Embroidery Basics Articles

TECHNICAL BULLETIN 

COMMON EMBROIDERY STITCH MATRIX 

SEAM UNQUALITY PHOTO OR DRAWING DESCRIPTION EXAMPLES STITCH ESTIMATING GUIDE 

“Running” or “Walking” stitches 

consist of a single line of stitching 

primarily used for outlining and 

detail work. They are also used as 

the foundation of most “underlays” 

and “Fill” stitches. Areas that are 

under 1mm in width are usually 

done with a running stitch. 

Single running line = 12 per inches 

Double running line = 25 per inches (Normal 

Outlining Stitching) 

Triple running line (Bean Stitch) = 37 per inch 

RUNNING OR WALKING 

STITCHES 

“Bean” stitches - consists of 

forming three stitches between two 

points primarily used for outlining 

work. “Bean” stitches are more 

pronounced than Running Stitches. 

4 ply running line = 48 per inch. Would be 

alternative to a thin satin stitch. 

Triple running line (Bean Stitch) = 37 per inch 

BEAN STITCH 

“Underlay” stitches - are used as a 

foundation of most embroidery 

patterns. Stitches in a design that 

are put down before the design 

stitches, used to stabilize the fabric 

or raise the design so that the fine 

detailing is not lost. 

Underlay stitches being put 

down before Satin Stitches. 

Underlay stitches should be calculated either 

using the Running Stitch or the Satin Stitch 

information. 

UNDERLAY STITCHES 

Page 1 of 3



“Fill” or “Tatami” stitches - are used 

to cover large areas. There are 

many different “Fill” stitch patterns 

and they can differ in direction, 

angle, and pattern. “Fill” stitches 

are used to cover large areas. 

1 square inch of “Fill” stitches at a 

normal density with a stitch of 

6mm = 1000 stitches. 

This would be a basic “Fill” to cover an area 

with no stitching on top. 

FILL STITCHES 

“Fill” or “Tatami” stitches – With 

today’s modern digitizing programs, 

there are many “Fill” stitch patterns 

that can be selected to give varying 

design appearance. 

Some “Fill” patterns are very 

complex, while other patterns are 

relatively simple. On certain 

fabrics, it is sometimes desirable 

to run the “Fill” on an angle so 

that the thread does not lay down 

in the weave of the fabric. 

1 square inch of “Fill” stitches at a 

normal density with a stitch of 

4 mm = 1500 stitches. 

This is normally used as a basic “Fill” to cover 

an area that would then have lettering or other 

stitching on top. The stitch length is 

shortened to prevent the stitches from pulling 

apart when the additional stitching is put on 

top. 

FILL STITCHES 

“Fill” or “Tatami” stitches - 

Curved “Fills” are also becoming 

more popular in the industry. 

Using a “Fill” stitch in a curve 

can add more dimension to a 

design. This type of stitch is very 

useful for hair and water. 

FILL STITCHES - CURVED FILL 

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SATIN STITCHES 

“Satin” stitches or “Column” 

stitches - consists of zigzag stitches 

laid down very close together at any 

angle and with varying stitch 

lengths. Common-ly used for 

lettering and outlining. Satin 

stitches can range in width from 1.5 

mm to 8 mm, however, the wider 

the satin stitch, the more susceptible 

they are to snagging and 

abrasion. 

Wider “Satin” stitches are more 

susceptible to snagging and 

abrasion and are not generally 

recommended for 

childrenswear. 

6 – 8 mm in width = 175 stitches 

per running inch. 200 stitches with 

underlay. 



underlay. 



underlay. 



underlay 

1 mm satins = 100 stitches per 

running inch. 115 with underlay. 

“Satin” stitch lettering- stitch width 

and stitch density are very 

important in giving quality 

lettering. Corners should be sharp 

and crisp and not bulging. “Short” 

stitches can be digitized to 

minimize bulging corners. 

5 mm letter in Height = 100 

stitches. 

SATIN STITCHES 

CONVERSION INFO. 

3.2 mm = 1/8” 

6.4 mm = 1/4" 

9.5 mm = 3/8 

12.7 mm = 1/2" 

19.1 mm = 3/4" 

25.4 mm = 1” 

Page 3 of 3

Embroidery / Digitizing Glossary - 123Digitizing 

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123digitizing.com 

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

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

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

through. 

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

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

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

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

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

and weights with two basic types - Cutaway and Tearaway. 

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

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

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

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

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

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

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

upper thread to create stitches. 

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

inserted in the hook for sewing. 

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

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

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

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

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



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

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

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

specialized embroidery equipment. 

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

consists of closely spaced satin stitches. 

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

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

feature in some software packages. 

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

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

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

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

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

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

"expanded format". 

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

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

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

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

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

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

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

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

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

or obtaining training on solid digitization techniques. 

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

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

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

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



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information, rendering editing difficult or impossible. 

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

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

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

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

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

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

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

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

moral lesson. 

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

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

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

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

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

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

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

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

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

digitizing file prepared by an embroidery digitizer. 

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

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

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

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

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

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

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

thus not easily scaled or edited without extensive manual work. 

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

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

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



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

hoop marks and packaging for sale or shipment. 

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

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

registration, unsatisfactory stitch formation and birdnesting. 

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

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

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

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

cutting of emblems, also called a cut line. 

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

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

form a stitch. 

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

stitches. 

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

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

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

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

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

uniformly hooping multiple items. 

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

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

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

size, height, density and other characteristics. 

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

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

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

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



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

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

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

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

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

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

Typically occurs when polyester top thread has been improperly tensioned. 

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

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

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

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

machine. Also see "file format" 

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

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

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

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

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

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

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

"Embroidery Tips and Techniques" page for more information. 

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

embroidery. 

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

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

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

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

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

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

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



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

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

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

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

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

between separate design elements; used primarily for underlay. 

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

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

anywhere from 2mm to 10mm 

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

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

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

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

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

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

be varied. 

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

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

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

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

avoid an unnecessary bulky build-up of stitches. 

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

special patterns, motifs or textures into fill areas. 

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

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

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

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



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altered. 

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

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

Pty. of Australia. 

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

custom-digitized designs. 

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

finish and sales purposes. 

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

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

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

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

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

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

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

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

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

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

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

is purported to have rayon's sheen. 

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

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

detailed trimming or removal of backing. 

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

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

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

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

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

embroidery, including jump stitches and backing.



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

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

Variable Sizing Ability to scale a design to different sizes. 

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

appliqué and tackle twill.

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Home >> Support >> Glossary 

Jump Stitch: Movement of the frame without stitching but with take up lever and 

hook movement. 

................................................................................................................................ 

Lettering: Embroidery using letters or words, either made completely with stitches, 

or a combination of cutout applique pieces and stitching. 

................................................................................................................................ 

Lock stitch: Commonly referred to as a lockdown or tackdown stitch, a lock stitch 

is formed by three or four consecutive stitches of at least a 10point movement. It 

should be used at the end of all columns, fills and at the end of any element in your 

embroidery design where jump stitches will follow, such as color changes or the 

end of a design. Lock stitches may be stitched in a triangle, star or in a straight line. 

Lock stitch is also the name of the type of stitch formed by the hook and needle of 

home sewing machines, as well as computerized embroidery machines. 

................................................................................................................................ 

