back
to the topThis information was originally collected and distributed by Marji Piech from April to October in 1996. It has been re-organized and formatted by Ashley Engelund. The content remains the same. All information is from Marji Piech, except where she has explictly noted other contributors.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Back to the main page of Marji Piech's 1630 Notes and Fantasy Stitches
You can alter the appearance of the large border stitches-menu G2. Try decreasing the stitch width. This will not affect the overall width of the pattern but rather the width of the stitching that makes up the pattern. Change the overall length of the pattern with the balance buttons. This is a somewhat minor adjustment, however, as increasing the vertical balance will space out the stitches and bit and decreasing it push them together somewhat. A favorite of mine is G 2/5 which, sewn in gray thread, reminds me of the Tetons. Pick a stitch and play with it until it pleases you-the Bernina� isn't always right ;-)
Delicate Vines
Notes: Playing with these settings takes a very open and plain stitch and turns it into a pretty embroidery accent. The best widths are from 2 to 3, with lengths down to 1. (The settings above are my personal favorite.)
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Heavy Topstitching
Notes: This is similar to using a triple straight stitch.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Pretty Version
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Faux Braid 3
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Little Leapers or Budding Flowers
Notes: Try decreasing the balance (+10) for different looks.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Swirl Variation 2
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Climbing Vines/Cacti
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Football Players?
Notes: This could be interpreted as a floral with the width set back to 4.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Leaves
Notes: These really do look like leaves when stitched in green thread. With Pattern Extension set to 4, reducing the stitch width to 2 will produce a very delicate, variable satin stitch-just a hint of a wobble. Good for outlines. (You can maneuver the fabric to follow an outline while stitching this stitch.)
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Both the darning stitch A 2/9 and the reinforced darning stitch A 2/10 have decorative as well as functional uses. In addition to variable pattern length, the stitch width and the stitch length can be varied. Varying the stitch length will not change the overall length of the pattern (you must adjust this as you would for setting the length of an automatic buttonhole) but instead will change the length of the straight stitches used within the pattern. Changing the stitch width will affect the overall width of a pattern by changing the spacing between the parallel rows of straight stitching-not by reducing the number of rows; independent of the stitch width setting stitch A 2/9 will sew 18 parallel rows of straight stitch and A 2/10 will sew 17.
My favorite decorative settings for these stitches:
Decorative Darning Stitch A 2/9
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Decorative Darning Stitch A 2/10
Notes: Adjust the stitch length so that the individual stitches become visible to produce a basket-weave texture not unlike that used for fill-in stitches on commercial embroidery. The closer you set the stitch width the less apparent the texture will be. You will want to use a stabilizer when testing these stitches; puckers will result even on two layers of weaver's cloth.
I think scattering different overall lengths (and widths, maybe) of these stitches on a plain fabric for vest fronts would be stunning. It would provide an understated sheen in a matching rayon thread and an interesting decorative accent in coordinating colors. Maybe even down the placket of a blouse.
These stitch patterns cannot be put into memory in order to be reproduced as is. A 2/9 produces "junk" with knotted thread on the backside when put in memory. However, for each time A 2/10 is put into memory a single point , facing right, is stitched which is composed of 3 stitches to the right and three to the left. A series put into memory will produce a 9mm zig zag effect except that the individual points are composed of multiple stitches. I don't believe there is another stitch on the 1630 just like it.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Automatic Darning Fabric (not what you think) - First Setting:
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Automatic Darning Fabric (not what you think) - Second Setting:
Notes: Cut 4 layers of Sulky Solvy about 1" larger all around than desired finished piece. (Start out with about a 4" square.) Stitch either a random or a planned (grid) pattern with the first setting. Make sure that the darning patterns overlap so that when the Solvy is dissolved the fabric will not fall apart. You can leave spaces or holes, just not huge ones without harming the integrity of the fabric.
