Guidelines for using Metallic Threads

Using metallic threads

Metallic Threads add a zing and sparkle to your embroidery but they are notoriously difficult to use. The good news is that they can be tamed by understanding why they behave the way they do and by following these guidelines that will help prevent thread breakages.

What is metallic thread and how is it different?

There are many different types of metallic thread but most are basically a core fibre covered with a coating of metallic foil. For example, the Marathon threads 3004 to 3007 have a rayon core covered with polyester film that is metallised with silver.

This metallic coating means that metallic threads are not soft and supple like rayon threads – they are stiffer and do not drape as well. This is what makes them more of a challenge to use as when the thread unwinds from the reel, it can ‘kink’ and twist around itself. When this loop meets a thread guide, the resulting tension problem can cause the thread to break.

Using metallic threads in designs

Here is a series of stitch outs using metallic and rayon threads to show how the look of the designs vary according to the type of thread used.

1. Embroidered in all metallic thread.

2. Embroidered in rayon and metallic threads.

3. Embroidered in an ‘old gold’ colour in rayon to give the appearance of metallic thread without the extra work involved. Marathon thread 1187.

Metallic threads come in many wonderful colours so experiment beyond the gold and silver.

And experiment with the different golds and silvers.

Sew a sample – it is always worth the time and effort

Always stitch a sample piece first using the same materials you’ll be using for your embroidery. Experiment with top tension, stabilizer, sewing speed, and needle and with ways of minimising kinking.

Guidelines for using metallic threads

Follow these guidelines to tame your thread and to reduce thread breaks.

1. Start with a good quality metallic thread like Marathon. Marathon metallic threads feel like thread and not wire which helps to run more smoothly through the machine.
   
2. Use a metallic needle such as 80/14 Metallica from Schmetz. It has a larger eye so the thread can pass through it more freely thus reducing heat friction build up and the chance of the thread fraying or breaking. The needle can get really hot when embroidering with metallic threads so feel it every minute or so and if it gets hot – take a break and let it cool down. Start each project with a new, sharp needle and change it often. The ey of the needle gets damaged by the metallic thread faster than the rayon threads and can cause fraying in the thread.
   
3. Tame the kinking and the looping. Metallic thread is not as soft and drapable as rayon or polyester thread and it does not unwind as smoothly when you’re sewing. This often results in the thread kinking and twisting over itself forming loops - then tension problems - then thread breaks. There are several ways to tame the kinking:

• Use a thread net. Metallic thread comes off the reel faster and often in a jerky fashion. A thread net allows the thread to unravel from the reel in a more controlled manner with a less tendency to form loops.

• Increase the distance from the reel to the machine. This gives the thread time to ‘relax’ and sort itself out before entering the machine. There are a couple of ways that work well. Use a vertical thread stand and place it as far away from the machine as possible. Alternatively, place the reel in a cup and place the cup on the floor next to the machine – then thread as normal.

• Use your machine’s vertical thread stand rather than the horizontal one. Most metallic threads loop less if they come off the spool vertically. If your machine doesn’t have a vertical stand, use the cup, as mentioned above.

4. Loosen the top tension on your machine. Metallic thread is generally thicker than the 40–weight that your machine has been optimized for and certainly not as flexible. Each machine is different so experiment to find the best setting for you. I reduce my top tension by 50% or more, depending on the fabric and the density of the design.

5. Slow down the machine. This reduces the amount of tension on the thread and how much it stretches – then breaks. Again, experiment with different speeds when you do your sample piece. Start with a slow speed and, if you’re not having problems, increase it a little. Repeat this until the thread breaks and you’ll know what is too fast for your machine, with this design on this fabric. I prefer to slow right down (20% - 40% of maximum speed) and take more time embroidering and less time dealing with thread breaks.

6. Choose the right design – not all designs can, or should, be embroidered with metallic thread. Dense designs can result in the thread nesting underneath and consequent thread breaks. This butterfly design was embroidered in metallic threads with a rayon thread for the outline of the body. The design at the centre is very dense and caused nesting on the back.

