Melco Compilation

Webinar #1 

Getting Started 

DesignShop V9 Basic Lettering & Editing Webinar Guide 

w w w . m e l c o u n i v e r s i t y . c o m

Screen Overview 

Toolbars 

Main Bar 

Color Palette 

View Bar 

Dynamic Properties Bar 

View Window 

Input Toolbar 

Zoom Bar 

Scale/Status Bar 

Slow Redraw Bar 

DSV9_WO1_Getting_Started.pub 2 Rev: 06/03/09

Project View: Managing Your Elements 

Project Tab 

The Tabs 

Stitches Tab 

Navigator Tab 

The Levels 

Project Level 

Design Level 

Color Level 

Element Level 

Point Level 


Navigating Through The Workspace & A Design 

Selecting Elements 

Scaling Elements 

Rotating Elements 

Shift to scale proportionally 

ALT to scale center > out 

Shift to select multiple 

consecutive elements 

CTRL to select multiple nonconsecutive 

elements 

Zoom Functions 


Managing Colors 

Current Color 

Design Colors 

(Active Colors) 

Color Palette 

Background 

Color 

Current Color 

Background Color 

Design Colors (Active Colors) 

• List of colors currently being used in the 

design 

• Changing Colors 

• Right-click > edit color to 

change color of that swatch 

• Click and drag a swatch from 

the Palette to Design Colors 

• Right-click > Show/Hide (others/all) 

• Locked colors allow colors to remain in 

the active colors even when they are 

not currently in use. 

Color Palette 

• A small selection of available colors. 

• Right-click > Edit Color to change the 

color of that swatch 

Color Level in the Project View 

• Right-click on the color group> Color… 

to change thread color 

OR 

• Select the color group, click on the desired 

color from either the active colors 

or the color palette. 

Element Level 

• Color information is stored at the element 

level. 

• Changing the color of an element 

• Select the element(s) > click on 

the desired color swatch 

OR 

• Select the element(s) > Rightclick 

> Color… 

• The elements change color 

while all other elements remain 


Getting the Most 

From the Help System 

DesignShop V9 & AMAYA OS V9 Quick Reference Guide 


Accessing the Help System 

The help system contains the most current manuals for AMAYA OS or DesignShop. 

To access the help systems in either program, you can choose one of two ways. 

1. You could click on the “Help” drop-down on the 

menu bar and then select “Help Topics” 

OR 

2. Click on the Help Topics [?] icon on the main toolbar. 

Once opened, the help systems will look like this. 

DSV9_QRG_Help.pub 2 Rev: 04/28/09

Navigating the Help System 

Quick Links to various topics are contained within 

the middle red area of the screen. 

The Contents Tab is located on the left side of the 

screen, and contains the subjects within the help system. 

This is similar to the table of contents in books. Some subjects 

are grouped within folders. To view these, click on 

the [+] beside the folder or double click on the folder to 

expand it. Once you’ve found your topic, simply click on 

the topic to have it displayed in the window on the right. 

The Index Tab is an alphabetical listing of every feature 

in DesignShop. This is like the index in the back 

of many reference books. To display the information 

about a feature, double-click on the name of 

the feature, or select the topic and click on the 

“Display” button at the bottom of the window. 

The Search Tab is used to search for a specific 

topic. When a word is entered in the type field, a list of 

closely matched topics is displayed. Double-click on 

the topic to display the information. 

The controls on the upper left of the Help System 

window allow you to hide or show the Content, Index, 

and Search tabs. “Back” allows you to return 

to the previously displayed topics. “Print” will print a 

topic or an entire section. 


Help System Videos 

Many topics have a video clip to complement 

the written explanation. To access the 

videos, click on the film reel icon. This will 

launch the video in a player. 

Other Help System Information 

To exit the Help System, click on the “X” in the red 

box on the upper right corner of the window. 

“About DesignShop” located under the “Help” 

drop-down, will open a dialog box containing 

information about your level of software as well 

as the software version number. 

9.00.??? 

Web Links are also available under the 

“Help” drop-down. To access these, an internet 

connection is required. 


Webinar #2 

Basic Lettering 



Creating a Lettering Segment 

1. Select the lettering tool by clicking on the [A] 

2. Choose your settings on the Dynamic Property Bar 

3. Click in the view window where you want the 

lettering segment to appear. 

1. 

2. 

3. 

4. Type your desired text on screen. 

5. Press [Enter] to complete the lettering segment 

[Ctrl] + [Enter] = Carriage return 

OR 

1. Select the lettering tool 

2. Click in the view window where you want the lettering 

3. Press [Enter] to go directly to properties. 

4. Click within the lettering box. 

5. Type your desired text in the box. 

6. Click “Apply” to see the text appear on screen. 

DSV9_WO2_Basic_Lettering.pub 2 Rev: 05/11/09

Lettering Properties 

Alphabet 

• Embroidery Alphabets (EA) 

• Code sheets 

• Operator Alphabets (OA) 

• True Type (TT) 

Letters 

Height, Width, & Slant Angle 

Kerning Marks & Trims 


On Screen Manipulation of Lettering 

Kerning 

Click on the handle of the 

letter and drag along the 

baseline. 

Holding [CTRL] while dragging 

will allow the letter to 

move off of the baseline 

Scaling 

Shift locks the aspect ratio 

while scaling 

Alt scales from the center 

out 

Rotate/Slant/Skew 

Letters (continued) 

As Digitized 

Connection Type 

Justification and Stitch Orders 

Justification 

Bottom Connect 

Horizontal Stitch Order 

Closest Point 

(CP) 

Vertical Stitch Order 


Line Types 

Straight 

Vertical 

Arc 

• Radius 

• Angle 

• Clockwise versus Counter Clockwise 

• Changing radius & angle graphically 

• Hold alt to snap to 15° increments 

Custom 

• Adding points along the baseline 

• Straight points (left click) = triangle 

• Curve points (right click) = circle 

Perspective 

• Moving points creates a linear perspective 

and adds the illusion of depth. 

• Points can be added and moved to 

change shape. 

Envelope 

• Points can be added and moved to 

change shape. 

• Will affect letters evenly – no linear perspective. 

• Scale to Fit squishes or stretches the 

current lettering to fit the shape created 

by the envelope. 


Spacing 

Auto Kern 

• Adjusts the spacing between 

each pair of letters to be a 

specified percentage of the 

letter height. 

Line Spacing 


lines of type 

Horizontal Spacing 


all the letters 

Vertical Spacing 

• Adjust the spacing between 

letters to create a stair-step 

effect 

Word Spacing 


words to be a specified percentage 

of the height. 

Changing the Color of Letters 

Text: RAINBOW 

Alphabet: (OA) Curly 

Height: 1.0” 

1. Create a lettering segment with the 

above properties. 

2. Select the lettering segment. 

3. Select the letter you wish to change the color 

of by clicking on the handle of the letter. 

4. Click on the color palette color swatch of 

the color you wish the letter to become. 

5. Continue with the rest of the letters 


Quick Reference 

Guide Lettering V9 

DSV9_QRG_Lettering 1 Rev: 4/16/09

Icon Identification 

1. Edit Mode – to deselect elements, click on a blank area of your screen. 

2. Pointer over element – you can move an element. 

3. The eight black boxes around an element are scaling boxes. The four corner 

boxes scale vertical and horizontal. The middle boxes scale just vertical or 

horizontal. 

4. The open boxes around an element are rotating or skewing boxes. 

5. Slant angle on screen – click on the center hollowed out box and drag left or 

right. 

6. Pointer over a digitized straight input point. 

• Select an input point , click on it - it will become filled in 

7. Pointer over a digitized curve input point. 

• Select an input point , click on it - it will become filled in 

8. Pointer over any wireframe line. Left click to add straight input points. Right 

click to add curve input points. 


Lettering 

Create a lettering element 

1. Click on the lettering tool on the input toolbar. 

2. Left click on the screen workspace (View Window) where you want your lettering 

text to appear (notice the cursor arrow has an A attached to it). 

3. A flashing cursor is displayed on your screen. 

4. Start typing your text. 

5. Press the Enter Key (on the key board) when finished with text. 

OR 

6. Click on the lettering tool on the input toolbar. 

7. Left click on the screen workspace (View Window) where you want your lettering 

text to appear (notice the cursor arrow has an A attached to it). 

8. Press the enter key on the keypad to go directly to the properties dialog box. 

9. Type your lettering in the text box then click on “Apply” or “OK”. 

Re-opening a lettering element properties box 

1. With the selection tool, double-click on the text. 

2. The Object Properties Box will appear. 

3. Make the changes; click on the desired tabs if needed. 

4. Click OK. 

Positioning the lettering element 

1. Select the text you want to move on the screen by placing your mouse on the 

center of that text. 

*NOTE: Your mouse pointer will display a 4-headed directional arrow symbol 

next to it 

2. Left click and drag to move the element. 


Scale and rotate lettering elements 

1. Click on the lettering element. Click and hold the shift key to scale proportionally (on 

any of the 4 corner handles). Click and hold alt key to scale from center out (on any 

of the 4 solid corner handles). 

Note: The user will get a wireframe preview when clicking and dragging points on an 

outline. This feature is particularly important for the user to visually see how big the 

lettering will be. This feature works the same when moving designs on the screen. 

2. Click on the element again to enter rotate mode. Notice that the handles become 

hollow. Click and hold on any of the 4 open corner handles. 

3. Scaling, Rotating and Slanting individual letters 

• Click on the “X” to select the individual letter. 

• Move individual letters left or right. To move the letter up or down, hold the 

control key on the keypad. 

• Scaling individual letters – Use the shift key and click on one of the corner 

handles to scale proportionally (the object remains a lettering element). 

• Rotating/Slanting individual letters – allows the user rotate individual letters. 

Click and drag on the one of the four corner handles 


Wireframe Editing Mode 

1. Edit the wireframe points as well as entry and exit points 

• Select the letter (Click on the “x” in the center of the letter) 

• On the View toolbar, click on the tool “Wireframe Editing Mode” 

• You will now be able to move each wireframe point as well as the start and 

exit points. The start point is represented by a green circle and the exit it 

represented by a red X 

Add color changes between letters 

1. Select the letter (click on the “x”) that you want to change the color. Then, click on 

the color box on left side of screen. Your letter will now be the color you just clicked 

on. 


Auto Borders 

All of the following can be added or changed: 

• Stitch Types: Satin or Walk/Bean Stitch, Appliqué and Tackle 

• Density/Column Width adjustments or Stitch lengths 

• Color Changes/Border sequence 

• You also have the option of stitching all the inside of the letters first then the border 

by selecting – Stitch Borders Last 


Using the Dynamic Toolbar to make quick changes to your lettering elements 

This toolbar is only displayed when an element or input tool is selected 

Change the Stitch Type 

1. Click on the Text 

2. Click on Stitch drop down arrow on the dynamic toolbar (see above) 

3. Click on the stitch of choice (satin, fill, E-stitch, zigzag, and edge fill) 

Change the Alphabet 

1. Select the lettering on the screen 

2. On the dynamic toolbar, click on the drop down arrow next to “Alphabet” 

3. Roll the mouse down to select the desired alphabet 


Add Underlay 

1. Click on text on the screen 

2. Click on underlay drop down arrow on tool bar 

3. Click on Underlay you want to use 

4. You can also double click on your text and set up “Auto Underlay” in the Object 

Properties box 


5. This option allows you to set parameters to automatically place different underlay’s 

for different size ranges of elements (see below). Click on the check box next to 

“Enable Auto-Underlay” then click on the input box - the following dialog box is 

displayed. You can change the parameters or leave the defaults. 


Lettering - Object Properties Dialog box 

Adjust the short stitches 

1. Short stitches should remain on all the time except on small letters (.25 and below). 

Short Stitches On 

Short Stitches Off 

2. To turn on or off short stitches, double click on the element to open the object 

properties dialog box. Click on “Top Stitching” then left click the check mark next to 

short stitches. This will turn off short stitches. It is also available as a toggle on the 

dynamic properties bar. 


Horizontal Stitch Order for lettering 

1. Create a Lettering element. 

2. Double click on the element to open the Object Properties Box 

3. Select the “Horizontal Stitch Order” button to sew the lettering. You can choose 

left to right, right to left, or center out.(note* center out is great for hats and jacket 

back lettering in big hoops) 

4. Click on OK. 

Vertical Stitch Order for lettering 

1. Create a Lettering Element using more than one line of text. 

2. Double click on the element to open the Object Properties Box 

3. Select the “Vertical Stitch Order” button to sew the lettering. You can choose top 

to bottom, bottom to top or line wrapping. (Bottom to top would also be a good 

choice for lettering on the front of caps.) 



Adjust the space between two letters 

1. Create a Lettering Element using the word “Tony” with Diane Script 

2. Notice the “T” is too far away from the rest of the word. 

3. Click and Drag on the X of the letter “T” moving it right or left when needed 

(common with script texts). 

OR 

4. From the Object Properties Dialog box 

5. Click on the button to decrease space (see diagram below). 

*NOTE: You may have to click more that once to achieve desired spacing. 

6. Click Apply to see the changes or OK to close the Properties box. 

*NOTE: 

decreases space between two letters. 

increases space between two letters. 


Adjusting the space between every letter or every line 

1. In the Object Properties Box, under lettering and then under spacing, you can set 

horizontal, line or vertical spacing. 

• A positive number increases space, a negative number decreases space. 

2. Line Spacing adjusts the space between the lines of type. 

3. Horizontal Spacing adjusts the space between all of the letters. 

4. Use Vertical spacing to stair step the lettering (This works best with only one line 

of type.) 

Line Types 

1. Create the lettering element, then select the text you would like to adjust the 

baseline. 

2. On the Dynamic toolbar select the baseline style you wish to use by clicking on the 

drop down arrow (next to the word “line”) then choose the baseline. 

• Custom – click on the baseline and use right clicks to insert curve points or 

left clicks to insert straight points. Once the points have been inserted, you 

can click on them and drag to achieve the desired line shape. 


• Arc - Adjust the arc radius angle. 

• Vertical 

• Perspective – Click and drag on any of the four corner points 


• Envelope – click on the baseline and use right clicks to insert curve points or left 

clicks to insert straight points. 

Shadow Effect (DS Pro +) 

The shadow feature can be used on letters and simple design shapes 


1. Type letters for shadow effect. 

2. Click on the Object Drop Down Menu 

3. Select Shadow 

4. Select Stitch Type (see picture below) 

5. You can adjust Angle, Offset and Overlap (or accept defaults). 



MELCO ALPHABETS 

Melco offers many alphabets or “keyboard lettering” styles for DesignShop software. The 

help system in the DesignShop software has all of the available alphabets and the code 

sheets for each one. Click on “Help” then “Help Topics” from the Help pull down menu, or 

press F1 while in DesignShop. Then click on the “Alphabets” button to access the code 

sheets. Each code sheet gives a 3D view of the characters and the recommended minimum 

and maximum sewing size. The code sheets also include a chart of all the available 

European or extended characters available in each alphabet. 

All of the alphabet code sheets contain a recommended minimum and a maximum sewing 

size. This recommended parameter should be used and followed, but this does not mean 

that going outside of these limits will produce bad results. Many of the alphabets can be 

used at larger or smaller sizes if parameters such as Column Width, Letter Width, Density, 

Short Stitches, Column Fill and Underlay are adjusted accordingly. 

To fully understand Melco keyboard lettering, it must be understood that each and every 

character is digitized separately and is then compiled and put into one unique alphabet file 

that is understood by Melco DesignShop software. As each character is individually 

digitized, each alphabet will have its own way of reacting to size and parameters used when 

setting up the lettering desired. Some alphabets are digitized to be used at smaller sizes 

than others. Parameters used for one may not sew the same for another. 

