Products featured in this video:

We recommend this method as good practice—especially if you plan to tile the same job—so you don’t end up with overlapping designs or excess image areas to crop later.

Please Note: Artspira is regularly updated, so these instructions are accurate at the time of writing but may differ slightly over time.

It is assumed that you already have the artwork saved to the device that has Artspira installed. If you are using artwork provided by Echidna, log in to your Echidna account and download the files directly from our website to your device.

Step 1: Open Artspira & Start a New Project

• Launch the Artspira app on your device.
• At the bottom of the screen, tap the + New button.

 

Step 2: Select the Printing Tab

• Swipe or tap across the top tabs and choose Printing.
• Tap Design Editor to start building your sublimation layout.

 

Step 3: Choose Your Paper Size

• Under the paper settings, select the paper size you’ll be printing on.
• Leave the other settings at their default values.
• Tap Done.

 

Step 4: Add a Basic Shape

• At the bottom of the screen, under Add Objects, choose Design.
• Choose Basic Shape and then select the Basic Shape tab, scroll down and select a shape that best represents your blank (e.g. circle, square, rectangle).
• Tap Done to confirm and add the shape to your canvas.

Step 5: Resize the Shape to Add Bleed

Measure the height and width of your blank using a ruler or tape measure. To ensure full coverage and avoid white edges, add a 5mm bleed on each side.

Example: If your blank is 70mm x 70mm, resize your shape to be 5mm larger in both width and height, making it 75mm x 75mm.

To resize:

• Tap the shape to select it.
• Tap Layout.
• Scroll down to Height and Width.
• Untick the Lock Aspect Ratio icon if the length and width are different.
• Enter the new measurements.
• Tap the ✔ tick icon/Done in the top-left corner of the popup to apply your changes.

This shape now acts as your artwork boundary.

Step 6: Duplicate the Shape

We duplicate the shape so we can apply artwork independently while keeping consistent sizing.

• Tap the shape.
• Tap the three vertical dots in the bottom-right corner.
• Select Duplicate.
• For this example, enter “2” (you’ll now have two shapes).
• Tap the ✔ tick icon/Done to apply.

 

Step 7: Remove Border, Add Your Artwork & Resize

Firstly, let’s remove the border from the top shape. This prevents a visible outline from being printed around your artwork, which can transfer onto your blank if the sizing isn’t exact.

• Select the top shape.
• Tap Fill at the bottom.
• Under the Color tab.
• Select the Line sub-tab, choose the transparent option (swatch with red line).

Now to add your image:

• Still under Fill settings, switch to the Image tab.
• Choose your image folder.
• Select your image.
• Tap the ✔ tick icon/Done to apply.

(Optional) Resize or Reposition the Image

• Tap and drag to position your image inside the shape.
• Or use the settings under Layout to rotate, flip or resize (refer to Step 5) the design as needed.
  Tip: Use the shape with the outline as your boundary guideline.

Step 8: Group the Two Shapes

Select and Group

• Tap one of the shapes.
• Tap the three vertical dots in the bottom-right corner.
• Choose Multi-Select.
• Tap and drag your finger around both shapes to select them, then tap Done, you now have the two shapes selected.

Centre Align (Optional)

• While the two shapes are selected tap Layout.
• Scroll down to alignment icons and click the centre horizontally and the centre vertically icons.
• Tap the ✔ tick icon/Done to apply changes.

Select and Group Cont.

• Whilst you still have the two shapes selected tap the three vertical dots again → select Group
• Your objects should now be grouped.

 

Step 9: Tile Your Design (Optional)

To print multiple of the same design on one page:

• Select the grouped shapes.
• Tap the three vertical dots in the bottom-right corner.
• Select Duplicate.
• Tap the Tile tab.
• Use the horizontal and vertical options to tile across the page.
• If the layout won’t fit, Artspira will display an error.
• Tap the ✔ tick icon/Done to apply.

Tip: If you want each tile to have a different image, ungroup them, then update the image within each shape.

Step 10: Print Your Design

• Tap Done in the top-right corner.
• Save your project if prompted.
• You’ll be taken to the Preview screen.
• Select your printer and adjust print settings as needed.
• Tap Print.

