1.

INTRODUCTION
Embroidery, a method of surface ornamentation just like dyeing and printing, is
an age old art form that has decorated clothing, bedding, and household
goods for hundreds of years. Using colored threads to create patterns dates
back to the time of ancient Egypt, when women sewed metallic threads into
clothing for decoration. The trend caught on with Babylonians, Phoenicians,
and Hebrews, who all began incorporating embroidered pieces into their
clothing. t continued to grow in popularity and finally ac!uired the present
state.
The oldest embroidered piece in e"istence is the world famous Bayeu" Tapestry,
dating from appro"imately #$%%.This beautiful embroidered piece is thought
to ha&e been created by o&er #$$ noble women in the town and is
speculated to take se&eral years to complete.
The end of the #'th (entury saw founding of embroidery shops where scores of
women completed the delicate stitches by hand. The year #))$ saw the
ad&ent of the first embroidery machine, which further mechani*ed the
embroidery shops and produced e&en more products. +wit*erland soon
became the forerunner in embroidery designs and technology, with the
United +tates in second, as shops popped up in ,ew -ork (ity and
(hicago.
.ith the rapid ad&ancement in technology for electric sewing machines a
machine for e&ery type of stitch was being born. t took se&eral tries,
howe&er, to come up with a machine that could handle the task of
embroidery.
Thomas +tone and /ames Henderson were granted a 0rench patent in #)$1 for
2a machine that emulated hand sewing.3 That same year a patent was granted to
+cott /ohn 4uncan for an 2embroidery machine with multiple needles.3 The
machines of all three men were unsuccessful and ne&er came to being. t wasn5t
1
until #)%$, that saak 6roebli combined pre&ious hand looming techni!ues with
e"isting sewing machine technology to create the first embroidery sewing
machine.
The technology ad&anced greatly in #'## when the +inger +ewing (ompany
de&eloped the first multi7head embroidery sewing machine with si" heads and a
pantograph attachment.
8ost embroidery was completed by 9punching9 designs on paper tape that then
ran through the mechanical embroidery machine. :ne error could ruin an entire
design, forcing the creator to start o&er. This is how the term 9punching9 came to
be used in relation to digiti*ing embroidery designs.
;#')$< The (omputer 6raphics Embroidery +ystem by .ilcom=
n #')$, .ilcom introduced the first computer graphics embroidery design
system running on a mini7computer. The operator would 9digiti*e9 the design into
the computer using similar techni!ues to 9punching9, and the machine would
stitch out the digiti*ed design. .ilcom enhanced this technology in #')> with the
introduction of the first multi7user system that allowed more than one person to
be working on a different part of the embroidery process, &astly streamlining
production times.
2
The concept of computerized embroidery is quite simple. A desin file in
m!chine re!d!ble form is cre!ted usin suit!ble soft"!re on !
computer. No" the desin file cont!inin the complete inform!tion
!bout the no. of stitches required# the colour scheme !nd the f!bric is
s!$ed in either ! floppy or ! pen dri$e. The s!$ed file is no"
tr!nsferred into the control p!nel of the embroidery m!chine. The pre%
embroidery process !re completed !nd the m!chine is then s"itched
on the m!chine no" stitches the embroidery on the f!bric s!mple or
other simil!r item. This is ho" the "hole computerized embroidery is
completed.
&. '(ATUR() O' CO*+UT(RI,(D (*-ROID(R. +ROC())
The computerized embroidery is quite ! reli!ble process.it h!s the
pro$ision for repe!t!bility of desins !nd helps in f!ster !nd m!ss
production of embroidered products !nd thus h!s ! lot of sinific!nce
in the te/tile industry.
*ulticoloured desins c!n be obt!ined throuh this process !nd the
tr!nsfer of d!t! from the computer to the desin is quite ! simple
process !s it 0ust requires ! stor!e medi! li1e ! floppy or ! pen dri$e.
2. A++3ICATION) O' CO*+UT(RI,(D (*-ROID(R.
3
No"!d!ys Computerised embroidery pl!ys in m!0or role in the te/tile
industry.
It is used !s ! me!ns of surf!ce orn!ment!tion !nd h!s !pplic!tions in
App!rel4custom m!de# re!dy to "e!r !rments
Upholstery !nd home te/tile products%
c!rpets#curt!ins#t!ble !nd bed linens
Accessories% belts# c!ps# h!ts# shoes# b!s
3oos !nd comp!ny l!bels
5. -A)IC )O'T6AR( AND 7ARD6AR( R(8UIR(*(NT)4
4
5.1. *inimum )ystem Requirements4
+entium III processor "ith 1&9 RA*
&: ;- h!rd dis1 dri$e
1.55 *b floppy dis1 dri$e of pendri$e
<:: / <:: Dpi Colour )c!nner
Colour +rinter=Option!l>
3!st but not the le!st ! 1?@ Colour *onitor
A diitizer !nd enl!rer=option!l> for t!1in c!re of finer det!ils
5.&. )oft"!res needed
.indows >$$$?Professional
@iewer +oftware, e.g., Tajima
4esign +oftware ;Adobe Photoshop, etc.=
4esign editing software
Embroidery ad&isor software
5.&. (ditin !nd Diitizin )oft"!re
5
There are many choices a&ailable for software that can organi*e, print, edit,
con&ert, split, and e&en digiti*e new designs. +ome websites offer tools that
allow customi*ing stock designs without the need for e"pensi&e digiti*ing
software. :nline design tools are generally geared towards the consumer rather
than professional. :ften the software can be tailored so one can pay for only
those features he?she needs. f all one wants is to embroider a design purchased
either from the internet or a reputable digiti*er, then he?she probably doesnBt
need any additional software at all.
High !uality designs can be created and?or edited by trained users with almost
any type of digiti*ing software, e"pensi&e or ine"pensi&eC e"pensi&e software
simply automates common tasks and comple" embroidery techni!ues. 4igiti*ing
and editing software ranges from free to D#E,$$$. 0or basic software, e"pect to
pay anywhere from a few hundred to a couple thousand. 0or professional
software, e"pect to pay DE,$$$ to D#E,$$$ or more, depending on the desired
features. .hile there are some software packages that can auto7digiti*e artwork,
auto7digiti*ed designs usually result in more thread breaks and other problems,
and ha&e an arguably lower aesthetic !uality relati&e to designs created by
professional human digiti*ers. t is important to understand that digiti*ing
embroidery from artwork is not the same as using a paint program or a &ector7
based drawing tool. 0abric and thread ha&e &ery real limitations with which e&en
art or embroidery professionals need to be familiar. 0actors such as the fabric
and thread types chosen can profoundly affect the final digiti*ed design.
.These are just a few of the top !uality entry le&el ;costing se&eral hundred
dollar= editing and digiti*ing programs< Bu**Edit &>, Embroidery 8agic >,
0ancyworks +tudio, Embird, PE 4esign?Palette, :rigins, and 6enerations.
8anufacturers of professional !uality digiti*ing software include Barudan,
(ompucon, Pantograms, Pulse, .ilcom, +ierra, .ings and others.
6
5.2. Other Requirements4
1.F.#.(omputeri*ed Embroidery 8achine
1.F.>.Threads
1.F.F.,eedles
1.F.1.0rames
1.F.E Backing
1.F.%.Toppings
1.F.G.Hubricants
5.2.1 Computerized (mbroidery *!chines
Embroidery machines can be classified based on function, si*e and use.
The most common types are those that need manual operation to create designs
on fabrics and other materials, and are mainly used for fiber art and !uilting
projects.
8achines range in price from D>$$ all the way to more than D#>E,$$$ for a large7
scale commercial model. 8ost a&erage home embroidery machines can be
purchased for DE$$ to DE$$$. (ommercial embroidery machines can be
purchased as #, >, 1, %, #>, and #) head machines.
The po"er consumption of different m!chines r!nes from 1%1.A B6
ndustrial embroidery machines are now a&ailable in >$ and F$ head models.
The different types a&ailable are<
5.2.1.1. 'l!t (mbroidery *!chine7
7
These high7performance machines are designed for producing standard
embroidery in border or single motif frames. The a&ailable range of &ariants
co&ers all embroidery applications and is designed for their efficient e"ecution.
The head spacing ranges from %.1 to E#.> inches. The e"ecution of continuously
repeated border embroidery is ensured.
The rapid clamping system reduces production set7up times when embroidering
partly made7up items in single frames.
5.2.1.&. )equin (mbroidery *!chine % used for inserting
se!uins
5.2.1.2. C!p%option (mbroidery *!chines 7 used for
embroidering on caps

5.2.1.5. 8uiltin (mbroidery *!chine 7 are used for
!uilting purpose
5.2.1.A. Cordin (mbroidery *!chine 7 8achine7are used
for stitching cords
Att!chments4
+pecial se!uin, cord?loop, double7roller cord and?or boring attachments can be
integrated on all machines.
8
5.2.&. -!sic *!chine p!rts
A computeri*ed embroidery machine is composed of many different parts which
all work together in achie&ing !uality embroidery. The different parts which
make up the complete embroidery machine are<
A Control p!nel7 a digital de&ice in which the design file is transferred and
sa&ed. t has an H(4 screen which displays the number of stitches
re!uired, number of stitches completed, rpm of machine, needle which is
working and colour of thread which is being worked.
)t!nd7which supports the whole machine
-ed with a pantograph I it pro&ides a platform to the machine and the
pantograph o&er it is an assembly which mo&es the hoops back and forth,
9
to and fro, during the embroidery process. Below the bed the bobbin is
fi"ed.
7e!d7t is the main part of the machine. it in turn is composed of many parts like<
a. Tension adjusters 7 which help in adjusting the tension of the thread being
used.
b. Take7up7le&er I t Pulls the thread through the fabric after the stitch has
been made, controlling the flow of thread during stitch formation
c. Presser foot I A metal ring around the needle that mo&es with the
needle bar and holds the fabric down while the needle penetrates it. Aids
in loop formation.
*otor7which rotates and dri&es the machine
Tr!nsformer7 steps down or steps up A(.
5.2.2. +opul!r *!chine -r!nds
Brother nternational
Barudan
Tajima U+A
Toyota embroidery machines
-amata embroidery machine
+unmac Himited
8elso Embroidery +ystems
10
Baishedah Embroidery 8achinery
+inger
Te"mac nc.
Hirsch nternational (orp.
