embroidery

Lace embroidery

2008-01-13T22:16:00.001-08:00

Freestanding Lace embroidery is an embroidery design that is stitched onto a special stabilizer that dissolves in warm or cold water, leaving you with the freestanding lace.I recommend to use water-soluble mesh, such as Vilene. Vilene D0102 is a non woven dissolvable stabilizer that sold in large rolls and is sometimes repackaged under different brand names. Two of these brand names are Wash-Away and Aqua Magic. Film-like water soluble stabilizers, such as Solvy, are not suitable for Free-Standing Lace embroidery.

I recommend size 75/11 embroidery needles. The needles should be sharp, so it’s advisable to change them after every project. Stitching your Freestanding Lace DesignHoop the dissolvable stabilizer as recommended with your designs, and then stitch out the design in thread colors of your choice.I recommend you use two layers of Vilene for best results.Making Multi Colored LaceIf the design is a bowl or doily which has many different colors, you will want both sides of your finished lace to look fabulous. So you will need to use matching top and bobbin thread for each color. Simply wind a bobbin full of the same thread you use for the top and remember to change the bobbin color when you change the top color.Creating a Heavier Lace LookI recommend that you use the same thread type in the bobbin a to give your design a heavier, fuller lace look. For example,

If you are using 50- or 60-weight cotton, you should use it both in the bobbin and in the needle. If you use 40-weight cotton thread for the needle, you can use regular polyester bobbin thread. If you are using a specialty thread such as metallic thread, then always use cotton thread in the bobbin. Creating a Daintier Lace Look For a more dainty lace look, use embroidery thread for your top thread, and use cotton thread in the bobbin area. If you are wanting an even finer lace look, use cotton thread in the top area as well. PLEASE ask the designer first if the design would be ok to use bobbin thread both top and bottom as sometimes your design might unravel in water, if it has not been digitized for this purpose. The Bottom Line by Superior Threads is a very good range of fine thread, suitable for use in bobbin or top thread and is available in a great variety of colors.You should always ensure the lace design you are purchasing is designed for Freestanding Lace to ensure it will stitch correctly, and hold together when you wash the stabilzier away.

Embroidered Clothing - What's its Appeal?

2008-01-03T02:54:00.000-08:00

Embroidered clothing is patterned clothing, even if the pattern is nothing more than a simple flower print. Patterns appeal to people by helping them to break the monotony and boredom of uniformity.
When the embroidery is hand embroidery, it adds another dimension to the appeal. Hand embroidered clothing is unique with each piece being different from another in small (or big) ways. This adds to the attraction because people want their own thing to be different from what everybody else has.
Hand Embroidered Clothing
Hand embroidered clothing is typically the work of skilled crafts persons. Sometimes it can go beyond craft into the realms of art, creating new meanings and feelings.
Embroidery involves creating intricate decorative patterns on fabric using yarn and needle. The embroiderer works for hours to stitch the intricate patterns painfully by hand. Different kinds of stitches, yarns, needles and other tools are used in the work.
Stitching in pearl, beads, metal strips and other material into the patterns enhanced the effect. For example, mirror embroidered skirts, with small round mirrors stitched into the cloth, common in a certain region of India, is a fascinating product.
In modern days, embroiderers use sewing machines to make embroidered cloth.
Kinds of Embroidery
Crewel embroidery is a kind of surface embroidery. A pattern is outlined on the cloth to be embroidered, and wool thread and different kinds of stitches are used to create raised decorative patterns that are comparatively heavy.
In cross-stitch embroidery, uniformly sized x-shaped stitches are used to create decorative patterns, usually on borders and other specific areas of the embroidered cloth.
Needlepoint embroidery creates a tapestry-like effect. Needlepoint embroidered cloth is used for pillows and upholstery, and could also be used as decorative wall hangings.
Embroidery work can be on one surface of the cloth, or can completely cover it by stitching through the fabric.
Embroidery is an Age Old Activity
While embroidered cloth makes the users happy, the embroiderers themselves derive greater satisfaction in their work. Just like knitting, embroidery can be an activity that can help structure idle time and keep boredom a little away.
It is no wonder that this activity that brings happiness to both the user and creator was one practiced from ages ago. Elaborately embroidered cloth was a symbol of status in many early civilizations such as Persia and India, and its use in religious objects was also common.
In Europe, the Bayeux Tapestry is an example of embroidered clothing. It is not true tapestry but an elaborately embroidered wall hanging.
These days, embroidered cloth can be made more easily by printing patterns on the cloth using different techniques. Considering that the basic purpose of embroidery is decoration, these printed items too can probably be classified as embroidered clothing.
Conclusion
Embroidery is an activity that creates a certain sense of happiness in both the user and creator. Embroidered cloth had been used as wall hangings, for making pillows and upholstery, as dress material and other purposes.
Embroidered cloth might simply be a piece of cloth on which a simple decorative pattern has been stitched, or it could be an elaborate work with intricate patterns all over, often including objects like beads or even small mirrors.
About author:Robert French director of award promotions, specialising in Embroidered Clothing for companies from small to large.

Should I Digitize?

2007-12-20T06:40:00.000-08:00

Bringing digitizing in-house is a big decision. Here are some of the factors to consider.

Back in 1990, when we purchased our first embroidery machine, I was totally fascinated with the mechanics of the designs that we stitched out, and knew immediately that what I wanted to do was to create the designs. I wanted digitizing software in the worst way, and there was no one who would sell it to me at that time.

The advice given to me was, “Embroider. Watch the machine stitch. Watch good designs run. Watch bad designs run. Determine what works. Determine what doesn’t work. When you know all that, then you are ready to digitize and then you can purchase digitizing software.” Looking back and remembering how frustrated I was at the time, I can smile and think those were some of the sagest words that anyone could have given me.
Digitizing is not a cakewalk, as many sales reps and software trainers would lead you to believe. You might see it that way during a sales demo or a training session where the trainer stands over your shoulder and leads you through every command. However, in the confines of your home or shop, there is much learning to be done to become comfortable and competent with the tools in the digitizing software and what they will accomplish.

Though a trainer or technical help may be just a phone call or e-mail away, they are not always available at the precise moment that one needs them, and it’s extremely frustrating to be stuck. Often you do not know what to do next and you’re taxing your memory to recall the details of the training class that overwhelmed you with information.

Should You Or Should You Not Become A Digitizer?

“To be or not to be, that is the question,” to steal a line from Shakespeare. Herein lies a question that only you can answer. Digitizing is very personal. You can tell that from the many stock design companies from which designs are now available. It’s amazing how many different styles there are and how recognizable each digitizer’s approach is.

What does one need to be a digitizer? First of all, you need the software. There are about as many brands and different levels within each brand of digitizing software these days as there are would-be digitizers. The choice is difficult for a newcomer to the industry, particularly if price is a consideration. Digitizing programs start at about $50, a manageable price on most any income, and go upwards to around $20,000, a price even someone with a substantial income thinks about more than once before laying the money on the table!
Obviously, there are major differences in each of the programs, and one considering digitizing either for fun or profit should seriously analyze what aspects of the programs they need, want, and can afford before making any purchase.

Secondly, the would-be digitizer needs time. I know many people who own digitizing software, purchased at the same time they bought their embroidery machines, who do not digitize for lack of time. Running a business and performing the mechanics of embroidery are in themselves time consuming, and finding the extra minutes or hours required to set up the designs is often impossible.
Third, a digitizer needs experience. It’s kind of like looking in the newspaper for a job. Many jobs look enticing, but often the ad will contain the tag line, “Experience Required.” Just the other day, my son and I were talking about that, and wondering just how you get experience in a job if no one is willing to take a chance on you the first time around.

It’s a bit like that with digitizers. Everyone wants the best, and it’s hard to be the best when you are new to the job. A prudent word of advice…practice! The only way to gain experience is to do the job, again and again and again. You may not be able to sell those first designs, but you will definitely learn a lot with every click of the mouse.
A digitizer needs patience. I always say that digitizing is a lonely job. For me to concentrate on digitizing, while I don’t need total quiet, I do need a space of time without interruptions, particularly if the design is challenging. Some designs take hours, even days, to set up, while others can be done in just a few minutes.

Perfectionism is a good quality for a digitizer to possess, particularly if you enter the realm of custom digitizing. When a design is imperfect, the digitizer will definitely hear about it from a paying customer. The design must be organized, sew well without thread breaks, have as few trims as possible, and look great in the end. That takes a lot of planning, as well as knowledge of embroidery.

And last, but certainly not least, I think a digitizer must be artistic. He or she needs to be able to view a picture and see it in another aspect. He must look at a printed or computerized version of a design and see it in stitches. He must have the ability to think, not just how something will work mechanically, but about how it will look on the finished product. He must be able to take a two-dimensional design and give it life. This is the quality, I believe, that sets the master digitizers apart from the pack.

By: Barbara Geer
Published: February 2007

The Point of the Matter

2007-12-08T23:52:00.000-08:00

Needle Points

Needles are characterized by the type of point used. They generally fall into one of three categories: Sharp, Ball and Wedge.

The sharp-point needle is preferred for tightly woven fabrics, such as denim, twill, towels, corduroy, etc. As the needle passes through the garment it may actually cut some of the fibers. However, since these types of fabrics are tightly woven, this is not generally a problem.

The ball-point needle is preferred for knit goods, fleece and delicate fabrics. The cross fibers which constitute these materials are relatively far apart as compared to those in tightly woven fabrics. When a sharp-point needle encounters one of those fibers while penetrating the fabric, it cuts right through the fiber. This can create a damaging hole in the fabric. The ball-point needle pushes aside the fiber it encounters in penetration and thereby avoids making a permanent hole in the fabric.

Sharp-point and ball-point needles are available in different size points: light, medium, etc.

The wedge-point needle is used primarily on leather or tough non-woven fabrics. It cuts as it penetrates and reduces friction while piercing the fabric.

By: James M. (Jimmy) Lamb
Published: November 2004

First Impressions [embroidery]

2007-12-08T23:47:00.000-08:00

What does your image say about your business?

Modern life is hectic and fast-paced. Consumers are in an overloaded state, continuously bombarded from all sides with a plethora of media messages seeking a foothold in their weary minds, with the goal of effecting a decision that will translate into a need to make a purchase. In response, most have been forced into a position of making snap judgements based on the limited information that has been presented to them, decisions that right or wrong, will ultimately decide their spending habits.

It’s called “judging a book by its cover” and everyone does it. Therefore, large companies (with deep pockets) spend billions of dollars on image, public relations, marketing, promotions and advertising, with the goal of delivering a positive message that will ultimately result in the transfer of funds from the consumer's pocketbook to the corporate coffers.

But that desire isn’t limited to large corporate empires. It exists at every level of business and should be just as strong in your mind as that of a Fortune 500 CEO’s. You are in business to make money and everything that you do or say, should be carefully crafted to project a positive image and encourage a sale. Does that mean you must approach everyone on the street and cry out “buy from me, I’m the best!” No, of course not. What it means, is that you must examine yourself and your business from top to bottom to see what kind of message you are delivering to others when they do come in contact with you, as First Impressions are critical.

Research has shown that people make up their minds about other people, businesses, products, services, etc. in 3-7 seconds, (even though television commercials average 30 seconds). That doesn’t leave much time to work with, so it’s imperative that you don’t make any mistakes.

