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« Newer Posts 1. » You can embroider on almost any fabric, knitted surface, that is, the various types of clothing - shirts, sweatshirts, jackets, hats on. Trademarks, chevrons and other brand names, pennants, performed with the use of computer embroidery, especially dressy. They - the key to the increased attention of others.
Reproduction advertising design method machine embroidery attractive by the fact that there is virtually no limit to the color combinations, and adds the desired product advertiser appeal, and embroidered logo or slogan expression and artistic expression. These and other features enable the embroidery successfully compete with the traditional methods of applying the logos as silk screen printing, transfer printing or tampon. In this case, however, the embroidery is advertising needs much longer and allows most clearly embody an advertising plan.
Original text by Marina Belova All types of stitches have a bunch of adjustable properties. Control over these properties allows a digitizer to minimize the risk of defects and to produce a garment up to all quality standards. There are 2 types of stitch object properties: Main Secondary Main stitch object properties include: Stitch length Density Stitch angle Texture Stitch shortening Edge shape (stitch profile) Secondary stitch object properties are: Pull compensation Push compensation Understitching Tie-offs Not all of these can be applied automatically to any stitch type. Some stitch types have a narrower range of properties, some a wider one (see the table below). All object properties can be changed by a user in the Properties panel. Is is usually called 'Properties', but in some embroidery editors there may be variations.
For example, in Stitch Era Universal such a panel is called Object inspector. It looks like this: Every parameter in the object characteristics panel is set to a default value.
These default values differ from one embroidery editor to another. They are only the starting points for design digitizing. One should be aware of the fact that these values are not reference standards.
All the parameters suggested by the software manufacturer should be revised and adapted for every particular situation and every particular design. The most important factors for the changes are your personal tastes, your embroidery machine peculiarities and the input parameters of the future design: fabrics, threads, etc. I'm going to describe all stitch object properties in separate articles. Stay with us!. August 13, 2016.
By. 710 views. You can do that by either using a color palette from a.EDR file (what's this?) or change the color of every object manually. Today we’ll focus on the second method.
It will be handy for those who like to create their own color schemes. Open the design in My Editor and see that the colors are all wrong.
Look at the top left corner of My Editor window and find the Color Manager icon. A pop-up window will appear, divided into several parts.
On the left, you see the available palettes and the colors they contain. On the right are the colors used in your design. You can use a color chart that comes with the order as a reference point or choose any color you like from any of the available palettes.
The color chart for this particular Bunny is for the Robinson-Anton Rayon threads. 1. Set your cursor at the color you want to change.
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From the color chart that comes with the order, you know that this object should be painted ruby glint instead of yellow. Choose Robinson-Anton color palette from the drop-down list.
For your convenience, the items in the palette can be arranged either by name or by colors. Find Ruby Glint on the list, set your cursor at it and click on Set Color.
You’ll instantly see how the design looks with this new color. Repeat the steps 1–3 until you are satisfied with the result, then press OK. In this example, I used Robinson-Anton color palette, but you can choose any one you like. You can even combine them if you’re going to use different types of threads. Don’t forget to save the design after you’ve completed tinkering with it!. January 24, 2017.
Dst Embroidery File Viewer
By. 993 views. Original text by Marina Belova We all use fabric or some other material as a base for our machine embroidery.
Machine embroidery is possible on a huge variety woven and non-woven fabrics and also knitwear. The machine embroidery design construction in many ways depends on the properties of the fabric that is going to be used as a base. Today I decided to delve into the properties of the woven materials.
I'd singled out 3 groups of properties that have the great influence over the embroidery: Main properties of the woven materials concerning with structure: Density which is determined by the number of the warp and weft yarns in 10 cm of the fabric. There are tightly woven, loosely woven and open fabrics. The interweaving of the yarns has an impact on the durability of the fabric, its texture, elasticity, thickness, coarseness, proneness to fraying and shrinkage. Main (simple) types of weave Plain weave.
Front and back side look identical. The fabric is highly durable. Diagonal lines are distinctly visible on the fabric, running out from below left to upper right or upper left to below right. The first one is more common. Though such fabrics have a smoother surface, they are less durable than plain weave fabrics. They are distinctive for their softness and elasticity, their ability to arrange in folds and their stretchiness, especially diagonally. Satin — has a smoother and evener surface than twill, is shinier, softer and more elastic and also ravel-prone.
Huck-a-back Ribbed — has longitudinal or crosscutting ribs on the fabric. Basket weave — has square-shaped ribs of the fabric. Three-dimensional weave — a picture where warp or weft threads is raised. Complex weave — made by 3 and more threads. Jacquard is made by 3 and more threads. Geometrical properties Thickness — distance between the protruding parts of yarns on the right and wrong sides. Depends on the thread thickness, their curvature, type of weave, density and finishing.
Plain weave fabrics are the thickest, twill and huck-a-back a bit thicker and complex weave cloths are the thickest. The choice and expenditure of threads, also the choice of needles and stabilizers depends on the fabric thickness. Surface density is weight per 1 m2 of the fabric.
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Mechanical properties show how the fabric reacts to the forces imposed upon it. Tensile deformation Flexural deformation Technical properties, which characterize various stages of embroidery production.
Proneness to slip — depends on the surface: on the yarns and weave. Cutting resistance. Fraying ability — the ability of threads to slip and drop out of raw edges.
Depends on the types of threads, their weave, density, and finishing. Shrinkage — ability of the cloth to decrease in size under the influence of heating and water.
The ability of extrusion while washing and pressing — the ability of the fabrics to take a shape and retain it in wear. Depends on the fiber composition and fabric structure. Yarn slippage — shifting of the yarns against each other under the influence of outer forces, which damage the structure and look of the fabric. Low-density fabrics are marked by it. These are silk cloth, organza and so on. Proneness to needle cutting is what causes the damage to the fibers by a needle.
It depends on fabric structure and type of finish, density, the right choice of needles and threads. Plain weave is easier for the needle to cut through, therefore, these fabrics are damaged more often than the ones with twill or satin weave. Compressibility — the ability of the fabric to become thinner when being compressed. It characterizes thread expenditure and seam structure. Thick loosely spun fabrics like drape cloth and baize are compressible, the seams lie deep and are not visible.
Coarse fabrics are almost non-compressible, the seams protrude from the surface, are visible to the eye, and these fabrics require more threads. All these particularities of woven cloth make their mark on the digitizing process — every one of them has its own underlay properties, push and pull compensation, density values and so on. Therefore, there are no settings that are good for all types of fabric simultaneously, and you need to make alterations every time. Besides, the properties of the fabric influence the embroidery process: the (im)possibility of hooping, the hooping method, the choice of stabilizers, etc.
August 5, 2016. By.
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