Compiled Embroidery Skill Articles

Conquer Lettering | Printwear 

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printwearmag.com 

Ed Levy 

Embroidery lettering comes in all shapes and sizes. There are endless font categories, types, and styles. With so 

many options, choosing the right lettering is often a difficult process. To complicate matters further, more than 

70 percent of all embroidery has some type of text, especially with the recent popularity of monograms. Believe 

it or not, you can tame the lettering beast and turn it into a manageable process for embroiderers and 

customers alike. 

Selecting font 

One of the biggest mistakes an embroiderer can make is to provide the customer with an endless selection of 

fonts. With too many choices, it slows the decision process, which can lead to a lost sale. However, there’s a 

balance between too few fonts and offering the right fonts. Examine your order history and previous embroidery 

files to identify popular font choices by customers. 

Another option is to separate font types by personalization category. Not every font works in all situations. 

Establish codes to identify the appropriate lettering for specific types of jobs. 

When it comes to size, large fonts are just as troublesome as small fonts. Large fonts typically have wider 

columns, resulting in wider stitches. When a column exceeds approximately 8 mm in width, it becomes fragile 

and can pull, snag, rip, and tear easily. Switching the column stitch to a fill stitch eliminates the wide stitching 

but significantly increases the stitch count. A column stitch has one stitch on each side of the column while a fill 

stitch is a series of smaller stitches that travel across the shape and lays flatter on a garment. 

Choosing a font with a thin column allows embroiderers to sew the lettering at a large size before the column 

stitch becomes too wide to stitch. Fonts with serifs are best stitched vertically rather than horizontally, which 

significantly increases size capabilities. Using a large font also captures intricate details and typically prevents 

the center of letters from closing. 

Medium fonts are generally best for embroidery because the columns are not too thick or too thin, and adding 

lettering details is simple. However, medium fonts aren’t always practical. Customers often try to squeeze too 

many characters within a given space, which can cause distortion. If column width is too thin, a medium font 

can also become small.



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Navigating small lettering 

Small lettering is the most common embroidery challenge. There are countless articles on the subject as well as 

many differing opinions. As with most problems, the best solution is to avoid the problem altogether. 

Understanding the limitations of small lettering solves about 60 percent of issues. 

The greatest problem with small lettering has nothing to do with height. Rather, the problem is that the column 

width is too thin for a needle to form a proper stitch. If sewing with a 75/11 needle, each needle penetration 

creates a hole with a diameter of 0.75 mm or a radius of 0.375 mm. For a stitch that measures 1 mm in length, 

the sewing process creates two holes with a radius of 0.375 mm each, leaving only 0.25 mm of fabric untouched 

between the outer boundaries of the holes. That’s not much to work with. 

Of course, the hole closes again around the thread after withdrawing the needle, but the fabric is potentially 

weaker. In this situation, if the stitch length were 0.8 mm instead of 1 mm, you’d likely sew holes rather than 

laying down stitches. 

When a customer wants too many characters in a given area, the letters are compressed, further compounding 

the problem of the column width. Generalized values can assist in determining the feasibility of text within a 

certain area. For example, in a 4" area, try following this guide based on a normal thickness font: 

1" lettering, eight characters 

3/4" lettering, 11 characters 




This guide is not absolute, but it’s a good way to gauge if text will fit within a certain area. The more characters 

added to the values provided, the greater the chance of problems arising. In many cases, problems with small 

lettering are self-inflicted. Our desire to please the customer overpowers common sense, and we can’t say no. If 

the embroidery won’t sew properly, it’s the decorator’s responsibility to educate the customer and offer 

alternatives. 

Another tip for success with small lettering is to use more traditional typestyles of medium thickness. 

Characters with slender columns are too thin to sew, and thick columns often close the center of letters.



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Underlay is also a culprit of small lettering troubles. Embroiderers tend to load up a letter with underlay, but it 

can easily stick outside of a thin column and further close the center of letters. A center walk underlay that 

doesn’t repeat more than once or twice is usually sufficient. In some cases, satin letters don’t work for the given 

application, and it’s necessary to create running stitch letters. This type of lettering is more tedious and difficult 

than the satin-column style. 

Ultimately, consistency is the key to creating successful run stitches. If some portions of the lettering are 

stitched with one or two passes and other areas have a different number of passes, the variances will stick out. 

Keyboard lettering is often blamed for poor letter quality because it’s designed to embroider at a wide range of 

sizes. However, there’s only one ideal size for a predigitized object. Embroiderers tend to abuse a font and use it 

for a variety of sizes without making adjustments for the letter’s push or pull. All lettering, whether 

hand-digitized or keyboard generated, must follow the rules of embroidery in order to look great and sew 

correctly. 

Great embroidery is the art of managing distortion. Small lettering pushes and pulls against material, leading 

to uneven lettering. Letters with columns, such as i, l, w, k, won’t push out and letters with curves, such as c, o, 

e, pull in. 

Embroiderers must visualize the sewing process when creating stitches. Think the process through and create 

lettering carefully. With practice, you can successfully embroider letters of all shapes and sizes.

10/28/2016 Back to Basics 

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Choose the correct backing for impressive embroidery results. 

May 17, 2016 

By Nancy Mini, Contributing Writer 

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When it comes to getting the biggest bang for your embroidery buck, the right 

backing or topping makes the dif ference between a hohum product and results 

that truly pop. Not everyone who embellishes apparel or home décor with 

embroidery realizes the fabric itself plays a major role in the decision regarding 

which backing should be used. 

Backings, also called stabilizers, allow the hooped garment to glide smoothly on the 

needle plate of your embroidery machine. This smooth movement during the 

embroidery process keeps the registration of your design in place. 

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When embroidering on an unstable fabric, like a knit, you need more stability from 

a backing. A stable fabric, such as denim or canvas, will require less. Beyond the 

fabric, let your backing decision be influenced by the design, color and product. 

Consider the Switch 

Designs created with short stitch lengths, or with higher stitch densities, will benefit 

from a heavier backing. Large designs — for example, jacket backs — should make 

you think of using a heavier backing. 

Also, remember that while most backings are white, if you are embroidering on a 

dark material, black backings are readily available. Finally , what is the purpose of 

the item you are embroidering? What is the probable visibility of the back side? In 

the event that its back side will be seen — as in blankets, towels or jackets — you’ll 

want as little backing left as possible. 

Explore Other Options 

Before you consider using specialty backings, there are two basic options from 

which to choose: cutaway and tearaway. 

Shop Spotlight 

Cutaway backings literally need to be cut from around the back of the design once 

it is stitched. This is the best choice for unstable fabrics that comprise garments 

such as sweat shirts, piqué knit golf shirts or sheer dresses. 

Softer than most tearaway backings, cutaway also is best choice for garments that 

will be worn against the skin to avoid a scratchy feeling. Highdensity and large 

designs also will look best when a cutaway backing is used. 

Tearaway backing should be your goto choice for heavier , more stable fabrics 

such as those used in work shirts, denim jackets and jeans or canvas tote bags. 

This backing needs no scissors or shears to remove excess, and can simply be 

torn away from the design. Both cutaway and tearaway backing options are 

available in light, medium and heavyweight configurations in rolls or precuts, and 

many come in both white and black. 

Process Engineering 

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Read more 

Something Special 

As jobs become more complex and demanding, the normal, everyday backings 

won’t necessarily be the best choice. Manufacturers have risen to the challenge 

with a host of alternatives — specialty backings — that were designed with 

particular applications in mind. 

Specialty tearaway backings, for example, include cap backings that are ideal when 

embroidering caps and capstyle hats. 

They come in white or black in a few different weights, but most importantly, are 

available in precut packs. Some measure 4" x 7" or 4"x 12", allowing embroiderers 

to embellish the front and sides of a cap. These backings are designed to fit 

directly into cap frames to hold the cap still to ensure registration stays in place. 

Other tearaway specialty backings include waf fle, washaway and stickon, each 

serving a unique purpose. W affle, also known as “popaway” because of the 

popping noise it makes when removed, was designed for delicate fabrics and 

designs. When removed by hand, it causes minimal stress on the design. 

Washaway is used when the back side of a sturdy item, like a towel or linens, can 

be seen. Excess backing is removed by hand, and any remaining small pieces will 

disappear when the item is washed. 

Stickon backing is used for small, hardtohoop areas, such as pockets, socks, 

cuffs, belts and collars. It also can be used on fabrics such as velour and brushed 

corduroy to prevent hoop burns. It features pressuresensitive adhesive covered 

with a release paper on one side. It also can prevent hoop burns on some stretchy 

performancewear fabrics. 



Cutaway backings come in even more specialty configurations. W eblon No Show is 

a lowprofile, soft, sheer cutaway that is popular for use on some performancewear . 

It prevents the “badge ef fect” that occurs when heavy backing is used and is 

obvious from the front of a garment. It is available in white, black and beige. 

Also popular for performancewear is Performance W eblon, a woven cutaway that is 

lightweight, lowprofile and provides low visibility. 

Some washaway backings are used in the creation of standalone lace, or when 

stability is not needed after embroidery . There also is a washaway on the market 

that has a side that is pressuresensitive adhesive with release paper; it is ideal for 

stretchy fabrics that contain L ycra. For times when safety is a concern, in industries 

such as aeronautics, firefighting, energy and motor sports, a flameresistant 

Weblon Mesh is available. 

A Polymesh cutaway made of 100% polyester prevents showthrough on white or 

lightweight garments. It is recommended for designs with narrow columns or points, 

and often is used along with a light tearaway for added stability . Appliqué Magic is 

a popular lightweight cutaway with pressuresensitive adhesive on one side and a 

heatactivated adhesive on the other side. 

Backing and thread manufacturers are good sources of information on how to get 

the best results when it comes to producing quality embroidered goods. Backings 

should not be overlooked, and the correct decision regarding which option to use 

for specific projects can make a huge dif ference between average and showstopping 

embroidery. 

Nancy Mini is senior marketing coordinator and backing specialist at Madeira USA 

and EZee Backing & Topping, a division of Madeira USA. She has logged more 

than a dozen years in the industry , learning how to operate singlehead and 

multihead embroidery machines along the way. 

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Embroidery / Digitizing Glossary - 123Digitizing 

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123digitizing.com 

3D Embroidery Also known as Puff Embroidery, is a special technique to give three dimensional 

appearance to embroidery. A layer of foam is placed under the area where the design will be embroidered. A 

high stitch density is used to cut the foam for easy removal, and the foam beneath the design will not show 

through. 

Appliqué French term meaning applying. Decoration or trimming cut from one piece of fabric and stitched 

to another to add dimension and texture and reduce stitch count. 

Backing Woven or non-woven material used underneath the item or fabric being embroidered to provide 

support and stability for the needle penetration. Best used when hooped with the garment, but can also be 

placed between the item to be embroidered and the needle plate on flat bed machines. Available in many styles 

and weights with two basic types - Cutaway and Tearaway. 

Bean Stitch Three stitches placed back and forth between two points. Often used for outlining because it 

eliminates the need for repeatedly digitizing a single-ply running stitch outline. 

Birdnesting (Birdnest, Birds Nest) Accumulation of thread caught between the embroidered item and 

the needle plate, often caught in the needle plate hole and hook assembly. Formation of a birdnest prevents free 

movement of goods and may be caused by inadequate tensioning of the top thread, top thread not through 

take-up lever, top thread not following thread path correctly or flagging goods. 

Bobbin Spool or reel that holds the thread used to form the underside stitching. Bobbin thread works with 

upper thread to create stitches. 

Bobbin Case Small, round metal device for holding the bobbin. Used to tension the bobbin thread, it is 

inserted in the hook for sewing. 

Boring Embroidered goods that have been punctured with a sharp pointed tool known as a bore, the edges of 

the hole produced by the bore are embroidered, the hole is enlarged by the embroidery. 

Buckram or Buckram Lining Coarse, woven fabric, stiffened with glue, and used to stabilize fabric for 

stitching. Commonly used in caps to hold the front panel erect. 

Chain Stitch Stitch that resembles a chain link, formed with one thread fed from the bottom side of the



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fabric. Done on a manual or computerized machine with a hook that functions like a needle. 

Chenille Type of embroidery. Commonly found in appliqué and athletic applications characterized by a 

design surface comprised of heavy loops of thread; sewn with heavy threads or yarns, chenille is created on 

specialized embroidery equipment. 

Column Stitch Typically used to form borders around fill areas and for rendering text, the column stitch 

consists of closely spaced satin stitches. 

Compensation Embroidery digitizing technique used to counteract/compensate the distortion (pull or 

push) caused by the interaction of the needle, thread, backing and machine tensions. Also a programmable 

feature in some software packages. 

Complex Fill Similar to standard fill. Refers to an embroidery digitizing technique that allows digitizer to 

'knock out' area(s) within fill, creating openings or negative space (visualize Swiss cheese). The design can thus 

be digitized as one fill area, instead of being broken down into multiple sections. 

Condensed Format Method of embroidery digitizing where a design is saved in a skeletal form, so a 

proportionate number of stitches may later be placed between defined points after a scale has been designated. 

If a machine can read condensed format, the scale, density and stitch lengths in a design may be changed. See 

"expanded format". 

Cutaway One of two basic types of backing materials. Another type is Tearaway. 

Density Number of stitches in a specific area. Determines the total thread coverage in a design. 

Digitizing or Embroidery Digitizing Modern term for punching. Embroidery Digitizing is the process of 

taking any form of artwork and transforming it into a language that the commercial embroidery machine or 

home sewing machine can understand and stitch it out. Embroidery Digitizing is a complex process which uses 

stitch types including running stitch, satin stitch and fill stitch to create an embroidery design. It requires many 

steps from starting with a simple clip art to a stitched out design. Embroidery Digitizing Software is needed for 

this process. Software vendors often advertise auto-digitizing capabilities. However, if high quality embroidery 

is essential, then industry experts highly recommend either purchasing solid designs from reputable digitizers 

or obtaining training on solid digitization techniques. 