When it comes to image, there is a tendency to focus on big things with the intent of making a big splash. In reality, it’s the little things that can make the most difference and these are the things that are most overlooked by you. For example, suppose someone opened a fancy new electronics store complete with fireworks, food, movie stars and giveaways. You go to the Grand Opening expecting great things. The owner is at the door greeting you. He opens his mouth to say welcome and out flows this wave of nauseous fumes smack into your face, the fetid odor of his partially-digested lunch almost knocking you to your knees. What is your impression now? This guy made a huge splash, but overlooked one small detail: fresh breath – or lack thereof. It will leave a lasting impression all right.

As an Embroidery Entrepreneur, you probably have very little budget for huge marketing campaigns, so for the most part you have written off the whole subject as your promotional tools are limited to yourself and some business cards. That’s fine. But no matter how small these details may seem to you, they are still the details that shape the impressions you make on potential clients, so take a hard look at how you come across.

Start with your business card. The first thing a potential customer will see is your company name. What does it say about your business? What does it need to say about your business? A name like Jane’s Monogramming invokes an image of a lady bent over a sewing machine adding three letter monograms to a set of towels. If that’s what you do and what you want others to think, then great. However, if you wish to pursue the corporate marketplace, this name is going to hold you back. Business names can be a real challenge. Think about it from the customer's perspective, not your own. It should generate an appropriate image that grabs the attention of the clients you wish to reach. The name should also be memorable, meaning that it sticks in your mind.

Below the company name is your business address. What message does it give? A post office box instead of a street address is a dangerous thing, as it screams out: DANGER, there is no business location! In turn, this says you don’t want people to be able to find you, thus you may not be a legitimate operation, thus doing business with you is a potentially risky proposition.

More than likely you are a home-based operation, but don’t wish to allude to that fact by listing a residential address, so the post office box seemed a good way to hide it. But it’s a bad idea. As a business owner you will learn this the hard way, when you do business with clients who also only list a P.O. Box. That doesn’t mean everyone with this type of business address is a crook, but you will find that when they don’t pay their bill, you will have no way to find them. (Voice of experience.) I suggest that you list an address, even if it's residential. By the way, P.O. Boxes are okay when they are listed in conjunction with a physical address.

With our first business location, we had the same concerns about listing our residential address, as we had some corporate clients reject us because of the fact that we were home-based. Our address made that obvious: 16 Lakewood Road. (Doesn’t sound too commercial does it?) So we got creative. The business was actually in a separate building behind our house, so we modified our address to look like this: 16 Lakewood Road, Suite B. That presents a totally different picture, doesn’t it?

Okay, the next item on your business card is your email address. Believe it or not, it speaks volumes about your company as well. There are a lot of “free” email services such as Hotmail, Yahoo, and Juno. When you sign up with them, you end up with something like jimmy123@hotmail.com. Such an email address is the equivalent to a P.O. Box for a physical address. Since the services are free, many of their users bounce around from one account to another, meaning a lack of permanence. Also, because they are free, it implies you aren’t serious about your business, especially when you see something like jimmy123 in the email address. Ideally, you want to purchase a domain name (not that expensive) and put together a website, as most website services offer email boxes, so your address can look like jimmy@CapeFearEmbroideryWorks.com. This is a much better first impression than jimmy123@hotmail.com.

As an alternative to having your own domain name, at least do something like CapeFearEmbroideryWorks@ec.rr.com which shows that you are serious enough about your business to invest in a legitimate email address. By the way, I’m not a big fan of many of the big internet services like AOL, as they have traditionally been difficult to deal with when it comes to sending files to their customers. Plus, there is a perception that many of their customers are still on dial-up, which is another negative image item as it implies you are not up to speed with modern technology.

The final image factor with your business card is the overall look of the card. Is it easy to read? Is it exciting or dull? Too much information can make it difficult to read, but if it's only basic text on a solid color background, it may not illicit much information. If a potential client collects a stack of business cards, then sits down to review them, will yours stand out? This is where the services of a professional print shop can pay off.

Over the years we experimented with several different business card layouts. One of my favorites was a dark blue background (somewhere between royal and navy) with metallic gold (not yellow) print. The problem was, you couldn’t write any notes on the back, because the pen ink didn’t show up against the background and we were always writing something (prices, product numbers, etc) on the back when handing to a customer. So eventually, we went to a different look with a lighter background.

Finally, what first impression do you make on the potential customer? (Do you have your breath mints handy?) If you hand over the perfect business card, but have dirty fingernails, that might just negate all the positive aspects of the card. You must condition yourself to understand that every person you encounter is a potential customer, thus you should strive to maintain a professional appearance at all times when in public. And if you find yourself in a compromising position, you may want to keep quiet about being a business owner, so that such a situation won’t count as your first impression.

Certain lifestyle traits can really have an influence, such as smoking. If you are a smoker and so is the customer, then great, you can have a cigarette together. But today, there are many more non-smokers than smokers, and every time you light up it leaves behind an odor on your skin and clothes which is noticeable and even offensive to non-smokers. You yourself probably can’t detect it, but it can overwhelm others. Along those lines, perfumes and colognes can work against you. So can body odor and bad breath. Messy hair, sloppy clothes, excessive make-up, etc. all make an impact on first impressions.

Bottomline, it’s the little things that can make the most impact on a first impression. The moment you introduce yourself, the clock starts ticking and you have only 3-7 seconds to generate a positive result, so pay attention to the details!

By: James M. (Jimmy) Lamb
Published: August 2006

Static Attack [embroidery]

2007-12-06T06:48:00.000-08:00

Protect yourself and your embroidery equipment from static charges.

You’re hard at work at the dining room table, finishing up some last minute paperwork. From behind you comes the sound of tiny feet shuffling through the carpet, as one of your “darling” children approaches your chair. You start to turn in your chair, expecting a warm embrace, when all of a sudden you hear ZZZZZZAP, and feel a stinging pain in your arm! Through the waves of shocking pain you hear a tiny voice saying “gotcha!”

Static Shock! No, not the kind that you get from an irate customer -- the electrical type. I don’t know about you, but I absolutely hate it. (Both kinds.) In fact, it makes me paranoid. All winter long, when the potential for such occurrences is greatest, I take great pains to avoid contacting anything metallic. Instead of touching a steel door knob, I will patiently wait for someone else to open the door, and then follow him through. Static shock, I hate it, I hate it, I hate it!

So what causes static electricity? Tough question. It’s a fairly complex process, so I will attempt to give you a brief, watered-down version that you can hopefully understand. Basically, each element in nature has an equal number of positive and negative electrical charges. Under certain conditions, when two different elements come in contact with each other, and then rapidly separate, one of the elements will transfer some of its electrical charges to the other one. This leaves both elements with a charge imbalance. Now, when one of those elements comes in contact with a normally charged element, there will be a transfer of electrical charge, which will result in a quick flow of current. It’s this flow of current that we refer to as Static Electricity.

How much current can be produced by this process? You may be shocked, I mean surprised, by the answer. It takes a static charge of approximately 5000 volts for it to be felt. To see it, you must produce about 10,000 volts! And believe it or not, humans routinely develop static charges as high as 50,000 volts. How can we come in contact with this type of current and live to tell about? I’ll reserve that for another article, it’s even more technical. Just suffice it to say, that all voltage is not created equally.

So what does this have to do with embroidery? As far as the sewing process, very little, but in relationship to your equipment, this can be an important lesson. While static charges are little more than a nuisance to humans, they can easily destroy sensitive electronic components contained in computers and embroidery machines. As long as these items are securely mounted within your equipment, they are relatively safe from any static charges. However, if you have to physically handle such parts, you can inadvertently transfer static current from yourself to these components. This can in turn cause irreparable damage.

The key to safe “handling” is to “ground” yourself, which will ensure that any static charges are safely neutralized. How do you do this? Simply touch a metallic object or appliance that is tied to “earth ground”. So how do you know when something is connected to “earth ground”? Look for some type of equipment that has a metal case or cover and a three-prong electrical plug. If it meets this criteria, and is actually plugged into a three-prong wall outlet, then you can pretty much bet that it’s tied to “earth ground” and will allow you to safely dissipate any buildup of static electricity within your body.

Should you have the opportunity to change-out one of the circuit boards in your computer and/or machine, it is highly recommended that you ground yourself before starting work. The best method is to purchase a grounding strap (Radio Shack has them) which is a device that is typically attached to your wrist via a special bracelet. Extending out from the bracelet is an electrical wire with an alligator clip on the other end. The clip is attached to a grounded surface. This ensures that you are grounded and stay grounded when working with sensitive electronic components.

There is another phenomenon associated with static electricity, commonly referred to as “static cling”. It’s created the same way as static current, but the result is a little different. The electrical charge imbalance causes elements to either be attracted or repelled - thus the “cling” affect. When you see the threads on your embroidery machine trying to “stick” to the casing, you are seeing static cling at work.

Well now that you have a faint inkling as to what this static business is all about, how can you prevent it? First of all, avoid having carpet in your work area if at all possible. Carpet is a notorious source for the generation of static. If you do have carpet, then consider spraying it down with an anti-static solution, available from most office equipment stores.

Concrete floors, especially painted ones, are another source of static electricity. Once again, consider an anti-static spray, or you may try a solution of water and fabric softener. Just be careful to keep it off of your equipment. Perhaps the best all-around cure for static problems is humidity. (Notice that static is least predominant during the warm, moist months of summer.) Moisture tends to absorb static charges and reduce or eliminate their affects. So consider using a humidifier to introduce moisture into the air. Be careful not to produce a high level of dampness, since this may cause additional problems for your equipment and supplies.

That about does it for Static Electricity. It may not be possible to totally eliminate it, but you should be able to at least reduce the affects. Now about that other type of static, the one you get from that irritating customer.............

By: James M. (Jimmy) Lamb
Published: February 2007

More Power To You [embroidery]

2007-12-06T06:46:00.000-08:00

Connect that new embroidery machine with confidence that you can survive any potential electrical problem.

Your new embroidery machine has just arrived and you can hardly wait to get it going. Carefully, you uncrate it and move it into position. Looks like it’s ready to try out, so all that’s left is to plug it in and turn it on. HOLD IT! Do you know what lurks behind that receptacle in the wall? Before you plug any electronic equipment into an outlet, it’s best to do a little bit of investigating into the world of electricity.

Ideally, the electrical power that is generated at a power plant is very dependable and reliable. However, as it travels from the generating station to your home or business, it can be affected by many variables, which can ultimately affect your equipment. While a modern embroidery machine may appear to be a heavy-duty piece of machinery, it does contain delicate electronic circuits which can be damaged by electrical variations. Your equipment depends on a steady supply of voltage to function properly: 110 volts AC for the smaller machines, 220 volts AC for the larger ones. (These values are for the United States, and may be different for other countries.) As long as the current stays consistent, everything runs great. Unfortunately, voltage fluctuations occur quite often, and may eventually damage your equipment. Let’s take a look at some of the more common power problems and the devices that are used to lessen their effects.

Too Much Voltage

This typically occurs in two forms, surges and spikes. A surge is a small, short-lived (fraction of a second) increase in voltage. It is commonly caused when a nearby electrical device such as an air conditioner, well pump, or even a refrigerator compressor, turns off. When this happens, there is a sudden excess of power that must be dissipated. This increase in current will create a wave of extra voltage that will travel throughout the immediate electrical system and into every device that is connected to it. The best way to protect against surges is to install a surge-suppressor between your equipment and the wall outlet.

