Re-hooping for Large Bodice Designs

(This was first posted several years ago, obviously before the drop-waisted dresses we make now, but the info still applies.)

I routinely field questions from dressmakers with home embroidery machines about whether or not they can do large bodice designs that require one or more re-hoopings.  The answer is always, “Of course you can!!”

I have yet to find a design I can’t re-hoop, but I am honest with dressmakers about the complexity of re-hooping some designs.   In most cases, the dressmakers are game, so along with the split files I send detailed instructions written for their files complete with pictures.  Sometimes, when the design is big enough to need 4 re-hoopings or the design requires extreme precision to line up contiguous lines, then the dressmaker may send the fabric to me so I can do it in a big hoop on my commercial machine, but there have been brave, adventurous souls who still want to do it themselves…my kind of dressmakers!!

Do you need big hoops?  I have always assumed so since I have always had the mega-hoop for my Bernina and learned to use the Hoop-it-alls to expand my range, but I have had dressmakers use only their 4 x 4 inch hoops…that blew my mind, but they were determined!  And I do understand that determination…never occurred to me NOT do something because it did not fit into my hoop.  These were all done using my Bernina 200E:

Yes, each entire panel, edges and all, were done in the hoop with 1 re-hooping.

And my favorite of all time, my first, the one that was made all the more blissful by my ignorance!!!

molly by you.molly cape by you.

I re-hooped all  of these parts in the most convoluted, complicated way possible!  In fact, I had started on this (I learn by jumping in with both feet…or headfirst) before I went to take some lessons for my Bernina machine and software.  I was having trouble with the logic of the sleeve design, so I brought the file (as well as the front skirt panel) with me so the teacher could look at it.  She took one look at the size of the file and told me it could not be done…every time I tried to get her to focus on my question, she simply said what I wanted to do could NOT be done on my machine.  I finally whipped out the finished front panel (5 re-hoopings) to show her I could do it, I just had a question!!!  She had no answer.  Instead she asked me how I managed that front panel, but at that point my process was so twisted that I really could not articulate clearly.  It was a big sigh day.

My friend Kris is working on this dress:

Dressmaker & Embroiderer: Kristine Baker
Designer & Digitizer: Me (AD 6)

IMG_1693 by krispy_b2000.

Once the placement stitches are sewn onto the hooped stabilizers and the fabric is then lined up on the sticky stabilizer, the next thing to get stitched out is a long basting stitch around the design area.  This ensures that the fabric will not move or pull or come away from the sticky stabilizer.  I have also found that it helps eliminate any puckering. Some machines will add a basting outline with a push of a button. For others, this can be added to the embroidery files.

 

However, some velvet will very often be permanently marked by these stitches. Test a scrap by sewing and removing some basting stitches onto a scrap.I have found that crushed velvet can take it, but the shorter pile of regular velvet cannot always.

If your velvet cannot take a basting stitch, it is best to find ways to keep the fabric from shifting as it still can once the stitching starts even on the sticky back. I have a little stash of pins that I bent into curves to secure my fabric to the sticky back when I can’t use the basting stitches.)

I highly recommend you do a test stitch-out first.

Now, let’s understand your digitized files.

Bodice: This bodice design has been split into 4 sections. The black lines are the basting stitch reference lines in the stitch files.

kris curl bodice

Here are the 4 separate files:

bodice 1kris bodice 1 center bottom kris bodice bottom

right shoulderkris bodice right side left shoulder kris bodice left side

You will start with “bodice 1.” Below are the pics of the file and the placement lines in the file.

kris bodice 1  kris bodice 1 placement lines (This is not a separate file.)

Now, if this were me, I would have my fabric prepped and marked (not cut out to size yet). I would have the center line of the bodice marked as well as the line I wanted the top of the middle of the design to begin at.  The lines on the bodice would look like this:

judy curl bodice 1 placement lines center lineThis will correspond to the same lines in the file.

Now, once the hoop is ready, the placement lines in the first color (black in the file, but this could just be the first embroidery color you will be using) get stitched out onto the sticky stabilizer NOT on the fabric. You can stitch them onto your fabric if the fabric will not retain the needle marks, but as long as the interfacing is not removed, the lines will stay on the back for placing for the next file (the center line itself will be mostly covered by the stitching anyway). (For your test run, I would stitch all placement lines on the fabric.)