8esa 4istributor
8elco Embroidery +ystems
+.0 East
5.2.&. Thre!ds
8achine embroidery commonly uses polyester, Jayon, or metallic embroidery
thread, though other thread types are a&ailable.. The !uality of thread used can
greatly affect the number of thread breaks and other embroidery problems.
Polyester thread is generally more color safe and durable..
5.2.&.1. Thre!d )izes
8ost computeri*ed machine embroidery and sewing threads are numbered from
si*e #$$ to #>, with a larger number indicating a smaller thread si*e. +ewing
threads used for garment construction are usually si*e E$, while embroidery
designs are almost always digiti*ed for si*e 1$ thread. Bobbin thread is usually
either %$wt or '$wt thread this means that the stitches in most embroidery
designs are spaced so si*e 1$ threads fills the design ade!uately without gaps or
o&erlapping threads. .hen test7stitching re&eals a design with stitches so tightly
packed it feels stiff, stitching with a finer si*e E$ or %$ thread is one way to soften
11
the design. :n the other hand, larger thread ;si*e F$= can be used to increase
co&erage in a motif. Threads larger than si*e F$ are not suitable for most
embroidery designs, unless the design si*e is increased to accommodate the
larger si*e, or the digiti*er specifically recommends it.
Usually Jayon and polyester threads are used in computeri*ed embroidery
process but other threads can also be used. +ome of the threads are
R!yon thre!d 77 This thread is the most popular choice o&erall because of its
attracti&e high sheen, widespread a&ailability, and consistent trouble7free
performance, holding up to high7speed stitching without breaking or fraying.
Jayon thread comes in a wide range of solid and &ariegated colors, as well as in
a new 9twist9 thread composed of two or more solid colors twisted together to
form a single strand, which adds automatic shading and dimension to flat
designs. 8ost rayon threads are a&ailable in a standard 1$ wt. and a thicker F$
wt. ;in terms of thread si*ing, the higher the number, the finer the thread=.
+olyester embroidery thre!d 77 Popular and economical for embroidery,
polyester thread pro&ides an effect similar to rayon and comes in &arious colors.
t wonBt shrink, fade, or bleed, so itBs great for childrenBs clothes. Jayon thread
has a slightly higher sheen than polyester thread, but the two are
interchangeable and perform similarly without breaking or fraying. .hen theyBre
combined in a single design, itBs hard to tell the difference.
Cotton embroidery thre!d 77 (otton thread is often o&erlooked for use in
automatic embroidery machines. Howe&er, it performs beautifully and has a
lo&ely, soft sheen. tBs a&ailable in weights up to a &ery fine #$$, which is
considered heirloom !uality. But finer threads tend to be weaker, so F$7 or E$7wt.
cotton thread is more appropriate for machine embroidery because itBs stronger
and pro&ides better co&erage.
)il1 thre!d 77 +ilk absorbs dyes more brilliantly than all other fibers, and is truly
the aristocrat of specialty threads. t combines the strength ;but not
12
abrasi&eness= of polyester and the stability of cotton, and sews smoothly without
breaking. t has a distinct sheen unmatched by any other thread. +ilk threads are
a&ailable in a wide range of si*es, but the F$ to E$ wts. are the most appropriate
for machine embroidery. They are more costly and not as readily a&ailable, but
well worth considering, especially for embroidering on lu"urious fabrics.
*et!llic !nd myl!r embroidery thre!ds 77 8etallic threads are manufactured
with a center core that is wrapped with metal foil or thin sli&ers of metal foil. (olor
is then applied by adding a polyester film to the foil. The most durable and
desirable metallic threads ha&e a coating of rice paper pasted o&er the center
core, which binds the core to the metal, pre&enting the metal from being stripped
away. n some threads, the foil may be coated with a sil&er alloy for added
strength, and sometimes the polyester film is applied as an undercoating rather
than a top coating, to keep the color from flaking off. (onsidering the
comple"ities of manufacturing metallic threads, itBs understandable that some
might perform better than others. n fact, no words e&oke as much emotion from
machine embroiderers as metallic threads. +ewers either lo&e the results these
threads pro&ide, or cringe at the thought of using them because they re!uire a
little kid7glo&e treatment.
;littery myl!r thre!ds77 are made from plies of film layered together, then cut
into slices to form a flat filament thread. As with metallic, &arious aspects of the
manufacturing process 77 for e"ample, the number of plies used, amount of
elongation or stretch inherent in the raw material, and width of the film slice 77
affect thread !uality. These threads are manufactured to be much stronger than
they originally were, but because they tend to break with high7speed sewing,
follow the special handling tips below. 8ylar threads are a&ailable in a wide
range of colors as well as holographic hues, which pick up light and color from
surrounding objects and add spectacular luminous accents to machine
embroidery.
13
)peci!l%effect embroidery thre!d 77 There are numerous special7effect threads,
from a fu**y acrylic?wool7based &ariety, which creates an old7fashioned crewel7
like effect, to fluorescent neon threads. +ome threads change colors when
e"posed to sunlight, and others glow in the dark. f you ha&e performance
problems with any of these threads, follow the special handling techni!ues
discussed ne"t.
5.2.&.&. )peci!l h!ndlin tips for thre!ds
+ome embroidery threads ha&e a reputation for being difficult to work with.
Breakage during stitching is a common problem, and itBs tempting to blame the
thread. But, more likely, a few slight adjustments to sewing machine can make a
big difference. :f course, sewing machines &ary, but these handling tips should
helps to deal with most stitching problems.
Tension.hene&er try a new thread is tried, machineBs upper tension should
be checked by sewing a F7in.7long row of *ig*ag stitches on a scrap of the same
fabric planned to be embroidered, stabili*ing and hooping it properly. The correct
tension for machine embroidery should be slightly unbalanced, with a tighter
bobbin tension, so the needle thread only shows on the surface, pulling slightly to
the underside. f the needle thread totally co&ers the bobbin thread on the wrong
side, the needle tension is too loose.
mproperly balanced tensions can also cause 9bird7nesting,9 that pile of looped
threads that forms under the fabric. f this happens, it should be checked to
insure that the thread hasnBt slipped out of the take7up le&er guide, for lint
between the tension discs should also be checked, and these discs should be
cleaned periodically. +ewing at high speeds can sometimes cause loose threads
to get caught between the tension discs. (lean upper tension can be maintained
by cutting the thread at the spool, instead of at the needle, when one changes
colors or complete a stitching se!uence, then pull the thread down to remo&e it.
Pulling the thread up can cause frayed ends to catch between the tension discs,
14
possibly producing damage. +ince thread continuously passes through the
bobbin tension at high speeds, lint can accumulate and cause thread breakage
there also, so bobbin case should be cleaned from inside and around often.
*!chineCs thre!d%feedin system. ThereBs no other single &ariable as critical
to successful thread handling as the path the thread takes from spool to needle.
f the thread is straight and unobstructed in this path, itBs less likely to misbeha&e.
f one is ha&ing problems, he should first check the spool pin< +ome threads
stitch better from a hori*ontal pin and others from a &ertical pin. A hori*ontal pin
may cause thread to spiral as it lea&es the end of the spool, causing the thread to
twist and possibly snap. .ith a &ertical pin, the thread may slide down the edge
of the spool, collect there, and become lodged underneath the end cap. The
thread may e&en backspin, causing loops and une&en tautness. f the position of
the spool pin can5t be adjusted, a de&ice like the ThreadPro or 8artha PullenBs
Thread +tand is used, which guide the thread so it unwinds straight and flat to
the needle. ThreadPro is useful when embroidering with metallic threads, but itBs
also helpful with any sewing and any thread when thereBs only a small amount
left on a spool. This thread is more tightly wound and may kink as it unwinds.
DirectionThe direction in which the thread winds off the spool should also be
taken in account. 0or better stitching, cross7wound spools should feed off the top,
and straight7wound spools should feed off the side. Also, some threads beha&e
better when they unwind from the back of the spool, others from the front. f
ha&ing difficulty, try remo&ing the thread can be remo&ed and turned around it.
-obbin Thre!dsBobbin threads especially designed for machine embroidery
are strong enough to withstand the stress of high7speed stitching, yet fine
enough to keep densely embroidered designs supple. There are se&eral types of
bobbin threads. There is no single all7purpose bobbin thread that works e!ually
well with all specialty embroidery threads. 6enerally, itBs best to pair a needle
thread with a bobbin thread of similar weight and fiber content.
15
The riht needle4ifferent types of needles ha&e been designed by needle
manufacturers specifically for embroidery thread, some with speciali*ed eyes that
eliminate stripping or splitting the thread as it passes through them. 8achine7
embroidery needles by +chmet* or 8adeira ha&e slightly rounded points to a&oid
damage to rayon threads. Topstitching needles can also be used with most
embroidery threads. And +ulli&anBs 8etafil, 8adeiraBs 8etallic, and the +chmet*
8etallica needles, for e"ample, designed for metallic embroidery thread, ha&e an
elongated eye and a special shaft to reduce friction.
The needle si*e should be chosen according to the weight of the fabric. An
improperly si*ed needle or an old or nicked needle can cause thread to fray and
break. :ne must remember to replace needles often.
3ubric!ntA silicone7 or Teflon7based thread lubricant, which coats the thread
to make it smooth and fle"ible, reducing friction and fraying and helping the
thread glide easily through the needle, is most commonly used. These products
can work well, but before using any of them, machine manual should be
checked. +ome manufacturers clearly state that lubricants should not be used
with their machines.
T"istf we look at the end of the thread that has broken, it usually is not a
clean break but an unra&eled group of fibers. These unra&eled thread breaks are
caused by a breakdown in the ply adhesion of the fibers in the thread. f there
was a clean cut or break it could be caused by a weak spot in the thread or a
sharp surface in the machine that cuts the thread. Howe&er, most breaks appear
to ha&e been unra&eled.
5.2.2. Needles
n the Kolden days5 the sewing machine needle was regarded as
a static part of the sewing machine, something one only
16
changed if it broke. Time has come a long way since then.
n the fifties and si"ties fabric choice was limited. 6enerally the only fabrics
a&ailable to the home sewer were cotton, wool, linen and silk in medium weights
which were pretty tolerant of any needle. ,ot until the introduction of polyester
fibers in the %$s was it apparent that not all needles were created e!ual.
(hoosing the correct type of needle for the fabric being used is essential if is to
be perfect.
5.2.2.1 Needle Types
The basic rules for selecting a sewing machine needle still hold true, ie Ballpoint
for knits and Uni&ersal point for both wo&en and knits. Howe&er, today5s options
also include needles for specific types of fabrics, for specialised techni!ues and
for use with metallic threads.