Spikes are similar to surges, but much more powerful. One significant electrical spike can literally “burn-up” sensitive electronics. Spikes are usually caused by lightning striking a nearby power line or telephone line. In fact, electrical spikes are just as common in phone lines as power lines, and can even damage equipment that isn’t connected to a phone line. How does that happen? If a spike comes into a device, such as a fax, via the phone lines, it can travel through that device and then out the power cord into the wall socket. From that point, the electrical spike can make its way into any other device that is plugged into a power receptacle. This is not a frequent occurrence, but it does happen.

A good quality surge suppressor can protect against the effects of a mild spike. Unfortunately there is very little protection against a direct lightning strike. The best protection for this situation is to unplug your equipment and phones during a thunderstorm.

Too Little Voltage

There are two common causes for under-voltage. The first is referred to as “start-up” demands. As mentioned before, large energy-consuming devices such as air conditioners can cause surges when they shut off. But they also demand a large amount of power to turn on, which causes a momentary “dip” in the available voltage to surrounding devices. Other items guilty of causing under-voltage include refrigerators, vacuum cleaners, well pumps, and power saws.

The second source of under-voltage is known as a “brown-out”. When there is excessive consumer demand for electrical power, it sometimes results in a voltage reduction throughout a local community. This can be evidenced by a dimming (constant) of your lights. Most electrical equipment will continue to operate under these conditions, but it can be detrimental to some devices, especially electric motors. And of course, embroidery machines have drive motors.

So how do you protect yourself from “too little voltage”? UPS. (No, not the guys in the brown trucks.) UPS stands for Uninterruptible Power Supply. This device is essentially a large battery that will maintain uninterrupted power to the equipment plugged into it. When the supply voltage dips below normal levels, the UPS kicks in to make up the difference. This ensures a continuous feed of current at the proper voltage.

Blackouts

Of course we all know what these are. Unfortunately, they are quite unpredictable, both in frequency and duration. As with under-voltage problems, the best line of defense with blackouts is a UPS. When the power goes out, the UPS will take over instantaneously. However, it does have a limited output time, usually only a few minutes. So it is imperative that you finish all tasks immediately, and then turn your equipment off, before the UPS battery drains down.

When shopping for a UPS, ensure that it is large enough to support your needs. Look for the Electrical Specification plate on your machine. It will list the power requirements for that model. (Make a special note of the wattage.) When shopping for a UPS, make sure the unit you are considering will supply the required wattage of the embroidery machine. And make sure you know how long the UPS can supply it. Models with longer output times cost more, but may be worth the price.

Dirty Voltage

This problem is often referred to as “noise”. You can’t hear it, but sometimes you can see it. Have you ever noticed fuzzy lines on your television or computer monitor when a power tool is running? This is the result of tiny voltage fluctuations caused by the equipment during operation. These variations feed back into the electrical supply and travel to other devices (such as the TV). Noise should not be confused with surges and spikes. It is not nearly as serious. However, it can cause error signals to be introduced into the circuit cards that control your embroidery machine.

To combat this problem you may want to consider a Power Conditioner or an Isolated Filter Bank. However, most Surge Suppressors and UPS’s have built-in noise filters, so you may not need a separate device.

Okay, so what do you really need to protect your equipment from power problems? Ideally, you should purchase a top-of-the-line surge suppressor, with built-in noise filters. Then add in a UPS. Plug the UPS into the output of the surge suppressor. Then plug your embroidery machine into the UPS. This configuration will ensure maximum protection for your equipment. (Don’t forget to protect your computer the same way.)

Okay, now that we are getting the best voltage possible, there is one other potential problem to address. If your business is based in your home, you need to be aware of GFI circuits. GFI or GFIC stands for Ground Fault Interrupter Circuit. If your house is less than fifteen years old, you probably have some of these protection devices. Their purpose is to quickly “trip” when they sense an excessive electrical surge, therefore preventing potential electrocutions. Example: You are taking a bath and the blow dryer (which is plugged in) falls in with you. Theoretically, a GFI circuit will “trip” before you can even feel an electrical shock, therefore preventing a potential tragedy. A conventional circuit breaker may or may not “trip” in the same situation, certainly not quick enough to prevent some current from flowing through your body.

There are two types of GFI circuits. One is an actual circuit breaker located in your breaker panel. It can service several receptacles located throughout your home. These receptacles will have no identification that they are GFI protected. The second type of GFI circuit is an electrical outlet box with the circuit built in. These are commonly found in bathrooms and are easily identified by the “T” and “R” pushbuttons located on the outlet. This type of GFI can also feed several other unidentified receptacles located throughout your house.

So what does this have to do with a home-based embroidery business? If your equipment is located in a garage or basement, it probably is plugged into a GFI circuit that also feeds several other receptacles in the house. This means that any sudden surge of current from, say a blow dryer in the bathroom or maybe a power saw plugged into an outside socket, could “trip” the GFI circuit, causing a loss of power to your embroidery equipment. In addition, if there is an outdoor receptacle tied into this GFI circuit, a rain shower can sometimes cause the circuit to “trip”. So be aware of where you connect up your machine and/or computer. If in doubt, contact a local electrician. Better yet, have an independent circuit installed for all of your business equipment.

Now that you have been introduced to the “villains” of electricity, you can arm yourself with the necessary weapons to defend yourself from their wrath. Go ahead and connect up that new embroidery machine with confidence that you can survive any potential electrical problem. Throw the switch and start making money.

By: James M. (Jimmy) Lamb
Published: January 2007

Achieve Quality with Punching Sense

2007-12-05T11:02:00.000-08:00

"Punching sense" is that digitizing knowledge that can't be acquired by depending entirely on software.

Today’s digitizing software is somewhat bittersweet to some of us old dogs who once punched a design without the use of any type of software. I recall days of cursing and hair pulling caused by problems that no longer occur thanks to various tools of my high-tech digitizing system. That’s the sweet.

But when it comes to witnessing what’s now produced on that software and accepted as quality, or arguing various points to improve quality – like why a high quality design is impossible to create in minutes simply by scanning an image, or why automatic functions should never be used without being guided by an educated hand, or why all work can’t be considered final until the sew-out results in quality – well, that’s the bitter.

I’ll dare to guess that quality results achieved by punching manually teeters on the brink of extinction. Ironically, the very same software I once claimed to be a miraculous invention appears to be the reason. Many embroiderers are beginning to accept machine troubles caused by poor digitizing more so than they did in years past, simply because it’s the only type of digitizing they’re able to find. And it’s not unusual to find novice digitizers who struggle for quality results, believing failures are caused by their lack of computer skills, unaware they may only require a little manual education.

It’s that knowledge – punching sense, if you will – that can’t be acquired by depending entirely on software. Certainly a change of methods must be accepted as the world moves forward with technology, and software has indeed become a necessity for digitizers, but keeping up with the times does not mean that high quality has to be compromised!

The Challenge

Perhaps you’ve experienced frustration when long hours of diligent effort to create that perfect design fails. You know your intentions are possible, because you’ve seen others accomplish the same goal, so you begin the search for answers. Note: they will not be found in a software manual! Neither will answers be found by purchasing antique equipment used by veterans. Instead, simply set the act of learning in reverse.

Veterans who created designs by either punching holes in strips of paper tape or beeping signals to a diskette, while simultaneously viewing the machine sew, had a dickens of a time when they turned on that first computer. On the other side, new digitizers might be proficient at manipulating software functions, but by the time a design is sewn, they’ve no idea what action created particular results. It was necessary for the veteran to learn how to use software, and now the new digitizer must learn how to punch.

When high-tech madness began, today’s veterans wanted tools to increase digitizing speed with the ability to correct errors or make modifications to what was already punched. For example - deleting one color change, moving one stitch, or accurately resizing without spending hours cutting and splicing tape or redigitizing one small design for yet another week. So, for the sake of gaining speed they met the challenge by facing their fear of destroying that expensive new computer if the wrong button was pushed. (Yes, newbies, that really did scare the heck out of us!)

In the reverse manner, the new digitizer must accept the sacrifice of speed, spending time to study what will create results immediately upon action. Punching sense evolves only from repeated observation of immediate reaction to action, hands-on experimentation, and a respect for old rules that will never change no matter how high technology flies.

The Reality of Automation

Without punching sense, today’s digitizing software is just an expensive graphics program sufficient to produce onscreen images. Automatic tools found on most systems make digitizing seem easier, so the novice is discouraged when assumed results fail. Perhaps their high expectation is due to a blurry sales pitch they received when buying their software, or their own unrealistic presumptions that the software will “do it all.” Whatever the reason, when the reality sets in, their dream develops into a frustrating nightmare. They are able to generate the software functions and may even be well-acquainted with embroidery, but creating a quality design becomes a cobweb of confusion leading to dead-ends.

I won’t deny auto-functions do have a significant use. They’re big timesavers for those who have learned how to accomplish quality results using manual techniques, such as (but not limited to):

How a machine reacts to a particular command

What parameters to apply for various substrates

What adjustments are required when using auto-functions

What to manually do when a function refuses to cooperate

When each auto-function should be employed, if at all.

Granted, auto-functions are wonderful tools for the skilled digitizer who knows what high quality is and how it is achieved. However, without this knowledge, automatic digitizing tools are just that – tools.

Tricks of the Old Dogs

To create high quality, you must first be able to recognize it. Research and study finished embroidery – and not only what is commonly found on the discount rack. However, this is possibly the best place to start your research, because the easiest way to recognize the good is to know what’s considered poor. Investigate both sides of the embroidery, double checking the bobbin to eliminate any causes from the machine and make note of the visible materials used.

If it appears the embroidery was completed with the appropriate materials, it’s quite possible fault resides somewhere in the digitizing. Investigate for errors such as:

Columns that seem too narrow and tight

Holes in the garment

Gaps where borders should meet

An underlay stitch outside of the topstitching

Distortion of the design’s shapes,

Puckering fabric

Clarity of detail

Or anything that appears to need improvement and can’t be improved &nbspby using different needles, stabilizers or threads.

When you’ve become familiar with poor quality, investigate the works of well-skilled digitizers known to produce quality designs. Buy a few of their designs, examine them in your software, and sew them at the slowest speed on different types of fabric with keen attention. Jot notes of what you believe to be working well and question why something was done or why another thing was not.

If you believe it could have been done differently without affecting quality or suspect you could improve the quality, try duplicating a similar situation using your ideas. Experimentation is a part of the game! You’ll likely find the answer as to why the digitizer chose to do what was done, or perhaps, you’ll indeed find a better way. No matter what the result, you’ll have made a discovery, and that’s the key to acquiring punching sense!

The Learning Continues

Keep in mind, a digitizer never, ever graduates! Education continues on a daily basis, while punching sense matures. Continue to question the unknown and find the time to study by observation. Whether it’s your own or another’s work, there is nothing more beneficial than watching a design sew with your nose to the hoop. Test designs using a variety of materials and when possible, use different types of machines set at various speeds. Study how the machine reacts as commands are implemented and how particular stitch types sew and appear in different situations. Decide where changes, additions, eliminations or compensation in digitizing is necessary to meet the needs of quality. If modifications cannot be done by adjusting automatic settings, use manual methods. Personally, I’ve found it is nearly impossible to achieve what I desire using automatic functions without the aid of a bit of manual manipulation.

Don’t forget about training – and not just for your software! It’s important to learn how to use the freehand tools that all commercial software includes, and most beneficial to seek why and when to use them. Save time, avoid frustration and absorb precious tried-and-true tips offered by veteran digitizers via workshops, tutorials or texts. As you continue to gather information from those who have been down the path, and critique sewing results while considering how it was punched, it becomes natural to predict a probable outcome as a design is being digitized. Eventually, you’ll actually see sewing results in your mind’s eye with accuracy while each stitch is digitized. This is punching sense!