Machine Language: The codes and formats used by different machine 

manufacturers within the embroidery industry. 

https://www.eagledigitizing.com/en/glossary.asp?page=3 1/3


................................................................................................................................ 

Monogram: Embroidered digitizing design composed of one or more letters, usually 

the initials in a name. 

................................................................................................................................ 

Needle: Small slender sewing instrument with an eye at one end to pass the thread 

through. 

................................................................................................................................ 

Outline: 1.Running, double or bean stitch used to define embroidery details in 

embroidery designs. 2. Embroidery digitizingcapability to input points to define 

the perimeter of the embroidered area. 

................................................................................................................................ 

Push and pull: The terms push and pull are used together so often, it seems at 

times people believe they happen together. They do sometimes, but in most cases 

the element and/or the fabric are causing either push or pull, but not both. The 

exception to this rule tends to be in satin stitch columns, whether in a letter or 

otherwise. Satin columns can pull in on the ends and out on the sides. 

................................................................................................................................ 

Running Stitch: Running stitches or walk stitches are single line stitches which run 

one stitch between two needle penetration point. A running stitch goes from point A 

to point B. They are used for very fine detail and also for underlay. 

................................................................................................................................ 

Satin Stitch: Satin stitches are nothing more than zigzag stitches. A satin stitch can 

range in thickness from just over 1mm to usually a maximum of 12mm. A satin stitch 

is normally used for nice detail and for most normal size lettering. 



................................................................................................................................ 

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10/28/2016 Needles Getting To The Point Embroidery Article 

15 Reviews 

Needles Getting T o The Point 

By Bonnie Landsberger on June 12, 2014 

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Needles Getting To The Point 

Confused about needles? Beginning the work with a new needle, and choosing the right size and type of needle for the design and 

fabric that you are stitching on, can make a world of dif ference in the quality of the finished embroidery . When the wrong needle is 

chosen for the work or the needle is in poor condition, the threads can loop, skip stitches, or break. As well the fabric might pucker 

around the design and stitches may distort and appear shabby . Learning a bit about needles can help you solve many problems 

that would otherwise be quite frustrating, as well as costly when the wrong needle causes damage to the garment. Let's take a 

closer look. 

Click on the small thumbnail images to enlarge . 

Parts of the Needle 

Shank: the top part of the needle that fits into the needle bar and its shape reveals whether the 

needle is for a commercial machine or a domestic machine. If the shank is completely round in 

circumference, it is for a commercial machine, and if it's flat on one side, it is for a domestic 

machine. 

Blade or Shaft: the part of the needle that extends from the bottom of the shank to the point. 

Scarf: curved indent above the eye on the back of the needle. This indent allows room for the 

hook that comes up and around and catches the top thread, locking it with the bobbin thread to 

form a stitch. 

Groove: straight indent on the front of the needle between the eye and the base of the shank that 

allows for the thread to lie close against the shaft while the needle passes through the fabric. 

Eye: the hole where the thread passes through. 

Point: the tip of the needle at the bottom below the eye that pierces the substrate, such as fabric, 

leather, paper, etc. 

Needle Points 

At left is a commercial Ball Point, and at right is a domestic Universal Point. 

Ball: the point is slightly rounded to push between the fabric fibers without cutting them, 

eliminating runs and tears in fabric like knits, nylon and fleece. A Light Ball Point, such as 

Universal, is not quite a sharp point and not quite a ball point, landing somewhere in between. 

Sharp: the point will cut through the fibers allowing for a more accurate penetration on the fabric 

without causing puckers and it's suitable for fabrics that don't usually run like denim, terrycloth, 

and tightly woven fabrics, as well as leather and paper . An Acute Round Point id the sharpest 

point needle. 

https://www.embroiderydesigns.com/emb_learning/article/923/needlesgettingtothepoint.aspx 1/3


Needle Sizes and Types 

Most needle packages list both European and American sizes. A high number indicates a thicker 

needle and larger eye, and a lower number indicates a thinner needle and smaller eye. On 

commercial machines an average size of DBxK5 75/1 1 ball point or light ball point (SES) often 

works best for most fabrics when stitching with 40 WT thread, whereas, a larger size would be 

best for the thicker 30 WT thread. 

Needles for domestic machines include the size number , but many that can be used for both 

embroidery and normal sewing are marked for the job, such as “T opstitch” or “Universal”. 

You will also find specialty needles, such as the W edge Point that has a Vshaped sharp point, 

used to cut a larger hole in leather and allow the thread to pass through without shredding. T eflon 

Coated needles will make stitching with metallic threads less dif ficult by reducing the friction on 

the thread and keep it from fraying, and they also work well for stitching coated or waterproof 

fabrics. Denim needles are designed for tightly woven fabrics like denim or similar , and will also 

stitch through multiple layers of fabric, such as for quilting. T win needles are handy for stitching a 

doubleline topstitch, such as for hems. Double eye needles have two eyes in one needle for 

stitching with two spools of thread at the same time; used for decorative stitching. Selfthreading 

needles have a notch in the side of the needle to slip the thread through the eye, instead of 

threading directly through center and are helpful to those with impaired vision. 

Needle Condition 

This damage is dif ficult to recognize, but when viewed through a magnifying glass, it's revealed 

this needle was bent slightly when striking a pin; as indicated when compared against the blue 

horizontal guideline. You should never start stitching without first examining the needle. Problems 

like a dull, bent or chipped point are not always obvious and can result in a poor sewout or 

damaged goods. A dull needle can be the cause of stitches looping on the top, flagging in the 

hoop (fabric bouncing up and down with the needle), as well as loose bobbin stitches and 

birdnesting. 

Birdnesting: 

A collection of tangled thread between fabric and needle plate that resemble the nest of a bird, 

usually caused by poor top tension, top thread not through takeup lever , incorrect thread path, 

needle not seated properly or fabric flagging. Removal consists of carefully snipping away the 

threads between the fabric and the needle plate; threads can be pulled away from the needle 

plate with a tool like a small needle nose pliers or hemostat (locking clamp), and then cut with an 

XActo utility knife. 

Schmetz Needles advises, “The operator should check the needle point regularly for damage. 

This can be done with the fingernail of the pointing finger or with a piece of nylon stocking. The 

best effect is achieved if the check is done every hour . This check is essential when you are 

sewing knitwear because only this measure together with a needle change policy will maintain a 

good quality garment.” When new needles continue to break, be sure that the needle is inserted 

correctly, the needle clamp screw is tightened and the needle is straight with the eye facing front 

to back. Any slight collision of the needle can cause it to bend, such as hitting the hoop, striking a 

pin or the needle plate, or even when the hoop is held a bit too high when removed, allowing the 

fabric or hoop to scrape the point. 