Closest point alphabets are digitized so they will connect at the closest point of each letter 

next to each other. Using these alphabets will minimize UN-wanted trims between letters. 

A closest point alphabet will be listed in the lettering list with a “CP” on the end. An example 

will look like this: FULL BLOCK CP. 

Probably the most important items to insure good results are the proper settings for the 

garment type being sewn on, and using the proper backings and or topping. All alphabet 

code sheets produced before July of 2001 have a minimum and maximum setting. These 

settings were determined on a non-stretch type of material. The settings may need to be 

adjusted for use on a knit or sweat material. All new alphabets have recommended settings 

for knits, sweats and non-stretch fabrics in the code sheets. These settings are a good 

starting place, but may need adjusting for the particular garment material being used. Knit 

materials for instance, can vary in material density, thickness and how much they stretch. 

Settings for one type of knit material may not work 100% for another. 

Some alphabets currently being sold by Melco contain tie stitches at the end of each letter in 

the alphabet. These tie stitches are what "ties down" the stitching at the end of each letter. 

DesignShop allows you to add tie stitches to a lettering job from the Tie In And Tie Off sub 

window of Object Properties. However, because the tie stitches are already digitized into the 

alphabet, the result is multiple tie stitches that will create an undesirable knotting effect. To 

remove all existing tie stitches from all installed alphabets in DesignShop, click on the "Tools 

Menu", "Convert Alphabets" and then click on “Remove Ties”. Use the "Tools Menu", 

“Restore Alphabets” feature to restore the tie stitches digitized back into the alphabet 

characters that originally had them if so desired. However, Tie in stitches is usually not 

digitized into the current alphabets. Tie in stitches are a lock stitch that is sewn at the 

beginning of each letter. You may want to use this feature when trimming between each 


letter to avoid a possible “thread pullout” when the machine starts sewing the next letter 

after a trim. 

As a general rule, when sewing on knit or sweat materials, column width should be 

increased. Proper backings should be used, and in most cases a topping such as Solvy 

should also be used. Many of the recommended minimum settings listed in Melco alphabets 

will not work on knits or sweats, and may need to be adjusted to different values. When 

increasing the column width to compensate for material type, the letters that have enclosed 

areas such as an “a” may close in the center when sewn. If this is noticed, the size of the 

lettering should be increased to allow for the added column width. In most cases when 

sewing on knits or sweats an edge walk underlay is desired, and in some cases (larger 

sizes) an edge walk along with a center walk should be used. Very thin column lettering may 

only require a center walk at small sizes. Density on knits and sweats is usually set denser 

than on a stable material. Block styles of alphabets used at small sizes sew much cleaner 

and crisper than script alphabets at the same size. In most cases when doing small lettering 

on knits or sweats a block style of alphabet without serifs will give the best results. Using 

some scrap material for testing that is like the garment to be sewn on is highly 

recommended until what works best for you and your machines is determined. 

Following are a few recommendations that you may want to try when sewing keyboard 

lettering. 

Large letters 

If the alphabet letter height is increased beyond the maximum recommendation, sew quality 

may suffer. The column stitch may get too wide and can create an undesirable effect. 

• Change the column stitch type from a satin stitch to a fill stitch. The stitch count will 

increase, but the sew quality will improve. 

• Zigzag or Edge Walk underlay will help to stabilize the stitches on the fabric. 

Small letters 

When using keyboard lettering for small letters, these tips may help your sew quality. 

• Turn off short stitches for small letters. This can improve sew quality as well as help to 

reduce thread breaks. 

• Increasing the column width (Pull Comp.) will help the lettering from sinking into a knit. 

Different alphabets will require different column widths, as they are all different in width 

at the default value. 

• The column density value should be increased. The value will depend on the fabric. 

• The travel stitch length should be in the range of 18 - 25. 


Small Lettering 

There are a few things to remember when sewing small letters. Always check the Alphabet 

Code Sheets for the recommended letter height for your selected Alphabet. Some Alphabets 

were not created to sew small. If the alphabet you have chosen cannot be sewn as small as 

you would like, choose a different alphabet. Material thickness may need to be slightly 

increased to achieve good sew quality. A more stable piece of backing and a piece of Solvy 

will help keep small lettering from sinking into the fabric. Here is a list of problems that may 

occur when sewing small letters and how to fix them: 

Symptom Possible Cause Solution 

Bobbin showing on top of the 

fabric (bobbin pull). 

Frayed Threads 

Sharp corners and curved 

areas look choppy 

Excessive Thread Breaks 

Looping 

Columns are uneven and 

distorted. 

Columns are too skinny, 

and/or material thickness is 

too low. It could also be that 

you are sewing too quickly. 

Columns are too skinny or 

stitches are too dense. Needle 

is too large, or is damaged 

Tiny stitches in curved areas. 

Needle is too large. 

Stitching is too dense or 

columns are too skinny. 

Needle is too large or 

damaged. 

Columns are too skinny or 

stitching is too dense. Material 

Thickness value is too high. 

Lettering is too small. Fabric 

needs more stability. Columns 

are too skinny. 

Increase “Width/Pull 

Compensation” (some small 

letters may need to go as high 

as 190%). Increase Material 

Thickness value. 


Compensation.” Loosen 

density (.3 inch letter should 

have a density of 4.5 or higher). 

Use a smaller or new needle. 

Turn Short Stitches Off. Use a 

smaller needle. 



density. Use a less aggressive 

underlay. Use a smaller needle. 



density. Lower Material 

Thickness Value. Check to see 

if your acti-feed lower limit isn’t 

too high. 

Check the recommended 

minimum letter height. Use a 

more stable backing. Increase 

the “Width/Pull Compensation.” 

Turn Short Stitches Off. Use a 

topping like “Solvy.” 


Understanding & 

Changing Stitch Types 

DesignShop V9 Quick Reference Guide 


Changing Stitch Types 

When an element or an input tool is selected, you can change the stitch type using 

the drop-down on the Dynamic Properties Bar. If it is already open, you could also 

use the Object Properties window. 

If you have a walk element or input 

tool selected, you will have the 

stitch type choices below. 

If you have a column or complex fill 

element or input tool selected, you will 

have the stitch type choices below. 

Common Stitch Types for Walk Elements 

Walk Normal 

• Creates a single running stitch 

• Used for digitized travel stitches 

• Used to travel from one point in a design 

to another without trimming 

• Big factor in design efficiency 

• Used for very small detail work 

• Used for a digitized underlay 

Walk Bean 

• Creates a multi-layered running stitch 

• Each stitch steps forward, back, and 

forward again. 

• Increasing the Bean Thickness would 

increase the number of times each 

stitch repeat. 

• Used for detail work 

• Sometimes used for borders 

DSV9_QRG_Stitch_Types.pub 2 Rev: 04/28/09

Common Stitch Types for Multi-Stitch Line Elements 

Satin 

• Rounded, shiny, sculptural, stays 

up out of material 

• Saves Stitches 

• Limited Range (10-60pts) 

• Stitches can change direction 

through the form (like in an “S”) 

• Stitches usually run perpendicular 

to the edge – across the form 

Zig Zag 

• Usually used as tack-down stitch 

for appliqué 

E-Stitch 

• Used mostly as an appliqué 

tack-down stitch 

Fill 

• Usually used for larger areas 

• Flatter look, although you can 

create patterns within the fills 

• Sinks stitches within the form 

• Raises stitch count 

Tackle 

• Tack-down for appliqué 

• Used mostly for numbers on 

sports items / sports uniforms 

Edge Fill 


• Stitches run parallel to the edge 

• Used mostly for special effects 

Auto Stitch Type 

By checking the “Auto” box beside the stitch 

type drop-down in the object properties box, you 

can enable Auto Stitch Type. 

This function bases the stitch type off of the 

average size of a multi-stitch line element. It 

defaults to satin stitches for smaller objects and 

fills for larger objects. 

To access the properties for auto, click on 

the […] beside it. 

DSV9_QRG_Stitch_Types.pub 3 Rev: 04/28/09

The 

Color System 



Accessing the Color System 

Object Properties 

Project View 

Color Palette 

The Color System in DesignShop is comprised of three parts. Many times, only one 

or two of these sections need to be accessed to affect the desired change. 

The Color Palette is on the left side of the screen when you load DesignShop. It is 

a toolbar and can be moved wherever the user finds most useful. Should the 

toolbar get closed, it can be retrieved by clicking on View > Toolbars, and 

checking “Mini-Palette Toolbar”. 

The Object Properties box is accessed by selecting an element or elements 

and right-clicking within the selection box. Then, choose “Properties” from the 

options listed. Another way to get to the Object Properties box is by clicking on 

View menu and selecting “Properties”. 

The Project View is third part of the color system. When DesignShop is first 

loaded, it is located on the far right of the screen. If you cannot find it, click on 

“View” then “Project Views”, then choose “Project View 1”. 

DSV9_QRG_Color_System.pub 2 Rev: 05/21/09

The Color Palette 

Current Color 

Design Colors 

(Active Colors) 

Color Palette 

Background 

Color 

Current Color 

• The current color displays the color of 

the currently selected element. If an 

input is selected, it displays the color 

that will be used by the tool. 

• To change the current color, click on a 

color in the design colors or the color palette. 

You could also click on the current 

color to open the Color Properties window. 


• The background color allows you to 

change the background color of your 

view window. This can help mimic the 

color of garment on which the design is 

to be sewn. 

• To change the background color, click 

on the background color button (the 

sliver of color to the right of the current 

color block). This will open the Color Properties 

window. You can then choose a 

new color for the background. 

Color Palette 

• A small selection of available colors. 

• Left-clicking on a block will change the 

currently selected elements to that 

color. If no elements are selected, it will 

change the current color to that color. 

• Right-click on the block and choose “Edit 

Color” to change the color of that block. 

Design Colors (Active Colors) 

• Design Colors displays the colors being 

used in the design. 

• Changing Colors 

• Changing the color of a block in 

Design Colors will change every 

instance of that thread color in 

the design. If the design used the 

same color three times, and that 

thread color was changed in the 

Design Colors, all the occurrences 

of that color would be changed 

to the new color. 

• Right-click > edit color to 

change color of that block 

• Click and drag a block from the 

Palette to Design Colors 

• Right-click > Show/Hide (others/all) 

• Locked colors allow colors to remain in 

the active colors even when they are 

not currently in use. To lock a color, 

right-click on the block and choose 

“Locked” from the menu. 


Color Properties 

If accessed from the color palette on the 

left side of the screen, the color properties 

window can be used to change the 

thread color of the current color, an active 

color block, or a palette color block. 

If accessed from the project view on the right 

side of the screen, the color properties window 

can be used to change the thread 

color of the currently selected elements. 

A new color can be selected by scrolling 

through either of the scrollable color charts 

and clicking on the desired color swatch. If 

the thread number is known, it can simply be 

entered in the “Find Number” field. 

In the preview on the left, the original color is 

shown on top with the newly chosen color 

underneath. Both colors are ringed in the 

background color. When you click “Apply”, 

the original color will change to the new. 

Old Color 


New Color 

If the desired color is not an ARC Poly color, 

other thread charts are available from the 

“Color Chart” drop-down menu. 


Color in the Project View 

In the Project View, you will notice that there 

is a color level. These color blocks represent 

the color sequence. If you click on the color 

block, you will select every element within 

that instance of color. If that thread color is 

repeated later in the sequence, you will not 

be selecting those elements. 

Color Level in the Project View 

• Right-click on the color group> Color… 

to change thread color. 

OR 

• Select the color group, click on the desired 

color from either the active colors 

or the color palette. 

Element Level 

• Color information is stored at the element 

level. 

• Changing the color of an element 

• Select the element(s) > click on 

the desired color block in the 

color palette 

OR 

• Select the element(s) > Rightclick 

> Color… , then choose 

the desired color in the color 

properties window. 

• The selected elements 

change color while all other 

elements remain 

Merging Colors in the Project View 

Auto Merge Color Blocks 

Merge Color 

In the Project View, if two identical color blocks 

exist back to back, you can have the software 

automatically merge those color blocks. This 

will create a more efficient design with less 

color changes when sent to a machine. 

If you want to manually merge color blocks, 

you can click on the small brown arrow to the 

right of a color block to force it to adopt the 

color above it in the project view. 


Webinar #3 





Saving Properties as Default 

Copy & Paste Properties 

DSV9_WO3_Object_Properties.pub 2 Rev: 06/02/09

Top Stitching: Stitch Types 

Satin 

• Rounded, shiny, sculptural, stays 

up out of material 

• Saves Stitches 

• Limited Range (10-70pts) 

• Stitches can change direction 

through the form (like in an “S”) 

• Stitches usually run perpendicular 

to the edge – across the form 

Fill 

• Usually used for larger areas 

• Flatter look, although you can 

create patterns 


• Raises stitch count 

Zig Zag 

• Usually used as tack-down stitch 

for appliqué 

E-Stitch 

• Used mostly as an appliqué 

tack-down stitch 

Edge Fill 


• Stitches run parallel to the edge 

• Used mostly for effect 

Tackle 

• Tack-down for appliqué 

• Used mostly for numbers on 

sports items / sports uniforms 


Top Stitching Continued 

Auto Stitch Type 

• Bases the stitch type off of the average 

size of an element 

• Defaults to satins for smaller objects 

and fills for larger objects 

• Properties for Auto are available in the 

[…] box 

Short Stitch 

Toggle on the Dynamic Properties Bar 

• Alternates the stitch lengths on the insides 

of tight angles and curves 

• Helps prevent holes and thread breaks 

on the inside of forms 

• More settings are under Top Stitching > 

Advanced 

• Width 

Density 

• Density is the measurement of space 

between the stitches 

• Longer satin stitch lines need a tighter 

density 

• Shorter stitch lines need a lighter density 

• Whole number jumps in density are rare 

Auto-Density 

• Auto-Density bases the density of an 

element on the width of the stitch line. 

• Wider stitch lines = tighter the density. 

• The values table is accessible through 

the […] beside it. 

• When Auto-Density is checked, the 

Density field changes to a percentage. 

This allows you to easily adjust the density 

while keeping the variances based 

on width. 

“Use Fill for stitch lines greater than:” 

• Allows users to specify at what stitch 

line length a satin will be turned to a fill. 

• This prevents satin stitches for exceeding 

appropriate lengths and snagging 

or pulling out of the garment. 

• The properties of the fill are listed below. 

• Defaults to random to hide the needle 

penetrations. 


Underlay 

Center Walk 

1. Good for smaller lettering and thinner elements 

2. Adds one line of stitching down the middle of an element 

• Stitch Length 

• Shorter stitches follow curves more accurately 

• Longer stitches stay out of the material 

• Avoid stitch lengths shorter than 15 pts 

Edge Walk 

1. Cleans up edges of elements 

2. Used for wider elements 

3. Adds a line of stitching just on the inside of the edges of an element 

• Inset 

• Percentage – Width 

• Adjusts the width of the edge walk 

• Absolute – Border Margin 

• Adjust the inset of the edge walk 

Zig Zag 

1. Good for tacking down the nap of material 

2. Adds one line of stitching up the middle of an element and then zig zags 

back. 

• Density 

• Adjusts the density of the underlay 

Double Zig Zag 

1. Adds two layers of zig zag stitching underneath an element 

2. The layers cross over each other 

Fill 

1. Creates a light fill underneath the top stitching 

• Angle 

• The angle of the underlay in relation to the angle of 

the topstitching 


Underlay Options 

Lettering – Use Continuous Underlay 

• Underlays the entire letter before coming 

back over with the top stitching. 