So, once the placement lines are stitched, place your fabric in the hoop, lining up your drawn line with the placement line.

Stitch out “bodice 1.”

Remove from the hoop and remove excess stabilizer. Be careful not to remove or pull on the first set of placement lines.

Re-hoop the sticky back and the tear away for the next part.

You will continue with “bodice left side.” Below is the pic of the file.

kris bodice left side   judy curl bodice 2 left shoulder placement lines(This is not a separate file.)

Stitch out the black placement lines.

Line up the placement lines from Part #1 on the fabric piece with the new black lines. Use the points where the lines cross as your center points for each placement. Finish stitching part 2.

Remove from the hoop and remove excess stabilizer. Be careful not to remove or pull on the first set of placement lines. Re-hoop the sticky back and the tear away for the next part.

Part #3: You will continue with “bodice right side.” Below is the pic of the file.

kris bodice right side  judy curl bodice 3 right shoulder placement lines(This is not a separate file.)

Stitch out the black placement lines.

Line up the placement lines from Part #2 on the fabric piece with the new black lines. Use the points where the lines cross as your center points for each placement.

Finish stitching part 3.

Part #3 is finished. Remove from the hoop and remove excess stabilizer. Be careful not to remove or pull on the first set of placement lines.

Part #4: You will continue with “bodice bottom.” Below is the pic of the file.
kris bodice bottom  bottom bodice 1 placement lines

Stitch out the black placement lines.

Line up the placement lines from Part #3 on the fabric piece with the new black lines. Use the points where the lines cross as your center points for each placement.

Finish stitching part 4.

Part #4 is finished.

Remove from the hoop and remove excess stabilizer. Remove placement line threads.

Et, voila!
IMG_1693 by krispy_b2000.

As I stated above, I highly recommend doing a test stitch out.  Perhaps there are superwomen dressmakers who can do this right the first time, but weirdness happens!

Many thanks to the dressmakers who send me pics of their re-hooped confections!

Dressmaker & Embroiderer: Molly Lafayette
Designer & Digitizer: Me (AD 12 )

Molly Lafayette 1, AD 12 by you.

Dressmaker & Embroiderer: Judy Poole
Designer, Digitizer: Me  ( AD 11)

Judy Poole AD 11 by you.

Dressmaker & Embroiderer: Judy Poole
Designer, Digitizer: Me  ( AD 4)

Judy Poole front by you.

Dressmaker & Embroiderer: Lisa Horn
Designer, Digitizer: Me  (Revised AD 6: Curls)

DSCF4530 by you.

Dressmaker & Embroiderer: Mary Reilly
Designer, Digitizer: Me  (Scrollwork Neckline 5)

Mary Reilly finished bodice 1 by you.

You can see these dresses and more in the Taoknitter Arts Customer Creations gallery.

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Basting Boxes

 Rebecca left a question for me on IDD:

 Ann,
I was looking at your blog, and studying your work. I have a question. Why do you sew rectangles around the embroidery? It looks like it’s machine sewn. What does it accomplish?
 
Rebecca

Those are basting stitches. 
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Because Gina sent me pieces to be embroidered, I did not hoop the fabric pieces.  Instead I attach sticky stabilizer directly onto the inner hoop, put a good tear-away behind that and then put both into the hoop ring that tightens.  Then, part of my design is a set of placement stitches that get sewn onto the hooped stabilizers…I remove the hoop from the machine and then, using lines that I have drawn on the back of the stabilized fabric pieces that correspond to the digitized placement lines, I line up the fabric piece.  The next thing to get stitched out is a long basting stitch around the design area.  This ensures that the fabric will not move or pull or come away from the sticky stabilizer.  I have also found that it helps eliminate any puckering.

Here is a pic of the digitizing…you can see the dark blue placement lines in the middle…this only gets sewn onto the stabilizer in the hoop or even just punched in with no thread.  I have marked the same lines on the back of the fabric.
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I very rarely actually hoop fabric anymore.  I am so freaking picky about puckering that I use this method for just about everything.