Needle Use Chart 

Canvas: 80/12 sharp 

Coated/waterproof: 80/12 sharp/ball point 

Corduroy: 75/11 sharp/ball point 

Cotton Sheeting: 70/10, 75/11, 80/12 sharp 

Denim: 75/11 sharp 

Dress Shirt: 70/10, 75/11, 80/12 ball point 

https://www.embroiderydesigns.com/emb_learning/article/923/needlesgettingtothepoint.aspx 

Duck Cloth: 75/11 sharp 

2/3


Duck Cloth: 75/11 sharp 

Golf Shirt: 70/10, 75/11, 80/12 ball point 

Knits: 75/11 ball point 

Lace: 75/11 sharp point 

Leather: 80/12, 90/14 sharp point or 75/1 1, 90/14 wedge point 

Lingerie & Silk: 60/8, 70/10, 75/11 sharp/ball point 

Lycra, Spandex: 70/10, 75/11, 80/12 ball point 

Nylon Wind breaker: 70/10, 75/11, 80/12 ball point 

Organza: 65/9 ball point 

Paper: 75/11 sharp point 

Rayon: 75/11 ball point 

Satin Jacket: 75/11 ball point 

Sweatshirt: 70/10, 75/11, 80/12 ball point 

Taffeta: 65/9 ball point 

Terry cloth towel: 75/11 sharp/ball point 

Water Soluble Stabilizer (for FSL): 75/11 sharp 

Velvet: 65/9 ball point 

Vinyl: 75/11 sharp point or 75/1 1 wedge point 

Test The Needle 

Always stitch the design on same or very similar fabric as the final garment, using the needle 

recommended for the substrate. Examine the sample and if you see any large needle 

penetrations, switch to a smaller needle, or if the thread is shredding or breaking, switch to a 

larger needle. If the fabric is puckering around the design or the stitches appear distorted, it might 

be caused by a ball point needle pushing at and stretching the fabric; if so, switch to a sharp 

point. If you are using a sharp point and see fabric fibers fraying next to the stitches, or fill stitches 

in the design are shredding as top elements stitch, switch to a ball point. 

More From This Author 

Dish Soap Bottle Apron By Bonnie Landsberger 

Computer Basics for the Machine Embroiderer Part 1 By Bonnie Landsberger 


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Meet The Author: Bonnie Landsberger 

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

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

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

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

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

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

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

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

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

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

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

https://www.embroiderydesigns.com/emb_learning/article/923/needlesgettingtothepoint.aspx 3/3

10/28/2016 Thick and Thin: So Many Fabrics...So Many ays W Embroidery Article 

(Click Image to 

Enlarge) 

Not Yet Rated 

Thick and Thin: So Many Fabrics...So 

Many Ways 

By Barbara Geer on August 01, 2008 


0 0 0 

So Many Fabrics...So Many Ways 

As embroiderers, we get customers of all kinds. W ell, at least we do in our shop. In this very small town that I live in, we don’t turn 

anybody away. Whether the buyer is looking for one Grandma shirt or hundreds of items, we take the order . Consequently, we need 

to know how to handle all dif ferent types of fabrics, or perhaps I should call them substrates, because not all embroidery is on 

fabric! 

For example, in a typical day, we may be required to embellish polo shirts, polar fleece blankets, leather jackets, denim shirts, 

caps, bags, sweatshirts, T s…you name it. We even embroidered a wheel cover one time! Just today we had a request to put a 

name on a gun case. 

In other words, substrates of varying weights, thicknesses and stability go under the needle all day long. Some are thick and some 

are thin! 

For the purposes of this article, let’ s assume that a restaurant owner has come in and requested twill chef ’s coats, polos for 

waiters and waitresses, six panel caps, tshirts and various items for the gift shop, including fleece blankets, CD cases and a sport 

bag, all decorated with the company logo. 

A number of considerations are required to achieve the best embroidery on various articles using the same logo. Let’ s take a look 

at digitizing for garment types, editing to make a design work, backing the embroidery and hooping techniques. Assuming that the 

embroidery machine is in good working order , with proper tensions set, those factors must be conquered to achieve quality 

embroidery. 

Digitizing 

As a digitizer, I know full well that the easiest person to blame for substandard embroidery is me. Therefore, I take my job very 

seriously in terms of creating a design specifically for the fabrics upon which it will be placed. 

In this order, we have three distinct categories of substrates. The easiest and least likely to give us problems are the solid fabrics 

that are in the twill chef ’s coat, the CD cases and the bags. My favorite theme here is ef ficiency. As any other good digitizer would 

do, I try to achieve the best results with the least amount of stitches. After all, that’ s where the money is. A minimal amount of 

underlay is necessary to secure the fabric to the backing. Because these fabrics are solid, stitches do not sink into them as they 

would to less stable substrates. I would try to use each thread color only once, walking from one color block to the next, avoiding 

timewasting trims whenever possible. The only time I would repeat a color would be if there were apparent layers in the design 

that couldn’t be achieved any other way. 

The second category includes the knits. The stretchy properties of polos, T shirts, sweatshirts and polar fleece make them 

unstable surfaces upon which to embroider . Couple that with the fact that many knit fabrics have a nap that is more dif ficult to cover 

when the threads sink into them, and you have what many would term a digitizing nightmare! The common misconceptions that 

adding more density to the design and the end result of having many more stitches can be laid to rest, though. Proper underlay is 

the key to great embroidery on knits. Because the stitches will certainly sink into the fabric, what we need here is a way to make 

them stand up above the material. A fill underlay , running the opposite direction of the stitches will prevent the sinking. In the case 

of polar fleece and other napped fabrics, it may even be necessary to use a secondary underlay in addition to the primary underlay , 

each running at fortyfive degree angles from the stitch direction of the fill. Columns may need an edge walk underlay rather than a 

center walk, or maybe in addition to the center walk. 

Of course, all that underlay will definitely add to the stitch count in the design, but it will never add as many stitches as increasing 

the density of the fill. Plus, the embroiderer will avoid the unsightly buckling of the fabric that can be caused by too many stitches. 

https://www.embroiderydesigns.com/emb_learning/article/559/thickandthinsomanyfabricssomanyways.aspx 

The last category in our diverse order is the caps. Headwear is a dif ferent breed of cat when it comes to digitizing. I’ve devoted 

1/4


The last category in our diverse order is the caps. Headwear is a dif ferent breed of cat when it comes to digitizing. I’ve devoted 

whole articles to this subject, but space does not permit that extensive a review here. Let me just say this, ef ficiency be hanged! 

Cap designs perform best when they are digitized from the center out and from the bottom to the top. Why? Though caps are 

usually constructed from stable fabrics, most are flimsy and hard to hoop. The most stable part of the cap is near the seam that 

secures the crown to the bill, followed by the area of the center seam. W orking up and out from those two stable portions pushes 

the fabric the same distance with each pass of the embroidery machine, allowing for better registration in the design. 

Other than the digitizing for caps, which is usually something that needs to be done separately , editing a design can usually 

provide the changes necessary to move from one fabric type to another . In today’s world of sophisticated digitizing and editing 

software, a click of the mouse is all it takes to add underlay when needed. 

§ 

This design, a chef outline, has a center walk underlay , which is suf ficient in making the columns 

stand up from the garment in most cases. However , soft knits might need an edge walk to prevent 

the stitches from sinking. 

Zigzag is the term that seamstresses are familiar with, and is comparable to a light density 

column. When this underlay is combined with a center walk or edge walk on satin columns, it 

serves the purpose of laying down the “pile” on fabrics such as terrycloth or polar fleece. While the 

underlay adds stitches to the design, it saves cleanup time when the embroiderer can eliminate 

the use of a topping. 

The stitched version, or sewout, of the chef outline. 

A filled design generally has underlay stitches that run the opposite direction of the fill patterns. 