Digitizer or Embroidery Digitizer A person who creates embroidery designs is known as an embroidery 

digitizer or puncher. A digitizer uses digitizing software to create an object-based embroidery design, which can 

be easily reshaped and edited. These files retain important information such as object outlines, thread colors, 

and original artwork used to punch the designs. When the file is converted to a stitch file, it loses much of this



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information, rendering editing difficult or impossible. 

Digitizing Tablet The platen or surface on which original art to be digitized is placed; holds the artwork flat, 

allowing digitizer to specify various design characteristics by 'tracing' and otherwise designating them with a 

digitizing 'puck' (input device similar to a computer mouse). 

Editing Changing aspects of a design via a computerized editing program. Most programs allow the user to 

scale designs up or down, edit stitch by stitch or block by block, merge lettering with the design, move aspects of 

the design around, combine designs and insert or edit machine commands. 

Emblem Also known as Crest or Patch. Embroidered design with a finished edge, commonly an insignia of 

identification, usually worn on outer clothing. Historically, an emblem carried a motto, verse or suggested a 

moral lesson. 

Embroidery Refers to Machine Embroidery here, or more precisely, Computerized Machine Embroidery. A 

process whereby a computer-controlled embroidery machine is used to create patterns on textiles. It is used 

commercially in product branding, corporate advertising, and uniform adornment. Hobbyists also machine 

embroider for personal sewing and craft projects. Most modern embroidery machines are equipped with 

computers specifically engineered for embroidery. Depending on their capabilities and usages, these machines 

range from signle-needle, single-head sewing machines for home use and hobbyists, to industrial and 

commercial embroidery machines that are multi-headed (6 to 20 heads are common), with multi-needles (9 to 

15 are common) under each head. They all have a hooping or framing system that holds the framed area of 

fabric taut under the sewing needle(s) and moves it automatically to create a design from a pre-programmed 

digitizing file prepared by an embroidery digitizer. 

Expanded Format A design program where individual stitches in a design have been specifically digitized 

for a certain size. Designs digitized in this format cannot generally be enlarged or reduced more than 10 to 20 

percent without distortion because stitch count remains constant. See "condensed format". 

File Format Embroidery file formats broadly fall into two categories. The first, source formats, are specific 

to the software used to create the design. For these formats, the digitizer keeps the original file for the purposes 

of editing. The second, machine formats, are specific to a particular brand of embroidery machine. Machine 

formats generally contain primarily stitch data (offsets) and machine functions (trims, jumps, etc.) and are 

thus not easily scaled or edited without extensive manual work. 

Fill or Fill Stitch Also known as Tatami stitch. Relatively large design area covered by series of running 

stitches, the pattern of which may be varied in terms of stitch length, angle and density. 

Finishing Processes performed after embroidery is complete. Includes trimming loose threads, cutting or



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tearing away excess backing, removing topping, cleaning any stains, pressing or steaming to remove wrinkles or 

hoop marks and packaging for sale or shipment. 

Flagging Up and down motion of goods under action of the needle, so named because of its resemblance to a 

waving flag. It is often caused by improper framing (hooping) of goods. Flagging may result in poor 

registration, unsatisfactory stitch formation and birdnesting. 

Frame Holding device for insertion of goods under an embroidery head for the application of embroidery. 

May employ a number of means for maintaining stability during the embroidery process, including clamps, 

vacuum devices, magnets or springs. See "hoop" for more information. 

Guide Stitch Running stitches used to assist in placement of an applique or in the placement of a die for 

cutting of emblems, also called a cut line. 

Hook Holds the bobbin case in the machine and plays a vital role in stitch formation. Making two complete 

rotations for each stitch, its point meets a loop of top thread at a precisely-timed moment and distance (gap) to 

form a stitch. 

Hook Timing Proper synchronization of hook's rotary and needle's up/down movement; necessary to form 

stitches. 

Hoop Device made from wood, plastic or steel with which fabric is gripped tightly between an inner ring and 

an outer ring and attached to the machine's pantograph. Machine hoops are designed to push the fabric to the 

bottom of the inner ring and hold it against the machine bed for embroidering. 

Hooping Aid or Hooping Device Device that aids in hooping garments or items for embroidery, in order 

to enhance hooping efficiency and consistency. Especially helpful for hooping multi-layered items and for 

uniformly hooping multiple items. 

Jump Stitch Movement of the frame without stitching but with take up lever and hook movement. 

Lettering Embroidery using letters or words. Lettering, commonly called “keyboard lettering,” may be 

created using an embroidery lettering program on a PC or from circuit boards that allow variance of letter style, 

size, height, density and other characteristics. 

Lock Stitch Also known as lock-down or tack-down stitch, a lock stitch is formed by three or four consecutive 

stitches of at least a 10-point movement. It should be used at the end of all columns, fills and at the end of any 

element in your design where jump stitches will follow, such as color changes or the end of a design. Lock 

stitches may be sewn in a triangle, star or in a straight line. Lock stitch is also the name of the type of stitch



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formed by the hook and needle of home sewing machines, as well as computerized embroidery machines. 

Logo Graphic mark or symbol commonly used by companies, organizations and even individuals to aid and 

promote instant public recognition. Logos can be purely graphic symbols/icons (logomark - e.g. Apple) or just 

the name of the organization (logotype or wordmark - e.g. Google) or the combination of the two (lockup - e.g. 

McDonald's Golden Arches with their name underneath or across). 

Looping Loops on the surface of embroidery generally caused by poor top tension or tension problems. 

Typically occurs when polyester top thread has been improperly tensioned. 

Machine Language or Machine Format The embroidery digitizing codes and formats used by different 

machine manufacturers within the embroidery industry. Common formats include Barudan, Brother, Fortran, 

Happy, Marco, Meistergram, Melco, Pfaff, Stellar, Tajima, Toyota, Ultramatic and ZSK. Most embroidery 

digitizing systems can save designs in these languages so the computer disk can be read by the embroidery 

machine. Also see "file format" 

Merrowed Edge A merrowed edge is a 3/16" overlocked sewn edge done to secure the cut fabric from 

unravelling. Usually used for the bottom edge of emblems, pant cuffs or garment interior cut edges. 

Monogram Embroidered design composed of one or more stylized letters, usually the initials in a name. 

Needle Small, slender piece of steel with a hole for thread and a point for stitching fabric. A machine needle 

differs from a handwork needle; the machine needle's eye is found at its pointed end. Machine embroidery 

needles come with sharp points for piercing heavy, tightly woven fabrics; ball points, which glide between the 

fibers of knits; and a variety of specialty points, such as wedge points, which are used for leather. See 

"Embroidery Tips and Techniques" page for more information. 

Nippers Small, scissors-like cutting tool specifically designed for thread trimming, during finishing of 

embroidery. 

Puckering Result of the fabric being gathered into small folds or wrinkles by the stitches, caused by incorrect 

density, loose hooping, having no backing, incorrect tension or a dull needle. 

Push Compensation and Pull Compensation Deliberate counteraction digitized into a design to 

compensate for thread push and/or pull effect that would otherwise cause a 10mm wide stitch (for example) to 

shrink to a 9mm stitch. Also see Compensation and Push and Pull below. 

Push and Pull The distortion of design elements caused by the interaction of the needle, thread, backing and 

machine tensions. In most cases the element and/or the fabric are causing either push or pull, but not both. The



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exception to this rule tends to be in satin stitch columns, whether in a letter, outline or otherwise. Satin columns 

can pull in on the ends (thus reducing column width) and push out on the sides (thus increasing column length). 

To counteract these distortions, digitizers use a technique call Compensation. 

Registration Correct registration is achieved when all stitches and design elements line up correctly. 

Running Stitch Sometimes called 'walking' stitch, used for fine detail, outlining, and quickly covering space 

between separate design elements; used primarily for underlay. 

Satin Stitch Closely spaced stitches, similar to zigzag, except that they alternate between straight stitches 

and angled stitches (rather than all angled) of varying length, angle and density. A satin stitch is normally 

anywhere from 2mm to 10mm 

SPI Stitches per inch; system for measuring density or the amount of satin stitches in an inch of embroidery. 

SPM Stitches per minute; system for measuring the running speed of an embroidery machine. Ranging from 

as slow as 60 SPM to as high as 1500 SPM. 

Scaling Ability within one design program to enlarge or reduce a design. In expanded format, most scaling is 

limited 10 to 20 percent because the stitch count remains constant despite final design size. Condensed or 

outline formats, on the other hand, scale changes may be more dramatic because stitch count and density may 

be varied. 

Scanning Scanners convert designs into a computer format, allowing the digitizer to use even the most 

primitive of artwork without recreating the design. Many embroidery digitizing systems allow the digitizer to 

transfer the design directly into the embroidery digitizing program without using intermediary software. 

Short Stitching An embroidery digitizing technique that places shorter stitches in curves and corners to 

avoid an unnecessary bulky build-up of stitches. 

Special Fill A function available in some embroidery digitizing software that automatically incorporates 

special patterns, motifs or textures into fill areas. 

Stability The property of a bonded fabric that prevents sagging, slipping or stretching. This is conducive to 

ease of handling in manufacturing, and helps the fabric to keep its shape in wear, dry cleaning and washing. 

Stitch Count The total number of stitches in a particular design. 

Stitch Editing Embroidery digitizing feature that allows one or more stitches in a pattern to be deleted or



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altered. 

Stitch Processing The calculation of stitch information by means of specialized software, allowing scaling of 

expanded format designs with density compensation. A trademarked software feature developed by Wilcom 

Pty. of Australia. 

Stock Designs Digitized generic embroidery designs that are readily available at a cost below that of 

custom-digitized designs. 

Swatch A stitched out sample of an embroidery design used for inspection, comparison, construction, color, 

finish and sales purposes. 

Tackle Twill Letters or numbers cut from polyester or rayon twill fabric that are commonly used for athletic 

teams and organizations. Tackle twill appliqués attached to a garment have an adhesive backing that tacks 

them in place; the edges of the appliqués are then zigzag stitched. 

Tearaway One of two basic types of backing materials. Another type is Cutaway. 

Tension Tautness of thread when forming stitches. Top thread tension, as well as bobbin thread tension, 

needs to be set and balanced. Proper thread tension is achieved when about one-third of the thread showing on 

the underside of the fabric on a column stitch is bobbin thread. 

Thread Fine cord of natural or synthetic material made from two or more filaments twisted together and 

used for stitching. Machine embroidery threads come in rayon, which has a high sheen; cotton, which has a 

duller finish than rayon but is available in very fine deniers; polyester, which is strong and colorfast; metallic 

thread, which have a high luster and are composed of a synthetic core wrapped in metal foil; and acrylic, which 

is purported to have rayon's sheen. 

Thread Clippers Small cutting utensil with a spring action that is operated by the thumb in a hole on the top 

blade and the fingers cupped around the bottom blade. Useful for quick thread cutting, but unsuitable for 

detailed trimming or removal of backing. 

Topping Also known as facing. Material hooped or placed on top of fabrics that have definable nap or surface 

texture, such as corduroy and terry cloth, prior to embroidery. The topping compacts the wale or nap and holds 

the stitches above it. Includes a variety of substances, such as plastic wrap, water-soluble plastic “foil” and 

open-weave fabric that has been chemically treated to disintegrate with the application of heat. 

Trimming Operation in the finishing process that involves trimming the reverse and top sides of the 

embroidery, including jump stitches and backing.



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Underlay Stitches applied prior to other design elements to either A) neutralize fabric-surface 

characteristics (see also topping); or B) to create special design effects such as depth and dimensionality. 

Variable Sizing Ability to scale a design to different sizes. 

Zigzag Stitches that progress in an alternating-angle (zigzag) fashion; typically used for final stitching on 

appliqué and tackle twill.

Embroidery Basics: Understanding Density | LindeeG Embroidery 

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lindeegembroidery.com 

About The Author Lindee Goodall 

What is Density? 

Density is the distance between individual stitches in a satin column or rows of stitches in a fill. The closer the 

rows are to each other, the more dense an area of stitches is. 

How is Density Measured? 

There are two primary ways that embroidery and digitizing systems measure density. One measures the actual 

distance space between rows (actually, between alternating rows, not each row) and the second is by counting 

the stitches per inch (SPI), which I won’t spend any more time discussing. Most embroidery software uses one 

of these systems, although there is one popular home software that uses an arbitrary scale that is relative, 

making it hard to be precise. 

The first system may measure in metric or inches. Due to the small distances, metric is much easier to work 

with and may offer increments in millimeters or points, which are a tenth of a millimeter. 

Why Density Can Be Confusing 

Because we are measuring space between stitches, the smaller the number the more dense the stitching. A 

reasonably average value for density is .4 to .45. If the density is .8, it is half as dense as .4; the stitching is more 

open because there is twice as much space between the rows. This is a nice value for shading layers or lighter



2 of 3 10/27/2016 11:58 PM 

backgrounds like skies. A density of .2 is twice as dense as .4 and should probably never be used because it is 

simply cramming too many stitches into a small space. 

Where is Density Used? 

Density only applies to satin and fill stitches. Since these stitch types are also used as underlay, underlay also 

has a density attribute. Sample densities for underlay may be between 2 and 4 mm. Running stitches do not 

have density. 

How Density Affects Your Embroidery 

In a well-digitized artful design, you will often find that density varies for two main reasons: interest and 

purpose. Light fills make great backgrounds, skies, and water allowing the eye to focus on the main subject, 

creating depth and perspective, and permitting the design to more gradually transition into the fabric, thus 

avoiding the “patch” look. 

Light densities provide less coverage. This can be a good thing when creating shadows, shading, building up 

layers of texture, or tone-on-tone embroidery. Lower density designs sew faster and stress the fabric less. The 

result is a softer, more flexible embroidery. 

High densities, especially when combined with short stitches, contribute to stiff, thick-feeling designs. When 

densities are excessive, you can experience increased thread breaks, broken needles, fabric damage, design 

distortion, and sewing times. Too much density combined with overly short stitches is one of most common 

mistakes made by novice digitizers and can be found in many of the free designs shared by them. 

Note: Increasing density provides better coverage up to a point. For more solid embroidery, lengthen the stitch, 

increase the underlay, or use a color-block topping. 