• Helps prevents the segments of the letters 

from pulling gaps in the sewout. 

• Good for smaller lettering 

Auto-Underlay 

• Enable Auto-Underlay 

• Allows you to specify different underlays 

for different size ranges of elements. 

Pull Comp 

Lock XY 

• Keeps the Pull Compensation equal in both vertically 

and horizontally 

Pull Comp 

• Multiplies the element width by the specified 

percentage 

• Affects wider areas faster than thinner areas 

• Used to compensate for the pull of stitches in 

fabric 

Pull Offset 

• Widens the element by specified amount on 

each side 

• Completely even all the way through the form 

Max Pull Comp 

• Specified Maximum value for pull comp. 

• Prevents pull comp from getting too wide on 

areas with large line length when pull percentage 

amount is specified. 

Small Column Pull Comp Scale 

• Adjusts smaller elements differently than larger 

ones. 

• Small Column Scale % 

• Adds additional pull compensation for 

smaller elements 

• Small Column Width 

• A small column is defined by any element 

width falling below this value. 

Column Width 

• Min Col Width 

• If a stitch line falls short of this value, it 

will be extended to meet this length. 

• Max Col Width 

• If a stitch line width exceeds this value, it 

will be adjusted to fit this length. 


Tie In & Tie Off 


Density and Auto Density 

Density: Measures the distance between the stitches. The distance that separates the zig and 

zag of the stitches is used as the display for density. The larger the value for density, the looser 

the stitching. The smaller the value for density, the tighter the stitching will become. See 

diagram below to illustrate a 4, 8 and 15 density setting. 

Auto-Density: Many columns are not going to be straight from beginning to end. The width may 

increase, decrease, and increase again. In this situation it is very useful to use the Auto-Density. 

To implement the Auto-Density function, left-click in the box (located in Object Properties 

under “Top Stitching”). Click again to remove the check mark (this turns Auto-Density off). 

Below is an example (FIG. 1) of Density (Normal Setting) and (FIG. 2) of Auto-Density turned on. 

DSV9_QRG_Density_Auto_Density 1 Rev: 6/2/09

Clicking the button next to Auto Density brings up the following dialog. This enables 

you to define your own auto density settings based on the column width. 

DSV9_QRG_Density_Auto_Density 2 Rev: 6/2/09

Column 1, Column 2, & Single Line 

Input Methods 

DesignShop V9 Basic Digitizing Quick Reference Guide 


Digitizing Tools and Basic Functions 

Selecting a Tool 

Click on the desired tool in the input toolbar 

• If you don’t see the desired tool, it may be 

necessary to select the tool from a flyout. 

• To access a flyout, click and hold on 

the tool within the same tool family. 

After a half a second, the other tools 

within this family will appear at the 

right. You may then select your desired 

tool. This newly selected tool will now 

be displayed in the input toolbar for this 

tool family. 

• Tools with flyouts are indicated by a 

small black arrow in the lower right corner 

of the tool. 

Click & Hold 

½ Second 

Creating the Elements 

After selecting a digitizing tool and setting 

the properties, you can create the elements 

in the view window. 

• Left Click = Creates a Straight Point 

• Right Click = Creates a Curve Point 

• Click & Drag = Pulls Bezier Handles from 

a point as you digitize 

• [Backspace] = Deletes the last input 

point you created 

• [Enter] = Completes the element or 

moves to the next step of an element 

• [Ctrl] + [Enter] = Completes a column 

with the exit point on the opposite side 

• [Shift] + [Enter] = Closes and open shape 

and completes the element 

• Holding [Alt] = Constrains line angles to 

15° increments 

• [Esc] = Removes all points from the element 

• [Esc] x 2 = Deselects Input Tool 

• Watch the Status Bar for prompts when using 

the different input tools 

Selecting Properties 

Once a digitizing tool or an element is selected, 

you can change the properties on 

the dynamic properties bar. 

Economy of Points 

Use as few points as possible to create your 

shapes when digitizing. The fewer point an element 

has, the easier that element is to edit and scale. A 

straight line doesn’t get any straighter by adding 

more straight points to it. A straight line is most 

effectively created by two straight points. 

When working with curves, try stay within 180° 

in any sequence of three points. 

DSV9_QRG_Columns.pub 2 Rev: 09/30/09

DesignShop Symbols 

Icons 

Straight Point 

(Non-Selected points display in blue) 

(Selected Points display in black) 

Curve Point 



Bezier Handle 

(From a Straight Point, handles work independently) 

(From a Curve Point, handles work in tandem) 

Entry Point 

(Indicates the start of an element) 

Exit Point 

(Indicates the end of an element) 

Last Stitch of Previous Element 

(Displays the last stitch of the previous element. If you are creating 

the first element of the design, it indicates the origin of the design.) 

Cursors 

Edit Mode 

(You can select elements) 

Cursor Over an Element 

(You can click and drag to move the element) 

(Hold [Alt] to constrain the movement to the X or Y axix) 

Cursor Over a Line 

(You can add points along the line) 

(Click and drag to move the line) 

Cursor Over a Straight Point 

(Click and drag to move the point) 

(Hold [Shift] and click on the point to change it to a Curve Point) 

Cursor Over a Curve Point 


(Hold [Shift] and click on the point to change it to a Straight Point) 

Cursor Over a Entry, Exit, or Handle 

(Click and drag to move the point or letter) 

(Hold [Ctrl] and click and drag to move the letter off the line) 

Insert Hole, Split Line, or Fill Island 

(Inserts holes, split lines, or fill islands into selected elements) 

Insert Entry/Exit Points 

(Insert or change the entry and exit points of the selected element) 

(Can also resequence with multiple elements selected) 

Insert Splice Line 

(Inserts slice lines within an element) 

Insert Stitch Direction Line 

(Inserts stitch direction lines within an element) 

Stitch Direction Lines 

Stitch Direction Line 

(Wireframe Editing Mode) 

(Indicates the stitch direction of an element) 

Other Lines 


(Stitch Direction Editing) 

(Creates a stitch direction line across a form. Multiple 

stitch direction lines can be used to create 

different effects. Created by clicking and dragging 

across an element with the stitch direction tool)) 

End Line 


(Creates an end line before the end of the 

shape. This allows for the compensation of stitch 

push. Created by right-click and dragging across 

an element with the stitch direction tool)) 

Splice Lines 

(Breaks up larger, more complex shapes into smaller 

regions. Each region can have its own stitch direction 

line. Created by clicking and dragging across 

an element with the splice tool. This is usually done 

at a junction or odd angle in the shape.) 

Singleline Width 

(Indicates the width of a single line column. The 

width of the column can be changed by clicking 

on one of the points of the width and dragging.) 


Column 1 Input Method 

Column 1 

Uses alternating pairs of points 

• Line between points of a pair determines 

the stitch direction 

• Pairs of points don’t need to contain 

the same type of point 

4 

Watch your stitch directions on curves. Think of spokes 

on a wheel. Don’t try to “help” the curve along. Notice 

how poorly the stitches fan on the example. 

2 

3 

6 

1 

1. Straight 

2. Straight 

3. Curve 

4. Curve 

5 

5. Straight 

6. Straight 

7. [Enter] 

The points within a pair don’t have to be of the same 

type. Notice on the middle pair that the top is a 

straight point, and the bottom is a curve. 

Creating Complex Curves 

When dealing with more complex curves, try to divide the curves into simpler ones. Try to avoid 

exceeding 180° in any set of three pairs. Also, try to think about your stitch directions as spokes 

on a wheel. Each one coming out from the center of the arc. 

Too Many Points Good Too Few Points 


Column 2 Input Method 

Column 2 

Digitize one side, press [Enter], then digitize 

the other side and press [Enter] to complete 

the element. To finish, left-click and drag 

stitch direction lines across the element and 

press [Enter]. 

• This is a great tool for more organic 

shapes with uneven sides. 

• You can create elements with a different 

number of input points on each side. 

• Stitch directions are determined independently 

of the points that make up 

the element. 

• Using column 2 tends to creates a more 

scalable and editable form. 

5 

Stitch Direction 

1. Straight 

2. Curve 

3. Straight 

4. [Enter] 

6 

2 


7 

3 

5. Straight 

6. Curve 

7. Straight 

8. [Enter] 

9. Stitch Directions 

10. [Enter] 

Digitize Side 1, then press [Enter] on your keyboard. 

1 2 4 

5 7 

8 10 

11 

12 - [Enter] 

3 

6 

9 

13 14 

15 

18 21 

24 

16 17 19 20 22 23 25 26 

Next, digitize Side 2 in the same direction, pressing [Enter] to complete the shape. 

To finish up, drag some stitch direction lines across the form, then press [Enter]. 

27 - [Enter] 

28 - Stitch Directions 

29 - [Enter] 


Single Line Input Methods 

• Excellent tool 

for borders 

• Creates a column 

with a 

consistent programmable 

width. 

• The column is 

created from 

the digitized 

line based on 

the tool you 

select (Center, 

Left, or Right). 

Single Line 

1 

2 

5 

Width 

6 

1. Straight 

2. Curve 

3. Straight 

4. [Enter] 

5. First Width Point 

6. Second Width Point 

3 

Single Line Properties 

Single Line 

• With Single Line elements, you can select 

“Singleline” sub menu. This will allow you to 

change where the stitching falls in relation to 

the wireframe line. 

• Choosing “Custom” will allow you to adjust the 

placement with a slider. 

Corners 

• Corners allows you to cap or miter the corners 

that are a tight angle. You can adjust 

when the corners will cap, how much they 

overlap, and how the stitches fan. 

• Capping or mitering a tight corner will prevent 

extremely long stitches and create a 

smoother sewout. 


Pull Compensation 



Enabling Pull Compensation 

Using pull compensation is a way to compensate for the pull of stitches on a 

material. If you were to digitize a circle and then sew it out, you may notice 

that your circle looks more like an oval. As stitches are sewn, they pull in. The 

distortion of your shape is dependant on the stitch direction of the element. 

If you digitize a circle, you may have an oval on the 

sewout. Depending on the type of material you are 

sewing, you may need to add some pull comp. 

As you add pull comp to the digitized design, the 

stitch lines are extended to compensate for the pull of 

the stitches. The digitized circle with the added pull 

comp will sew out as a circle. 

When an element or an input tool is selected, you can add or change the pull 

compensation using the percentage on the Dynamic Properties Bar. If it is already 

open, you could also use the Object Properties window to access more options. 

* Pull Comp on the dynamic properties bar 

The dynamic properties bar only has 

access to pull comp. If you want to 

use pull offset instead, you’ll need to 

use the object properties window. 

Lock XY 

Pull Comp Options (In Object Properties) 

• Locking XY keeps both the horizontal 

and the vertical pull 

comp equal. 

DSV9_QRG_Pull_Comp.pub 2 Rev: 04/28/09

Pull Comp 

• Multiplies the stitch lines in an element by the 

specified percentage, extending them past 

the wireframe edge. 

• Affects wider areas faster than thinner areas 

• Used to compensate for the pull of stitches 

19 pts 

19 pts x 120% = 23 

pts 

38 pts 

38 pts x 120% = 46 pts 

Because Pull Comp uses percentages, it affects the 

wider areas much more quickly than the thinner areas. 

Using Pull Comp on smaller lettering that changes widths 

can cause the larger areas to expand into each other 

while doing little to assist the thinner areas. 

Pull Offset 

• Extends the stitch lines of an element by adding 

the specified amount to each side 

• Affects all stitch lines evenly 

• Adding a few points of Pull Offset can help 

smaller lettering and thin columns sew a bit 

more smoothly. 

4 pts + 19 pts + 4 pts 

27 pts 

4 pts + 38 pts + 4 pts 

46 pts 

Because Pull Offset adds points to each side, it affects 

all stitch lines evenly. 

Using Pull Offset on smaller lettering that changes widths 

can ease thread breaks and help visibility without smashing 

the wider area of letters together. 


Max Pull Comp 

• Specified Maximum value for pull comp. 

• Prevents pull comp from getting too wide 

on areas with large line length when pull 

percentage amount is specified. 

Small Column Pull Comp Scale 

• Defaults to off. 

• Adjusts smaller areas of elements differently 

than larger ones. 

• Small Column Scale % 

• Adds additional pull compensation 

for smaller areas of elements 

• Small Column Width 

• A small column is defined by any element 

width falling below this value. 

Column Width 

• Min Col Width 

• If a digitzed stitch line falls short of 

this value, it will be extended to 

meet this length. No stitch lengths 

will fall below this value. 

• This can sometimes be used to help 

reduce thread breaks from having 

stitches that are short than the 

width of a needle. 

• Max Col Width 

• If a stitch line width exceeds this value, 

it will be adjusted to fit this length. 


Using Underlay 



Enabling an Underlay 

When a column, lettering, or complex fill element or an input tool is selected, 

you can add or change the underlay type using the drop-down on the Dynamic 

Properties Bar. If it is already open, you could also use the Object Properties 

window. The available underlay choices are shown below 

Underlay is used to stabilize the material by attaching it to the backing. It can 

tack down material nap, and it can add loft by building up your stitches. 

You have the option of using 

both a primary and a secondary 

underlay. The only differences in 

the two is that the primary sews 

first and the secondary sews second. 

This allows you to layer one 

underlay over another. 

Underlay Options 

Lettering – Use Continuous Underlay 

• Underlays the entire letter before coming 

back over with the top stitching. 

• Helps prevents the segments of the letters 

from pulling gaps in the sewout. 

• Good for smaller lettering 

• Only available for lettering 

Auto-Underlay 

• Enabling Auto-Underlay allows you to 

specify different underlays for different 

size ranges of elements. 

DSV9_QRG_Underlay.pub 2 Rev: 04/28/09

Choosing the Appropriate Underlay 

Center Walk 

1. Good for smaller lettering and thinner elements 

2. Adds one line of stitching down the middle of an element or letter 


• Shorter stitches follow curves more accurately. 

• Longer stitches stay out of the material. 

• Keep stitch length between 15 - 30 points. 

*Available in the Object Properties Window 

Edge Walk 


1. Edge walks are very useful underlays for cleaning up the edges of wider 

elements on textured materials such as piqué knit, terry, or waffle knit. 

2. Adds a line of stitching just on the inside of the edges of an element or letter 

3. You can adjust how far the edge walk is inset from the edge of the element. 

• If you use percentage, the inset for edge walk is based on a 

percentage of the width of the element. 

• If you use absolute, the inset for the edge walk is specified in 

points. One point is a tenth of a millimeter. 


Zig Zag 


1. Good for tacking down the nap of material and building up the loft of 

the stitches. Good for terry, polar fleece, and thick knits. 

2. Adds one line of stitching up the middle of an element and then zig zags back. 

3. You can adjust how far the zig zag is inset from the edge of the element. 

• If you use percentage, the inset for zig zag is based on a percentage 

of the width of the element. 

• If you use absolute, the inset for the zig zag is specified in points. 

One point is a tenth of a millimeter. 


1. Adds two layers of zig zag stitching underneath an element 

2. The layers cross over each other 

3. You can adjust how far the double zig zag is inset from the edge of the element. 

• If you use percentage, the inset for double zig zag is based on 

a percentage of the width of the element. 

• If you use absolute, the inset for the double zig zag is specified 

in points. One point is a tenth of a millimeter. 


Zig Zag 


Fill 

1. Creates a light fill underneath the top stitching 

2. Good for stabilizing larger areas. 

3. You can adjust the angle of the underlay in relation to the angle of the 

topstitching. 90° is a fairly efficient stabilizing direction for underlay. 