For most fabrics, this is enough underlay to serve the purposes of tacking the backing to the 

garment and making the fill stand up from the garment. This particular design has a satin stitch 

that cleans up the edges, as well. 

A great way to tame pile that tends to poke its way through fill patterns is to add a secondary 

underlay running the opposite direction of the primary underlay . When this is done, both should 

run at 45 degree angles to the fill. Since the design has many fill patterns, I chose to digitize a 

separate underlay that would encompass the entire design, duplicate that pattern and change the 

fill direction of the second to run the opposite direction of the first. In this case, the underlay in the 

design is additional, and should take care of any unruly threads that would still try to rear their way 

through the both the fill patterns and the columns. 

The stitched version of a chef design that combines fill patterns, walk stitches and columns. 

§ 

Hooping 

https://www.embroiderydesigns.com/emb_learning/article/559/thickandthinsomanyfabricssomanyways.aspx 

Military precision! That’s the term that comes to mind when I think about hooping. Sloppy hooping presents more problems in 

2/4


Military precision! That’s the term that comes to mind when I think about hooping. Sloppy hooping presents more problems in 

embroidery than any other oversight, in my opinion. 

When a garment is properly hooped, the tension of the fabric will present a firm structure on which to place the design. In the case 

of knits, this must be done without stretching the fabric at all. 

Achieving an even tension in the hoop is easy enough. Just place the bottom portion of the hoop on the inside of the garment, 

centering it where the embroidery is going to be placed. The backing of choice should be between the hoop and the garment. On 

the outside of the garment, insert the top portion of the hoop. This placement is easy if you have a hooping aid. If not, the eye works 

well, too. Once the hoop is in place, a gentle tug on the fabric outside the hoop will increase the tension of the fabric. It is at this 

point that one must be careful not to pull the knits too much! When the hooping is complete, check to make sure that the lines 

created by the weave, commonly called the grain of the fabric, are straight in both directions, vertically and horizontally . 

Backing and Topping 

There are many backings available and experienced embroiderers will easily tell you about their favorites. They are divided into two 

categories, cutaway and tearaway . Our backing of choice is most often a medium cutaway . Cutaway backings provide more stability 

than tearaway, simply because they do not pull apart in the embroidery process. T earaway backings weaken, especially around the 

edges of the design, with each needle penetration. The nice part of using a tearaway , though, is that removal is easy and the inside 

of the garment looks nicer and is more comfortable against the skin when there is no unsightly backing left around the edges of a 

design. 

Because of the properties of the dif ferent types of fabrics in our order , we will choose dif ferent types of backing. Medium tearaway 

backings will be suf ficient for the stable fabrics in the twill coats, the bags, and the caps. The CD cases would present a dif ferent 

problem in that they cannot be hooped with ordinary methods. They could either be embroidered with a specialty frame or by 

placing them on sticky backing using a standard frame. 

Knit fabrics need a stronger foundation to prevent movement during the embroidery . In general, a good rule to follow is that the less 

stable a fabric is, the more stable the backing must be. The fear when embroidering polo shirts or lightweight T shirts is that the 

backing will show through the garment. Another concern is that, in most cases, the embroidery will lie against the skin when the 

garment is worn, and very heavy backings are often uncomfortable. Mesh backings are great when the embroiderer needs the 

stability of a cutaway backing, but is also concerned that the backing will show through the garment. The mesh is translucent, and 

is lightweight, allowing for better draping of the garment than traditional heavier backings. 

There are many choices and it takes a bit of research and experimenting to find what works best for you. 

Finishing 

When my mom was teaching me to sew as a young child, she would always tell me that the inside of the garment should look as 

good as the outside. I also remember , when entering the 4H competitions at the local county fairs, the agonizing moments when 

the judge would turn that garment inside out and inspect the stitches of every seam, making sure that the construction techniques 

were done correctly, that the stitches were even, that the upper and lower tension of the machine were set correctly and that all 

ends of the thread were clipped. 

This is the same care that should be taken in the finishing of a garment that comes of f the embroidery machine. Backing should be 

removed. With tearaway, that is simple. It is usually already cut away by the stitches, and a little tug will remove the excess from the 

edges of the design. Cutaway requires more care in that you need to cut close to the design without actually clipping any of the 

stitches. As for the rest of the design, the machines should have been properly set before embroidery , but clipping any unsightly 

threads will also make the design picture perfect. 

…And isn’t that what we are trying to achieve? Picture perfect embroidery on every piece! 


Redwork Baby Quilt By Barbara Geer 

Redwork Baseball Quilt By Barbara Geer 

Play Food By Barbara Geer 

Share this project: 0 0 0 

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Meet The Author: Barbara Geer 

Barbara Geer, Creative Director/Digitizer, Grand Slam Designs, an embroidery stock 

design and contract digitizing operation, has been in the decorated apparel industry 

since 1990. She is a popular speaker at commercial decorated apparel and home 

embroidery events. She also is a frequent contributor to commercial and home 

embroidery publications such as EMB, Stitches, and Printwear . You may reach Barbara 

at 2182223501; email barb@grandslamdesigns.com or visit her W eb site at 

www.grandslamdesigns.com. 

https://www.embroiderydesigns.com/emb_learning/article/559/thickandthinsomanyfabricssomanyways.aspx 4/4

Pattern Fill Angles 

TruE 3 Create 

Angle 

0º 

45º 

90º 

135º 

Pattern Fill areas created with Pattern 2 and Density 3. 

Vary the angle of stitching in QuickStitch and Freehand Fill areas to any degree. Altering the fill 

angle changes the way light reflects off the stitching, for a different look and texture. 

This effect is different from the pattern in continuous satin, which follows the contours of the 

shape. 

To see all the available fill patterns, refer to the Fill Patterns Guide. 

Pattern Fill Angles TruE 3 Create Stitch Guide 1

Pattern Fill Density 

TruE 3 Create 

Density 

2 

4 

6 

8 

Pattern Fill areas created with Pattern 5 and Angle 135º. 

Density is determined by the distance between stitches. The lower the number, the more 

stitches in an area or the closer together the stitches are. 

Select from 2 to 40 for all fill areas in a design or specific fill areas. 

Use gradient density with fill patterns for beautiful shading effects. 

Low, Medium or High Underlay may be selected for individual fill areas. This is different from 

Design Underlay for QuickCreate embroideries in the QuickCreate Assistant, which creates a 

layer of underlay for the whole design before any other part of the design is created. Hence, it is 

possible to have both Design Underlay and then individual areas with underlay in the same design. 

Pattern Fill Density TruE 3 Create Stitch Guide 2

Multigradient Density 

TruE 3 Create 

Multigradient 

single color 

Multigradient 

Multicolor 

Pattern and Spiral fill areas may have density gradients. Pattern fills may also have multicolor 

gradient density. 

Use Single Color Gradient to change the density across a fill with only one color. Set a value for 

the start and end density markers for the fill. Add multiple markers for a more complex pattern. 

Use Multicolor Gradient to change the color across a fill. Set colors for any number of markers 

for the fill, and the color gradually changes between them. 

Multigradient Density TruE 3 Create Stitch Guide 3

Fill Areas with Line 

TruE 3 Create 

Border Width 

3mm 

6mm 

9mm 

Fill areas created with Pattern 12, Density 3 and Angle 0º. 