The perfect combination of density and stitch length covers the fabric adequately without creating a 

“bullet-proof patch.” Unfortunately, “perfect density” is relative and depends on the fabric, the color of the 

fabric relative to the design, and the embroiderer’s personal preference. Always keep in mind that embroidery 

is an embellishment and absolute total solid coverage is not the goal and seldom results in a good embroidery. 

How To Control Density 

As an embroiderer, you will probably most like be faced with density choices when using a lettering program. 

Avoid the temptation of dramatically increasing density on letters, especially if when working very small letters. 

The rule of thumb here is that the narrower the column (thinner the letter stroke) the less density you should 

apply.



3 of 3 10/27/2016 11:58 PM 

If you are using stock designs, you probably have little, if any, control over initial density settings. There are 

some utility programs—I recommend Density Works from Designer Gallery—that can detect and correct areas 

of high density. Density Works is very easy to use and should be part of every embroiderer’s tool box. 

Summary 

While you may not have fine control over stock designs, understanding the impact of density can help you 

understand why some designs work better than others under different fabric/design/thread/stabilizer 

combinations. Keep in mind high density is not the only cause of a thick design; thread and stabilizer choices 

also affect the softness of an embroidery. 

Save

10/28/2016 Getting Started Part 2 Troubleshooting Bad Embroidery Embroidery Article 

4 Reviews 

Getting Started Part 2 

Troubleshooting Bad Embroidery 

By Bonnie Landsberger on February 22, 2015 

Share Your Project 

(Click Image to Enlarge) 

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Always embroider a sample first to test whether the design meets the requirements of the fabric 

or other substrate that you are stitching. As well, if you have software, examine the design closely 

before you sew and then you’ll be able to determine and prevent many problems prior to stitching 

on the final item. Check your testsample for any issues that need improvement and you’ll know 

what action to take for success. This image shows a portion of an Alpaca design embroidered on 

a knit shirt; the inside stitches are not meeting up with the outline. 

A closer look in software reveals that although edges of the inside stitches are exceeding the 

outline, which the digitizer has done intentionally to compensate for the possibility that stitches 

will pull fabric inward, the design is more suited for cotton or canvas as there isn’t enough 

underlay for knit fabrics. Knits require a sturdy foundation of ample underlay and appropriate 

stabilizers. 

Occasionally you will find problems in the embroidery that aren’t detected by viewing in software, 

which is another reason a stitched test is important. This closeup of a Bookworm design reveals 

no underlay, and although it would not be suitable for knits, it should stitch just fine on a canvas 

tote bag. 

The sewn sample of the Bookworm on a tote shows a gap in the satin stitch column, because the 

width at this point of the satin stitch measures 9.4 MM and it was stitched on a machine that has a 

stitch length limitation of about 7.0 MM. The machine simply will not sew across the widest part of 

the column, and instead, it omits stitches. 

TROUBLESHOOTING 

To help you judge your own design tests, following is a check list of many common 

their solutions: 

issues and 

Gaps between elements; outline does not meet up with the inside stitches: 

Outlines usually stitch exactly where they are supposed to, but the inside stitches are pulling 

inward, resulting in a gap. The inside stitches need a strong foundation to keep them in place. 

Increase layers, type or weight of stabilizer; a reliable combination is an adhesive backing along 

with a sheet of polymesh cutaway. If editing is possible, add underlay and use pull 

https://www.embroiderydesigns.com/emb_learning/article/1 

compensation 

165/gettingstartedpart2troubleshootingbadembroidery 

to extend sides where stitches pull inward. 

.aspx 1/4


compensation to extend sides where stitches 

pull inward. 

Columns of satin stitches appear too narrow: 

Increase layers or strength of stabilizer; if editing is possible, increase column width to 

compensate for the pull of stitches. Also, make sure top and bobbin tensions are not too tight. 

Underlay stitches are popping outside of the columns: 

This can be caused by various reasons, including loose top tension or the stitch length might be 

a little too long or the satin stitches are sewing too narrow. A stronger foundation can help 

eliminate the problem; if you have used one sheet of tearaway , try two sheets, or change to a 

heavier weight of tearaway or a stronger type of stabilizer like a cutaway. An adhesive type of 

stabilizer along with a sheet of nonadhesive works well, and if the fabric requires, a water soluble 

topping might be necessary . If editing is possible, decrease stitch length of underlay and 

increase column width of satin stitches. 

Seethru coverage of stitches: 

Density is too light; use a heavier/thicker thread weight. If you are using a 40 WT switch to a 30 WT 

(the higher the number , the thinner the thread). Decreasing the size of the entire design will 

increase the density so that may also be an option. Or try laying down a piece of fabric or stabilizer 

over the affected area of a color close to the thread color prior to that section sewing; stop the 

machine, trim up to the appliquéd area, and then start the machine again. 

Hard, heavy coverage of stitches: 

Density is too thick; switch to a lighter/thinner thread weight. The design can also be 

size without globally increasing the stitch count. 

increased in 

Fabric puckering and buckling around the outside of the design: 

The density is too thick and/or the stitch length is too short for the fabric type. Try increasing the 

size of the design 1015%. An adhesive type of stabilizer for backing will also create a strong 

foundation that will help eliminate much of the stress on the surrounding fabric; use when 

stitching on knits along with a sheet of polymesh cutaway for best results. 

Thread is bunching up into a knotted mass below the hooped item: 

This problem is commonly referred to as a “bird’ s nest” or “birdnesting” and it is most often 

caused by the thread traveling in the wrong path; check that the machine is threaded correctly . It is 

also sometimes due to a damaged or dull needle; change the needle. And occasionally 

birdnesting can be caused by low humidity , because thread needs moisture; raise the room 

humidity up to at least 2530% by running a humidifier or vaporizer. 

The top stitches are looping and loose: 

The needle is damaged, dull or the wrong size for the job; change the needle. Also check top and 

bobbin tension and be sure that the bobbin is not empty and that it’ s set into the machine 

correctly. 

Bobbin thread is pulling through and showing at each side of top stitches: 

Clean the bobbin area. A buildup of lint in the bobbin case or other areas of the thread path will 

cause inconsistent tension. Also check that top tension is not too tight and bottom tension is not 

too loose by examining the backside of embroidery. In general, the best tension will show about a 

third of bobbin coverage at the center of a column with an equal amount of top stitches at each 

side. 

Top thread is stitching columns much too narrow, pulling very tight stitches of bobbin to the 

top. 

The top tension is too tight. Check the top thread to be sure the machine is threaded correctly and 

make sure all areas of the thread path are lint free. 

The tiny lettering isn’t legible and other small details aren’t clear: 

Switch that particular color to a 50 WT or 60 WT thread and use a smaller size needle. The thinner 

thread weight with a smaller needle will allow for more clarity and present fewer possibilities of 

thread breaks when stitching tiny details. 

Tiny holes are occurring in the fabric near the stitches: 

Sometimes this happens when density is too thick in compact areas, such as around curves or 

corners; increase the design size slightly or switch to a lighter weight thread. As well, cuts in fabric 

occur when a sharp point needle is used on knits or other vulnerable fabric; switch to a ball point. 

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The fabric bounces up and down with the needle when stitching; threads and needles break: 

This problem is referred to as “flagging” and is most often due to a bent needle; change the 

needle. It can also be caused by poor hooping; fabric should be taut like a drum skin, not too tight 

and not too loose. 

Small pressed wrinkles on fabric where it was hooped: 

This occurs if you put the smooth end of the ring in and then tilt and push in the screw opening 

and the hoop is too tight. The hoop “bites” the fabric. T ry placing the screw adjusting area first and 

easing the hoop into the top with a firm, not extreme fit. 

A ring of compressed fibers occurs on the garment where it was hooped: 

Spray with a bit of Magic Sizing and wipe with a clean cloth or brush with a soft bristle brush. If you 

have many items to stitch on the same type of fabric, take preventative steps by first wrapping the 

hoop rings with athletic tape if you have numerous items to stitch of the same design. Or if the job 

is for only one or two items, hoop a sheet of tearaway on top of the hooped item, then cut or rip 

out the center where it will be embroidered, leaving the fabric protected by the tearaway where it’s 

sandwiched between the hoop rings. Y ou can also eliminate this issue by hooping only the 

backing that has been sprayed with an adhesive and then lay the item on the sprayed backing 

and over the outside of the hoop, and use a few pins to secure the fabric at the inside edge of the 

hoop. A magnetic closing hoop also works well to avoid hoop marks. 

Thread keeps fraying and breaking: 

Check for a damaged needle and make sure the machine is clean of lint and threaded correctly. If 

the problem continues, change to a dif ferent spool; thread left in the sun or stored improperly in a 

dry environment will become brittle. Also, slow down the machine when necessary , such as for 

stitching small lettering and other tiny elements, or when using metallic threads. 

Stitches show in the software but the machine doesn’t sew them: 

The area where the machine is omitting stitches is likely a satin stitch column that was digitized 

much too wide for various models of home machines; decrease the size of the design slightly to 

create a thinner column or if editing is possible, change the satin stitch column to a random fill 

stitch. 

The colors that the machine says to use are wonky: 

Most commercial digitizing systems do not save a color palette in the design data; they only save 

the color stop commands. So, when the design is converted to dif ferent machine formats, true 

thread colors for each machine model are not included. Even though some digitizing programs 

have started to include more accurate “colorways” for dif ferent formats there are oodles of 

beautiful quality designs available that were digitized during a time when saving the appropriate 

colorways was not an option on any software. Adjust the colors in your software, and then save 

the design. Your software will retain the colors you have chosen so when you read the newly 

saved file back into your software or your machine, your preferred colors will be displayed.If you 

don’t have software that allows adjusting colors, refer to the color chart text file that accompanies 

each design for the appropriate color sequence. For a multineedle machine, set the appropriate 

needle for the color number; or for a single needle machine, line up the cones of thread on your 

work table in the correct sequence to help you know which color to choose next when the machine 

stops for a color change. 

The design file is not recognized by software and/or machine: 

The design may be too large for the machine’ s sewing field limit or the design might not be 

centered properly, or the format isn’t saved in a compatible version for your machine. First, be 

sure that the design will fit within your machine’ s sewing field limitation and be sure that the 

design is centered.If both check okay, the file likely needs to be converted to your machine format 

again in order to create an understandable version for your software and/or machine. You can try 

downloading the commercial DST format that is recognized by most all software programs and 

save the file again in your machine format. (Note, DST format does not retain a color palette, so 

colors will not appear accurate.) You can also contact EmbroideryDesigns.com customer service 

and our design support team will create a usable format version for your machine. 

The embroidery on the final garment has too many mistakes and looks terrible: 

You might choose to simply toss the item, but I recommend saving it to use for future test sewing. 

If the item is irreplaceable, keep in mind stitches can be removed. On the backside of the 

embroidery, using a small sewing scissors that fit comfortably in your hand, very carefully snip the 

majority of bobbin thread, and then on the top side, brush away the stitches with your hand or soft 


bristle brush. 


To remove knots that remain behind, poke a pin 

.aspx 

through the knot to loosen and lift 

3/4


bristle brush. To remove knots that remain behind, poke a pin through the knot to loosen and lift 

away from the backing, and then snip. All snipping should be done on the backside next to the 

stabilizer to avoid damage to the fabric. If the stitching is intense, you might consider shaving the 

stitches away. Some embroiderers have reported using a disposable razor to cut away the bobbin 

thread and there are also gadgets like Peggy’ s Stitch Eraser that work quite well. 

Sharing is Caring 

One article can’t cover every problem an embroiderer might experience. There are beautiful, 

quality designs digitized to meet requirements of days long ago that remain on the market, so as 

materials change and software and equipment are updated, embroidery skills will continue to 

require experimentation and communication with other embroiderers. Y ou are most welcome to 

share a problem you’ve had along with your solution in the comments! 

Click here to read Getting Started Part 1 Tips For Successful Embroidery . 

More From This Author 

Dish Soap Bottle Apron By Bonnie Landsberger 

Computer Basics for the Machine Embroiderer Part 1 By Bonnie Landsberger 


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Meet The Author: Bonnie Landsberger 

Bonnie Landsberger has been a crafter and hand embroiderer since childhood and a 

machine embroiderer and digitizer since 1986. She was the inhouse head digitizer for a 50 

head embroidery shop for 1 1 years and later of fered custom digitizing services and stock 

design sales through her web site for Moonlight Design since 1993. She currently also holds 

a position as a customer service representative at EmbroideryDesigns.com. Bonnie has won 

several awards for digitizing, including a gold medal in the 2002 Digitizing Olympics and 

grand prize in all categories & first place for Winter Holidays category in the Stitches 

Magazine Great Greeting Card Contest 2003. Her embroidery and digitizing technical 

articles can be found in various trade magazines and she is currently a contributing writer and Editorial 

Advisory Board Member for Stitches Magazine. You can also find more of her articles online at 

EmbroideryDesigns.com and will continue to contribute articles to our Learning Center . 


10/28/2016 Hat Tricks 






Design + Digitizing 

SEARCH 

GO 

Hat Tricks 

Overcome these special challenges when embroidering headwear . 

March 15, 2016 

By Brian Burr, Contributing Writer 

Newsletters 



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SIGN ME UP » 

Experienced embroiderers know when a design will result in a quality sewout, and 

their customers will be happy with the results. But embroidering on headwear 

presents a special set of challenges, which leads many embroiderers to avoid 

these projects. 

The complexity of headwear production leads lessexperienced embroiderers to 

subcontract such jobs to more experienced embroidery manufacturers. These 

veterans, in turn, can help them save time by switching a flat frame to a hat frame 

and adjust for art resolution, thus reducing damages and providing a highquality 


product for their customers. 

http://impressions.issshows.com/embroiderydigitizing/HatT ricks9833.shtml 1/4


product for their customers. 

Embroidery is a representation of art and not an exact duplication of it. The biggest 

mistake you can avoid in headwear embroidery production is accepting a project 

that presents clarity issues in the design and letters. Prior to taking an order , 

discuss the adjustments that need to be made for quality results. 

There are some important overall guidelines to observe when embroidering on 

hats: 

1. Minimum letter size should be 1∕5inch tall. 






Read more 

2. Most customers are not satisfied with the look of lettering done with a running 

stitch. 