Products featured in this video:

We’re all familiar with fluorescent dyes like those used in highlighter pens. These dyes look bright because they take in light of a variety of colours and then transmit it back as a single colour. For example, a green highlighter’s ink absorbs the white light which hits it and shines it all back as an intense green colour. Glow in the dark products take this one step further. They use very clever chemicals which absorb and store the energy from light, then emit it steadily over minutes or even hours. The process has the catchy name of “Phosphorescence”. Usually the light given off is an eerie whitish green glow. Dyes can be added to create other colours, but they won’t be as bright as the whitish green.

Getting the most glow

It’s important to remember that the thread needs to be “charged up” with light before it will glow. This only takes a few seconds of bright light (or up to a minute for the full effect). If it’s quickly moved into darkness, you’ll then get a glow for several minutes before it gradually fades out. The trick to getting the best effect is using the right type of light: Standard light bulbs (particularly LED and incandescent) don’t work very well. Although they look bright to humans, they don’t put out the type of light that charges glow in the dark thread effectively Fluorescent tubes and compact fluorescents work slightly better Direct sunlight is the best choice, a few seconds are enough for a bright charge. However, it’s hard to switch off! You’ll need to quickly move to a dark room to see the glow, and it can take some time for your eyes to adjust. Blacklights (UV bulbs) are by far the best option. They can charge up the thread but aren’t visible to the human eye so the thread appears super bright in a dark room.

Creating a vibrant glow in the dark!

You’ll find UV torches available cheaply online. They work well, and are easy to give to the kids to play with in the dark. We use them at events to demonstrate the thread, even in a bright room. For the best possible result, replace a room light or lamp with a compact fluorescent (CFL) blacklight (available from Bunnings for about $15). They’ll give the thread a very bright and long lasting glow!

Applications

For the best applications of glow in the dark thread, think about situations where the item will go suddenly from a bright area into the dark – on a shirt walking into a cinema, a stuffed toy on the bed, even a quilt. With a bit of thought you can hide the glow thread beneath another design, revealing something spooky when the lights go out! You’ll be amazed how long it can keep kids entertained.

Softlight Glow in the Dark thread is available in a 6-spool sample pack, or on individual 800m spools.

Embroidery design stitched by Carolyn Keber

Image source: Echidna Sewing & Embroidery Facebook Community

Recommended designs

Glow in the Dark thread is a fantastic choice for adding a unique touch to various projects. This type of thread is perfect for Halloween costumes, party outfits, pajamas, Christmas ornaments, and even sportswear. It can be used with an assortment of different designs. For the best glow effect, larger, more open designs are fantastic to showcase the thread. These designs typically feature fewer dense stitches, which allows the thread to cover more surface area and capture more light. Additionally, using Glow in the Dark thread in decorative stitching or quilting can add an enchanting element to your creations. Whether you're working on embroidery or sewing projects, this thread can make your designs truly stand out in the dark. View embroidery designs →

Urban Threads offers a captivating collection of machine embroidery designs that are perfect for adding a luminous touch to your projects with Glow in the Dark thread. With a variety of themes and styles, there's something for every embroidery enthusiast to enjoy! View designs →

A Pirate's Lair Embroidery Design by Echidna Sewing

Have a go at our free projects!

Looking for some inspiration to use that gorgeous Glow in the Dark thread?
Use our free projects to create your very own gift for yourself or someone special whether it's for a special occasion or just for fun!

Brother ScanNCut mats are an essential part of your cutting experience — they hold your materials in place for clean, precise cuts. But over time, you may notice your mat isn’t as sticky as it once was. Don’t worry — this is completely normal! Mats are considered consumable items, which means they’re designed to wear out and be replaced after a period of use. However, with the right care, you can help extend the life of your mat and get the most out of it.

Why Is My ScanNCut Mat Losing Stickiness?

Several factors can cause a mat to lose its stickiness. Let's take a look.

Dust and fibres

Paper fibres, fabric lint, and general dust can build up on the surface of the mat, reducing its grip.

Oils from hands

Excessive touching of the sticky area can transfer natural oils, making the mat less effective.

Heavy or repeated use

Some materials are harder on mats than others, and frequent cutting sessions will naturally reduce stickiness over time.