Set up the machine with the second setting. This will be free motion work. Where the long edges of a darning stitch are not overlapped by a portion of another darning stitch they could ravel when the Solvy is removed as basically you have rows of straight stitching on those edges with only a small grid of reinforcing stitch underneath to grab onto. So, use small, squiggly free motion stitching to overstitch these edges and secure them. You could, though it is not necessary, also stitch networks of lines across any open areas to create further pattern.
When you are pleased with your fabric tear away excess Solvy and dissolve what remains inside the stitching by soaking for a few hours in cool water. You may want to change the water a few times. All of the stabilizer has been removed when the piece no longer feels sticky to the touch when patted dry with a towel. At this point if there are insecure areas, sandwich between two layers of Solvy and add more stitching.
If desired you could sandwich pretty threads between the layers of Solvy before stitching and keep the stitching more open to display these threads.
Use your imagination- you could create an applique or an inset for a garment. If you were more dedicated, a pocket square could be within reach or even a small scarf if you put more emphasis on the free motion stitching than on the darning.
Do not use hot water soluble stabilizers with rayon threads!!! A cold water soluble stabilizer is the best choice for this project as it provides an avenue for the removal of the stabilizer trapped within the layers of a darning pattern.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
The scallop stitch G 1/9 on the 1630 is much more versatile than on earlier Bernina�s. I discovered this the first time I went to make an off the edge scalloped border (see the next entry) on a blouse. Make up a sampler of the different settings of this stitch to use as a reference. If you use weaver's cloth for the base a stabilizer will not be necessary and you can write the various settings nest to the stitches with a ball point pen or Sharpie.
Scallop Settings:
Notes: The scallop on the 1630 is made up of two widths. The first is the height of the scallop, the distance from the imaginary horizontal line connecting the points to the top of the arches. The second is the width that the needle zig zags within the scallop. The stitch width dial affects both of these settings. When choosing a scallop width and length here is the decision process that I find gives the most reliable results:
1. Choose the stitch width according to the internal zig zag width desired. A stitch with of 9 produces a bolder scallop than a stitch width of 5.
2. Adjust the stitch length so that the stain stitch pleases you. This will affect the length of the scallop, do not worry about this at this point.
3. Use the pattern extension button to adjust the length of the scallop.
Generally I use 2 or 3 times. The closer to satin stitch length you have adjusted the stitch length the more necessary it will be to readjust the length of the scallop with the pattern extension.
Make up a sample square of scallop lines. Mine has become an invaluable reference.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Picot or Scalloped Border (refer to above notes on the stitch G1/9)
My Favorite Settings (Alternates in parentheticals)
Notes: Prepare fabric by hemming-at least 1/2" deep. The hemming method used does not matter as long as the bottom of the hem contains only two layers of fabric. Cut strips of a tear away stabilizer about 1" wide. (My preference is for 3 layers of Stitch and Ditch Stabilizer. It tears away cleanly which is very important for this stitch. Another alternative would be Heat Away as it would also be cleanly removable--use a press cloth if you have chosen to use rayon thread!!!)
Set machine with desired settings. If you have the coded #6 foot (or the non-coded if you are using a stitch width of 5) thread gimp or pearl crown rayon through the hole in the front of the foot. If not, thread the gimp up through the bobbin area of the machine so that it exits the circular hole in the center of the needle plate-either leave the bobbin door open or make sure gimp stays in thumb indentation. See the Advanced Guide Workbook, your dealer, or e-mail me (mpiech@ida.net) for more information if necessary. Place stabilizer so that the middle of the fabric edge (right side up) is about in the middle of the stabilizer. Stitch, guiding the folded edge of the fabric along the inner edge of the right toe of the foot. The points of the scallops should be firmly attached to the fabric. When starting to stitch hold the cord at the back so that the first few stitches fall over it. After that it should be self guiding. If using at a hem edge, start in an inconspicuous place and try to match the patterns at the end by slightly pushing or pulling the last couple of patterns. See other references for matching decorative stitches or e-mail me for more info.
