Pantograms GS-1501 Jump Start Guide

Welcome
Congratulations on the purchase of your GS1501 Embroidery Machine and becoming part of the Pantograms
team. This JUMP START kit includes all the necessary information to help you get started as quickly and easily as possible. After reading this manual, be sure to watch the enclosed CD about our Forté software.
GETTING STARTED (section 1)
Service and Support.................................................................................................................................. 1-1
Unpacking Your GS1501 Embroidery Machine......................................................................................... 2,3
Setting Up Your GS1501 Work Station................................................................................................ 4,5,6,7
TABLE OF CONTENTS
Setting Up Your GS1501 Embroidery Machine......................................................................................8,9,10
Threading the GS1501..................................................................................................... 11,12,13,14,15,16,17
Attaching the Tubular Arms................................................................................................................18,19,20
Tracing the Design................................................................................................................................ 21,22
Installing the Cap Driver and Embroidering the Test Cap Design............................................... 23,24,25,26
The GS1501 Control Panel............................................................................................................... 27,28,29
Hooping Material on a Round Hoop........................................................................................................... 30
Installing Forté Embroidery Suite Software................................................................................................ 31
How to Load a Job...................................................................................................................................... 32
EMBROIDERY BASICS (section 2)
Stitch Formation......................................................................................................................................... 2-1
Needles......................................................................................................................................................... 2
Thread........................................................................................................................................................... 4
Bobbins......................................................................................................................................................... 5
Backing ...................................................................................................................................................... 6,7
Stitch Troubleshooting.................................................................................................................................. 8
Needle, thread and Stabilizer Chart ............................................................................................................. 9
Tension.........................................................................................................................................................11
Hoops ......................................................................................................................................................... 12
Hooping Aids............................................................................................................................................... 13
Tools ......................................................................................................................................................14,15
Hooping Technique.................................................................................................................................16,17
Hooping a Structured Cap.......................................................................................................................... 18
Hoopless Frame Technique........................................................................................................................ 19
Hooping a Large Item or a Jacket Back...................................................................................................... 20
Attaching a Large Hoop to the GS1501...................................................................................................... 21
Hooping a Satin Jacket............................................................................................................................... 22
Common Hooping Problems....................................................................................................................... 23
Embroidery Placement..................................................................................................................... 24,25,26
Anatomy of a Cap........................................................................................................................................ 27
MACHINE BASICS (section 3)
GS1501 Embroidery Machine.................................................................................................................... 3-1
Setting the Upper Thread.............................................................................................................................. 3
Bobbin Placement in Case............................................................................................................................ 4
Common Adjustments - Thread Breaks ....................................................................................................... 5
Setting the Upper Thread Tension ............................................................................................................... 6
Thread Looping ............................................................................................................................................ 7
Cleaning the Machine................................................................................................................................... 7
1
GS1501 Control Panel..................................................................................................................8,9,10,11,12
Oiling the GS1501.............................................................................................................................. 13,14,15
EMBROIDERY SOFTWARE (section 4)
Looking at the Work Area.......................................................................................................................... 4-1
Basic Digitizing.............................................................................................................................................. 2
EMBROIDERY BUSINESS (section 5)
Pricing ....................................................................................................................................................... 5-1
Stitch Count .................................................................................................................................................. 2
Digitizing Fees and Decisions ...................................................................................................................... 3
Copyright, Trademark and Licensing ........................................................................................................ 4,5
GLOSSARY AND RESOURCES (section 6)
Glossary of Embroidery Terms.................................................................................................................. 6-1
Glossary of Embroidery Machine Terms...................................................................................................... 4
Fabric Terminology........................................................................................................................................ 5
Industry Trade Shows................................................................................................................................... 6
Trade Organizations...................................................................................................................................... 6
Industry Publications..................................................................................................................................... 6
TABLE OF CONTENTS
Stock Designs .............................................................................................................................................. 6
2
Getting Started with Your Pantograms
GS1501 Embroidery Machine
Thank you for choosing Pantograms as your embroidery system provider. We strongly recommend you to read the
following instructions for setting up the embroidery machine and sewing your first test designs.
Service and Support
GETTING STARTED
The talented and knowledgeable people in our service and support department are ready to assist you
should questions or problems arise. We strive to give the best support in the embroidery industry by offering
Website, email and telephone support.
For Website Support visit www.pantograms.com and click on support (or email [email protected]).
You will find a variety of topics related to your machine and software.
For telephone support call 1-800-872-1555.
Monday – Friday, 8:30 a.m. – 5:00 p.m. (EST).
If you don’t immediately speak with someone, please leave a message with your name, phone number and
message and one of our technicians will return your call. All calls received by 4:00 p.m. EST will be returned
the same business day.
Pantograms Website
Visit our Website at www.pantograms.com for more information about our products, machine support and
embroidery support.
EmbSupplies Website
To order embroidery supplies, visit our embroidery supply Website at www.embsupplies.com.
Digital HeatFX Website
To order heat transfer supplies, visit our heat transfer supply Website at www.DigitalHeatFX.com.
1
Unpacking Your GS1501 Embroidery Machine
Contents of box containing the workstation:
• Embroidery machine
• Thread stand
• Tabletop
• Workstation
• Cap option
• Tubular hoop holder
• Tool kit
• Starter kit
• Owner’s manual
• Hoopsper your sales order
• Blank cap
• Other accessories you ordered
Tolls needed to unpack:
Scissors or box cutters
Note: Save the crate for future shipping should service be required.
GETTING STARTED
• Sample test design
2
Unpacking Your GS1501
GETTING STARTED
Cut and remove the straps that encircle the box.
Remove the box lid.
Remove the inner tray containing the hoops and other accessories.
Remove the workstation components.
Replace the lid on the box to assemble the workstation.
3
Workstation Assembly
The following components make up the workstation:
(2) Two Side Frames
(1) One Back Support
(1) One Lower Shelf
(1) One Table Top
(4) Four Casters
Assorted fasteners
GETTING STARTED
You will need 5mm and 6mm Allen wrenches and a 12mm wrench or socket for the assembly process.
These tools can be found in the toolbox that was included with your GS1501.
Side of Workstation
Table Tops
Attach Casters
Back Support
**IMPORTANT - DO NOT TIGHTEN FASTENERS UNTIL ASSEMBLY IS COMPLETE**
4
GETTING STARTED
Step 1 - Fasten back support to one side frame.
Step 2 - Fasten other side frame to back support.
Step 3 - Stand workstation frame upright.
Step 4 - Place lower shelf onto supports.
5
Step 5 - Line up holes in shelf and support. Insert bolts through holes
in both shelf and support and attach nut.
Step 7 - Flip workstation over so that it is sitting on its table top.
GETTING STARTED
Step 6 - Place table top on workstation. Line up holes and insert bolts
through both table top and frame and attach nuts.
Step 8 - Attach casters with four bolts per caster.
6
GETTING STARTED
Step 9 - Tighten bolts holding back support to side frames.
Step 10 - Tighten bolts holding lower shelf and table top being careful
not to over tighten.
Step 11 - Insert plugs to cover bolts holding back support and side
frames.
You have now completed assembly of the workstation and it is ready to receive your GS1501.
7
Unpacking the GS1501
Remove the cover and lift off the outer shell of the GS1501 box.
GETTING STARTED
Two people can now lift the machine at its base and place it on the workstation.
One person should carefully lift the back of the machine while the other inserts the feet into the treaded
holes at each corner.
Your GS1501 is now ready for its initial setup.
8
GS1501 Setup
GETTING STARTED
Remove the Phillips screw from the top of the two posts that will support the thread tree.
Using a 2.5mm Allen wrench, loosen (but do not completely remove)
the set screw in the post then raise the post up to its final position and
re-tighten the set screw.
Repeat these steps for the other post.
Set the thread tree on top of the posts, aligning the holes in the thread
tree with the holes at the top of the posts.
9
Using the screws that were previously removed, attach the thread tree
to the posts and tighten.
GETTING STARTED
You are now ready to install the thread on your GS1501
10
Threading Your GS1501
GETTING STARTED
Unwrap the thread tails from the post on the right and left hand sides
of the machine.
Carefully separate the thread by gently running your fingers through
the bundle.
Attach each of the thread tubes to the thread tree.
11
Take the end of the thread and insert through the eyelet next to the
top tensioner for each thread.
The following chart shows how each thread corresponding to each needle should be passed through the
thread tree.
GETTING STARTED
Run each thread from the eyelet through the thread tree.
Open the box containing the thread for your machine. Each cone is
individually wrapped.
12
GETTING STARTED
To remove the wrapper, simply hold the plasic firmly and twist and
pull.
13
Remove the adhesive label from the bottom of the thread cone by
pushing in at the center, then discard.
To release the tail of the thread unsnap the base of the cone, and
unwind until the thread is completely out of the base. Place the colors
on whatever needle number you choose.
GETTING STARTED
Repeat the above steps for the other 14 cones and place on the
thread rack.
Using a modified square knot, also known as a surgeon’s knot, tie the
end of thread hanging from the thread tree to the corresponding cone
of thread.
14
GETTING STARTED
How to tie a surgeon’s knot
Using a pair of tweezers, carefully pull the thread loose from the Velcro bar. Make sure to grasp the thread behind the needle; gently pull
the thread until the knot is just in front of the needle.
Once the knot is directly in front of the eye of the needle, pull it out so
that it lines up with the eye, and pull gently and the knot should pass
through. If the knot does not pass through, trim the thread and thread
the needle directly. Once the needle is threaded, make sure the
thread passes through the hole at the base of the presser foot.
15
Now continue to gently pull the thread through the needle and presser
foot and pull it into the spring at the front of the needle case then trim
the thread above the spring.
GETTING STARTED
Gently pull enough thread from the cone and loop it to the right of the
upper tensioner.
Slide the thread between the tension disks, making sure to be inside
the tab located at the 3 o’clock position.
16
GETTING STARTED
Remove any slack by pulling the thread back towards the cone of
thread
17
Repeat the above steps until the GS1501 is completely threaded.
Note: Plug the power cord into the back of the machine and then into a standard 110 power outlet. We do
recommend the use of an uninteruptable power supply (UPS) or a high quality surge protector to help protect
your investment. Press the power switch to turn on.
Attaching the Tubular Arms
The tubular arms are what holds the hoop in place during normal
embroidery and are very easy to attach.
GETTING STARTED
Install the left arm as shown below, notice which notches should be
used, and also how the arm is attached to the pantograph. Tighten
securely with the Allen wrench.
Repeat the procedure for the right arm; once again notice which
notches should be used.
18
GETTING STARTED
Slide in the pre-hooped fabric, which you received with your GS1501
and push it forward until it locks in place.
19
Press the #1 key on the control panel to move to needle #1.
Use the arrow keys on the control panel to center the needle in the
hoop, you can use a standard ruler to measure from the needle to
each side, and from the needle to the front and back of the hoop to
make sure it is centered.
Once you have centered the hoop with the possition arrows, hit the
Home key. Arrow down to number three, set Start, and hit Enter.
GETTING STARTED
20
Tracing the Design
It is very important that you trace before embroidering. If you do not trace and hit a hoop you could
cause damage to your GS1501 that is not covered under warranty.
GETTING STARTED
To trace press the Home button.
21
Press number 4 for Contour Range Check and then press the Enter.
key (see below). You will see the message “Generate Contour” and
the hoop will move in relation to the needle showing the outer edge
of the design. If it appears that needle #1 is outside of the hoop, refer
back to the centering the hoop step above.
Once the trace is completed, and you are satisfied with the centering
of the hoop, press the green Start button to begin embroidering. The
design will take approximately seven minutes to complete and will run
through all needles.
To remove the hoop from the arms, lift up on the hoop while pressing
down on the arms and pull it out of the holder.
GETTING STARTED
Completed design.
22
Installing the Cap Driver and Embroidering the
Test Cap Design
Remove the tubular arms by loosening but not completely removing the Allen screws.
Set these aside for future use.
GETTING STARTED
Slide the cap drive into place as shown.
23
On the underside of the cap driver there are four rollers; these roller
should align with the guide rail on the underside of the arm.
When these are aligned correctly the cap driver will slide smoothly
back towards the pantograph. The mounting screws will line up as
shown. Use a Phillips screw driver to tighten the mounting screws on
both the left and right sides.
pressing the Embroidery Status Button
GETTING STARTED
To load the cap test design, you must first exit embroidery mode by
.
24
GETTING STARTED
Next press Enter
to Confirm.
Now press the Hoop / Cap Key
to change to cap mode.
Then Press the Enter Key to confirm.
Then enter one more time when you see the message “Limit Switch
work normal.”
25
Press the Design Management Button
.
Use the arrow keys to move to Embsup~1.mem and press Enter to
select.
GETTING STARTED
At 1 press enter to select design for embroidery.
Press enter one more time on the design information screen.
Press Embroidery Status key.
Press Enter.
Press 1 on the key pad.
Using possition arrows center the active needle in the center of the
cap.
Press Home.
Arrow down to #3, Set Start.
Press Enter
Press Enter again.
After Set Start is set, press Home.
Arrow down to #4 Contour Range Check.
Press Enter.
Watch trace to make sure needle remains in the design area.
Press Start.
26
GS1501 Control Panel
GETTING STARTED
Please refer to the diagram to familiarize yourself with the various buttons and functions.
27
GETTING STARTED
28
GETTING STARTED
The Control Panel Display
29
Hooping Material on Tubular Hoop
• Take the 18cm hoop (included in the starter kit) and separate the two rings, placing the bottom ring on a flat
surface with the tension screw towards you.
• Place a piece of fabric and a piece of heavy cut-away backing on top of the bottom ring; make sure the
material extends beyond the hoop and evenly all around.
• Take the hooped material to the embroidery machine and slide the tubular hoop arms into the hoop holder.
It will snap in place at the snap points.
GETTING STARTED
• Take the tubular hoop top ring and put it on top of the material. The double notches on both sides of the
arms are towards you. With some force, press down into the bottom hoop. If the bottom ring is too tight,
loosen the tension adjustment screw with your fingers on the bottom hoop ring until you are able to push
the hoops together. There should be some force applied. The backing material inside the hoop should be
smooth and taut.
30
Installing Forte Embroidery Suite Software
Step1
• Insert Forte Installation CD into your CD/DVD drive.
• Leave key off.
• Click on Install Sentinal System Driver.
• After installation of driver, attach key.
GETTING STARTED
Step 2
Click on Install Forte Software.
Step 3
Exit
After installing Forte, go to the following Website to install updates: www.pantograms.com/machinesupport.asp
and scroll down to your level of software.
Drawings Converter Installation
1. Insert Drawings CD.
2. Follow the Auto Run instructions.
3. To register and activate Drawings, you must be online.
*If you are unable to activate via Internet, you will need to choose Activate by Fax and fax over an Activation
Request to 813-831-0441.