3. Lettering with serif fonts and some thin sans serif fonts need to be increased 

so their lines are thick enough. 

4. The type of hat dictates the embroidery size. 

5. Some small elements, such as lettering or thin lines, need to be removed or 

enlarged. 

6. A logo that may work on a baseball cap may need to be modified to work on a 

visor or bucket hat. 

7. Hoop burn is an issue common to all hat styles, so spray water on the location 

and lightly brush the fabric. 

Following are some common issues for each headwear style and their solutions, 

which will help you avoid costly mistakes, better service your existing embroidery 

clients and increase your revenue per client. 

Beanies/T oques 

This headwear type enables embroidery on all four sides. However , common 

elements like stripes or other designs may interfere. 

Solution: Find a location that works for the size of the design. Beanies and toques 

often are made of fleece or knitted fabrics, so pay attention to small elements that 

could disappear in the soft fabric. There must be suf ficient underlay to ensure the 

top stitching has a stable surface to stitch into. 

One option is to use a solid fill stitch so you can embroider over the stitches, giving 

you a surface that will not bury . 

As a last resort, Solvy is a watersoluble embroidery topping best used on knits, 

terry cloth, fleece and other textured fabrics to create a smooth surface. However , it 

should only be used as a last resort. 

Bucket Hats 

Embroidery size varies by bucket hat style. Some can fit the full 2½inchtall height 

and others allow less than an inch due to the hat’ s construction. Most bucket styles 

have a fabric band around the bottom of the crown restricting the available design 

space, as you can not embroider over the band. 

Bucket hats also commonly have air holes, eyelets and snaps on the side that get 

in the way of embroidery. During production, bucket hats with larger brims can get 

grease on them from the embroidery machine. 

Solution: Given the space restrictions for this type of hat, it may be best to strictly 

stick to the front or back for design placement. Also, keeping your machine clean is 

the best line of defense against grease stains. Always wipe the machine clean after 

oiling it. Although time consuming, this is a necessary step, especially when working 



oiling it. Although time consuming, this is a necessary step, especially when working 

with white or lightcolored products. 

FlatBill Caps (Snapbacks) 

You can embroider a standard 2½" x 6" design in the center front of a flatbill cap. 

The biggest issue with these caps occurs during production when the bills are bent. 

Solution: There are no preventative measures for this problem other than being 

careful. Have your trimmers straighten the cap bills. Although time consuming, it’ s 

the best remedy. 

Visors 

Visors have more limited space for embroidery — usually about 1¼ inches tall — 

and the ideal location is in the front center where they are the tallest. 

The maximum design width generally is 44½ inches. The sides of most visors will 

only allow embroidery less than 1 inch tall and the back can’t be embroidered at all. 

The crown height and curve of a visor should be taken into account when sizing the 

design. For example, a visor with a crown height of 2¼ inches tall would best fit a 

logo 1¼ inches tall. This would leave ½inch at the bottom and ½inch at the top. 

Solution: In your production process, allow for time to modify the customer ’s design 

so that you know you can produce a quality result and satisfy the customer . Prior to 

taking the job, have your art department work with your customer to adjust the 

design. There is no point in taking an order that can’t be produced properly . 

Small lettering or detailed designs simply may not work well on visors due to the 

small embroidery area. If the design won’t work, try to find another hat that will work 

or walk away from the order. It’s not worth the risk of producing a lessthanquality 

result. 

Five, SixPanel Caps 

You can embroider on all four sides of these hats. Many fivepanel caps have mesh 

on the sides and a tearaway backing is recommended when embroidering on mesh 

for best results. They also have a foamfront panel that creates an issue with 

embroidery burying into the foam. 

Screen printing is a great alternative, but some clients prefer embroidery . 

Solution: Always use a thin font and no fine details in the design. Sixpanel caps 

have a seam running down the center . You can embroider right over it as you 

commonly do with no loss of quality. 

Additionally, designs on a fivepanel cap may be sewn slightly of fcenter without 

being readily visible. On sixpanel hats, where there is a center seam, designs even 

slightly offcenter may be visually disturbing. Some designs that are weighted to 

one side or the other must be placed where they are graphically pleasing. 

Examples include italic fonts or images where there is a small element protruding 

off to the side of the main part of the logo. The letter “M” with a feather hanging of f 

the side of the letter would cause a problem. 

When centering on the entire design, including the feather , the center line of the M 

would not line up on the center seam of the cap. In these rare cases, center points 

must be adjusted offcenter to give the appearance that the design is centered. 

Structured/Unstructured Hats 

There are two general categories of baseball caps: structured and unstructured. 

The structured cap has a stif fer supportive fabric called buckram inside the front 

two panels that helps the cap to hold its shape or “spring back” if folded or 

crumpled. An unstructured cap means there are no support panels in the front two 

panels. Unstructured and structured caps have a maximum embroidery space in 



panels. Unstructured and structured caps have a maximum embroidery space in 

the front of 2½" x 6". 

Brian Burr is chief operating of ficer of wholesalehats.com, Palm Desert, Calif., 

which has produced embroidered garments for clientele that includes Google, 

NASA and the United States Army. He has been involved in every aspect of the 

embroidery industry for more than 20 years, including machine operation and 

repair. For more information or to comment on this article, email Brian at 

brian@wholesalehats.com. 







InfoAction 


information 


Buyer's Guide 







10/28/2016 Stabilizers: A Simple Guide Embroidery Article 

Not Yet Rated 

Stabilizers: A Simple Guide 

By Deborah Richardson on March 01, 2008 



0 0 0 

Guidelines to choosing the right stabilizer for your next embroidery project. 

When I bought my first embroidery machine, I was unaware of the role that stabilizers play in embroidery 

varieties of stabilizers from which to choose; the choice was both overwhelming and unclear . 

. There were many 

My dealer had a large shelf displaying a variety of stabilizers: tear away , cutaway, iron on, wash away types, and sticky ones, and 

others that get sticky when moistened. Stabilizers were also thick, thin, and nearly invisible, some looked like plastic wrap, others 

were heavy and stiff and yet others were sheer and elegant like silk. If that weren’t suf ficiently confusing, stabilizers also came in 

rolls of varying widths and lengths, were packaged in convenient precut sheets and little plastic pouches. 

I was hopelessly lost. 

Since I was new at machine embroidery , I wanted only a few sheets of stabilizer to get me 

launched on my first project, certainly nothing in great quantity requiring me to make a 

longterm commitment. 

The dealer dug through the shelf of stabilizers and produced a small roll of stabilizer for 

me to try. It was then that I began to learn about stabilizers. Here is what I learned: 

Sticky Back Stabilizer 

Step One: Evaluate 

What fabric are you going to embroider on? 

Is the fabric tightly woven, loosely woven, knit, fleece or delicate as silk? 

Is the design dense or does the design have few stitches? 

Does the fabric stretch when gently pulled lengthwise or on the bias? 

Does the fabric have a deep nap? Are you going to embroider towels? 

Does the design have precise outlines? 

Step Two: Choose the Stabilizer 

Stabilizer (backing) is used to beef up the fabric and to provide a sturdy surface for the 

embroidery stitches. Here are the main types of stabilizer (backing) and their uses: 

Cutaway: These stabilizers are permanent, will remain forever af fixed to the embroidery 

and will provide permanent support for the design. Cutaway stabilizers are best for knits, 

fleece, denim, and for fabric that is unstable, moves or distorts when tugged on. These 

stabilizers come in weights from heavy to light and should be matched to the weight of the 

https://www.embroiderydesigns.com/emb_learning/article/541/stabilizersasimpleguide.aspx 1/3


stabilizers come in weights from heavy to light and should be matched to the weight of the 

fabric. Cutaway stabilizer is a favorite of mine and the ironon version is excellent for 

stabilizing stretchy tshirt and knit fabrics. 

Tear away: This is a temporary stabilizer that is carefully torn of f after the embroidery is completed. It’ s best for woven cotton fabric 

and redwork. It’s not the best choice for dense designs because the needle may shred the stabilizer to bits. Y ou’ll end up with a 

design that will pucker , distort and outlines that will misalign and wander all over the embroidery . 

Fusible Polymesh Cutaway 

Sticky back stabilizer: A good choice for those hard to hoop items such as socks, collar tips, and shirt cuf fs. To provide additional 

stability with the tear away sticky stabilizer, I place a piece of cutaway stabilizer beneath the hoop. 

§ 

Stabilizer (topping) : This wonderful product is used to keep the embroidery from sinking into the pile of the fabric and is also used 

to make embroidered lace and completely disappears when rinsed. Use of a topping is very important when embroidering on 

towels, fleece or any fabric with a pile. The topping is water soluble and resembles a thin clear sheet of plastic. After the fabric is 

stabilized and hooped, apply a piece of topping to the top of the fabric; you can secure the topping with temporary spray adhesive if 

you’d like. After the embroidery is completed, clip the jump stitches and then gently tear away the topping or wash the embroidered 

item to completely remove the topping. 

A few closing thoughts: Remember to match the stabilizer with the fabric you’re 

embroidering. If your fabric is unstable and moves about, you’ll need an iron on cutaway 

stabilizer to provide permanent stability to the embroidery . 

Use tear away stabilizer when embroidering on sheets, linens and other lightweight 

woven fabrics. Most tightly woven cottons provide adequate support for the embroidery 

after the stabilizer is removed. 

Have fun experimenting with the many types of stabilizer currently on the market and learn 

from your mistakes. Take comfort in knowing that I’ve fallen victim to just about every 

embroidery disaster known to man. Or woman. 

Cutaway Stabilizer 

New Articles and Projects 

I Have a New Embroidery Machine – Now What? By Deborah Richardson 

The Magnificent MagnaHoop By Deborah Richardson 

Embroidered Wine Gift Bags By Pat Williams 


0 0 0 

Meet The Author: Deborah Richardson 

Deborah Richardson is a customer service representative for EmbroideryDesigns.com 

and has been involved in machine embroidery for several years. She resides in Poulsbo, 

Washington with her husband, three rescued Jack Russell terriers and a spirited horse 

or two. Her embroideries can be seen at local boutiques and she also supplies 

personalized items for riding stables. Recently retired as a civilian with the U. S. Navy , 

Deborah also holds both a nursing and private pilot license. 




10/28/2016 Understanding Alphabet and Font Options 






Design + Digitizing 

SEARCH 

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Understanding Alphabet and Font Options 

By choosing one of these four ways to create data for stitching lettering, sit’ 

possible to strike a balance between style and substance. 

November 20, 2013 

By Deborah Jones, Contributing Writer 

Newsletters 



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Tech Tips 

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Kerning is necessary. Here, the boundaries of each character are 

shown as rectangles. In some systems, letters are placed on the 

screen with their boundaries touching. Valuebased or manual 

adjustment is needed to create a pleasing arrangement. 

Like it or not, it’s a simple fact that most embroidery jobs use some type of lettering. 

Unless you’re only reproducing fine art via the embroidery medium, lettering 

typically is an integral ingredient. 

One of my earliest embroidery mentors instilled in me an appreciation of the finer 

points of lettering. My father was fascinated with embroidered lettering and dreamt 

of creating a way to do what we know as keyboard lettering. In those days, 

cumbersome cardboard jacquards were read by pins that passed through holes, 

much in the same way that a player piano operates. 

There currently are four ways to create data to stitch lettering on a computerized 

embroidery machine: custom digitizing, digitized keyboard fonts, autodigitized 

TrueType fonts and alphabets as designs. Let’ s take a look at the pros and cons of 

each method and how you can use each to your advantage. 

http://impressions.issshows.com/embroiderydigitizing/UnderstandingAlphab7162.shtml 1/4


each method and how you can use each to your advantage. 

1. CustomDigitized Lettering 

When creating logos, I prefer this method because there are small nuances to 

most lettering that only are captured by digitizing from the artwork, and in this 

method, the lettering is digitized specifically for each job. 

The other reason to custom digitize lettering is to make it run ef ficiently. Custom 

lettering created by a professional or experienced digitizer is production friendly , 

and has the proper underlay and density values for the fabric onto which it will be 

stitched. I don’t try to force a keyboard font into a logo unless it’ s a perfect match. 

Using a keyboard font for a logo rarely results in the same highquality sewout that 

can be achieved when the lettering is custom digitized. 

Sometimes special considerations — like time and money — can get in the way of 

using customdigitized lettering. In these instances, three choices remain: keyboard 

fonts, autodigitized T rueType fonts and alphabets as designs. 


2. Digitized Keyboard Fonts 

This quickandeasy method is how most of us embroiderers create lettering for 

everyday jobs, from personalized sewouts to poems and scriptures, and everything 

in between. 

In this method, letters and words are typed at the computer keyboard in much the 

same way as you type in a word processing program like Microsoft W ord. The user 

selects the style, size, density and other parameters, and the stitches are 

generated according to the user ’s instructions. 

In most systems, the resulting lettering is fully editable. The best practice is to save 

in the native format of the software so that it can be edited later , in the event that it 

doesn’t stitch as planned or you discover a misspelling. Then, save the lettering to 

a stitch file, such as DST or EXP, to be easily read by an embroidery machine. 

Even though the software you regularly use probably has about 100 digitized 

keyboard fonts, chances are good that you use only a few select favorites. That’ s 

because you know them well and they’re reliable. You don’t have to do a test 

sewout before each job because you have used these fonts so many times that you 

can predict the styles that will work well in a small size, as well as the ones that are 

bold enough to stand out on plush material. 






Read more 

A L P H A B E T 

T E M P L A T E F R E E 

easytemplatemanager.com 

Customize & Print Templates 

Quickly Search 100s of Free 

Templates Now! 

Of course, you know the “bad” fonts too — such as the script fonts that have 

awkward connections or strange characters (like a “T” that looks like an “I” and an 

“S” that doesn’t look like any handwriting you’ve ever seen). Some sophisticated 

software packages allow you to edit characters and save them for future use. 

Still, I’m a believer that you can hardly have too many lettering software packages. 