-!llpoint< The rounded tip slips between yarns
rather than piercing them to eliminate damage in
knit fabrics. This needle should be used when
working on course knits and other fabrics that tend
to run if snagged.
Uni$ers!l< 8ost wo&en and knit fabrics can be
sewn with a uni&ersal7point needle. The point is
slightly rounded for use with knit fabrics, yet sharp
enough to pierce wo&en fabrics.
DenimDEe!ns< 0or stitching denim, hea&y imitation leather or other densely
wo&en fabrics. t5s also suitable for stitching through multiple fabric layers. The
17
e"tra7sharp point and stiff shank can pierce through the wea&e with less
likelihood of breaking.
3e!ther< +haped like a wedge at the point this needle gi&es superior piercing
power for unyielding fabric such as real leather, suede or hea&y &inyl. t makes a
clean, large hole as it enters the fabric. .hen using leather needles it is
important to stitch accurately as the needle lea&es a large permanent hole.
Because this needle has a slight cutting point it is not ad&isable to use it on
wo&en or knit fabrics. +i*es< #>?)7 to #)?##$. +ynthetic leather and suede can
and should be sewn with standard needles as a leather needle lea&es
unnecessarily large holes and weakens seams on these fabrics.
*!chine (mbroidery =-lue Tipped> )c!rfed
Needle =E!nome )pecific>< This needle5s
specially designed scarf and large eye pre&ent
shredding and breakage when sewing dense
embroidery designs with rayon, acrylic and other
machine embroidery threads. These are a&ailable in si*e ##?GE only. :ther
brands also ha&e specialist machine embroidery needles with larger eyes. +i*es<
##?GE and #1?'$
*et!llic =Red Tipped> )c!rfed Needle =E!nome
)pecific>< (onstructed specifically for use with
metallic threads, these needles feature a fine shaft
and sharp point to eliminate thread breakage, an
elongated eye to accommodate the thread and
make threading easier. They also ha&e a large
groo&e to pre&ent the delicate threads from shredding and a specially designed
scarf to pre&ent skipped stitches. This needle is also suitable for use with
monofilament thread. These are a&ailable in si*e #1?'$ only.
18
8uiltin< The point on this needle is tapered to successfully sew through thick
layers and crossed seams when piecing a !uilt and machine !uilting the layers
together. They pre&ent damage to sensiti&e, e"pensi&e materials used in
!uilting. +i*es< ##?GE and '$?#1
Topstitch4 Topstitch needles ha&e an e"tra7sharp point, an e"tra7large eye and
a larger groo&e to accommodate thicker topstitching thread or two strands of all7
purpose thread. +i*es< #>?)$, #1?'$ and #%?#$$
6inD7emstitch< The sides of this needle5s shank are flared and look like
wings. t5s used to create decorati&e openwork stitching on tightly wo&en fabrics
such as linen and fine batiste and purposely lea&es little holes in the fabric.
+i*es< HE8?#$$ and HE8?#>$
T"in Needle< Twin needles are constructed with two shafts on a crossbar that
e"tends from a single shank. They are ideal to use for heirloom and decorati&e
stitching, and anywhere else that may re!uire
multiple, uniform stitching rows. +i*ing for twin
needles is slightly different than other specialty
needles. Two numbers are listed on the packagingC
the first number represents the distance between
the needles and the second number is the metric
needle si*e. Twin needles can only be used on sewing machines that thread
from front to back. The gap between the needles can be >, 1 or % mm. There are
also twin needles specifically for stretch fabrics. +i*es< #.%?G$ to 1.$?#$$
)tretch Needle< designed for stitching knit fabrics that contain spande" or
HycraL. This needle has a deeper scarf that pre&ents skipped stitches. 8ay not
be compatible for all machines. +i*es< ##?GE and #1?'$
)prin Needle < 0or free7hand machine embroidery, !uilting and
monogramming. 4esigned with a wire cage around it that acts like a presser foot
19
only when the needle enters the fabric, the cage rises. This makes stitching
easier. Uni&ersal +i*es< #$?G$, #>?)$ and #1?'$
5.2.5. 'r!mes
t is important to ha&e the kind of frame
which is appropriate for the type of
embroidery needed to be done. There
are two basic types of framesC Jound
and :blong, and these come in &arious
si*es. The best suited frame is the one
which can hold the fabric properly and
e&enly during embroidery. ts si*e should
be such that it con&eniently
accommodates the embroidery. t does
not help to frame e"cessi&e unusable fabric. The idea is to keep the fabric stable
during embroidery process because if the frame is too large, it would normally
not gi&e the kind of stability re!uired for the design.
The space between the set of frames should also be adjusted carefully to suit the
fabric. f the fabric is thick then there should be more space left between the
frames and similarly if the fabric is too thin then the space should be less. To
tighten?loosen the frame, help of the adjustment Brass screw?nut attached with
the outer ring is taken. The need to adjust the space between the frame is there
so that proper tension can be applied to the fabric by stretching it. The fabric
tension should neither be too loose nor too tight.
:nce the right frame is selected now comes the turn of ha&ing the embroidery
done at the right place. The fact remains that e&en with all the computeri*ation,
20
the framing is still done manually and the best of the embroideries will stand
rejected if the framing is not done properly.
Altern!ti$es to 7oopsD'r!mes4 There are two methods that can be applied to
sol&e the hoping problem, clamps or hoop less embroidery. (lamping systems
are the latest and greatest addition to the arsenal of embroidery accessories that
help us deal with difficult hooping situations. (lamps are designed to work like a
set of jaws ;without teeth=. The item to be sewn is inserted between the top and
bottom portions of the clamp, and then the two portions are locked together such
that the item is securely gripped in place. Though this might sound as hooping, it
is not. .ith traditional hooping, the garment is caught between an inner and outer
ring and outer ring, whereas with clamping it s mounted between a top and
bottom frame. .ith traditional hoping, items that are thick and stiff will distort the
hoop, whereas with clamps there is no pressure or distortion. But the real
ad&antage of clamping systems is the fact they are a&ailable in a wide range of
non7traditional shapes and si*es. This means you ha&e a better chance of finding
a clamp to handle a brace than you do with a hoop.
The second method of hoping for braces is commonly referred to as hoop less
embroidery. -es, a hoop is in&ol&ed, but it does not come in contact with the item
to be sewn. .ith hoop less embroidery, a sheet of adhesi&e backing is firmly
hoped in place, and then the item to be sewn is placed on the surface of the
adhesi&e backing. This is ideal for such items as braces, as well as other similar
things such as sashes, karate belts, animal leashes and dog collars=. The
simplest approach to hoop less to hoop less embroidery is to find the centers of
the hoop, then carefully place the brace in that location, lift up the hoop for
sewing and then proceed.
0or thin stretchy materials the concern is that the fabric may accidentally get
stretched while hooping. Thus, the hoop less backing method is the best way to
hoop the brace, as it pro&ides full support &ia contact with the adhesi&e surface.

21

5.2.A -!c1in
8any of the fabrics which are embroidered on are unstable, meaning they can
stretch or mo&e during the sewing process. +uch mo&ement will result in une&en
stitches, outlines that don5t line up, puckering ;wrinkling= of the fabrics, missed
stitches, improper thread co&erage, thread breaks and e&en holes in the
garments. Thus it is imperati&e that a way to eliminate or minimi*e any fabric
shifting while sewing?choosing and applying the correct backing is the key to
fabric stabili*ation and support.
Backing or stabili*er is a material placed behind the garment being sewnC it is
hooped with the garment and because it is stable, it doesn5t shift or stretch during
the hooping or sewing process. :nce the sewing process begins, the backing
becomes attached to the garments by &irtue of the embroidery process7they are
sewn together. Because of this, the stable characteristics of the backing are
transferred to the garment, anchoring the fabric in place.
Backing comes in two basic styles<
5.2.A.1. Cut!"!y b!c1in
This type of backing material tends to be !uite stable and is the preferred choice
of many embroiderers. it comes in &arious weights ;thickness = and can be
purchased in rolls or precut pieces. .hen hoping a garment, the backing material
must always be larger in an area than the hoop. As a result, when the sewing is
completed, the e"cess backing must be trimmed away from the edges of the
design. E"treme care should be used in this process to a&oid damaging the
fabric.
0abric applications for cut away include< Hoose knit fabric, 0ine knit fabrics,
Bathing suits, .ool?acrylic sweaters, +pande" fabrics, Hight weight wo&en silks
22
5.2.A.&. Te!r !"!y b!c1in
This type of backing is not as stable as cut way. Howe&er, the simplicity of being
able to tear off rather than cut off the e"cess backing material makes this the
choice of many embroiders. Unfortunately, the &ery nature of the material
reduces its stabili*ing characteristics. Tear7away backing can be used on a
&ariety of garments, but are perhaps best suited to situation where the re&erse
side of the embroidery can be seen, such as on towel. The benefit of using tear
away in these instances is that they lea&e a sharp, clean edge to the embroidery,
whereas, the cut away lea&es a certain amount of e"posed backing in place.
0abric application for tear away backing includes< Towel, Hats, (otton and
polyester, (orduroy, +heets, ,ylon satin jackets, Heather and &inyl
5.2.A.2. Adhesi$e !nd polymesh b!c1in
There are &arious kinds of backing a&ailable for specialty applications.
Two of these are adhesi&e &ariety, one can choose between the peel7n7stick kind
and the wet &ersion. Peel7n7stick backing has a protecti&e paper co&ering that is
remo&ed to e"pose the adhesi&e. The wet &ersion re!uires the adhesi&e coating
to be moistened for acti&ation. either way, adhesi&e backing is ideal for
applications where normal hoping techni!ues are not possible.
:ne of he negati&e attributes of cut away backing is that the remaining edges of
the backing material, or what is left behind after trimming, will sometimes show
through a white or light colored shirt. Unlike most backings, which are solid white,
no show polymesh backing is semi7transparent and can make the finished
appearance of the embroidery look neater.
5.2.<.Toppins
23
n addition to choosing the right backing, some jobs may re!uire topping as well.
Toppings are materials added to the top surface of the fabric being sewn with the
goal of impro&ing the sewing !uality. 0abrics with nap, such as terrycloth, re!uire
a topping to pre&ent the loopy7material from peeking through the stitches. :pen
knits, such as sweaters, re!uire a topping in order to pre&ent the stitches from
sinking down into the fabrics. Toppings are also useful when dealing with une&en
surfaces found on te"tured knits and wo&en, as they tend to distort the
embroidery.