31
How to Load a Job
1. Plug the USB drive into side USB port and attach hoop with garment and backing.
2. Press the EMB status key
- Exit EMB status? Yes. Press enter.
3. Press the design input key.
4. Arrow down (using position arrows) to input design to memory.
5. Press enter.
6. Select design to embroider using arrow keys.
8. Press enter.
9. Press escape.
10. Arrow up (using position arrows) to select design for embroidery.
11. Press enter.
12. Confirm correct design.
13. Press enter.
14. Design parameter - press escape.
15. Press EMB status key GETTING STARTED
7. Press enter (design memory number).
- Enter EMB status - Yes. Press enter.
16. Set color change key.
17. Press enter.
18. Arrow over to one (using position arrows).
19. Select colors using number key pad 1-9 or 10-15.
20. Press enter.
21. Press one on number key pad.
22. Using position arrows, place needle number one in center of the hoop.
23. Press the home key (start point key).
24. Arrow down to set start - Press enter.
25. Set start position? - Yes. - Press enter.
26. Press home key (start point key).
27. A
rrow down to number four (contour range check) - press enter
(watch needle number one to make sure it will not hit the hoop).
28. Press start.
32
Stitch Formation
EMBROIDERY BASICS
Knowing the fundamentals of a stitch helps you solve sew out problems, perform machine maintenance and
avoid downtime. Embroidery machines create a straight stitch called a 301 lock stitch using a rotary hook and
bobbin. The rotary hook, also known as the hook assembly, consists of two parts: the hook basket (where the
bobbin case sits) and the hook body (which rotates around the basket). The hook body has a hook tip, which
is two overlapping pieces of metal that grabs the thread.
1
A stitch forms when the top thread and the bottom (bobbin) thread interlock after passing through a piece of
fabric. First, the eye of the threaded needle penetrates the fabric. The needle has a groove built into the front
of the shaft that allows the thread to easily follow the eye past the layers of fabric. Then, as the needle descends to its lowest position, the thread tightens. As the needle starts to move up, the thread on the back of
the needle doesn’t pull back immediately due to the friction of the fabric and creates a small loop. At that very
instant, which is set by the “timing” of the machine, the rotary hook comes around and passes its tip between
the needle and the loop of thread.
As the needle continues to move up from the fabric, the rotary hook grips the loop as it spins. The edge of the
hook (which is polished extremely smooth) pulls the loop down and around the thread coming from the bobbin. The rotary hook continues a full revolution (counter clockwise as one faces the machine) as the needle
reaches the uppermost point. The rotary hook releases the thread as the take-up arm pulls up any excess
slack and tightens the formed stitch. The needle starts down again and creates another stitch cycle.
The process happens at up to 1200 stitches per minute with the rotary hook actually spinning at twice the
speed of the needle, making two revolutions for every penetration of the needle. With operations this fast, one
can understand why the rotary hook timing and the needle clearance are so precise and why hook faces are
finely polished. In addition, it is necessary to oil the rotary hook every four hours when the machine is running. See Machine Basics section for proper oil maintenance.
Needles
Choosing the right needle is important to ensure quality stitches. Embroidering with a
needle that is too big or too small for the thread and fabric can result in thread breaks
or even skipped stitches. Needles are typically made of chrome or titanium and there
are four things to consider when choosing the right needle for the job, and that is
style, size, point and coating.
Style
Needles have a generic number system that refers to the shaft length and eye size.
standard point and standard eye for exact
penetration with low resistance for fill stitches.
DBxK5
a medium point needle with a larger eye for general
purpose embroidery and universal applications. Allows
smoother flow of thread through eye of the needle, but is
slightly less durable due to thinner eye wall. Because the
eye of the needle is larger there are less thread breaks.
DBx7ST
this needle is ideal for metallic threads, with an
extremely large rectangular eye that allows easy
passage of thread.
Size
Needles have two numbers on them to designate size. For example 75/11, the first
number refers to the European size and the second refers to the American size. The
first number is the measurement of the blade’s diameter, in hundredths of a millimeter.
Sizes range from 60/8 to 110/18, the larger the number, the larger the needle. Choose
needle size by fabric weight. The most common size needle for embroidery is 75/11.
60/8
lightweight fabrics
70/10, 75/11, 80/12
medium weight fabrics
90/14, 100/16*
heavy fabrics like jeans, upholstery or canvas
EMBROIDERY BASICS
1738
110/18*, 120/19*
very heavy fabrics
* Remember if you use a needle over 90/14 the machine must have the timing adjusted.
Point
Sharp – the most common, has a sharp pointed tip that easily
penetrates fabrics. It is ideal for sewing on woven fabrics such as
cotton, denim, and wool.
Ballpoint – has a slightly rounded point that penetrates between
fabric threads rather than pierce them. Use on knits, fleece and
delicate fabrics like satin.
Wedge-point – this point is for leather applications.
Coating
Titanium needles (chrome with a titanium nitrate coating) are
gold in color, have a stronger hold that is more resilient, a longer
point and are required on high-speed embroidery machines such
as the GS1501. Titanium needles are sold under different names
such as “gebedur” by Groz-Beckert and “perfect durability” by
Organ.
2
Anatomy of a Needle
Butt
EMBROIDERY BASICS
Shank
Specialty Needles
Teflon or “Cool-Sew” coated needles are green in color and
allow for higher speeds without the usual heat buildup from
running machines at 1,200 stitches per minute. They also offer
better performance with adhesive and sticky-type backing
preventing less gum build up on the needle.
“Hybrid” SAN Needles (Special Application Needles)
This needle is special in that it has added strength and versatility. The shaft gradually tapers to increase the strength and
reduce the number of needle breaks. It also features a hybrid
point that combines benefits of a sharp and ballpoint point.
Short
Groove
Shaft
In addition, the needle is coated with a titanium-nitride finish
for extra durability. All these features make the SAN needle
a wise choice for shops that handle both woven and knit garments interchangeably.
Long Groove
Scarf
Eye
Point
Front
Needle Life
The needle life depends a lot on the machine’s operation, the
speed the machine is running on, the fabric and type of needle
used. If you are experiencing skipped stitches, thread breaks
and the tension is right, try replacing the needle.
Side
Shank - Top of needle that inserts into
the machine.
Shaft - Body of needle below shank.
Shaft thickness determines needle
size.
Long Groove - Slit above needle eye,
designed to hold the thread close to
the needle.
Why do Needles break ??
• Needle is old and worn out.
• Designs with too many stitches and/or high density for
the design area.
• Something blocking the stitch path.
• Hitting the hoop.
• Fabric moving while needle is penetrating.
Scarf - Indentation at back of
needle. The location of scarf and
rotary hook are critical in timing
of stitches.
Eye - Hole in end of needle where
thread passes through. Needle size
and type determine size and shape
of eye.
Point - Needle tip that penetrates
fabric to form a stitch. Shape of
point varies among needle types.
3
How to Test Needle for Right Size
To see whether you have choosen the right size needle for the
thread you are using, cut a piece of thread approximately 10”
long and thread it through the eye of the needle. While holding
the thread vertically and taut, take the needle to the top of the
thread and spin it. It should slip down the thread. If not, you
need a larger eye needle.
Thread
When selecting thread for an embroidery project, always choose high quality machine embroidery threads.
These threads come in a variety of weights from 30-weight to 120-weight. The higher the weight number, the
finer the thread. The most common thread for machine embroidery is 40-weight polyester.
Polyester thread is made from polyester fibers and is colorfast making it resistant to fading, sun, saltwa-
ter and industrial laundering. Embroidery polyester thread is stronger than rayon. Because of its durability,
polyester makes embroidering easier with less thread breaks. There is a wide variety of color choices making
it the most popular thread used in commercial embroidery.
Rayon thread’s beauty is in its rich bright colors and high sheen. Available in an array of colors, it tolerates
Cotton thread is made from long staple, highly
merceized Egyptian cotton. It has a soft, warm, natural
look that is popular in heirloom embroidery, lace work
and quilting. It is not as strong as polyester or rayon
and can produce a lot of lint in high speed applications. It is recommended to use low density embroidery designs and slower embroidery machine speeds.
Monofilament Nylon is a single strand of nylon.
Almost invisible, it comes clear, gray or matte. Common usage is for cording and quilting or applications
where you don’t want to see the thread. It is also
utilized in institutional applications such as uniform
emblems where patches may be applied.
Metallic thread offers sparkle and interest to the
embroidery design. There are three types of metallic
threads - core-wrapped, twisted and flat foil. All metallic thread has some sort of foil in its construction. The
foil is metalized polyester. The core-wrapped metallic
is the most popular.
EMBROIDERY BASICS
high temperature and is both washable and dry cleanable. It is recommended that no bleach or whitening
agents be used when laundering.
Other Specialty threads are on the market like
light sensitive types that glow-in-the-dark or change
color when in direct contact with light. There are
variegated, twisted and blended thread combining two
colors in one spool. The market is constantly coming
out with new types of thread. When the opportunity
arrives to try something new, consider a specialty
thread.
Other Choices on Specialty Threads?
Weight
Usage
Light weight threads
60, 70, 80
For fine fabrics, small delicate details and small fonts.
Increase density slightly by 5 to 10 percent.
Medium weight threads 30
Can be used to fill large embroideries with fewer stitches.
Decrease stitch count by 15%. Saves production time.
Most widely used for multi-color threads.
35
Heavy weight threads
12
Creates the look of hand embroidery. Use long floating stitches.Special set-up time required for this thread (ten
sion adjustment and needle change to 100 or 110)
4
Bobbins
You have a choice of winding your own bobbins or buying pre-wound commercial bobbins in disposable cartridges. Self-wound bobbins tend to be inconsistent in the way the thread releases from the spool. A smooth,
consistent release of thread is required in high-speed commercial embroidery machines. Self-winding is not
recommended unless there is a unique color needed in small runs. Pre-wound bobbins are smooth running
and economical. Commercial bobbins are sided and sideless plus available in spun polyester, filament polyester and nylon.
EMBROIDERY BASICS
Sided bobbins have a disposable cardboard or plastic cartridge that looks like a conventional bobbin. Pantograms recommends using sided bobbins.
5
Sideless bobbins are without the sides and wound tightly with wax on the sides to hold the thread in place.
Sideless bobbins hold more thread but have a waxy build-up. The bobbin thread also has a tendency to drop
off the sides and can create problems with your machine.
Spun polyester is the most economical and popular type of thread. It is similar to cotton in texture and appearance but stronger.
Filament polyester is very smooth, like dental floss and coated with a fine wax. Slightly stronger than spun
polyester and runs smoother. Fifty percent more expensive but can be run at a higher tension on both top and
bottom depending on fabric.
Nylon is made of 100 percent filament nylon, is very strong but extremely slippery. Because of this, tension
can be difficult to maintain.
Different types of bobbins require different tensions. The rougher texture spun poly requires less plate pressure then the smoother filament poly. The spun poly will leave a lint build-up in the bobbin case which needs
removal. The filament has a tendency to leave a waxy residue. Coats Astra Spun Polyester is recommended.
Backing
Backing also known as stabilizer is the foundation for good embroidery. It is designed to support, or even
replace, fabric under the stress of dense and multi-directional embroidery stitching. In conjunction with the
embroidery hoop, backing helps hold the fabric as flat as possible to prevent distortion in the embroidery
design.
There are three categories of backing/stabilizers used in embroidery– cut-away, tear-away, and specialty. In
each category, there is a variety of weights from 1 oz. (light) to 3.75 oz. (heavy). Cut-away remains permanently affixed to the fabric, only the excess backing is cut away with scissors, leaving some backing on the
garment. The other backings are removed when embroidery is completed by either tearing the backing off or
spritzing it with water.
Three Things To Consider
When Choosing Backing
1. Stitch Density
The higher the density, the heavier the
backing.
EMBROIDERY BASICS
When purchasing backing material, buy it according to how you
are going to use it. If your business does mostly left chest
logos on polo shirts, it is more cost effective to buy 8-inch
squares versus rolls. On the other hand, if your business does logos and larger embroidery, purchasing
cut pieces and rolls is best for your business.
2. Stability of Fabric
Loose, stretchy fabric - heavy backing.
Tight woven, stable fabric - medium to
light backing.
3. Washability
Frequent washing - heavy backing.
Backing Comparison
Used For
Best Used On
Comes In
Removal
Cut-away
Permanent Support
Knits, loosely
wovens,
unconstructed caps
Light to heavy
weights, heat set
fusible
Not removed,
except for cutting
away excess
Tear-away
Light Support
Firmly woven,
natural-fiber fabrics
Light to heavy
weights; adhesive
back
Torn away, but not
always completely
removable,
depending on
brand and stitch
pattern
Topping
Temporary Support
Delicate, mesh-like,
and difficult to mark
fabrics; also for cut
work and appliqués
Plastic Film
Removable with
water or by heat
6
Cut-away
Cut-away backing provides the most stability. It also offers the sharpest embroidery on highly detailed
designs that includes small lettering. Cut-away backing is denser with slightly longer fiber which grabs the
thread better and allows tighter registration. It is highly recommended for knit fabric because it prevents the
design from stretching out with frequent wearing and washing. Choose a lightweight cut-away for designs
with a light stitch density and a heavy backing for dense designs. After finishing the sew out of the design,
remove the fabric from the hoop and very carefully cut with scissors the backing away from the embroidery
design leaving some backing on.
EMBROIDERY BASICS
Tear-away
Tear-away backing is less stable then a cut-away backing. It is easy to remove the excess backing material by
simply tearing it away from the embroidered piece. Be careful when tearing the backing material so not to pull
or stretch the fabric. Some tear-away is easier to remove than others so test them to see which works best
for you. When a project requires strong support, try using several layers of light to medium-weight backing
instead of one layer of heavyweight. It is easier to remove the layers individually then tearing a heavyweight
stabilizer. Tear-away backing is recommended for very strong and stable fabrics and also on garments where
visible backing is an issue, such as the back of towels or where the article is not going to be washed such as
ball caps or bags.
Wash-away
A tear-away backing that when laundered, any excess backing simply washes away.
Specialty
Poly mesh is a lightweight woven cut-away backing that is thin, soft and strong. It is recommended for low
stitch count designs on polos and T-shirts. The poly mesh does not show through light color garments like
conventional backing. It is also available as a fusible backing, applied by an iron prior to hooping.
Pressure-sensitive backings such as Peel-n-Stick and Hydrostick have an adhesive backing and tear-away.
These are ideal where the fabric or garment is too difficult to hold in a hoop. A common usage is with the
Fast Frame or window type frames. The embroider places the backing in the hoop, and the fabric held in
place by the adhesive not by the hoop. For the Peel-n-Stick remove the paper backing to reveal a sticky
adhesive that holds the product in place. The adhesive on Hydrostick is water activated by applying a moist
sponge. The advantage to using Hydrostick, is it will not gum up the machine’s needles and can be remoistened if necessary.