Complex Fill 

Input Methods 










After a half a second, the other tools 





tool family. 



of the tool. 

Click & Hold 

½ Second 















• [Shift] + [Enter] = Closes and open shape 














shapes when digitizing. The fewer point an element 







DSV9_QRG_Fills.pub 2 Rev: 09/30/09


Icons 




Curve Point 



Bezier Handle 



Entry Point 


Exit Point 





Cursors 

Edit Mode 






























Other Lines 







End Line 






Splice Lines 











Complex Fill Input (Traditional Input Mode) 

Traditional Input Mode 

The Complex Fill Input Method (Traditional 

Input Mode) will create shapes with one 

stitch direction. To create a traditional 

complex fill, you must first select the tool by 

left-clicking on the icon in the input toolbar. 

If the tool is not visible, you may need 

to select it from the tool flyout. 

To create a Complex Fill with the Traditional 

Input Method, follow the steps below. 

Be sure to watch the status bar in DesignShop 

for prompts to guide you through 

the creation of the element. 

1. Select the Complex Fill Input Method 

(Traditional Input Mode) 

2. Input the wireframe outline of the complex 

fill by left-clicking on the mouse to 

create straight points and right-clicking on 

the mouse to create curve points. Try to 

use as few points as possible. Lines are the 

straightest when between two straight 

points, and curves are smoother when 

fewer points are used. While fewer points 

are ideal, avoid creating curves that exceed 

180° in any set of three points. 

3. To complete the shape, press ENTER on 

your keyboard. This will connect the line 

between the first and last point, closing 

the shape. 

4. If the shape has holes or places that you 

do not wish to have stitches, you may 

digitize a wireframe outline around those 

areas next, pressing ENTER after each 

one. When you have finished adding any 

holes, press ENTER again. 

5. Input your Entry Point by clicking where 

you would like the fill to start stitching. 

Many times, this will be where the previous 

element ended. The last stitch of 

the previous element is displayed by a 

white crosshair. This can be inside or 

outside the wireframe shape. 

6. Now, Input the exit point. This is where you 

would like the fill to end. This can be inside 

or outside the wireframe shape. 

7. Lastly, a stitch direction must be determined. 

To do this, left-click and drag 

across the form, using the line created 

to control the stitch angle. When the 

mouse button is released, the stitch direction 

will be created. To use the default 

stitch direction, you could press 

ENTER on the keyboard instead of clicking 

and dragging across the form. 

8. Stitches will be generated once the 

stitch direction has been determined. 

Watch for Clues 

Watch the Status Bar will prompt you and the 

cursor will change as you move through the steps of 

creating a complex fill. 


Steps for Traditional Input Mode 

Plan it Out! 

As you proceed through your elements, 

4 

5 

think about the direction of the stitching. 

Try to complete simple shapes in one fluid 

7 

fill. If a fill has to sew back towards with itself, 

there is the possibility that it will push a 

3 

2 

1 

6 

ripple of fabric back with it. This will create 

a line of fabric where the fill doesn’t meet 

up. This effect can be minimized with the 

use of appropriate underlay, but sewing in 

one direction can alleviate any potential 

issues with material push. 

Stitch angle 

In this example, the stitches have pushed a 

ripple of material and don’t quite meet in 

the final sewout. 

Stitch angle 

By altering the stitch direction and the entry 

and exit points, a much smoother final 

sewout can be achieved. These edits can 

be made using the tools discussed on 

page nine. 


Complex Fill Input (Unafil Input Mode) 

Unafil Input Mode 

The Complex Fill Input Method (Unafil Input 

Mode) can be used to create shapes with 

multiple stitch directions. The Unafil Input 

Mode can even create multiple regions in a 

single fill that can contain opposing stitch angles. 

To create a Unafil Input Mode, you must 

first select the tool by left-clicking on the icon 

in the input toolbar. If the tool is not visible, 

you may need to select it from the tool flyout. 

To create a Complex Fill with the Unafil Input 

Method, follow the steps below. Be sure to 

watch the status bar in DesignShop for 

prompts to guide you through the creation of 

the element. 


(Uanfil Input Mode) 














the shape. 

4. If the shape has holes or places that you 

do not wish to have stitches, you may 

digitize a wireframe outline around those 

areas next, pressing ENTER after each 

one. When you have finished adding any 

holes, press ENTER again. 

5. Now, you can input any splice lines 

that are needed. To input a splice line, 

click from one edge of the fill and drag 

to the other. The splice line will show in 

green. Splice lines divide a fill into 

smaller regions. Each region can contain 

its own stitch direction. Press ENTER 

on the keyboard when all desired 

splice lines have been placed. 

6. Input your Entry Point by clicking where 

you would like the fill to start stitching. 

Many times, this will be where the previous 

element ended. The last stitch of the 

previous element is displayed by a white 

crosshair. This can be inside or outside the 

wireframe shape. 

7. Now, Input the exit point. This is where you 

would like the fill to end. This too can be 

inside or outside the wireframe shape. 

8. Lastly, stitch directions must be determined. 

To do this, left-click and drag across the 

form or region, using the line created to 

control the stitch angle. When the mouse 

button is released, the stitch direction will 

be created. Continue adding stitch directions 

for all spliced regions. If desired, multiple 

stitch directions can be added to one 

region to create a fan effect. Stitch direction 

lines will be displayed as a blue line 

with black squares on each end. 

9. Optional – While determining stitch directions, 

you may also define end lines. End 

lines are used to both determine a stitch 

direction and stop the stitching before 

the wireframe edge of a shape. Most 

commonly, this feature is used to compensate 

for the push of stitches or to ensure 

a full stitch at the end of a shape. To 

create an end line, right-click and drag 

from one edge of the element to the 

other. An end line will be created and 

displayed as a red line. The stitches will 

also stop at that line. 

10. Press ENTER to complete the shape. 


Steps for Unafil Input Mode 

A Fill of a Different Direction 

With the Unafil Input Mode, many different 

stitch directions can be input for one wireframe outline. 

This can be used to create a sense of movement 

or depth in a design. 


Complex Fill Input (Manual Input Mode) 

Manual Input Mode 

The Complex Fill Input Method (Manual Input 

Mode) will create shapes without stitches. 

The entry points, exit points, and stitch directions 

can be determined later using their respective 

editing tools. To use the Manual Input 

Mode, you must first select the tool by 

left-clicking on the icon in the input toolbar. If 

the tool is not visible, you may need to select 

it from the tool flyout. 

To create a Complex Fill with the Manual 

Input Method, follow the steps below. Be 

sure to watch the status bar in DesignShop 

for prompts to guide you through the creation 

of the element. 







the shape and completing the element. 

There are no stitches in the shape at this 

point and it is displayed as a Vector Fill in 

the Project View. 

4. Holes, entry points, exit points, splice 

lines and stitch directions lines can be 

added to the element later. 


(Manual Input Mode) 









Element Editing Tools 

Just below the input toolbar, 

you’ll find the editing tools. These 

tools are used for changing existing 

complex fills, or converting 

manual and vector fills into 

stitches. They can also be used 

on many column elements. 

To use these tools, you must first 

have the element that you wish 

to modify selected. 

Insert Hole Into Selected Element 

1. To insert a hole into a complex, manual, 

or vector fill, select the element. 

2. Select the Insert Hole tool. 

3. Input the wireframe outline of the hole 

by left-clicking on the mouse to create 

straight points and right-clicking on the 

mouse to create curve points. 




the shape and completing the hole. 

Insert Splice 

1. To insert a splice into a complex, manual, 

or vector fill, select the element. 

2. Select the Insert Splice tool. (Insert Curved 

Splice and Auto Compute Splice can 

also be found in the flyout.) 

3. Left-click and drag across the form 

where a splice line is desired. 

4. Press ENTER to finish editing splices. 


This tool is used change the entry and exit points 

of an element. The entry and exit points of and 

element can also be changed by selecting the 

element and the clicking on the entry or exit 

point and dragging it to the desired location. 

If multiple elements are selected, this tool can 

be used to resequence those elements, starting 

where the entry point is placed and ending 

where the exit point is placed. 

1. To insert an entry point and an exit point 

into a complex, manual, or vector fill, select 

the element. 

2. Then, select the Insert Entry/Exit Points tool. 

3. Click where you want the element to start 

stitching. An entry point will be inserted. 

4. Click where you want the element to finish 

stitching. An exit point will be inserted. 

Insert Stitch Direction 

1. To insert or edit a stitch direction into a complex, 

manual, or vector fill, select the element. 

2. Select the Insert Stitch Direction tool. 

(Insert Curved Direction Line and Auto 

Compute Direction Lines can also be 

found in the flyout.) 

3. Left-click and drag across the form 

where a stitch direction line is desired. 

Right-click and drag across the form to 

create an end line. 

4. Press ESC to deselect the tool when 

finished editing stitch directions. 


Walk 

Input Method 










After a half second, the other tools 





tool family. 



of the tool. 

Click & Hold 

½ Second 















• [Shift] + [Enter] = Closes an open shape 














shapes when digitizing. The fewer points an element 







DSV9_QRG_Walks.pub 2 Rev: 08/12/09


Icons 




Curve Point 



Bezier Handle 



Entry Point 


Exit Point 




the first element of the design, it indicates the origin of the design) 

Cursors 

Edit Mode 




(Hold [Alt] to constrain the movement to the X or Y axis) 


























Other Lines 






across an element with the stitch direction tool) 

End Line 





an element with the stitch direction tool) 

Splice Lines 











Walk Input Method 

The Common Tools 

Walk Normal 

• Creates a single running stitch 

• Useful as Travel Stitches 

• Used to travel from one point in a design 

to another without trimming 

• Big factor in design efficiency 

• Work well for small detail work 

• Used for digitizing a manual underlay 

Walk Normal Retrace & Walk Bean 

Walk Normal Retrace elements are two 

layers of thread. Walk Bean elements are usually 

three layers of thread. Using these two 

elements is a very effective way to outline 

smaller designs without trimming. 

The difference between two layers of 

thread and three layers is difficult to see. 

Walk Bean 

• Creates a multi-layered running stitch 

• Each stitch steps forward, back, and 

forward again. 

• Increasing the Bean Thickness would 

increase the number of times each 

stitch repeats. 

• Used for detail work that is too small for a satin 

• Sometimes used for small borders 

Auto Scroll 

When using an input tool, if you move 

your cursor off of the view window, the screen 

will pan for you. To stop the panning, simply 

move your cursor back into the view window. 

You can change the panning speed or 

turn off this option by going to Tools > Options 

> Preferences, and changing the settings 

under Auto Scroll. 

Properties 

Stitch Length 

• Changes the length of stitches within the 

walk element The stitch length is the distance 

between needle penetrations. 

• Longer stitches stay up out of the nap 

of the material better, but if the stitches 

are too long, they will snag. 

• Shorter stitches follow curves better 

• Keep stitch lengths between 15 -40 points 

Retrace 

• The walk element will trace back over 

itself to end where it began 

• The needle penetrations line up 

Offset 

• Used to prevent needle penetrations lining 

up on a walk retrace. 

Curve Compensation 

Example of Curve Compensation 

• Shortens the stitch length inside curves 

Bean Thickness 

• Adjusts the layers in a Walk Bean 


Creating a Walk Element 

Straights, Curves, and Quantity of Points 

1. 2. 

2. 

1. 

3. 

Straight Lines 

To create a straight line using a walk input 

method, simply choose the tool, then 

1. Left-click to create a straight point at 

the beginning of the line. 

2. Move the mouse to the end of the line 

and left-click to create a straight point at 

the end of the line. (If you want to constrain 

the line angle to 15° increments, 

hold [Alt] while moving the mouse.) 

3. Press [Enter] on your keyboard to complete 

the element. 

Curve Lines 

To create a curve line using a walk input 

method, simply choose the tool, then 

1. Left-click to create a straight point at 

the beginning of the line. 

2. Move to the center of the curve and 

right-click to create a curve point. 

3. Move to the end of the line and leftclick 

to create a straight point. 

4. Press [Enter] on your keyboard to complete 

the element. 

Complex Shapes 

• When creating curved segments, try to 

divide the curves into equal portions 

and use as few points as possible. However, 

if a curve exceeds 180°, use multiple 

curve points. 

• To create Sharp angles, use a straight 

point. Straight points allow a line to 

change drastically from a curve to a 

straight line, or from one angle to another. 

Straight Points vs. Curve Points 

• Both straight points and curve points 

can have Bezier handles extending 

from them. 

2. 

1. 

6. 

1. Straight 

2. Curve 

3. Straight 

5. 

4. 

4. Straight 

5. Curve 

6. Straight 

7. [Enter] 

3. 

Straight points have 

Bezier handles that 

can be moved independently. 

Curve points have 

Bezier handles that 

move in tandem. 


Walk Input Method 

The Less Common Tools 

Walk Jump 

• Walk jumps are an older command 

that are no longer used very often. 

• Defines a path, but no stitches will be 

made along that path. 

• Used to move the frame on the machine 

without sinking stitches. 

Walk Decorative 

C:\Designs\Graphics\Teepee.bmp 

• Creates a repeating pattern along the 

input line 

Try to digitize this graphic allowing only 2-3 

• Orientation of the pattern is dependent 

on the direction the element 

was digitized 

layers of stitching with no trims. 

• Mostly used for decorative elements Walk Sequin 

• Creates a line of sequins 

• Fixing stitches for the sequins are set in 


• Mostly used for decorative elements 

• Requires fairly advances digitizing knowledge 

C:\Designs\Graphics\Lines.bmp 

This design can be great practice for digitizing curves. 

Manual Stitch 

(Available Through the Flyout) 

• Not used very often 

• Only sinks a stitch on input points 

• Has no Properties or Curves 

• Used for creating your own Tie Ins and Tie Offs 

• Used for creating your own Sequin Fixing 

Stitches 

• Manual stitches can be used for traveling 

over a satin stitch 


EDITING 

Change Properties for the Entire Design 

1. Right click on the design name in the Project Tab. Choose “Properties” from the drop-down 

menu. Or double click on the Design name. 

2. “All Elements” will display in the Object Property Box. You can change the Tie In/Off, Scale, 

View and Styles. Change All Elements to Multi-stitch Line Elements and you can globally set 

Top Stitching parameters to the design (underlay, pull comp, effects, advanced). 

3. Click OK. 

Remove/Add Stitches to a Design (Global Scale Factors) 

1. Click on the Tools down Menu. 

2. Select Scale Factors. 

DSV9_QRG_Editing 1 Rev: 4/08/09

3. Change the column densities, fill densities and stitch lengths by percentages for the entire 

design. By adding 10% to Column Density and Fill Density, you can quickly take out some 

extra stitches. This is a good thing to do with stock designs that are sewing out “bullet proof” 

(they just have too many stitches and the embroidery is hard and tight). 

EXAMPLE: This feature will adjust each property value by the percentage value entered. If 

there are two fills in the design, one at 4.0 density and one at 5.0 density, a percentage value of 

80% will take out 20 percent of the stitches for each fill density. 

Cost Factors 

This feature allows the user to adjust the design to achieve a given cost. 

1. Click on the Tools drop down menu. 

2. Select Cost Factors. 

Select Entire Design 

1. Hold Down the CTRL Key and press the letter “A” on the keyboard (CTRL+A). 

…OR 

2. Click the Edit Mode Tool. 

3. Hold down Left mouse button and drag a box around entire design. 

…OR 

1. Click on the “Select the entire project” tool on the Toolbar. 

2. The entire design will now have boxes around it. 

…OR 

3. Click on the Design Level in the Project View 


Select By Color 

1. On the color palette, right click on the color you want to select. 

2. Click “hide other colors.” 

3. Click the Edit Mode Tool. 

4. Left click and drag a box around the entire displayed color. 

…OR 

1. On the right side of the screen (Project View), click the first element of the desired color you 

want to select. 

