Manuel Ayala-Chauvin
Institution: Fablab - Universidad Tecnológica Indoamérica
Year: 2025
This assignment focused on digital textile fabrication, using tools not covered in other Fab Academy assignments: specifically, the Brother sewing machine and the Brother SE1900 embroidery machine. While other weeks focused on rigid materials, electronics, or subtractive methods, this project centered on flexible materials, decorative stitching, and embroidery as fabrication processes.
I created two decorative elements for the puppet—a tie and a bowtie—using 2D sketches in Fusion 360. These were exported as DXF files for laser cutting. The goal was to match the puppet’s dimensions while allowing clean stitching lines.
I used yellow polyester and white cambrel fabric for the pieces. The DXF files were imported into the Epilog software and cut with the following settings:
This section documents the laser cutting process used to create textile shapes using adhesive-backed fabric. Two main designs were cut: a tie and a bow. The process was executed using a laser cutter and controlled via design software.
The cutting file was prepared in the laser control software. The material was aligned using a background image to match the position of the fabric. Cutting parameters were adjusted according to the material thickness and adhesive layer.
The laser begins cutting the shapes: a tie on the left and a curved bow on the right. The fabric is placed on the honeycomb metal base of the cutter, ensuring ventilation and support.
Both the tie and bow shapes are fully cut and visible. The cut pieces are still attached to the fabric for stability and easy removal.
The final cut shapes are removed from the backing. On the left is the yellow bow with white backing, and on the right the yellow tie. These will be used in a puppet design or fabric decoration project.
The pieces were sewn with a Brother machine. The workflow included: threading with red and white thread (top and bobbin), testing tension and stitch length, selecting stitch pattern 56 for the tie and 63 for the bowtie, and adjusting machine speed to maximum without compromising precision.
Problem encountered: At first, the threading was incorrect, causing skipped stitches. This was solved by consulting official Brother tutorial videos and following each threading guide step-by-step. Once corrected, stitching proceeded smoothly.
A central decorative loop was sewn manually to complement the bowtie. All components were aligned using pins before final machine sewing.
This section describes the textile assembly and decoration process using a Brother sewing machine. The elements were previously cut with a laser cutter and decorated with ornamental stitches.
The sewing machine is configured with the appropriate settings. Decorative stitch types and lengths are selected on the digital panel, and thread and bobbin are correctly placed.
Two shapes are prepared: a bow tie on the left and a classic necktie on the right, both made from yellow fabric with adhesive white backing.
The bow is sewn with a heart-shaped stitch pattern using red thread, which contrasts with the yellow fabric for a playful effect.
The sewing of the tie begins. Careful manual control ensures clean, consistent stitching along the edge.
The tie is completed with a decorative spiral border. The stitch follows the contour and enhances the shape visually.
Manual guidance of the fabric ensures accuracy, especially with complex or decorative stitch patterns.
The bow (left) and center band (right) are completed and ready to be joined for final assembly.
The rectangular center band is sewn around the bow to give it structure and finish. This reinforces the bow shape.
The finished bow is mounted on a red fabric background, possibly as part of a puppet costume. The result is clean, colorful, and playful.
The following short clips document parts of the stitching process:
I embroidered the FabAcademy logo onto the tie using the SE1900. The process involved: framing the fabric tightly, selecting a font and size from the machine interface, setting thread colors (black/orange top, white bobbin), and aligning the hoop correctly.
Problem encountered: The fabric moved slightly during the first attempt, causing misalignment. This was resolved by re-tightening the hoop and double-checking the hoop-lock before restarting the job.
A cape was created for the puppet and hemmed with stitch 00. This prevents fraying and enhances the professional look of the final product.
In this initial phase, the excess fabric of the dress is trimmed using scissors. The goal is to shape the lower edge of the garment to achieve a cleaner form before sewing.
After trimming, the fabric is positioned on the sewing machine. The edge is aligned to begin sewing with precision.
The edge is sewn using a straight stitch on the sewing machine. A simple hem is likely applied by folding the fabric inward to prevent fraying and to provide a neat finish.
Once the sewing is complete, the hem is inspected to ensure the stitch is firm and aesthetically clean. The result shows a curved fabric shape, typical of the puppet's dress design.
This process ensures a clean and durable edge, suitable for the puppet's movement and with a professional visual finish.
All pieces—tie, bowtie, cape, and embroidery—were assembled onto the puppet using machine and hand stitching. Special care was taken to align pieces symmetrically and avoid bulk at connection points.
This assignment provided the opportunity to explore digital fabrication techniques in the textile domain, which are often overlooked in technical training. Through the integration of CAD modeling, laser cutting, machine sewing, and embroidery, I was able to produce functional and aesthetic accessories for a puppet that not only enhanced its appearance but also demonstrated the versatility of digital tools beyond rigid materials.
One of the key learnings was the importance of combining traditional craftsmanship with digital precision. The challenges faced—such as threading errors and alignment in embroidery—allowed me to understand the limits and capabilities of the machines, and how to resolve issues using documentation and tutorials.
Most importantly, this week showed that digital fabrication can be extended into creative storytelling tools, and that textile-based design can be as structured, repeatable, and shareable as other forms of digital making.
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