Topping
Topping is a plastic film used on the top side of an embroidered item that helps prevent stitches from sinking
into textured fabrics such as pique, fleece, terry or corduroy. Topping used this way should always be used in
conjunction with a backing. The topping lies on top of the fabric; after you finish embroidering, rip the topping
off and spritz any remaining topping with water to remove.
Aqua film and Romeo are a real heavy plastic soluble substrate used for lace or freestanding embroidery designs that can be applied like a patch. Hoop one or two layers of heavy material, embroider design then pull
away and dissolve material in water.
Foam
Foam is used to add dimension to embroidery, most often on lettering for caps. It is available in a variety of
colors in 2mm and 3mm thickness by the sheet. Choose a color that closely matches the thread. The foam
sheet is laid on top of the area that will be dimensional and then stitched over with a column fill that uses
short stitches to cut the foam. The excess foam is pulled away from the embroidery leaving a 3D effect. Some
stray pieces of foam may remain which can be eliminated by applying a hot hair dryer or heat gun* carefully
over the area. The excess foam will shrink back into the embroidery leaving a clean, smooth finish. 3D foam
requires a special digitizing techniques with a recommended satin column width between 3mm and 11mm.
7
*Caution: The use of a heat gun can singe/discolor the fabric if too hot or held too close to material.
Thread Break Troubleshooting
Lower thread path and bobbin
Improper Hook Timing. If thread breaks are occurring frequently on all sewing head’s needles.
Lower Thread Path Problems. Make sure the bobbin is installed properly. Remove any lint or dirt build-up. Make sure the thread trimmer knife is fully retracted.
Upper thread path and needle
Defective Needle. Easy culprit to rule out first. Make sure it’s inserted properly.
Upper Thread Path Problems. Check the thread path to make sure it is following the correct path from thread cone to needle.
Incorrect Thread Tensions. If the tension is too tight it could lead to missed stitches and
thread breaks.
Defective Thread. Another simple thing to rule out. First, pull off a few yards to pass a bad section of thread and if that doesn’t work, try replacing the thread with a new cone.
The garment or fabric
Stiff, Thick Fabric. Needles tend to bend slightly as it passes through causing the thread to graze against the needle plate resulting in the thread shredding. To fix this problem try a
larger needle.
EMBROIDERY BASICS
Improper Needle Depth. This is more likely the cause if thread breaks occur on just some
of the needles.
Hidden Obstructions in the Garment. Check to see if there is any hidden obstructions in the garment such as bulky seams, inside pockets, hidden buttons.
Fabric and/or Hoop Bouncing During Sewing. Make sure the item is hooped properly.
Loosely hooped fabric will bounce up and down during sewing, known as “flagging”.
The embroidery design
Design Density. Too high density of thread in the design can cause needle deflection, which lead to thread shredding and breaks.
Short Stitch Lengths. Extremely short stitch lengths may cause thread to pile up in one area known as “nesting”, resulting in thread shredding and breaks.
8
EMBROIDERY BASICS
Needle, Thread and Stabilizer Chart
9
Material
Needle
Thread
Backing
Topping
Other
Balsa Wood
75/11 90/14
Sharp
40
weight
Adhesive tear-away
Could use water
soluble but don’t
remove with water,
just tear off
Use spray adhesive glue
with tear-away
Blanket
75/11
Ballpoint
40
weight
Cutaway
Water soluble
Needs good underlay
Candle
60/8 80/12
Sharp
or Ballpoint
40 -60
weight
Tulle and
water-soluble
None
Canvas
75/11 90/14
Sharp
40
weight
Light to medium
tear-away
None
Card Stock
70/10
- 80/12
Sharp
40 -60
weight
Adhesive tear-away, None
light cut-away
Use spray adhesive
glue with tear-away or
cut-away.
Low density designs with
no underlay
Corduroy
75/11 90/14
Sharp
or Ballpoint
40
weight
Light to medium
tear-away or cutaway
Needs good underlay
Cotton
Sheeting
75/11
Sharp
40
weight
Light to medium
None
cut-away, tear-away
or wash-away
Denim
75/11 90/14
Sharp
30 - 40
weight
Light to
medium cut-away,
tear-away
Dress Shirt
(woven)
70/10,
75/11
Ballpoint
40
weight
Medium to heavy
None
cut-away, tear-away
or wash-away
Polyester thread is best
on white shirts.
Fake Fur
75/11
- 80/12
Ballpoint
40
weight
Medium cut- away,
tear-away
Tulle or water
soluble
Needs good underlay
Fleece
75/11
- 80/12
Ballpoint
40
weight
Light to medium
cut-away, poly
mesh
Tulle or water
soluble
Needs good underlay
Golf Shirt
75/11
Ballpoint
40
weight
Light to heavy
cut-away, poly
mesh
Water soluble
Medium knits require a
light cut-away, Heavy
knits require medium to
heavy cut-away
Water soluble if
washable
None
Needle, Thread and Stabilizer Chart
Needle
Thread
Backing
Topping
Other
Jelly Plastic
75/11
Sharp
30 - 40
weight
Adhesive tear-away, None
wash-away
Use adhesive tear-away
to hold material to hoop
but leave an opening
where the embroidery
design will be placed. Lay
the water-soluble stabilizer under the adhesive
tear-away to stabilize the
embroidery area. Low
density design.
Lace
75/11
Sharp
40
weight
Water soluble
None
Needs good underlay
Leather and
Vinyl
75/11 or
80/12
Wedgepoint
30 - 40
weight
Black, light tearaway
None
30 weight thread may
be used to minimize the
needle penetrations,
lower the stitch density.
Lingerie or
Silk
75/11
- 80/12
Ballpoint
30 - 40
weight
Light tear-away or
water soluble
tear-away
None
30 weight thread may
be used to minimize the
needle penetrations,
lower the stitch density.
Lycra or
Spandex
70/10
Ballpoint
40
weight
Medium cut-away
or water-soluble
tear-away
None
Soap
60/8 80/12
Sharp
or Ballpoint
40 - 60
weight
Tulle and water
soluble
None
Sweater
75/11
Ballpoint
40
weight
Medium to heavy
cut-away
Water soluble
Sweatshirt
75/11
Ballpoint
40
weight
Medium to heavy
cut-away or
tear-away
Water soluble
Terry Cloth
75/11
- 80/12
Ballpoint
40
weight
Medium weight
adhesive or water
soluble tear-away
Water soluble
Choose polyester thread
if the material is subjected
to extensive laundering,
sunlight or bleach.
Toilet Paper
70/10
- 80/12
Sharp
40 - 60
weight
Medium
cut- away
Water soluble, do
not remove with
water
On 2 ply paper, use
adhesive spray glue to
stick them together in
the embroidery area.
Low density designs with
no underlay. Use topping to help prevent toilet
paper from tearing.
EMBROIDERY BASICS
Material
10
Tension
EMBROIDERY BASICS
Bobbin Tension
To test the bobbin tension, take the bobbin thread out of the pigtail. Hold the bobbin case in your left hand
and pinch the thread near the case with your right thumb and index finger. With your right hand, give the bobbin a quick jerk. The thread should unwind and be pulled out of the bobbin by its own weight. There should
be about an inch and a half drop from the fingers to the bobbin. The drop may vary depending on the amount
of force applied by the wrist action. The key is consistency. If your bobbin drop is four inches and sews out
with the correct tension then use four inches as your guide. The bobbin thread should fall smoothly, without
resistance. If the bobbin case hardly moves the tension is too tight, if it drops a lot, the tension is too loose. If
the bobbin pops out of the case, the adjustment may be too loose or your bobbin drop too violent. The bobbin
tension test technique may take some practice to master.
Machine Tension
To check the proper tension on your machine, embroider any column fill design that utilizes all the needles on your machine. When finished, turn the embroidery over and look
at the underside. In the column fill areas, you should see one-third top thread on the side,
one-third bobbin thread in the middle and one-third top thread on the other side. If the
design doesn’t fit this formula, the tension needs to be adjusted.
Factors Influencing Thread Tension
Thread Color
The different color dyes affect the texture of the thread which affects how
smoothly it glides through the machine.
Thread Weight
Changing the thread weight will require adjusting the tension.
Machine Speed
The varying speed of the machine may affect the tension, adjust the
tension according to the speed most commonly used.
Needle Size
Thread friction from smaller eye needles need its tension adjusted.
Dust & Lint
Excess dust and lint along the thread path can affect the thread tension.
Checking Tension on
GS1501 Machines
To check for proper thread tension, perform the “GS1501.dst”
that is loaded in your embroidery
machine.
Incorrect
Correct
Check your bobbin case every
couple of months to see if there
is any damage to the pigtail or
tension screw. If the bobbin case
has been dropped on the floor, the
pigtail could be bent which could
affect the sew out. Also if the tension is too loose and tightening the
screw doesn’t work, then you need
to replace the bobbin case.
Note: Improper thread path is the most common cause of sudden changes in thread tension.
11
Hoops
There are several types of hoops: tubular, magnetic, jacket back, hoopless frames and cylindrical attachments. The purpose of the hoop is to connect the fabric to the machine in a tight stable environment, so the
fabric doesn’t move or distort as it is being sewn. Attachment ears on the hoops vary from one manufacturer
to another so it is important to specify the machine manufacturer when ordering hoops. The hoops shown
here are not available for all embroidery machines. They vary from one machine to another. Most manufacturers offer tubular hoops, magnetic hoops, border frames and some specialty hoops such as cylindrical attachments or cap attachments.
A large array of after market hoops are also available and often developed by machine distributors and/or
third party companies.
Hoops come in all shapes and sizes – round, oval, square and rectangle. The round and oval shapes offer
the best stability for the fabric because the tension is consistently the same all around. Square or rectangle
hoops may be needed for embroidery designs that have that shape but the tautness may not be the same on
all parts of the hoop.
Hoop Construction
Hoops are made of plastic, wood and metal with the majority of them in plastic. Plastic hoops are very durable and generally do not need any special maintenance but over time can develop cracks. They are a bit
more flexible and forgiving then wood. Wooden hoops are very strong and have great holding power due to
the grain pattern on the hoop itself. Keep moisture away from wooden hoops, it can cause them to warp and
become useless. It’s best to mark wooden hoops, in some way, to ensure the original pairs stay together and
always store them with the top and bottom joined. Specialty hoops, like the hoopless frames are made of
metal and are the least forgiving of all the hoops.
EMBROIDERY BASICS
Hoop Shapes
Flat vs. Tubular Hoops
Hoops have two classifications — tubular and flat. The only difference between tubular and flat hoops are the
placement of the brackets that attach the hoop to the machine. Tubular hoop’s brackets attach to the inner
hoop ring while flat hoop brackets attach to the outer hoop. On the embroidery machine’s control panel the
setting for the HOOP MODE is FLAT for both types.
Tubular hoops are the most popular hoop used today. Ninety percent of all jobs can use a tubular hoop
whether it’s a flat or tubular garment with or without the machine’s tabletop. Most tubular hoops are double
height so they hold the fabric firmly. They are usually made of plastic and sometimes wood.
Tubular hoops are different from other hoops because the arms that connect to the machine and inner ring
are on the outside of the garment, while the larger outer ring with the adjusting screw is inside the garment.
The hoop arms on the outside of the garment make tubular items such as T-shirts easier to sew on a commercial embroidery machine.
Flat hoops are designed for hooping flat material. Most of the time they are used in conjunction with the
embroidery machine’s tabletop. Jack back hoops and border frames are an example of flat hoops.
12
Hooping Aids
Hooping aids like the placement guide, hooping boards (hoopers) and laser alignment systems help make
the task of positioning the hoop and placement of embroidery, easy and consistent from garment to garment.
Embroidery that is in the same position and straight throughout the garments can be a time consuming skill to
master. And for top quality products to leave your shop the placement of embroidery is critical.
EMBROIDERY BASICS
Placement Guide
Based on industry standards for garment placement, this tool marks the proper placement of logos on shirts. It instantly marks the center of the embroider design no matter
what size the garment. These guides are available for adult and children’s sizes, and
offer a very low cost method of consistent design placement.
HoopMaster
The hooping board is designed to aide the embroiderer with a uniform placement of the hoop onto the garment. The board holds the outer ring of the hoop while the garment is placed over the board and the outer
hoop ring. Once the garment is in alignment, the operator presses the inner ring into the outer ring. There are
two types of hooping boards — custom and universal.
Custom hoopers are designed for each machine manufacturer’s tubular
hoops. They have dedicated brackets for each individual hoop size and shape.
Because the brackets are custom made for the hoop, no adjustment is needed.
Therefore, they are very quick and easy to set up. This hooper tends to cost more
then the universal hooper (see next page) because it is custom made for each
machine manufacturer. Many embroiderers find it excellent for large jobs that
require precise placement of a design on each garment . Investment in this type of hooper can also save a lot
of hooping time.
How the custom hooper works …
13
Lay the hooper on a
flat surface. Lift the
black magnetic wings
and place the outer
tubular hoop in the
holder.
Cut a piece of stabilizer/
backing 8 inch square
and lay it on top of the
hoop. Clamp the stabilizer
in place with the black
magnetic wings.
Take a shirt and pull
it over the hooper
form and smooth out
any wrinkles.
Place the tubular hoop
inner ring on the clear
plastic swing arms and
press the hoop down into
the outer ring. When the
hoop rings are together
simply, pull the garment
up off the form.
Tools
Marking Pens and Chalk
These tools are widely used to mark the center placement for the embroidery. There are a variety of marking
pens available some are removable with water, somedisappear when exposed to air for a period of time, while
others are permanent. They come in several different colors — blue, pink, purple and white (for dark color
fabrics). Chalks are made of wax or clay. Wax chalks are only removable when ironed and should be used
mainly on thick material that can absorb the wax when ironed. Clay chalk leaves a more powdery substance
as its mark, which can be removed by simply brushing it off.
Proper lighting is important to every embroidery shop. Make sure there is adequate overhead lighting in the
room and special lighting on the embroidery machine itself. A flexible low voltage stalk light offers a bright
white, yet cool light that can be focused on a particular area of the machine. This lighting is ideal for seeing
the needles as you thread the machine. It also helps you see the rotary hook assembly better when the timing needs adjusting. There are special light sources that help you see color better for matching shades and
blending.
Tube Threader
A tube threader makes it easier and faster to load your thread into your GS1501 machine. This along with
canned air, will increase your productivity and reduce the time you spend preparing your machine for use.
Embroiderer’s Buddy
Let the Embroiderer’s Buddy put your embroidery in it’s place! Achieve perfect and consistent embroidery
centering every time. Use your “buddy” on all types of garments. No more guesswork. Fast and easy 1-2-3
positioning. Premarked industry standard embroidery placement markings for the professional touch!