By: Bonnie Landsberger
Published: October 2006

Maximizing Minimums

2007-12-05T10:59:00.000-08:00

Avoid losing money on small orders by charging for the entire length of the job.

How many times has someone come into your shop wanting just one or two pieces to be embroidered? What did you charge them - your standard rate? Hopefully, you had a minimum charge that guaranteed you were making money on the deal. If not, then you probably ended up losing money on the job.

I’m not a fan of stitch count pricing, as it doesn’t take into account how much time it takes to produce something. Certainly more stitches means more time to sew, but that doesn’t cover all the other stuff like setup time and cleanup time (at the end of the job). In fact, with small orders the setup time can easily exceed the sewing time. Thus, I prefer using a method that takes into account the entire length of the job, from beginning to end. It’s more accurate, and when done correctly can really open your eyes to the true cost of production.

You will begin the process by calculating your hourly cost of operation, something that I have covered many times before. For the purposes of this article, we are going to assume an hourly overhead of $30.00, which equates to $0.50 per minute. (This is not a standard figure - rather, it’s an assumed figure for the purposes of discussion). It should be noted that when I calculate hourly overhead, it also includes your salary, which ensures you are getting paid!

Suppose someone came into your shop with one polo shirt in his hand, wanting to get a stock design and a business name sewn on it. You spend time with him finding the right image, and determining the best font and layout. This is the sales process, which can range from five minutes to an hour. (Hopefully you are adept at keeping it at the lower end of the scale.) To make a long story short, the design comes out to 5000 stitches and six colors. If you were to charge $1.50/1000, the price would be $7.50.

Now you enter the production phase of the job. The first step is to set up the design on your computer. Assuming you already have the stock design and don’t have to download it from the internet, you will still need to open it, possibly resize it, possibly change the colors, and then add in the text. By the time you are done setting it up, ten minutes has passed.

Hooping now takes center stage. Assume at least three minutes to prepare backing, mark the placement of the design and hoop the shirt (maybe longer).

The next step is to set up the design to run on the machine. That entails transferring it either by disk, flash, or network, printing out a copy of the color change sequence, installing the proper threads, setting up the color sequence at the control panel, centering the design, tracing it, etc. This will probably run a good three minutes.

Finally you are ready to sew, after spending at least fifteen minutes getting the job set up. Once you hit the start button, it will take at least 6.25 minutes to run the job at a constant speed of 800spm. But since the design has six colors, the machine will have to stop at least six times to perform a color change, which can easily add another minute to the total run time. Factor in speed changes, since machines never run at a constant speed, thread trims and maybe even a thread break or two, and you have a more realistic production time of 8 minutes, not 6.25 minutes.

Once the embroidery process comes to an end, you have to unhoop the garment, remove excess backing, trim extra threads, inspect the design, possibly remove topping, and fold. Another three minutes for final cleanup.

So how much time do you have wrapped up in this job? Not including the time spent working with the customer, your investment looks like this:

Job Setup
Design Setup: 10 minutes
Hooping: 3 minutes
Machine Setup: 3 minutes
Total =16 minutes

Sewing Time
One Run: 8 minutes

Cleanup Time
Trimming, Folding: 3 minutes

Grand Total= 27 minutes

If your hourly overhead was $30.00, which is $0.50/minute, then this job cost you $13.50 to produce. But if you had used a stitch count charge of $1.50/1000 based on 5000 stitches, you would have only charged the customer $7.50, which means you lost $6.00 on this job.

On the other hand, if the customer brought five shirts that got the same design, you would have spent 16 minutes setting up the job, then 8 minutes for each of the five runs. In the course of one hour, you would have produced five shirts at $7.50 each, which equals $37.50. This exceeds your hourly overhead, meaning you made a profit on the job. (When doing multiple runs, you would be expected to hoop and trim while the runs were in progress.)

The fact of the matter is, you will always have an extensive amount of setup time, that in the case of small jobs will most likely exceed the sewing time, whereas, with larger jobs the setup time becomes a much smaller percentage of the overall production process. To ensure that you make a profit on small jobs, you should establish a minimum charge for doing anything. A good rule of thumb is to charge at least 50% of your hourly cost of operation as your minimum charge. In this case it would have been $15.00.

It may sound steep, but in this business, time is money. Sure, if sales are slow, you are probably happy to get anything at all, but you must establish policies that ensure you are making a reasonable amount of money on small jobs, rather than settling for less just because things are slow. Minimum charges are the key to avoiding this common business error. Establish them, stick with them and reap the benefits. Or lose money routinely. The choice is yours.

By: James M. (Jimmy) Lamb
Published: January 2007

Curb Appeal

2007-12-05T04:38:00.000-08:00

Looks can be everything in the embroidery industry.

Curb Appeal is a common term within the real estate industry. It’s a well known fact among realtors that if the exterior of a home is a turn-off to a prospective buyer, they are pretty much wasting their time trying to get that person to step foot through the door for a look inside. (Having spent time in the backseat of an agent’s car, I can attest to this fact!) Thus, they encourage the home seller to make every effort to enhance the outside areas of their property before putting it on the market, in order to improve their chances of enticing potential buyers. This is a crucial first step in the home-selling process.

The same concept carries over to embroidery, or should I say, the embroidery selling process. How do you present your products for sale? Are you one who focuses on just pitching embroidery, or do you promote the whole package? Unless you are a contract shop, you should be tuned in to the concept of selling products, rather than embroidery. After all, in most cases you are producing goods that feature embroidery as a part of the package, but not the only part. For example, a polo shirt embroidered with a company logo should be marketed as a unique method of advertising and branding for that particular business entity. And that means the total shirt, not just the logo, should be used to deliver the message. Too many times, you get caught in the crossfire between listening to the customer (most of whom have no idea what they want) and coming up with the lowest price, with creativity taking a back seat. Unfortunately, lack of product excitement can lead to lack of profits.

Step back for a minute and look at what you are offering and how you present it. Are you approaching your customers with bland, everyday concepts or exciting and inspiring product packages? For example, maybe you had a school who wanted their mascot on a royal blue cap, so you gave them a sample of just that, without anything extra. They looked at it and said “hmmm.”

But what if you had taken a different approach? What if you had researched the school a little bit more and found that their colors were royal and gold? Then you did some product research and found a really cool royal blue cap with gold and white trim. Then you took the time to sew their mascot using thread colors that tied into the colors of the cap. Upon delivery of this sample (in place of the ordinary blue cap), chances are the customer would have reacted with an “oh wow” instead of a “hmmm.” Exciting product presentations can make a real difference.

Curb appeal can open a lot of doors and generate a lot of interest when approaching new customers, but don’t let it end there. Make it your signature. Regardless of whether it’s a potential customer or an existing account, continue to promote curb appeal on a daily basis.

As a real-life example, several years ago my wife noticed that the staff at our eye doctor’s office was wearing bland nurse’s uniforms with one tiny bright spot – the clinic’s logo embroidered on the left chest. But the overall presentation was rather lifeless – white uniforms and dull embroidery. She came home with all kinds of ideas spinning in her head and began digging through the mounds of apparel catalogs that we routinely ordered for unique product ideas. Rather quickly, she came across a company that specialized in medical uniforms with a fashion flair – bright colors, prints, etc. She ordered some samples of printed tops with matching solid color bottoms. We then set up their logo using thread that tied into the colors of the tops. We kept the basic logo colors, but took some liberties with certain elements in order to tie into the colors in the clothing. The results were truly awe-inspiring compared to what the staff was currently wearing.

As expected, the “package” made a huge impact on the customer and led to a sizeable order. But we didn’t let it end there. My wife continued to create more product ideas and presented them to the customer on a regular basis. To make a long story short, they ordered five sets of uniforms for each staff member four times per year (at each change of the seasons). This developed into a profitable account (40 plus staff members) that all started with curb appeal.
Though there may be some risk, we made it a standard practice to vary logo colors on a routine basis in order to match embroidery thread colors to garment colors and thus achieve the look we were after. The key is not to alter critical parts of the design, but just tie it in as needed. In the photo you can see a fishing tournament logo.
The yellow text was originally done in red, but we really liked this jacket and it was only available with a yellow panel, so we knew that yellow had to be a prominent part of the embroidery in order to make this product/logo combination work. Thus, we applied a bit of artistic liberty to the job and changed the line of text to yellow. It achieved the results we were after and the rest is history. Curb appeal won out again!

Curb appeal can certainly make a difference in the sales process, but in the real world, you don’t win every account. Though it would be ideal to create innovative product packages for each potential customer, in reality it would be an expensive endeavor, since you would be forking out your money in speculation of seeing a quick return on your investment. In reality, it just doesn’t happen that way.

As an alternative, you can create a blank (non-logo’d items) apparel sample kit that steers clear of the ordinary, with a focus on the extraordinary. Use it to show the customer ideas rather than finished products. If you are really enterprising and have an auto-digitizing system, you might create a quick rendition of their design with appropriate thread colors and print it out on a clear sheet of acetate (overhead projector transparency). You can then overlay this transparent print-out over any existing garment in your collection, generating a reasonable facsimile of what the end product might look like without investing the time and money to digitize and sew-out the design on the garment. (NOTE: I’m not a big fan of auto-digitizing systems for generating production-quality designs, but some of them work well enough to create visual concepts for sales presentations.)

If you don’t have auto-digitizing capabilities, but have access to an art or drawing program, you might be able to take a copy of the prospective client’s logo off the internet (or scan it from printed material). Then change any colors necessary to match the logo to the garments you plan to show, and print it out on clear acetate as well. The only real difference in the two methods is that one will be flat while the other appears to be stitched. Either way, your investment will be virtually zero, but the results have the potential to be so much more.

Curb Appeal! It’s what can set your shop apart from all the rest. Let’s face it, any embroiderer can deliver a white polo with a logo, but not every embroiderer is willing to go above and beyond. And if all you have to offer is the “same old, same old,” then the only edge you will have over the competition is price, which is definitely not the position you want to be in. The end result may find you very busy sewing boring garments, but not making much money in the process. Curb appeal, on the other hand, might be just the ticket to win over customers, without sacrificing on price.

By: James M. (Jimmy) Lamb
Published: December 2007

Cross Stitching – Creative and Decorative

2007-12-02T08:35:00.000-08:00

Cross stitching book helps you to create beautiful decorative pieces and utilize your leisure time in a more innovative way.

If you are a person who loves arts and have an artistic hand then craft book is very useful for you. A craft book is a book that provides some sort of information about any specific art. This may include painting, knitting, stitching, candle making, doll making or any other form of craft work. You can easily spend your leisure time creatively and make some useful thing for your home and family. Craft work not only gives you pleasure but also save lot of money if wisely done.

Cross stitch book is a craft book that helps you in making beautiful decorative pieces along with fun all the way. There are some guidelines that you need to follow for cross stitching which is given in a cross stitch book.

Things you require for cross stitching
A graph that you wish to draw, even fabric for cross stitching, a tapestry needle of 24 or 26, embroidery thread or floss, embroidery hoop and scissors.

Steps for cross stitching
1. You need to separate the cotton strands which are usually in six strands in correct number for stitching. There will be a color key that will show the cotton color you have to use for each symbol in the chart. You should start the cross stitch design from the middle in such a way that the stitching you made fits in the fabric without going off from one side. You can find it easily by folding the fabric in four and thus you will find the center but remember that this point coincides with the center of the chart that is normally marked with arrows from top, bottom and sides.

