ImagesMagUK_Digital-Edition_Nov17

TIPS & TECHNIQUES

Even on a design like this with open area, you can pre-underlay the entire design in order to secure the fabric to the stabilisers as completely as possible before running

Polymesh, no-showmesh and other performance specific backings are thin enough to be less visible on a finished product, but stable enough to tamp down distortion, often with only one sheet, and without adversely affecting the hand of the garment

‘starburst’ pattern, or one that follows the design’s contours, in a similar method. Your fabric will be entirely secured to the stabiliser and have its movement arrested with this tacking stitch-like run and, if it’s well hidden by the design, won’t require removal. Reduce the length The long stitches in a wide satin column have more tension on them than a satin stitch or fill of equal width; even though you might usually use a satin for an element, consider a split satin when working on thin materials to reduce tension and distortion. Material World Keep it stable Stabilisers that are thin but have almost no stretch are the best for eliminating puckering on thinner, unstable materials. Consider polymesh: it is stable, light, hard to see through the garment when properly trimmed, and you only need one sheet for most well- created designs. Stick together On the least stable materials, use a light application of embroidery-specific spray adhesive to temporarily marry the garment firmly to the stabiliser to arrest almost all shifting during the stitching process. Hooping Firm hooping arrests the movement of materials, but an overly firm hand with stretchy materials will cause over-tensioning, resulting in awful puckering when the stretched material, which has been stitched in an overstretched state, has the surrounding material rebound after unhooping. Hoop firm and tight, but don’t overstretch. A window of protection Prevent damage such as ‘hoop burn’ on sensitive materials by creating a window of

stabiliser on top of the garment when hooping. Cut a hole in a stabiliser sheet large enough for your design to be embroidered through it, then hoop your garment as normal with a full sheet below, using the ‘window’ on the top to allow the hoop to be firmly set without abrading the garment. On the machine Slow your stitch The higher your stitches per minute (spm), the more force you are applying to your garment, and the more it distorts. Give the fabric time to relax after each stitch by slowing the machine down on your difficult garments. This isn’t the prime reason for puckering, but is worth testing, especially if you always run at the maximum speed your machine can handle. It may just need to relax. Speed is always a trade-off with quality. Feeling tense? Tension can affect puckering; even with a balance that doesn’t show an imbalance of bobbin thread, you may be putting too much tension on your garment. Get gauges and adjust to your thread manufacturer’s recommended tension. Maintaining it at the right level means less pull and distortion, especially in satin stitches. For the lightest hand on

[Top] This piece was flawed from the beginning; even on a denim shirt, it was stitched with a huge amount of density and with stitch angles that distorted in the weak dimension of the fabric. [Above] My recreation reduced the density significantly. Since it was going on a performance polo shirt, I lowered my densities through the use of a light appliqué material behind the blue circle, and a very loose density fill above it to give it texture. This piece was on a thin garment yet produced minimal distortion garments that won’t be bleached, you can even consider the slightly less tense and stretchy rayon thread, so long as you understand that it will have lower colourfastness and stiffness. Ultimately, when it comes to avoiding puckering of fabrics, the watchword is ‘balance’. Don’t overstretch, design with a light hand, and balance your stitching with preparation before the design and a smooth, unhurried operation throughout. Do that, and don’t be afraid of a little steam or press when your garment is finished, and you’ll find deformation of your substrates significantly reduced.

Erich Campbell is an award-winning digitiser, embroidery columnist and educator, with 18 years’ experience both in production and the management of e-commerce properties. He is the partner relationship manager for DecoNetwork in the USA. www.erichcampbell.com

68 images NOVEMBER 2017

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