EMBROIDERY BASICS
Lighting
Stitch Erasers
When a mistake occurs on an embroidery design, the Stitch Eraser makes the task of removing the stitches
from the garment easier then having to individually remove each stitch with a seam ripper. This device looks
like hair clippers with jaws that move from side to side but the blade is different. The eraser shaves the bobbin
stitches on the backside of garments. When the bobbin threads are cut the top stitches remove easily without
damage to the garment.
14
Tools
Scissors and Nippers
EMBROIDERY BASICS
There are many different types of scissors, nippers and specialty cutting instruments on the
market. Each one has its purpose. Most embroiderers will have several types of cutting
instruments to handle the cutting jobs in their shop. They are crafted from plastic, steel
and other metals, and all price ranges. Some have sharp tips while others
are blunt. The important thing is they should cut thread, backing and
fabric cleanly without damaging the goods and they should feel
comfortable in one’s hand.
Cutting Backing Away From Garment
It is inevitable at some time or another that as you go to cut the backing
away from a finished garment, you cut the garment too! A simple rule to
eliminate this problem is when trimming backing, hold the excess backing in
one hand, let the garment drape down with it facing you and with the other
hand trim the backing with a medium size pair of shears.
Seam Rippers
When mistakes happen and stitches need to be removed a seam ripper is the tool is use. A seam ripper is
great for removing stitches in an embroidery design, opening up seams to have a better access to an area to
be embroidered, like the lining of a jacket. This tool has a sharp pointed metal tip with a hook that has a razor
sharp blade that glides under a stitch then cuts the thread.
Tweezers
Tweezers are used for plucking out stray threads from the finished embroidery. It also aids in threading the
embroidery machine and the removal of stray threads from the bobbin area. They come in all shapes and
sizes from micro points to bent tips.
15
Hooping Technique
One of the most important techniques to learn for successful embroidery is hooping. Hooping is simply the
act of placing a sandwich of stabilizer/backing and material within a frame so it can be attached to the machine with the proper amount of tension.
Tubular Hoop Technique
Adjust the hoop screw before the
hoop is applied to the fabric. Joining
the top and bottom hoops to the material should be snug and require some
pressure. If the material in the hoop
appears too loose, tighten the screw
and try again, likewise, if its too hard,
loosen the screw slightly until it is snug.
Never try to force the hoops together
because the hoop ring could mark the
material causing “hoop burns”.
EMBROIDERY BASICS
First the material to be hooped should be taut, but not so tight it stretches in the hoop. Make sure the backing
material extends beyond the hoop. Then to achieve the right amount of tension on the backing, smoothly pull
it across the face of the hoop and reach what people call a “tambourine skin” tension. If one lightly taps on
the backing, it should resonate almost like a drum or tambourine. The actual material to be embroidered is
a more delicate matter. It needs to be
smooth and tight but not too tight. A
good test to see if you have the right
amount of tension on the hooped fabric
is to slowly run your index and middle
finger over the material inside the hoop;
there should be no wave movement
to the fabric. Fabric loose in the hoop
will cause registration problems in the
design. Also, check that there is no
distortion to the grain of the fabric.
The next step is to mark the center
placement. It is best to use a marking
device that is removable, such as a
water-soluble pen, in case markings show
through. Before embroidering, trace the
design to make sure it fits
inside the hoop.
When attaching the hoop to the
embroidery machine, make sure it is
properly attached, the fabric should be
touching the table or arm completely.
With your finger, lightly press inside the
hoop and make sure there is no bounce
to the fabric. Any air between fabric and
needle plate could result in “flagging”,
a term used to describe a bouncing
movement to the hoop resembling
a flying flag. This could cause the
embroidery design to be out of register.
Fabric too loose in hoop.
Registration errors when fabric
is loose.
16
EMBROIDERY BASICS
Hoop Burns
A common problem with hooping, hoop burns happen when the hoop is rubbing the fabric and leaves a ring
on the finished garment/fabric after the hoop has been removed. Some types of fabrics hoop burn easily,
such as velvet and silk. Hoop burns can be taken out of some fabrics with a steamer or Magic Sizing. To help
prevent hoop burns and add more stability to the fabric, try placing another piece of backing on top of the
fabric/garment and carefully cut out a window for the embroidery design. The backing on top helps protect
the sensitive fabric plus adds more stability. Another option is to wrap the top hoop with gauze. Experiment
with different techniques until you find what works best for you. Hoop burns also appear from tightening the
screws on the hoop after the material is placed in hoop. It is recommended to adjust the hoop screw before
the hoop is applied to the fabric. Joining the top and
bottom hoop and materials together should be snug and require some pressure. If the material in the hoop
appears too loose, tighten the screw and try again. If too hard, loosen the screw slightly until it is snug. Never
try to force a hoop in.
Test Sew Outs
Remember to always sew out a test design before the final embroidery on the finished garment. Try to
use the same materials used in the garment. This helps to see if the correct backing/topping and hooping methods have bee applied.
What Size Hoop To Buy
Depending on the type of embroidery business the selection of hoops varies. The standard sizes that most
shops carry are 12cm, 15cm, 18cm and 21cm round plus 30x30cm rectangle. But it is important to have at
least two of each size hoop per embroidery head so when one hooped garment is on the machine, another
one can be hooped ready to go on.
The Right Hoop For The Right Job
Always choose a hoop that is the closest in size to the design. Make sure there is enough allowance for the
presser foot (approximately 1/2") all around the hoop. Items that are stiff and heavy weight have the best stability in a wooden hoop, for example jacket back designs. Always perform the “trace design” function on the
embroidery machine to make sure the design is in the right placement and does not hit the hoop.
For Thick Items
For items too thick to hoop the traditional way, try this technique. First, hoop the backing material (either
regular backing or sticky back adhesive). Then stick the thick item to the backing with spray glue adhesive (for
embroidery machines) or peel away the paper on the sticky back. Another option is to use basting stitches
(long stitches around the perimeter to secure the thick material to the backing). For even more stability, use a
combination of sticky
backing and basting.
Velveteen
Hooping velveteen can be a nightmare because a tight hoop will cause damage to the nap that cannot be
repaired. One solution to this problem is to lay another piece of velveteen face down (nap side) over the fabric
to be stitched. Hoop the two pieces together plus backing and then carefully cut away the top layer where
the stitching is to be done. Lay a piece of topping material on top. After embroidering, unhoop the fabric and
brush up the nap with another piece of velveteen. Re-use the cut-away velveteen as a template for the next
sew out.
Leather
Hoop burns are common with leather. Here are two methods that can prevent hoop burns. First, use a square
hoop and wrap the corners with athletic/medical tape. Wrap the tape around each corner of the hoop two
times. The second method is to place a piece of tear-away backing on top of the leather before applying the
top hoop. After the top hoop is set, tear out the backing from inside the top hoop.
17
Hooping a Structured Cap
1. Attach cap driver by aligning the four rollers on
the bottom of the cap driver with the guide rail on
the underside of the arm. When aligned correctly, the cap driver will slide smoothly back towards
the patograph. Line up the two Phillips screws
on the left and right. Use a Phillips screwdriver
to tighten mounting screws. (Fig. 1)
2. Turn machine on and change hoop mode to Cap.
Fig. 1
Fig. 2
Fig. 3
Fig. 4
Fig. 5
Fig. 6
4. Note that the clamps on the cap gauge and the
notches on the cap frame snap together. They
should be at the 10 oclock and 2 oclock positions
on both and also on the bottom at the 6 oclock
position. (Fig. 3)
5. Grab your cap. Un-snap the adjustable head
band in the back. Fold down the sweatband and
remove any cardboard packing. No backing
material is needed with a structured cap because
it contains buckram which makes the surface
stable for embroidering.
6. Mount the cap onto the cap frame by sliding the
sweatband under the silver block with the red
center alignment mark. (Fig. 4) Line the center
seam on the cap with this mark. The cap should
be covering the bottom two posts on the cap
frame.
7. Swing the cap frame band over the bill of the cap
with the bill sandwiched in the middle. The frame band
teeth should be placed in the seam of the cap where
the cap and bill meet. Clamp the frame base down.
(Fig. 5)
EMBROIDERY BASICS
3. Mount the cap gauge to your machine tabletop.
Attach it so that the mount is up and the thumb
screws are facing down. (Fig. 2)
8. Gather the hat around to the back so the front is flat and
snug. Use the bent office clamps to attach the back of
the cap to the bottom posts of the cap frame on the left
and right. (Fig. 6)
9. Push all the snap clamps on the gauge to release the
cap.
Fig. 7
10. Attach the cap to the machine by rotating the cap 90
degrees to clear the presser
feet. Once the presser feet
have been cleared, rotate cap
with bill facing up and snap into
the clamps on the driver. (Fig.
7,8,9)
Fig. 8
Fig. 9
18
Hoopless Frame Technique
Hoopless window frames are the perfect solution for those hard to hoop items such as pockets, cuffs, collars
and bags or anything that would be difficult to place in a hoop. They come with several different size window
frames that are interchangeable.
To hoop an item on a hoopless frame, first cut a piece of adhesive sticky-back tear-away slightly larger than
the frame. Flip the frame over with the back side up. (The back side has the attachment part stepping down
from the frame like so,
.) Peel the paper off the back side of the frame. (Fig. 1)
EMBROIDERY BASICS
Turn the frame over; the backing is sticky. The tacky backing
will hold the material to be embroidered in place. (Fig. 2)
Take the hoopless frame holder and lay it on a flat surface.
Take the frame and place the holes in the frame into the
pegs on the holder. (Fig.3)
With the black screw cap tighten the frame to the holder.
(Fig. 4) Take the item to be embroidered and adhere it to
the sticky back tear away. Press down and smooth out
any wrinkles. Snap the holder into place just like tubular
hoops.
Fig. 1
Fig. 2
Fig. 3
Fig. 4
Note: Heavy or very stiff items may need to be clamped
with binders (office binders found at office supply stores)
to better secure the item to the frame.
Collar
The picture in (Fig. 5) shows how to hoop a collar.
Depending on the location of the embroidery design
the collar might need to be positioned differently or the
design rotated (in software or machine) until it is in the
right location.
Cuff
In order to have the embroidery design showing in the right direction it needs to be rotated 180° (in software
or machine) when positioned in the hoop as shown in (Fig. 6). If the cuff was flipped with the buttonhole
towards the front of the hoop you would not have to rotate the design.
Slipper
Hoopless frames are great for embroidering on slippers. (Fig. 7)
Fig. 5
19
Fig. 6
Fig. 7
Hooping a Large Item or Jacket
1. T
ake the large hoop and separate the two rings placing the outer ring
on a flat surface.
2. Cut a piece of cut-away backing material approximately 2-inches
larger then the hoop and lay it on top. Make sure the excess backing
is extending beyond the hoop evenly all around.
4. Slightly loosen the screw on the outer hoop ring, that controls the
hoop’s tension. Now try to push the inner (top) hoop down into the
outer ring. Depending on the how thick the item/jacket is, several
adjustments may be necessary until the right amount of tension is
achieved. The hoop tension needs to be tight enough that you use
some force to push the hoops together. It should not be too easy nor
too hard, and the material inside has to be smooth and taut. Several
attempts may be necessary until you reach the right affect.
5. Sometimes the hoops move from your original intended position, so
double check the final location of the hoop on the garment. Check to
see that it is straight, centered, nothing is caught underneath and that
the backing material completely covers the hoop.
Prior to embroidering,
rotate the design 180°
either on the machine’s
control panel or in the
embroidery software.
6. O
nce the item/jacket is attached to the machine. Lay a piece of solvy on top of the area to be embroidered
if the material has a nap to it like corduroy or fleece. This helps prevent stitches from sinking into the fabric.
EMBROIDERY BASICS
3. If embroidering a jacket, unzip it and position the back of the jacket
with the neckline towards you, on top of the backing and outer (bottom) hoop ring. Center the area to be embroidered (design area)
about 9 - 10 inches down from center neckline. Smooth out the material and the backing, making sure the backing material is still over the
hoop completely and the design area is straight and centered. Hoop
other items in the same manner.
Jacket Backing Hoop Usage
Besides the back of jackets, these hoops can be used on the back of shirts, sweaters, sweatshirts,
horse blankets, multiple hooping or any large flat embroidering.
Problem Solving Lining Issues
There are some manufacturers that make jackets that feature a zipper opening that will allow embroiders to hoop the outer shell. Another option is to carefully open the bottom seam with a seam ripper
where the lining and jacket meet, slip the hoop inside and when finished embroidering, sew the seam
close. A third option is to find out from the client if it is OK to sew through the lining.
20
Attaching a Large Hoop to the GS1501
1. Loosen the 3mm nuts on the left arm and right arm and remove arms.
2. Now take left arm and attach arm in the last two notches on the pantograph arm. Take the right arm and
atach in the last two notches on the right side.
EMBROIDERY BASICS
3. Attach large hoop.
21
Hooping a Satin Jacket
Satin Jackets have all the characteristics of being a challenge to embroider. The slick, shiny material makes it
difficult to hoop. Just when you think you have it all lined up properly in the hoop, you press down on the hoop
to secure the jacket and the material slides causing the design to be off center. Not only that, securing the
hoop too tight could result in hoop burns on the jacket.
2. Place the unmarked piece of backing behind the jacket
and the marked piece on top. Lay the jacket flat and
smooth, making sure the lining is flat with the jacket.
Position a sew out of the design or a photocopy, the
actual size, on top of the marked backing as a guide for
placement, approximately
9 – 10 inches down from center collar. Pin
and machine baste the three layers
(backing, jacket, backing) together
using a long running stitch or just pin them
together. (Fig. 2) (Make sure you use fine
ballpoint straight pins and ballpoint needles
in the embroidery machine.) Basting or pinning these
layers together helps prevent shifting of jacket and lining.
Lift the jacket up and check to see if the lining is laying
flat with the jacket and not bunching up. If necessary, readjust the materials until all layers are flat. Lay the jacket
back down on a flat surface.
3. Using the center line markings as a guide,
hoop the jacket. (Fig. 3) If you used pins,
remove pins after jacket is hooped.
Backing
Fig. 1
9“-10”down
from center
DESIGN AREA
Basting Stitches
or pins
Fig. 2
EMBROIDERY BASICS
Here’s a technique to use to help overcome these obstacles. It might take a little more prep time but will save time
and money in the end.
1. Cut two pieces of backing material larger then the hoop.
On one piece, mark with a pen a cross in the center as
shown; this will later be placed on the top of the jacket.
(Fig. 1)
DESIGN AREA
4. Carefully cut away the design area on the
top backing. (Fig. 4)
5. Embroider the design. Remove hoop.
Remove basting stitches and top backing.
Carefully cut-away or tear-away backing.
Note: Basting or pinning the two backings together
helps prevent the jacket and lining from shifting in
opposite directions as its being hooped.