2. Begin stitching by threading your needle and then bring it up to your fabric but leave a short end of cotton in the back and work over this with your first few stitches to secure it. After making enough stitches in place you can start a new color by running it through back of existing stitches. Finish the color by running the cotton under the stitches at the back so that it is secured.

3. You can make single cross stitch, row of cross stitches, half cross stitch, back stitch, part stitches which really looks great when you have finished.

Visit our recommended website craft-books.net

By Olivia Andrews
Published: 6/10/2006

Embroidery Sewing Machines - Which One is Best for Your Projects?

2007-12-02T08:33:00.001-08:00

The variety of embroidery sewing machines is amazing. There is no stitch or pattern that sophisticated modern machines can't perform. But how do you find a sewing machine that is best for you? Let's look at what is currently available on the market and compare best embroidery sewing machines.

Mechanical embroidery sewing machines - the simplest style

You can get a mechanical, electronic or computerized embroidery machine. The first sewing machines were mechanical controlled by a rotary wheel. Actually they have been on the market for almost 200 years. Some people still prefer to use a mechanical machine and their antique sewing machines like Singer or Brother work for them very well.

Mechanical embroidery machines have a limited selection of stitches, but they are inexpensive. They are not as easy to operate as electronic ones, but with a little bit of practice you can create beautiful embroidery.

Most respected sewing machine manufacturers still produce mechanical embroidery machines. Some of the more popular examples are Kenmore 11101, Elna 2005, Bernina 1008, Singer 6038 and Kenmore 15212

Electronic embroidery machines - easy and convenient

Even though mechanical machines work fine, most people prefer electronic ones. They are much simpler to operate, so you can concentrate on the creative part of your embroidery project. Electronic embroidery sewing machines are also lighter and more portable. There are hundreds of models available, since most modern sewing machines are electronic. You can find machines by Brother, Singer, Janome, Kenmore and Viking to suit any budget.

Not all electronic machines offer you the same features. Look at the number of stitches, and additional features available to see if particular model will suit your needs.

Computerized embroidery machines - most sophisticated technology

Computerized sewing machines use the most advanced technology to help you create beautiful embroidery easy and fast. They are basically the same as electronic embroidery machines, but with much more features. The machine uses a microprocessor, so you can load different patterns on a card and your machine reads the information from a card and creates a pattern all by itself. This allows you to create very sophisticated embroidery.

A computerized sewing machine can have many features. Here are some - automatic needle threader, multiple needle positions, mirror imaging, more the a hundred stitch functions, needle positions, a screen displaying stitch length, stitch patterns and width adjustment.

The only disadvantage of a computerized embroidery machine is its price - you will have to pay from $ 400 to $2000 for a good quality unit. The price depends on additional features and how much your machine can actually do. Popular models of computerized embroidery sewing machines are Brother SE270D, Singer CE-200 Quantum Futura and Singer Quantum XL-6000.

If you decide to go with the top technology machine with a microprocessor it makes sense to compare prices for the same model at several retailers. You can check your local craft and sewing supply shops, but you are more likely to find a better price online. There are many online shops that offer a great variety of different sewing and embroidery machines.

Visit Embroidery Sewing Machine Reviews for reviews of machines by different brands. We provide information about all types of sewing machines as well as sewing and embroidery tutorials and free sewing patterns.

By Tanya Turner
Published: 6/9/2007

Profitability Or Lack Thereof [embroidery]

2007-11-27T23:51:00.000-08:00

You look up at the wall clock through bleary eyes. It’s almost midnight and you still have a long way to go. Though you’ve been hard at it since early morning, the pile of shirts has scarcely been dented. And right behind it are several more boxes of hats, jackets, and aprons. You pinch yourself hard, hoping to awaken from this nightmare, only to find out it’s no dream - it’s reality. There is no end in sight to your workload, which would seem to be a positive thing, except in your case it’s not. Because in spite of all the hard work, you just don’t seem to be making any money. What was it your parents used to say, “Hard work leads to success”? Yeah right! You’re working yourself half to death and success, at least financial success, is nowhere in sight.

Does this sound like your life? Lots of work, but no money? Believe me, you’re not the only one in the same boat. Hard work only guarantees one thing: that you will be tired at the end of the day. Smart work is what leads to success. The old adage, work smarter, not harder, is very true. Unfortunately, I have seen many Embroidery Shops that are super busy, yet not making a lot of money. (I can relate to this fact since I went through it myself.)

A large sales volume does not guarantee profits. When business is booming, it’s easy to convince yourself that you’re making money, but the bottom line lies in the net sales, not the gross sales. You need to know how much it costs to produce every order, then ensure you are making more money on each piece than it costs to produce. This sounds like a simple concept, yet the average Embroiderer has no idea what it costs to produce anything. It’s sad to say, but most shops base their prices strictly on the competition. By doing this you are assuming the following things:

· The competition has carefully calculated realistic pricing based upon their cost of operation.

· The competition has the same overhead as you.

· The competition is smarter than you.

Do you really want to base your future on these assumptions?

So where do you start on the quest for profitability? The first step is to determine where you spend your money. Make a list of all of your business expenses over the course of a year. Things like rent, loan payments, utilities, embroidery supplies, insurance, advertising, wages, etc. Every penny counts, so be thorough. I also suggest adding in your paycheck. You are in business to make money and this is the most important expense of all – paying yourself. When you’re finished, total all of the expenses together to come up with a yearly amount. This is not 100% percent accurate, since some of the expenses are fixed and some are variable. But you have to start somewhere, and this is the place. You can always fine tune the expenses as you go.

Once you have come up with your total annual (estimated) expenses, it’s time to break down these numbers into units of time. Decide how many weeks you plan to work per year. Most people go with 48. Divide the yearly costs by 48, to find out what your overhead is per week. Now let’s determine an hourly cost. This can be tricky. It might seem logical to divide the weekly overhead by 40 (or however many hours per week you think is appropriate), but we need to identify weekly hours of production. After all, if your machine isn’t sewing, you aren’t making money. Try to determine how many hours your machine(s) is running per week. Don’t worry about how many minutes per hour just yet - only the total number of hours.

Once you have this information, then divide the weekly overhead by the number of hours to come up with a basic hourly overhead figure. If that number is $30.00, then you know that you will have to produce $30.00 (net) worth of orders every hour, 40 hours per week, 48 weeks per year. If you do this, and none of your expenses change over the course of the year, then (in theory) you will be able to pay all of your bills and your salary.

Of course, we all know that things change. Thus it’s important that you create a spreadsheet to track this information and update it frequently. Overhead will fluctuate! Sales will fluctuate! You must be flexible and willing to change your data as needed.

Okay, let’s go a little bit further with our cost analysis. Since most Embroiderers like to charge by stitch count, let’s figure out the cost for that as well. Let’s start by determining how many stitches per hour you can generate. The first question is, how many minutes of sewing do you achieve in a typical hour? Don’t even think about 60 minutes. Don’t assume 45 minutes either. The real number is more like 35 minutes in a single head shop. (Some of the multi-head shops approach 45 minutes since they are more production oriented.)

Assuming a single head machine is running 800 stitches per minute (average, not max) for 35 minutes, it yields 28,000 stitches produced in one hour. (As an alternative, you can track stitches sewn by checking your machine’s stitch counter every hour.) If we now divide the hourly overhead figure of $30.00 by 28,000 stitches, the result is $0.00107 per stitch. Wow, what a great number to work with! To make things easier to understand, we multiply this number by 1000, which yields $1.07 per 1000 stitches.

Now you have a basic cost, not price, for producing stitches. Using this number as a breakeven point, you can begin to build a price sheet. By the way, you can lower this number by increasing your hourly production. For example, if you were sewing 50 minutes per hour, your stitch output would increase to 40,000 stitches per hour, with no increase in overhead. The final result would be a stitching cost of $0.75 per 1000 stitches.

This is an important concept to understand. Increasing your production rate can decrease the cost of producing each piece. Thus, you really can offer discounts to larger volume orders. However, at some point, you will reach a maximum output for your machine, at which point no additional pieces per order will make the job any more efficient. If you understand the calculations presented and do some work on your own, you will see where the saturation point is for your machine.

The examples above are focused totally on stitch count pricing, and don’t take into account any profits generated on the sale of merchandise. Garment markup is a discussion in itself. But on a general note, garment markups should not always be based upon a flat percentage system. Instead, it should be done based on the perception of merchandise value by the customer.

For example, in a retail shop, forget the 100% markup rule. Figure out what people are willing to pay. Just because you buy it cheap doesn’t mean you have to sell it cheap. (An important rule of retail.) And with retail markups, don’t feel guilty because you know what the item really costs. You’re in business to make money! Are you going to retail a $2.00 cap for $4.00? I think not. Most retail shops sell blank caps for $12.00 to $18.00 each. However, when you go to the bulk orders, these numbers come down quickly. Typical wholesale orders see about a 30% markup across the board.

So let’s go back to the master pricing scheme. In the real world, when you are looking for a competitive pricing edge, you can shave off some of the merchandise cost and some of the stitching cost, in such a way that you can still make money. Remember that hourly cost figure of $30.00 that we came up with? Time to put it to use. Let’s say you have an order for 12 baseball caps, and you estimate that your machine can output four of those per hour. Divide the hourly cost by four and you will see that you need to charge $7.50 for each baseball cap, above the cost of the cap, to break even. But since the goal is always to do better than break even, you should add a little more in to the price. Don’t sell yourself short! Here we didn’t focus on the stitch count, or a particular markup - we focused on the hourly output versus the hourly cost.

Everything discussed so far has been in general terms. As you investigate how the cost concepts apply to your business, you will (and should) get much more specific and precise. If you don’t know how to use spreadsheets, learn! They are an invaluable tool for ALL business owners.

Okay, so now that you have a clue as to what it costs to run an order, the next step is to develop a strict set of pricing guidelines. Create a price list that ensures profit for you, while offering a fair price to the customer, and stick with it. If you have to go below the breakeven point, then you shouldn’t take the order because you will lose money. This is perhaps the hardest part to deal with. I constantly get beat-up in Seminars by Embroiderers who say that the competition is cheaper, so they are forced to sell at the same levels. Well, I’m here to tell you, the numbers don’t lie. If you try to sell it for less than it costs to produce, you won’t have to worry about the competition for too long because you’ll be out of business.

This leads me to the next aspect of profitability: choosing the correct market to pursue. Some markets will support your price structure and some will not. If you can’t get your asking price in a given market, then you are in the wrong market. Basically, you have three choices:

· Take the job at a loss.

· Close down your shop.

· Find a market that fits your business.

Identify your strengths and weaknesses, then capitalize on the strong points. What do you have to offer, beside price, that the competition does not? A lot of the discount shops have long turn-around times. Maybe you can offer quick delivery. Many of the discount shops have poor quality work. Focus on having the best embroidery quality and letting your potential customers know that. If they don’t care about that, then maybe you don’t want them as a client. And be sure to refuse any job that you have doubts over. If you aren’t sure you can do it right, then don’t do it at all. The hardest thing to say is NO, but sometimes it’s the most important word in a Shop Owner’s vocabulary.

Finding a good niche market is another piece of the profitability puzzle. Look for specialty markets that the other shops have either ignored, or never identified. Niche markets can be very lucrative. Typically they will take research and possibly a special approach, but the long-term results can be quite profitable. If you are the first and only shop serving this market, then you are in the position to control the price points significantly (but within reason). (See my series of articles on Niche Embroidery Markets in Stitches Magazine.)