Also avoid designs that have a lot of small stitches and overlapping sections. Remember, you can be selective and use metallic thread to only embroider a specific part of the design – enough to add the zing and highlight.

7. Choose a lightweight bobbin thread. A 60-weight bobbin thread (such as the Marathon bobbin thread and pre-wound bobbins) is ideal. I have heard of people using metallic thread in the bobbin but I have not tried this myself. When the back of the embroidered piece will be seen, I use a rayon thread (in a similar colour to the metallic thread) in the bobbin.

8. Use the right stabilizer. Metallic thread usually works better with a stabilizer that has a viscose or cotton component in them. Stabilizers with 100% can be too sturdy and create too much friction with needle and thread and increase the chance of thread breaks. Avoid thick and abrasive stabilizers and iron on stabilizers - the adhesive can build up on the needle and thread and the drag increases the friction.

9. Use the right fabric. A medium weight natural fabric (like cotton) is best suited to embroidery with metallic threads. Tightly woven, stiff and thick materials do not work as they increase unwanted friction while fine fabrics (like organza) are extremely difficult to use but can be worth the effort. Metallic thread can even be used on light cardboard and card stock if the design is not dense.

10. Freeze the thread for a few minutes before you use it. I have not tried it but if you’re still having problems after trying all the above suggestions – give it a go!

Written by Elaine Raahauge - business writer and home embroiderer

If you have a tip we have not included here or you have a question we can answer, please send us an email at sales@marathonaustralia.com.au, we will do our best to answer the question.

Embroidery machines today do much more than embroider and there are creative digitizers out there who are finding new ways for us to use our embroidery machines – including creating a patchwork block in your embroidery hoop by a method called piecing in the hoop. This is similar to foundation piecing but, as all the stitches are programmed into the embroidery design, the completed block is much more accurate.

This tutorial covers some of the basics of piecing in the hoop but each designer creates their designs differently so you cannot religiously follow the steps detailed here for all designs. I have written this tutorial to show you what is possible with your embroidery machine and to encourage you to create beautiful and fun things.

Follow these instructions to create this fun quilt block entirely in the embroidery hoop.

What is piecing in the hoop?

If you have ever tried paper or foundation piecing then you’ll know that you can create patchwork blocks by layering pieces of material one over the other, in sequence, and stitching them down. Well, this is the same except each seam is considered a piece of embroidery and the whole block is created in the hoop.

What you need for piecing in the hoop

There are six things you need to create a patchwork block similar to the boat block demonstrated here:

1. An embroidery design specifically for this purpose.
2. A foundation for the block. This can be a piece of material, stabilizer or batting (wadding). I use a medium weight cut-away stabilizer as I want it to remain to support the block after it has been completed. You can use a tear- away or a water-soluble stabilizer if you want a softer, more flexible finish like traditionally pieced blocks.
3. Material for the block pieces. I use traditional cottons for my boat and cut them roughly to shape but bigger than the design.
4. Marathon rayon thread. You only need one colour to create the block plus extra colours if you choose to embroider a design in the block.
5. A small pair of scissors with a thin, sharp point. This is required for cutting away the excess material close to the sewing line and your curved embroidery scissors will not work here.
6. Spray on appliqué adhesive to adhere the appliqué material to the base material, if required. Optional.

Getting ready

1. Read the instructions that come with the design and print them out if required.
2. Print the template, if applicable, and cut into sections.
3. Hoop your selected foundation material, e.g. stabilizer.
4. Download your design to your machine.
5. Select your material and threads.
6. Pre-wind your bobbins or buy pre-wound bobbins.
7. Cut out the material using the template as a guide or eyeball it.

A note about thread colours

There are a lot of thread colours at the beginning of the block but it is not necessary to change the actual thread. They are called thread stops and are put there by the designer to stop the machine so you can place, or trim, the patchwork piece of material. Therefore, it is not necessary to change your thread each time there is a thread stop as this thread will not be seen. In the steps for Creating the patchwork block (below), it is not necessary to change the thread colour until step 11.