Toppings are typically water7soluble or heat dissipating, as it is imperati&e that
they be completely remo&ed after the embroidery is applied. The water7soluble
&ersions are offered in different weights, typically thin, medium and thick. The
thicker the topping the more support it offers. Howe&er, thicker water7soluble
toppings are much more difficult to remo&e after completion of the embroidery.
Using proper backing and topping is directly linked to consistent, high !uality
embroidery production. Howe&er, there is no single correct option because each
situation is different resulting in production tradeoffs that can affect the end
product. The solution is to e"periment with different weights and combinations of
backing and?or toppings, until one becomes comfortable with their use.
0or e"ample, a stiff tear away backing tends to produce crisp stitches in designs
with a low stitch count and fine details. Howe&er, it may not be stable enough to
use with a knit fabric. :ne possible solution is to use a layer of cutaway hooped
with the garment. Then slip a layer of stiff tear away between the hooped
garment and the tabletop of the machine. +ince this is the layer upon which
bobbins stitches rest, it will ha&e the most affect on the !uality of the top stitches
and the cutaway layer will stabili*e the garment.
24
A. )TITC7 T.+()
There are actually only three stitch types used in digitising, run stitch, satin stitch
and fill stitch but there are many uses and &ariations of each type.
The different stitches and their &ariations are<
Run stitch can be used in single or multiple lines and is used for<
(reating an outline
Adding detail
Tra&eling from one part of a design to the ne"t
(reating an underlay.
)!tin )titch has a &ariety of uses including<
(reating an outline or border.
0illing small or narrow areas of a design.
(reating appli!uM or cutwork designs.
Hettering or te"t.
'ill )titch has lots of &ariations including patterned
and embossed styles and is used for<
0illing large areas of a design.
(reating te"ture.
(reating mo&ement with cur&es or swirls.
(reating an underlay for large areas of dense designs.
Underl!y
.ith &ery few e"ceptions, machine embroidery re!uires underlay to gi&e it some
25
Kloft5 and raise it abo&e the surface of the fabric. t makes the finished embroidery
appear plusher and gi&es it a smooth outline, plus helping the sheen of the
embroidery thread to reflect the light. Part of the skill in digitising is the ability to
select the correct underlay for each object or part of the design. A narrow satin
stitch stem may only re!uire a single line of run stitch placed centrally along its
length, a larger area such as a leaf or petal may ha&e a layer of *ig*ag
underneath and a run stitch outline. +ome software can allocate this
automatically but you may need to adjust this depending on the base fabric used.
'e!therinDsh!din% n addition to the many te"tured
stitches most digiti*ing software can replicate traditional
hand embroidery styles using features such as
feathering to create soft outlines which are ideal for
realistic looking animal designs or natural items such as
flowers or feathers. Blending and shading can also be
used, again to create a more realistic appearance and
add more depth to a design. This can be achie&ed by
colour shading or layering where similar colours are used
together within an object to add subtle depth, or by
changing the stitch angle for parts of a design, e.g. petals
within a flower. As the light reflects on the &arious angles
of the stitches a shaded effect is achie&ed.
3etterin
Hettering art comes into its own with digiti*ing software. 8ost packages include a
large selection of fonts or allow scanning in of true type fonts from the computer.
Hetters can be placed hori*ontally, &ertically, slanted, con&erted to italics, arched,
reshaped etc. Te"t can be scaled up or down, each letter stitched in different
colours, or you could e&en use your outline tool to create large appli!uM initials.
There are endless possibilities for personali*ing items, creating logos, team
crests etc.
26
<. T7( CO*+UT(RI,(D *AC7IN( (*-ROID(R. +ROC())
These are the basic steps for creating embroidery with a computeri*ed
embroidery machine.
Purchase or create a digiti*ed embroidery design file
Edit the design and?or combine with other designs ;optional=
Hoad the final design file into the embroidery machine
+tabili*e the fabric and place it in the machine
27
+tart and monitor the embroidery machine
<.1. +rocess in det!il
<.1.1. Obt!inin Desin 'iles
4igiti*ed embroidery design files can be either purchased or created. 8any
machine embroidery designs can be downloaded from web sites and one
can be sewing them out within minutes.
There are many different brands of machines, and each may use a different
format. The free design format which is compatible with the machine should be
purchased or downloaded. The format can be con&erted from one stitch file
format to another stitch file format i.e., from PE+ to HU+ or from 4+T to P(+ by
a con&ersion program for e"ample.
To create a stitch file ;like PE+, @P or 4+T= from a graphics file ;like B8P, .80
or /P6= re!uires a digiti*ing program. f design files are to be created, special
software is needed to digiti*e the design. f high !uality embroidery is essential,
then industry e"perts highly recommend either purchasing solid designs from
reputable digiti*ers or obtaining training on solid digiti*ation techni!ues.
28
<.1.&. (ditin Desins
:nce a design has been digiti*ed, it can be edited or combined with other
designs by software. .ith most embroidery
software the user can rotate, scale, mo&e,
stretch, distort, split, crop, or duplicate the
design in an endless pattern. 8ost software
allows the user to add te"t !uickly and easily.
:ften the colors of the design can be changed,
made monochrome, or re7sorted. 8ore
sophisticated packages allow the user to edit,
add or remo&e indi&idual stitches.
<.1.2. 3o!din the Desin
After editing the final design, the design file is loaded into the embroidery
machine. 4ifferent machines e"pect different files formats. The most common
home design format is PE+, which works in Brother, BabyHock, and some
Bernina, .hite, and +implicity embroidery machines. (ommon design file
formats for the home and hobby market include< AJT, PE+, @P, /E0, +E., and
HU+. The commercial format 4+T ;Tajima= is also &ery popular. .hile there are
commercial programs to &iew and con&ert these files, a simple open source
application named Embroider odder is a&ailable for free. Another embroidery
design file &iewer a&ailable free is .ilcom True+i*er. Embroidery patterns can be
transferred to the computeri*ed embroidery machines in a &ariety of ways, either
through cables, (4s, floppy disks, U+B interfaces, or special cards that resemble
flash and compact cards.
<.1.5. )t!bilizin the '!bric
To pre&ent wrinkles and other problems, the fabric
must be stabili*ed. The method of stabili*ing
depends to a large degree on the type of machine,
29
the fabric type, and the design density. There are many methods for stabili*ing
fabric, like using backings, toppings, frames, etc, but most 9stabili*ers9 or
9interfacing9 are added beneath and?or on top of the fabric.
<.1.A. (mbroiderin the Desin
0inally, the embroidery machine is started and monitored. 0or commercial
machines, this process is a lot more
automated than for the home embroiderer. 0or
most designs, there is more than one color,
and often additional processing for appli!uMs,
foam, and other special effects. +ince home
machines only ha&e one needle, e&ery color
change re!uires the user to cut the thread and
change the color manually. .hereas industrial
machines are automated.
4epending on the !uality and si*e of the design, stitching out a design file can
re!uire a few minutes or an hour or more. A typical design only takes about #$
minutes to actually run, but machine set7up, hooping and then remo&ing the
hoop, trimming loose threads, packing, and inspecting will generally double this
time in production.
The bigger the design, the longer it takes to run. The more comple" the design,
the longer it takes to trim all the loose threads and prepare the shirt for shipping.
E"traordinarily large or comple" designs may re!uire an additional run charge.
30
?. INT(RNA3 *(C7ANI)*
Embroidering systems capable of embroidering patterns into garments or fabric
using multiple colors are common in todayBs garment industry. n typical stitching
machines, a first needle stitches a first color in a preset pattern. f the pattern
re!uires se&eral colors, a second needle stitches a second color in a preset
pattern, with this process repeated for se&eral colors until the complete pattern is
stitched into the garment. +uch stitching or embroidery machines are commonly
controlled by a computer system. Typically, an operator downloads a pattern to
be stitched to a computer system within the embroidery machine. ncluded with
the pattern are se&eral other parameters, including the si*e of the pattern to be
stitched, and the si*e of the hoop which will hold the garment while it is being
stitched.
Upon recei&ing the pattern and associated other information, the embroidery
machine makes appropriate calculations to, among other things, &erify the
pattern will fit on the garment or fabric, and that the pattern will not o&erlap the
hoop. After the pattern is downloaded, the computer system makes the
appropriate calculations. .hen the operator has loaded the garment or fabric
onto the embroidery machine and made all of the appropriate checks, the
operator gi&es the embroidery machine a command to begin stitching, at which
point, the machine begins stitching the pattern into the garment or fabric.
31
Typical embroidery machines include a sewing head, an N7- assembly, and a
hook and bobbin assembly. The sewing head is commonly a multi7needle head,
containing se&eral needles which are used to stitch different thread colors. The
sewing head is commonly located on a carriage at the front of the embroidery
machine and is mo&able on the carriage to locate a first needle in a stitching
position abo&e the hook and bobbin assembly to stitch a first thread color into the
garment. .hen a second thread color needs to be stitched into the garment, the
sewing head is mo&ed on the carriage to locate a second needle in a stitching
position abo&e the hook and bobbin assembly to stitch the second thread color
into the garment.
.hen performing stitching operations, the embroidery machine, as is common
and well known in the industry, mo&es the needle containing an upper thread
through the garment. There is typically a needle plate located beneath the
garment which the needle projects through when it has mo&ed through the
garment. Beneath the needle plate is the hook and bobbin assembly. The hook
rotates around a lower thread which is fed from the bobbin. The hook rotates to
catch the upper thread, and carries the upper thread around the lower thread as
the hook rotates. .hen the hook nears the completion of its re&olution, the
needle is pulling back through the needle plate and garment, and the upper
thread disengages from the hook. .hen the needle pulls the rest of the way
through the garment, the upper thread is pulled around the lower thread and
becomes taught, thus securing, or locking, the stitch. The N7- assembly then
mo&es the garment to an appropriate position for the ne"t stitch, and the process
is repeated.
The N7- assembly is secured to the embroidery machine and is adapted to be
connected to a hoop which contains a garment to be stitched. The N7- assembly
contains an N and a - positioning mechanism which mo&es the hoop in both the
N and - directions with respect to the embroidery machine. .hen stitching a
32
pattern, the N7- assembly mo&es the hoop in a preset pattern with respect to the
stitching needle, and a pattern in thus stitched into the garment.
n such systems, mechanical apparatuses typically pull thread from a spool
through a take7up le&er and to the needle assembly. The thread is fed through
the needle, which, as discussed abo&e, mo&es in a reciprocating manner to
mo&e the needle through the garment and into the hook and bobbin assembly.
