Decorating Solutions - Design, Decorating and Digitizing

Punching Sense: Freestanding Lace Basics

Embroidered freestanding lace (FSL) is an eye-catching technique whose success depends on the digitizing. If you follow a few basic rules, you can create decorative trims on apparel, as well as other items, such as jewelry, key chains, baskets and bookmarks. The stitch count is generally low, so machine time is fast, making it fun for you to experiment. After your first sew-out of a correctly digitized FSL design, you’ll likely be encouraged to try adding even more details in the next. So, let’s take a look at those FSL rules by completing two basic shapes.

1. Prepare the artwork using simple lines.

Even when your design for FSL is large and contains many elements, the artwork doesn’t need to be complex because you’re working with geometrical shapes that can be adjusted in your digitizing software by referring to the grid. The objective is to create a skeleton that you’ll build upon and enhance using your digitizing tools. Don’t draw elements that you’ll duplicate, such as the lines seen at the upper right of the ornament that we plan to use as placements for satin columns.

2. Punch the main foundation.

Set down a crosshatch grid of stitches for the main base of the remaining elements. Section odd shapes into more than one object, connecting the edges below your satin columns. Pattern fills that sew both crosshatched lines in one section, as illustrated, are not as secure as manually sectioning and digitizing two layers of normal fill. Set your density at about 1.5mm to 2mm and angle layers in opposite directions. Path sections so the edge stitches are secured under your columns and travel to each section under those columns. For a thicker appearance in a larger design, you can enhance your results by repeating the crosshatch fill.

3. Punch in a logical, unbroken path.

Move through the design following a path that doesn’t require jump stitches. To keep your design from unraveling, never allow a break in the thread. Find ways of traveling by sewing over previous lines if necessary.

Satin columns require ample underlay equal to an edge walk and a zigzag, depending on the column width. For the satin-stitch “spokes,” we punched three lines of manual underlay, then the column, and then traveled to the next spoke along the outside of the design. This line of connecting travel stitches offers additional support under the satin stitches for the border.

4. Punch enough support and eliminate short stitches.

For the key chain, we traveled to each letter along one of the crosshatch-fill lines. We used a block font with a density set at 4.2, applying an edge walk and zigzag underlay. Be sure the automatic lock stitch setting in your keyboard lettering is off; too many stitch penetrations in one spot with only the crosshatch for support could lead to thread breaks. Lock stitches should only be necessary at the very end of the design and set into a satin stitch when possible.

5. Create the hanging loop and border.

Travel to the top and punch a half-circle of one or two lines of run stitches for the initial support. Then use a satin stitch column for the loop and, because you’ll need extra support needed here, use an edge walk and zigzag underlay.

A line of run stitches (blue line) is set in just to the inside edge of the crosshatch fill. We’ve chosen a scalloped pattern satin stitch for the borders of both designs. Because the tips at the inside of the scallops have very little to latch on to, we’ve added a line of run stitch, giving the tips something to grab.

6. Stitch and rinse.

Sew the design on a heavy, sturdy, water-soluble stabilizer. Depending on the brand or type, you may need to use multiple layers. Soak the finished design in warm water for a minute or two and then rinse. For a stiffer design, don’t rinse away all of the stabilizer.

Final

You can decorate your finished designs with beads and ribbons or attach a key ring.