Creating the patchwork block

1. Embroider the first colour onto the batting, stabilizer or base material. This is usually the outline of the block showing the individual sections.
   

2. Lay down the first piece of material cover section 1 making sure it completely covers the section outline. The fabric may be face up or face down - follow the instructions for your design. You can use a spray-on appliqué adhesive to stick the appliqué fabric to the base material, if required.
3. Embroider the second colour – remember it is not necessary to change the thread colour. This will stitch the material to the base material.

4. Remove the hoop from the machine but DO NOT REMOVE THE MATERIAL FROM THE HOOP.
   
5. Trim away the excess material. You may or may not need to leave a ¼ inch seam – again, follow the instructions for your specific design.

6. Place the second piece of material. This will usually be face down, over the first piece.

7. Embroider the next colour and turn the fabric right side up.

8. Embroider the next colour to stitch the material into place.

9. Remove the hoop and trim away the excess material. The boat after both pieces of the water have been stitched down and trimmed.

10. Repeat steps 6 to 9 until all the material has been stitched into place.

11. Embroider any pattern or details that are included in the design. You will need to use the specified thread colours from this point. The mast of the boat is embroidered.
12. Remove the hoop from the machine and the block from the hoop.

Trim the finished block and remove the stabilizer, if required.

Written by Elaine Raahauge - business writer and home embroiderer

You can make beautiful free standing lace (FSL) using your embroidery machine. This is lace that is meant to stand alone and is not embroidered onto other material (except possibly organza – more about that later).

Using FSL

The sample squares I made for this tutorial can be joined together to make a doily or even a tablecloth. You can make FSL to put on the edge of sheets or a tablecloth (why not make a tablecloth with cutwork corners and a lace trim). Other uses include Christmas ornaments, bookmarks, lace bowls or you can appliqué the lace to clothing. You can make beautiful 3D items, such as a flower or butterfly, by hooping a layer of netting or organza with the water-soluble stabilizer.

Samples of FSL

These items show what can be made using the FSL technique. These designs are digitized by Stanislava Krachunova of S-Embroidery and these samples are shown with the kind permission of the designer.

What you need to make FSL

There are only four items you need to make FSL: 

1. The most important thing is the right type of design – it must be digitized as FSL. If you try to embroider a lacey looking design that is not FSL, it will fall apart when you remove the stabilizer. The right designs will often have FSL as part of the design name.

2. Water-soluble stabilizer is used as the foundation for the embroidery and it is washed away leaving – well, lace.

3. Marathon rayon thread is perfect for making FSL and you can use one colour or several – it all depends on the look you are after.
   
4. Matching bobbin thread if the back of the lace will show. I use the same rayon thread in the bobbin that I use for the design.

Getting ready to make FSL

1. Read the instructions that come with the design.

2. Hoop two to four layers of water-soluble stabilizer. These designs are usually dense and need a lot of support. If you are making a lot of small pieces of FSL, it is more efficient (and less expensive) to hoop an extra long length stabilizer and move the hoop along the stabilizer as each hooping is completed.

3. Use your machine or embroidery software to fit as many designs into the hoop as possible.

4. Download your design to your machine.

5. Select your threads.

6. Pre-wind your bobbins or buy pre-wound bobbins.

Creating the FSL

1. Embroider the FSL design directly onto the water-soluble stabilizer.

2. Unhoop the completed embroidered pieces and cut away as much of the water-soluble stabilizer as possible.

3. Tidy up the embroidered piece by removing thread ends and jump stitches. Anything on the back of the embroidery will show when the stabilizer is gone.
   
4. Wash away the water-soluble stabilizer. This can take some time but the more you remove, the softer the finished FSL will be. I rinse the pieces several times in a bowl with fresh cold water then leave to soak in fresh water overnight. If you are making a bowl or other 3D item, you’ll want to keep as much of the stiffness as possible so just rinse away the stabilizer.
   