Any fill area (whether Pattern Fill or one of the other types such as Motif or Shape Fill) may have 

a satin, stitch or motif line surrounding it. Appliqué options may also be used. 

Select satin line width between 1 and 12mm. Select the underlay option to automatically generate 

edge walk underlay when the border width is 2mm or more. Select satin line density between 2 

and 15. 

Fill Areas with Line TruE 3 Create Stitch Guide 4

Compensation 

Compensation Satin or Fill 

TruE 3 Create 

0 

20 

Because some stitches pull the fabric along their length, rows of stitching that look close together 

on the computer screen may have gaps between them when embroidered. Compensation 

overcomes this. 

Add compensation to individual areas of a design or a whole design. 

Select from 0 to 30 for satin, 0 to 20 for fill. 

This feature is especially useful on heavier fabrics. 

Compensation is set automatically for QuickCreate embroideries created in the QuickCreate 

Assistant, according to choices in the Fabric and Stitch Options. 

Compensation Satin or Fill TruE 3 Create Stitch Guide 5

Motif Fill Areas 

Motif and Other Fill Effects 

TruE 3 Create 

Single Motif with 

Satin Line 

Two Motifs 

Created in TruE 3 Create as motif fill areas. Choose any single motif or any two motifs to fill 

the area. Adjust motif size and orientation. Horizontally and vertically adjust gap and spacing. 

For a full list of the hundreds of motifs available, refer to the Motif Guides. 

Other Fill Areas 

Curved QuiltStipple 

Fill 

Radial Fill 

Spiral with Gradient 

Density 

Crosshatch Fill; 

Double with Zigzag 

Return 

Contour Fill 

Shape Fill with Motifs 

and Border 

MultiWave Fill 

Echo Fill with External 

and Internal lines and 

a border 

QuiltStipple is available as curved or straight style, with adjustable spacing. Crosshatch Fill is 

available as diamond, square, parallel or with a choice of angles. With MultiWave Fill, adjust the 

density, or use a motif. Adjust density and move the origin for Radial, Spiral and Shape fills for 

different effects. Hundreds of fill effects are available. 

Motif and Other Fill Effects TruE 3 Create Stitch Guide 6

TruE 3 Create 

Shape Fill 

1 2 3 

4 5 

6 7 8 

9 10 

Shape Fill Areas created in TruE 3 Create at Density 14. 

Satin Line width is 2.0mm with Density 4. 

Shape Fill TruE 3 Create Stitch Guide 7

TruE 3 Create 

11 12 13 

14 15 

16 17 18 

19 20 




TruE 3 Create 

21 22 23 

24 25 

26 27 28 

29 30 




TruE 3 Create 

31 32 33 

34 35 

36 37 38 

39 40 




TruE 3 Create 

41 42 43 

44 45 

46 47 48 

49 50 




TruE 3 Create 

51 52 53 

54 55 

56 57 58 

59 60 




TruE 3 Create 

61 62 63 

64 65 

66 67 68 

69 70 




TruE 3 Create 

71 72 73 

74 75 




TruE 3 Create 

Density 

Satin Areas 

Density 4 Density 6 

Density 9 Density 12 

Density may be varied between 2 and 40 and compensation between 0 and 30. 

Zigzag and edge walk underlay are available, suitable for use with denser satin areas. 

Satin Fill Pattern 

No Satin Pattern Satin Pattern 6 

Satin Pattern 9 

Stitch angle lines show 

the angle of stitches 

across the area 

Satin areas may be created in any of the 12 satin fill patterns. 

The satin fill pattern is perpendicular to the stitch angle lines in the satin area. Stitch angle lines 

may be adjusted as desired. 

Satin Areas TruE 3 Create Stitch Guide 15

Continuous Columns 

TruE 3 Create 

Continuous Satin 

Feathered Satin 

Richelieu Bars 

Tapered Motifs 

Place alternate points to define a continuous column of any length. Four types of continuous 

column are available: 

Continuous Satin 

Use Continuous Satin to create a straight or curved column of parallel stitches. The column may 

be of any length. 


For lifelike realistic feathers or fur, use Feathered Satin, where the start and end points of the 

stitches are random rather than all parallel. 

Richelieu Bars 

Use Richelieu Bars to create a column of short sections of satin perpendicular to the direction of 

the column, typically used for cutwork designs. Choose the number of bars, and the width of the 

satin. 

Tapered Motifs 

Use Tapered Motifs to create a line of motifs that vary in size according to the width of the 

column. 

Tapered motifs are often used in lace designs. 

Continuous Columns TruE 3 Create Stitch Guide 16

Satin Fill Patterns 

TruE 3 Create 

Pattern Density is 4 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

All satin (satin areas and continuous satin) may be created in any of the 12 satin fill patterns. For 

continuous satin, the pattern follows the contours of the shape of the satin column. 

Density may be varied between 2 and 40 and compensation between 0 and 30. 

Satin Fill Patterns TruE 3 Create Stitch Guide 17

TruE 3 Create 

Satin Density 

Satin Density 

4 

6 

10 

15 

Density is determined by the gap between stitches. The lower the number, the more stitches in 

an area; that is, the closer together the stitches are. 

Select from 2 to 40 for satin areas and continuous column satin. Select from 2 to 15 for satin 

lines. 

To embroider on heavy knitwear or terrycloth, select a lower density value for more stitches 

than on lighter weight fabric such as twill. 

For embroidery with light colored thread on a dark fabric select a lower density value for better 

coverage. 

Satin Density TruE 3 Create Stitch Guide 18


TruE 3 Create 

Stitch Length 

Density 

2mm 

4 — Feather Both 

Sides 

4mm 

8 — Feather Both 

Sides 

6mm 

12 — Feather Side A 

(First point placed on 

top edge) 

8mm 

16 — Feather Side B 

(First point placed on 

top edge) 

Create special embroidery effects with random edge satin stitches. 

Add texture and lifelike stitching to fur and feathers in animal designs, landscape and wearable art. 

Choose feathering on one or both sides. Set length of stitches from 2 to 30mm. Select density 

from 2 to 40. 

Feathered Satin TruE 3 Create Stitch Guide 19

TruE 3 Create 

Line Types 

2mm 

Running Stitch 

4mm 

6mm 

2mm 

Double Stitch 

4mm 

6mm 

2mm 

Double Stitch with 

Zigzag Return 

4mm 

6mm 

2mm 

Triple Stitch 

4mm 

6mm 

Running Stitch 

Create as part of a design or to stabilize sections of stitching. 

Double Stitch 

Most often created to outline or mark out a design. 

Double Stitch with Zigzag Return 

Gives stability to lace designs; an option for Crosshatch Fill. 

Triple Stitch 

Create quilting designs and other techniques where a bold stitched line is desired. 

Line Types TruE 3 Create Stitch Guide 20

Satin vs. Fill Stitch | Applique Cafe Blog 

about:reader?url=http://appliquecafeblog.com/satin-fill-stitch/ 

1 of 4 10/28/2016 12:04 AM 

appliquecafeblog.com 

Rosemary 

I had someone ask me after my Stabilizer post yesterday what the difference is between satin stitch and fill 

stitch. I mentioned that when I monogram towels, I like to use a fill stitch (and that is my personal preference, 

not a requirement). Maybe this will help? Basically a satin stitch is the same as the finishing stitch on appliques. 

