Denim is a twill weave that runs diagonally and is difficult to control with any twill weave, whether you are trying construction stitching or machine embroidery. The twill fabric is designed to give the wearer maximum comfort by natural "giving". That's why we all like our chinos and jeans! However, this comfort quality is a real problem for machine embroidery enthusiasts.
The fabric must be "blocked" when cutting, assembling and stitching conventional seals or machine embroidery. From tailoring patterns to embroidered denim, you'll experience the challenge of "fronting" and "blocking" fabrics. If you are a quilter, you know what blocking is. If you are not a quilting machine, it simply means keeping the texture of the weave in the lateral and linear directions, straight or square.
Denim is difficult to block due to diagonal weaving, and denim is usually heavier than most other fabrics. I recently sewed a long, heavy denim jacket with a very large design on the front edge of the jacket opening, near the hem. This means that I must immediately let the design run straight in both directions. If I don't take extra precautions to ensure that the design is properly placed and stable enough to prevent wrinkles and warpage caused by the tension of the machine embroidery design during stitching, the arrival can be very ugly.
Since I chose a fairly rigorous design to combine a scene, I knew I had a difficult but not impossible task. First, I have to determine what will prevent twill deformation during the stitching process. Secondly, I know that wearing a coat is almost impossible - the denim is as heavy as any working jeans I have ever seen.
I immediately knew that I couldn't hug the jacket, so first determine the stability of the denim, then find a way to make a way to maintain the support under the high stitch count design and finish the stitching. Considering the factors that I can't change - the weight of the fabric and the heavy weight of the design group - I want to use the "formula" of the layer, which does not produce a stiff effect when done all. The front edge of the jacket does open - if you are not careful, this can be considered a deadly weapon!
~ Design placement ~
The first problem to overcome - when you connect the hoop to the machine, you can imagine most of all this fabric! Since most of the fabric must be on the left side of the machine to avoid shrinking the movement of the "arm" and the hoop, the design must be reversed! To do this, you simply flip the design vertically and then horizontally.
Using the printed image of the design and the plastic mesh of the hoop, I determined the exact location where I wanted to place the design. [Always stand about 3 feet from the garment to make sure the design meets your requirements! It's usually best to try it out and look in the mirror first.]
~ Prepare fabrics or clothing ~
I washed the coat to shrink it to prevent any warping or wrinkling that occurred after the first wash. Next, I pressed the steam on the front of the jacket to its original flat state by using Magic Sizing and heavy steam. The key now is to press the word - not iron! If you iron [iron moving down any direction] the denim will be stretched and twisted.
After this process, the coating is completely dry and the previously determined design position is ensured, then I use a polyester set of dry iron to tear the fusible medium off the backing to the back, ensuring that the backing straight runs with the coat cross texture . Again - press the backing instead of ironing it. To avoid the appearance of the armor, I chose a soft tear-off backing as the second layer, placing the straight lines in a straight line. A slight spray of 505 temporary adhesive was applied to prevent it from shifting.
~ stable ~
The "hoop" backing I chose is a wonderful solvent - a water soluble, fabric-like stabilizer that will support any number of stitches. I hugged a piece on my brother's giant hoop, which has a 5 x 12 inch stitching area. Then I sprayed a miracle solvent with a thick 505 spray.
I set a giant hoop on my Hoop Mate to make sure I can use the curved edge of the hoop to straighten the front edge of the jacket. Then, make sure that the hem edge is also straight, and I press the closed backing of the jacket onto the ring of wonder solvent. I placed the plastic mesh template on the "hoop" fabric and carefully checked the position of the Whew - the worst part of the project has been completed!
~At last! Ready~
After locking the hoop on the embroidery arm, I placed a piece of mesh sol on it to prevent the suture from sinking into the denim. The first thing I sew is that all three areas of the giant hoop have a lined outline. It takes a little while, but it's worth the effort. This secures the fabric/cloth to the hoop backing, helping to ensure minimal movement during actual design stitching.
I first sew the top design, then the bottom design, and finally the center design. By moving on the hoop in this way, it is possible to prevent any area from being pulled excessively, which causes the fabric to be deformed and unsightly wrinkles.
~Final Results~
I am happy to report that the entire scene is straight/square, the front and bottom of the coat, no wrinkles, no warping, no "closed" outline! The applied coating is harder than the original coating. My daughter is now proud to wear a lighthouse to the bottom of the scene on the lower edge of this spring/autumn heavy coat!
Orignal From: Embroidery design sewing
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