in fashion inspired for textured nature. design. 2 The technology of stitched textile and its properties Keywords: stitched textile , womenswear , fashion designing, emotional consideration 2.1 The technology and emotional expression of stitched textile 1 Introduction In textile arts, stitching is a basic element of sewing, With the public aesthetic promotion, common embroidery and crochets no matter by hand or machine.
    [Show full text]
  • Stitches+And+Techniques+Guide.Pdf
    Stitches & Techniques Guide Table of Contents Slip Knot 1 Chain (ch) 2 Slip Stitch (sl st) 2 Single Crochet (sc) 3 Half Double Crochet (hdc) 4 Double Crochet (dc) 5 Treble Crochet (trc) 6 Back Post Double Crochet (bpdc) 7 Front Post Double Crochet (fpdc) 8 Alternating between BPdc and FPcd 9 Foundation Single Crochet (fsc) 10-11 Extended Single Crochet (esc) 12 Reverse Single Crochet (rev sc) 13 Front and Back Loop 14 Increase Two (inc 2) 15 Increase Three (inc 3) 15 Invisible Decrease (inv dec 2) 16 Single Crochet Two Together (sc2tog) 16 Working in to the Back Bump of the Chain 17 Magic Ring 18 Working in Magic Ring 19 Closing Magic Ring 20 Hiding Magic Ring’s Tail 20 Creating a Circle Joining with Slip Stitch 21 Needle Join 22 Join with Single Crochet 23 Changing Colors 24 Close Piece 25-26 Join an Open-Ended Piece to a Closed Piece 27-28 Sew Two Flat Pieces Together 29 Blanket Stitch – Edging 30 Blanket Stitch – Sewing to Another Piece 31-32 Cleaning and Washing Amigurumi 33-34 Crochet Terminology – US and UK 35 BuddyRumi.com Stitches & Techniques Guide Stitches & Techniques The stitches are worked in the same way when working in rows or rounds. Slipknot Step 1 Step 2 Step 3 Place yarn between the Place hook below the Rotate hook clockwise. index and the middle finger yarn from the left and and bring it up above the above. index finger. Step 4 Step 5 Step 6 Continue to rotate until Yarn over. Pull the yarn through the you have created a loop on loop you created by the hook.
    [Show full text]
  • THE WHIP STITCH the Whip Stitch Is a Mostly Invisible Stitch That Can Be Used for Finishing Edges of Fabrics Or Closing Hems
    SEWING BASICS SEWING BASICS HAND SEWING HAND SEWING THE WHIP STITCH The whip stitch is a mostly invisible stitch that can be used for finishing edges of fabrics or closing hems. If done correctly, it will have slanted stitches in the inside of the fabric and small stitches on the outside. STEP 6: Repeat. Continue the STEP 7: The last stitch. When you pattern of inserting the needle reach the end of the fabric, create through both pieces of fabric at the final stitch by piercing the an angle, and coming up 1/8” needle through the bottom layer away from the previous stitch. and pulling it straight through STEP 1: Starting the stitch. Arrange STEP 2: Making the first stitch. both layers instead of at an angle. the fabric so that the back sides of Poke the needle through both the pieces are touching. Poke your pieces of fabric this time, so that needle up through the top layer the thread comes up almost in of fabric 1/8” from the edge. This the exact same space as in step 1. way the knot will not be visible. STEP 8: Preparing the knot. Repeat STEP 9: Tying the knot. Poke the step 7, but this time only pull the needle through the inside of the needle through the bottom layer. stitch from step 7. Pull until making Now open up the fabric to reveal STEP 3: The diagonal stitch Using STEP 4: Second diagonal stitch. a small loop. Then loop the needle the inside stitching and finish the the same hole, poke the needle Position the needle under the bottom around it twice, as pictured.