For a rather intense look at doing this so I can use my hoop-it-all for a long project, click here: Embroidering in the Hoop-it-all

Embroidering in the Hoop-it-all

Couple of folks have expressed interest in how I did the Rose of Tralee sash in the Hoop-it-all so here goes.

Here is the digitized front sash. I used Bernina Designer Plus Version 5. (You can read my opinion about this software here…it is near the bottom of the post.) In the center, running left to right, there is a black line. This is a line of long stitches I added to mark the long center of the design, a center that would not change when I split the design. There are also 3 red crosses: 1 after the flower, 1 on the bottom of the “g”, and 1 above the “r” in “Tralee.” These reference stitches were digitized to stitch out first.
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Below you can see the crosses more clearly and a bit of the stitches for the applique process.
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The important thing to remember about the HIA is that although it affords you a larger stitching field, the embroidery machine is still only able to compute in its own sewing fields, the largest being the mega hoop. But, in order to use the HIA, you cannot use the mega hoop because mega hoop designs are automatically split and as that stitch out progresses you are asked to move the mega hoop to different positions that the machine recognizes because of the construction of the mega hoop, something you cannot do with the HIA. So, I used the large oval hoop as a reference to split the design for the HIA.

Here is a pic of the entire front sash as I begin splitting .
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The HIA Super Giant-long hoop has a vertical sewing field of about 21 inches… this front sash was a bit over that, so first I stitched out the flower in the oval hoop and then began using the HIA. In order to split this design into separate files, I copy what I need out of the original full front sash file and create new files, 4 in all for this front sash. Here’s the flower with 1 red reference cross and a shortened black center reference line. This black line works in 2 ways: 1) all the split parts of the design are centered on the same line so that I can line up the parts in the oval hoop manually on the center line of the grid; and 2) before I lay my fabric down on the HIA sticky stabilizer when I begin the rest of the sash, I run this line without thread so it punches holes in the sticky stabilizer for a reference line that I can align my marked fabric with. This line is not stitched out onto the fabric.
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After the flower was finished, I attached the sticky stabilizer to the HIA, opened the next design (the beginning of the words), tightened the hoop into the correct placement on my machine, and punched the black and red reference lines in the stabilizer by, again, running the machine with no thread. Then, I lined up the center of the fabric (that already has the flower) and the first red cross that was stitched out (in white thread onto the flower portion) with the lines punched into the stabilizer. You can see the red cross in the pic above and then vaguely in the pic below centered on the broken blue center line at the top of the hoop above the “R.” I then centered the rest of the fabric onto the center line of the stabilizer (which matched the center lines of the design files), threaded the machine and off I went.
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The stitch out above includes another red reference cross which sits in the crook of the bottom of the “g.” (Cannot really see it here.) This was stitched out in white onto the fabric in the design above so that when I was moving the hoop to the new position for the next design, I could line up my designs by using the cross as reference points for my needle. I do this by advancing the stitches on the Bernina computer screen to find the appropriate stitch, and then move the HIA until the needle pierces a corresponding needle-point. Then I tighten the HIA into place, and the next portion begins. Sometimes I did use the knob on the machine that shifts the design in the hoop by tiny increments to get it lined up horizontally.
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I repeated the process for the back of the sash, though it was more involved because of the overlaps. I still used the reference lines, but this one involved more movement up and down of the hoop. The parts of this design were numbered from left to right as follows: 4,1,5,2,6,3,7. We did decide finally that the back sash would only include the first 5 parts so I numbered these as 3,1,4,2,5. This all fit in the hoop. But there was another challenge…this design stitched out by moving the hoop down then up then down two then up 1…damn. So, here is what I did- I attached the fabric onto the sticky stabilizer and then stitched out the reference line & crosses (in white) as follows: 1) the short, straight black line at the far left which marked the top of the design and the first red cross; 2) then I opened each design in the finished order you see below so I could line up the first cross to then stitch out the second cross. When I was done, I had the reference crosses stitched out in the appropriate places on the fabric. Then I started over and began stitching out the actual designs, beginning with designs 1 and 2 which were the green vines and then 3, 4, & 5 which were the flowers. And it was so easy because everything was already lined up!
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I hope this was clear. If not, please ask questions. It is good for me to have to articulate this.