5. Dry the FSL flat on paper towels. This can take one or more days.
   
6. Iron the FSL upside down on a towel spread over the ironing board. The towel gives the lace something to sink into and prevents it from being flattened. All embroidered items should be ironed this way.

Joining FSL

Join the finished pieces of FSL (on the wrong side) by butting them together and using invisible thread and a zigzag stitch on your sewing machine. You can also use the same colour rayon thread to join the pieces.

More help available

Go to s-embroidery.com for more tutorials on FSL including how to attach the lace to material to make this beautiful table runner. There are free designs that you can download – including a FSL Christmas stocking.

Written by Elaine Raahauge - business writer and home embroiderer

Silk, velvet, leather, suede and corduroy are just some material that shouldn’t be hooped –the pressure of the hoop causes a hoop ‘burn’ that cannot be removed so these materials are embroidered using the hoopless embroidery technique. This means that only the stabilizer is hooped and the material is stuck to the stabilizer using double-sided tape or spray on adhesive.

How to use double-sided tape for hoopless embroidery:

1. Select and hoop the correct stabilizer (type and weight) for the design.
2. Remove the backing paper from one side of the tape and press it to the hooped stabilizer ensuring that it is not placed in an area that will be embroidered.
3. Remove the remaining backing paper from the tape.
4. Lay the fabric on the tape ensuring that the fabric is smooth and even then gently press the fabric to the tape to secure it. If you have the basting stitch function on your machine, use it to provide more stability.
5. After completing the embroidery, gently lift the fabric and peel away the tape.

How to use spray on adhesive for hoopless embroidery:

1. Select and hoop the correct stabilizer (type and weight) for the design.
   
2. Spray the back of the fabric with the spray adhesive – outside and away from the machine. Some people prefer to spray the hooped stabilizer instead of the fabric but you must cover the hoop itself to prevent the adhesive from sticking to it.

3. Lay the fabric on the stabilizer ensuring that the fabric is smooth and even and press the fabric to the stabilizer. If you have the basting stitch function on your machine, use it to provide more stability.

Use either of these two methods to embroider towels and items that can’t fit into a hoop, e.g. the edge of a napkin and collars.

Cutwork is making a comeback in fashion but few people have the time or the skills to create a beautiful cutwork tablecloth or blouse by hand. Fortunately, it doesn’t matter, as your embroidery machine will give you perfect results in a fraction of the time.

Follow the instructions in this tutorial to create this lovely cutwork design entirely in the embroidery hoop.

What is cutwork?

This is a technique where you cut out specific areas of your material and your machine embroiders (usually a satin stitch) around the cut edges to seal them. These cut out areas are usually connected by Richelieu bars, or bridges, which help the piece keep its shape after the stabilizer is removed.

What you need for creating cutwork

The supplies you need will depend on whether or not the material to be embroidered can be hooped. See Dealing with items that cannot be hooped, see below.  

1. An embroidery design specifically for this purpose.
   
2. Water soluble or tear-away stabilizer. Water soluble is best as it leaves no ‘pokies’ (bits of tear-away stabilizer sticking out of the embroidered edge. If you choose tear-away, do not adhere the stabilizer to the material. Organza can be used instead of the stabilizer but you will need a craft soldering iron the burn away the organza base when the design is complete.
   
3. Material to be embroidered. This can include tablecloths, napkins or the lapel of a blouse. You will achieve better results with less ‘pokies’ if you use a tightly woven material.
   
4. Marathon rayon thread. Some designs use only the one colour thread in a similar or contrasting colour to the base material. Other designs compliment the cutwork with surrounding embroidery.
   
5. A small pair of scissors with a thin, sharp point. This is required for cutting away the material close to the sewing line. Some people like to use the pointed scissors to make the initial cut the use the curved embroidery scissors to cut around the outline.
   