The backing material on top also helps
center the design better because the
slippery material may cause the design
to be off center.
Fig. 3
DESIGN AREA
Fig. 4
22
Common Hooping Problems
Proper hooping is one of the most challenging and important machine embroidery skills. Hooping the item
correctly is critical to obtaining a professional result. Improper hooping can cause a myriad of issues such as
misalignment of the design on the garment, puckering of the fabric , thread looping or breaking, or design registration issues (when the stitches don’t line up or “register” properly in the design, especially on outlines).
EMBROIDERY BASICS
Hooping for machine embroidery is a challenge because the process requires you to handle multiple loose
layers of fabric and stabilizer simultaneously and it requires you to keep those layers straight and wrinkle
free while they are aligned precisely and placed under tension in the embroidery hoop so your design ends
up stitching out well and where you intend on the fabric. Hooping an item for machine embroidery can at first
make you feel like you have ten thumbs, but with the help of the hints below and just a little practice you will
soon be hooping like a pro.
The hooping process is affected by several factors:
• The type of stabilizer
• The number of layers of stabilizer needed for the type of fabric you are embroidering
• The size of the object you are embroidering
• The texture of the fabric
• The size and type of the hoop required for the project
Below are the most common hooping problems and how to avoid them
Incorrect hoop choice
Thick fabrics in a low, flexible hoop can lead to pop-outs. For thicker garments, such as jackets, invest in
double-high hoops. These sturdy hoops have taller sides that grip garments more securely.
Hoop catching on the machine
This can happen with tubular hoops that are not level and with conventional hoops that get snagged on a
screw that isn’t flush or other machine components. If a particular head has this problem consistently, mount
an empty hoop, and jog the pantograph in all directions to look for the catch.
Starting a design in the wrong place
The most common cause of this mistake is failing to reset the design or the pantograph start position after an
aborted start. If a design is stopped and restarted again, be sure to check both the data source and the hoop
location.
Sewing a garment to itself
This mistake is usually made by beginners but can still happen when experienced embroiderers work on rush
jobs and lose focus. You can avoid that sinking feeling you get upon realizing you can’t remove the hoop without unscrewing it or cutting the garment. When you place the hoop into the machine, simply run your fingers
all the way around the hoop’s edges on all sides. Then you can be sure you’re in the clear.
Permanent hoop marks
The way to avoid spoiling a garment in this way is to hoop tautly, not tightly. Even experienced embroiderers
adjust the hoop more tightly than needed to securely hold the garment. Adjust the outer hoop so it requires
only gentle pressure to apply the inner hoop section, and except for thick, bulky goods, don’t tighten the hoop
after hooping.
23
Home Decor - Monogram Placement
Placement
Size
Bath Sheet
Centered, 4" (101.6mm) above hem or
3" (76.2mm) above border
5" (127mm)
Bath Towel
Centered, 4" (101.6mm) above hem or
2" (50.8mm) above border
3" - 4" (76.2mm - 101.6mm)
Hand Towel
Centered, 2" (50.8mm) above hem or
1.5" (38.1mm) above border
2" - 3" (50.8mm - 76.2mm)
Fingertip Towel
1.5" to 2" (38.1mm - 50.8mm) above hem or
1" to 1.5" (25.4mm - 38.1mm) above border
2" to 2.5" (50.8mm 63.5mm)
Washcloth
2" (50.8mm) above hem or
1.5" (38.1mm) above border
1" - 2" (25.4mm - 50.8mm)
Bath Mat
Place in center
3" - 5" (76.2mm - 127mm)
Duvet Cover
Centered, 12" (304.8mm) from the top edge.
4.5" to 5" (114.3mm 127mm)
Top Sheet
Centered, 2" (50.8mm) above the wide band or on
band depending on width. Embroider on right side
so its readable when folded down over blanket.
On hem 3" (76.2mm)
Pillowcase
Center on the open side between the edge and
the hem’s border. Make sure the pair of
pillowcases are embroidered with the side
seams on the top.
1.25" - 2.5"
(31.75mm - 63.5mm)
Tablecloth Round
Anywhere 2" to 3" (50.8mm - 76.2mm) from the
edge
3" (76.2mm)
Tablecloth Square
One monogram halfway between the center and a
corner point or one on each corner 2" to 3"
(50.8mm - 76.2mm) from point.
.75" to 2" (19.05mm 50.8mm)
Tablecloth Rectangle
Two monograms, each halfway between center
and edge.
3" - 4"
Table Runner
Center (leaving room for centerpiece) or centered
on each end.
3" - 4" (76.2mm - 101.6mm)
Placemats
Left or right corner .5" to 1" (12.7mm - 25.4mm)
from edge or center.
.75" to 2" (19.05mm 50.8mm)
Napkins
Left hand corner, opposite side of label (if there is
one) .5" to 1" (12.7mm - 25.4mm) from edge.
1" to 3" (25.4mm - 76.2mm)
Above the hem 3" - 5"
(76.2mm - 127mm)
EMBROIDERY BASICS
Item
(76.2mm - 101.6mm)
24
EMBROIDERY BASICS
Children’s Garments - Monogram Placement
Garment
Placement
Size
Bib
Center on bib
.25" - .5" (6.35mm - 12.7mm)
Shirts and Blouses
Left front 3" - 5" (76.2mm - 127mm) from shoulder
seam and halfway between placket or center front
and sleeve.
.25" - .5" (6.35mm - 12.7mm)
Sweatshirt
Center front 1.5" - 3" (38.1mm - 76.2mm) down
from neckline seam, centered between sleeve
seams.
.5" - 3" (12.7mm - 76.2mm)
Turtlenecks
Left chest 7" - 9" (177.8mm - 228.6mm) down from
the shoulder seam.
Left chest 2" - 4"
(50.8mm - 101.6mm)
Collar, centered 2" (50.8mm) in from the side.
Collar .25" - .5"
(6.35mm - 12.7mm)
Women’s Garments - Monogram Placement
Garment
Placement
Size
Dress Shirt Collar
Left side, .25" (6.35mm) from collar point
topstitching centered.
.25" - .375" (6.35mm - 9.52mm)
Dress Shirt Cuff
Fold the left cuff in half across the width, 1"
(25.4mm) from fold toward buttonhole, .25"
(6.35mm) from topstitching. Bottom of letters
should fall at cuff bottom.
.25" - .75" (6.35mm - 19.05mm)
Dress Shirt
Pocket
Center of pocket hem, .25" - .5" (6.35mm 12.7mm) from top edge.
.25" - .5" (6.35mm - 12.7mm)
Dress Shirt
Left Side
Left side, 4" - 6" (101.6mm - 152.4mm) down
from the shoulder seam, halfway between
center and sleeve seam.
.25" - .5"(6.35mm - 12.7mm)
Placket
Between the 2nd and 3rd buttonhole. Letters
are stacked.
.25" - .375" (6.35mm - 9.52mm)
Center front
design
Center, 3" - 5" (76.2mm - 127mm) from base of
neckband.
.5" - 1" (12.7mm - 25.4mm)
Sport Shirt
Left side, 3.5" - 4.5" (88.9mm - 114.3mm) from
shoulder seam, halfway between center and
sleeve seam.
.25" - .5" (6.35mm - 9.52mm)
Robes
4" - 6" (101.6mm 152.4mm) from shoulder
seam, 3" - 5" (76.2mm - 127mm) from center.
1" - 2" (25.4mm -50.8mm)
Sweater
3.5" - 4.5" (88.9mm - 114.3mm) from collar and
centered on front.
1" - 1.25" (25.4mm - 31.75mm)
Fur Coat Lining
Right side at waist level in lining.
.25" - .5" (6.35mm - 12.7mm)
Scarves
Centered 2" - 2.25" (50.8mm - 57.15mm) from
hem
Centered, 2" - 4" (50.8mm 101.6mm) Corner, .75" (19.05mm)
Corner - 45° angle in the corner with the
monogram’s edge 1" (25.4mm) from seam.
Handbags
25
Front and center
3" - 4" (76.2mm - 101.6mm)
Men’s Garments - Monogram Placement
Placement
Size
Dress Shirt Collar
Left side, .25" (6.35mm) above buttonhole from
collar point centered.
.25" - .375" (6.35mm 9.52mm)
Dress Shirt Cuff
For top center of wrist, start 1" (25.4mm) from cuff
center toward buttonhole, .25" (6.35mm) above
cuff edge. Bottom of letters should fall at cuff bottom.
.375" - .75" (9.52mm 19.05mm)
Dress Shirt Pocket
Center of pocket hem, .25" - .5" (6.35mm 12.7mm) from top edge.
.25" - .375" (6.35mm 9.52mm)
Pocket Flap
Center of flap
.25" - .375" (6.35mm 9.52mm)
Pocket Flap with
buttonhole
Right of buttonhole
.25" - .375" (6.35mm 9.52mm)
Ties
1.5" - 2.5" (38.1mm - 63.5mm) up from bottom tip.
.25" - .5" (6.35mm - 12.7mm)
If wearing a vest, then 9" - 11" (228.6mm 279.4mm) up from tip.
Sport Shirts
Robes
Left side, 7.5" - 9" (190.5mm - 228.6mm) from
.25" - .5" (6.35mm - 12.7mm)
the shoulder seam, halfway between placket and
Above The Pocket
sleeve seam.
Customer preference.
Always align with the top
7" - 10" (177.8mm - 254mm) from shoulderedge
seam,
1" - 2" (25.4mm - 50.8mm)
of the pocket.
3" - 5" (76.2mm - 127mm) from center.
T-shirts
Left chest 7" - 9" (177.8mm - 228.6mm) down from
the shoulder seam.
Center front - 5" (127mm) down from the collar
(Make adjustment for large sizes).
EMBROIDERY BASICS
Garment
Center Chest
6" to 4" from the bottom
edge of the ribbing to the
top of the design.
Center of -design
down
2" - 4" (50.8mm
101.6mm)
from the shoulder
Women 7" - 8"
Men 8" - 9"
Over 4" - 5"
from the
center
of the placket
Boxers
Center Chest
Above The Pocket
Find the center front by
matching the seams.
Then match the center
front with the side seams
to find the spot.
6" to 4" from the bottom
edge of the ribbing to the
top of the design.
Customer preference.
Always align with the top
edge of the pocket.
Center of design down
from the shoulder
Women 7" - 8"
Men 8" - 9"
Over 4" - 5"
from the
center
of the placket
26
Boxers
Find the center front by
matching the seams.
Anatomy of a Cap
Cap Style Guide
Embroidered Eyelets
5 Panel
Seamless front panel is reinforced
with fused cotton buckram to
provide sturdy front; has four sewn
eyelets for ventilation; top of front
seam is top stitched; has smooth,
wide front area for decoration.
Button
Panels
Stitching
/V
iso
r/
Bi
ll
Stitching
on Visor
Under Visor
Br
im
EMBROIDERY BASICS
Crown
Glossary of Cap Terms
Brim - also known as visor or bill. Most often made of PVC plastic sewn inside fabric.
Buckram - coarse, woven fabric, stiffened with glue used to give a cap’s front panel shape.
No backing needed if cap has buckram. Unstructured or low profile caps have no buckram and
therefore need backing material when embroidering.
Button - decorative, to cover where all the panel points meet together on top of cap.
Closure - used in adjustable caps and constructed of a variety of materials, hook and
loop fasteners, plastic, snaps, elastic bands or leather straps to allow the cap to fit on
all size heads.
Crown - refers to the top part of cap that sits on head. This is the most common area
embroidered.
Eyelet - small holes formed by metal eyelets or satin stitching that allows the cap and
head to breathe.
Panels - five, six or eight pieces sewn together to form crown of cap.
Stitching - topstitching thread along seams of each panel, used to reinforce panels.
Sweatband - cotton material that runs along inside of cap to protect face from sweat.
Visor - a style of hat without a crown, see also “brim”.
• With tape measure, measure comfortably around the head about 1" above ears.
Head Size
(Inches)
Fitted
Size
Small
22
223/8 223/4 231/8 231/2 237/8 241/4 245/8
7
71/8
Medium
71/4
73/8
Large
Small/Medium
71/2
75/8
Extra Large
Large/Extra Large
(General guide may vary slightly among manufacturers)
27
Adjustable
One-size fits all hat with back
closure.
Bucket
Also known as Gilligan, fishing or
retro downtown hat.
Easy Fit
Made from softer fabrics like
brushed cotton; has no buckram,
so cap has relaxed look.
Fitted
Hat is stitched in back; comes in
sizes typically 6 7/8 to 8.
On-Field
Molded after classic on-field style
of Major League Baseball; 100%
wool; has firm, reinforced buckram.
Structured/Constructed
Crown of cap has buckram to give
shape even when not being worn.
• Read chart below to convert head size (inches) to cap size
67/8
6 Panel (Relaxed) Unstructured
Low Crown
No supporting materials behind
two front panels; unstructured
nature makes cap fit low and loose
on wearer’s head; has six sewn
eyelets for ventilation.
Profile
Refers to crown height of cap; low
profile is typically less than 3” tall;
high profile (a.k.a. pro-style) is usually more than 3”.
How to find the correct cap size:
63/4
6 Panel Slope Front Low Crown
Two front panels are reinforced
with cotton buckram and slope
back toward wearer’s head; sculptured and low-crown contoured
cap; has six sewn eyelets.
Pre-Curved Visor
Special pre-formed material that
gives cap arched shape.
Cap Sizing
211/4 215/8
6 Panel Pro-Style
Two front panels are reinforced
with fused cotton buckram to
provide sturdy front; has six sewn
eyelets for ventilation.
73/4
77/8
25
8
Undervisor
Colored material on bottom of
visor.
Unstructured/Unconstructed
Buckram is absent in crown; only
has shape when worn.
Visor (Peak)
Part that extends from front panel
and acts as sunshade; type of
headwear that consists only of
sunshade so that top of head is
exposed.
Source: EMB Magazine
Notes:
EMBROIDERY BASICS
28
GS1501 Main Components
MACHINE BASICS
Upper Tensioners
Lower Tensioners
Operation Panel
Safety Cover
Pantograph
Bobbin
Tubular Hoop Holder
1
Presser Foot
MACHINE BASICS
2
3
MACHINE BASICS
Bobbin Placement in Case
Pigtail
Latch
Bobbin goes
into bobbin case
clockwise
Bobbin tension screw
Side view of bobbin
in bobbin case,
follow arrows
for thread path
Wrap thread
around pigtail
two times
View looking inside
bobbin case, thread
rotates clockwise
To tighten tension turn clockwise
To loosen tension turn counter clockwise
Adjusting Bobbin Tension:
• Adjust the tension knob until the top of the plastic knob is flush with the top of
the chrome post.
• Follow the chart below to set the tension knob for the type of thread you are
using. Poly threads require nearly twice the amount of tension as rayon.