Deep cuts or blade pressure damage

Even if you haven’t cut all the way through, repeated deep cuts or high blade pressure can damage the mat’s surface and adhesive layer, reducing its ability to grip materials effectively.

Improper storage

Leaving your mat uncovered or storing it in a dusty or humid environment can also shorten its lifespan.

How to Make Your Mat Last Longer

Here are some practical tips to extend the life of your mat:

Keep it covered

Always replace the clear protective sheet after use to prevent dust and fibres from settling.

Use a brayer or roller

Press your material onto the mat with a roller instead of your hands to avoid oil transfer.

Rotate the mat usage

If you're always using one area of the mat, try rotating it to spread the wear more evenly.

Keep it clean

Gently clean your mat with a baby wipe (alcohol-free and fragrance-free) or a damp cloth to remove residue. Avoid over-scrubbing.

Use the right mat for the job

Brother offers mats with different grip strengths — using the correct one for your material can prevent unnecessary wear.

Avoid fibrous materials

Materials like felt, glitter cardstock, and flocked vinyl can leave fibres or residue behind, which build up on the mat and reduce its tackiness over time.

If you can’t avoid these practices or prevent using these materials — that’s okay! Just be aware they’ll leave more mess behind, and you may need to replace your mat more often.

Getting a Little More Life Out of Your Mat

If your mat has lost most of its stick but is still in reasonable condition, you might be able to get a bit more use out of it by using washi tape or a temporary adhesive spray/glue to hold your material in place. Just keep in mind — this workaround doesn’t suit all materials, and it may not be reliable for intricate or high-speed cuts.

When It’s Time to Replace

Even with perfect care, mats don’t last forever. If your mat no longer holds materials in place, causes inaccurate cuts, or is visibly worn or damaged, it’s time for a replacement.

Shop ScanNCut Mats →

We have created a library of textile waste facts along with some inspirational images that you can share on Facebook to spread the word and inspire others. Simply click on the image you want to share and it will be posted on your timeline.

Dye sublimation is an incredible method for transferring vibrant, high-quality designs onto various products, but mistakes can happen. If your results aren’t turning out as expected, here are some common issues, why they happen, and their solutions.

My Design Won’t Transfer At All

Why it happens: Sublimation requires specialised equipment. A regular inkjet printer, standard ink, and copy paper will not work for dye sublimation.

Solution: Ensure you are using a sublimation printer, sublimation ink, and sublimation paper. Regular printers and inks are not designed to convert to gas under heat, which is necessary for sublimation.

Image Doesn’t Transfer Properly to Your Blank or Looks Faded

Why it happens: Sublimation ink only bonds with polyester or polymer-coated surfaces. Using cotton or an uncoated material prevents the ink from adhering correctly. This can also occur if the heat press doesn’t reach the required temperature or is not pressed for long enough as the ink won’t fully sublimate.

Solution: Make sure you're using a sublimation-ready blank, typically made from polyester or coated with a polymer-based surface. If you are using a sublimation-ready blank, check your temperature and pressing time. If your press isn’t hot enough or you don’t apply enough pressure, the ink won’t fully transfer. A digital thermometer can help verify your heat press is reaching the required temperature. Check the suppliers recommended settings for the blank or take a look at our Dye-Sub Heat Press Guide for temperature, time, and pressure settings →

Printed Image Looks Faded (Before Pressing)

Why it happens: Sublimation ink is designed to activate under heat, so it looks dull on paper before pressing.

Solution: This is normal. The heat-activated ink becomes vibrant once transferred onto the correct blank.

Print Appears Blurry, Grainy, Dull, or Has Streaks

Why it happens: Low-resolution images and incorrect printer settings or low ink levels.

Solution: Check you are using a high-quality image or graphic to start with. Adjust your printer settings to high-quality or photo mode and turn off any fast print mode. If the item is still dull once pressed, you may have pressed it for too much time or at too high a temperature. Keep your heat press closed for the full pressing time. Opening it too soon can disrupt the transfer, leading to blurry edges or misaligned designs. Consistent heat and pressure are key to a perfect finish.

Extra Ink Marks on Your Print

Why it happens: Stray ink from a dirty workspace, heat press platen, or hands can transfer onto the blank.