6. A craft soldering iron. This is useful for burning away the remaining bits of tear-away stabilizer and the organza. Follow the directions and use it carefully.

Dealing with items that cannot be hooped

Some items cannot be hooped, such as the edge of a napkin. Use the hoopless embroidery technique, then follow these instructions to embroider the cutwork.

Getting ready to create cutwork

1. Mark the placement of your design on the base material, if required.
2. Hoop your material with the stabilizer.
3. Download your design to your machine.
4. Pre-wind your bobbins or buy pre-wound bobbins.
5. Do a test run to ensure that you can cut out the material without cutting the stabilizer.

Embroidering the cutwork

1. Embroider the first colour. This is usually the outline of the sections that are to be cut out.
    

2. Remove the hoop from the machine but NOT THE MATERIAL FROM THE HOOP.
   
3. Carefully cut out the material within the stitched outlines. Use your sharp pointed scissors to cut away only the material – do not cut away the stabilizer.
   

To make the initial cut, lightly place a finger underneath the hooped material (being careful not to stretch the material) and use it to feel if the scissors has penetrated the stabilizer. I like to slide the point of the scissors into the material at an angle almost level to the fabric as this reduces the chance of piecing the stabilizer.

4. Repair any accidental cuts to the stabiliser. Iron on some sticky back stabilizer (using the smallest piece possible) to the back of the cut stabilizer to repair the damage.
   
5. Replace the hoop and the machine will embroider the Richelieu bars then seal the cut edges – usually with satin stitch.

6. Complete the design and remove the material from the hoop.
   
7. Remove the stabilizer and use tweezers to remove any stubborn bits.
   
8. Use a craft soldering iron to remove any stabilizer pokies.

Here are some of the 24 designs from theVintage Cutwork (Set 1) Hatched in Africa design.

Samples of cutwork

Beautiful cutwork designs can also be purchased from s-embroidery.com. They also have a cutwork tutorial and a free cutwork design to download and try.

Written by Elaine Raahauge - business writer and home embroiderer

You can make appliqué blocks decorated with beautiful embroidery all in one step within your embroidery hoop. This tutorial uses a crazy quilt block to demonstrate how easy and fast it is to create a fun block that can be joined with others to make a crazy quilt.

This tutorial covers some of the basics of appliquéing in the hoop but each designer creates their designs differently so you cannot religiously follow the steps detailed here for all designs. I have written this tutorial to show you what is possible with your embroidery machine and to encourage you to create beautiful and fun things.

Follow these instructions to create this fun quilt block entirely in the embroidery hoop.

These blocks can be joined together to make a quilt or wall hanging.

What is appliqué in the hoop?

Appliqué in the hoop has many variations but it is basically where the embroidery machine appliqués pieces of material onto a background – usually a stabilizer. The machine stitches the outline of the block (including the placement lines for each piece of fabric) onto the hooped stabilizer. Individual pieces of material are laid over the outlines, stitched, then cut into the right shape. The machine joins the fabric together (usually with a satin stitch) then embellishes the block with embroidery. The result is an appliqué block that has been completed using only your embroidery machine.

What you need for appliqué in the hoop

There are five things you need to create an appliqué block similar to the crazy quilt block demonstrated here:

1. An embroidery design specifically for this purpose. There are not many designs available for appliqué blocks but more are slowly becoming available.
   
2. A foundation for the block. This can be a piece of material, stabilizer or batting (wadding). I use a medium weight cut-away stabilizer as I want it to remain to support the completed block. You can use a tear- away or a water-soluble stabilizer if you want a softer, more flexible finish (like traditionally appliquéd blocks).
   
3. Material for the block pieces. This crazy quilt block uses five different fabrics and each needs to be cut bigger than the outline of their section. Print out a full size template of the design and cut into sections. Place the section over the selected fabric and cut out the material at least 1cm bigger than the template. You don’t have to be precise – the fabric just has to completely cover the section with some to spare.
   
