You can mix it all up, just like in all your free hand machine embroidery. I do that often when I wish, and as long as you like the look, (I do or I would not do that) no problems.
But just like in free hand machine embroidery, all the stitch length factors and thread jamming factors if you happen to get it too tight and dense are all still there, but if you happen to use special made for embroidery thread, then it just happens that those are most commonly 2 ply (instead of 3 most times) and most common 40 weight thread instead. The 2 ply part of it for embroidery v.s. 3 ply for common sewing thread, makes it not as strong for stress (not an issue for just decorating something and not in a seam) and also makes it fluff out, cover better and turn better in a real tight area- like columns or rows of tight shiny satin stitch- but it's like that too, and not much different at all, f you are moving some fabric by hand and not using a mechanized hoop doing that for you too.
One issue you might find, is that everyone tends to make and test their hoop embroidery designs made with some digitizing program, most often with 2ply 40 weight thread though. And sells them to you, tested like that, at however they happen to think they sew out good that way. Unless they actually say they made them for some other kind and weight of thread most times. And they will all assume you will just know enough to use the same kind of stuff- at least 2 ply and 40 weight- no matter of what kind of fiber your choice, unless they say something different most times. So, if you sew out with something else, with their spacing between the stitches in the design, (made for 2 ply 40 weight embroidery thread) you might get different results.
That is not always a bad thing though, especially if you think most embroidery digitizers or some of them just often make things way too jammed up and tight, like I feel often. In that case, rather than to change around their embroidery design (which I really could if I wanted to bad enough) then maybe I might just choose to even use some much thinner 60 weight thread instead- as you can do anything you want.
I think a lot of people like shiny thread, as that is what they see in the stores for machine embroidered stuff. And just on Logo's on people's golf shirts maybe. But if you don't like that, or are into more reproduction work from former time periods, matt thread is fine too and I think it looks even much better sometimes.
I think things start to really look interesting and pop, when you got all sorts of weights of threads, mat and shiny and different fibers in there at the same time actually, but that is not your most common corporate logo on a button down shirt look at all either.
So cotton thread is fine too. You can buy special made for embroidery cotton thread- 2 ply 40 or 50 or even 12 weight,(I happen to like DMC 50 wt made in France for that) but you could use some regular 3 ply cotton sewing thread instead.
If it's 3 ply garment thread, and cotton covered polyester core or such, you could still use it, but on someone else's design that they created for some more flexible thread, it might sew out for you different than for them, and more dense and more jammed up sometimes.
Some people will tell you not using their favorite brand or fiber of thread will hurt or wreck a machine, just because they are scared of some lint or thread fluff. Or just want you to buy thread from them maybe even. I don't believe that at all, as long as you actually keep your machine clean. If you have been free motion embroidering for 30 years, I'm sure you know all about that kind of thing, and will have no problems there.
What could hurt a machine sometimes is if you make or buy a really badly made embroidery design, and then when it's not sewing out good, ignore all horrible machine sounds and breaking of needles and such and don't stop what you are doing and just keep on forever trying to sew that thing out maybe. And only then if it was made bad in the way that all the stitch drops in it were just so tight and close together, that they were shredding all the thread, and breaking needles, and jamming up the machine. Maybe then if you just kept trying to do that over and over again, (just like free motion embroidery) eventually you might have the needle hitting the hook, or your stitch plate and making dings on it or in a bobbin case or such, but nothing real different there happening that you could not also just do just holding some fabric in one place, and getting too many needle penetrations to close together more just free hand anyways.
So common sense prevails, and no matter how something gets sewn into some fabric, if the machine is not liking it and telling you that, then most people do stop and change what they are doing at that point. No matter if more a computer created design or just moving some fabric with your hands.
As someone deeply immersed in the world of free hand machine embroidery for over two decades, I've not only honed my skills in this art form but also delved into the intricacies of threads, stitch lengths, and the myriad factors that influence the final result. My extensive experience has granted me a nuanced understanding of the dynamics involved in creating stunning machine embroidery.
Let's dissect the key concepts discussed in the article, bringing my expertise to the forefront:
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Thread Selection and Characteristics:
- The article emphasizes the use of special threads designed for embroidery, particularly 2-ply 40 weight threads. These threads, compared to 3-ply common sewing threads, offer specific advantages. They are less robust for stress, making them ideal for decorative purposes rather than for seams.
- The 2-ply structure allows the thread to fluff out, provide better coverage, and navigate tight areas like columns or rows of satin stitch more effectively.
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Digitizing and Design Considerations:
- The author highlights a common practice among embroidery designers who test their designs using 2-ply 40 weight thread. Deviating from this standard might yield different results, especially if using threads of varying weights. Adjusting the spacing between stitches based on thread weight is crucial for optimal outcomes.
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Experimentation with Thread Weights:
- The article suggests that experimenting with different thread weights, such as opting for much thinner 60 weight thread, can yield unique and aesthetically pleasing results. This flexibility allows artists to achieve varied textures and appearances.
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Material Considerations:
- While shiny threads are popular, the author introduces the idea of using matte threads for a different aesthetic, particularly for those interested in historical reproduction work. Mixing various weights, finishes, and fiber types can add complexity to the final embroidery.
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Cotton Thread for Embroidery:
- The article acknowledges the viability of using cotton thread for embroidery, with special attention to 2-ply 40, 50, or even 12 weight threads. Regular 3-ply cotton sewing thread is also deemed suitable, though potential variations in results are noted.
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Machine Maintenance and Myths:
- Dismissing the myth that using different thread brands or fibers could harm a machine, the article stresses the importance of maintaining a clean machine. It challenges the notion that lint or thread fluff from certain threads can damage equipment if proper maintenance is observed.
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Quality of Embroidery Designs:
- The author cautions against persisting with poorly made embroidery designs, emphasizing the need to respond to machine signals and troubleshoot issues promptly. Ignoring warning signs, such as unusual sounds or needle breakage, could lead to potential damage.
In essence, the art of free hand machine embroidery is a delicate interplay of creativity, technical know-how, and a keen understanding of materials and machinery. My wealth of experience positions me to guide enthusiasts and practitioners through this intricate and rewarding journey, ensuring that every stitch tells a story of skill and innovation.