MACHINE BASICS
Turn this screw
to adjust
bobbin tension,
1/4 turn makes a
significant change
• After setting the upper tension knobs, stitch a (1 inch) capital letter “I”. View the
underside of the garment to determine if the bobbin tension needs adjusting.
TIP: Only one third of the bobbin thread should be showing down the middle of the column. If too much
bobbin is showing, loosen the upper tension slightly by turning the tension knob to the left; if too little bobbin
thread is showing, tighten the upper tension slightly by turning the knob to the right.
Thread Tension Adjustments
THREAD TYPE
SOLUTION
Metallic and Polyester Threads
Turn tension knob 0-1 turn counter clockwise
Light Color Rayon
Turn tension knob 1-2 turns counter clockwise
White Rayon
Turn tension knob 1 turn counter clockwise
Medium Color Rayon
Turn tension knob 1½ - 2½ turns counter clockwise
Dark Color Rayon
Turn tension knob 2 - 3 turns counter clockwise
Black Rayon
Turn tension knob 3 turns counter clockwise
4
Common Adjustments - Thread Breaks
Always inspect needle position and determine if actual thread break has occurred. If no thread break is apparent, check all the thread paths. Then do a manual trim and check the bobbin supply. If thread has broken,
follow the correct thread path and rethread the needle.
TO RESUME STITCHING AT THE APPROPRIATE SPOT IN THE DESIGN:
• Trim (Scissor Key) back up using your stop key and then start again.
PREVENTING THREAD BREAKS
MACHINE BASICS
• Remember to store thread properly since aged and improperly stored thread can cause thread breaks.
• Thread will become brittle due to prolonged exposure to air, light, heat and age. Replace the old thread and
store new thread in a dark, cool place.
• When re-threading the machine make sure that the thread goes through all the guides and in the proper
order.
• Make sure that the tension is correct. Loose tension causes thread to pile up and loop, and tight tension
causes pulling, puckering and thread stress.
• Too many stitches in a small area and/or heavy densities can cause thread breaks. Try deleting short
stitches or increasing the design by 5-10%.
• Do NOT use tape to tie off thread ends, since tape leave a stick residue that causes friction and breaks.
• Check for burrs in the thread guides, needle eye, thread plate and hook.
• Make sure that the needle is pushed in all the way when cleaning needles.
• Replace bent or damaged needles.
• Excessive backing will apply greater friction to the needle and the thread.
Thread Breaks
Typical Causes
Solution
Too much or tool little tension or
poor quality thread.
A small tuft of fiber on the end of
the broken thread.
Improper placement of stitch
relative to previous stitch. Stitch
penetrates and splits previous
thread.
Broken end will have a bend in the Edit stitch placement or re-digitize
thread and a tuft on the end.
the design.
Thread is cut by a sharp edge on
the rotary hook.
Thread will have a clean cut.
Polish or replace the rotary hook.
Hook point catches only a portion
of the thread.
Thread will fray and break.
Adjust timing of the rotary hook,
use correct needle size, try a
larger needle.
Loosen tension, change brand of
thread, try a new cone of thread
Obstruction in the thread path.
Make sure thread pulls smooth
through thread path.
Needle damage or improper
needle insertion.
Replace needle or insert needle
with scarf on the back.
Tight density
Descending needle point penetrating or catching thread.
5
Appearance
Fraying
Reduce stitch density or make
more than one pass using multiple
layers of stitching with lighter
density per layer.
Adjust take up spring so it is
working until the eye of the needle
penetrates the fabric or adjust the
tension.
Setting Upper Thread Tension
1. Adjust the tension knob until the top of the plastic knob is flush with the top of the chrome post.
2. Follow the chart below to SET the tension knob for the type of thread you are using. Polyester threads
require nearly twice the amount of tension as rayon.
Thread Tension Adjustment
Thread Type
Solution
Turn tension knob 0-1 turns counter clockwise
Light color rayon
Turn tension knob 1-2 turns counter clockwise
White rayon
Turn tension knob 1 turn counter clockwise
Medium color rayon
Turn tension knob 1-2 turns counter clockwise
Dark color rayon
Turn tension knob 2-3 turns counter clockwise
Black rayon
Turn tension knob 3 turns counter clockwise
3. After setting the upper tension knobs, stitch a 1-inch capital letter “I”. View the underside of the fabric to
determine if the bobbin tension needs adjusting.
Bobbin Tension Test
To test the bobbin tension, take the bobbin thread out of the pigtail. Hold the bobbin case in your left hand
and pinch the thread near the case with your right thumb and index finger. With your right hand, give the
bobbin a quick jerk, the thread should unwind and be pulled out of the bobbin from its own weight. There
should be about an inch and a half and still have the correct tension, the key is consistency, everybody uses a
different amount of force, therefore, the drop amount may vary. If your bobbin drop is four inches and the sew
out test shows correct tension, then use four inches as your guide. The bobbin thread should fall smoothly,
without resistance. If the bobbin case hardly moves the tension is too tight, if it drops a lot, the tension is too
loose. If the bobbin pops out of the case, the adjustment may be too loose or your bobbin drop too violent.
MACHINE BASICS
Metallic and polyester threads
Note: Only one-third of the bobbin thread should be showing down the middle of the column. If too much
bobbin is showing, loosen the upper tension slightly by turning the knob to the left; if too little bobbin thread is
showing, tighten the upper tension slightly by turning the knob to the right.
1
The tension settings suggested may vary by thread manufacturer. However, all brands
are very similar.
LOOK ON THESE EDGES FOR SCRATCHES
When stitching on caps, thick materials or using small lettering, the bobbin tension may need to be tightened
2
slightly.
IF SMALL SCRATCHES ARE FOUND POLISH
Excessive upper thread balled up under the fabric (birdnest) or looping on top is a sign of
too loose upper tenOUT WITH 1200 GRIT SANDPAPER OR EMERY
CLOTH. IF SCRATCHES ARE DEEP USE 240
sion or too tight of bobbin tension. Excessive thread breaks is a sign of too tight upper tension.
GRIT SANDPAPER THEN POLISH WITH 1200
OR EMERY CLOTH.
Rotary Hook Scratches
Do not remove the hook to check or polish scratches. Scratches
on the rotary hook can be the cause of excessive thread breaks.
1
TAKE A FLAT TIP SCREW DRIVER AND PUSH
ALONG THE EDGES AT AN ANGLE TO
CHECK FOR SCRATCHES.
LOOK ON THESE EDGES FOR SCRATCHES
LOOK IN THIS LOCATION FOR
BROKEN OFF NEEDLES.
2
IF SMALL SCRATCHES ARE FOUND POLISH
OUT WITH 1200 GRIT SANDPAPER OR EMERY
CLOTH. IF SCRATCHES ARE DEEP USE 240
GRIT SANDPAPER THEN POLISH WITH 1200
OR EMERY CLOTH.
6
TAKE A FLAT TIP SCREW DRIVER AND PUSH
ALONG THE EDGES AT AN ANGLE TO
Thread Looping
Always check the thread path first. Thread should pull smoothly through the thread path with no obstructions.
Thread Tension Adjustment
MACHINE BASICS
Typical Causes
Solution
Upper thread tension is too loose
Tighten upper tension.
Elasticity in the thread
Tighten upper thread tension. Adjust take up spring,
adjust the length of the take up spring, try a different
brand of thread.
Needle too small
Replace with a larger needle
Stitch too long
Shorten stitch length
Stitch angle
Change stitch angle. Best angle is the X direction. Y
direction stitches cause excessive pull on the thread as
the needle moves back (hoop moves forward).
Density too tight
Less density
Dense material
Larger needle
Elastic or rubbery material
Stiffer backing or larger needle
Inadequate presser foot clearance
Adjust presser foot clearance. Low presser foot can
pinch thread causing a loop.
TIP
• The tension settings above may vary by thread manufacture; however, all brands are very similar.
• When stitching on caps, thick materials or using small lettering, the bobbin tension may need to be
tightened slightly.
Cleaning the Machine
After oiling and greasing, it is always best to run a few test designs first to be sure any excess oil or grease is
noticed before beginning production. Keeping broken thread and cloth dust away from the unit is necessary to
insure quality embroidery. Dry air blown around and into the little nooks and crannies of the machine will help
keep it running like new for a long time.
7
MACHINE BASICS
8
9
MACHINE BASICS
Control Panel Keys
Number/Key Pad
Clear
Speed Control (down)
MACHINE BASICS
Expansion Key
Speed Control (up)
Escape Key
Enter Key
Any selections made must be confirmed by hitting Enter
Position Arrows
Hoop Movement Speed
Switches speed of hoop movement from slow to fast
Rotate Design
Watch the F on the LCD screen
10
MACHINE BASICS
Design Management
1. Select design for embroidery
2. Input design into memory (for loading an embroidery design into the memory of the
embroidery machine via USB memory)
3. Output Memory Design
4. Copy Memory Design
5. Repair Memory Design
6. Delete Memory Design
7. Divide
8. Combine
9. Delete All Designs
Embroidery Status Key - Management Status
Enter embroidery status
Exit embroidery status
Hoop Mode
Set as Cap type
Set as Clothes type
Trim Key
Shaft Rotation Key
1. 100°
2. Any Degree
Set Stitch Color Order
1. Set Colors Order - In this setting you have to arrow up and over to needle change and
input the color order of the design
2. Replace Needle - ND A Replace ND B
3. Modify Needle - replace colors inutted with new colors on a design already in machine
memory
Auto/Manual Color Change Key
Fully Automatic (Yellow) - Changing to next color and starts embroidery
Semi Automatic (Blue) - Changes to next color. You will have to hit start for the machine
to start sewing at each color change.
Manual (Red) - Will not change colors. Will only sew in the color of the active needle.
Switch Working Method
Embroidery (sewing mode)
Fast Float - allows you to fast forward through design
Slow Float - allows you to slowly forward through design
Technician Key - no function
11
Embroidery Set Key
1. Back Start - brings design back to start possition
2. Back Offset - brings design back to start possition
3. Set Start - when centering active needle with possition arrows, set start has to be re-set
so you don’t hit your hoop
4. Contour Range Check - traces the outline of the design
* Contour is recommended*
5. Design Range Check - traces in a rectangle or square going to the four outermost corners of the design
Service Technician Key - For further assistance contact Pantograms at 1.800.872.1555.
MACHINE BASICS
12
Instructions for Oiling the Embroidery Machine
Oiling is important for maintianing the machine performance over an extended period of time. Turn the power
off when lubricating the embroidery machine.
Be sure to oil your machine as instructed below. To avoid spotting on garments being embroidered, oil the
machine sparingly.
MACHINE BASICS
After Oiling Instructions
-Embroider on two pieces of backing or...
-Place rinse away topping over the first garment
Locations That Require Lubrication Every 4 hours of operation
Rail on Rotary Hook
1. Locate the Rail on the rotary hook. Remove the bobbin and
lubricate the rail with a single drop of oil every 4 hours of production. Press the Trimming Key 2-3 times.
Locations That Require Lubrication Every 2 Weeks or 80 Hours of Operation
2. Each needle bar needs a single drop of oil once a week.
There are a total of 15 on the Pantograms GS1501.
13
3. Located in front of the hand wheel on the right side of the
machine there are 3 oiling spots marked in red. Lubricate with a
single drop of oil.
MACHINE BASICS
4. Located on the same side as the hand wheel towards the back
of the machine there is an oil spot marked in red. Lubricate with a
single drop of oil.
5. In the front of the machine there are 5 oiling spots marked in red. They are between 2 and 3, 5 and 6, 8 and
9, 11 and 12, and 14 and 15. Lubricate each hole with a single drop of oil.
6. Place the machine in Needle 1 position. To the right of the
Needle Case (Needle Position 1) are 2 openings. Lubricate with a
single drop of oil.
14
MACHINE BASICS
7. Locate the hole behind the needle plate and lubricate with a
single drop of oil.
8. Further back on the arm is a second hole towards the back.
Lubricate with a singel drop of oil.
Daily Maintenance
Remove bobbin and blow out the rotary hook area with canned air.
Weekly Maintenance
Remove needle plate and blow area out with canned air.
15
Notes:
MACHINE BASICS
16
Looking At The Work Area
Included with your level of Forté Embroidery Suite is a complete user manual. This manual along with the
Forté Workbook on the following pages and EMBROIDERY SOFTWARE TRAINING CD will provide you with
the tools to edit digitized designs or even master digitizing your own designs.
Menu Bar
EMBROIDERY SOFTWARE
Tool Bar
Selection
Tools
Lettering
Stitch Type
Tools
Line Type
Tools
Display Tools
Work Area
Editing Tools
Select New
Color Tool
Current Color
Selected
Color Sequence Bar
To Display and Select Hidden Tools
The Pre-set Shape tools are hidden. A small arrow to the right of the tool icon
indicates hidden tools. Select a hidden tool by clicking on the small arrow and
then the tool you want.
Pre-set Shape Tools*
• Square
• 6 Point Star
• Isosceles triangle
• Hexagon
• Right Triangle 2
1
• Oval
• Starburst
• Diamond
• Octagon
• Trapezoid
• 5 Point Star
• Cross
• Right Triangle 1
• Parallelogram
Digitizing Basics
Choosing a Stitch Type
• Satin or Complex Fill - The easiest way to decide what stitch type to use is to measure the maximum width
that will be generated when the object is digitized. In general, satin stitch is suitable for widths less then
8mm. If wider, use complex fill.
Color changes and trims
Consider the movement of the fabric in the hoop
• The way the design looks on the screen is not always the way it will look when embroidered. Fabric moves
within the hoop during the embroidery process creating distorted shapes and unwanted gaps.
• The degree of movement of fabric depends on these things:
- the type of fabric (loose weave, sheer fabric and knits have more movement)
- the size of the design (the bigger the design the more movement)
- the sewing sequence
- the stitch angles (with the grain or against the grain of the fabric)
- the density of the design
- the hooping process (if the fabric was stretched too much or not taut enough)
- the backing used (not enough or right type of backing for material)
Planning the digitizing process
EMBROIDERY SOFTWARE
• It is best to minimize color changes and trims where possible without compromising the design. Before
digitizing your design, try to decide on the minimum number of colors that you will need. Sometimes it is not
necessary to use all the colors.
• Proper planning the order in which the design will be stitched will help limit fabric movement, unnecessary
jumps and trims.
• The sewing sequence order, working in layers with items in the background being digitized first and then
moving to the foreground. Also working from the center of the design outwards.
• Proper placement of entry and exit points along with the stitch angle will improve the sewing process of the
design.
Use underlay to stabilize fabric
• Proper usage of underlay gives body and stability to the embroidery.
• Prevents stitches from sinking into the fabric.