When trying to match a keyboard font to a specific customerrequested font style, it 

seems that the customer ’s lettering always has at least one character that’ s 

different than the similar font in your system. Instead of spending up to an hour 

trying to edit the character , a different software package could have a font that 

more closely matches what your customer wants. Most embroidery software brands 

have reasonably priced lettering packages, which are good for ensuring lots of 

lettering options. 

3. TrueType Font Generation 

Modern software packages also usually include a T rueType font generator that 

converts TrueType fonts into stitches. This can be useful for certain lettering styles 

and sizes, but the resulting lettering sometimes contains incorrect stitch directions 

and other edits may be needed. 

When used with discretion and proper settings, this type of lettering can serve a 

purpose. However, be aware that many TrueType fonts will need to be adjusted to 

their column widths using the “Pull Compensation” feature of your software. 



their column widths using the “Pull Compensation” feature of your software. 

4. Alphabets as Designs 

This lettering option is mostly used for monograms and other jobs that don’t require 

many letters. Each letter is stored like a design in a folder on your computer , and 

then they are merged later . 

There are many decorative and themed alphabets, such as ones with angels, 

flames or circus animals adorning the side of each character . There also are fancy 

alphabets, including script styles with glamorous flourishes and block styles that 

appear to be made from fence posts. 

One of my favorite ways to use alphabets is to combine them with compatible 

keyboard fonts. First, I open the alphabet character that will serve as the capital 

letter in a word or name. Then, I select a compatible keyboard font from my 

software and type in the lowercase characters to make a complete name with a 

decorative capital letter . 

As previously noted regarding keyboard fonts, sizes, densities and other 

characteristics can easily be adjusted within the software. In contrast, editing these 

characteristics in alphabets may be more limited, depending on the capabilities of 

your particular software package. 

Richards Jarden owns embroideryarts.com, a design company that specializes in 

highquality alphabets. Jarden controls aspects of his alphabet creations to 

maintain their stitching integrity . For example, the company creates its fonts in 

various sizes to achieve the best quality for the customer . 

When enlarging either alphabets or keyboard fonts in embroidery software, 

columns often get very wide and stitching quality suf fers. Jarden provides 

alphabets in specific sizes so that he can digitize larger sizes with a reasonable 

column width that’s more pleasing and serviceable. 

Alphabets also allow embroiderers to have access to specialty fonts, such as an 

entwined twoletter Victorian alphabet. The special alphabet contains a file 

consisting of every possible twoletter combination. 

There are situations when each of these outlined options for creating embroidery 

lettering could be your best solution. Unique lettering can make or break a sale — 

as long as you remember its quality always is a factor as well. With all of the options 

available in modern embroidery software, it’ s certainly possible to strike a balance 

between style and substance. 

Deborah Jones is a commercial and home embroiderer with more than 30 years of 

experience in the computerized embroidery field. She runs 

myembroiderymentor.com and regularly speaks at the Imprinted Sportswear Shows 

(ISS). For more information or to comment on this article, email her at 

djones@myembroiderymentor.com. Hear Deborah speak on embroidery and 

digitizing topics at the 2014 Imprinted Sportswear Shows (ISS). Reduced rates for 

the conference program are available if you preregister: issshows.com. 

Keyboard Font Features 

KERNING: One idiosyncrasy you’ll notice when using keyboard fonts is the need to 

adjust the kerning — or spacing — between the letters. This is most noticeable 

when working with script styles that must connect, and you may wonder why they 

can’t be programmed to connect automatically . 

The lettering in the image above may help you to visualize why kerning is 

necessary. It shows the boundaries of each character as rectangles. In some 

systems, letters are placed on the screen with their boundaries touching. V aluebased 

or manual adjustment is needed to create a pleasing arrangement in certain 



letter styles. 

CLOSEST POINT CONNECTION:In past years, all keyboard lettering creations 

had a baseline connection, which means the joining stitch between characters 

always was placed at the bottom of a line of letters. “Optional Closest Point 

Connection,” a popular feature in some modern software systems, enables certain 

fonts to create lettering in which each character automatically connects to the next 

character at the closest point between them. This approach is practical only with 

letters less than ½inch in size that are closely spaced. Software logic varies as to 

where the letters connect. 

AUTO DENSITY: Some systems have the “Auto Density” or “Auto matic Stitch 

Spacing” feature that varies density as shapes get narrower, preventing bulk in 

narrow areas while providing coverage in wide satinstitched areas. This can be 

helpful in small letter sizes and font styles that taper or have narrow serifs. 

STITCH TYPES: A great feature of keyboard font generation is that the 

embroiderer can assign a stitch type. In most systems, users can decide whether to 

use a satin, fill or blended satin stitch. The latter function divides wide satin stitches 

into randomly divided stitches. These columns usually have longer stitch lengths 

and a lessuniform appearance than a fill stitch. They save on the amount of 

stitches used and still provide the liquid appearance of a satin stitch. 







InfoAction 


information 


Buyer's Guide 







10/28/2016 Embroidery Thread Tensions Embroidery Article 

Not Yet Rated 

Embroidery Thread T ensions 

By James M. (Jimmy) Lamb on November 01, 2007 



0 0 0 

Simple tricks that you can use to adjust your tensions on a routine basis. 

Thread tension is one of the most critical elements of machine performance. In order to form a stitch correctly and ensure quality 

sewing, the amount of tension or drag placed on both the upper thread and the lower thread must be precise and balanced. 

Think of the stitch process as a tugofwar between the upper and lower threads. The desire is that neither overpowers the other . 

Too much tension on the upper thread (or too little on the bobbin thread) will result in bobbin thread being pulled up from below , so 

that it is visible along the edges of the area being stitched. T oo little tension on the top (or too much on the bobbin thread) leads to 

loops forming in the area being stitched. 

For the beginner, setting thread tensions can be a frustrating chore, as adjustments will have to be made periodically depending 

upon sewing conditions. For example, as a cone of thread gets close to the end, the tension tends to change. Thus, when you start 

to see the physical cone itself through the windings of the thread, it should serve as a reminder to pay close attention to the quality 

of the stitches being formed with that particular thread. In addition, dif ferent colors of thread have dif ferent tension requirements, as 

the dying process can af fect the surface texture of the thread. This in turn can affect how easily it flows through the thread guides. 

Even humidity and temperature can af fect thread tensions, as well as dirt and lint buildup along the thread paths. 

Bottomline, there is no “EASY BUTTON” as tension adjustment is an ongoing process. There are devices such as tension gauges 

available to help you set tension correctly , but ultimately you need to learn quick, simple methods to adjust thread tensions on the 

fly. Most experienced embroiderers can do it by “feel”, but it takes a lot of time to develop that skill. In the meantime, we will discuss 

a couple of simple tricks that you can use to adjust your tensions on a routine basis. 

For the upper thread, most machine manufacturers of fer some type of tool which will allow you to measure the tension. Using this 

data, you can make adjustments and then test the results. For example, T ajima has a device that looks somewhat like an oversized 

ink pen with a hook on the end. 

Essentially , you “hook” the thread, pull on it with the gauge and take a reading. Make any needed adjustments, then take another 

reading. It’s a quick and simple process that works reasonably well. 

With bobbins, you can also purchase a tension gauge which will provide you with a scientific way to measure the tension. As an 

alternative, you can also use the decadesold method known as the “droptest”. It works for every make and model of machine. 

Drop Test steps 

1. Remove the bobbin case from the rotary hook. 

2. Unwind the bobbin thread from the pigtail, but do not remove it from under the thread tension spring. 

3. Place the bobbin case, with the bobbin installed, in the palm of one hand. With the other hand grasp the end of the bobbin 

thread, and gently pull out about 12 inches of thread. 

4. Gently left up and suspend the bobbin case above the palm of your hand. 

5. The bobbin should not drop, but remain suspended in the air about an inch above your hand. 

6. Gently bob your wrist (hand holding the bobbin thread) and check that the bobbin drops a few inches then stops. 

7. If the bobbin does not drop, then the tension is too tight. Adjust the tension screw (the larger one) on the tension spring 

(clip) counterclockwise to reduce the bobbin tension. If the bobbin drops freely , then the tension is too loose. Adjust the 

tension screw clockwise to increase it to increase the bobbin tension. 

NOTE: IF dirt builds up under the Thread T ension Clip/Spring on the bobbin case, it will cause the tension to be too loose, no 

matter how much the screw is tightened. Each time you change out the bobbin, you should inspect and clean the bobbin case. 

https://www.embroiderydesigns.com/emb_learning/article/523/embroiderythreadtensions.aspx 

To be honest, more sewing tension problems are caused by the bobbin than the upper thread. However , since the upper thread is 

1/3


To be honest, more sewing tension problems are caused by the bobbin than the upper thread. However , since the upper thread is 

easier to access, more time is spent adjusting it, even though it may not be the culprit. So always pay close attention to the bobbin, 

even though it’s generally “out of sight, out of mind.” 

§ 

Once you have made basic adjustments to the upper and lower tension, you need to verify that both upper and lower tensions are 

balanced. There is a relatively simple test that will allow you to visually assess the state of the tension. Most commonly referred to 

as the “thirds” test, there are several slight variations of the process, but they all have the same goal: to verify the tension is 

balanced between upper and lower threads. 

First, create a design file for sewing the letter I in a 1” tall satin block font. The concept is to have the machine sew a series of satin 

stitches in virtually every direction plus in a curve. Sew this on a piece of test fabric – remembering that the fabric itself can af fect the 

tension. 

Upon completion, examine the backside of the embroidery . You should see three parallel sections of thread, from left to right 

across each column as follows – Upper/Bobbin/Upper – in even thirds. (Thus the name “thirds” test.) (Left image) 

If there is more upper thread visible than bobbin thread, then the upper thread tension is too loose, or the lower thread tension is 

too tight. (Center image) 

If there is more lower thread visible than upper thread, then the upper thread tension is too tight, or the lower thread tension is too 

loose. (Right image) 

A more precise test is to sew the word FOX in 1 inch, all capital, satin block. This will force the machine to sew satin stitches in 

virtually all directions including a curve. 

Now that you are fully armed with the knowledge to make accurate thread tension adjustments, backed up by a test (the “thirds” 

test) to verify balance, you are ready to take on the world, confident in your ability to ensure picture perfect embroidery on each and 

every job. Well, don’t get too comfortable… 

You see, the adjustments and tests are all just guidelines to help you get within the ballpark of high quality stitching. But like many 

of the socalled rules in this industry , the tensionsetting processes are not guarantees set in stone. Ultimately , it’s the quality of the 

stitching that determines whether the tension settings are correct or not. In fact, you can become obsessed with trying to balance 

tensions to the point that it’ s counterproductive. Let me show you what I mean… 

How do you identify embroiderers in a retail store that sells embroidered apparel? They are the ones looking at the backside of the 

garment! Of course they are trying to determine whether the company that did the embroidery had balanced tensions in order to 

judge whether they produce the same high quality work as themselves. These are also the same people who spend hours trying to 

get an equal “thirds” proportion on the backside of their own designs, without ever sewing the first garment. Unfortunately , in the 

quest for perfect thread balance, they have blinded themselves to the reality of thread tension: The front is always more important 

than the back! 

The majority of the time, if the “thirds” test shows good balance, the resulting embroidery will be of high quality . But there are times 

when the back will not be balanced, yet the front will still be nearly perfect. As long as the backside shows proof of bobbin pickup 

and no bird’ s nests or looping, it’ s ok. In other words, don’t try to fix something that isn’t broken. If the front is good, don’t discount it 

because the backside doesn’t have a perfect thirds balance. 

To sum it all up, use the “thirds” test to get a baseline tension setting. Then adjust as needed to achieve the best possible stitch 

quality on the FRONT of the embroidery, while verifying that the back of the embroidery doesn’t have any flaws that could cause the 

stitches to work themselves loose over time or the machine to jam up during sewing. Good luck! 


Road Warriors IV: Onsite Operations, Electrical Needs, Generators and FollowUp Sales By James M. 

(Jimmy) Lamb 

Road Warriors III: Displays, Transportation, Insurance and Setup By James M. (Jimmy) Lamb 

Road Warriors I: Introduction to Mobile Embroidery By James M. (Jimmy) Lamb 

Share this project: 0 0 0 

https://www.embroiderydesigns.com/emb_learning/article/523/embroiderythreadtensions.aspx 2/3


Meet The Author: James M. (Jimmy) Lamb 

Awardwinning author and international speaker Jimmy Lamb has over 15 years of 

embroidery experience as well as 10 years of professional digitizing experience (as a 

business owner). Currently, he is the Director of T raining and Education for Hirsch 

International Corp., where he has been instrumental in developing their educational 

seminars. 

https://www.embroiderydesigns.com/emb_learning/article/523/embroiderythreadtensions.aspx 3/3

10/28/2016 Getting Started Part 1 Tips For Successful Embroidery Embroidery Article 

1 Reviews 

Getting Started Part 1 T ips For 

Successful Embroidery 

By Bonnie Landsberger on May 19, 2015 



0 0 0 

Preface 

Maybe you have hesitated in stitching that first design or maybe you have stitched out a design, but the results were discouraging. 

In the beginning, it is completely normal to hesitate and stumble a bit, but once you understand the process and requirements for 

different projects, you will come to know why bad embroidery happens and then you’ll experience successful results more often 

than not. Start with the right “ingredients” and the majority of possible problems will be eliminated. If you have already stitched your 

project and are looking for immediate help, view a list of issues and solutions in “ Getting Started Part 2 – Troubleshooting Bad 

Embroidery ”. 

Choose the Project 

Your embroidery machine can be used for decorating apparel, household items, bags and much 

more, but keep in mind that each type of fabric or other substrate has different embroidery 

requirements that you will need to learn about before you decide to stitch on easily replaced items 

like that treasured family heirloom of a silk christening gown or an expensive designer leather 

jacket. In the beginning, choose projects that will not hurt your wallet or your pride if they don’t turn 

out as well as you had anticipated. If you haven’t any idea where to begin, I recommend 

embroidery on a hand towel that has been purchased at your local dollar store at a bargain price. 