As described abo&e, when the needle pulls out of the garment, and the stitch is
locked, there is tension in the thread which pulls the thread taught and locks the
stitch. Howe&er, typical systems create more tension than is re!uired to lock the
stitch. This e"tra tension is the result of the mechanical apparatuses that pull the
thread from the spool to the needle. Typical embroidery machines, as well as
other stitching machines, route thread from the spool to a thread guide, to a take
up le&er, back through the thread guide, and to the needle. The take up le&er is
connected to the same mechanical apparatuses which mo&e the needle, and
mo&es up and down with the same fre!uency.
As mentioned abo&e, when a needle mo&es the upper thread into the garment
when stitching, the bobbin and hook assembly lock the stitch by looping the lower
thread around the upper thread prior to the needle lifting out of the garment. n
order to pre&ent the garment from lifting from the needle plate, and to more
securely lock a stitch, a presser foot is lowered to the garment surface to secure
the garment during the stitching. The presser foot helps ensure that the stitch is
properly locked and the tension in the thread is consistent from stitch to stitch.
n order to perform optimally, a presser foot must contact the garment surface
when the needle lifts out of the garment. f the presser foot does not contact the
garment surface, the garment may lift from the needle plate when the needle lifts
through the garment, thus creating the potential for inconsistent sew7outs.
Alternati&ely, if the garment is made of a relati&ely thick fabric, the presser fool
may strike the garment with a relati&ely high force, creating a relati&ely loud
33
audible sound, and causing mechanical stress in the presser foot, reducing its
life7time. Thus, it is important to properly adjust the height of the presser foot
such that it contacts the garment surface, yet does not contact with a force high
enough to create a loud audible sound and?or mechanical stress. The loud
audible sound is not desirable because, among other reasons, it is typically
preferred that embroidery machines operate with as little noise as possible. How
noise operation is desirable especially when se&eral embroidery machines are
located in the same room, because additional noise may result in difficulty for
people around the machines hearing other people or audible alarms. Thus, it is
ad&antageous to ha&e an adjustable presser foot, allowing proper force to be
applied to garments of different thicknesses during stitching, as well as reducing
noise le&el resulting from operation of the machine.
n typical current day machines, the presser foot is adjustable by manually
adjusting a mechanical linkage connecting the presser foot to the needle dri&e
assembly. This adjustment is typically done by remo&ing safety co&ering
associated with the needle dri&e and making an adjustment to the mechanical
linkage to adjust the presser foot height. The safety co&er is then replaced, and
the embroidery machine operated. The operator then obser&es the operation of
the machine to &erify the presser foot is properly adjusted. f the presser foot is
not properly adjusted, the adjustment process is repeated until the presser foot
height is correct. As can be seen, this can be a laborious and time consuming
process. As a result, many times the presser foot is improperly adjusted, or not
adjusted at all. The presser foot may be improperly adjusted because an
operator may make a first adjustment, and not make any additional adjustments
to further fine tune the presser foot height, due to the burden of the adjustment
process. n certain cases, the presser foot may not be adjusted at all, due to the
burden of the adjustment process. Therefore, it would be ad&antageous to ha&e
a presser foot which is easily adjustable and can be adjusted without remo&ing
safety co&ering from the machine.
34
9. 3I*ITATION) O' CO*+UT(RI,(D (*-ROID(R.4
'!brics4 Hea&y wo&en sweaters and corduroy do not embroider well. Fine
details or small lettering will fade into these fabrics.
+oc1ets4 4esigns on pockets and tight areas cannot be embroidered since
there is no way to hoop these garment areas.
Desin )ize4 Heft chest designs should be no more than 19 wide. Any larger
than this and the design may run into the armpit area.
3etterin )ize4 Hetters less than F?#%9 in si*e cannot be embroidered.
F. D('(CT) O' CO*+UT(RI)(D (*-ROID(R.
-unchin !t Corners
4E+(JPT:,< .here the corners of lettering or
shapes are not sharp and crisp but are bunched up or
distorted. Usually caused by too much thread in the
corners due to poor digiti*ing.
This includes<
#= ,ot using appropriate stitch selection ,
>= ,ot using 2+hort3 stitches in corner, and
F= Poor stitch balance I thread too loose.
35
+U66E+TE4 +:HUT:,+< 6enerally, can be corrected by digiti*ing properly<
#= Using appropriate stitch selection, and >= Using 2short3 stitch cornering, and F=
(orrecting stitch balance.
(mbroidery too Thic1
4E+(JPT:,< .here the embroidery is too
thick and uncomfortable. (an be caused by too
high of a stitch density or not using the correct
backing for the application.
+U66E+TE4 +:HUT:,+< 6enerally, can be
corrected by< #= 4igiti*ing properly ;Using appropriate stitch selection, using
fewer stitches, and using 2short3 stitches on corners=C >= 8aking sure stitch is
balanced properlyC F= Using smaller thread si*eC and 1= Using the correct backing
;Using correct type and weight=.
'!bric D!m!e % Needle 7oles
4E+(JPT:,< .here the fabric is damaged around the corners of the
embroidery. (aused by< #= ,ot using the correct type and si*e of needleC >=
Putting too many stitches in the same locationC and F= ,ot tearing tearaway
backing properly, allowing the fabric to be damaged as the stitches are pulled
out.
+U66E+TE4 +:HUT:,+< 6enerally, can be corrected by< #= 4igiti*ing
properlyC >= Jeducing the stitch count in the cornersC F= Using the correct type
and si*e of needleC and F= Using a ball point needle as small as possible.
'!bric ;rin Throuh or ;!ppin
4E+(JPT:,< .here the fabric is seen through the embroidery design either in
the middle of the pattern or on the edge.
+U66E+TE4 +:HUT:,+< 6enerally, can be corrected by< #= 4igiti*ing
properly ;Using appropriate underlay stitches, increasing stitch density, using
36
different fill stitch pattern or direction, or compensating for 2Pull3 of thread by
o&erlapping fill and satin border stitches=C and >= Using appropriate topping.
,ot 4igiti*ed To (ompensate 0or 2Pull3 of Thread
4igiti*ed To (ompensate 0or 2Pull3 of Thread
*issed Trims
4E+(JPT:,< .here threads are left on the embroidery
pattern between images or lettering. Thread trims are digiti*ed
37
when changing colors and when mo&ing from one location to another using
2jump3 stitches.
+U66E+TE4 +:HUT:,+< 6enerally, can be
corrected by< #= 4igiti*ing properly ;Using appropriate
number of trims, using appropriate tie7off stitches, or
replacing trimming kni&es when necessary=C and >=
Hand trimming missed trims using trimming snips.
+oor Co$er!e % +oor )titch Density
4E+(JPT:,< .here the stitch density is not thick
enough and you can see through the embroidery
stitching.
+U66E+TE4 +:HUT:,+< 6enerally, can be corrected by< #= 4igiti*ing
properly ;Using appropriate stitch selection, using more stitches, and using
underlay stitches=C and >= Using appropriate backing O topping.
+oor 7oopin
4E+(JPT:,< .here the fabric around the
embroidery looks distorted and does not lay flat.
+:HUT:,+< 6enerally, can be corrected by<
#= Using appropriate backing O topping, >= 8aking sure sewing operators hoop
the garment properly without stretching the fabric too much prior to putting it in
the hoop, and F= Pressing or steaming hoop marks.
+oor )titch -!l!nce
4E+(JPT:,< where white bobbin thread shows on
the topside of the embroidery. deally, the needle
thread should be held on the underside of the seam,
38
and not e&er be pulled up to the topside. Proper stitch balance can be checked
on the underneath or backing side of the embroidery by looking for >?F needle
thread to #?F bobbin thread on +atin stitches.
+U66E+TE4 +:HUT:,+< 6enerally, can be corrected by< #= Using !uality
embroidery needle thread, >= Using !uality pre7wound bobbins, and F= +etting
machine thread tensions correctly.
1:.8UA3IT. CONTRO3 *(A)UR()
,umber of stitches should depend on the fabric< There is a misconception
that increasing the number of stitches is the solution whene&er there is some
problem with the design. Howe&er, this should entirely depend on the fabric
being used or else it goes against the design. 0or instance, a hea&y stitch
count design can put stress on fabrics such as most knits and lightweight
wo&en fabrics like &oiles and georgette and in some cases can e&en cause
tearing of the fabric. Thus, for such fabrics, light density designs are most
suitable. 4ense designs tend to make the fabric &ery stiff which ultimately
affects their natural fall. +imilarly, a less dense design will not look nice on
piled fabrics like fleece, corduroy, etc. nstead, a design with a lot of underlay
stitches and a hea&y top stitching will look good as it will keep the pile from
showing in between the stitches.
Understitches< Understitches are basically the &ery foundation of embroidery.
They create the base on which the rest of the design is embroidered. These
stitches help in holding the initial stitches to the fabric, deri&ing better
registration of embroidery on knitted or te"tured fabrics, help in gi&ing stability
to stretchy fabrics and also gi&e the raised look to otherwise flat embroidery.
39
The most common complaint that is heard from embroiderers and customers
is that of puckering of fabric around the embroidery. This happens when the
pull or weight of the embroidery is not well balanced with the nature of the
fabric. t happens either due to e"cess stitches or inade!uate support to the
fabric or both. These factors can be fairly well compensated by gi&ing the
fabric outside support or Kbacking5. The most commonly used backing is non7
wo&en paper interlining commonly called Klining5 or Kpaper foam5.
,eedle< 0or a layman, as long as the needle is not broken it is a good needle.
But in reality, due to repeated use, the tip of needle gets blunt or deformed
creating untidy embroidery and may e&en damage the fabric.The needle type
4B"PE is a uni&ersal embroidery needle, specially designed for high7
performance embroidery machines and guarantees high embroidery !uality
and efficiency as compared to 4BN type needle which is used in sewing
machines only.
To ensure better !uality of embroidery? stitching it is needed to monitor the
run or usage time for each needle and change it after a prescribed time e&en
if it seems to be in perfect condition. Also, needles should be chosen
according to the job.
11. R()(ARC7 G D(H(3O+*(NT
0or embroidery machines, the emphasis tends to be on e"panding &ersatility
rather than continuing to push the en&elope on production capacity and sewing
speed, although those factors are being tweaked in a few cases.