4. Marathon rayon threads. Choose threads that coordinate with the fabric – or contrast, if you prefer. The only rule is to have fun. I put together the threads I want to use before I start but often change a couple of colours as I go along to get the look I want. The most important thread is the one covering the joins of the material (usually with a satin stitch) and it can dominate the block so choose it carefully. Make it a feature or let it blend quietly into the background.

5. A small pair of scissors with a thin, sharp point. This is required for cutting away the excess material close to the sewing line and your curved embroidery scissors will not work here.

A note about thread colours in the design

There are a lot of thread colours at the beginning of the block but it is not necessary for you to change the actual thread. They are called thread stops and are put there by the designer to stop the machine so you can place, or trim, the appliqué piece. Therefore, it is not necessary to change your thread each time there is a thread stop as this thread will not be seen. In the steps for embroidering the appliqué block (below), it is not necessary to change the thread colour until step 8.

Getting ready

1. Read the instructions that come with the design and print them out if required.

2. Print the template, if applicable, and cut into sections.
   
3. Hoop your selected foundation material, e.g. stabilizer.
   
4. Download your design to your machine.
   
5. Select your material and threads.
   
6. Pre-wind your bobbins or buy pre-wound bobbins.
   
7. Cut out the material using the template as a guide.

Creating the appliqué block

1. Embroider the first colour. This will be the outline where you place the pieces of material. I used black to show the sewn outline more clearly.

2. Lay the first piece of material face up; making sure it completely covers the outline.

3. Embroider the second colour. The material will be stitched to the stabilizer.
   
4. Remove the hoop from the machine but DO NOT REMOVE THE STABILIZER FROM THE HOOP.
   
5. Trim the material as close to the sewing line as you can. It is better to accidently cut the sewing line than to have bits of material sticking out from the satin stitch covering the join. You don’t need to trim the excess material from the edges of the block.

6. Replace the hoop and repeat steps 2 to 5.
   
   You can sew two or more pieces of material before removing the hoop and trimming, as long as the pieces do not join each other.

7. Continue until all material is stitched in place and trimmed.

8. Change the thread colour and (depending on the design) the machine will either embroider a design or stitch a satin stitch to cover the joins.
   
   Notice how the joins are covered by the satin stitch. Most joins have a decorative stitch covering the satin stitch for more interest.

9. Complete the design.
   
10. Remove the hoop from the machine and the appliqué block from the hoop.
    
11. Trim the block and remove the stabilizer, if required.

Written by Elaine Raahauge – business writer and home embroiderer

Question: I have viewed your tutorial on Crazy Quilting. Can you please help me out as I make my quilts as "quilt as you go" so would I be able to use the embroidered designs for crazy quilts as a quilt block - ie top, wadding and backing in the all in one go? I am very interested in the design in the hoop crazy quilt, but it will not work if maybe the 'sandwich' was too thick? The designs in the hoop are so decorative that there would be little or no space to quilt in the traditional way - ie do the top and then layer. (Jenny N. from UK)

Suggestion: I embroidered my crazy quilt pattern directly onto a hooped cut-away stabilizer - laying down the fabric over the stabilizer, as required. Once all the blocks were completed, I removed the stabilizer from the seam line only then joined the blocks together with a quarter inch seam. I laid the quilt top over the backing and connected the two together by zig-zagging over the seam lines (from the front) I did not quilt the quilt as it doesn't need it and there is nowhere to quilt anyway.

I will try and explain why I did it this way and give you other options.

You can use anything as the base for the block. I chose the cut-away stabilizer because it is easy to hoop and it provides a solid foundation to build on. You could hoop a tear-away stabilizer and baste a layer of wadding (not too thick) over the stabilizer and lay the fabric directly onto the wadding. I have never hooped wading by itself and have no idea if this would work well. I would be worried about it stretching during the embroidering. Therefore, I recommend you use a stabilizer base with it. You can remove the tear-away stabilizer afterwards, if you want.