Terry, microfiber and polar fleece are not the easiest substrates to stitch on with firsttime 

success, however, it’s an excellent choice for learning about the needs of fabrics. If it turns out 

badly, you can use the towel again for testing prior to stitching on those high dollar towels, and if it 

turns out well, you will have created something functional that you might even be able to use as a 

gift. Either way, your inexpensive project will have become your first lesson, by revealing errors 

that can occur if proper methods are not observed. And of course, if the embroidery turns out well, 

you will know you are on the right track. 

Choose the Design 

With so many designs to pick from it’ s easy to overlook reasons why some of the most attractive 

should actually be avoided when stitching on various types of fabric or other substrate. Be aware 

of the requirements for the substrate you have chosen to stitch on, as well as the requirements for 

the design that you choose. Stretchy fabrics or those with a thick pile like wool or have looped 

fibers as on terry cloth, need more of a foundation in the design, which is usually achieved with 

stitches digitized below top stitches (underlay); whereas, a substrate like canvas, leather or nylon 

needs no foundation and does best with a low stitch count. 

Unlike a custom design that has been digitized specifically for the substrate, stock designs are 

digitized most often in a general manner that may or may not work with the substrate you’ve 

chosen. When shopping, read customer reviews to check the type of substrate that the reviewer 

stitched the design on, as well as the opinion of the results. One reviewer might say they were 

unhappy with the results when the design was stitched on a knit polo, whereas another will give 

the same design “5 butterflies” when it was stitched on a canvas tote bag. These conflicting 

reports reveal that the design is more suitable for a substrate that doesn’t require a strong 

foundation, so you would not want to use that particular design for the towel project, but you might 

keep it in mind for another, such as a nylon jacket. 

https://www.embroiderydesigns.com/emb_learning/article/1 161/gettingstartedpart1tipsforsuccessfulembroidery .aspx 1/3


The Embroidery 

For this example I have chosen a T reble Clef design of fered as a Free Design at 

EmbroideryDesigns.com. It’ s rated with 4.5 Butterflies by 43 people and all reviews were 

encouraging. One reviewer noted that the columns were bulky, but the report also stated the size 

had been changed, revealing why the bulk occurred. Resizing a machine file more than 1020% is 

never recommended for most designs in order to avoid improper density of coverage. I’m 

stitching it on a microfiber hand towel, and if it turns out well, it will make a nice gift for my 

musician friend to keep handy for polishing her keyboard. The hand towel is at a size of about 17 x 

16” so I don’t want to use a design that requires a hoop larger than 4 x 4” and the Treble Clef 

design will fit nicely at 1.35 x 3.83”. The design is one color so there will be no other colors to 

worry about, and its stitch count is at a quick 1698 stitches. 

Most of the reviews mentioned using the design on a shirt or quilt. I want a design that shows 

promise to hold up well against the towel’ s fibers that will certainly try to poke their way through 

the stitches, so to be sure, I first examined the T reble Clef in my software. I found it indeed 

includes underlay, but it’s likely not enough to tack down all of the fibers of the towel, and there’ s 

also a possibility that the satin stitch columns may become very narrow from the stitches pulling 

inward on the somewhat loose weave of the fabric. To compensate for these issues, I’ll use a 

water soluble topping to help hold down the fibers and add an additional sheet of tearaway for 

backing. If preferred, one could also swap the tearaway for 23 sheets of a water soluble 

stabilizer to avoid leaving any remnants of the backing that occurs when the excess is removed. 

Test! Test! Test! 

Whether or not you are new to embroidery, it’s always a good idea to testsew the design first on a 

scrap of same or similar substrate. Alternatively, you can use felt or a couple of sheets of cutaway 

to test on, but be aware these substrates will not always show the most accurate results 

comparable to the final item. Examine the design in software before stitching and watch the 

machine sew out the design to determine if there is enough underlay stitches to create a strong 

foundation for your intended project. If not, you can either choose a more suitable design or you 

might try compensating for the issues that are revealed in the test sample with a dif ferent method 

of stabilization. 

Testing will help determine various facts about the design. This image shows the underlay of the 

design and it reveals that the digitizer also added additional stitches at stress points (circled in 

red) where the columns could otherwise separate and leave a gap. It also shows that the 

underlay stitches are very long, which could be beneficial when stitching on a dense fabric like 

nylon, but this fact could also cause excess pull on a less stable fabric like terry or knit, in which 

case a stronger foundation would be necessary. 

If there is adequate underlay in the design, but there are obvious flaws in your sample, determine 

what is necessary for improvement. If you see the fabric through areas where you desire more 

coverage, switch to a heavier thread weight; if you used a 40 WT , try a 30 WT (the lower the 

number , the thicker the thread). If columns appear too narrow or there are gaps between the 

outline and inside stitches, increase the layers of stabilizer or change to a stronger stabilizer . For 

example, if you have used one sheet of light weight tearaway , add another sheet or use a heavier 

weight to strengthen the foundation, or if leaving an excess margin of backing doesn’t matter on 

the finished embroidery , switch to one sheet of a cutaway. Many fabrics, such as used for a knit 

polo, do best with an adhesive backing along with a sheet of noshow polymesh cutaway . 

My sample was sewn on felt using one sheet of tearaway and no topping. It looks acceptable, 

with the exception of a very small area at the lower left curve where stitches have slightly parted. 

This small gap isn’t a problem and barely noticeable if it’ s stitched on felt or other nontextured 

substrate, but if it’ s embroidered on a towel a few of the fabric’s fibers just might make their way 

through, so a topping of water soluble stabilizer will be needed. I also used one sheet of tearaway 

for backing on felt, but a towel is more vulnerable so I determined it would need at least two 

sheets of tearaway on the back for the final sewout. 

As well, my sample on felt told me resizing this design would be foolish, as the density is nearperfect. 

Increasing the size would result in poor coverage and decreasing it would result in bulky 

corners, as well as fabric puckering around the design, and decreasing the size too much could 


even cause 

161/gettingstartedpart1tipsforsuccessfulembroidery 

holes in the fabric from excessive needle penetrations. 

.aspx 2/3


even cause holes in the fabric from excessive needle penetrations. 

After you determine the right combination of the materials for your project, test again, and if you 

find it necessary, try another combination and test yet again until you have found the best 

ingredients for the design and the fabric being embroidered. Testing may seem like a 

tremendous amount of wasted time and materials, but remember that once you have become 

familiar with dif ferent results, these initial repeated tests will save valuable time and cost in the 

future. Eventually, one testsew of one design will be all that is necessary for you to recognize 

what is needed for a successfully stitched design on various substrates. 

Fabrics continue to change formulations, and that causes the embroidery needs of the fabric to 

change. Fabrics, as well as stabilizers and threads are continuously invented and old favorites 

are upgraded, which can take one by surprise when it’ s discovered that the same design 

suddenly produces dif ferent results. So, unless you can af ford a mistake now and then, it’ s best 

to always test a design you’ve never stitched to verify quality, or on a fabric or other substrate that 

you’ve never embroidered to determine the needs of the substrate. A test will also help you 

choose the most complimenting thread colors for the item, thread weight for the best coverage, 

types of stabilizers for the strongest foundation, and a needle type and size that stitches without 

thread breaks and without damage to the stitches or substrate. If all does not go well in the 

testing, don't toss that poorly stitched sample! Bad embroidery is your most valuable teacher . 

Down the road you'll thank yourself if you keep those test samples in a notebook or file folder with 

all the information about the design, along with the materials used for the successful results of 

the final project. 

To help you recognize bad embroidery and how to prevent it, see “Getting Started Part 2 – 

Troubleshooting ” where you’ll find a list of common problems and solutions. 






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4 Reviews 

Getting Started Part 2 

Troubleshooting Bad Embroidery 

By Bonnie Landsberger on February 22, 2015 



0 0 0 

Always embroider a sample first to test whether the design meets the requirements of the fabric 

or other substrate that you are stitching. As well, if you have software, examine the design closely 

before you sew and then you’ll be able to determine and prevent many problems prior to stitching 

on the final item. Check your testsample for any issues that need improvement and you’ll know 

what action to take for success. This image shows a portion of an Alpaca design embroidered on 

a knit shirt; the inside stitches are not meeting up with the outline. 

A closer look in software reveals that although edges of the inside stitches are exceeding the 

outline, which the digitizer has done intentionally to compensate for the possibility that stitches 

will pull fabric inward, the design is more suited for cotton or canvas as there isn’t enough 

underlay for knit fabrics. Knits require a sturdy foundation of ample underlay and appropriate 

stabilizers. 

Occasionally you will find problems in the embroidery that aren’t detected by viewing in software, 

which is another reason a stitched test is important. This closeup of a Bookworm design reveals 

no underlay, and although it would not be suitable for knits, it should stitch just fine on a canvas 

tote bag. 

The sewn sample of the Bookworm on a tote shows a gap in the satin stitch column, because the 

width at this point of the satin stitch measures 9.4 MM and it was stitched on a machine that has a 

stitch length limitation of about 7.0 MM. The machine simply will not sew across the widest part of 

the column, and instead, it omits stitches. 

TROUBLESHOOTING 

To help you judge your own design tests, following is a check list of many common 

their solutions: 

issues and 

Gaps between elements; outline does not meet up with the inside stitches: 

Outlines usually stitch exactly where they are supposed to, but the inside stitches are pulling 

inward, resulting in a gap. The inside stitches need a strong foundation to keep them in place. 

Increase layers, type or weight of stabilizer; a reliable combination is an adhesive backing along 

with a sheet of polymesh cutaway. If editing is possible, add underlay and use pull 


compensation 


to extend sides where stitches pull inward. 

.aspx 1/4


compensation to extend sides where stitches 

pull inward. 

Columns of satin stitches appear too narrow: 

Increase layers or strength of stabilizer; if editing is possible, increase column width to 

compensate for the pull of stitches. Also, make sure top and bobbin tensions are not too tight. 

Underlay stitches are popping outside of the columns: 

This can be caused by various reasons, including loose top tension or the stitch length might be 

a little too long or the satin stitches are sewing too narrow. A stronger foundation can help 

eliminate the problem; if you have used one sheet of tearaway , try two sheets, or change to a 

heavier weight of tearaway or a stronger type of stabilizer like a cutaway. An adhesive type of 

stabilizer along with a sheet of nonadhesive works well, and if the fabric requires, a water soluble 

topping might be necessary . If editing is possible, decrease stitch length of underlay and 

increase column width of satin stitches. 

Seethru coverage of stitches: 

Density is too light; use a heavier/thicker thread weight. If you are using a 40 WT switch to a 30 WT 

(the higher the number , the thinner the thread). Decreasing the size of the entire design will 

increase the density so that may also be an option. Or try laying down a piece of fabric or stabilizer 

over the affected area of a color close to the thread color prior to that section sewing; stop the 

machine, trim up to the appliquéd area, and then start the machine again. 

Hard, heavy coverage of stitches: 

Density is too thick; switch to a lighter/thinner thread weight. The design can also be 

size without globally increasing the stitch count. 

increased in 

Fabric puckering and buckling around the outside of the design: 

The density is too thick and/or the stitch length is too short for the fabric type. Try increasing the 

size of the design 1015%. An adhesive type of stabilizer for backing will also create a strong 

foundation that will help eliminate much of the stress on the surrounding fabric; use when 

stitching on knits along with a sheet of polymesh cutaway for best results. 

Thread is bunching up into a knotted mass below the hooped item: 

This problem is commonly referred to as a “bird’ s nest” or “birdnesting” and it is most often 

caused by the thread traveling in the wrong path; check that the machine is threaded correctly . It is 

also sometimes due to a damaged or dull needle; change the needle. And occasionally 

birdnesting can be caused by low humidity , because thread needs moisture; raise the room 

humidity up to at least 2530% by running a humidifier or vaporizer. 

The top stitches are looping and loose: 

The needle is damaged, dull or the wrong size for the job; change the needle. Also check top and 

bobbin tension and be sure that the bobbin is not empty and that it’ s set into the machine 

correctly. 

Bobbin thread is pulling through and showing at each side of top stitches: 

Clean the bobbin area. A buildup of lint in the bobbin case or other areas of the thread path will 

cause inconsistent tension. Also check that top tension is not too tight and bottom tension is not 

too loose by examining the backside of embroidery. In general, the best tension will show about a 

third of bobbin coverage at the center of a column with an equal amount of top stitches at each 

side. 

Top thread is stitching columns much too narrow, pulling very tight stitches of bobbin to the 

top. 

The top tension is too tight. Check the top thread to be sure the machine is threaded correctly and 

make sure all areas of the thread path are lint free. 

The tiny lettering isn’t legible and other small details aren’t clear: 

Switch that particular color to a 50 WT or 60 WT thread and use a smaller size needle. The thinner 

thread weight with a smaller needle will allow for more clarity and present fewer possibilities of 

thread breaks when stitching tiny details. 

Tiny holes are occurring in the fabric near the stitches: 

Sometimes this happens when density is too thick in compact areas, such as around curves or 

corners; increase the design size slightly or switch to a lighter weight thread. As well, cuts in fabric 

occur when a sharp point needle is used on knits or other vulnerable fabric; switch to a ball point. 



The fabric bounces up and down with the needle when stitching; threads and needles break: 

This problem is referred to as “flagging” and is most often due to a bent needle; change the 

needle. It can also be caused by poor hooping; fabric should be taut like a drum skin, not too tight 

and not too loose. 

Small pressed wrinkles on fabric where it was hooped: 

This occurs if you put the smooth end of the ring in and then tilt and push in the screw opening 

and the hoop is too tight. The hoop “bites” the fabric. T ry placing the screw adjusting area first and 

easing the hoop into the top with a firm, not extreme fit. 

A ring of compressed fibers occurs on the garment where it was hooped: 

Spray with a bit of Magic Sizing and wipe with a clean cloth or brush with a soft bristle brush. If you 

have many items to stitch on the same type of fabric, take preventative steps by first wrapping the 

hoop rings with athletic tape if you have numerous items to stitch of the same design. Or if the job 

is for only one or two items, hoop a sheet of tearaway on top of the hooped item, then cut or rip 

out the center where it will be embroidered, leaving the fabric protected by the tearaway where it’s 

sandwiched between the hoop rings. Y ou can also eliminate this issue by hooping only the 

backing that has been sprayed with an adhesive and then lay the item on the sprayed backing 

and over the outside of the hoop, and use a few pins to secure the fabric at the inside edge of the 

hoop. A magnetic closing hoop also works well to avoid hoop marks. 