You must realize that you are running a business that does Embroidery, rather than Embroidery as a business. It’s important that you focus on the embroidery aspects, but it’s critical that you stay on top of the business issues. Though profitability is affected most by your production costs, there are other avenues to explore as well. It’s so easy to be overwhelmed by costs such as rent, because you don’t easily see the resulting sales. A rent figure written on a contract is staring you in the face. There is no doubt as to the amount and the frequency. Sales, on the other hand, are a gray area based on faith and hope. Thus, we tend to cut every corner in an attempt to keep the costs down, because those are obvious. (Not a bad thing, as long as cost-cutting is done logically.)

For example, rather than take on that high rent retail location, it’s much cheaper and easier to stay in the garage, or move in to some obscure commercial site. Yes, you saved on the overhead, but you probably lost a large amount of potential sales due to lack of visibility for your business. If you need walk-in traffic, then you must be visible.

Analyze your location requirements and benefits without focusing solely on the price tag, initially. A good location might cost $3000.00 per month, but if it generates $6000.00 in net sales, by virtue of the location alone, then it could be considered a good investment, unless those same exact sales could have been realized in a cheaper location.

Running a profitable operation requires constant attention to costs versus benefits. Large investments in equipment, software, locations, training, etc. should not be avoided. Rather, these expenditures should be analyzed to determine their benefit to your bottom line. For example, if you are a single head shop running orders that average six dozen pieces, you are most likely losing money by not investing in a larger piece of equipment, such as a 4 head or 6 head machine. Don’t focus on the cost difference. Focus on the increased production capacity that the larger machine will create. Then compare the increased output to the increased costs. Chances are there will be a significant increase in profits for your business by investing in the larger machinery. Apply this concept to every aspect of your operation.

A constant assessment of overhead, production efficiencies, and market preferences is a must. That is what running a business is all about. Those that apply sound business principles to their Embroidery Shop are the ones that succeed. Those who ignore them, tend to fail. Work smarter, not harder! You must be aware of where your money comes from and how it’s spent. Profitability is no accident. It’s the result of careful planning and attention to detail.

By: James M. (Jimmy) Lamb
Published: July 2007

Complete Rejection - NOT!

2007-11-27T23:45:00.000-08:00

Here are some ways to make use of damaged or incorrectly sewn garments.

If you are an Embroiderer, one thing you can count on is that eventually you will end up with damaged or incorrectly sewn garments on an order. Of course, you will have to replace these “rejects” - resulting in an unwanted collection of reminders of a job gone badly.

So what should you do with these souvenirs of lost profits? It’s quite tempting to discard them in disgust, but that would just increase your revenue loss further. Instead, make an attempt to find a new life for your rejects. Even ones with physical damage can be recycled with a little bit of ingenuity on your part. To help you better manage your rejects, we will discuss ways to make use of them.

Recycle your rejects as staff uniforms.

In the case of an incorrect logo or color selection, you may be able to remove the thread and sew your logo in its place. Even if there is a hole, you can just add fusible backing on the backside of the fabric and water-soluble topping on the front, and then sew right over the hole.

If you don’t wish to remove the old logo, you may be able to sew right over it, especially if your logo has a filled background. Another alternative is to create a patch with your logo and sew the patch over the old logo (or hole).

Now you can give your employees (or yourself) some freebies, that if done correctly, may look professional enough that they can even be worn in public, thereby providing additional exposure for your company.

Damaged goods can many times be repaired and used for display items on mannequins or the wall.

The beauty of using them on the walls is that you may be able to creatively display them such that any flaws can be hidden from view. For example, if you accidentally sewed together the front and back of a shirt (by not paying attention while installing the hoop on the machine!), removing the thread frees up the two sections, but it also leaves exposed needle tracks on the front and back of the shirt. Certainly you can sew your logo on the front and hide those needle holes, but not on the back. Thus, you can’t wear the shirt in public. Using the shirt in a wall display allows you to hide the damaged backside from view, especially if it’s higher up, where no one can reach it.

If you choose to use it on a mannequin, consider combining the shirt with a jacket, so that the jacket hides the damaged portion of the garment from view. However, be aware that if a customer asks to remove the jacket so they can inspect it closer, the damaged shirt underneath will now be viewable.

Of course, if there is no physical damage to a rejected garment, simply add a new logo and display it wherever is convenient in your shop.

Sample kits are another useful destination for recycled rejects.

However, since these items will be subjected to close scrutiny on a regular basis, make sure there are no flaws. It’s also important that you remove the original logo if it was sewn incorrectly, or the quality of the stitching was questionable. It is a bad idea to display a customer’s logo to others that was anything less than perfect. (And for that matter, always ask a customer if it is permissible to use his logo in your portfolio and/or sample kit.)

Bottom-line, you must develop a sample kit and you must purchase garments to go into it. If you can recycle rejects rather than purchase new items, you save money, as you will recoup the cost of the unacceptable garments.

You can donate some of your rejects to the needy.

But treat these organizations with respect and don’t deliver damaged goods. Instead only offer items that are in excellent condition. Also, never donate goods with someone’s logo embroidered on them. No disrespect to those unfortunate souls who are down on their luck and in need of assistance to get back on their feet. But the fact remains that some of them may be found in questionable situations, such that a logo’d garment could end up bringing negative exposure to the owner of that logo. Even worse, since the garment is a “reject” there is probably something wrong with the logo to begin with, which could add yet another level of anxiety for the customer to whom the logo belongs.

So, with this in mind, anything you donate to charity should have generic designs on them. Remove the existing logo and sew over the space with something interesting, appealing, creative and generic so that the recipient of your donation gets a brand-new, usable garment that won’t get you into trouble.

One other thing, charitable donations are tax-deductible, so be sure to get a receipt!

If a rejected item is too damaged to repair or simply not worth your time to recycle as a wearable item, then use it as test material for sew-outs.

(Most Embroiderers have their fair share of test materials stored in a box on the corner of a shop.) When you sew-out a customer’s logo for the first time, it is imperative that you do so on the same type of material as the garments that it will be stitched on. This allows you to see how the fabric will affect the quality of the sewing. Based on the sew-out you can make adjustments to the process, such as changing the type of backing, adding a topping, selecting a different needle or even editing the design.

In addition, when getting your customer’s approval on the logo, you need to show it to him on the same material as the final garment, so that he gets a realistic representation of what the design is actually going to look like. If you were to offer him a sew-out on felt, for a job that was going on pique mesh, he will likely be disappointed (an understatement) with the order when you deliver it.

So, keep those damaged goods and use them as needed. They might just prevent future rejects.

Use them as reminders to your workers about what NOT to do.

If you have employees and you have rejected garments, chances are there is a link between the two – poor training. Since most embroidery screw-ups are the result of operator error, it is useful to save specific examples of what can go wrong with a job and use them for training aids. Of course, storage of such items can be cumbersome, so take pictures and create a training manual that has images along with detailed instructions about what went wrong and how to prevent it in the future.

Instead of recycling the unacceptable items, you can use them as reminders to your workers about what NOT to do. Hanging damaged goods in prominent places will provide constant feedback to the staff that they need to pay close attention to everything they do. For example, a shirt that was hooped crooked could be mounted on the wall behind your hooping station as a reminder to verify that each garment is hooped properly. A cap with the wrong thread colors could be mounted on top of a control panel as a message to double-check the thread color sequence that was loaded into the machine. Take it another step and add a placard with each garment that states what went wrong and how much it cost.

The idea is not to demean your staff or surround them with negative messages; rather you are providing visual reminders that everything they do has an impact on the operation of the business.

A word of caution: If customers routinely tour your production area, be sure that such reminders disappear during their visit.

Sometimes, the damage is such that you can’t find a reasonable way to recycle the item. Or in the case of rejects used for test sewing materials, you run out of space to sew. The logical assumption is that there is no further use for it, so the reject should be delivered to the circular file for disposal.

But wait! There are still some practical uses for even the most worthless reject.

Cleaning rags are at the top of the last resort uses. Your machine(s) require frequent cleaning to remove excess oil, dust and lint, so you have an ongoing need for cleaning rags. Of course, some fabrics, such as 100% cotton knits, are better than others, but I’ll bet you have (or will soon have) an assortment of rejects that can be used for this purpose.

Once you identify potential cleaning rags, get out the scissors and remove any physical appendages such as buttons and zippers, as they can catch on the machine components and possibly cause damage to fragile parts. In addition, they can scratch the paint. You might also want to remove collars, heavy seams, sleeves, etc so that you are left with a reasonable shape and size for your cleaning rags.

If you have plenty of cleaning rags, then try stuffing pillowcases with the rejects and create weapons for pillow fights. If you have kids, you can get them out of your hair (and your shop) by sending them outside to take advantage of your new-found recreational items.

If you have employees, they can work-out their frustrations on each other during a lunch break.

If you have problem employees, you can work out your frustrations by beating them with their rejects…

Okay, so maybe your lawyer has advised you that beating your employees with pillows created with their rejects is a bad idea. I have one last suggestion on how to make positive use of your rejected garments. Create the world’s largest ball of rags and enter it into the Guinness Book of World Records. Just go to www.guinnessrecords.com for details on how to enter.

Who knows, maybe your rejects bring you fame and fortune through such publicity, thereby turning lost revenue into a profit motive.

But considering how many rejects you would need to create such a record, perhaps it would be more cost effective to forget the Guinness Book and focus on reducing your reject rate to zero. Besides, it doesn’t make for positive publicity when your customers figure out that you set a record based on your reject rate!

By: James M. (Jimmy) Lamb
Published: June 2007

Embroidery Patterns

2007-11-20T08:13:00.000-08:00

The introduction of computerized embroidery has resulted in numerous patterns readily available for your use. Indeed, you can simply search for and download patterns that suit you. You can opt for the patterns available for free or broaden your selection by purchasing premium quality ones. Many of the embroidery patterns are easy to use, some just requiring the use of a hot iron to transfer onto fabric. All these fall into special categories although there is some overlap.

Jacobean embroidery refers to the styles that were prevalent during the reign of King James I of England. It is currently used to describe a type of crewel embroidery that has fanciful plant and animal shapes. The Elizabethan style, on the other hand, derived its name from the reign of Queen Elizabeth, a period that was known for its costumes. There is a simple form of embroidery known as black work where black thread is stitched on off-white fabric and is normally carried out on even-weave fabric. It was traditionally stitched in silk thread on linen or cotton fabric. There are three main types of black work. The earliest ones used to have geometric or small floral patterns. Later types featured large designs flowers, fruit, and other patterns. In the latest styles, the outlined patterns are "shaded" with random stitches that imitate etchings. Presently black work has a modern feel due to its austere, formal quality.

Forbidden Chinese stitch was so named because it was forbidden among young girls since its fineness contributed to eyestrain. Some are so fine that they can barely be seen from more than a foot away! Triangle point embroidery uses a variety of equilateral triangles which are stitched in various colors, creating a geometric design. You begin with vertical stitches on two threads, followed by adjacent vertical stitches with four threads, others over six and eight threads respectively before repeating the procedure in reverse.

Pattern darning embroidery uses parallel rows of straight stitches of varying lengths to create a geometric pattern. Threads are anchored in the foundation fabric in the edge of a hole then carried across it and anchored on the other side. The hole is eventually covered with a mass of thread. Another type of embroidery is Berlin wool work, which is actually a subtype of canvas work. Fancy embroidery embellishes the seam lines between individual pieced shapes.