You can even use a layer of material as the base and then baste the wadding onto that. You may not even want to use wadding as it is really not required (as there is no quilting to enhance). If I was doing this again, I would hoop a layer of flannel and lay the applique fabric directly onto this. No matter what base material you use, the quilt will be stiff as there is so much decorative stitching on the blocks. If you use wadding, use the thinnest possible.

There is no way you would want to include the quilt backing in the layering in the hoop as you wouldn't want the back of the embroidery to be visible in the finished quilt. The backing has to be added after the embroidery is finished.

This is really a wall hanging rather than a quilt and is quite small. I have a large embroidery hoop and my blocks are 200mm x 200mm. If you don't have this sized hoop, you can make smaller blocks to fit your hoop. Therefore, you won't have a large and cumbersome quilt to fight with.

- Elaine Raahauge

Question: I am just starting out making gymnastics leotards in stretch lycra for my grand-daughter. I want to know what products are best to use to applique stretch cut-out designs onto stretch lycra. I figure I need a water-soluble "glue" sheet which will allow the fabric to be flexible when it is worn, and also a water soluble "stabilizer" for when I am sewing on the applique - is this correct? (from Magaret Neith - VIC)
_______________

Suggestion 1: You need to use applique wonder or visafix to the piece of fabric that is the cut-out. Make sure you have an applique mat when you are ironing the applique to the main garment. You must use a needle to suit stretch fabric and sew slowly. There won't be any stretch in the applique piece as the glue will become a little stiff. the needle is very important as the use of an incorrect one will result in small holes and ladders will appear. I hope this will help. (Helen Senior from Glenroy, VIC)

Suggestion 2: I have tried several techniques. The most successful (though time-consuming in the extreme) was to cut out the applique and spray it with embroidery spray on the back, place it on my fabric then lightly iron on (and pin) a tear-away stabilizer on the top, then zig-zag sew the edges through the stabilizer. This seemed to hold the lycra without any stretching. The most time-consuming bit was pickikng out the tear-away from between the stitches. I also tried the same technique but pinning a water-soluble fabric on the top of the applique instead then zig-zagging - this was OK, but did lead to a bit of "waviness" on the lycra. (Magaret Neith)

As rayon thread is made from a natural fibre, it must be stored correctly to protect it and to extend the life of the threads.  The main problems areas are heat, light, moisture and dust.

There are several ways to store your threads and most are valid - with some provisions.  The type of storage depends on the number and sizes of your threads and how often you need to access them.  This article covers three ways to store threads that I have used successfully and one more I haven't tried.  But there are doubtless many more ways and you may already used a better one.

It is important to secure the thread ends before you store the reels. You can tie a know but thread nets are much better and stop the thread from unravelling. I also use self-clinging tape (that sticks only to inself) but, under no circumstances, use sticky tape.

Plastic cases

These are relatively cheap and can hold a good number of threads. They are handy because the cases are portable and you can move them around as you need to. You can put all your pinks/reds in one case and all your greens in another. On the down side, they can be too short for some reels and some don't provide the betst protection against light. This method works best when you have only a small number of threads as it can get pretty exprensive to keep buying more cases. The cases can have one or more compartments.

Boxes

A good (and cheap) way is to store your Marathon thread is in the boxes they come in. You can write the colour name on the box to keep them organised and the threads always fit into the box. Plus, the boxes are free! On the downsides, you can't see your threads at a glance, e.g. when you have several boxes of greens.

Furniture

Drawers are great for storage as they keep out the elements and the dust but can be expensive to purchase.  This option suits embroiderers with a lot of the threads.  The big advantage is that drawers hold a lot of threads so all my pinks and reds fit into one drawer and my blues in another - I just have to open one drawer to see all my threads in that colour group.