It’s a back and forth FLAT stitch and this is what it looks like below. When you see the fill stitch photo hopefully 

you will see the difference! This is Monogram Wizard Plus Serif Block. 

Here is a 3 letter monogram done in a satin stitch. I use Monogram Wizard Plus and the below font is 

Arabesque. When you’re using MWP, it gives you the option of fill stitch or satin stitch for your monogram 

(below ‘system functions’ box where you save your files). If you buy font files off the internet, then they may 

come either way (probably) depending on how big the letters are.



2 of 4 10/28/2016 12:04 AM 

Here is a fill stitch and this is also MWP Serif Block font. As you can see, it’s not a back and forth stitch, but 

rather a filled in stitch (hence the name?). Hopefully you see the difference? Fill stitch requires more thread 

and takes longer to sew, but for certain projects I prefer a fill stitch (like I mentioned ~ towels, blankets). It 

really depends on how big the monogram is – if it’s big and you’re using satin stitch, then you run the risk of the 

thread looping or getting caught or pulled.



3 of 4 10/28/2016 12:04 AM 

Here is a fill stitch 3 letter monogram ~ same as above MWP Arabesque. As you may see below, parts of the R 

look a little more like satin and it does sew that way if the font is thin enough. I upped the boldness of these so 

you could really see how filled in the monogram was. 

Hopefully that makes sense?



4 of 4 10/28/2016 12:04 AM 

Like I said, MWP gives you the option of satin or fill and some other programs may do the same. But, if you 

purchase fonts from websites who sell them, they usually come satin and/or fill but you can’t change them. 

Here is a font from www.jolsonsdesigns.com, and as you can see the bigger letters are fill and the smaller letters 

are satin. Here is the font: http://www.jolsonsdesigns.com/servlet/the-330/305-Georgie-Girl-Satin/Detail. 

I have several fonts from Jolson’s and they all stitch great! They are really affordable too and I just found this 

picture on their website! This may better explain what I’m trying to explain: 

I have also heard the term ‘column stitch’ and based on what I’ve read, that is another name for a satin stitch. I 

have also seen fonts that are so thick the sew in 2 side-by-side attached columns, so I guess that term could 

apply there as well!

Embroidery Settings 

Normal Fill Recipe 

Normal fill is used to fill irregular or 

complex shapes. Normal fill utilizes a 

common stitch inclination and almost 

always will use some sort of step as the 

stitch type. This fill method is sometimes 

referred to as Complex Fill and is the most 

common method used to define large 

areas. 

• Stitch Type: 

The stitch type selection selects how the object will be filled. Different stitch types are used to 

give a specific appearance to the embroidery. 

➢ 

Satin: 

Satin stitches are stitches that travel from one edge of the 

object to the opposite edge of the object in one step. A 

normal satin uses one straight stitch and one angled stitch. A 

Zig Zag Satin uses angle stitches of equal length. The 

maximum effective distance for a satin stitches is about 6mm 

for general embroidery. Satin stitches longer than this tend to 

pull out and unravel 

➢ 

Step: 

Step stitches appear much flatter and can fill large areas as 

the distance is divided in to steps of a predetermined 

distance.(Step Length) Step fills are created by using 

parallel rows of stitching. Different effects can be achieved 

by changing the step length in a fill area There are 

practically unlimited possibilities for filling with step fill

• Hole Stitch Type: 

The type of stitch that applies to the hole. Normally holes are voided of stitches or empty. 

However , there are instances when you would want the hole filled with stitches of a different 

type. 

Note: Only compatible stitch types are allowed as the hole stitches sew in line with the parent block 

stitches. For instance, you cannot use step satin as the fill area with a hole stitch type of Motif as these 

stitches use different densities. 

General Settings: 

The general settings are parameters that apply globally to the recipe selected. 

• Respect Modifications: 

A block of stitches may contain several sub layers, the 

system provides the ability to edit the sub layers outlines. 

This setting keeps the sub layers changes when the top 

layer is later edited or changed. If this setting is unchecked 

and the top layer is edited, the sub layers that were 

changed will snap back to their original shape. Sub layers 

could include such parts as underlay or outline stitches. 

These sub layers are discussed in detail in the Advanced 

Area Edit Section. 

• Overlap: 

Determines how many stitches or rows of stitches overlap in a fill 

area or column. In the simple illustration at the right, the digitizer 

determined they wanted the stitching to start on the left and finish 

in the center. The system starts stitching up to the point where 

the end point in determined, then makes a ½ step to the center 

of the column and walks to the right where it stitches back to the 

center point C. Depending on the type of fabric that this will be 

sewn on, the stitching at point C may leave a gap, The Overlap 

parameter will add stitches to this section to correct this issue.

• One Direction: 

When sewing an area where 2 or more large segments will meet in 

the center, There is a possibility that the stitching will push and stretch 

the fabric to the point where there will be excess fabric where the 

segments meet. Overlap will not normally help in this situation. 

The One direction parameter switches the filling method so that all 

stitches filling the same direction 

In the example, the potential problem would occur at point A where 

the stitching meets. 

With One direction activated all of the stitching pushes in the same 

direction avoiding this issue. One direction routs all walking stitching 

between segments to the perimeter of the block to avoid sewing a 

walk stitch on top of a previously sewn section. For this reason, One direction has limited 

usefulness unless there will be additional stitching sewn later to cover these walk stitches 

• One Direction Offset: 

Controls the distance from the perimeter that the walk stitch will travel when One Direction is 

activated. This control is positive (towards the center of the outline) or negative (outside of the 

outline) 

• Walk Stitch Offset: 

Controls the distance from the perimeter that the walk stitch will travel when One Direction is 

NOT activated. This control is positive only (toward the center) 

• Walk Stitch Step: 

The length of the individual stitches that make up the walk stitch 

• Offset Grid: 

The offset grid option controls at which point on the 

tablet the stitch density is calculated and set. 

Suppose I have 2 blocks of stitches and I want to blend 

the 2 colors to achieve a specific effect. 

With both blocks of stitching having a common 

calculation point for the density, the rows of stitching 

would align one on top of the other. 

This is not the most optimal way to blend 

With the Offset Grid control, the digitizer can place the 

second row of stitching anywhere he pleases to 

achieve the maximum effect.

Density : 

Density is a calculation of the actual distance between 

rows of stitching in a Step fill. 

Normal densities for embroidery range from 3 mm to 5 

mm, although different densities will be used for effects 

such as blending. 

The density calculation for Step Stitches is based every other 

row, or rows traveling in the same direction. Therefore the 

actual distance between adjacent rows is actually ½ the 

density. 

• Color Blending and Degrade: 

The Degrade option will vary the density of a block between 2 predetermined values set by the 

user. This is most often used for effect or to blend colors but is also used as a single color for 

degrade to achieve an effect. 

Notice when using the degrade option that all walk stitches are routed to the perimeter as not 

to be visible through the low density stitching 

• Number of Colors : 

Selection of single or 2 color degrade 

➢ 

➢ 

Color 1: User defined First color of the degrade 

Color 2: User defined Second color of the degrade. 