Solution: Check your workspace and hands for stray ink. Ensure your heat press platen is clean. If desired, you could try covering the mark on the print to avoid it being transferred with the heat. You can do this using some heat transfer tape or a heat-resistant sheet.

My Image Is Flipped

Why it happens: Sublimation transfers the image directly from the paper to the blank, so it's important to check whether it needs to be mirrored. Failing to mirror your design will result in a flipped image, which means text and directional elements may end up reversed, making the final result unusable.

Solution: Always check whether you need to mirror your design before printing. This is especially important for text-based designs. Not all designs require mirroring. Symmetrical patterns and certain graphic elements can be printed as they are without affecting the final look. Always verify your design before printing to avoid unexpected results!

Ghosting (Design Looks Double Printed)

Why it happens: The transfer paper moves during pressing, causing the ink to shift.

Solution: Secure your transfer paper to the blank using heat-resistant tape and open the heat press in one smooth motion to avoid movement.

Tiny Dots on Finished Item

Why it happens: Dust, lint, or moisture can interfere with the transfer process, particularly on fabric blanks.

Solution: Use a lint roller on your blank before pressing and keep your workspace clean. If working with fabric, pre-press for a few seconds to remove any trapped moisture before applying the design. Always follow the pressing instructions provided for the blank.

Odd Lines in the Print

Why it happens: Low ink levels or uneven heat distribution can cause this issue.

Solution: If the lines appear before pressing, check your ink levels. If they appear after pressing, inspect your heat press platen for uneven heating.

The Transfer Looks Splotchy or Uneven

Why it happens: Humidity or trapped moisture can interfere with the sublimation process.

Solution: Pre-press your blank for a few seconds to remove excess moisture before applying the design. Store paper in a dry environment to prevent humidity-related issues.

Colours Look Overly Dark or Muddy

Why it happens: Excessive time or high heat can overcook the ink, distorting colours.

Solution: Follow the recommended time and temperature for your specific blank to prevent over-pressing.

Some Areas of the Print Look Perfect, While Others Are Faded

Why it happens: Your heat press platen may not be distributing heat evenly.

Solution: Check with a heat gun or heat strips and replace the press if needed.

Ink Is Removed from the Blank When Peeling Off Heat Transfer Tape

Why it happens: This typically happens with double-sided items because the ink has not fully set before peeling off the tape.

Solution: Allow the item to cool longer before pressing the second side. Removing the tape too soon can lift ink that hasn’t properly adhered to the blank.

Why is Pressure Important?

Pressure ensures even heat distribution and proper application of heat transfer materials like heat transfer vinyl (HTV) and dye sublimation prints. Depending on the type of material and transfer you are using, different levels of pressure are required:

• Low Pressure – Used for delicate fabrics, sublimation on hard surfaces, or lightweight transfers.
• Medium Pressure – Common for most heat transfer vinyl (HTV) and standard sublimation prints.
• High/Heavy Pressure – Necessary for thick materials like neoprene, leather, and certain specialty transfers.

How to Measure Pressure on a Manually Adjusted Heat Press

Most manually adjusted heat presses do not have a built-in pressure gauge, so you’ll need to rely on feel and a few simple tests. Here’s how you can determine the right setting:

Step 1: Start at a Loose Setting (Low Pressure)

• Turn the pressure adjustment dial counterclockwise to loosen it. Please note: We recommend checking your user manual for specific instructions on adjusting the pressure dial as it may differ.
• Close the press with minimal resistance. If it shuts easily with one hand and little effort, this is low pressure.

Step 2: Increase for Medium Pressure

• Gradually turn the dial clockwise to add more pressure.
• Close the press again—there should be slight resistance when pushing down, but it should still be manageable with one hand.
• This is typically the right setting for HTV and standard transfers.

Step 3: Set for High/Heavy Pressure

• Continue turning the dial clockwise for higher pressure.
• Closing the press should require significant effort, often needing two hands.
• This is ideal for thicker materials or applications requiring a firm transfer.