2. Hold down the Shift key. 

3. Click the last element of the desired color. 

4. The range of elements in between is selected. 

5. Or if the color is not part of a group of elements use the Control to select individual 

elements. 

…OR 

6. Click on the color level in the Project View. 

Adding and Moving Color Elements in the Project View 

1. To change the color of an element – Click on the element in the Project View or View 

Window. Then click on the color on the color palette or right click and choose “Color…” from 

the drop-down menu. 

2. To move an element(s) and keep the same color - Drag the element and drop element 

below insertion line. 

3. To move an element and adopt the color – Hold the Shift + Drag element, drop element 

below insertion line. 

4. To adopt the prior color – Click on the symbol in the Project View. 

Selecting more than one Input Point 

1. In the project view, click first input point. 

2. Hold CTRL key. 

3. Click other input points to add to the selection . 

OR 

4. Use the Custom Select Tool to select multiple points by clicking and drawing a box 

around the points you want to select then press enter. 

Deleting Wireframe Input Points 

1. In the project view, left click on the wireframe point. 

2. Press the Delete key on the keyboard. 

3. Notice the change immediately on the screen. 


Bezier Editing Commands 

Points: 

1. Drag point – drags point+bezier handles connected to point. 

2. Alt+drag point-constrain line. 

3. Ctrl+drag point – generates arc through point and previous/next point. 

4. Ctrl+drag bezier point – fixes slope of bezier handle while dragging. 

5. Shift+click point – converts point to/from straight/curve. 

6. Shift+drag on point – adds bezier handle to point. 


7. Double click on a point– brings up dialog to manually edit point type/coordinates. 

8. Left click on a line– insert straight point. 

9. Right click on a line –insert curve point. 

10. Click+drag while on a line – adjusts the line without adding a point. 

11. Ctrl+click+drag while on a line – adjusts the line without adding a point (prevents 

accidentally inserting point, unlike click+drag). 

12. Ctrl+right click on a line– convert bezier segment to straight segment. 


Auto-Sequence 

1. This feature is used to eliminate trims in designs within the same color. Also this feature 

can eliminate unnecessary color changes in a design. 

2. Select all the elements within the same color. 

3. Right click select Operations>Auto Sequence from the pop up list. 

4. Check Minimize Jumps and Auto Entry Exit. 

5. Click OK. 

Editing Stitch Direction Lines of an Element 

1. Select the element on your screen. 

2. Click on the Insert Stitch Direction Tool . 


3. You will now be able to drag the stitch direction to another direction. 

4. Click on the Edit Mode Tool when done. 

Move Start and Exit Points of an Element 

1. Select the element on the screen. 

2. The green circle represents where the element will start stitching. The red X represents 

where the element will end stitching – this is typically where the lock stitch will be placed. 

3. Click, hold and drag to move these points. 


Webinar 

Appliqué / Tackle Twill 

DesignShop V9 Appliqué Webinar Guide 


Appliqué / Tackle Twill - Sewing Process 

Appliqué or Tackle Twill designs are designs that are specifically digitized for using fabric 

instead of stitches to fill in an area of a design. Usually a pattern is needed and 

there are many techniques used to make an appliqué pattern. Below is the process 

for sewing appliqué on the embroidery machine. 

The Appliqué Sewing Process 

Locator Stitch 

Appliqué Fabric 

Tack down Stitch 

#1 The appliqué 

locater stitch 

(outline stitch) is 

sewn on the fabric. 

If an appliqué 

stop is programmed, 

the 

machine will stop 

sewing between the color 

changes. 

#2 The appliqué fabric is 

placed on top of locater 

stitch (spray adhesive can be 

used to hold fabric in place). 

#3 The appliqué tack down 

stitch is sewn next. This can 

be a column or a walk element. 

This stitch is used to 

hold the fabric down. 

Cover Stitch 

#4 Tackle Twill look! The 

cover stitch is turned off. 

#5 The appliqué cover stitch 

is sewn after the tack down 

stitch. This is usually a satin 

stitch. (if the tack down stitch 

is not turned off). 

#6 Appliqué complete 

DSV9_Applique.pub 2 Rev: 02/08/10

The Appliqué Sew Process on the AMAYA 

1.Hoop Fabric to sew the 

Appliqué 

2. Place the hoop on the 

machine 

3. The 1st stitch to sew is the 

appliqué locater stitch. . 

4. If an appliqué command is inserted in 

the color sequence, the machine will stop 

and fame forward. Place the appliqué 

fabric exactly on top of the locator stitch. 

5. The next stitch to sew is the tack down 

stitch. This holds the fabric in place 

6. The cover stitch will sew next 

7. Final sew out! 


Example 1: Tackle Twill Design 

Locator Stitch 

(sews 1st) 

Tackle Twill Stitch 

(sews 2nd on top 

of locater stitch) 

Process 

1. Locater Stitch is sewn on garment 

2. Machine will stop and frame forward (if appliqué stop is programmed) 

3. Fabric letters are placed on top of locater stitch 

4. Press start on AMAYA machine keypad 

5. Frame will move back to sew position and Tackle Twill stitch will tack down fabric 

Example 2: Appliqué Design 

(basic design NOT using DS Appliqué feature) 

1. Locator Stitch 

(color 1 

2. Tack down Stitch 

(color 2) 

3. Cover Stitch 

(color 2) 

An appliqué command is inserted 

between the 1st and 

2nd color change . This will 

force the machine to stop and 

the frame will come forward. 


Object Properties: Appliqué 

(DesignShop Pro & Pro+) 

Appliqué: General 

Background Type (fabric) 

The background simulates the appliqué fabric, 

choose from the below choices 

• None 

• Solid Color (default) 

• Cross Hatch 

• Graphic—Allows for a scan of the material 

Color Change Enabled 

This is the appliqué stop at the embroidery 

machine. After the locater stitch is sewn, 

the machine will stop stitching (if the Appliqué 

stop was programmed in). 


Appliqué: Tackdown Stitch 

Object Type: Column 

• This is the type of stitch that will tack 

down the fabric to hold it in place. 

Column Width 

• How wide the column will be. The default 

is 30 points 

Inside / Outside 

• Use the slider bar to set how much of 

your column is offset on the inside of 

the element and how much in on the 

outside of the element 

After the appliqué fabric is in position, the 

edges are tacked down. 

80 % of the stitch is 

on the inside of the 

heart and 20% of 

the stitch is on the 

outside of the 

stitch. 

OR 

Object Type: Walk 

• This is the type of stitch that will tack 

down the fabric to hold it in place 

• 

Walk Stitch Offset 

• The inset of the stitch. The default is –15 

After the appliqué is in position, the edges 

are tacked down. 

The walk stitch is 

inset is -15 points 

from the edge of 

the appliqué outline. 


Appliqué: Cover Stitch 

Column Width 

• How wide the column will be. Default is 

40 points. 

Inside / Outside 

• Use the slider bar to set how much of 

your column is offset on the inside and 

how much in on the outside 

For a clean finish, the edges of the appliqué 

are hidden with cover stitching. 

80 % of the stitch is 

on the inside of 

the heart and 20% 

of the stitch is on 

the outside of the 

stitch. 

Object Properties for Outline, Tackdown and Cover Stitches 

Appliqué Outline (Walk) - Also know as the locator stitch 

Outline (Walk) 

The outline is the appliqué locater stitch. The material is 

cut to the same size as this line. This allows you to position 

the appliqué piece accurately on the fabric. 

• Stitch Type 



Appliqué Tackdown (Top Stitching) 

Tackle 

• Used mostly for numbers on sports 

items / sports uniforms 

Satin 

• Used for appliqué designs as the cover 

stitch 

Zigzag 

• Used for appliqué designs 

E Stitch 


Appliqué Cover (Top Stitching) 

Tackle 

• Used mostly for numbers on sports 

items / sports uniforms 

Satin 

• Used for appliqué designs. This type of 

stitch is almost always the cover stitch 

Zigzag 


E Stitch 


Appliqué Lettering Conversion 

(DS Pro and Pro+) 

Other Appliqué Techniques 

Change Element Type 

• Input letters 

• Right click and choose “Operations” 

then “Change Element Type” (or hold 

down the control key and click on 

the appliqué tool) 

• Choose Appliqué and “replace” 

• Appliqué properties are now available 

Appliqué Custom Shapes 

(DS Pro an d Pro+) 

Custom Shapes 

• Select Appliqué Input Tool 

• Select Automatic Custom 

Shape Input Tool 

• Choose Shape, click and hold to 

drag shape to view window 

• Appliqué properties are now available 


Object Properties - Miter Effect 


Corners—Miter 

• Type 1—mostly used for Appliqué. This 

type ends the corner in a point and 

has a more finished overlap. 

• Type 2—mostly used for Tackle Twill 

Type 1 Type 2 

Save Appliqué Outline 


This feature will automatically save the appliqué cutline to a separate file if the appliqué is created 

using DesignShop software. 

• Create an auto appliqué 

• Click on File 

• Click on “Save Appliqué Outline” 

• Type file and click on Save 

• Save as ofm or exp file types to sew on fabric. This is a nice way to sew the patterns 

for the exact shape. Send this to the AMAYA machine and sew on the appliqué 

fabric. Then cut out this exact shape. 

• Save as eps or exp to send to a plotter or cutter 

Auto Appliqué vs. Manual Appliqué 

1. When a design is digitized with DesignShop using the Appliqué auto feature you have 

the ability to change any of the appliqué properties. 

2. When a design is digitized using another type of software, the appliqué properties will 

not be present (ie; Dakota Collectibles designs). 


Change a design element to an appliqué element 


• This works best is the element is larger with not much detail. 

• Select the element to be the appliqué 

• Right click and choose “Operations” then “Change Element Type” 

• Choose Appliqué 

• Click on “Replace” 

• The element is now an appliqué object 

• There may be some minor editing that needs to be done. 


Webinar #4 

Wireframe Editing 



Editing 

Selecting Elements 

Selecting elements in the View Window 

Click on an element to select it 

Click and drag a box around multiple 

elements 

Ctrl + Click to select multiple elements 

Selecting element in the Project View 

Click on an element to select it 

Shift + Click to select multiple consecutive 

elements 

Ctrl + Click to select multiple nonconsecutive 

elements 

Right click on an element > Select > 

Select All 

Select Entire Design 

Select Same Type 

Deselect All 

Deselecting Elements 

Click on a blank area in the View 

Window 

Right click on an element > Select 

> Deselect All 

Previous and Next Element Buttons 

Allows you to select up and down 

through layers of stitches 

Custom Selection Tool 

Click on tool and click and draw 

around desired elements > 

Enter to finish 

Works on elements, wireframe 

points, or expanded points 

Grouping & Ungrouping Elements 

Select multiple elements > Right click > Operations 

> Group 

Select multiple elements > Click on the 

“Group” icon at top of PV 

Re-Sequencing Elements 

The order of the elements in the Project view 

reflects the sew order 

Select the elements to be re-sequenced 

Drag selected elements to desired 

place 

OR “Cut” the elements and 

“PASTE” them into desired 

place 

***Elements will be inserted after 

the currently selected element 

Color Management of Re-sequenced Elements 

Elements retain their color information 

Hold shift when re-sequencing to 

adopt the surrounding color 

Adopt color button in the Project View 

Converting to Wireframe 

Converts a lettering segment or a stitch file 

to wireframe 

This can allow for easier editing. 

May lose some information when converting 

from stitch files (fill patterns) 

Split Element 

Allows you to split up a wireframe object into 

two or more pieces 

Wireframe Editing (Lettering) 

Allows you to edit lettering without converting 

it to wireframe pieces 

Wireframe Editing (General) 

Editing Wireframe Points 

Drag a point: Drags the point and 

the bezier handles connected 

to the point. 

Alt + drag: Constrains the line. 

Ctrl + drag: Generates an arc 

through the point and the 

previous/next point. 

Ctrl and drag a bezier point: Fixes 

the slope of the bezier handle 

while dragging. 

Shift + click a point: Converts the 

point to/from straight/curve. 

Shift + drag a point: Adds a bezier 

handle to a point. 

Double-click: Brings up a dialog to 

manually edit the point types 

and coordinates. 

Editing Wireframe Segments 

Left-click: Insert a straight point. 

Right-click: Insert a curved point. 

Click and drag: Drags a curve. 

Ctrl + click + drag: Drags a curve 

(prevents accidentally inserting 

a point, unlike Click + 

drag) 

Ctrl + Right-click: Converts a bezier 

segment to a straight segment. 

Removing Holes 

Copy/Pasting Elements 

Scaling/Scale Factors 

Select elements to be scaled. 

Right-Click and select Scale... 

Styles 

DSV9_WO4_Wireframe_Editing.pub 2 Rev: 04/28/09

Wireframe Editing 



DesignShop Wireframe Symbols 

Icons 




Curve Point 



Bezier Handle 



Entry Point 


Exit Point 





Cursors 

Edit Mode 






























Other Lines 







End Line 






Splice Lines 










DSV9_QRG_Wireframe_Editing.pub 2 Rev: 04/28/09

Editing Wireframe Points 

Drag a point: 

• Clicking and dragging on a selected point drags the point and the bezier handles connected 

to that point. 

Alt + Drag a point: 

• Holding the Alt key while dragging a selected point will constrain the movement of that 

point to fifteen degree increments. 

Ctrl + Drag a point: 

• Holding the Ctrl key while dragging on a selected point drags the point and adjusts the 

bezier handles connected to that point to generate a perfect arc between the next 

and previous points on that line. 

Ctrl + Drag a Bezier Handle: 

• Holding the Ctrl key while dragging on a Bezier handle fixes the angle of the handle. This means 

that even if your move the mouse off of that line, the Bezier handle will remain on the same angle. 


More Wireframe Point Editing 

Shift + Clicking on a point: 

• Holding the Shift key while clicking on a point will change it between a straight and a 

curve. If you change from a curve point to a straight point, the handles will stay, but 

they can be moved independently of each other. Handles on curve points are locked 

Double-Clicking on a selected point: 

• Double-clicking on a selected point will bring up the digitize point properties box. This will allow 

you to choose which type of point you want by clicking one of the radio buttons. 

Shift + Dragging on a point: 

• Holding the Shift key while dragging on a point will pull a Bezier handle from a point that 

doesn’t have one. This is an easy way to curve a line coming off of a straight point. 


Editing Wireframe Segments 

Clicking on a line: 

• Left-clicking on a line will add a 

straight point 

Right-Clicking on a line: 

• Right-Clicking on a line will add 

a curve point 

Clicking + dragging on a line OR Ctrl + Clicking + dragging on a line: 

• Clicking and dragging on a line will drag that segment. It will adjust curves as well. This 

allows you to edit shapes without adding points. Holding the Ctrl key while doing this 

prevents accidentally adding a point. 

Ctrl + Right-Clicking on a line: 

• Holding the Ctrl key while right-clicking on a line will change it from a curve segment to 

a straight segment. 


Zoom Tools 

The zoom tools are used to change the design or image magnification level in the view window. These 

tools will not change the size of your design. You will need to experiment with the variety of zoom 

options to determine what amount of detail is required. If you hover your mouse over the tool, a tool 

tip will come up to display what that tool is. 

Graphical Zoom In Tool 

This tool is used to zoom in on a specific part of a design. 