Carefully remove the excess stabilizer, tearing it TOWARDS the stitches. The dense satin stitch should make removal both easy and clean. I want to try this stitch over elastic thread for button loops.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
A Different Type of Scallop:
Notes: Try increasing the balance number to 40 to create a small point between the scallops.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Stitch Designer Bar Tacks (Pamela J Kartak 104212.3700@compuserve.com)
1. Turn on grid in the stitch designer.
2. Set size to 9mm (lower right hand corner of the screen) before starting the trace stitch.
Number (mentally or on paper) the grid lines as follows:
Vertical lines from left to right, numbers 1 through 14
Horizontal lines from bottom to top, numbers 1 through 7
The numbers going DOWN (the horizontal lines) will always be the FIRST set of numbers referenced.
The numbers going ACROSS (the vertical lines) will always be the SECOND set of numbers referenced.
Click on the referenced dot in you stitch designer. Remember your grid screen will rotate around to the right (clockwise) so the shot end --- the side screen (#7 thru #1) will be on the TOP when stitching and the top screen (#1 though #14) will be on the right SIDE of the stitching.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Triangle Bar Tack:
1. Turn on the grid in the stitch designer. Activate a second time be clicking again. (The colors should reverse.) (This will keep you lines perfectly straight between the dots.)
2. Set size to 9mm before starting to trace stitch.
3. Choose the Free drawing symbol. (Continuous Line tool.)
4. Check O.K. on the dot in the following locations:
1:1
4:5
7:1
6:1
4:1
3:1
2:1
1:2
5. Click "Clear".
6. Save design. (Use the curved arrow to translate the stitch. Always leave this menu before turning off the machine to reduce the risk of losing stitches in memory.)
7. Use "Pattern Begin".
8. Stitch twice or three times.
"Try it --- this looks like bar tacks found on expensive RTW.
This if from my Bernina� 1630 Club at Northwest Sewing, Seattle. Thanks Wayne."
Notes: This gridding method is a great way to share stitch designer stitches! I know this looks a little strange (actually simple) on screen, but if you followed the instructions to draw it will stitch out in a very ingenious manner.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Stitch Designer Clouds (Ivy Jeffand Ivy@msn.com)
"I have also used the stitch designer to draw a cloud which I then quilted in a quilt without having to turn the quilt."
Ivy says she designed her cloud in the stitch designer using the circle tool, following the directions for the heart in the January (#1) issue of the 1630 library. The stitch width in the box second from the lower right was set at 45mm. She finished all of the other quilting before stitching the cloud or doing other direction siting, making it easier to manage the quilt. She found that directional quilting worked best on smaller areas as it was easier to keep the stitches straight and consistent.
My notes: Bernina� has three good leaflets out on the stitch designer. If it continues to baffle you despite the explanations in the manual the leaflets can help you learn by example. The most expensive is $4.00.
I made my cloud by making small, overlapping circles with the circle tool on the side and top of the stitch designer. I connected the left and right bottom with a straight line. Then I picked the clear tool and removed the circle line segments that were on the inside of the cloud, leaving overlapping arcs. Using the freehand or continuous line tool might be better. Remember to work from left to right. Keep it simple to reduce the possibility of multiple stitching on the same areas as this will be for quilting.
I used two layers of Thermolam Plus in my sample. I also selected Needle Stop Down and Single Pattern End. You may have to practice a little to get your stitch ends to meet up because of distortion from the thickness of fabric.
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.
Back to the main page of Marji Piech's 1630 Notes and Fantasy Stitches
The original contributors (including, but no limited to Marji Piech) retain the copyright � 1996-2003 to their contributions and Marji Piech retains the copyright � 1996-2003 to the compilation of this information ("The Marji Piech Fantasy Stitches" pages under http://www.AshleyCaroline.com/sewing/1630/). Permission has been granted to publish the compilation on the 1630 web site (http://www.AshleyCaroline.com/sewing/1630/) in a reformatted version but with original contact intact.
If you would like to reproduce these pages (either in print or electronically), please contact Marji Piech for permission.