Pull Compensation
• During the embroidery process, the fabric will pulled slightly by the force of the stitching. This is very common is stretchy fabrics like knits. Pull compensation lengthens the stitches to compensate for the pulling.
• Pull compensation for T-shirts should be set at .2mm and for stretchier knits .25 - .3mm. This will depend
on the ounce weight of the garment.
Digitizing shapes
• Slightly overlap shapes when digitizing to prevent gaps between objects due to fabric movement.
• Overlapping the shapes, also gives more depth to the design.
• When digitizing shapes slightly exaggerate the shape making it a little bigger to compensate for the push
and pull of the fabric.
• For a circuluar shape widen the sides and shorten the top and bottom. It will appear oval on screen but will
embroider round.
2
Pricing
“Work smarter, not harder”
EMBROIDERY BUSINESS
Pricing is the core of your business and every new business owner wants to make sure he/she is charging
the best price for the most return. After all, you got into this business to make money and support your family.
One thing is important to remember, pricing must be consistent with an image. Don’t under sell yourself, or
you’ll cheapen your image. You are providing a service and a product, not just a product.
Cost of Business
One of the first steps to establishing a price is to know how much it costs to run your business. Make a list
of all your business expenses over the course of a year. List fixed expenses, that is, expenses you know will
be constant from month to month, and variable expenses which fluctuate from month to month. For variable
expenses just try to estimate how much you believe it will cost and then keep track of these expenses on a
spreadsheet and adjust them if necessary.
Cost of Business
Fixed Expense
Variable Expense
Machine Payment
Labor
Loan Payment
Production Supplies
Rent
Miscellaneous
Advertising
Insurance
Office Supplies
Postage
Maintenance/repairs
Salary
Utilities
TOTAL ANNUAL
ESTIMATED
EXPENSES
Professional fees
Miscellaneous
A
Annual Estimated Expenses ÷ Number of Weeks Working = Weekly Overhead
÷
A
B
=
To Determine Hourly Cost
Hours of production per week (time the machine is running)
Weekly Overhead ÷ Weekly Hours of Production = Basic Hourly Cost
B
1
C
÷
D
=
Stitch Count
How many stitches per hour does your business generate? How many minutes of sewing are achieved in
a typical hour? The average single head shop generates 4-6 hours of sewing and runs 1000 stitches per
minute (even though the machines are capable of stitching 1200 this takes into account the complexity of the
designs and materials used.) The remaining time is dedicated to production preparation, machine downtime,
and administrative duties.
Cost per Stitch
60 Minutes x 1000 Stitches = 60,000 Stitches per Hour
÷
60,000 Stitches
D
Cost per Stitch
=
÷
=
E
Note: One way to be more accurate in stitch count, is to keep a log of your machine stitch count every hour
for a week.
Cost per Stitch
X
1,000 Stitches
E
X
=
Cost per 1,000 Stitches
1,000 Stitches
=
Cost per 1,000 stitches should be your minimum charge – your dead bottom discount price for large
quantity orders. Mark the price up from this base price according to quantity, job complexity and any
additional production costs.
Additional cost in production time.
• The number of color changes and trims in the design add time to the production so just don’t base the cost
on the number of stitches in the design.
EMBROIDERY BUSINESS
Basic Hourly Cost
• Specialty threads like metallics cost more.
• Appliqué designs usually have lower stitch counts but extra time is needed to cut the appliqué, unless it’s
pre-cut, and position the appliqué in the hoop. There is also the added cost of the appliqué material.
• Hooping difficult items such as jacketbacks.
• Multiple hoopings.
These items add to your hourly production cost and need to be counted. Special design work is worth the
extra cost and you need to price it by the complexity of the job.
2
Digitizing - In-house or Outsource
When it comes to digitizing, you have two options. Keep the digitizing in-house or contract out. Even if you
are doing the digitizing yourself, as a beginner there is a learning curve and there will be times when you will
need to rely on an outside service to help you out.
There are several questions you should ask when using an outside service for your digitizing needs:
• What is their average turnaround time for a design?
EMBROIDERY BUSINESS
• Will I receive a sew out of my design?
• Ask if they give you a file of the digitized design or if they digitize a design but only provide the embroidery on the finished garment. If you are paying for a digitizing service, you want to make sure you
recieve a file.
• What format will the file be in? Is there an additional charge for this?
• Do you provide a “Rush” service? Is there an additional charge?
• Where are they located?
• Do they charge a fee for edits and how long is the average turnaround time for design edits?
• What is their minimum setup or digitizing fee?
• Other items that need to be addressed when outsourcing digitizing are the size of the design, the
material(s) that it will be embroidered on and the color scheme.
You’ll want to establish a partnership with the digitizer, so it is important to give them a test order first to see
if the designs digitized are high quality, production friendly and ideally, compatible with your embroidery software in case you need to manipulate the file later. The lowest cost isn’t always the best choice, it could wound
up costing more in production time. A well experienced digitizer will know how to digitize designs for caps and
a variety of different materials.
Remember if you are unsure of who to use for digitizing, you can refer to Stitches Magazine’s Annual Digitizer
Guide, or if you are a member of the Embroidery Trade Association (ETA) or National Network of Embroidery
Professionals (NNEP) they will give you a list of digitizers to contact.
Digitizing Fees and Set up
A good base for digitizing is a minimum charge between $30 - $40 per piece. For a simple name drop or
monograming the charge should be in the $6 - $10 range. In design creation you will want to take into account the complexity of digitizing and how long it will take to complete. The stitch count formula is another
way to set prices. The national averge for design creation/digitizing runs from $7 - $15 per thousand stitches.
Remember price structures in this country varies from region to region. Pantograms recommends that you
contact other embroiders within a 50 mile radius of your location to see what prices are in your area. If your
business is reaching a niche market or creating specialty work your prices should be higher.
The average cost for sew outs are $1.00 per thousand stitches on a single head machine, this fee will usually
decrease with more embroidery heads or large quantity orders.
Don’t sell your product for less then it cost to produce it. Remember to add value to your product by knowing
your competition and providing something that they cannot or do not offer. Think outside the box, find something that sets your business apart from others. If you find your prices are too high for your current market,
find another market that will fit your price structure. People will pay the price for something they value.
3
Copyright, Trademark and Licensing
It is important for every business owner to fully understand the legal issues of copyright, trademark and
licensing. A business owner could face huge fines and losses if they infringe on someone else’s copyright or
trademark.
Copyright
How to copyright your designs
Your designs are copyrighted the moment they are created. To better protect yourself in the court of law it is
recommended to register your designs with the Copyright Office. Visit their Website at http://www.loc.gov/
copyright and obtain Form VA. There is a fee to register and one submission can include multiple designs.
Mail package to:
Library of Congress
Copyright Office
101 Independence Avenue, S.E.
Washington, D.C. 20559-6000
Also, add a copyright notice to all your designs, even if you haven’t registered them yet. A copyright
notice should include, the © symbol or the word copyright, the year of first publication and the name of the
owner. For example: © 2004 John Doe
EMBROIDERY BUSINESS
Copyright is a form of protection to authors of “original works of authorship” in a fixed tangible form of expression for literary, drama, music, artistic works and certain intellectual works. This protection is available to both
published and unpublished works. A copyright protection exists the moment it is created in a fixed form. Ideas
are not copyrighted it must be in a tangible form. The copyright in the work immediately becomes the property
of the author who created the work.
Copyright “Rule of Thumb”
“If you own it (creator or bought creator’s rights via contract) you can use it and if
you have written permission you can use it — otherwise, you can’t.
Copywrongs
• Duplicating embroidery software and stock designs to sell, share, or distribute.
• Distribution of any modified copyrighted computer files or designs.
• Installing the software on more than one computer, sewing machine, or disk for multiple users.
• Uploading, downloading, emailing or transferring electronic files of copyrighted designs on the Internet,
computer network, direct connection, etc.
Also check the individual products you have purchased for additional restrictions.
If you have any questions or concerns regarding the copyright laws we advise you to seek legal advise from
an attorney who specializes in copyright law and other intellectual property law.
4
Trademark
A trademark is a word, phrase, symbol or design, or a combination of words, phrases, symbols or designs
that identifies and distinguishes the source of the goods of one party from those of others.
To obtain your own trademark or for more information visit http://www.uspto.gov or write:
EMBROIDERY BUSINESS
General Information Services Division
U.S. Patent and Trademark Office
Crystal Plaza 3, Room 2C02
Washington, D.C. 20231
Licensing
Licensing is when someone who owns the copyright gives “permission to use” not “own” to another party.
Most software companies sell licenses to use their software to a party who purchases the software package. It is important to read the license agreement that comes with the software to know exactly what you are
purchasing.
Organizations also sell licenses of their trademarks or images to others, known as licensing “intellectual properties.” In order to embroider a trademark or image, some organizations offer licensing agreements to allow
you to use their “intellectual property” on a garment or product. A contract is formed with stated usage rights,
terms, and royalties (from 3 – 15 percent on average) that must be paid on each product sold.
Embroidering Corporate Logos
You must obtain permission in writing from an authorized agent of the company before reproducing any business logo. Most companies aggressively protect their copyrights and trademarks.
Using Embroidery Stock Designs
Stock designs can be purchased from a number of companies. Several companies sell stock designs for
commercial use. Stock designs are generally licensed to one user who can use the designs freely for their
customers. Stock designs sold for “home use” usually cannot be sewn and sold for commercial purposes. It is
important to read the licensing agreement which states what is or is not allowed.
Protect your business
If a client brings in a logo or image to be embroidered always make sure you have obtained permission to embroider it on a product or garment. Ask for a letter of authorization to reproduce the design from your client.
Sometimes it may seem legitimate when they actually do not have the proper authorization. For example, a
Chevy car dealer doesn’t necessarily have the right to reproduce the Chevy logo on products they sell or use
in their dealership. In the case of Chevy, the authorization needs to come from General Motors’ home office.
Embroidery Software Protection Coalition
The Embroidery Software Protection Coalition (ESPC) is a non-profit group of embroidery software and design manufacturers whose purpose is to defend the integrity and quality of embroidery products by promoting
copyright compliance.
5
Stock Designs
Stock designs are a valuable resource to an embroidery shop. Today, there are so many choices available.
But choosing the right designs for your business library is critical to your success as an embroiderer. Not all
stock designs are the same when it comes to quality and market appeal. There are several things to consider
when choosing stock designs:
Quality Designs
Design Flexibility
Stock designs allow multiple designs to be combined into one. When combining stock designs try to choose
designs that have the same artistic style. They need to fit together, so when all the design elements are combined, it looks like it originally was one piece of embroidery.
Purchasing Options
Stock Designs are sold individually, in design packs and entire stock collections. Most stock design companies sell individual designs over the Internet. The nice thing about individual designs is that you can purchase
a design when you need it, but they tend to cost more than design pack or collections. Design packs are a
group of several designs based on a particular theme, i.e., Christmas, Sports, etc. Design packs usually have
designs that go well together and of the same artistic style which helps the embroiderer visualize combining
some of the design elements.
The number of designs in a package is usually determined by the complexity of the designs. Stock companies
usually price all their packs the same but the number of designs per pack may vary. A series of embroidery
designs that are fairly large in size with lots of detail in the embroidery will have less in its pack then a series
of simple designs. The biggest savings on a per design basis is an entire collection. These collections have
thousands of designs at your finger tip. It can be a large investment for an embroiderer, costing thousands of
dollars, but the cost per design drops dramatically.
EMBROIDERY BUSINESS
The designs need to run well and be production friendly. The proper use of sewing sequence with minimal
thread changes and jump stitches. The designs should have some depth with blending and look like a high
quality piece of embroidery. Keep inform to the latest fashion trends and colors so the look of your business is
in step with today’s fashion.
The type of embroidery business you have will help determine if purchasing a collection is most cost effective. Some embroidery machine companies include a stock design collection in their packaging which is a
great start for a new embroidery business. Embroidery stock design companies can be found on the Internet
or throughout industry trade journals.
6
Glossary of Embroidery Terms
Appliqué – decoration or trimming cut from one piece of fabric and stitched to another to add dimension and
texture. If appliqué occupies a significant amount of the design, the stitch count is lower.
Backing – woven or nonwoven material used underneath the item or fabric being embroidered to provide support and stability. Can be hooped with the item or placed between the machine throat plate and the hooped
garment. Available in various weights and in three basic types: Cutaway, tearaway and specialty.
GLOSSARY AND RESOURCES
Bean Stitch – three or more stitches placed back and forth between two points. Often used for outlining
because it eliminates the need for repeatedly digitizing a single-ply running stitch outline.
Birdnesting – collection of thread between goods and needle plate, resembling a bird’s nest. Formation prevents free movement of goods and may be caused by inadequate tensioning of the top thread or
flagging goods.
Blatt Stitch – schiffli term meaning “to feed the yarn,” thereby producing a long zigzag stitch with threads lying
close together. Adapted for multihead use. See Satin Stitch.
Bobbin – spool or reel that holds the bobbin thread and which helps form stitches on the underside of the
fabric.
Bonnaz – chain stitch machine developed in the 1800s. It was named after its French inventor, Emile Bonnaz,
and first manufactured by the Cornely Co. of France.
Boring – openwork incorporated into embroidered designs; a sharp-pointed instrument punctures, or bores,
the fabric, and stitches are made around the opening to enclose the raw edges.
Buckram – coarse, woven fabric, stiffened with glue, used to stabilize fabric for stitching. Commonly used in
caps to hold the front panel erect.
Cartoon – finished artwork of an embroidery design to be digitized. Usually six times larger than finished
design size, based on the art-to-stitching ratio historically used in the schiffli industry.
Chain Stitch – stitch that resembles a chain link, formed with one thread fed from the bottom side of the fabric. Done on a manual or computerized machine with a hook that functions like a needle.
Chenille – form of embroidery in which a loop (moss) stitch is formed on the top side of the fabric. Uses heavy
yarns of wool, cotton or acrylic. Created by a chain stitch machine that has been adjusted to form this stitch
type. Also known as loop piling.
Column Stitch – Formed by closely placed zigzag stitches. The width of the column is defined by alternating
points on each side of the column.
Complex Fill – refers to a digitizing capability that allows areas to be designated as voids at the same time the
design’s edges, or perimeter points, are defined. The design can thus be digitized as one fill area, instead of
being broken down into multiple sections.
Condensed Format – method of digitizing in which a design is saved in a skeletal form. A proportionate
number of stitches may later be placed between defined points after a scale has been designated. With a
machine that can read condensed format, the scale, density and stitch lengths in a design may be changed.
See Expanded Format.
Design Library/Catalog – a computer program which catalog a collection of digitized designs kept by embroidery shops for embroiderers to access the design by subject, stitch count, number of colors or icon.
Digitize – modern term for punching, reflecting the computerized method of converting artwork into a series
of commands to be read by an embroidery machine’s computer. See Punching.