Degrade Type: Determines how the degrade will be 

processed the options are 

➢ 

➢ 

Linear: The density is changed from the Minimum 

Density setting to the Maximum density setting over the 

entire dimension of the block that is perpendicular to 

the stitch angle 

Uniform: The entire block is processed at the 

Minimum Density setting with no degrade. The second 

color (if used) is processed at this density also, 

however the grid is offset on the second color to 

optimize blending of the stitching 

• Inclination Difference: 

The angle between the first and second color. This is 

normally 0 for a color blend.

• Minimum Density: 

The density setting to be applied to the block where the stitching will be thickest. The minimum 

density will be at the opposite side of the first input point. 

The minimum density is the density setting to be used for all layers when a uniform degrade 

type is utilized. 

• Maximum Density: The density setting to be applied to the block where the stitching will be 

the thinnest. The maximum density is always at the side of the block where the first input point 

was placed. 

Example: 

In the image at the right, the shape was created by placing the corner 

points at positions 1-4 in sequence, then closing the outline. Since the 

first point was placed at the left side of the block, the degrade would 

start with the maximum density setting at the left and degrade to the 

minimum density on the right. 

This is for a single color linear degrade. For a 2 color degrade, the 

second color would be opposite this 

• Intermediate Density: 

The Intermediate density is used only when a special 

type of degrade is required. Normally the user will place 

equal values for the minimum and maximum densities 

and use the intermediate density to provide the degrade 

density. 

• Area Percentage: 

This determines where in the block the intermediate density will be applied. A setting of 50% 

places the intermediate density in the center. Less than 50% places it further away from the 

first input point, Greater than 50% places it closer to the first input point. 

• Edges: 

The Edges control will apply a 

random edge to the block. The 

control allows for selection of 

which edge or both edges to be randomized. And by what percentage. Randomizing an edge 

can be used to create an effect such as grass, a horses mane etc.. It can also be used to 

blend 2 or more colors 

• Outline Type: 

Determines which side will be randomized. 

• First Side: Applies the random factor to the side 

where the first point of the inclination line was drawn

• Second Side: Applies the random factor to the edge 

that is opposite the side closes to the firs inclination 

line input point 

• Both : Applies the random facto to both edges 

This example is made up of 3 blocks, the top, is first 

side random, the bottom is second side random and 

the middle is both sides random, blending the 3 to 

fade from red to yellow 

• Outline Percentage: 

Determines the amount of randomizing to be applied 

to the outline 

• Stitch Repeat: 

This function will repeat an 

individual stitch by any odd number 

specified. This effect is used 

mainly in run stitches where a bolder line is desired. The stitch repeat can be applied to any 

repeating stitch or every stitch. This effect is also used in special types of embroidery where 

low density is required such as embroidering on paper. The stitch repeat will allow a single 

stitch to look very fat giving the appearance of a hand sewn embroidery. 

• Number of repeats: 

How many times to repeat the stitch 

• Apply Every...Stitch: 

The value selected here will determine the repeat interval. Set to 1 will repeat every stitch, 2 

every other stitch and so on 

In this image we have manually moved 

the stitches apart to show the repeated 

stitches. The settings for this example 

were a normal run stitch, number of 

repeats 3, Apply to Every Other stitch. 

• Tie: 

The tie control determines what type of 

knot the system will use to tie off the 

blocks. This parameter simply 

determines the type of tie stitch, the determination of where to 

apply the tie stitch is governed by one of the connection 

policies. 

The default tie stitch is a series of in-line stitches of a .1 mm step , 

followed by a .5 mm stitch, then 2 .3mm return stitches. The tie 

stitch prevents the thread from unraveling after the thread is cut. 

The default tie will always fall in the same stitch inclination as the 

last stitch.

For some fabrics and situations a larger tie will be needed to 

ensure the embroidery does no pull out. In these cases, the default 

tie should be disabled, and one of the selected alternative ties will 

be used. There are a number of pre-made alternate tie stitches to 

choose from. 

Notice that the tie stitches are placed within the boundaries of the 

outline to prevent them from being visible. 

A catalog of alternate tie stitches is available by 

clicking the small button in the tie settings 

• Running Stitch Manager: 

➢ 

➢ 

➢ 

The running stitch manager 

determines how the running stitches 

are to be created in a block. If a user 

sets the running stitch length to 2.5 

mm, and the block is of a length that cannot be evenly divided by 2.5, The running stitch 

manager will change the stitching to create the block in the correct length. 

Spread Remainder: 

This option will calculate the length of the line and determine what the remaining stitch length 

would be, then add the remainder to the individual stitches. So you may have chosen a stitch 

length of 2.6, but you may get a stitch length of 2.6 

Move Last Point: 

This option will honor the desired stitch length and will simply add a short stitch to the end. 

No Last Point: 

This option will honor the stitch length but will not include any last stitch, so the line may be 

shorter than the actual outline.

• Narrow Curve Approach: 

➢ 

➢ 

The narrow curve approach will shorten the stitch length to more precisely follow a curve. How 

much the stitches are shortened is determined by the minimum length and chord gap settings 

Minimum Length: 

The shortest stitch length allowed while generating the curve. 

Chord Gap: 

The maximum allowed deviation 

from the original line. 

If stitch count and stitch length are 

more critical than exact lines, you will 

pick a higher min length and a high 

chord gap. 

These settings apply to all running 

stitches in a design, This includes 

the Running Stitch recipe, Underlay 

walking stitches and central 

underlay. 

• Underlay: 

Underlay stitches are preliminary stitches sewn before the top stitching. Underlay has many 

functions and proper underlay is critical to quality embroidery. The underlay can provide 

stability to unstable fabrics, it will attach the backing to the fabric, it will add bulk to the 

stitching, and it prevents gaps from opening up in the filled areas. 

Edge walk underlay: 

➢ 

➢ 

➢ 

➢ 

➢ 

Edge walk underlay is a type of stitching that defines the 

perimeter of the block. The stitch is similar to a run stitch thus 

it has similar properties to run stitch such as stitch length and 

passes. The edge walk underlay as shown in red traces the 

perimeter of the block as well as the hole (if selected) 

Stitch Length: 

The length of the individual stitches in the outlined 

Passes: 

The number of times to sew the outline. 

The Offset from outline: 

The distance in towards the center from the to stitch outline. 

Stitch type: 

Normal run stitches or Step ½ 

Edgewalk at holes. 

Determines whether holes are outlined as well

• Fill Underlay: 

Fill underlay provides maximum stability to free form and column blocks. The fill underlay 

creates a lower density block of stitches underneath the top stitching. The system allows the 

user to define the parameters for density, number of passes, stitch type and offset. 

➢ 

➢ 

➢ 

➢ 

Density: 

The distance between rows of underlay stitching. 

Passes: 

Passes number of times the underlay is sewn 

Stitch type: 

Step Satin or Zig Zag Step selectable 

Offset from Outline. 

Distance from the outline of the top stitching to the edge of the underlay 

➢ 

Fill Underlay at Holes: 

Normally, the fill underlay will route around holes or voids in 

the stitching. With this setting checked, The fill underlay will 

ignore the outline for the hole and continue through it . This 

will provide good stability in a shape with many holes and give 

a good base for the smaller segments that will sew on top. 

➢ 

➢ 

Walk Stitch Offset: 

When the Fill underlay is processed it will be necessary for the program to 

walk around the edge of the block to create the stitching. This parameter 

controls how close to the outer edge of the block the stitching is allowed to 

approach. 