Thread keeps fraying and breaking: 

Check for a damaged needle and make sure the machine is clean of lint and threaded correctly. If 

the problem continues, change to a dif ferent spool; thread left in the sun or stored improperly in a 

dry environment will become brittle. Also, slow down the machine when necessary , such as for 

stitching small lettering and other tiny elements, or when using metallic threads. 

Stitches show in the software but the machine doesn’t sew them: 

The area where the machine is omitting stitches is likely a satin stitch column that was digitized 

much too wide for various models of home machines; decrease the size of the design slightly to 

create a thinner column or if editing is possible, change the satin stitch column to a random fill 

stitch. 

The colors that the machine says to use are wonky: 

Most commercial digitizing systems do not save a color palette in the design data; they only save 

the color stop commands. So, when the design is converted to dif ferent machine formats, true 

thread colors for each machine model are not included. Even though some digitizing programs 

have started to include more accurate “colorways” for dif ferent formats there are oodles of 

beautiful quality designs available that were digitized during a time when saving the appropriate 

colorways was not an option on any software. Adjust the colors in your software, and then save 

the design. Your software will retain the colors you have chosen so when you read the newly 

saved file back into your software or your machine, your preferred colors will be displayed.If you 

don’t have software that allows adjusting colors, refer to the color chart text file that accompanies 

each design for the appropriate color sequence. For a multineedle machine, set the appropriate 

needle for the color number; or for a single needle machine, line up the cones of thread on your 

work table in the correct sequence to help you know which color to choose next when the machine 

stops for a color change. 

The design file is not recognized by software and/or machine: 

The design may be too large for the machine’ s sewing field limit or the design might not be 

centered properly, or the format isn’t saved in a compatible version for your machine. First, be 

sure that the design will fit within your machine’ s sewing field limitation and be sure that the 

design is centered.If both check okay, the file likely needs to be converted to your machine format 

again in order to create an understandable version for your software and/or machine. You can try 

downloading the commercial DST format that is recognized by most all software programs and 

save the file again in your machine format. (Note, DST format does not retain a color palette, so 

colors will not appear accurate.) You can also contact EmbroideryDesigns.com customer service 

and our design support team will create a usable format version for your machine. 

The embroidery on the final garment has too many mistakes and looks terrible: 

You might choose to simply toss the item, but I recommend saving it to use for future test sewing. 

If the item is irreplaceable, keep in mind stitches can be removed. On the backside of the 

embroidery, using a small sewing scissors that fit comfortably in your hand, very carefully snip the 

majority of bobbin thread, and then on the top side, brush away the stitches with your hand or soft 


bristle brush. 


To remove knots that remain behind, poke a pin 

.aspx 

through the knot to loosen and lift 

3/4


bristle brush. To remove knots that remain behind, poke a pin through the knot to loosen and lift 

away from the backing, and then snip. All snipping should be done on the backside next to the 

stabilizer to avoid damage to the fabric. If the stitching is intense, you might consider shaving the 

stitches away. Some embroiderers have reported using a disposable razor to cut away the bobbin 

thread and there are also gadgets like Peggy’ s Stitch Eraser that work quite well. 

Sharing is Caring 

One article can’t cover every problem an embroiderer might experience. There are beautiful, 

quality designs digitized to meet requirements of days long ago that remain on the market, so as 

materials change and software and equipment are updated, embroidery skills will continue to 

require experimentation and communication with other embroiderers. Y ou are most welcome to 

share a problem you’ve had along with your solution in the comments! 

Click here to read Getting Started Part 1 Tips For Successful Embroidery . 






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Stitchitize Embroidery Design Learning Studio 

LESSON 1 - Digitizing Basics & Theory 

Lesson one covers the basics of digitizing artwork for embroidery. We have broken down the art of digitizing into some basic 

fundamental elements. Each element is important to understand, as they are the tools you will have as control factors over 

how your designs sew out. We will refer to these principles throughout the lessons and will expand upon them as we do. At 

the top of each lesson there are links to the various topics in that lesson, so that you can easily return to review a topic. Try 

the glossary for any terms that we may use that you are not familiar with. If you have questions about any of the topics please 

use the bulletin board in the student lounge to post them. Perhaps the answer you are looking for is already there from a previous 

student. This way we can all learn together and from each other. 

Stitch Types 

The goal of the Stitchitize embroidery Design School is to break down modern computerized embroidery, or Swiss Embroidery, 

into the most basic elements. The embroidery machine understands movement from one stitch to the next and has 

settings for either needle up (jump) or needle down (stitch). The needle remains stationary in Swiss embroidery and the movement 

comes only from the hoop. The modern stitch types we use in creating embroidery designs are formed by moving the 

hoop in a similar pattern for a series of stitches that produce an effect or "stitch-type". There are three main types of stitches 

to choose from with many variations of each. The three basic types are "Satin stitch", "Fill stitch" and "Run stitch". Many different 

names are used for each stitch type. For example, Satin stitch can be called a "Blat", Fill stitch can be referred to as 

"Tatami" and Run stitch is also known as "Detail" or "Underlay". For your convenience, a glossary has been created with commonly 

used embroidery terms and explanations. We hope to make our glossary one of the most extensive tools available and 

welcome any input from our students. 

Basic Stitch Types 

Satin Stitch 

This stitch is formed by placing stitches in a zig-zag pattern to form a column. The stitches can be varied in distance from each 

other, can be at any stitch angle, and different stitch lengths. Satin stitches are used in a wide variety of ways, and can be 

found in most embroidery designs. The most common uses for satin stitches are to form letters, to create borders, or patterns. 

The letter “E” is made up of two 

Satin stitch columns. 

This Fill stitched box has a Satin 

stitch border that will help give it a 

clean edge and keep it looking 

straight. 

Page 1 

This flower is made up of a series of 

Satin stitch columns.

Run Stitch 

A run stitch is formed by placing stitches one after 

the next to create a line, the width of a thread, and 

is used for a variety of purposes. For example, a 

run stitch is used to travel from one object to the 

next, to produce most underlays, and to create 

detail in a design. When detailing a design, a twoply 

run stitch is most often used to create 

volume or to give better coverage. In some cases, on very small designs, a one-ply run stitch is sufficient to create the desired 

effect. Also, on very large designs, a three or four-ply run stitch can be used to enhance the detail line. 

This cowboy boot was 

digitized using Run 

stitch. 

This rope was digitized 

in Satin stitch with a Run 

stitch border. 

Fill Stitch 

This computer generated stitch type is created by a 

series of lines that fill in an area. The distance between 

the lines can be varied for loose or full coverage and is 

determined by the density of the stitches and the stitch 

length. Generally, any object with a width greater than 

one centimeter requires a fill stitch to reduce long stitches that may slow the speed of the machine (long jumps create unnecessary 

wear and tear on the machine). The use of fill stitch is not recommended for smaller objects that have a width less than 

five millimeters, as this does not give the needle sufficient space to move, potentially causing thread breaks and/or sewing 

problems. The fill stitch is used for a variety of purposes. For example, to fill in an area under lettering or to fill any large area 

with color. 

Fill stitches can be placed at one stitch angle or the angle can be 

varied to create a turning fill. Stitch length, density, and fill patterns 

can be used to create different looks. 

Backstitch or Returnstitch 

Standard Edge Walk Zig Zag 

Page 2

Some software may have options for the type of backstitch or return stitch. This option allows the digitizer to add different 

effects to the edge of the fill stitch object. The standard Backstitch allows every second row of stitches to be shorter in order 

to avoid too many small stitches on the edge of a shape. Edge Walk Backstitch is suitable for very open fills. It is sometimes 

referred to as trapunto. The edge on this type of fill follows the shape of the object. The diagonal Backstitch is the true zigzag 

pattern and works well for blending and jagged edge fills. 

TIP 

Large filled areas generally look best if they are finished with a Satin stitch border, although, 

a Run Stitch border may also be used. 

CAUTION 

Large filled areas should start sewing at one side and move steadily to the other side without 

breaking up the fill. This reduces the chance of fabric movement and puckering. 

Effects 

Split Satin 

This effect is very versatile for objects that have large and 

small areas combined. This stitch type combines Satin stitch 

and Fill stitch in one object. The length of the split can be 

varied depending on the size of the object. The use of split 

satin provides dimension and texture to objects that otherwise 

would appear flat. It also allows for an area to be sewn with a Fill stitch, but will use only a Satin stitch if smaller than the 

split length. Some examples are flames, trees and animals. 

This tree was digitized as one object. The 

use of Split Satin allows for Fill stitch in the 

middle and Satin stitch in the branches. 

Split Satin is very effective for shapes such 

as flames, where some areas are too large 

to satin. 

Page 3

Jagged Edge 

This is an effect that can be used for both satin stitch and fill stitch columns. The jagged edge is formed by varying the length 

of the stitches on one or both sides of an object. The length from one stitch to the next is called the range, and it can be 

increased or decreased to produce different effects . Some uses for jagged edge stitching are creating a tree line in a landscape, 

or blending colors together to create the fur on an animal. . 

This embroidery of the Northern Lights is made using the Jagged Edge effect 

Curved Fill 

This is an effect that can be applied to a fill stitch to create movement 

or dimension. The effect is formed by placing stitches on a 

curved line within a filled shape. This is an excellent way to add 

realism to a design. There are many different uses for this fill 

effect. Some examples are wave patterns, globe shapes, 

animals, snow, and clouds. 

TIP 

Try varying the density of the curved fill to create different effects but watch out for exposed 

underlay. 

Page 4

Patterned Fill 

Many of todays digi-systems have pre-set options to choose from, which can create a duplicating pattern throughout an area. 

The pattern fill is very helpful in adding dimension to designs that would otherwise look flat. There are many patterns that can 

be created and these are just a few examples of what there are to choose from. 

User-defined Patterned Fill 

This effect gives the user the ability to create a pattern that will be duplicated within a filled area. An example would be to take 

a word and repeat it over and over as part of a fill background. This effect is created by applying a .bmp image to a basic fill 

pattern. The needle penetrations are removed from the fill to create the pattern of the word. See how the word Data Stitch Inc. 

is repeated in this fill pattern. Also see the SS pattern in the other example. 

Complex Fill with holes 

This is a tool that some digi systems have that gives us the ability to create a fill of any shape with a consistant stitch angle. 

The tool then calculates the best way to fill in the various parts of the object, without having to break the area into separate 

pieces. The stitch angle as well as the density and stitch length can all be varied, as in any fill stitch. This option is extremely 

useful in creating any irregular shapes. It also allows holes of any shape to be placed within the fill. 

Page 5

Bean Stitch 

This is a variation of the run stitch that is the equivalent of three-ply run stitch, and is created making only one path. This 

means it starts at one end of a line and finishes at the other. The machine actually stitches each stitch three times before it 

moves on to the next stitch. 

The Stitch is formed by making a stitch forward, then back to 

the previous stitch and then forward two stitches. So it stitches 

forward-back, forward-forward-back, forward-forward-back. 

This is a good stitch to use to outline a shape without having 

to make multiple passes around the shape. 

CAUTION 

This is not the best type of stitch to use for designs that have detail lines that would require 

you to detail in and out to connect everything. If you double up a Bean stitch the result is 

equal to a six-ply run stitch. 

Motif Run Stitch 

This is an effect we can apply to a run stitch to create a pattern look. This stitch is formed by having a pattern repeat along a 

detail line. Many of todays digi systems have a list of motifs that can be used to enhance a run stitch. The size and length can 

be varied to suit the user. 

Cross Stitch 

This is a variation of the run stitch that creates the look of handmade cross stitch embroidery. In handmade cross stitch, one 

has the ability to pull the needle through the material in one place and then bring it up in a different place. This is not possible 

with today's embroidery machines as the needle goes in and comes out in the same spot. The cross stitch effect is made up 

of Run stitches creating a cross pattern to emulate the hand sewn look. Many of today's digi systems have an automated 

feature to create cross stitch designs. 

Page 6

Accordian Stitch 

This is an effect that can be used on either satin stitches or fill stitches. It is an effective tool used to blend two colours together. 

The effect is created by having either increasing or decreasing density from one side of an embroidery object to the other. 

Trapunto Stitch 

This is a general term for an open fill used to cover the background of a design. The open areas between the stitches will puff 

out slightly creating texture and dimension to the design. Edge run backstitch is required to finish the edge of such an open fill 

properly. 

TIP 

This effect can be combined with a heavy cotton batting between the material and the backing 

so that the areas that are not stitched will puff out and look even more raised. 

Page 7

Underlay Types 

Underlay is the most effective technique used to produce quality embroidery. It is the inital stitches used within an object as 

a foundation for the top stitching. Underlay is used to help objects maintain their digitized shapes, reduce the pull of the thread 

and the stretch of the various materials. Underlay is also used to stop the top stitching from sinking into the material or other 

layers of embroidery. More than one type of underlay can be used on an object when necessary. For example, a large filled 

area may require an edge run as well as a tatami or grid underlay. 

Center Run (Underlay) 

This type of underlay is used to provide lift for the satin stitch column. To create a center run underlay we would use a combination 

of one and two ply runstitch depending on the object. 

To underlay the letter "i" starting at the bottom and finishing at the bottom we would walk to the top with center run underlay 

and satin stitch back to the bottom. However, to digitize the letter "i" starting at the bottom and finishing in the middle, we 

would center run underlay from the bottom to the top and then satin stitch to the middle. Then we would center run from the 

middle back to the bottom and satin stitch back to the middle. The result is half a letter with one-ply center run and the other 

half with two-ply center run underlay. 

Edge Run (Underlay) 

This type of underlay is used to provide loft for satin stitches and also to provide a clean sewing edge to an object. We use it 

to stop stitches from sinking into the material or into a previous layer of embroidery that is sewn on the same stitch angle. To 

create edge run underlay, the thread is placed just inside the outer edge of the top stitches, and travels around the entire 

perimeter of the object. 