Testing Pressure with the Paper Method

A simple way to test your pressure on thin items is by using standard printer paper:

1. Place a sheet of paper inside the press, leaving a portion of it hanging out for access.
2. Close the press and try to pull the paper out.
   • If it slides out easily, you have low pressure.
   • If it offers some resistance but can still be removed, it’s medium pressure.
   • If it’s firmly held and cannot be pulled out, you have high pressure.

Tips for Achieving the Best Results

• Always check your transfer material's recommended pressure settings.
  View our HTV Applications & Pressing Times Guide →
  View our Dye-Sub Heat Press Guide →
• Adjust pressure slightly for different fabric thicknesses.
• For multi-layer HTV designs, use medium pressure to prevent imprinting or distorting previous layers.
• Regularly test your pressure settings to ensure consistent results.

By understanding and properly adjusting your heat press pressure, you can improve the durability and quality of your transfers, ensuring professional results every time.

Myth 1—I need to know how to sew to use an embroidery machine

Reality

It is entirely unnecessary to know how to construct a garment or even a pillow for that matter. Beyond threading the machine and loading a bobbin, there isn't much in common between the two. With embroidery, the machine guides the fabric.

My husband was my first machine operator and he didn't know the first thing about sewing machines or sewing - nor could he tell a knit from a woven! - yet he quickly picked up the technique (after inserting the hoop upside down, a needle backwards, and a bobbin in wrong -very scary considering that machine cost as much as my first house!)

Myth 2—When hooping always stretch the fabric tight as a drum in the hoop and tighten the screw as much as possible for embroidery

Reality

Stretching fabric during hooping distorts most fabrics resulting in puckering once the fabric relaxes back to its natural size when it is removed from the hoop. This puckering is magnified when sewing with polyester thread, especially if your machine tensions are too tight and you are sewing at a high speed. (See article on tensions.)

Exceptions to the no stretching rule include Lycra and other fabrics that are worn stretched on the body, which should be stretched to that degree in the hoop. 

Tightening the screw does not evenly distribute tension around the perimeter of the hoop. In fact, it actually loosens the fabric in the area of the screw! Don't believe me? Try it yourself. Hoop a piece of fabric in a loosened hoop, then tighten the screw. Gently run your fingers over the hooped fabric and you'll notice it feels spongy near the screw.

Myth 3—Use 1 tearaway for wovens, 2 for knits... the thinner the fabric, the heavier the stabilizer... the heavier the fabric, the thinner the stabilizer

Reality

Ahhh, if only it were this simple! However, there are no rules for selecting backings. Your choice should be based on fabric stability and the design selected. For example, sweatshirts are thicker than nylon organza but sweatshirts are stretchy and organza is stable. You may only need stabilizer for organza to keep it from slipping through the hoop since it is so thin and slippery.

Design size and stitch count and/or density also affect stabilizer choice. A low impact design such as redwork or appliqué requires less stabilization than a high impact design. The latter includes designs with registration critical details (running stitch outline) and/or designs with high stitch counts, large fills, layers of stitches (lots of shading and/or highlights), or fills running in many varying angles.

• Tip: if you are new, use cutaway for everything!

Myth 4—Serger thread makes the perfect bobbin thread for embroidery

Reality

As in baking, the best embroidery is achieved when using appropriate ingredients. Bobbin thread for embroidery is:

• The right weight (approximately 60 wt)
• The right strength
• Smooth and slub-free
• Made for embroidery!

Myth 5—A good design sews out perfectly on any machine, fabric, colour, and texture every time. If not, it's a digitizer problem.

Reality

No design sews absolutely perfectly – ever! Embroidery is an art, art is not perfect. Consider, too, that the hoop is moving and the fabric is being distorted by the tension of the stitches pulling and pushing it.

That said, there is obviously a difference between good embroidery and producing a professional looking result, as it is a partnership between the digitizer and the embroiderer. Factors that can affect embroidery quality include:

• Needle can be deflected by previous stitches or the weave of the fabric forcing a stitch to be created
• Thread tensions/jerks can cause a needle deflection
• An old/dull/damaged needle can cause skipped stitches
• Overly tight needle/bobbin can cause gaps and poor alignment, known as registration issues
• Poor hooping techniques can result in fabric slipping during embroidery
• Poor selection/use of backings and toppings can cause gaps and poor alignment
• The wrong fabric/design combination can result in a disaster, at worst
• Textured fabrics and high contrast colours require different digitizing techniques than average fabrics

Proper digitizing is only a small part of producing high quality embroidery!