0or e"ample, Barudan AmericaBs newest model is the single7needle, single7head
B>$$$. t sews at >,$$$ stitches per minute ;spm= and is designed for hea&y7duty
40
monogramming work. A built7in monogramming system allows this operation
without additional in&estment in hardware or software, using the machineBs own
keyboard and monitor. t makes switching to different monograms possible in a
short time without reprogramming the machine. .ith 1$$ kilobytes ;P= of
memory, the B>$$$ doubles the font memory capacity of pre&ious Barudan
machines. n addition, the unit processes at least three times faster than pre&ious
machines and has a built7in design pre&iew feature.
The sewing surface is able to remain smoother at the high sewing speed
because on this design, the pantograph is mo&ing up and down and side to side
while the needle *ig*ags to produce the rest of the thread motion to create the
design. The model also contains much7impro&ed diagnostic functions.
.ith similarly specific uses in mind, Tajima has introduced /umbo 4esign
embroidery machines in its @ series. The T80N7@6 #>#> can run #> heads for a
sewing field of #,>$$ millimeters ;mm= by EE$ mm, or con&ert to si" heads, thus
enlarging that Jeid to #,>$$ mm by #,#$$ mm.
Another new machine, the T80N7#>$>, sews a field of #,>$$ mm by %$$ mm
when employing two sewing heads, and #,>$$ mm by #,>$$ mm with just a
single head acti&ated. Each machine offers #>7needle embroidery capacity,
stepping ;pulse= motors for noise reduction, TajimaBs original Q7dri&e frame
system for precise operation and speeds that can reach #,>$$ spin.
n addition, the company has released its flatbed model T80N @76#E#E,
featuring #E sewing heads, optional larger monitor and touch7panel controls,
!uieter operation, ma"imum speed of #,$$$ spm, accurate pulse motors, design
display screen, joystick controls, trace functions and a #.#17million7stitch
memory.
8oreo&er, TajimaBs T8EN7( series includes new arm7type cylinder models
designed for !uick response embroidery applications and producti&ity at high
speeds. This series is fitted with TajimaBs newest slim cylinders, easy frame
41
e"change systems and e"panded memory e!ual to that of the T80N @76#E#E.
This Tajima line offers either eight or si" heads sewing at '$$ spin. Engineers for
the company report that all new Tajima machines will incorporate the same
electronics, frame dri&e, cards, software and panel configurations as the new
T8EN7( series line to allow more precise operation and easily interchangeable
elements.
n new Happy embroidery machines, which are distributed by Te"mac nc., there
is the model H(6N#E$%71ETT(. This si"7head embroidery machine can be
e!uipped with either #> needles or #E needles per head, co&ering an area of 1E$
mm by E$$ mm with stitching. The machine also can accommodate wide and
semi7wide cap jobs. ts ma"imum production speed is about '$$ spin, but its
memory can hold >E',$$$ stitches on a built7in disk dri&e unit. The model comes
with a P( connection port and rotary thread break detection de&ice.
4esign +oftware< Programs Encompass 8ore Tools
:n the software side of the industry, graphic technology continues to refine the
&ector7based systems eagerly accepted by embroidery designers o&er the past
few years. .hile debuts of entirely new software systems are rare, releases of
upgrades and add7on modules that increase functionality are occurring at a rapid
pace.
0or instance, (apital Automation nformation +ystems ;(A= has de&eloped the
+E4+ 8obile digiti*ing systems, built to run on .indows7based laptops or
desktops with a U+B or parallel port. The top7of7the7line +E4+ 8obile nsignia
system comes with a long list of features and related ser&ices, including< lifetime
free technical phone supportC free online &ideo tutorialsC F74 globe special
effectsC stitch sculpturingC fancy radial stitchC three types of fancy pattern fillsC
gradual fill tools for smooth gradientsC printed simulation of designsC catalog
output into HT8H formatC design output in most machine formatsC and all of the
features of the +E4+ 8obile magine system. The magine package includes<
42
digiti*ingC editingC bleed?jagged edge effectsC object inheritance with auto
bordersC a photo embroidery functionC TrueType i0ont letteringC and automatic
digiti*ing functions.
1&. CO*+UT(RI)(D (*-ROID(R. IN ;3O-A3 AR(NA
The (hinese sewing machine industry began to take off from the &ery beginning
of (hina5a Jeform which was around the same period when the sewing
machinery manufacturing, then concentrated in /apan, Porea and Taiwan was in
throes. (hina offered an easy and &iable option due to its attracti&e, preferential
policies for its coastal regions, abundant but cheap human resource in the
mainland, sound industrial foundation, fa&ourable geographical location, and
abo&e all, a huge market. The world renowned sewing machine manufacturers,
who were the original brand owners like Pfaff, /uki and Brother lost no time in
setting up their manufacturing units in (hina. 0uelled by foreign capital and
technical know7how, (hina was soon destined to be the sewing machinery
manufacturing centre in the world. Their continued growth without injuring the
potential of local manufacturers, made (hina the leader in manufacturing sewing
machines in the world accounting for e"port of sewing machinery worth U4D#.#
billion in >$$E, which included a significant contribution of no less than 11R by
foreign7funded manufacturers. (hina had clearly arri&ed on the world map of
sewing machinery manufacture.
But then, this had set up (hina as the manufacturing hub of 28ade in (hina3
sewing machinery. (hinese thought it was now the time for them to march on to
a new goal post. That was the transition from 2 8ade in (hina3 to a more
adorable 28ade by (hina3, which was not only compatible with the (hinese
national interest, but was also rendered easier, now that the (hinese had aptly
and ade!uately e!uipped themsel&es with the technology, impro&ised by their
43
research and de&elopment efforts. There was a growing feeling for de&elopment
of their own brands to e"pand their international market share. Thanks to bulging
enthusiasm by (hinese manufacturers, who poured in hea&y and increasing
in&estments in manufacture of sewing machinery and with support pro&ided by
the 6o&ernment to promote (hinese brands, a new set of (hinese brands
emerged, which culminated in awarding 2(hina Top Brand Products3 to fi&e
sewing machine manufacturers in >$$F. These were Typical, +HA,66:,6,
0E-UE, Qoje and 6E8+-. +e&eral other manufacturers were also awarded
&arious honorary titles.
The recent ha&e marked the goodwill support by the backbone sewing machinery
manufacturers like Qoje, 6E8+- and Prote" to organi*ations like (hina 6arment
Association and helped it de&elop the popularity and influence in garment
industry through sponsoring special fashion7related e&ents and summit forum,
etc.
Automation< The year >$$E faced se&eral shortages, more prominent among
them being the power shortage, worker shortage and land shortage, particularly
in the coastal regions, which had increased the cost of production of garments.
+uch has been the scale of shortage of labour that some garment manufacturers
had to gi&e up orders. This added urgency to adoption of time7sa&ing and labour7
sa&ing machines. n >$$E, production of computer controlled automatic lockstitch
sewing machines increased to about 1$$,$$$ units accounting for ##R of the
total production. .ith a combination of special features of energy7sa&ing, high7
efficiency, en&ironment7friendly machines, the automatic sewing machines could
not only sol&e the labour problem but also had an e&ident ad&antage on
price?performance ratio.
Turno&er of Asian Embroidery 8achinery
44
:
&:
5:
<:
9:
1::
1&:
15:
1<:
I* 7(* C(* )+
production
$!lue in &::A
production
$!lue in &::5
87ndustrial 8achine
HE87 Household embroidery machine
(E87 (omputeri*ed embroidery machine
+P7+pare Parts
8ulti7head (omputeri*ed Embroidery 8achine<
(hinese embroidery machines ha&e maintained fast growth rate since >$$>.
4uring >$$E, e"port &alue of multi7head computeri*ed embroidery machines was
of the order of U+D $.> billion which is #$ times more than the year >$$$.The
turno&er of computeri*ed embroidery machines, numbering 11$$$ was of the
order of J8B % billion, which represented F$R increase in year on year basis.
:n the strength of good !uality and competiti&e pricing, the (hinese Embroidery
machines did replace imported machinery in the domestic market to a great
e"tent and o&er a period, the /apanese and Porean products ceased to dominate
the (hinese market. The (hinese embroidery machines ha&e also made their
international mark, particularly in ndia, where their e"ports e"ceeded #.) times in
>$$E o&er the pre&ious year. The share of (hinese embroidery machines in ndia
!uota increased from ER in >$$$ to >$R in >$$E. This only confirms that the
(hinese transition from !uantity e"pansion on low grade and low cost product to
high grade, high technology and &alue added machinery is real.
45
Asia7 a 8ajor E"port 8arket< Asia is a major e"port market, so far as (hinese
sewing machinery is concerned is ade!uately reflected in the fact that china
e"ported %ER of their industrial sewing machines and )>R percent of embroidery
machines in Asia only. .ith the abolition of !uota reign, the manufacturing based
for te"tiles and garments has shifted from Europe to Asia which is fast becoming
a production hub. The more recent de&elopment of restriction on (hinese te"tiles
and garments placed by the United +tates and European Union, there has been
in orders from china to ndia, ndonesia and @ietnam. But this has not ad&ersely
affected the sales of (hinese sewing machinery.
12. 'UTUR( )CO+(
Today all the manufacturers of computeri*ed embroidery machines are working
towards integrating the different utilities of different kinds of computeri*ed
embroidery machines e"isting today.
The demand for embroidered products is increasing day by day, this is gi&ing a
boost to all the industries concerned. Asia is on the way towards becoming the
major e"port market for such machines and their spare parts.
The future will witness new, high7tech and fast technological ad&ancements in
this industry.
15. )URH(. O' INDU)TRI() G *ARB(T CONC(RN(D
46
To be more precise about the use of computeri*ed embroidery systems we did
an industrial sur&ey of the industries?companies using computeri*ed embroidery
to understand its market in a better way.
Only few industries in Hyderabad rely on comuteri!ed embroidery system" #y usin$ t%is
rocess t%ey are ma&in$ a lot of $ain as t%e demand for mac%ine embroidered roducts
esecially aarels is increasin$ day by day and t%ey are able to cater to t%is increasin$
demand more 'uic&ly"
15.1. )URH(. R(+ORT O' INDU)TRI()
+.
,o.
ndustry?
Unit
4epartments ,o.of
(omputerised
Embroiderty
8achines
?Brands
,o.:f
Heads ?
,o. :f
needles
per
head
,o.
:f .orker s
# Hi7 Tech 4esign O
:peration
4epartment
#
Tajima
#>?'
