StitchArtist Level 1 Controls, Part 2 - Stitches

hi Brian here again we're back introducing the controls of stitch artist level 1 this is part 2 we're going to take a look at the stitches the most frequently used stitch in stitch artist or digitizing in general is the run stitch here I have a set of run stitch objects with different properties applied to them instead Chartist the way we create a Run stitch or any other stitch is we start by selecting an object or multiple objects then we use the stitches tools all of these buttons here to set the stitch type on the object here I've created a run stitch let's zoom in a little closer on what we've just made the run stitch has an entry and an exit note what that means is the needle is going to start where the entry node is it's going to sew back to the start of the line then it's going to sew the complete line and then it's going to come back and the needles going to stop at the exit node this is how you can put different runs together and create complex designs or even red work that have no jump stitches you'll notice the jump stitch following this run which is indicated by the red dashed line changes as we move the exit point if we use the sewing simulator and step through this stitch by stitch you can see how the needle runs and here we've moved to the second object already a run stitch that's called a single run as this one is set to B we'll just traverse the path once there's also a run stitch type called a double a double will do just as its name implies it'll start at the beginning it'll run to the end and then it will run back again so quite often you'll see the exit handle as well as the start handle at the very start of the run another run type is a triple stitch or bean stitch the bean stitch can have multiple passes or multiple steps for each object so this design will step forward once then back then forward again retracing its own path forward back forward forward back forward if we look at the properties for the bean stitch and we select that here we can set the length and we can also tell it how many passes we want the bean stitch is used to create a heavier outline you've probably seen it outlining many designs this stitch is a chain stitch it makes these little triangular sections but when you look at that zoomed out and on fabric it'll have a nice heirloom hand-stitched look this stitch is a forward running stitch meaning it'll end at the end of the line we also have a back stitch the back stitch is a another homage to handwork where the stitch will start go forward run back to about the midpoint and then run forward again it too can have multiple passes and take the stitch length this is also a stitch that runs forward all the way from one end to the other next we have a stem stitch stem stitch is a little bit different but very similar to the back stitch it has multiple passes going sideways this can be useful going around fills and satin stitches where you have an irregular shaped edge and you want a thicker outline so that it covers over where the needle penetrates the fabric if there's a little bit of slopper registration issue the stem stitch will cover it up very nicely the stem stitch has length width and here we'll adjust that property and rotation for you and then the final type of run is what we call a sashko stitch this was an attempt to give the look or appearance of Sascha Co stitching from the Japanese art this creates a multipass side-by-side stitch and then a tiny little jump in between the name Sascha ko means little stabs and these little jumps are the little stabs the stitch itself when sewn looks like a set of grains of rice laid end to end on the fabric so these are your runs click a on my keyboard so we can see them all and I'll deselect so you can see them in one place and that's basically what the run stitches look like now let's start a new page and I just want to show you a couple of smaller details about runs and the first is going to be a curved note when the design passes through a curved note it's not necessarily going to put a needle land there if this node was a line then the run has to stop at that point so that it can change its angle going out the same thing would be true if it was a cusp you'll see the needle has to land there to form the cusp so if you want fewer stitch lands on a curved shape try and make these curves that way your needle doesn't have to stop right on your note another stitch that's not commonly used but can be useful is a manual stitch when you create a manual stitch we're going to click exactly where we want the needle tool and it's not going to run and place needle points in between so if you make a large jump it's going to give you a large stitch if you make it really tight the needle is going to land exactly where you click this type of stitch is used mostly on designs that are not going to be resized in tight areas of detail things like the eyes nose and mouth on a face or other small tight detail items that are going to be hard to do with a running stitch where the running stitch is trying to achieve a specific stitch length and that's going to put the needle points not exactly where you want them it's not a common stitch but we included for completeness and you may find the need of that detail someday let's talk about a very frequently used stitch which is the fill a fill is going to be a closed outline so let's make a closed shape and the shape can have concavity to it if we want to and no I'm not trying to do anything resembling a video game here but it just worked out that way let's click fill and here we have a set of stitches that fills an area the stitches run back and forth let's run the sewing simulator briefly with an underlay and then they fill across the top different programs have different names for this basic type of fill a seed fill or a tatami stitch either way this is what you want now you saw those stitches running horizontally and those are controlled by your inclination the inclination is the angle of the stitching I turn off the 3d you can see the angle change as we go and of course like every other stitch that we've seen you'll have an entry and an exit let's take a look at fill properties fill properties have three main sections the top stitch the underlay and the commands the commands are the tie offs at the entry and exit so for instance if we're planning a jump to this fill we might want to tie on at the entry and if we're planning a jump away we might want to tie at the exit the underlay commands are