Myth 6—When outlines are off, it always means a poorly digitized design.

Reality

Reputable companies test their designs (how do you think they get the pictures of their embroidery for their catalogues?) Outlines may be misregistered due to:

• Fabric slipping in the hoop
• Backing breaking down and compromising stability before the outline sews
• Backing not stable enough for fabric
• Needle/bobbin tensions too tight and causing excessive pulling

Solutions

• Test the design on a stable, neutral coloured fabric with the fabric grain running up and down
• Make sure the machine is clean, tensions are perfect, and the needle is new
• Make sure the fabric does not slip in hoop
• Sew on calico, broadcloth, or the fabric recommended with 1 cutaway
• Don't expect perfection but do demand quality
• Needle deflections will cause slight deviations

If it sews well, it is not a design problem.

Myth 7—Always use a size 90 embroidery needle.

Reality

You should use a needle that is large enough to carry the thread through the fabric without damage to either thread or fabric. This means finer threads/fabrics require a finer needle while heavier threads/fabrics use a heavier needle.

I find that for heavy or sturdy fabrics, I switch to an 80 needle with 40 weight thread otherwise I most often use a size 75. I do use an embroidery needle for nearly every project, even when sewing with metallic threads.

Myth 8—Heat-fusible and sticky back tearaways are the best solution for knits.

Reality

Fusible tearaways offer a false sense of security because they will keep the fabric from stretching during the hooping process. However, as stitches perforate the tearaway, it no longer supports the fabric, which will then stretch. Instead, I prefer a light weight fusible cutaway for light weight knits (often combined with a crisp tearaway) and a medium to heavy cutaway with a temporary embroidery spray adhesive for heavier knits.

Myth 9—Looping is caused by poor digitizing

Reality

Looping is caused by maladjusted machine tensions. Looping is usually more problematic in fills and running stitches with stitches longer than 3.5mm. Some home machines are not mechanically capable of longer stitches in fills and compensate by programming in tension. However, this generally only works on designs created in their software; outside or converted designs will not be corrected. (A good reason for choosing a multi-needle embroidery machine!)

Why do digitizers use longer stitches? Longer stitches (greater than 3.0mm) in fills create more coverage with a softer feel, reduces stitch count, and help combat bullet-proof embroidery. Longer stitches may also be the result of enlarging a design.

Myth 10—Bobbin thread pulled to the top is caused by a bad design/poor digitizing

Reality

If you have bobbin thread showing on the front of your embroidery, you have a tension problem. Look for a bobbin thread tension that is too loose and/or a needle thread tension that is too tight. You are most likely to find this more problematic in narrow satin columns and on the edges of fill areas where the stitches reverse direction.

While there are touch-up pens that are great for occasional repairs, the best solution is balanced tensions. You may find it helpful to have a second bobbin case that is adjusted specifically for embroidery. And contrary to some dealers advice, you will not damage your machine if you adjust the tension screw on the bobbin case.

Myth 11—All thread breaks are due to bad (poorly digitized) designs

Reality

While a thread break can occur from digitizing techniques, many occur for other reasons unrelated to the design, including the following:

• Damaged needle
• Old, dry thread, cheap thread or bruised thread from rough handling or dropping
• Particular thread colours some dyes weaken threads more (red, black)
• Rough spot on machine (hook, throat plate) from a needle break
• Poor thread feeding, jerk in thread during sewing

The two most common causes of design-related thread breaks are short stitches (less than 1mm) and overly tight densities (stitches packed too closely together).

Myth 12—All needle breaks are due to bad (poorly digitized) designs

Reality

Like thread breaks, it is possible to break a needle in very thick areas but there are other reasons not related to the design:

• Damaged needle
• Cheap needles
• Needle too small for the fabric
• Overly tight tensions, or a jerk in the thread during sewing can cause the needle to bend and hit the throat plate
• Birds-nest, which is a wad of thread building up under the hoop due to a tension problem

I once broke a wing needle in a fil tire pattern and that was most definitely not a density issue!