Furniture can take up to a lot of space so see if it can be incorporated with your sewing table.  I use 'table legs' from Ikea that consists of five draweres - two drawers fit the 1000m reels and thread drawers suit the 5,000m reels and general embroidery notions.  I use two of these table legs with a tabletop as the stand for my embroidery machine.  They are really deep, so hold a lot of threads and essential notions.  The drawers come in a flat pack and have to be assembled (always a pain unless you'r gifted in that area) but are easy to move around, if required, as the table legs are not attached to the tabletop.  I have a third unit that I place to my right (as I'm right handed) where I place the threads that I'm using in my current project.

This image of the Vika Curry table leg is used with permission from Ikea.  Ikea did not provide any assistance (financial or otherwise) for this article.

The drawer don't have to be new - look for second-hand desks and chest of drawers.

Wooden thread rack

This is the option I have not tried and I don't know if Marathon thread reels fit.  It does make the threads easy to see and access but leaves them exposed to heat, light and dust.  If you have a thread rack on a wall or stand, keep it out of direct sunlight and cover it when not in use to keep out the dust.

Here are other great tips from Embroidery Library.

By Elaine Raahauge - Business writer and home embroiderer

Choosing the right needle for the job and using it correctly is as important as stabilizing and hooping your embroidery. If you are having problems with thread breaks, skipped and uneven thread the first thing to do is to change your needle.

The range of needles available

There are many types of needles suitable for machine embroidery and it is best to have a selection on hand and choose the right one for the job. Needles blunt easily with use (especially with stabilizers) and it is important to change them frequently (about every 100,000 stitches). A sharp needle will penetrate the fabric cleanly and will result in a well-stitched design. A blunt needle can catch on the fabric or the embroidery and ruin your work.

The larger the needle number - the larger (and stronger) the needle. Sizes range from 60/8 to 110/18. Always choose the smallest possible needle for the design, fabric and thread you are using. The thread should easily pass through the eye of the needle - if it doesn't, use a larger size needle. All needles produce holes in the fabric as you sew and using an unnecessarily large needle will weaken the fabric around and underneath the design.

If you are having problems with the thread breaking or shredding, the first thing to do is to change your needle – either to a larger size or to a brand new needle.

* Embroidery. This is the most common and frequently used needle for machine embroidery on everyday material. It is designed for rayon, polyester and fine cotton (50wt) thread. It has a slightly larger eye and the eye is smooth so it reduces the chance of the thread breaking or shredding as it passes through. Start with a 75/11 and, if the thread breaks or shreds, go up to a 90/14. * Gold embroidery needle. These needles are coated with titanium which resists adhesives and penetrates course and densely woven material better. The needle has a slightly rounded point and a large eye. They last way longer than normal embroidery needles – up to twice as long. They are available in 75/11 and 90/14

* Metallic. These needles are designed for use with metallic thread. They have a large, elongated eye and a grooved shaft so the thread moves through the needle and fabric better. This reduces the heat and friction and results in less thread breaks. They come in the two sizes - 80/12 and 90/14. Because of the abrasion the eye of these needles receive from metallic thread, they have to be changed more frequently than ordinary needles – around every 50,000 stitches. If your metallic thread is fraying then change the needle.

* Jeans (also called denim needles). They have a strong shaft and a very sharp point. The eye is bigger than usual so they are suited for embroidering on heavier materials such as heavy fabric, canvas, tin foil and leather. These come in many sizes - 70, 80, 90, 100,110 and in assorted packs. * Microtex (also called sharps). These are used to sew on tightly woven fabric. These needles are very sharp and cut through the fabric as you sew: resulting in a smooth edge to your embroidery. They come in various sizes including the 60/8, which is the smallest needle available.

* Quilting. These needles are designed for machine quilting as they are sharp and can penetrate through many layers. Their eye is not as smooth as embroidery needles so they are not the best choice for machine embroidery. They come in two sizes – 75/11 and 90/14.

* Twin embroidery. This is a specialist needle mainly used in heirloom embroidery. They come in 2.0 and 3.0 and the size relates to the distance between the two needles. Follow your machine’s directions on how to thread them.