generating these stitches you'll see here which happen beneath the fill itself these are used to bind the stabilizer to the fabric and hold the fabric sort of in place so that as the fill stitch is over it it'll add less distortion than if we just stitch the fill by itself it can also be used to add a little bit of background color to the fill and also possibly lift the fill from the fabric if it's a low density the normal underlay that you'll have is a perpendicular underlay and here you'll see we can adjust the density up or down take that down which creates more stitches and you'll see that we have an inset that's the distance of these needle lands from the edge of the outline we want those to be inset slightly so that the underlay doesn't interfere with the stitch pattern that's visible on the top of the object now the three different styles will let you do different angles of underlay beneath the fill so a perpendicular is at a 90 degree angle to the fill direction diagonal one goes at a 45 and diagonal two goes at the other 45 so if you really need a lot of underlay you can turn it all on generally that's a bad idea but it can be useful for certain for certain elements it's not something that we recommend but you may find that you've got objects going in one direction a whole bunch of things stitches going in one direction which can pull the fabric and you want to change the underlay direction so that it helps pull the fabric back against that that's more of a proper digitizing class I just wanted you right now to see where the controls are let's go to the top stitch and we'll look at density density is the control that sets how dense or how many lines of stitching there are on the fill if we make it really dense we have more lines and if we go super loose we have fewer lines for now I'm going to turn off that underlay so you can see what we're doing with the top stitching now here I have a very loose top stitch this might be used for what's called a trapunto fill or something that's just going to matte down or put some texture into the fabric when we have that we might want to travel the edge you'll see the traveling now goes around the outline of the fill rather than traveling through the center as it goes from section to section so travel edge can be useful when you're dealing with something that's very open let's take the fill back to a normal density and turn the 3d on the next thing we want to look at we're looking at patterns and we have patterns available and you can pick and what's going to happen is it's going to change how the needles land to give you a different effect in the texture of the film within that pattern you can also adjust the length of the stitch and the edge pad the edge pad is the nearest distance from the outline that the fill is going to be allowed to place a stitch you don't want too many stitches really close to the end or close to each other for that matter because of fabric lash and registration fabric lashes where the fabric itself pulls up and you start to see some of the fabric color where those stitches are close together now the pattern is a little bit more advanced this dictates what happens on every other row of stitching if we set this to none what's going to happen is the fill will stitch along and then run back in one continuous stroke generally that's only used for texturing and for fairly narrow fills if you have a really long stroke there that could give you a long stitch that might possibly loop although generally it won't in a fill you still don't want a lot of long stitches in your embroidery as an alternate to that we can use anchor stitching anchor stitching uses a regularly spaced stitch coming back and that's something that will at least prevent looping and not give as many needle lands as perhaps a tight pattern would give you so if we have a dense pattern coming across this way and then coming back we could have needle lands that would be very close to each other and we don't want to do that what we want to do is have the needle and spaced out a little bit and so that's where an anchor stitch on the reverse can help you most of the time you're going to leave this set to pattern one last property that we have on fill is the compensation now compensation has three values the minimum is going to be a minimum distance that the fill extends past the outline what you have to realize when you're embroidering is that what you see on a computer screen isn't going to be exactly the result that stitches out there's an old saying that says digitize distortion to stitch perfection and that's what we're doing here with compensation compensation we'll push these stitches out past the edge a little bit but when it actually shows these stitches aren't going to be quite as long because every time this needle lands the tension of the thread pulls the fabric in just a little bit so if we had an adjacent object here it wouldn't meet up if it's sewn much later so what we want to do is have a little bit of compensation it usually doesn't have to be a big value now for advanced digitizers you can do things based on percentage and the percentage is going to increase the amount of compensation based on the length of the travel on every individual run within the fill this is not something we recommend a novice really wants to play with but it's here again as you start to take digitizing lessons and learn how to adjust these properties better you have that extended control now when you do increase by percentage there's also a maximum and this way you're constraining your compensation so that it doesn't get out of hand it doesn't create really long stitches and and bizarre shapes outside of the the pattern so here you have pattern compensation the top stitch control underlay entry and exits how you travel and most importantly your density now remember when working with fills you want to density usually above four to somewheres in the six range any place around five is going to give you good coverage without giving you too much density if you go smaller you may say well that'll give you better coverage but it's also going to have to be stabilized very well to support it okay so that's Phil's and I think we're running a little bit long in this video so we're going to pause here and pick up in the next video with more stitches you

Channel: Embrilliance by BriTonLeap

Views: 29,335

Keywords: Embrilliance, StitchArtist, digitizing, embroidery, stitch artist

Id: iYtDOTJaN_A

Length: 16min 2sec (962 seconds)

Published: Sun Jan 11 2015