1. Open a design in DesignShop software. 

2. Click on the Graphical Zoom In tool. 

3. When you move your mouse to the main view window, your mouse will represent the zoom 

tool. 

4. Start in the corner on a location of your design, click and hold and drag your curser around the 

element – then let go. As you are dragging your mouse, a dotted box will represent the area of 

graphical zoom. 

5. The area of the design will now fit in the main view window. 

6. Click on the Actual Size tool if you need to start again (this one takes some practice). 

Zoom In Tool 

This tool is used to zoom in on the design in increments. 

1. Click on the Zoom In tool. 

2. The design will zoom in increments of 20% each time the Zoom In tool is clicked. 

3. Click on the Actual Size tool to go back to the actual design size view. 

Zoom Out Tool 

This tool is used to zoom out on the design in increments. 

1. Click on the Zoom Out tool. 

2. The design will zoom out in increments of 20% each time the Zoom Out tool is clicked. 


DSV9_QRG_Zoom_Tools..QRG 1 Rev: 4/16/09

Actual Size Tool 

This tool displays the design on the screen the actual sew size of the design. 

1. Click on the Actual Size tool. The design will display actual size in the main view window. 

2. If the Actual Size tool is “grayed” out – then you are already viewing your design the actual size 

that it will sew. 

3. After zooming with any of the other zoom tools, use this tool to quickly view the actual design 

size view. 

Fit Window Tool 

This tool is used to fit the entire design to your screen. 

1. Click on the Fit Window tool. The design will now fit to the main view window. 


Fit Selection Tool 

This tool is used to fit a selected element of your design to the window. 

1. Click on an element of your design in the main view window. 

2. Click on the Fit Selection tool. 

3. The element will now be fit to your screen. This is a nice way to quickly view an area of your 

design. 


Center Selection Tool 

view window. 

This tool is used to center a selected part of the design to the center of the 

1. Click on an element of your design in the main view window. 

2. Click on the Center Selection Tool. 

3. The element will immediately move to the center of the screen. 


Zoom Previous Tool 

This tool is used to zoom to the previous view. 

1. Zoom in on a part of a design in the main view window. 

2. Click on the Zoom Previous tool. 

3. The design will go back to the last previous view. 

Zoom Toolbar 

screen. 

This toolbar is located at the bottom left side of the 

1. Click on the dropdown menu to choose different zoom levels, then select the desired level. You 

can also type the exact zoom level in the percentage box. 

2. Your design or image will display in the chosen zoom level. 


DSV9_QRG_Zoom_Tools..QRG 2 Rev: 4/16/09

The Digitizing Process 

& Art File Types 


6 

7 

1 

5 

8 

2 

3 

4 

9 


The Digitizing Process 

1. Get the Graphic on the Screen 

• You can either open a graphic file 

or you can insert a graphic file into 

an open project. With some graphics, 

you can also copy out of one 

program and paste into Design- 

Shop. If you have a scanner attached 

to your computer, you can 

also scan directly into DesignShop 

by going to File>Scan Image... 

• You’ll need to change your “Files of 

type” to “All Graphics”. 

2. Size the Graphic 

• Scale the graphic to the intended 

size of the final sewout. 

• Many decisions for stitch types are 

based on the size of the elements. 

Digitizing at one size and then scaling 

up or down before sewing out can 

lead to thread breaks, snagged 

stitches, and registration loss. 

3. Plan It Out!!! 

• Layers - Consider how you will layer 

your design. Embroidery can be very 

dimensional. Think about moving from 

the background to the foreground. 

• Thread Colors - Will the thread colors on 

top conceal the ones underneath? 

• Pathing - How will you get from one 

area to the next? Do you have to 

trim? Is there a way to avoid a trim? 

• Push - Think about the direction you’re 

sewing. Try to sew away from elements 

you’ve already sewn. If you sew toward 

existing stitching without stabilizing 

the area first, a ripple of material 

can sometimes be created. 

4. Stitch Types & Stitch Directions 

• Different stitch types can create a 

variety of textures and the illusion of 

depth in a design. 

• Size range - many times, the size of 

an element will dictate the appropriate 

stitch type. 

• Cross Contour - If you can create 

stitches that appear to go across a 

form, you can create a more realistic 

and three dimensional appearance. 

• Stitch Direction - by changing stitch 

directions, you alter the way light 

plays off of a thread. In this way, you 

use one color of thread to create 

what appears to be many shades. 

5. Set Up Your Properties 

• Go to View > Properties to set up the 

default properties for the project. Then 

click on “Save Current Settings to Defaults” 

and save them for the Project. 

You may find applying a style to be a 

quick way of setting your properties. 

6. Input the Elements 

• Create your elements using the 

DesignShop Input tools. You may 

find that digitizing in a contrasting 

color is a convenient way to better 

see what you are creating. 

7. Finish Up 

• Make adjustments to the properties. 

• Add Tie Stitches. 

• Center the design. 

• Adjust for Push & Pull. 

8. Sew It Out 

• Sew out the design on a swatch of material 

that is similar to the final product. 

9. Final Edits 

• Using the sewout as a guide, make any 

needed adjustments to your design. 

• Sometimes another round of sewouts 

and revisions is required. 

DSV9_QRG_Digitizing_Process.pub 2 Rev: 06/09/09

Example Digitizing Plan 

(This is just one of many ways to digitize this artwork.) 


6 

7 

1 

5 

8 

2 

3 

4 

9 

1. Sky - Fill 

2. Top Mountain - Fill 

3. Middle Mountain - Fill 

4. Bottom Mountain - Fill 

5. Water - Fill (Create depth with different 

stitch directions for each wave) 

6. Tree Top - Fill (avoid trim by traveling under 

the trunks and black outline) 

7. Tree Trunks - Satin (create rounded effect 

with satin. Avoid trim by traveling under 

black outline) 

8. Sun - Satin for rays, fill for middle (sew rays 

first and travel underneath middle of sun. 

Cover up the travel stitches with the fill by 

sewing the middle last.) 

9. Outline - Satin (Outline waves and mountains 

first. Cover the travel stitches with 

the horizon line, then clean everything up 

with the outermost border.) 

Art Files - Vector vs. Raster 

Vector 

• Math Based Art File 

• Scalable without loss of quality 

• Contains separate elements that can 

be selected in DesignShop 

• Sources 

• Illustration Programs 

• File Extensions DSP+ can read 

• .eps 

• .cdr 

• .ai 

• .wmf 

• .dxf 

• .emf 

Raster 

• Grid Based Art File 

• Pixelates when enlarged 

• Sources 

• Scanners 

• Cameras 

• Image Editing Programs 

• File Extensions DSP can read 

• .bmp 

• .jpg 

• .pcx 

• .tif 

• .png 

DSV9_QRG_Digitizing_Process.pub 3 Rev: 06/09/09

AMAYA XT, AMAYA BRAVO 

& AMAYA OS V9 

AMAYA OS V9 Classroom Notes & Quick Reference Guide 

* This document uses the label of “AMAYA” to refer to 

the AMAYA, AMAYA XT, and the AMAYA BRAVO. 


Contents of Class 

Page 3 

4 

4 

5 

8 

10 

11 

12 

13 

13 

14 

15 

16 

Introductions 

Machine Configuration 

Bobbins 

Thread 

Needles 

Backing 

AMAYA Keypad 

Loading Sequence 

Adjusting Presser Foot 

Hooping 

Sewout Troubleshooting 

Color Sequence Commands 

Color Groups 

Settings by Color 

17 

File Formats 

18 

Machine Maintenance 

19 

19 

Converting Machine for Caps 

Loading Designs for Caps 

Cap Hooping 

Cap Sewing Basics 

Sewouts 

Cap Troubleshooting 

20 

20 

Large Icons 

Naming Your AMAYAs 

21 

AMAYA Laser Alignment 

AMAYA_OS_v9_Handout.pub 2 Rev: 06/03/09

Connecting the AMAYA 

Dongles & Levels of AMAYA OS 

There are threes levels of AMAYA OS. They 

are Lite, SE, and Flex+. 

• SE is for a single AMAYA XT and requires 

a dongle. 

• Flex+ is for networking multiple AMAYA 

XTs and requires a dongle. 

• Lite is slightly limited, but it requires no 

dongle to run. 

More information on AMAYA OS Levels is 

available in the help system. 

Internet Updates 

Internet updates are available for both the 

OS and the RSA/CSA files. To access these 

updates, your computer must be connected 

to the internet. This connection should be 

made through a separate network card from 

the AMAYA. To check for updates, click on 

Tools, and then select “Check for Updates…” 

or “Check for RSA/CSA Updates…” 


(1) Ethernet or Crossover cable 

Networking multiple machines is a 

Flex+ option only 

(2) Power 

You may want to consider a line 

conditioner or uninterruptible 

power supply 

(3) Serial Number 

Located on the side of the machine 

(4) On/Off Switch 

Daily Start Up Procedure 

The proper start up procedure for the AMAYA 

is to launch AMAYA OS, wait for the grey 

screen to come up, then turn on the AMAYA. 


Bobbin 

We recommend continuous filament spun polyester bobbin thread. 

Cleaning the bobbin case 

Types of bobbins 

Threading up the bobbin case 

Testing the bobbin tension 

Adjusting the bobbin tension 

Reinserting the bobbin case 

Bobbin tail 

Thread 

Types of Thread 

Threading the AMAYA 


Needles 

BACK 

SIDE 

FRONT 

Needle Orientation 

Thread Guide 

Scarf 

Needle Sizes 

65/9 70/10 75/11 80/12 

Smaller 

Larger 

Sharp 

Needle Points 

Ball 

Standard 

Needle Coatings 

Titanium 


Choosing a Needle 

Choosing the appropriate needle for the job being run is extremely important to the success of 

the embroidery. Different fabrics and threads will determine what needle should be used. 

General Guidelines 

• Ball Point needles are commonly used on knits. The idea behind this is for the slightly 

rounded tip of the needle to move the threads of the material out of the way. Common 

knit garments include T-shirts and sweatshirts. 

• Sharp point needles are sharper than ball points and are generally used on tightly woven 

goods. Some good examples of tighter weaves would include canvas, denim, and twill. 

• Titanium coated needles create less friction and heat when moving through a material. They 

are a good choice for sewing on coated fabrics or embroidering with adhesive backings. 

• Smaller needles can clean up the appearance of small lettering and fine details. 

• Larger needles create larger holes which can help prevent thread breaks due to friction 

when sewing an abrasive materials like a cotton duck jacket. 

Fabric Type Needle Size Needle Type Coating 

Coated Fabrics 80/12 Sharp Titanium optional 

Corduroy 80/12 Sharp 

Cotton Sheeting 70/10 - 80/12 Sharp 

Denim 80/12 Sharp 

Dress Shirt (Woven) 70/10 - 80/12 Sharp 

Golf Shirt 70/10 - 80/12 Ball Point 

Leather 70/10 - 80/12 Ball or Sharp Titanium optional 

Lycra or Spandex 70/10 - 80/12 Ball Point 

Nylon Windbreaker 70/10 - 80/12 Ball Point 

Satin Jacket 70/10 - 80/12 Ball Point 

Sweater (knit) 70/10 - 80/12 Ball Point 

Terry Cloth 75/11 - 80/12 Ball or Sharp 

Delicate Satins or Sheers 65/9 - 70/10 Ball Point 

Twill Caps 75/11 - 80/12 Sharp 

Note: These values are guidelines only, and you may need to adjust your needle usage according 

to the needs of the individual application. 


Changing a Needle 

It is recommended that you change standard needles every 4 - 8 sewing hours. Titanium needles can 

last 2 - 3 times that long. The life of a needle depends greatly on the fabric and sewing conditions. 

When installing new needles, always use industrial grade needles recommended by Melco for use in 

the AMAYA BRAVO and AMAYA XT. The needle depth on the AMAYA is set for Organ brand needles. 

If you use another brand, you may run into issues. If you want to run with another brand, you 

may need to have the needle depth on your AMAYA adjusted. 

How to Change a Needle 

1. Make sure the safety grabber blade is in the back position before changing a needle. If it is not, 

press the Adjustment and Center keys on the AMAYA keypad to move the grabber back. 

2. Each needle has a needle clamp set screw that holds it in place. 

3. Using a small flat-blade screwdriver, turn the needle clamp set screw counterclockwise about ½ 

turn, until the needle can slide down and out of the needle bar. Do not loosen too much or remove 

the set screw. Loosen the screw just enough for the needle to be removed. 

4. Embroidery needles have a front and a back side. The needle must be installed correctly or 

the sewing quality may suffer. If you install the needle incorrectly, you my also get thread 

breaks. The front of the needle has a long groove (thread guide), while the back has and 

indented notch (scarf). 

5. With the thread guide facing forward and the scarf facing back, slide the needle up and 

into the needle clamp as far as it will go. The eye of the needle should be turned 5°to the 

right. (There is an acceptable range of 0° - 20° to the right) 

6. Re-tighten the needle clamp set screw to hold the needle in place. 

Reasons to Change a Needle 

• The needle breaks or is bent. 

• The thread will consistently fray - this usually means there is a bur on the needle causing it to 

fray a part of the thread. 

• The needle is dull. 

• Sewing conditions change, such as a change in fabric. 


Backings and Toppings 

Cut Away 

Standard Backings 

Tear Away 

Specialty Backings 

Nylon Mesh ~ Poly Mesh 

Water Soluble Toppings and Backings 

Other Toppings and Backings 


More Backing and Topping Information 

Appropriate backing is essential for embroidering most fabrics. Without backing, fabrics can slip 

even when they are hooped tightly. Using the proper backing is directly linked to the production 

of consistently high quality embroidery. It is important to understand that many different 

embroiderers with identical criteria may choose completely different backing and topping formulas 

and still achieve successful embroidery results. Experimentation and experience are essential 

in creating consistently high quality embroidery. New products are constantly being developed 

and introduced. Find the combinations that work best for you. 

Tear Away Backing 

Tear away backing is a non-woven material that tears easily in any direction and can be easily 

removed after embroidery. Tear away is extremely simple and fast to use, but the uses are limited 

because it offers little support to unstable fabrics. Some examples of fabrics suitable for 

tear away are cotton sheeting, woven dress shirts, denim, terry cloth, hats, and some satins. Be 

aware that tear away can be a bit scratchy, and use on fabrics that will be worn against skin 

may want to be avoided. 

Cut Away Backing 

Cut Away backing is a woven or non-woven material that must be cut form the fabric after the 

embroidery is complete. This type of backing is used to support the embroidery on the fabric 

during and after the embroidery process. It also prevents the fabric from stretching during embroidery. 

Cut Away backings are generally used for unstable goods like knits. Examples of a knit 

would be a t-shirt, golf shirt, sweater, or a sweatshirt. 


Specialty backings such as poly mesh and nylon mesh are also options. While they may not be 

as stable as traditional cut aways, they are much less visible through lighter weight garments. 

They also tend to be softer than other backings. 

Water soluble backing is also available for jobs that require that no backing be left after the completion 

of the embroidery. Be aware that this would require a fairly stable garment as the backing will 

be dissolved completely and offer no support once the garment has been laundered. 

Toppings 

Toppings are used to keep your stitches from falling into the nap of a lofty material like terry 

cloth or polar fleece. It can also be used to clean up small lettering and the overall appearance 

of your embroidery. Most toppings are water-soluble and can be easily removed after 

the embroidery is complete. 


AMAYA Keypad 

Single Key Operations 

Key Combinations 

Step Back 

Step Forward 

Move the hoop on the machine 

+ 

Laser 

Open/Close the Grabber 

+ 

Start 

Stop 

Trace the Design Within Selected Hoop 

+ 

Change Sewing Speed 

E-Stop 

+ 

Slider 

Check the slider for 

more commands. 