Myth 13—Coffee filters, dryer sheets, and freezer wrap are perfectly suited to backing and are more economical

Reality

Once again, quality ingredients produce quality embroidery! The best embroidery results are achieved when using appropriate supplies. Paper products can dull the needle and will not provide stability that proper backings can, while dryer sheets have chemicals that may irritate sensitive skin.

Stabilizers are inexpensive when purchased in quantity and contribute significantly to the final embroidery quality!

Myth 14—You can sharpen dull needles with fine sand paper.

Reality

Yes, believe it or not, I found this gem on the internet on a site dedicated to sewing. Needles are precision instruments that are a critical and integral part of the machine necessary to form proper stitches. Why waste your time? Needles purchased in bulk are very economical.

Myth 15—Testing designs is a waste of time; the designer has already thoroughly tested the design

Reality

The designer tested the design on her machine with her fabric and thread. Even when I personally digitized a design that has been sewn many times in the past, I still retest when sewing it anew. Testing is critical to make sure the design transferred properly to your machine.

Card based machines are more susceptible to corrupted designs when the design has a high stitch count. If there is a power fluctuation (which could be an iron or air conditioner turning on), it may cause the design to transfer improperly. The larger the design, the longer the transfer time and the greater the potential for a glitch.

That your machine is operating correctly (tension check).

The design works well with chosen fabric texture/colour (test for shrinkage!), thread colours, and backing and hooping methods.

Myth 16—When making practice piece, you can use regular sewing or serger thread and any fabric oriented willy-nilly in the hoop, and you can skip the backing. This conserves expensive embroidery supplies.

Reality

Testing this way is a waste of time and resources. The purpose of a test is to make sure that all your selections work together successfully!

Myth 17—Any design can be scaled at least by half or double its original size and still sew with the same quality as the original. The digitizer should guarantee that the design can be scaled any size and with any brand of resizing program.

Reality

If digitizers had to guarantee this you would see pretty boring designs. Beautiful, intricate, and interesting designs are created with a wide range of stitch types and lengths, which can reduce the scalability of a design. For example, if the design has stitches of 1 mm, it should not be reduced in size. Stitches longer than 10-12 mm may cause sewing problems if the design is enlarged. 

You will get the best results if you have the same software in which the design was created, which is quite rare unless you created the design yourself. The next best option is to use a good resizing program that has a stitch processor.

Be aware that some stitch processors will cause the loss of custom stitch patterns in fills. Even with either of these scenarios, the industry guidelines for resizing are no more that 20% up or down. Scaling beyond 20% can result in details that are no longer proportionate, gaps/holes in designs where stitches are not properly recalculated, and outlines not registering properly.

Without a stitch processor, the recommended max is 10% up or down.

Whatever amount you scale the design, know that you are altering that design from the way the digitizer created it and all bets are off, so to speak. Always test resized designs!

Resizing is probably the most oft-made change to a design and while you may think it is a trivial task, it can be quite a challenge when done in foreign software.

Myth 18—Embroidery designs for home machines don't need underlay. (Hard to believe, but this one came from a competitor!)

Reality

Machine type is not a determinant for underlay! Think of it this way: a shed needs support framework as does a mansion. Underlay requirements are primarily determined by:

• Stitch type
• Fabric type
• Desired effect
• Impact of upper stitches on the fabric

Unless a design was digitized in the same software you are using, it is unlikely you will be able to modify the underlay without some digitizing experience, and even then, it's not likely to be easy.

A similar myth I'm now hearing in some on-line software classes is that if a design is too thick, you should just get rid of the underlay to lighten it up. Chances are that if a design is too thick, it is the upper layers of the design that are too dense and/or there are too many layers of stitches in an area.

Removing the underlay is like taking the framework out of your house, it will only make the rest of the structure more shaky. Instead, reduce the density in the cover stitches and create voids (holes) under stacks of elements.

Myth 19—You must use the same brand and colours listed on the colour sequence instructions for the design.

Reality

There are no thread colour police! You may use any brand, any colour but make sure the thread size is the same. You can even interchange rayon and polyester threads without much issue (unless one is used for a special technique). To convert between thread brands, refer to thread colour databases on the web or check your software.