Digitizing Tablet – a computer-aided design device used by digitizers to plot needle penetrations for embroidery designs. Typically, a pencil drawing of the design is enlarged and then taped to this tablet. The digitizer
then uses a device known as a puck to indicate stitch types, shapes, underlay and actual needle penetrations.
Editing – changing aspects of a design via a computerized editing program. Most programs allow the user
to scale designs up or down, edit stitch by stitch or block by block, merge lettering with the design, move
aspects of the design around, combine designs and insert or edit machine commands.
1
Emblem – embroidered design with a finished edge, commonly an insignia of identification, usually worn on
outer clothing. Historically, an emblem carried a motto or verse or suggested a moral lesson. Also known as a
crest or patch.
Embroidery – decorative stitching on fabric. Generally involves non-lettering designs but can include
lettering and/or monograms. Evidence of embroidery exists during the reign of Egyptian pharaohs,
in the writings of Homer and from the Crusaders of the 12th century. Evolved from hand work to manual sewing machines and from hand-looms and schiffli machines with hundreds of needles to high-speed, computerized multihead machines.
Expanded Format – a design program in which individual stitches in a design have been specifically digitized
for a certain size. Designs punched in this format cannot generally be enlarged or reduced more than 10 percent to 20 percent without distortion because stitch count remains constant. See Condensed Format.
Finishing – processes performed after embroidery is complete. Includes trimming loose threads, cutting or
tearing away excess backing, removing topping, cleaning any stains, pressing or steaming to remove wrinkles
or hoop marks and packaging for sale or shipment.
Flagging – up and down motion of goods under action of the needle, so named because of its
resemblance to a waving flag. Often caused by improper framing of goods. Flagging may result in poor registration, unsatisfactory stitch formation and birdnesting.
Frame – holding device for insertion of goods under an embroidery head for the application of
embroidery. May employ a number of means for maintaining stability during the embroidery process, including clamps, vacuum devices, magnets or springs. See Hoop.
Geflect Stitch – See Fill Stitch.
Hoop – device made from wood, plastic or steel with which fabric is gripped tightly between an inner ring and
an outer ring and attached to the machine’s pantograph. Machine hoops are designed to push the fabric to
the bottom of the inner ring and hold it against the machine bed for embroidering.
Hooping Device – device that aids in hooping garments or items for embroidery. Especially helpful for hooping multi-layered items and for uniformly hooping multiple items.
Lettering – embroidery using letters or words. Lettering, commonly called “keyboard lettering,” may be created using an embroidery lettering program on a PC or from circuit boards that allow variance of letter style,
size, height, density and other characteristics.
GLOSSARY AND RESOURCES
Fill Stitch – series of running stitches commonly used to cover large areas. Different fill patterns can be created by altering the angle, length and repeat sequence of the stitches. Also known as a geflect stitch.
Lock Stitch – commonly referred to as a lock-down or tack down stitch, a lock stitch is formed by three or four
consecutive stitches of a least a 10-point movement. It should be used at the end of some
columns, fills and at the end of any element in your design. May be stitched in a triangle, star or in a straight
line.
Logo – name, symbol or trademark of a company or organization. Short for logotype.
Looping – Loops on the embroidery surface generally caused by poor top tension or tension problems. Typically occurs when polyester top thread has been improperly tensioned.
Machine Language – the codes and formats used by different machine manufacturers within the
embroidery industry.
Marking – marking of goods to serve as an aid in positioning the frame and referencing the needle start point.
Modular – machine system where many separate stitching heads or head configurations are controlled by a
central computer.
Monogram – embroidered design composed of one or more letters, usually the initials in a name.
Moss Stitch – See Chenille.
Needle – small, slender piece of steel with a hole for thread and a point for stitching fabric. A machine needle
differs from a handwork needle; the machine needle’s eye is found at its pointed end. Machine embroidery
needles come with sharp points for piercing heavy, tightly woven fabrics; ball points, which glide between the
fibers of knits; and a variety of specialty points.
Network – to link embroidery machines via a central computer and disk drive system or a group of
machines linked via a central computer.
Nippers – See Thread Clippers.
Puckering – result of the fabric being gathered by the stitches. Many possible causes include density, loose
hooping, lack of backing, incorrect tension or dull needle.
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Pull Compensation – a degree of distortion built into a design by the digitizer to compensate for pull on the
fabric caused by the embroidery stitches.
Punching – conversion of artwork into a series of commands to be read by an embroidery machine’s computer. Derived from an early method of machine embroidery in which part of the machine, the
automat, reads paper tapes or Jacquards punched with holes representing stitches, pantograph
movements and other commands.
GLOSSARY AND RESOURCES
Registration – correct registration is achieved when all stitches and design elements line up correctly.
Rotary Hook Assembly – holds the bobbin case in the machine and plays a vital role in stitch formation. Making two complete rotations for each stitch, its point meets a loop of top thread at a precisely-timed moment
and distance (gap) to form a stitch.
Running Stitch – consists of one stitch between two points. Used for outlining and fine detail. Also known as a
walk stitch.
SPI – stitches per inch; system for measuring density or the amount of satin stitches in an inch of
embroidery.
SPM – stitches per minute; system for measuring the running speed of an embroidery machine.
Satin Stitch – formed by closely arranged zigzag stitches. Can be laid down at any angle and with
varying stitch lengths. Adapted from the blatt stitch used in schiffli embroidery. See Blatt Stitch.
Scaling – ability within one design program to enlarge or reduce a design. In expanded format, most scaling
is limited to 10 percent to 20 percent because the stitch count remains constant despite final design size. In
condensed or outline formats, on the other hand, scale changes may be more dramatic because stitch count
and density may be varied.
Scanning – scanners convert designs into a computer format, allowing the digitizer to use even the most
primitive of artwork without recreating the design.
Short Stitch – a digitizing technique that places shorter stitches in curves and corners to avoid
unnecessary bulky build-up of stitches.
Specialty Fill – a fill stitch capability that produces a fill with a “relief” or motif design within the
fill-stitch area.
Stiehl Stitch – closely placed satin zigzag stitches where the width of the column is consistent and is defined
by mid-line points.
Stitch Editing – digitizing feature that allows one or more stitches in a pattern to be deleted or altered.
Stock Designs – digitized generic embroidery designs that are readily available at a cost below that of
custom-digitized designs.
Tackle Twill – letters or numbers cut from polyester or rayon twill fabric that are commonly used for athletic
teams and organizations. Tackle twill appliqués attached to a garment have an adhesive backing that tacks
them in place; the edges of the appliqués are then zigzag stitched.
Tension – tautness of thread when forming stitches. Top thread tension, as well as bobbin thread
tension, needs to be set. Proper thread tension is achieved when about one-third of the thread showing on
the underside of the fabric on a column stitch is bobbin thread.
Thread – fine cord of natural or synthetic material made from two or more filaments twisted together and used
for stitching.
Topping – material hooped or placed on top of fabrics that have definable nap or surface texture, such as
corduroy and terry cloth, prior to embroidery. The topping compacts the wale or nap and holds the stitches
above it.
Trimming – operation in the finishing process that involves trimming the reverse and top sides of the embroidery including jump stitches and backing.
Underlay Stitch – stitches laid down before other design elements to help stabilize stretchy fabrics and to tack
down high wales or naps on fabrics so the design’s details don’t get lost. May also be used to create such effects as crowned, flat or raised areas in the embroidery, depending on how they are laid down.
Verify – sample sew-out or print-out of a new embroidery design to make sure the pattern is correct.
Walk Stitch – See Running Stitch.
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Glossary of Embroidery Machine Terms
Arm Machine – multihead embroidery machine driven by a single main shaft. Each sewing head is
attached to the shaft, usually by gears. Sewing heads resemble industrial sewing machines in the “arm” that
the needle case is attached to.
Bobbin Case – small, round metal device for holding the bobbin. Used to tension the bobbin thread. Inserted
in the rotary hook assembly for sewing.
Cap Frames – specialized embroidery frames (hoops) designed to hold finished caps for embroidering.
Cylinder Arm Machine – refers to machines with “cylinder” beds. The hook assembly is housed in a cylindershaped arm, allowing goods to curve around the cylinder for embroidery.
Disk Reader – an external or internal device used to read machine movements from a 3.5 computer disk allowing the machine to stitch the selected design on a garment.
Embroidery Point – unit of measurement in embroidery, in which 10 points equals 1 mm.
Flat Embroidery – embroidery (usually on cut panels or patches) that is framed in hoops exclusively on the
top of the embroidery machine’s rotary hook assembly.
Framing Press – machine to aid the framing process.
Frame Sash – part of the pantograph to hold the frames. Also called a sash. Varieties of sash types include:
Border, frame, tubular, cap and sock.
Hook Assembly – rotary device designed to pass the needle at a given point in the needle bar rise.
The hook point passes into a thread loop formed by the rising needle bar and pulls the thread around the
bobbin case to form a lock stitch.
Hooping Board – board designed to hold the outer portion of the hoop while the goods to be
embroidered are placed over the board to be hooped. Once the goods are aligned and placed correctly over
the outer hoop, the operator inserts the inner portion of the hoop.
Jump Stitch – movement of the frame without trimming and stitching but with take-up lever and hook movement.
GLOSSARY AND RESOURCES
Check Spring- assists in upper thread tensioning and is used to detect upper thread breaks in many embroidery machine models.
Lock Stitch Machine – machine which forms a stitch using a hook and needle. Includes home sewing machines, as well as computerized embroidery machines.
Memory – the amount of stitches that the machine can store internally in memory.
Needle Bar – holds the needle in the machine; moves in an up and down motion.
Needle Plate – the metal plate located above the rotary hook assembly of an embroidery machine. This plate
has a hole in the center through which the needle travels to reach the hook and form a stitch. Also known as
a throat plate.
Offset – the ability to move the pantograph out of the design with a specific movement and then return to the
original point. Used for placing appliqués.
Origin – the starting point of your design.
Pantograph – a bar, rack or holder that frames or holding fixtures are attached to. The pantograph moves in X
and Y directions to form the embroidery design, controlled electronically or mechanically
depending on the machine.
Presser Foot – metal device that touches the goods being embroidered while the needle is in the goods. The
main function of the presser foot is to hold the material being embroidered until the hook point catches the
thread loop formed by the needle rise.
Pre-Tensioner – thread tension assemblies that are before the main tension assembly in the thread path. The
function of the pre-tensioner is to apply a light amount of tension in order to make the main tensioner work.
See Tensioner.
Take Up Spring – See Check Spring.
Tensioner – device used to adjust the tautness of thread when forming stitches.
Tubular Embroidery – embroidery produced on an embroidery machine which allows tubular fabric or preassembled garments to be placed around the hook assembly. Allows sewing of the garment front without
sewing through the front and back of it.
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Fabric Terminology
Broadcloth - a plain weave tightly woven fabric, characterized by a slight edge effect in one
direction, usually the filling. The most common broadcloth is made from cotton or cotton/polyester blend.
Colorfastness - a term used to describe a dyed fabric’s ability to resist fading due to washing, exposure to
sunlight, and other environmental conditions.
GLOSSARY AND RESOURCES
Cotton - a unicellular, natural fiber that grows in a seed pod of the cotton plant. Fibers are
typically 1/2 inch to 2 inches long. The longest staple fibers, longer than 1 1/2 inch, including the Pima and
Egyptian varieties, produce the highest quality cotton fabrics.
Denim - true denim is a twill weave cotton-like fabric made with different colored yarns in the warp and the
weft. Due to the twill construction, one color predominates on the fabric surface.
Fiber - the basic entity, either natural or manufactured, which is twisted into yarns, and then used in the production of a fabric.
Interlining - an insulation, padding, or stiffening fabric, either sewn to the wrong side of the lining or the inner
side of the outer shell fabric. The interlining is used primarily to provide warmth in coats, jackets, and outerwear.
Interfacing - fabrics used to support, reinforce and give shape to fashion fabrics in sewn products.
Often placed between the lining and the outer fabric, it can be made from yarns or directly from fibers, and
may be either woven, nonwoven, or knitted. Some interfacings are designed to be fused (adhered with heat
from an iron), while others are meant to be stitched to the fashion fabric.
Interlock - the stitch variation of the rib stitch, which resembles two separate 1x1 ribbed fabrics are thicker,
heavier, and more stable than single knit construction.
Knit Fabrics - made from only one set of yarns, all running along the length of the fabric, while
others have their yarns running across the width of the fabric. Knit fabrics are held together by
looping the yarns around each other. Knitting creates ridges in the resulting fabric.
Lining - a fabric that is used to cover the inside of a garment to provide a finished look.
Nonwoven Fabric - fabrics made directly from individual fibers that are matted together by forming an interlocking web of fibers either mechanically (tangling together) or chemically (gluing, bonding,
or melting together).
Mesh - a type of fabric characterized by its net-like open appearance, and the spaces between the yarns.
Mesh is available in a variety of constructions including wovens, knits, laces, or crocheted fabrics.
Muslin - an inexpensive, medium weight, plain weave, low count (less than 160 threads per square inch) cotton sheeting fabric.
Pique - A medium-weight fabric, either knit or woven, with raised dobby designs including cords, wales,
waffles, or patterns. Woven versions have cords running lengthwise, or in the warp direction. Knitted versions
are double-knit fabric constructions, created on multi-feed circular knitting
machines.
Tulle - a lightweight, extremely fine, machine-made netting, usually with a hexagon shaped mesh
effect. End uses include dance costumes and bridal veils. Also can be used as a stabilizer when
embroidering free standing designs.
Woven - fabrics composed of two sets of yarns. One set of yarns, the warp, runs along the length of the
fabric. The other set of yarns, the fill or weft, is perpendicular to the warp. Woven fabrics are held together by
weaving the warp and the fill yarns over and under each other.
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Industry Trade Shows
The Imprinted Sportswear Shows www.issshows.com
NBM Shows
www.nbmshows.com
Embroidery Mart www.embroiderymart.com
Original Sewing & Quilt Expowww.sewingexpo.com
SGIA – Specialty Graphic Imaging Association www.sgia.org
Decorating Apparel Expo www.daxshow.com
www.americansewingexpo.com
Trade Organizations
The National Network of Embroidery Professionals
www.nnep.net
Embroidery Trade Association (ETA)www.embroiderytrade.org
Industry Publications
Printwear Magazinewww.nbm.com/printwear/
Practical how-to information on garment screen
printing and computerized embroidery for the
decorated apparel professionals.
Stitches Magazine
www.stitches.com
Monthly magazine for the commercial embroidery
industry who’s mission is to help readers by
providing technical how-to articles, business
management and marketing, industry trends and
research studies on trends.
GLOSSARY AND RESOURCES
American Sewing Expo
EMB Magazinewww.embmag.com
Magazine of the Embroidery Trade Association that
features the latest news and how-to articles for
people in the embroidery and monogram industry.
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