Procedure to Run the AMAYA 

1. Load Design or Wizard 

SE and Flex+ can use either load function. 

AOS Lite must use the Load Design Wizard. 

2. Color Sequence 

Lite must use the Load Design Wizard to 

enter or change a color sequence. 

3. Select Hoop 

Select the hoop that fits as closely as possible 

to the design without going over the 

hoop limitations (dotted line). 

Lite displays unavailable hoops in grey. 

4. Sewing Speed 

AMAYA OS Lite maxes out at 1000 

s.p.m. and can only be change on the 

keypad of the machine. 

5. Acti-Feed 

AMAYA OS SE and Flex+ contain upper 

and lower limits for Auto-Actifeed. 

6. Orientation 

10. Adjust Presser Foot 

Must have a garment loaded 

7. Center Design (MAYBE) 

8. Center Hoop 

11. Check Pinch Rollers 

9. Trace Design 

12. GO! 


Setting Presser Foot Height 

On the AMAYA, you can manually adjust the presser foot height in the range of 0.5mm to 3.5mm 

above the needle plate. The presser foot height should be changed when the thickness of the material 

you are sewing changes dramatically. To adjust the presser foot height, AMAYA OS must be 

open, and your AMAYA must be on. A hoop with the fabric you will be using should be installed. 

 

 

WARNING: Do not adjust the presser foot height while the machine is sewing. 

Doing so can result in serious injury. 

To Adjust the Presser Foot Height 

1. Go to the “Tools” drop-down, then 

“Maintenance...” 

2. In the Maintenance Window, select the Head 

Timing tab. 

3. If multiple AMAYA machines are assigned to the 

same dongle, check the All Machines box to 

perform this adjustment for all machines in the 

cluster. If this box is not checked, you can select 

a single machine from the Machine list. 

4. In the Head Timing tab, click the Bottom Center 

button. This will place the needle at its lowest 

needle depth. 

5. Locate the presser foot eccentric (gear/knob) 

behind the needlecase. The eccentric is easiest 

to access when the needlecase is all the way to 

the right (the active needle is on #16). 

6. Turn the gear with your fingers to adjust the 

presser foot height up or down as needed. 

7. Set the presser foot height over a bare (unsewn) 

section of the fabric. Set the presser foot so that it is 

very close to but not touching the fabric. Leave a 

gap between the fabric and the presser foot that is 

roughly equal to the thickness of the thread. 

8. Click the Head Up button in the Head Timing tab. 

9. Click the OK button to close the Maintenance menu. 


Hooping 

Choosing the appropriate hoop and using it correctly is extremely important for successful embroidery. 

Here are a few tips to help get the best results. See the Hooping Guide for more detailed information. 

• Round hoops give the most even tension of all the hoop shapes. 

• Wooden hoops will have registration marks on them. These help maintain 

the shape and hold of the hoop. 

• Many wooden hoops are double-high, meaning their sides are twice 

as tall as normal hoops. They help grip slick or bulky goods because of 

the larger surface area and slight tooth the wood provides. 

• Choose the smallest hoop that the design will fit in without going over 

the hoop limitations (the dotted line in AMAYA OS). 

• Adjust the hoop tension before hooping the final garment. If you adjust 

the tension of the hoop while the garment is in it, you will increase 

your chances of “hoop burn” and create ripples in the garment. 


After you complete your first sewout of a design, it is a good idea to examine the quality of the 

piece and how well it sewed. Reassess the hooping, backing, and machine settings. A few adjustments 

now can save you from frustrations later on. 

Symptom 

Thread breaks 

Possible Solutions 

Slow down AMAYA. Make sure the piece is hooped properly. Adjust 

presser foot. Check bobbin tension. Check needle orientation. Oil the 

rotary hook. 

Bobbin pulled to top Check bobbin tension. Slow down AMAYA. Adjust presser foot. 

Registration loss 

Fabric is puckering 

Check hooping tension. Slow down AMAYA. 

Avoid stretching or pulling the fabric too much when hooping it. 


Color Sequence Commands (SE & Flex+ Only) 

Appliqué Command 

Pause 

Hold 

Stop 

Skip 

Sequence for Sewing Appliqué 


Color 1 

2. Place Appliqué 


3. Tack-down Stitch 4. Cover Stitch 

Color 2 


Color Groups (SE & Flex+ Only) 

Color Groups allow users to use multiple needles 

with cones of the same thread color on 

an AMAYA. If one breaks a thread, it will 

move to the next needle with that color. 

To use Color Groups, 

1. Go into the Color Sequence tab 

2. Click on Color Groups. This will open the 

Color Group Setup window 

3. Check Enable 

4. Check Automatic Start After Needle 

Change 

(If you want the machine to automatically 

start sewing with the backup needle.) 

To set up a Color Group, 

1. Click on the needle you want as your primary 

color. (The primary color will be ringed 

in green) 

2. Click on the needles you want as back up 

colors (The back up colors will be ringed in 

red) 

Back up colors will be grayed out in the 

color selection tab. 

To set up another color group, click the Next 

Group button. 

Clear Selection will delete the selected color 

group, and Clear All will delete all color groups. 

When the machine has cycled through all of the designated needles for a color, it will stop. You 

then need to thread up all the needles of that color and reset the machine by pressing the 

Needlecase key and the Hoop key on the AMAYA keypad. 

Hoop + Needlecase 

+ 


Settings by Color (SE & Flex+ Only) 

Settings by Color allows you to set the design 

up so that the machine will change 

settings when it changes colors. 

An example of when you might use this 

would be if you want the machine to slow 

down to clean up small letters but sew 

faster through the rest of the design. Set 

the color of the lettering to sew at a slower 

speed. 

To turn this feature on, check the Settings 

by Color box in the Settings by Color tab. 

In the design colors box, click on the color 

that you would like to change the settings 

for. It will now show as the current color. 

Make your settings changes and move on 

to the next color you’d like to make 

changes to, or click Apply and then OK to 

exit the window. 

Moving Through a Design (SE & Flex+ Only) 

You may need to move through a design without 

sewing to repair an embroidered piece. An 

easy way to do this is to use the Move tab located 

in “Settings” under the Tools drop-down. 

In this tab you can move to a specific stitch or 

the beginning of a specific color by entering the 

number of the desired stitch or color and clicking 

the Move To button to the right of the field. 

The X and Y fields will move the design in the hoop. 


Embroidery File Formats 

Wire Frame (Outline) Files 

.cnd - older Melco condensed format 

.ofm - DesignShop and AOS native format 

cnd & ofm 

• Elements are outlined shapes that contain 

element properties like density, 

stitch length, and stitch direction. 

• Shapes can be edited. 

• cnd files saved from DSV9 save as a 

manual stitch 

ofm only 

• Contains lettering properties. You can 

change spelling, font, size, or any other 

property of the lettering. 

• Notes are available. 

• Color information is available. 

• Machine settings can be saved. (SE & Flex+) 

Scaling a Wire Frame File 

You can usually scale a wire frame file up 

or down in size about 25%. 

Stitch Files 

.exp - Melco expanded stitch file 

.dst - Tajima stitch file 

Stitch files do not contain properties. They are 

just plotted out needle penetrations. The colors 

that show up will be the default colors. 

If you open an ofm and see expanded data 

in the project view, it is plotted stitch information. 

You can save stitch files as ofms to keep 

notes and color information, but they will still 

be expanded data. 

Scaling a Stitch File 

Stitch files can usually be scaled 10% up or 

down in size, but with the assistance of the 

Expanded Stitch Processor, you can push 

that to about 25%. 

Expanded Stitch Processor 

Converts stitch files to wireframe in order to 

maintain densities when scaled. This may 

change the fill patterns in some designs. 


Maintenance 

• The oiler is plugged with wax. You will need 

to clear this before you can use it. Pull out 

the brass tip, and hold a lighter under the 

tip while slightly squeezing it to dislodge the 

wax plug. This will obviously squirt out some 

oil, so hold it over a trashcan. 

• The maintenance timers will pop up automatically 

once the timers have counted 

down to 0. They will come up at the end 

of the run, and not in the middle. 

• If you are working with adhesives or a 

material that sheds a lot of debris, you 

may want to clean the rotary hook. A 

good procedure would be to initiate the 

rotary hook maintenance, and use a 

penetrating oil. Then let the machine 

spin off the excess. Blow out the hook 

with compressed or canned air. Now 

repeat the Rotary hook maintenance 

using the supplied machine oil. 

NOTE: Penetrating oils do not provide protection. 

Use them to clean only. Promptly 

apply the supplied oil for proper lubrication. 


Sewing Caps 

1. Load Design or use Load Wizard 



XT Extended WACF (AOS SE & Flex+) 

CCF/WAD (AOS Lite) 


Start at 850s.p.m. and adjust from there. 

5. Acti-Feed 


Flip upside-down for caps. 


8. Center Cap (Center Hoop won’t work) 

Careful - you may not be able to use the 

laser to do this. Line up with the needle. 

 

 

Measurements for Caps 

X = Distance from bill to start of real curve 

Y = Center point for design 

X - 1” = safe zone 

X - ½” = actual sew field 



For most caps, take the presser foot all 

the way down and go 2 clicks back up. 


12. GO! 

Sew Order for Cap Designs 

Bottom Up 

Center Out 

3. Finish as you go 


More AMAYA OS Settings 

Larger Icons 

Naming Your AMAYAs (Flex+ Only) 

AMAYA OS allows you to change the size 

of the buttons on the toolbars and the 

icons in the machine list. 

To make the change, go to the Tools dropdown. 

Select Options, and then go to the 

Preferences tab. At the bottom of the tab, 

there are check boxes that affect the size. 

Check or uncheck the boxes to get the 

desired size. 

If you’re running multiple machines, you 

have the ability to name your AMAYAs and 

sequence them in the machine. 

1. Click the Configure button at the top of 

the machine list. 

2. Type a name for the selected machine. 

Click the Set button. Continue with all 

the machines. Click Next to proceed. 

3. Select and Add the machines in the order 

you want them to appear in the Machine 

List. Click Next when you are finished. 


AMAYA Laser Alignment (SE & Flex+ Only) 

AMAYA has a laser alignment feature. This feature allows you to line up an embroidery design 

to a mark, such as a stripe, on the garment. To do this, you use the hoop and the arrow keys to 

move the laser to your first reference point, like the top of stripe on the left side. Press the laser 

and an arrow key to confirm this point. Move the laser with the hoop and arrow keys to your 

second reference point. Press the laser and an arrow key to confirm this point. Now, press the 

laser and the center key. The design will align to the line created by your two reference points. 

The placement of the design along the line will depend on the arrow keys used to input the reference 

points. The six variations follow. 

 

 

 

 

 

 

1. Laser + Left 

+ 


+ 

1. Laser + Right 

+ 


+ 


+ 


+ 

3. Laser + Center 

+ 


+ 


+ 

 

 

 

 

 

 


+ 


+ 


+ 


+ 


+ 


+ 


+ 


+ 


+ 


AMAYA XTS, XT, AMAYA BRAVO 

& AMAYA OS V10 

AMAYA OS V10 Classroom Notes & Quick Reference Guide 

* This document uses the label of “AMAYA” to refer to the 

AMAYA, AMAYA XT, AMAYA XTS and the AMAYA BRAVO. 



Page 3 

4 

4 

5 

8 

10 

11 

12 

13 

13 

14 

15 

16 

17 

18 

19 

20 

21 

22 

22 

23 

Introductions 


Bobbins 

Thread 

Needles 

Backing 

AMAYA Keypad 



Hooping 


Color Sequence Settings 



Color Groups 

Settings By Color 





Cap Hooping 


Sewouts 


Large Icons 

Naming Your AMAYAs 

AMAYA Laser Alignment 



Dongles & Levels of AMAYA OS 

There are threes levels of AMAYA OS. They 

are Lite, SE, and Flex+. 

• SE is for a single AMAYA XT and requires 

a dongle. 

• Flex+ is for networking multiple AMAYA 

XTs and requires a dongle. 

• Lite is slightly fewer features, but it requires 

no dongle to run. 

More information on AMAYA OS Levels is 








the AMAYA. To check for updates, click on 





Networking multiple machines is a 

Flex+ option only 

(2) Power 


conditioner or uninterruptible 

power supply 





The proper start up procedure for the AMAYA 

is to launch AMAYA OS, wait for the grey 

screen to come up, then turn on the AMAYA. 

Oil the Hook! 


Bobbin 

We recommend continuous filament spun polyester bobbin thread. 







Bobbin tail 

Thread 


Threading the AMAYA 


Needles 

BACK 

SIDE 

FRONT 


Thread Guide 

Scarf 

Needle Sizes 

65/9 70/10 75/11 80/12 

Smaller 

Larger 

Sharp 

Needle Points 

Ball 

Standard 


Titanium 






• Ball Point needles are commonly used on knits. The idea behind this is for the slightly 

rounded tip of the needle to move the threads of the material out of the way. Common 

knit garments include T-shirts and sweatshirts. 

• Sharp point needles are sharper than ball points and are generally used on tightly woven 


• Titanium coated needles create less friction and heat when moving through a material. They 


• Smaller needles can clean up the appearance of small lettering and fine details. 

• Larger needles create larger holes which can help prevent thread breaks due to friction 





















It is recommended that you change standard needles every 4 - 8 sewing hours. Titanium needles can 

last 2 - 3 times that long. The life of a needle depends greatly on the fabric and sewing conditions. 

When installing new needles, always use industrial grade needles recommended by Melco for use in 

the AMAYA BRAVO and AMAYA XT. The needle depth on the AMAYA is set for Organ brand needles. 

If you use another brand, you may run into issues. If you want to run with another brand, you 

may need to have the needle depth on your AMAYA adjusted. 



press the Adjustment and Center keys on the AMAYA keypad to move the grabber back. 














• The needle breaks or is bent. 

• The thread will consistently fray - this usually means there is a bur on the needle causing it to 


• The needle is dull. 

• Sewing conditions change, such as a change in fabric. 



Cut Away 


Tear Away 


Nylon Mesh ~ Poly Mesh 
































Toppings 






AMAYA Keypad 



Step Back 

Step Forward 


+ 

Laser 


+ 

Start 

Stop 


+ 


E-Stop 

+ 

Slider 




Procedure to Run the AMAYA 


SE and Flex+ can use either load function. 

AOS Lite must use the Load Design Wizard. 


Lite must use the Load Design Wizard to 

enter or change a color sequence. 


Select the hoop that fits as closely as possible 

to the design without going over the 

hoop limitations (dotted line). 

Lite displays unavailable hoops in grey. 


AMAYA OS Lite maxes out at 1000 

s.p.m. and can only be change on the 

keypad of the machine. 

5. Acti-Feed 

AMAYA OS SE and Flex+ contain upper 

and lower limits for Auto-Actifeed. 








12. GO! 



On the AMAYA, you can manually adjust the presser foot height in the range of 0.5mm to 3.5mm 


you are sewing changes dramatically. To adjust the presser foot height, AMAYA OS must be 

open, and your AMAYA must be on. A hoop with the fabric you will be using should be installed. 

1. 







Timing tab. 

3. If multiple AMAYA machines are assigned to the 







needle depth. 













9. Click the OK button to close the Maintenance menu. 


Hooping 

Choosing the appropriate hoop and using it correctly is extremely important for successful embroidery. 

Here are a few tips to help get the best results. See the Hooping Guide for more detailed information. 

• Round hoops give the most even tension of all the hoop shapes. 