Be sure to test your colour combinations first if the shading is critical, such as in a realistic animal or flower because there will be variations between brands. Note that if you substitute two-colour twist (not variegated), these threads are typically 35 weight and will make your design feel slightly thicker and stiffer if the colour sequence called for 40 weight.

Myth 20—Embroidery is as simple as putting some fabric in the hoop, loading some embroidery thread, and pushing a few buttons.

Reality

Only if you are very lucky! Successful embroidery results require:

• Knowledge
• Patience
• Preparation
• Attention to detail!

Parting comments

Don't believe everything you hear especially off the internet! Be sure to evaluate the source of the information for reliability and experience. Even experienced teachers have learned incorrect information and techniques and may pass them on.

Be sure to use the supplies and accessories made for embroidery. This is the quickest and easiest way to improve your embroidery. Better supplies equals better embroidery, or as they say in the computer world, garbage in, garbage out.”

Always keep in mind that embroidery is a process not an event! Start simple and small so that you can experience success and not frustration. Then proceed at your own pace and try to learn something new each session.

As I always tell my students, make it sew or you won't know. I truly believe there are two kinds of embroiderers: those who test, and those who wish they had!

Practice doesn't make perfect but it does make you faster and better and it teaches you solutions to problems. Don't be afraid of mistakes, instead, use them as learning tools. Some of the coolest tricks I learned were from a mistake!

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Dye sublimation is a game-changer for creating custom, high-quality products like shirts, mugs, coasters, mouse pads, ornaments, and so much more! Whether you're just getting started or already an expert, this technique delivers vibrant colours and lasting results.

Using the Brother SP-1

Using the Sawgrass Sublimation Printer

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In this article, we'll explore a technique for using HTV vinyl scraps, allowing you to unleash your creativity and make the most of your materials. Get ready to transform your scraps into something beautiful and functional!

We'll be using the lips design available in our FREE SVG pack 1. This design will serve as the perfect artwork for combining your scraps. Learn how to access your downloads from your Echidna account.

Products Used:

[%SET [@product_skus@]=' E-RHFT, EC-VW-Bundle, E-PAS, VRC24650, E-Rotary28, PT-Turbo, SCHP, SDX2250D, FREE-SVGPACK1 '/%] [%load_template file:'cms/embeds/product_list.template.html'/%]

Firstly, gather all your scraps. It is easiest if all the scraps are the same kind of HTV. For example Poli-Flex Turbo HTV. 

The best scraps to use for this type of project are long and skinny strips. Trim scraps with rotary cutter and quilt ruler if necessary.

Cut a piece of hot fix transfer tape to the desired size for your project, this will be used to hold all the HTV together. Place the piece of hot fix transfer tape on your cutting machine's mat, clear side down, this is helpful to stop the tape from moving while you add the HTV strips.

Remove the backing from the hot fix transfer tape to expose the sticky side.

Place your HTV strips onto the hot fix transfer tape, clear backing side down; be sure not to overlap these otherwise they will not press properly. You can purposely leave gaps if that is the look you desire.

Continue repeating until the exposed hot fix transfer tape has been covered with HTV strips.

Load your design onto your cutting machine, adjust your settings for HTV, and proceed with cutting. For Brother ScanNCut users simply load the .svg into CanvasWorkspace and send it to your machine via Wireless. For HTV remember you will need to mirror the design and turn on the half-cut option. Learn more about cutting HTV with the ScanNCut.

Using your vinyl weeding tool simply remove the excess vinyl, this is known as weeding.

Now to press our HTV creation onto a fabric garment. We will be using a cotton drawstring bag. Place the item onto the press and cover it with your protective applique sheet. Preheat the garment by pressing for 2-3 seconds. Open the press, move the protective applique sheet to the side, and place your HTV scrap creation onto the garment, media side down in the desired location. Again cover with your protective applique sheet and press. The amount of time needed will depend on the HTV used. View our HTV pressing times guide.

Open the press, remove the protective applique sheet and take the garment out of the press. You will now need to remove the two layers of protective backing from the design (one from the HTV and the hot fix transfer tape), exposing the finished design. 

You have now created a one-of-a-kind creation using all your HTV scraps.