>
#
operator
# framer
47
> (harma5s
4esign
4epartment
:peration
4epartment
>
Tajima
1?'
>$?'
#1
# incharge
#
designer
#
operator
> framer
F helper per
mahine
F Pokarna
T
4epartment
4esign
4epartment
:peration
4epartment
#
Tajima
>$?%
F
# operator
# framer
# helper
15.&. )URH(. R(+ORT O' *ARB(T
+r.
,o
.
+hop ,ame Product Jange +ourced 0rom Target
(ustomers
# ,eeds,Abids +aree,+uits,Purti
,6haghra
4elhi,Bangalore 8iddle7class
48
> ,eeru5s,Ping
Poti
+aree,+uits,Purti
,6haghra
Tirupur,4elhi,Bangalo
re
Upper O
Upper 8iddle
class
F (hermas,
Abids
Trousers,+aree,
suits,6hagra,0ro
cks,/odhpuri,
+her&ani
Hyderabad,Bangalor
e
8iddle (lass
1

8eba*,Begump
et
+aree,+uits,Purti
,6haghra,+her&
ani,/hodpuri,Pur
ta
4elhi,Bangalore,+ura
t
Upper O
Upper 8iddle
(lass
E +eema 4ress
8ateriala,
Abids
+aree,+uits,dres
s material
+urat,Bangalore,(he
nnai
8iddle class
15.2. An!lysis of Industries $isited<
As a part of this project, &isits were made to three industriesC two of them being
major units ;(hermas and Pokarna= and one being a minor production unit ;Hi7
tech Enterprises=.
.e &isited and compared the working of all these units.
Among the three units, Pokarna uses the most ad&anced software &ersion and
produces the best !uality embroidery. t was the only unit where professionally
trained workers were appointed unlike the others where the workers did not ha&e
49
any training. (ompanies like 6iordiano and (hermas place their orders at this
unit. Periodic ser&icing is done by specialists coming from 6ermany. Thus, we
see that the company has a strong Suality (ontrol 4epartment.
The ne"t unit in terms of !uality of production is (hermas. t takes orders from
other industries. The /ac!uard embroidering facility is absent o&er there. t
places orders for its own stores to Pokarna. The ser&icing is done by the workers
at the unit itself.
The ne"t unit is Hi tech Enterprises which uses pirated embroidery software and
the controller at Pokarna manages this unit. The target customers are local
retailers. The ser&icing is done by the owner himself.
15.5. An!lysis Of Ret!il Outlets4
.e ha&e also made &isits to ,eeru5s, 8eba*, (hermas, +eema 4ress 8aterials
and ,eeds.
The analysis shows that ,eeru5s, 8eba* and ,eeds are the retail outlets that get
the computeri*ed embroidery designs done on their products from highly
mechani*ed industries at Tirupur, (hennai and +urat. This is the reason why the
dresses are sold at high prices.
:n the other hand, (hermas gets the computeri*ed embroidery done at either
Pokarna or its own production unit. The !uality of embroidery is a bit lower than
that at ,eeru5s, 8eba* and ,eeds.The target customers mostly belong to the
middle class
The retail store, +eema 4ress 8aterials, gets this work done from Hi7Tech
Enterprises and therefore the target customers are generally from middle clas1A.
1A. )6OT ANA3.)I)
50
)trenths4
Hess manpower re!uired
Qero machine downtime7 increased production
Hesser chances of defects compared to machine and hand embroidery
Suicker process
Accurate stitches at small corners of a pattern are a&ailable.
6e!1nesses4
High installation charges
High cost of production
Opportunities4
Jesearch is going on to make a comparati&ely more &ersatile machine
+till a good market e"ists ,like in kidswear, upholstery sector.
Thre!ts4
Piracy of computeri*ed embroidery software which is causing unfair
competition between the different industries concerned.
,ot labour intensi&e, thus increases the problem of unemployment in
de&eloping nations .
51
52
3(ARNIN;
OUTCO*(
O-E(CTIH( O' T7( +ROE(CT
The learning objecti&e of this integrated term project is to apply all the
theory learnt in the different modules in this semester and the practical
knowledge that we gained during this long and comprehensi&e course of study
that we did in this college.
The most important thing that we learnt through this TP was how we can
use the ideas gi&en to us or the ideas that come in our mind into practical reality.
53
Also one important part was compilation of data that we learnt though this
module.
*AT(RIA3 )CI(NC(
8aterial science is a subject that teaches us and makes us familiar with different
kinds of materials, studying their different properties and applications. .e used
this knowledge producti&ely for our TP.
54
The practical e"perience gi&en to us this semester was of additional help in
understanding our TP product. .e e"plored the properties of different materials
such as mild steel, wood and different types of fabrics.
Thus, we could get an understanding that we need different &arieties of
stabili*ers, threads and needles depending on the !uality of the fabric.
-A)IC) O' T(ITI3( *ANU'ACTURIN;
The subject BT8 taught us the different kinds of fibers, yarns and fabrics and
their properties. :ur learning was enhanced through the swatch folders that we
made for all the three categories< fibers, yarns and fabrics.
55
Also, we learnt the entire process of con&ersion of fiber to fabric not just
theoretically but also by practically seeing the process through industry &isit.
The module ga&e us an idea that e&ery fabric has different properties and the
processes undergone before embroidering them need some planning according
to their properties. 0or instance, knitted fabrics ha&e a shrinking propertyC
therefore they need to be hoped properly.
;(O*(TR.
6eometry is a subject that which &isuali*es us a different perspecti&e and
inno&ati&e sight of seeing things around us 7 a deeper, more meaningful insight
into their physical form.
56
t is the science of properties and relations of lines, angles, cur&es surfaces and
solids. E&erything around us has geometry. The shapes that we obser&e around
us increase our curiosity and desire of gaining knowledge. .e learnt three7
dimensional geometry in this semester which helped us analyse an object from
all the dimensions.
6eometry has helped us a lot in making the prototype proportionately balanced
and we could apply our knowledge of surface de&elopment and solid modeling.
.e would like to use this opportunity to thank our geometry faculty<
8r. +hashidhar +inghampally
for his disciplined teaching and e"cellent guidance throughout the module which
inculcated us to work hard.
+RINCI+3() O' *ANA;(*(NT
The module of Principles of 8anagement helped us plan and organi*e whate&er
we did. .e learnt that the systematic approach to any task is to first ha&e a plan
in mind and then do it in an organi*ed manner.
57
.e also learnt about the organi*ational structures and the professional way to
communicate with people working in the different organi*ations.
This helped us a lot in contacting the industry and interacting with people o&er
there. Also, be it document, presentation or the prototype, nothing can be done
properly unless some planning is done beforehand. Things are to go in an
organi*ed way in order to do them properly.
.e would like to thank 8s. ,etra&athi for her guidance and e"pert teaching.

CO*+UT(R A++3ICATION)
.e li&e in the world of technology and computers. E&erything is computeri*ed. t
is the machine7age. (omputer knowledge is no longer an assetT but a
necessity. They are omnipresent7 from schools and offices to homes and
58
companies, they are e&erywhere. 0rom super computers to palmtops, the
technology is ad&ancing e&ery day and simultaneously its applications. .e
cannot imagine a world without them.
.e ha&e studied flowcharts and Adobe Photoshop in this module of computer
applications. Both the topics were of great help in the making of this TP. Adobe
Photoshop helped us gi&e touch7 ups to the different photographs that we
clicked. 0lowcharts helped us show the process of embroidery in a brief and
precise way.
.e were successful in showing the computeri*ed embroidery process through
flowcharting as a display 7 inspired by the concept of flowcharts in our module.
.e would like to e"press our thanks to our teacher<
8r. 6.8 Jeddy
for his guidance and e"pert teaching.
)URH(. O' A++AR(3 D()I;N
The module of +ur&ey of Apparel 4esign taught us the different fashion cycles
influence the ongoing trends. .e learnt the different kinds of embroideries in this
59
module. Thus there was an understanding de&eloped as to what all kinds of
embroideries are possible in the computeri*ed embroidery process.
Thus this module helped us de&elop an understanding as to what kinds of
embroideries are in fashion.
.e would like top thank our 0aculty guide
8rs. +hobha Uppe
0or her support and guidance in the understanding of the +A4 module.
(3(*(NT) O' D()I;N
The module Elements of 4esign helped us de&elop a colour sense and taught us
about the neat presentation of work. .e also did F74 wireframing in this module.
60
These topics ha&e helped us decide background for our presentations such that
the te"t is easily &isible. ,ot only this, it helped us choose a colour combination
for our display and prototype model and ensuring its neat presentation.
.e would like to thank our faculty guide
8rs. +hobha Uppe
0or teaching us the module in an efficient manner.
'I(3D )TUDI()
0iled studies is one subject where was purely practical and all our learning was
based on our own indi&idual obser&ation of a microen&ironment. This subject
61
ga&e us on7 field skills like a sharp mind, importance of detailed obser&ation of
things around us, teamwork and cooperation, presence of mind, time
management, money management and communication skills.
These practical skills cannot be taught theoretically but can only be learned with
e"perience. :ur field studies ga&e us these much re!uired skills and we were
able to apply them effecti&ely and producti&ely to our TP.
.e were able to make a good team with timely work done and full coordination.
The displays made were good as well as economical. The many &isits to
industries, companies and market sur&ey and looking for the right material were
helped by the skills we ac!uired in field studies.
.e would like to thank our field studies mentor<
8s. ,etra&athi
0or her appropriate guidance and help

1?. CONC3U)ION
62
Thus, we can conclude that the computeri*ed embroidery industry has a huge
scope in the coming years. Jesearch and 4e&elopment is going on to make
the machinery as &ersatile as possible. Asia has become the major e"port
market for the computeri*ed embroidery machines. Trade laws in ndia are
also promoting this industry now. n the years to come, it will absorb many
digiti*ers thus increasing employment opportunities for the talented.
19. -I-3IO;RA+7.4
63
The information compiled in this document has gained a lot of matter from the
internet, the most &ersatile source of knowledge, our &isit to contact lens
wholesale shops, showrooms and H@ Prasad Eye institute and some books.