• Wooden hoops will have registration marks on them. These help maintain 


• Many wooden hoops are double-high, meaning their sides are twice 



• Choose the smallest hoop that the design will fit in without going over 

the hoop limitations (the dotted line in AMAYA OS). 

• Adjust the hoop tension before hooping the final garment. If you adjust 




After you complete your first sewout of a design, it is a good idea to examine the quality of the 



Symptom 

Thread breaks 


Slow down AMAYA. Make sure the piece is hooped properly. Adjust 


rotary hook. 

Bobbin pulled to top Check bobbin tension. Slow down AMAYA. Adjust presser foot. 



Check hooping tension. Slow down AMAYA. 




Color - Needle: This area displays what needle numbers 

the colors in the sequence are sewing. For example, the 

first number in the color sequence is sewing on needle #6 

Thread Cone Display: This gives you a visual representation 

of the thread cones on your machine. 

Design Colors: These are the saved design colors in the 

order of sewing. 

To set up the color sequence to sew: 

1. Click on the Color Sequence button 

2. Click on the “Clear All” button (this clears the last color 

sequence) 

3. If the 1st color in your design is red, click on that color 

on the thread cone display (6). If the 2nd color in your 

design is blue, click on that color in the thread cone 

display (9). And so on... 

To help setup your thread cone display, you can one of the 

following: 

1. Left click and drag the color from the Design Colors 

and drop on the correct needle on your thread cone 

display. 

2. Right click on color number on the thread cone display 

and choose the thread chart or color for that exact 

needle. 


Color Sequence Settings Cont. 

Color Sequencing 

Active Colors: Choosing Active Colors from the dropdown 

will display each color from the design once. It 

may be helpful to think of these colors like the cones of 

thread used in sewing your design. Red may be used 

several times in a design, but you only require that one 

cone of that red to be on the machine. Hovering your 

mouse over one of the color blocks will pop up the suggested 

thread color for that block. With Active Colors, 

needles are assigned to each color block. If that color is 

used more than once in the a design, AOS will use the 

needle assign to that color block. Color blocks will appear 

without numbers until a needle is assigned. 

To use the Active Colors feature to automatically set up your sew sequence 

1. Click on the “Clear All” button. 

2. In the Design Colors drop down area select “Active Colors”. 

3. Left click and drag each color to a needle on the thread cone display. (this will assign the color to the 

needle). Or, if you want to assign a needle to a color block but do not wish to change the color 

properties of that needle, you can right click and drag the active color block onto the desired needle. 

4. Click on the “Apply Now” button to automatically assign the color sequence for your design colors. 

Auto Match: (Automatically assigns needles) 

If your thread cone display is populated with thread colors, it may be faster to use [Auto-Match]. Auto- 

Match compares the active colors to the color properties for each of the needles in thread cone display 

and assign needles to any color blocks that if finds matches for. 

1. If “Exact Match Only” is checked and there not a color match on the thread cone display, it will 

leave the design colors blank and not automatically set the color sequence. 

• If you click on the “Auto-Match” button, and all colors are found, the color sequence will 

automatically be assigned in the color - needle field. 

• If there is not an exact match on the thread cone display, only the needles with a match will 

display in the active colors of the design. 

2. If “Exact Match Only” is not checked and you click on the “Auto Match” button, it will find the closest 

RGB color value. It will then automatically assign the colors in the Color - Needle field. 


Color Sequence Commands (SE & Flex+ Only) 

Appliqué Command (AMAYA OS Lite) 

Pause 

Hold 

Stop 

Skip 



Color 1 




Color 2 


Color Groups (SE & Flex+ Only) 

Color Groups allow users to use multiple needles 

with cones of the same thread color on 

an AMAYA. If one breaks a thread, it will 

move to the next needle with that color. 

To use Color Groups, 

1. Go into the Color Sequence tab 

2. Click on Color Groups. This will open the 

Color Group Setup window 

3. Check Enable 

4. Check Automatic Start After Needle 

Change 

(If you want the machine to automatically 

start sewing with the backup needle.) 

To set up a Color Group, 

1. Click on the needle you want as your primary 

color. (The primary color will be ringed 

in green) 

2. Click on the needles you want as back up 

colors (The back up colors will be ringed in 

red) 

Back up colors will be grayed out in the 

color selection tab. 

To set up another color group, click the Next 

Group button. 

Clear Selection will delete the selected color 

group, and Clear All will delete all color groups. 

When the machine has cycled through all of the designated needles for a color, it will stop. You 

then need to thread up all the needles of that color and reset the machine by pressing the 

Needlecase key and the Hoop key on the AMAYA keypad. 

Hoop + Needlecase 

+ 


Settings by Color (SE & Flex+ Only) 

Settings by Color allows you to set the design 

up so that the machine will change 

settings when it changes colors. 

An example of when you might use this 

would be if you want the machine to slow 

down to clean up small letters but sew 

faster through the rest of the design. Set 

the color of the lettering to sew at a slower 

speed. 

To turn this feature on, check the Settings 

by Color box in the Settings by Color tab. 

In the design colors box, click on the color 

that you would like to change the settings 

for. It will now show as the current color. 

Make your settings changes and move on 

to the next color you’d like to make 

changes to, or click Apply and then OK to 

exit the window. 

Moving Through a Design (SE & Flex+ Only) 

You may need to move through a design without 

sewing to repair an embroidered piece. An 

easy way to do this is to use the Move tab located 

in “Settings” under the Tools drop-down. 

In this tab you can move to a specific stitch or 

the beginning of a specific color by entering the 

number of the desired stitch or color and clicking 

the Move To button to the right of the field. 

The X and Y fields will move the design in the hoop. 





.ofm - DesignShop and AOS native format 

cnd & ofm 

• Elements are outlined shapes that contain 



• Shapes can be edited. 

• cnd files saved from DSV9 save as a 

manual stitch 

ofm only 

• Contains lettering properties. You can 



• Notes are available. 

• Color information is available. 

• Machine settings can be saved. (SE & Flex+) 




Stitch Files 








You can save stitch files as ofms to keep 

notes and color information, but they will still 

be expanded data. 











Maintenance 

• The oiler is plugged with wax. You will need 

to clear this before you can use it. Pull out 

the brass tip, and hold a lighter under the 

tip while slightly squeezing it to dislodge the 

wax plug. This will obviously squirt out some 

oil, so hold it over a trashcan. 

• The maintenance timers will pop up automatically 




• If you are working with adhesives or a 














Sewing Caps 




XT Extended WACF (AOS SE & Flex+) 

CCF/WAD (AOS Lite) 



5. Acti-Feed 

Set the Lower Limit 







X 

Y 








For most caps, take the presser foot all 

the way down and go 2 clicks back up. 


12. GO! 


1. Bottom Up 

2. Center Out 



More AMAYA OS Settings 

Larger Icons 

Naming Your AMAYAs (Flex+ Only) 

AMAYA OS allows you to change the size 

of the buttons on the toolbars and the 

icons in the machine list. 

To make the change, go to the Tools dropdown. 

Select Options, and then go to the 

Preferences tab. At the bottom of the tab, 

there are check boxes that affect the size. 

Check or uncheck the boxes to get the 

desired size. 


have the ability to name your AMAYAs and 


1. Click the Configure button at the top of 

the machine list. 




3. Select and Add the machines in the order 

you want them to appear in the Machine 

List. Click Next when you are finished. 


AMAYA Laser Alignment (SE & Flex+ Only) 

AMAYA has a laser alignment feature. This feature allows you to line up an embroidery design 

to a mark, such as a stripe, on the garment. To do this, you use the hoop and the arrow keys to 







 

 

 

 

 

 


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BRAVO & BRAVO OS V11 

BRAVO OS V11 Classroom Notes & Quick Reference Guide 



Page 3 

4 

4 

5 

8 

10 

11 

12 

13 

13 

14 

16 

17 

18 

19 

20 

20 

21 

Introductions 


Bobbins 

Thread 

Needles 

Backing 

BRAVO Keypad 



Hooping 








Cap Hooping 


Sewouts 


Moving through a design 

BRAVO Laser Alignment 

More BRAVO OS Settings 

BRAVO_OS_v11_BRAVO_Handout.pub 2 Rev: 102014

Connecting the BRAVO 

Dongles & Levels of BRAVO OS 

There are two levels of BRAVO OS. They are 

Lite and Flex. 

 

 

Flex is for a 1– 4 head BRAVO configuration 

and requires a dongle. 

Lite is limited to a single machine configuration 

but it requires no dongle to 

run. 

More information on BRAVO OS Levels is 








the BRAVO. To check for updates, click on 



Connecting the BRAVO 


Networking multiple machines is an 

SE option only 

(2) Power 


conditioner or uninterruptible power 

supply 





The proper start up procedure for the BRAVO 

is to launch BRAVO OS, wait for the grey 

screen to come up, then turn on the BRAVO. 

Oil the Hook! 


Bobbin 

We recommend continuous filament polyester bobbin thread. 







Bobbin tail 

Thread 


Threading the BRAVO 


Needles 

FRONT 

SIDE 

BACK 


Thread Guide 

Scarf 

Needle Sizes 

65/9 70/10 75/11 80/12 

Smaller 

Larger 

Sharp 

Needle Points 

Ball 

Standard 


Titanium 






 

 

 

 

 

Ball Point needles are commonly used on knits. The idea behind this is for the slightly rounded 

tip of the needle to move the threads of the material out of the way. Common knit garments 

include T-shirts and sweatshirts. 

Sharp point needles are sharper than ball points and are generally used on tightly woven 


Titanium coated needles create less friction and heat when moving through a material. They 


Smaller needles can clean up the appearance of small lettering and fine details. 

Larger needles create larger holes which can help prevent thread breaks due to friction 





















When installing new needles, always use industrial grade needles. 



press the Adjustment and Center keys on the BRAVO keypad to move the grabber back. 












6. A needle orientation magnet may be used to help determine the angle of the needle eye. 

This cylindrical magnet can be temporarily attached to the front of the needle just above 

the eye. The end of the magnet will rest on the thread guide and stick out from the needle. 

This will better indicate the angle of the eye. For reference, one minute is 6 degrees on a 

clock face. 



 

 

 

 

The needle breaks or is bent. 

The thread will consistently fray - this usually means there is a bur on the needle causing it to 


The needle is dull. 

Sewing conditions change, such as a change in fabric. 



Cut Away 


Tear Away 

































Toppings 






BRAVO Keypad 



Step Back 

Step Forward 


+ 

Laser 


+ 

Start 

Stop 


+ 


E-Stop 

+ 

Slider 




Procedure to Run the BRAVO 





5. Acti-Feed 

Minimum / Preset 








12. GO! 



On the BRAVO, you can manually adjust the presser foot height in the range of 0.5mm to 3.5mm 


you are sewing changes dramatically. To adjust the presser foot height, BRAVO OS must be 

open, and your BRAVO must be on. A hoop with the fabric you will be using should be installed. 

1. 







Timing tab. 

3. If multiple BRAVO machines are assigned to the 







needle depth. 














Hooping 

 

 

 

 

 

Round hoops give the most even tension of all the hoop shapes. 

Wooden hoops will have registration marks on them. These help maintain 


Many wooden hoops are double-high, meaning their sides are twice 



Choose the smallest hoop that the design will fit in without going over 

the hoop limitations (the dotted line in BRAVO OS). 

Adjust the hoop tension before hooping the final garment. If you adjust 




After you complete your first sew out of a design, it is a good idea to examine the quality of the 



Symptom 

Thread breaks 


Slow down the BRAVO. Make sure the piece is hooped properly. Adjust 


rotary hook. 

Bobbin pulled to top Check bobbin tension. Slow down the BRAVO. Adjust presser foot. 



Check hooping tension. Slow down the BRAVO. 




Color - Needle: This area displays what needle numbers 

the colors in the sequence are sewing. For example, the 

first number in the color sequence is sewing on needle #6 

Thread Cone Display: This gives you a visual representation 

of the thread cones on your machine. 

Design Colors: These are the saved design colors in the 

order of sewing. 

To set up the color sequence to sew: 

1. Click on the Color Sequence button 

2. Click on the “Clear All” button (this clears the last color 

sequence) 

3. If the 1st color in your design is red, click on that color 

on the thread cone display (6). If the 2nd color in your 

design is blue, click on that color in the thread cone 

display (9). And so on... 

To help setup your thread cone display: 

1. Left click and drag the color from the Design Colors 

and drop on the correct needle on your thread cone 

display (it is important this same color be physically on 

the machine). 

2. The Reset Thread Tree will reset all thread cones back 

to the default grey. 


Color Sequence Settings Cont. 

Color Sequencing 

Active Colors: Choosing Active Colors from the drop-down will 

display each color from the design once. It may be helpful to 

think of these colors like the cones of thread used in sewing your 

design. Red may be used several times in a design, but you only 

require that one cone of that red to be on the machine. Hovering 

your mouse over one of the color blocks will pop up the suggested 

thread color for that block. With Active Colors, needles are 

assigned to each color block. If that color is used more than once 

in the a design, BRAVO OS will use the needle assign to that color 

block. Color blocks will appear without numbers until a needle is 

assigned. 

To use the Active Colors feature to automatically set up your sew 

sequence 

1. Click on the “Clear All” button. 

2. In the Design Colors drop down area select “Active Colors”. 

3. Left click and drag each color to a needle on the thread 

cone display. (this will assign the color to the needle). Or, if 

you want to assign a needle to a color block but do not wish 

to change the color properties of that needle, you can right 

click and drag the active color block onto the desired needle. 

4. Click on the “Apply Now” button to automatically assign the color sequence for your design colors. 

Auto Match: (Automatically assigns needles) 

If your thread cone display is populated with thread colors, it may be faster to use [Auto-Match]. Auto- 

Match compares the active colors to the color properties for each of the needles in thread cone display 

and assign needles to any color blocks that if finds matches for. 

1. If “Exact Match Only” is checked and there not a color match on the thread cone display, it will 

 

leave the design colors blank and not automatically set the color sequence. 

If you click on the “Auto-Match” button, and all colors are found, the color sequence will automatically 

be assigned in the color - needle field. 

If there is not an exact match on the thread cone display, only the needles with a match will 

display in the active colors of the design. 

2. If “Exact Match Only” is not checked and you click on the “Auto Match” button, it will find the closest 

RGB color value. It will then automatically assign the colors in the Color - Needle field. 




Pause 

Hold 

Stop 

Skip 



Color 1 




Color 2 





.ofm - DesignShop and native format 

cnd & ofm 

 

 

 

 

 

 

Elements are outlined shapes that contain 



Shapes can be edited. 

cnd files saved from DSV9 save as a 

manual stitch 

ofm only 

Contains lettering properties. You can 



Notes are available. 

Color information is available. 




Stitch Files 








You can save stitch files as ofms to 

keep notes and color information, but they 

will still be expanded data. 











The maintenance timers will pop up automatically 




If you are working with adhesives or a 













Maintenance 


Sewing Caps 




(Driver color / Cap Frame) 



5. Acti-Feed 

Set the Lower Limit 



Y 

X 













12. GO! 


1. Bottom Up 

2. Center Out 



Moving Through a Design 

BRAVO Laser Alignment 

BRAVO has a laser alignment feature. This feature allows you to line up an embroidery design to 

a mark, such as a stripe, on the garment. To do this, you use the hoop and the arrow keys to 







 

 

 

 

 

 


+ 


+ 


+ 


+ 


+ 


+ 

+ 

+ 

+ 


More BRAVO OS Settings 

Naming Your BRAVOs (Flex only) 


have the ability to name your BRAVOs and 


1. Click Tools, then “Set Machine Name 

And S/N”.

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