What works with 3D embroidery
It’s best to use a satin stitch rather than a tatami ‘fill’ stitch, Lisa advises. “A satin stitch drops the needle in at either side of a column, which creates a nice, satin-shine effect. A long satin stitch will give the best raised effect without flattening the foam.”
Digitising for 3D
If digitising is done in-house, there are a number of parameters to take into account:
- A stop function for placement of the foam
- Capping off all ends
- Heavier stitch density
- No underlay stitches
- Shortening stitches and fractional spacing switched off
- Extra stitches to cover the possibility of the foam showing through
If there is flat embroidery in the design, do this first and follow with a stop function to allow the operator to place the foam onto the design. If the design has no flat embroidery, the foam can be placed at the very start with no stop functions required.
Cap off ends by embroidering a small block of satin stitches at the end of a satin column. “These small capping columns are digitised underneath the finished stitches so that they not visible on the finished garment. The satin stitch density is closed up by at least 100% so that the needle perforations cover the foam and ‘cut’ it at the same time, making the excess foam easy to tear away at the end of the embroidery,” Lisa explains.
Underlay stitches are removed as any unnecessary stitches could flatten the foam, while travel stitches are set longer than usual at 4mm, again to prevent flattening or cutting of the foam.
STEP-BY-STEP: 3D EMBROIDERY
Once the embroidery was complete, Lisa removed the cap from the frame and gently pulled away all of the excess foam. “If there are any parts of the foam poking through the stitching, try gently shrinking back the foam with the warm air of a hairdryer,” she recommends.