The names of the web7sites and books whose references were taken are
undersigned
6ebsites4
http<??www.smallbusinessbible.org?na&igation?dp7ld.html
http<??www.embimage.com?SualityU(ustomUEmbroideryU'.E.$F
www.#7embroidery.com
www.wikipedia.com
www.freeonlinepatents.com
www.indiaUembroidery.com
*!!zines4
+titch world< April >$$G ssue
+titchTimes< /anuary >$$G ssue
Article< Peeping Up .ith +uspenders and Belts
Author< /immy Han
+eptember >$$F ssue
64
Article< 8anaging Thread Break
April >$$E ssue
Article< Top #$ 4igitising 8istakes
Author< Barbara E. 6eer
April >$$G ssue
Article< +oftware Piracy in the Embroidery ndustry
Author< /anos Hor&ath
IndustryDUnitD*!r1et Hisited4
,eeds, Abids
,eeru5s, Ping Poti
(harma5s, Abids
+eema 4ress 8aterials, Abids
8eba*, Begumpet
Hi7tech, Pukatpally
(herma5s E"!uisite Htd., Apparel Park,6undla Pochampally,Hyderabad
Pokarna,Apparel Park,6undla Pochampally,Hyderabad
65
ANN(IUR(
;3O))AR.
66
APPHSUE7 4ecoration or trimming cut from one piece of fabric and stitched to
another, usually with a satin stitch around the edge. Adds dimension and?or
te"ture to a design.
BA(P,6 .o&en or non7wo&en material used underneath the item or fabric
being embroidered. Pro&ides support and stability. A&ailable in two basic types 7
cutaway and tearaway. Also known as stabili*er in the home embroidery market.
BATTEJ- BA(P7UP +ystem that pro&ides power to preser&e stitch memory and
pantograph position in case of machine power loss.
BEA, +TT(H Three stitches placed back and forth between two points. :ften
used for outlining.
B:BB, Jound assembly that holds the lower thread. The bobbin thread
combines with the top thread to form a stitch.
B:BB, (A+E (ase that houses the bobbin and fastens it into the hook
assembly. t also allows for tensioning of the bobbin thread.
B:BB, THJEA4 Thread that is interlocked with the top thread to form a stitch.
(AP 0JA8E The hardware used to embroider finished caps. ncludes the cap
frame dri&e unit, the framing de&ice and the actual cap frame.
(:4E The format under which pattern information is stored on paper tape. .hen
a pattern is transferred to memory from paper tape, you must indicate the tape
code.
67
(UTA.A- BA(P,6 .o&en or non7wo&en material placed under the fabric
being embroidered to add stability. 8ust be cut away after sewing. (utaway is
typically used on less stable, stretchy fabrics such as knits.

4E+6, +titches that compose a pattern or monogram.
46TQE The computeri*ed method of con&erting art work into a series of
commands to be read by an embroidery machine.
E4T Process of permanently changing a pattern by scaling or angling the
pattern or adding, changing or deleting function codes.
E8BHE8 Embroidered design with a finished edge, commonly an insignia. Also
known as a crest or patch.
E8BJ:4EJ- 4ecorati&e stitching on fabric. 6enerally in&ol&es designs, but
can also include lettering or monogramming.
E-E The circular opening in a needle that carries the top thread through the
fabric and into the bobbin assembly.
0A(,6 +ee 9topping.9
0HH +TT(H +eries of running stitches commonly used to co&er large areas.
4ifferent fill patterns can be created by &arying the length, angle or repeating
se!uence of the stitches.
0N PATTEJ, T-PE Thread (ut parameter that compensates for patterns
punched for machines without automatic thread trimmers.
68
0H:AT 8achine function that traces through the design, stitch by stitch, without
sewing7 used for mending.
0H:PP- 4+P 8edia for permanent pattern storage. Barudan machines use
either double7density or high7density F.E9 disks.
0H:PP- 4+P 4J@E Hocated in the right side of the automat. Pro&ides a
means of design storage and retrie&al from a floppy disk.
0:J8AT (omputer language a particular F.E9 disk will use. The formatting of
disks &aries between machine manufacturers.
0JA8E Holding de&ice for goods to be embroidered. Ensures stability of the
goods during the sewing process. +ee also hoop.
6J::@E The channel on the front of the needle that pro&ides a place for the
thread to sit when the needle penetrates the material, so that the loop will form
behind the needle.

H::P A++E8BH- A rotating assembly that grabs the top thread off the needle
and loops it around the bobbin, thus forming a stitch. (onsists of two interlocking
pieces, one is called the basket, which remains stationary and houses the bobbin
case and bobbin. The other is the hook, which rotates while the machine is
sewing.
H::P P:,T The sharp, pointed tip on the hook assembly which grabs the loop
of the thread behind the needle to form a stitch.
H::P T8,6 Proper positioning of the hook assembly in relation to the needle
in forming a stitch.
69
H::P 4e&ice made from plastic, metal or wood that grips the fabric tightly
between an inner and outer ring and attaches it to the machine pantograph. Also
referred to as a frame.
/U8P +TT(H 8o&ement of the pantograph and rotation of the sewing head
without the needle going down. Used to mo&e from one point in a design to
another or to create stitches that are longer than the machine would normally
allow.
PE-B:AJ4 Assembly with typewriter style keys that allow the operator to
control and load information into the computer.
HETTEJ,6 Embroidery using letters or words. :ften called keyboard lettering.
Usually computer generated either on the machine or a stand7alone computer.
HSU4 (J-+TAH 4+PHA- Hocated in the front of the automat. +hows
information about the pattern and menu selections.
H:(P +TT(H (ommonly refers to a series of three to four &ery small stitches
;#mm or less= either just before a trim or at the beginning of sewing following a
thread trim. Used to pre&ent the stitching from unra&eling after the embroidery is
completed.
The type of stitch used on most computeri*ed embroidery machines ;as well as
home sewing machines= in&ol&ing a needle, a hook and bobbin thread.
H::P Used to describe the loop of top thread that forms behind the needle when
the needle has gone all the way down and just starts to rise. The hook grabs this
loop to form a stitch.
H::P,6 The appearance of embroidery when the stitches are too loose.
Usually caused by insufficient tensioning.
70
8:4E PE- +elects one of the &arious memory operation modes.
8:,:6JA8 Embroidered design composed of one or more letters, usually the
name or initials of someoneBs name.
,EE4HE +mall, slender piece of steel that penetrates the fabric, carrying the
thread through into the hook assembly. The needle has an eye for carrying the
thread, a groo&e for holding the top thread as the fabric is pierced and a scarf to
allow free passage of the hook point.
,EE4HE BAJ 8etal rod that holds the needle so that it can be dri&en up and
down.
:J6, The start point, or beginning, of a pattern.
:J6, PE- Hocated in the center of the /og keys. Jeturns the pantograph to
the start ;origin= position of the design the last time it was sewn.
PA,T:6JAPH The assembly on top of the table which mo&es the hoop left to
right and front to back.
PATTEJ, The se!uence of stitches that make up a design or monogram.
P:+T:, 0,6EJ +mall black retainer sitting directly in front of the hook
assembly. The position finger keeps the basket of the hook assembly from
turning. t also maintains a small gap that allows the bobbin thread to pass
through.
P:.EJ :, BUTT:, Turns the machine on when pressed.
71
P:.EJ +:UJ(E +.T(H Turns power on?off for entire machine.
PJE++EJ 0::T A metal ring around the needle that mo&es with the needle bar
and holds the fabric down while the needle penetrates it. Aids in loop formation.
PJ:6JA8 Under the 8emory menu, parameters that allow the alteration of the
appearance and orientation of the design. PU(PEJ,6 Jesult of the fabric
being gathered by the stitches. (auses include loose hooping, insufficient
backing or incorrect thread tension.
SUEU,6 Term used to describe machineBs ability to program the ne"t
monogram while current one is sewing.
J:TATE PATTEJ, Program parameter that rotates the design in '$ degree
increments counterclockwise, with or without mirror imaging the design.
JU,,,6 +TT(H A single stitch between two points used for final detail,
outlining and underlay. Also known as a walk stitch.
+AT, +TT(H 0ormed by closely arranged *ig*ag stitches such as a column.
(an be laid down at any angle and with &arying stitch lengths. Used mostly for
lettering and outlining designs.
+PEE4 (:,TJ:H Pnob that adjusts the sewing speed of the machine.
+PEE4 ,4(AT:J Portion of the memory display that indicates the current
sewing speed in JP8 ;stitches per minute=.
+TABHQEJ +ee 9Backing.9 +TAJT PE- Used to start the machine stitching.
72
+TT(H E4T,6 A computer function allowing one or more stitches in a pattern
to be altered or deleted.
+TT(H +EHE(T:, +ewing function that mo&es the pantograph to a specific
stitch number.
+T:P PE- Used to stop the machine while sewing.
TAPE7UP HE@EJ Pulls the thread through the fabric after the stitch has been
made, controlling the flow of thread during stitch formation.
TEAJA.A- BA(P,6
A non7wo&en material placed under the fabric being embroidered to add stability
to the fabric. (an be torn away after stitching. Typically used on more stable
fabrics such as wo&en goods.
TE,+:,EJ A de&ice used to apply pressure directly to the thread in order to
control the tension being applied to the thread. Usually consists of a post, a
tension knob, tension spring and two tension disks, which when the thread is
placed between applies pressure to the thread.
THJEA4 0ine cord of natural or synthetic fibers made of two or more filaments
twisted together and used for stitching. Embroidery threads are a&ailable in
rayon, polyester, cotton, acrylic or metallic.
THJEA4 BJEAP 4ETE(T:J 4e&ice that detects thread breakage, stopping the
machine automatically to allow the operator to rethread the needle.
THJEA4 BJEAP ,4(AT:J +mall light on the front of the sewing head that
flashes when a thread break has been detected.
73
T:P THJEA4 +ewn thread that shows on the top of the fabric. T:P
THJEA4 TE,+:,EJ+ Applies the correct amount of pressure on the top
thread so that the take7up spring responds in a manner that allows a stitch to be
properly formed.
T:PP,6 8aterial hooped or placed on top of materials with a definable nap or
surface te"ture, such as corduroy or terry cloth, prior to embroidery. t creates a
smooth surface so that the stitching can be laid down. 8ost facings are made of
a water7soluble plastic. Also called facing.
TUBUHAJ 0JA8,6 The framing system on an embroidery machine that allows
tubular goods to be hooped and attached to the machine.
U,4EJHA- +TT(H +titches in a design that are put down before the design
stitches, used to stabili*e the fabric or raise the design so that the fine detailing is
not lost.
Q6QA6 +TT(H +titches that go from one side of an area to be sewn,
diagonally to the other side. 4iagonals may be placed closely together to form a
satin stitch.
74