    [Show full text]
  • 1895 Reissue 41 Style 11
    Style 9: 1893 40 New Johnston ruffler (Figure 41b, page 21), Style 8 tuck- marker. Style 10: 1895 reissue 41 New ruffler Figures 44a to 44c page 22), and Style 8 tuck- marker. Style 11: 1899 reissue 42 New ruffler (as in Figure 40c, page 20, but with the spacer) and Style 8 tuck-marker. Three different Style 11 sets are documented, but they are all dated after the Style 12 set! All three style 11 manuals describe a foot hemmer, but none of the box illustrations or the lists of attachments include it. As I think it is likely that Singer produced sets chronologically this reissue suggests that there is at least one other, earlier style 11 set. 40 Singer, 1893b. 41 Singer, 1895a. 42 Singer, 1899. 29 Style 11: 1901 reissue 43 New tuck-marker on page 14 of the instruction manual. (The illustration on page 15 of the manual and the box view opposite show the 1899 tuck-marker, probably because the drawing was copied from the previous manual. Both are given the same number of 26513.) This Style manual includes a price list. A “box with racks” is the folding box with the holding clips but without any attachments or accessories. Style 11: 1906 reissue 44 A different arrangement of the accessories (screwdrivers, and so on). Otherwise the same as the above, including the two different tuck-markers that are given the same number of 26513. It is one of the most common folding boxes. This Style manual has a price list. 45 Style 12: 1895 reissue This Style manual includes a list of contents.
    [Show full text]
  • CHAIN STITCH FORMATION: STITCH CLASS - 100 Dr
    CHAIN STITCH FORMATION: STITCH CLASS - 100 Dr. Bhupinder Kaur1, Dr. Chanchal2 1,2Department of Fabric and Apparel Science, Institute of Home Economics, Delhi University (India) ABSTRACT Stitch class 100 are formed with one or more needle threads, and are characterized by intra-looping. Intra-loping the passing of a loop of thread through another loop by the same thread. It is very economical, flexible but unravels too easily. It is mainly used for basting, button sewing and hemming operations. keywords- Stitch class, Stitch class 100 I. INTRODUCTION – STITCH CLASS 100 A stitch may be formed without material, inside the material, through material and on material. Stitch class 100 are formed with one or more needle threads, and are characterized by intra-looping. Intra-loping the passing of a loop of thread through another loop by the same thread (Fig 1). It is very economical, flexible but unravels too easily. It is used for basting button sewing, bag closing, hemming, padding operations, snap fasteners, cuff tacks etc. This stitch class may be further classified as class 101, 102, 103, 104, 105,107 and 108. Fig 1 Intralooping Source: http://www.textileschool.com/articles/97/different-kind-of-stitches II. FORMATION OF DIFFERENT TYPES OF STITCHES OF THIS CLASS Stitch class 101 is formed using one needle thread (1), a loop of which is passed through the material from the needle side and intra-looped in the other side. 223 | P a g e Name of Needle Total Needle Bobbin Eye Looper / Spreader Bed type Feed type stitch Threads Thread thread Blind Lopper Single thread 1 1 1 0 1 0 Cylindrical Bed Compound chain stitch feed Stitch class 102 is formed using two-needle thread (1and 2), loops of which are passed through the material from the needle side.
    [Show full text]
  • Stitches Per Inch (Spi) - What You Should Know
    TECHNICAL BULLETIN STITCHES PER INCH (SPI) - WHAT YOU SHOULD KNOW Introduction When writing garment specifications, you should not neglect specifying the proper number of stitches per inch that should be used in your sewn products. Why? Because the number of stitches per inch can have a direct influence on the following: 1) the seam strength; 2) the stitch appearance; and 3) the seam elasticity on stretch fabrics. An estimated seam strength formula was developed years ago for woven seams where one piece of fabric is placed on top of another with a specific seam margin and stitched with either a 301 lockstitch or 401 chainstitch. Figure 1. Superimposed Seam Obviously, the seam strength is dependent on a number of factors including: Type & Weight of the Fabric Stitch & Seam Construction Stitches Per Inch Thread Type and Size Stitch Balance (Thread Tensioning) Formula for Estimating Seam Strength on Woven Fabrics 301 Lockstitch - Estimated Seam Strength = SPI X Thread Strength (lbs.) X 1.5* * 1.5 is a factor based on the average loop strength ratio of most sewing threads. = 10 SPI X 4.0 lbs. X 1.5 = 60 lb. strength 401 Chainstitch – Estimated Seam Strength = SPI X Thread Strength (lbs.) X 1.7 * * This factor is higher than a lockstitch because almost twice as much thread is consumed per inch of seam using a chainstitch. = 10 SPI X 4.0 lbs. X 1.7 = 68 lb. strength Page 1 of 4 TECHNICAL BULLETIN From this formula, you can see the impact that stitches per inch, thread strength and stitch selection have on the strength of the seam.
    [Show full text]