Commercial Embroidery

2007-11-20T08:12:00.000-08:00

Sewing and embroidery in the US have gained a new life of their own, with a large multitude of the population turning towards these crafts at the beginning of the twenty first century. Among these, a lot of people who have gained expertise in the craft of embroidery have opened up or are planning to start a commercial embroidery business of their own. One of the major things that will concern you when starting a business of your own are the kinds of embroidery machines that you want to equip your enterprise with. Making the right decision with respect to the machines that you buy is extremely important because this is where the major part of your investment is going to be concentrated. A marketing strategy for your products can easily be changed if you make a mistake. However, if you end up buying the wrong kind of machines for your business, then you are pretty much stuck with them.

Therefore, it is imperative that you do as much research as possible before buying your commercial embroidery machines. Deciding upon the modus operandi of your business at the beginning itself will also help in narrowing down the kind of machine that you want. Once you know whether you plan to take large orders or small orders, do specialized work, offer only embroidery or provide sewing services as well, then it will become easier to narrow down your choice of embroidery machines.

Embroidery machines can be broadly classified into three kinds—only embroidery machines, combination machines and commercial machines. Embroidery machines are the ones that can be used only for embroidery while a combination machine lets you sew as well as embroider. Commercial embroidery machines, on the other hand, are machines that come with multiple heads and needles and are equipped for embroidering on a number of pieces at the same time. This is not to say that the previously mentioned embroidery machines are not to be used in commercial set ups. In fact, most commercial embroidery establishments are populated by such machines only. Even if you plan to go for large multiple head embroidery machines, buying at least one top of the line embroidery machine with maximum number of features makes sense for your business. This is because these machines are extremely useful for making embroidery samples. You will need to create multiple samples and keep on making changes in the sample till your buyer finally likes what you make. At times like these, using large machines made for embroidering dozens of pieces proves to be quite cumbersome and costly.

Embroidery Business

2007-11-17T10:18:00.000-08:00

Embroidery, or the art of embellishing or adorning any kind of fabric with ornamental needlework, has been part of our culture since time immemorial. One always reads about white haired grannies or spinsters embroidering fabrics while weaving their tales. However toady, embroidery has come a long way since those days when people used to labor over a piece of cloth for weeks on end. It has been some years since computerized embroidery machines changed the way the world embroidered fabric. And with the advent of technology in the field of embroidery, more and more young entrepreneurs have taken to starting their own embroidery business.

Starting one’s own business is the best option for people who want to be their own bosses. When you own your own small business, then you are in a position to determine how much you want to earn and how many hours you want to put in. Apart from this, starting a business related to the crafts, like an embroidery business, gives you a chance to unleash your creativity as well. Starting an embroidery business of your own is a good idea if you want to stay at home for some reason or are already a stay at home mom. This is because you can easily set up a business at your home only, by designating even as less as one room as your work area.

Computerized embroidery machines have made getting into the embroidery business extremely easy. You do not need to be an experienced embroiderer in order to start an embroidery business of your own. You will just need to take a small tutorial, which is generally offered by most machine manufacturers on using your machine with an embroidery software and viola, you are in business! When programmed correctly, these embroidery machines can create complicated designs almost perfectly. So all you would need to know is how to use your software. These machines, as you might have guessed , are not cheap, but even then, most machine manufacturers offer very good financial deals and you can start your own business by investing less than thousand dollars also.

Starting an embroidery business is a very good idea right now, because the commercial embroidery market is worth 47bn dollars per year. On top of this, embroidery generally gets sold with at least 50%-100% markup on the cost price. You can start with selling to local organizations like clubs and sports centers. Educational and military institutions are also almost always in need of some embroidery services. With a little hard work and enterprise, you will soon be able to earn a lot of profit.

Embroidery Summary

Embroidery can be defined as the process of decorating a material, mostly a piece of cloth, with patterns that are stitched to it. This skill has a long historical background that has been passed in many generations from different cultures. There is mention of needlework even in the Old Testament Bible books such as Exodus. As an example,
there were a number of intricate designs stitched on the official robe of a high priest. Indeed, religious embroidery was more intricate, where vestments and alter pieces were delicately adorned. Church and court embroiderers were more professional than secular ones. The Red Indians in America embroidered their pieces of skin coverings with dyed porcupine quills.

In all these cultures, the common denominator has been the fact embroidery was a show of high status in the community. It was and still is very distinct from patching up an old cloth. Egyptian mummies have been found wrapped in garments completely covered with gold stitches. In some cultures, women were expected to posse’s embroidery skills.

Many different materials are used when making embroidery. These decorative objects include jewels, beads, shells, feathers, and metals among others. They are used in different ways that result in different classifications. The embroideries are mostly categorized depending on the relationship of placing stitches on fabric, for example whether the stitches pass under the fabric or not. Another classification depends on how the design is placed on the fabric, whether on top or through it.

During the early periods, both men and women had their attires embroidered. At present, however, embroidery has largely remained for female clothing’s. The method employed has also rapidly changed from hand-operation to computerized technology. The sewing machines are controlled by computers that read digital files. This has succeeded the use of designs punched on paper tape, which had a high error margin that required complete restart of a project. The use of computers in this field was introduced by Wilcom in 1980. The Internet has propelled the process even further as currently you can find practically thousands of designs for free. In addition, the reduction in costs of computers has made it accessible to more people.

Once you have a digitized embroidery design file loaded on an embroidery machine, simply place your fabric in the machine. Of course you need to stabilize the fabric first in order to prevent wrinkles. Finally start and monitor your machine.

The Art of Embroidery

2007-11-16T06:15:00.000-08:00

Most of us aren't aware of how many ways there are to embroider, nor do we know all the innovations it's taken.Embroidery has been with us for many years, although it takes a number of forms. It's very popular these days with people who enjoy needlework.Basic embroidery means creating a pattern on fabric by using multi-colored threads. Chances are if you buy something already embroidered, it was done by machine. Hand embroidery is time consuming and doesn't lend itself to mass marketing. Most who embroider use a pattern, although some can create as they go.The patters are as inexpensive as the thread and needles. So without much investment on equipment, anyone can craft fascinating art work on tablecloths, napkins, blankets, dress- materials etc. Internet offers many embroidery related material on the web. You can easily find a lot of embroidery patterns on the web and print it at home or get it sent to you and use it in your embroidery.Advanced sewing machines are available today which can do embroidery with little assistance from you. Some are even software powered, which enables you to specify where to point the needle to craft a design to suit your requirement. But embroidery by hand still remains the first option of many people for whom it is a hobby. For them embroidery by hand provides a more fulfilling experience compared to embroidery by machine.If you interested in getting into embroidery but aren't sure where to start, you may be able to find a class at your local community college that can help you understand the basics. They will probably take you through a few simple designs and patterns. Once you understand how to read the pattern and do the stitching, you can pretty much tackle any design you're interested in.There are also many embroidery conventions and craft fairs throughout the country. Check out on of the many embroidery websites available on the Internet, they often have links to local events coming up. You can also find links to hundreds of sites offering free embroidery patterns, or patterns for discounted prices.Magazines are another great resource for pursuing an interest in embroidery. There are a number of them that you can subscribe to. You'll learn some helpful hints and get new patterns each month. These magazines will also teach you about needles and threads available. You can also learn about events and find super ideas for projects, especially seasonal ones.Embroidery is a hobby that many people have enjoyed for hundreds of years. You can create some beautiful designs and it is a very fulfilling past time. You don't have to be partially creative to start embroidery. As long as you can follow instructions and have a little patience, you can be creating interesting and unique designs in no time.

Saving Pennies...Wasting Dollars

2007-11-14T18:59:00.000-08:00

Stretching your supplies to save money may end up costing you a lot more in the long run.

Part of being a successful shop owner is managing your costs. Therefore, it’s critical that you monitor where and how your money is being spent. However, that doesn’t mean you should cut corners. Instead, you need to spend your dollars wisely. Not making purchases for the sake of saving money is not necessarily smart money management. Here are some examples.

Needles

Do you save needles to reuse later? Do you try to see how long you can go without changing needles? Needles are cheap! Producing poor quality embroidery is not. Anytime you change from one style of needle to another, regardless of how long the previous needle was installed, throw the old one away. In addition, change out your existing needles on a routine basis. How often depends on how much sewing you are doing, but my preference is at least once per month.

Consider this. A package of 100 needles averages $20.00 which works out to $0.20 per needle. Is it really worth it to reuse or overuse needles?

Bobbins

Bobbins are another area where you can be a bit overzealous. Do you run bobbins to the very end in order to maximize your cost savings? Nothing wrong with saving money, but this is another example of a wasted effort that can lead to costing you some real dollars in the long run.

First of all, the quality of the last 5-10% of most bobbins is questionable. Many times, the thread coming off is kinked and brittle, leading to inconsistent tension and possibly bobbin thread breaks. Of course, every thread break slows down production and costs you money, but the inconsistent tension is a far greater concern since it can result in poor quality top stitching and/or bobbin thread showing on the top. When this happens, you may be forced to remove the stitches and re-sew that area of the design that was affected. And it’s quite possible you will have to remove the entire design and re-sew it from the beginning. Worse yet, you end up damaging the garment while trying to fix it, and then have to replace it.

Bobbins are cheap - downtime and damaged garments are not. As a general rule, you can get about 30,000 stitches per bobbin (depends on tension and stitch lengths). Keep an eye on the bobbin and change it out at the beginning or end of a run, rather than in the middle.

Thread

Determined to stretch your thread purchasing dollars? Perhaps you have resorted to running a cone to the bitter end, standing guard at the machine and watching diligently until the last inch comes off the cone and makes its way up towards the thread tree, dangling and twisting in mid-air. You stop the machine, and gleefully replace the empty cone with a fresh one and then tie off the ends of the old thread to the new one. Then you carefully pull the knotted section through the upper thread path, down to the needle and through the eye. (Hopefully the knot doesn’t come apart along the way.)

Wow, how much money did you just save by running this cone of thread out to the bitter end? Let’s see, a yard of thread from a $7.00 cone is worth about $0.12. In order to achieve this miraculous cost-savings, you camped out in front of the machine for several minutes waiting until the moment of final separation between thread and cone, then stopped the job in the middle of sewing to replace the thread cone. But I’m sure it was worth every penny, excuse me, fraction of every penny saved.

Time is money in this business. Production needs to be continuous and uninterrupted. Plus, you need to make the most out of your own time, by keeping the production flowing, making sales, ordering products, managing inventory, etc. Wasting time trying to save a penny just doesn’t make sense.

In addition, the final few yards of a thread cone may be of questionable quality, (just like with a bobbin) leading to tension problems and thread breaks. Both of these can cost you considerably more money than you would have saved by running the thread out to the end of the cone.

Backing

Backing is another area that you can get carried away with. It makes perfect sense to save large scraps of backing, leftover from big jobs such as jacket-backs, to reuse on smaller jobs like left-chest logos. However, in your zealous quest for saving a buck, are you setting yourself up for failure?

One of the rules of hooping is that the backing must be larger than the hoop, so it is fully captured and supported by the hoop itself. The only way that backing provides stability to the garment is when it is properly secured to begin with. If not, then the degree of stabilization will be greatly reduced and possibly even eliminated. So any scraps that are too small to fit the required hoop should not be used.

Now you might try to get really creative and piece together some small scraps so that as a combined unit, the size is greater than the area of the hoop. Another bad idea!