TIP 

This effect can be combined with a heavy cotton batting between the material and the backing 

so that the areas that are not stitched will puff out and look even more raised. 

Page 8

TIP 

Digitize the edge run underlay 0.5 millimeter in from the edge of the embroidered object. 

Placing the underlay any closer to the edge could cause it to poke out of the top stitching. 

CAUTION 

An object must have a width greater than two mm to use this type of underlay. 

Zig Zag & Double Zig Zag (Underlay) 

This type of underlay is used to provide loft and hold down fabric such as terry cloth or fleece. To digitize the zig zag underlay 

we stitch back and forth like a satin stitch, but with much less density. The underlay stitch spacing can be use to make more 

or less zig zag underlay. The greater the stitch spacing the farther apart the zig zag will be. 

Grid or Tatami (Underlay) 

This type of underlay is used most often under large areas of fill, and is used to reduce the push or give of the material. The 

tatami underlay is equivalent to a very open density fill and is most effective at a 90 degree angle to the top stitching. The 

underlay will tack down the area to be filled in, and will stabilize the material. 

Page 9

Stitch Length 

The length of a stitch will vary depending on the stitch type, but there are a few general rules that are determined by the equipment 

being used. Most equipment today will have a maximum stitch length of 12mm. To travel longer distances, the use of a 

jump stitch or needle up would be required. This does not mean that a 12mm satin stitch is a good idea. Most stitches should 

be kept at 6mm or less. Longer stitches are not as stable and are more likely to be snagged. In addition, they will cause wear 

and tear on your embroidery equipment. It is possible to digitize a satin stitch at 10mm wide but to ensure smooth sewing, the 

use of jump stitches is necessary. Most digi systems have an automatic setting of 7mm, which is industry standard. This 

means the 10mm satin stitch actually has a jump in between each stitch which ensures smoother sewing. 

Minimum stitch length should also be considered. Although your equipment may be able to create stitches that are less than 

1mm, the stitch will not form well. The needle and thread need to move far enough away from the last stitch to make a new 

needle penetration. If the distance is shorter than 1mm, the needle and thread may simply sew into the same hole, causing 

most of the embroidery to end up behind the material. You will also find that if the stitch is too short, the underlay may poke 

out of the top stitching. 

Here are some guidelines to consider concerning stitch length: 

- Keep all stitches longer than 1mm 

- Set jump stitch for 7mm 

- Try to keep all satin stitches no longer than 6-10mm 

- Use a stitch length of 3-6mm for tatami stitches 

- Use 2-3mm for underlay stitch length 

- Use 1.5-2.5mm for run stitches or detail. 

Page 10

Density 

Density is also known as Stitch Spacing 

Density of an embroidered object is best described as the distance between stitches. The greater the density, the smaller the 

distance between the stitches. The density used will vary, depending on stitch type. Underlay also effects the density we 

choose. For example, if we have a double zig zag underlay, less top stitching is required. The desired look will also affect the 

density required. For example, to achieve a blended look, the first color will be sewn at full coverage density and the second 

color would sew at the same angle using half density. If you play with the density, you can affect the number of stitches in a 

design. 

Here is a chart to use as a guideline for density, but we strongly recommend experimentation. 

Satin Stitch (Assuming that we are going for full coverage) 

Stitch length (column width) Underlay used Density used 

1mm center run .42 or 4.2 

1.5mm 

center run .40 or 4.0 

2mm 

3mm 

edge run 

edge run 

.38 or 3.8 

.36 or 3.6 

4mm 

edge run 

.34 or 3.4 

5mm edge run and/or zigzag .32 or 3.2 

6-10mm edge run and/or zigzag .30 or 3.0 

Page 11

Tatami Stitch 

The density of a Fill Stitch is like the Satin density, in that, it is based on the distance between two rows of stitches. With Fill 

stitches there is a back stitch to return to the other side of the embroidery. As a result the density of a fill stitch would appear to 

be based on every other row of stitching. 

Stitch Length 

3mm-6mm 

Density 

.35mm 

Underlay type 

Edge run and grid 

Effect 

Full coverage 

4mm-6mm 

.4 - 2mm or more 

Try to hide travel stitches 

Open coverage 

5mm-6mm 

.4 graduating to 2mm 

None 

Colour blend 

This guide is suitable for most fills with varying stitch lengths, depending on the application. To fill a banner with lettering on top, 

a 4mm stitch length would be used to prevent the letters sewing on top from pulling the fill stitches apart, causing the material 

to show through. For a large fill with no top stitching, we would use a 6mm stitch length to reduce the number of stitches in the 

design. 

TIP 

Try using a longer stitch length for blending colors together, as they can more easily sink 

into and blend with each other. 

To achieve a more open look for a background where the material will show through, try 

reducing the density. This type of open stitch works well for sky or water. 

Page 12

Stitch Angles 

Stitch angle is the direction of the stitch inside a column in a satin stitch or the direction of the stitches in a tatami fill. 

The stitch angle in a turning angle fill is controlled by the line that connects each set of points. 

The stitch angle in a tatami fill is parallel and does not turn. 

Adding Realism 

This leaf is an example of how stitch angle can add realism to an embroidery design. 

The leaf is made of 2 colours, one for the leaf and a second for the stem and veins. In the image on the left, the leaf is stitched 

with 1 stitch angle and the result looks a little flat. In the image on the right, the leaf is stitched with 2 angles one for each side 

of the leaf. The result is that the leaf looks more three-dimensional. The complete leaf is made of three objects one for each 

side of the leaf and a third for the stem and veins. 

Page 13

Push and Pull 

Learning to identify the "push and pull" of a design, and how to compensate for it, is an essential but very simple concept. All 

embroidery objects are affected by push and pull, the extent of which will depend on the stitch type, stitch direction, application, 

tension of the thread, and the backing. Embroidery stitches "pull" inward on the sides, and "push" outward on the ends of an 

object. Predicting what will happen to an object when all of these variables are applied and then compensating where necessary, 

is the key to achieving perfect results. This is called digitizing with distortion and is the most effective way to control the look of 

an embroidered design. Here is how it works; 

How Push and Pull affects basic shapes 

Page 14

Push Compensation 

Push only affects the ends of an object or the side that is parallel to the stitch angle. Most objects will push out one or two 

stitch widths beyond the digitized points. Therefore, in order to best compensate, the digitizer would create the object shorter 

than the artwork depicts. 

Pull Compensation 

Pull affects the edges of an object, causing the width of an object to sew thinner than the actual digitized shape. The amount 

or percentage of pull compensation depends on the fabric used. Therefore, in order to best compensate, the digitizer would 

create the object slightly wider than the artwork depicts. Many digi systems have an automated pull compensation that allows 

us to digitize the actual shape of an embroidery object and then assign a value to the compensation. Most digi systems use 

a percentage for pull compensation (ie: 110%) but some will use an actual distance (ie: .4mm) in place of the percentage. 

Page 15

Here are some general pull compensation guidelines. Experimentation with different fabrics is recommended. 

Object Width Percentage Based Pull Comp. Actual Value Based Pull Comp. 

1mm satin 110 -130% 

0.2 - 0.4mm 

4mm satin 105 - 115% 

0.17 - 0.25mm 

7mm satin 

7mm fill 

40mm + fill 

103 - 110% 

103 - 110% 

100 - 103% 

0.17 - 0.25mm 

0.17 - 0.25mm 

0.17 - 0.25mm 

CAUTION 

Be careful not to add too much pull compensation to small lettering or objects. If you do, the letters can 

become too fat and the space in between the letters starts to disappear. The result is that the letters 

don't look very clear. 

This has too much pull compensation 

This has just enough pull compensation to keep the letters bold but not so much that it closed up. 

Page 16

Spacing 

Space is an extremely important element to consider when creating quality embroidery. Where a space is desired, it is necessary 

to allow at least 1mm of distance between each column of embroidery. If two columns are placed side by side with insufficient 

space, the result can actually cut the material or leave the embroidery looking solid, with no definition. The space within 

an embroidery object must also be considered. Using the letter 'O' as an example, if the inside or hole in the letter is too small, 

the inside of theletter may close up. In this case, slight adjustments to the dimensions of the letter would be necessary. Too 

much space between two embroidery objects can also be a problem when trims are unwanted. Maintaining a consistent 

distance between objects ensuressmooth machine operation and reduces theappearance ofconnections. This idea is 

explained more thoroughly later in this unit under Tie Offs and Trims. 

Corners 

The importance of a clean looking corner in embroidery can never be underestimated. There are three basic ways to turn the 

same corner. The standard method (A) to turn a corner in embroidery requires at least three sets of points to suit the corner. 

The use of short stitches (D) allows less stitching on the inside of the corner to avoid thread breaks and sewing problems while 

ensuring enough stitches on the outside edge to create a clean and consistent line. Example (E) shows a corner without short 

stitches. Note the excessive density on the inside. The second method (B) is called a capped corner, and is formed by breaking 

the corner into pieces that all sew at the same angle. This type of corner works well for large, sharp corners as they 

produce fewer stitches. The third method (C) to turn a corner is called a mitred corner. In this case, the corner is split into two 

segments that overlap each other in the center. This method works well for corners between 75 and 90 degrees, and also on 

objects that must appear as if the stitch angle is turning. 

Connections 

Page 17

When digitizing an embroidery design, we create objects that combine to make the different elements of the design. Each 

satin stitch, run stitch and fill stitch we create are individual objects. The digitizer must consider how to connect the objects 

for smooth sewing. If the objects are close enough together, they can be closest point connected. If they are too far apart to 

connect, plan a jump stitch to connect the objects. If possible, plan for the start and end point of an object to be in the same 

place, so that both threads can be trimmed at the same time (see figure below left). Also consider the best place for each 

object to start and end, in order that the jump stitch connection does not get sewn over by subsequent objects (see figure 

below right). Proper pathing procedures will be more thoroughly explained later in this unit. 

Overlapping 

When we create embroidery objects, we need to overlap any objects that touch each 

other. In a perfect world we could make all embroidery objects exactly as they appear 

in the original artwork, but we know that in reality, Push and Pull, along with the give 

of the material, would cause gaps. These gaps make embroidery look very poor. To 

avoid these gaps, we need to overlap our objects. The object that is sewn first is over 

punched under the top object that will sew later. In the object that sews first we also 

need to consider the stitch angle of the areas that overlap. 

Parallel Stitch angle overlap 

When the Stitch Angle of the objects are parallel, the stitches will finger 

together. The use of an Edge run underlay would stop the objects from bleeding 

together. We use a double edge run underlay for the top layer of stitches. 

TIP 

TIP 

Double Edge run underlay. 

As in an example like the Canada flag shown here we 

want to keep all the fill objects with the same stitch angle 

so that the flag will always stay square. To ensure that 

the red and white Fill stitches do not bleed together we 

use a Double Edge Run underlay on the sewing that 

comes on top. 

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Cross section of overlapping embroidered shapes. 

Perpendicular Stitch angle overlap 

When the stitch angle is perpendicular to the overlapping object, the top object may grab the thread of the under object and 

pull it apart causing a gap. This gap can easily be avoided by adding extra underlay stitches under the first object. We call 

these special underlay stitches "Ticky Ticky Underlay". These very few underlay stitches can really improve the quality of your 

embroidery. The trick is to add the Ticky Ticky by hand as a Manual or Run stitch. 

These stitches become necessary where the top object sews across the bottom object. (figure A below). The Ticky Ticky 

underlay is not needed if the top object sews adjacent to the under object and just butts up to it as shown below (figure B 

below). 

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Tie In and Tie Off & Trims 

Tie ins and tie offs are some of the most important stitches in any design. The tie in stitches are the first few stitches at the 

beginning of an embroidery design. They are also necessary after any color change and after any thread trim or long jump. 

The tie in stitches ensure that the top thread and bobbin thread catch, or tie a knot before sewing begins. The tie in stitches 

are created by placing 3-5 stitches close together. These stitches are not part of the underlay and will be covered by top stitching, 

rendering them invisible. The tie off stitches are the last few stitches placed at the end of a design, and are mandatory to 

ensure that the threads do not unravel. They are also necessary at the end of a color and at the end of any object that will 

have a long jump or thread trim. A tie off is made in a similar fashion by placing 3-4 stitches very close together, creating a 

knot. The stitches should be placed inside the top stitching so that they are not visible. The stitch length for both tie ins and 

tie offs should be kept at 0.5 mm. Most digi systems have automatic tie ins and tie offs that can be preset for number of 

stitches and stitch lengths, and should be utilized at all times. 

Pathing 

Taking a moment to think through a design and choose a suitable path is essential to the digitizing process. The way that a 

design will be pathed determines both the efficiency and the aesthetics of the finished product. Machine time is reflected by 

the amount of trims, jumps and color changes in a design. This makes intelligent pathing extremely important in production. 

In deciding an effective path for a design, the digitizer must first learn to visualize the two dimensional artwork in its finished, 

three dimensional form. This process is important since some elements in the design may appear as if they are under other 

elements. Color sequence should be carefully thought out. Plan to use each color as few times as possible, to reduce the 

number of color stops in the design. Also consider the different elements of the design and how they affect the best path. 

In the case of this flower we stitched the petals first, so that we could hide the travel stitches under the second color (flower 

center).We chose to digitize the flower first and the lettering second so that the connecting thread from “Flower”to”Power” is 

not sewn over by the flower in the center. 

9 

In addition to the color and element sequence, a good digitizer 

would consider the start and end point of each object, so that 

they connect to the next object with no trim or jump. 

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Segmentation 

Deciding the best path of your embroidery is made easier by segmenting elements into their most basic Stitch types. 

The letter E can be broken up into four separate objects. 

Below is a complex shape. Most digi systems today have a tool to digitize this object. The concept is that the object is 

segmented into pieces that will vary depending on the stitch angle that you choose for the object. Image A has a horizontal 

stitch angle and requires 5 segments. Image B has a vertical (90 degree) stitch angle and requires 4 segments. 

TIP 

When choosing the stitch angle of a complex object consider the number of segments 

required. Less segments are generally better when possible. Also, consider if you can 

minimize the way that the push and pull will affect the object. 

Page 21

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