I’ve been embroidering garments and other textiles for more years than I have been printing and applying digital heat transfers. So when my editor asked me for an article on multi-media—specifically, embroidery combined with a sublimation transfer—I was surprised and pleased.

I started thinking about education and how important it is to teach things that people can understand and try for themselves— not just things that make the teacher look good and his or her level of expertise unattainable. If a design is simple, it is easy to teach and execute; if it also has a classy look when finished, it gives a sense of satisfaction to the artist.

“Artist” is typically not a word I hear apparel decorators apply to themselves. But I have an appreciation for even the simplest corporate logo. When it is stitched or printed correctly, when the placement and the density of the ink or thread is “right on,” it is certainly a form of art.

Art is defined as the ability to perform a specific skill, apply that skill to create a finished product and make things that have form and beauty. I know how to sublimate, and I know how to digitize and stitch; my next task was to determine what I would print and stitch.

My youngest daughter lives in New York. She loves purses and shoes and is always encouraging me to make her something unusual to wear when going out on the town. I visit her quite often; we take the ferry to Staten Island and back, and I snap pictures of the New York skyline. After the 9/11 attacks most of the passengers were taking pictures of the “hole in the sky”—a strange thing, to be snapping photos of something that is not there.

So, for my sublimation/embroidery contribution, I decided to make Jenna an evening purse that commemorates the new skyline of her chosen city.

Assembling components

My first step took me to the supply cabinets where I keep my supplies. I chose some white, burgundy, violet and rose polyester satin. (Now, I know that sublimation is supposed to go on white and light polyester, but what’s the point of being an artist if you don’t take chances?) I pulled out some shimmering polyester netting, then rummaged through my stash of baubles and bangles. I found some interesting beaded fringe and some lengths of rhinestones. The pile on the table glittered and gleamed, like the magic Big Apple at night, like a walk down Broadway.

I looked in the fabric stores for a pattern, but found none that caught my eye. I wanted an envelope style purse, sort of a retro-50s look. In the end, I made my own pattern using graphed planning paper.

Original images

My idea was to create a sublimation transfer of the New York skyline, then place my embroidery where the WTC twin-towers had been. I hadn’t decided what form the embroidery would take; I placed that on my mind’s back burner.

Some of my New York photos include the now-missing towers and I scanned one of those into CorelDraw to create a silhouette for my design. I deleted the towers using Corel, but wanted to begin with them in place to show the location for what would be my embroidered replacement. I also played with some of Corel’s special effects and created a very Monetesque skyline which I liked very much and decided to use it on some of the fabric as well as the solid silhouette.

Next I printed out the Corel file on regular paper to get an idea of size, using my purse pattern as a guide. Accuplot paper was my choice for the final prints, and I used my Epson C82 with a bulk ink system, a step up from my Epson 980, as the C82 has a cartridge for each color, which economizes on ink.

I originally selected black-ink-only in “printing preferences” and mirrored the image so it would be correct when printed. For some later prints of the more artistic skyline, I de-selected the black only and was rewarded with a sepia-toned print that I also really liked.

I planned the design to be simple so that a novice would be encouraged to try something similar, and a more experienced printer would be encouraged to expand on the idea.

I kept the digitizing simple for the same reason.

Registration concerns

I imported the final print choices into my digitizing program and started playing around with ideas. I digitized a spray of manual stitches that would fit between the existing buildings and replace the missing towers, then added four branches of stars—a total number of fifty—one for each state. I added some lighted windows to bring the buildings to life, being careful to position them in a manner that would not require precise registration, stitches to print. I decided to use this design with the graphic that did not show the lost buildings.

I digitized just a spray of stitches with a single star at the base to use with the Monetesque style sublimated design. I thought I would also use this design over the top of the design that includes the two towers, masking them behind the metallic of a specialty thread.

Both the designs have the start and stop point of the stitched component programmed at the first stitch, which enables the operator to place the needle of the machine in the correct position. There is an area of forgiveness where the design begins so the needle position, while important, is not critical.

. . . And all that jazz

The graphic was sublimated to the fabric using a clamshell press and a temperature of 375°F for 15 seconds. My test design was not secured by tape or any means, so when I opened the press, the sublimation ink created a “ghost” of the buildings, which appeared to be a foggy repetition of the cityscape. The look was sensational, and a wonderful example of how you can use even a “mistake” to create a wonderful product.

After I finished printing my designs, I decided to print one of the test prints— done on recycled paper—just to see what would happen. It is larger than the other designs and has a delightful green Impressionist look. I printed it on a piece of satin and will save it until inspiration strikes.

Another happy not-so-much-of-anaccident was the burgundy satin itself. Although we are warned not to sublimate on dark colors, I take that kind of rule as a challenge to try—just like printing from recycled paper. The burgundy fabric is a matte antique satin with a dull luster and a texture that is the result of weaving with uneven yarns. The dark silhouette looks rich and mysterious against its dark hue, and the silver embroidery and shimmering net that covers the design delivers a dramatic effect. The violet and rose fabrics combined with the sublimation ink resulted in a smoky gray design that is softer than the sharpness of a black silhouette.

I was pleased with the results of breaking the rules, pushing the envelope, thinking outside of the box—and all that jazz. How can we possibly learn and grow if we don’t do those things?

Courage and resolve

It is said that a little knowledge is a dangerous thing, but a little knowledge of photography, CorelDraw, sublimation, digitizing, embroidery and sewing resulted in a not-so-dangerous purse that was easy to create but has a classy designer look.

You don’t have to be a digitizer or know how to sew. Buy an over-the counter pattern and find a retired seamstress to create your one-of-a-kind idea. Stock designs and only a beginner’s knowledge of sublimation can produce some amazing results.

I have combined thermal transfers and embroidery before this project—as well as contracted screen printing and combined it with stitching—but this was my first sublimation/embroidery project. My chosen project accomplished many things: I gathered some more experience at printing, exercised my creative muscles and ended up with a wonderful gift for my daughter. It was easy and fun and something the newcomer to printing and embroidery can accomplish.

An added bonus—Jenna’s purse is an elegant reminder of the courage and resolve that has always underscored the American spirit.

Reprinted from Printwear Magazine - November 2005 ©2005 National Business Media, Inc. all rights reserved