If you have overlapping pieces of backing, then you will have uneven hoop tension. Remember that the backing is sandwiched along with the garment between the inner and outer hoop rings. Where there are multiple layers of backing between the hoop rings, there is a greater thickness, which means the hoop tension is greatest in these areas only. In the sections between the rings, where there is only one layer of backing, the hoop tension will be less. What that means is that the degree of stabilization is not equal all the way around the hoop, so the fabric will have the ability to shift during sewing in those locations of lesser hoop tension. Bottom line, you are only saving a tiny amount of money by reusing backing, and doing so improperly can lead to poor quality sewing, which can cost you a lot more in the long run.

At the end of the day, the real money is in how much you successfully produced without any quality issues, as downtime and questionable quality are huge drains on your profitability. There is nothing wrong with trying to stretch your business dollars, just do sew wisely!

By: James M. (Jimmy) Lamb
Published: October 2007

Embroidery Thread Tensions

2007-11-14T18:48:00.000-08:00

Simple tricks that you can use to adjust your tensions on a routine basis.

Thread tension is one of the most critical elements of machine performance. In order to form a stitch correctly and ensure quality sewing, the amount of tension or drag placed on both the upper thread and the lower thread must be precise and balanced.

Think of the stitch process as a tug-of-war between the upper and lower threads. The desire is that neither overpowers the other. Too much tension on the upper thread (or too little on the bobbin thread) will result in bobbin thread being pulled up from below, so that it is visible along the edges of the area being stitched. Too little tension on the top (or too much on the bobbin thread) leads to loops forming in the area being stitched.

For the beginner, setting thread tensions can be a frustrating chore, as adjustments will have to be made periodically depending upon sewing conditions. For example, as a cone of thread gets close to the end, the tension tends to change. Thus, when you start to see the physical cone itself through the windings of the thread, it should serve as a reminder to pay close attention to the quality of the stitches being formed with that particular thread. In addition, different colors of thread have different tension requirements, as the dying process can affect the surface texture of the thread. This in turn can affect how easily it flows through the thread guides. Even humidity and temperature can affect thread tensions, as well as dirt and lint buildup along the thread paths.
Bottom-line, there is no “EASY BUTTON” as tension adjustment is an ongoing process. There are devices such as tension gauges available to help you set tension correctly, but ultimately you need to learn quick, simple methods to adjust thread tensions on the fly. Most experienced embroiderers can do it by “feel”, but it takes a lot of time to develop that skill. In the meantime, we will discuss a couple of simple tricks that you can use to adjust your tensions on a routine basis.

For the upper thread, most machine manufacturers offer some type of tool which will allow you to measure the tension. Using this data, you can make adjustments and then test the results. For example, Tajima has a device that looks somewhat like an oversized ink pen with a hook on the end.

Essentially, you “hook” the thread, pull on it with the gauge and take a reading. Make any needed adjustments, then take another reading. It’s a quick and simple process that works reasonably well.

With bobbins, you can also purchase a tension gauge which will provide you with a scientific way to measure the tension. As an alternative, you can also use the decades-old method known as the “drop-test”. It works for every make and model of machine.

Drop Test steps

Remove the bobbin case from the rotary hook.
Unwind the bobbin thread from the pigtail, but do not remove it from under the thread tension spring.
Place the bobbin case, with the bobbin installed, in the palm of one hand. With the other hand grasp the end of the bobbin thread, and gently pull out about 12 inches of thread.
Gently left up and suspend the bobbin case above the palm of your hand.
The bobbin should not drop, but remain suspended in the air about an inch above your hand.
Gently bob your wrist (hand holding the bobbin thread) and check that the bobbin drops a few inches then stops.
If the bobbin does not drop, then the tension is too tight. Adjust the tension screw (the larger one) on the tension spring (clip) counterclockwise to reduce the bobbin tension. If the bobbin drops freely, then the tension is too loose. Adjust the tension screw clockwise to increase it to increase the bobbin tension.

NOTE: IF dirt builds up under the Thread Tension Clip/Spring on the bobbin case, it will cause the tension to be too loose, no matter how much the screw is tightened. Each time you change out the bobbin, you should inspect and clean the bobbin case.

To be honest, more sewing tension problems are caused by the bobbin than the upper thread. However, since the upper thread is easier to access, more time is spent adjusting it, even though it may not be the culprit. So always pay close attention to the bobbin, even though it’s generally “out of sight, out of mind.”

Once you have made basic adjustments to the upper and lower tension, you need to verify that both upper and lower tensions are balanced. There is a relatively simple test that will allow you to visually assess the state of the tension. Most commonly referred to as the “thirds” test, there are several slight variations of the process, but they all have the same goal: to verify the tension is balanced between upper and lower threads.

First, create a design file for sewing the letter I in a 1” tall satin block font. The concept is to have the machine sew a series of satin stitches in virtually every direction plus in a curve. Sew this on a piece of test fabric – remembering that the fabric itself can affect the tension.

Upon completion, examine the backside of the embroidery. You should see three parallel sections of thread, from left to right across each column as follows – Upper/Bobbin/Upper – in even thirds. (Thus the name “thirds” test.) (Left image)

If there is more upper thread visible than bobbin thread, then the upper thread tension is too loose, or the lower thread tension is too tight. (Center image)

If there is more lower thread visible than upper thread, then the upper thread tension is too tight, or the lower thread tension is too loose. (Right image)

A more precise test is to sew the word FOX in 1 inch, all capital, satin block. This will force the machine to sew satin stitches in virtually all directions including a curve.

Now that you are fully armed with the knowledge to make accurate thread tension adjustments, backed up by a test (the “thirds” test) to verify balance, you are ready to take on the world, confident in your ability to ensure picture perfect embroidery on each and every job. Well, don’t get too comfortable…

You see, the adjustments and tests are all just guidelines to help you get within the ballpark of high quality stitching. But like many of the so-called rules in this industry, the tension-setting processes are not guarantees set in stone. Ultimately, it’s the quality of the stitching that determines whether the tension settings are correct or not. In fact, you can become obsessed with trying to balance tensions to the point that it’s counterproductive. Let me show you what I mean…

How do you identify embroiderers in a retail store that sells embroidered apparel? They are the ones looking at the backside of the garment! Of course they are trying to determine whether the company that did the embroidery had balanced tensions in order to judge whether they produce the same high quality work as themselves. These are also the same people who spend hours trying to get an equal “thirds” proportion on the backside of their own designs, without ever sewing the first garment. Unfortunately, in the quest for perfect thread balance, they have blinded themselves to the reality of thread tension: The front is always more important than the back!

The majority of the time, if the “thirds” test shows good balance, the resulting embroidery will be of high quality. But there are times when the back will not be balanced, yet the front will still be nearly perfect. As long as the backside shows proof of bobbin pickup and no bird’s nests or looping, it’s ok. In other words, don’t try to fix something that isn’t broken. If the front is good, don’t discount it because the backside doesn’t have a perfect thirds balance.

To sum it all up, use the “thirds” test to get a baseline tension setting. Then adjust as needed to achieve the best possible stitch quality on the FRONT of the embroidery, while verifying that the back of the embroidery doesn’t have any flaws that could cause the stitches to work themselves loose over time or the machine to jam up during sewing

Test & Polish Your Design

2007-11-14T18:42:00.000-08:00

The key to accomplishing a quality design is to never neglect testing your work by sewing a sample.

I’ve often been asked what type of software I use by new digitizers who are impressed with a polished embroidered sample of one of my designs. My explanation continues; it’s not the software, it’s in the digitizing! Although I do own a commercial system that contains all of the automatic bells and whistles, I could use the most basic software and get quality results. The only difference – it might take a little longer on systems that lack manual editing tools or the software may not be equipped to digitize particular code necessary for industry machines. Nevertheless, quality can be achieved on any system by making the effort to keep the machine running smooth and the embroidery neat.

The key to accomplishing a quality design is to never neglect testing your work by sewing a sample. It’s the only way you’re able to see what needs polish. It must be remembered that what is viewed onscreen, whether it’s in simulation form or lines, is not what will appear in actual stitches! Certainly, some minor flaws might go unnoticed, but overall, if polishing is omitted, most likely you’ll find yourself scratching your head saying, “Something is wrong, but I just can’t put my finger on it!”

So, after you’ve completed digitizing the design, head straight for the machine and sew a sample with the expectation it will be your first test sample. If you wish to reach that stage of high quality, another sample should be sewn each time you’ve made modifications. Sew on the same type of fabric or other substrate that will be used in the final sewing, along with all stabilizers and toppings. Also, use the planned final thread colors. A dark color will usually sink lower than a light color, so when a light section is sewn first and a dark section overlaps it later, there is more chance that the lighter thread will pop through the overlap. An additional line or zigzag column of underlay in the dark color may be needed along the lighter color’s sewn edge to assure under stitching doesn’t pop through.

Once you’ve got the design running, it’s not time to leave the machine for a cup of coffee! Keep your “nose to the hoop” and jot down any machine errors, along with any thoughts for improvement. Very often errors such as an unplanned jump stitch will occur in the underlay and by the time you return to the machine, evidence of the possible error could be covered with top stitches. Also, problems in tension may occur that correct themselves when you’re not looking, making it difficult to determine if a narrow column was due to machine error or the digitizing. Make the job of observation easier by printing out the design prior to sewing so you can make notes on the print-out near or on the exact area as the design sews. When complete, leave the sample in the hoop as this makes it easy to prop the sample up to be viewed closely as you edit. Also do not clip any long threads or try to tidy it up in any way. You want to see all actions, errors and anything in need of improvement!

With the first sample and notes complete, prepare to spend enough time at the design computer to polish all areas in need. After you believe you’ve made all corrections, test-sew once again. Most likely you’ll see great improvement, but if it still needs tweaking, repeat the process until your design shines!

Following is a “polishing check list” to get you started:

Correct all machine errors observed while sewing: remove unnecessary jump stitches by rerouting paths; remove unnecessary trims or add trims where needed; remove excess stitches that cause thread breaks; and add or remove color change commands where necessary.
If the needle must jump across a column to create a satin stitch, change the stitch type to a column fill, which eliminates jumps by inserting stitches between those at the column’s sides.
Check densities: if columns buckle, feel hard or appear raised, reduce density; if jagged or sparse, increase the density either by adjusting the value or increasing the underlay stitches.
Check for a build-up of stitches at corners of columns; correct the affected area by adding short stitches or lighten the density, or change the type of corner, i.e. use a mitered corner to replace a bulky angled corner.
If puckering of fabric or a distortion in the design occurs, adjust stitch length and density to be conducive to the substrate and/or add additional underlay for increased stabilization.
Check for gaps between sections and/or between the outline and stitched sections and correct by extending the border of the section that sews first, and/or add underlay stitches, such as a light density zigzag along the border to stabilize the affected area.
Look for areas where underlay stitches may have popped out from under a column or beyond a filled edge; adjust the line of underlay inward and/or shorten the stitch length in the affected area.
Correct problems, such as where stitching pulls out at the end of a column because a lock stitch has been omitted, or where the bobbin has been pulled up to the surface, as this may be due to an excess of stitches in one spot.
If a line of lettering is not sewing straight, change the sequence so the lettering is sewing last; stitches that sew after the lettering may pull fabric and distort previously sewn stitches.
Look for any odd stitch that doesn’t belong or is unintended, such as a long stitch that begins at one end of a column, lies across the stitches, and ends at the end of the column; this is a sign that the in- and out-points of the column have been reversed or are set inaccurately. By Bonnie Landsberger
Published November 2007