Walk Stitch Step: 

The length of the stitches in the walk stitch, similar to running stitch length 

➢ 

Angle Between Fill: 

The difference between the fill underlay and top stitching stitch angle. 

This angle is relative to the top stitching angle. 90 degrees is the most 

common. 

• Angle between layers: 

This defines the angle between the first fill underlay layer and the 

second fill underlay layer when multiple passes are selected. This has no 

function for single pass underlay.

• Outline: 

The outline control will apply a border stitch of the specified type around the object(s) 

➢ 

Color: 

Allows selection of a specific color or placement of a 

Stop code between the parent block and the outline. 

• Running Stitch Outline: 

➢ 

➢ 

➢ 

➢ 

The running stitch control can be set to apply by 

checking the check box. This control also contains 

parameters for the running stitch. 

Passes: 

Number of times the block is outlined, Multiple passes will produce a bolder result. 

Offset from outline. 

The distance from the outline of the parent block the running stitch will be applied. This is a 

negative or positive number. This feature can be used to achieve a special effect or to 

compensate for stretch in a fabric. 

Stitch type: 

Normal or Step 1/2 

Running Stitch at holes: 

If the parent has holes or voids, should the running stitch outline also be applied to these 

• Satin Outline: 

➢ 

➢ 

➢ 

The Satin outline parameters are basically the same as the running stitch outline parameters. 

The Satin line has additional parameters that can be 

accessed by clicking the + next to the Satin Outline 

listing 

Passes: 

Number of times the block is outlined, Multiple passes will produce a bolder result. 

Satin Line Offset. 

The distance from the parent outline to lay the centerline of the outline block. This is a negative 

or positive number. This feature can be used to achieve a special effect or to compensate for 

stretch in a fabric. 

Satin at holes: 

If the parent has holes or voids, should the running stitch outline also be applied to these 

• Stitch Type: 

the Satin Line can be created using Satin or Step in normal or Zig Zag configurations

• General: 

➢ 

➢ 

➢ 

➢ 

➢ 

➢ 

➢ 

➢ 

The general settings control the basic parameters for the satin line. 

These settings can be further changed by clicking the + next to 

General to expand the menu 

Column Width: 

The width of the satin in 1/10 mm 

Offset mm: 

This control moves the outline outward or inward same 

as the satin line offset duplicate 

Stitch Angle: 

Normally sating stitches will run perpendicular to the 

outline , however, if the outline is particularly thin, an 

angle greater than 90 will be more desired so that a 

longer stitch length can be used 

Running Stitch Length: 

Applies to the running stitch outline should not be in this control 

Keep Column Width: 

Short Stitches: 

Short stitches are used to maintain density through curves and corners. As the stitches fan out 

around a tight curve or corner, the system will insert a short stitch periodically to fill in the outer 

edges 

Overlap/Overlap Size: 

The number of stitches that overlap where the line starts and ends 

Walkstitch step: 

The length of the stitching that connects the segments of the outline. Similar to running stitch 

length, but applies to the connector stitching that is used to route through the design 

Expanded Parameters 

➢ 

➢ 

➢ 

➢ 

Density: 

The distance between stitching in the outline, can also be set to degrade 

values 

Edges: 

Determines whether the line has a uniform or jagged edge(s) The control 

can set either or both sides to random and apply a severity of randomness based upon 

percentage. This is normally a special effect. 

Stitch Repeat: 

Functions as described in stitch repeat section 

Corner Type: When creating a satin outline, there are 4 possible corner types, each having its 

own benefits and drawbacks 

The corner type used is governed by the shape of the object or the specific corner. Sharper 

corners may require different corner types to achieve the best result. Specific parameters 

applicable to how the corner stitching is generated is also available

➢ 

Continuous: 

This is the default setting and works well over the largest number of areas. 

The stitches gradually change angle as corners are approached achieving 

a uniform looking line of consistent width. 

This corner is not suitable for severe angles as it 

will result in very long stitches as shown in the 

second graphic 

Properties of Continuous Corners: 

The Continuous Corner advanced properties utilizes a fractal space 

calculator which will determine how close to the corner the stitches 

swill remain perpendicular to the line before making the corner. 

Notice the difference in the 2 corners below with fractal spacing 

OFF on the left and On on the right 

➢ 

Bevel Square: 

This corner type is suitable only for sharp corners. The 

Bevel square control will divide the corner into 2 segments 

and can clip the corner at a specified length. 

Properties of Bevel Square Corner: 

The bevel square corner utilizes 3 advanced properties. 

Cornet Cut angle. The minimum angle at which the bevel square will 

start to cut the corner 

Corner Cut %: The % of the total corner that will be cut off.(0-60%) 

Overlap: The overlay % defines how much the stitching in the corner 

will overlap. 

Compare these 2 corners. 

The one on the left uses a corner cut angle of 50, Cut % of 30 

and overlap 0% 

The one on the right uses a cut angle of 50, Cut % 20 and 

Overlap 20% 

Notice how the overlap parameter ties the corner in to prevent a 

gap

➢ 

Inserts: 

The inserts corner will miter the corner, shortening stitches as it 

approaches the outer edge. This is a good all around corner 

although it can cause bunching of the stitches in sever angles as 

shown towards the tip of the shape at the right. 

Properties of Inserts Corner: 

The inserts corner utilizes 3 advanced properties 

TracePtOffset: 

Diagonal Split: This control works similar to overlap but determines 

where the angle is split to create the corner 

Overlap: Works the same as described above 

➢ 

Cap: 

The Cap corner is a very good choice for sever angles, but is 

not suitable for normal angles of 90 deg or so. The Cap will split 

the corner into 3 parts. The left and right legs and the cap. The 

line sill sew normally up to the point where the 2 lines intersect, 

the program will then walk stitch to the point of the corner and 

stitch back to the opposite leg resulting in a uniform coverage 

with no bunching or overlap in the corner. On less sever angles 

this can result in a long connector stitch in the corner. 

➢ 

Block: 

Block corners intersect perpendicular to one another. This 

corner is very effective when using small column width or when 

using low densities were a uniform stitch length is desired. It is 

also the most desired corner when trying to achieve a Tackle 

Twill effect in appliqué. 

➢ 

Tie: 

Determines the type of tie stitch to use to tie off the stitching , see Tie section for detailed 

explanation 

• Running Stitch Manager: 

Controls the running stitch length in the walkstitch, see Running Stitch Manager section for 

detailed explanation.

➢ 

➢ 

Stretch: 

When stitches are sewn into the fabric, the combination of 

the needle penetrating the fabric and the tension of the 

thread will cause some percentage of distortion in the 

design. How much the design distorts is determined by 

such factors as cloth stability, backing type, thread 

tension, etc.. The Stretch parameter allows the user to 

anticipate this distortion and to compensate for it. 

Pull: 

Pull is the effect of the thread tension on the fabric, As the 

needle exits the fabric and travels to the next placement, it 

will pull the thread with it, as the thread pulls across the fabric it tends to shrink the fabric. This 

results in a block that is smaller than intended in the direction parallel to the stitch angle. 

Push: 

When a needle penetrates the fabric it tends to push the fibers of the 

fabric apart, this tends to make block grow in the direction perpendicular 

to the stitch angle. This effect is known as Push. Push is most prominent 

with step type stitching where the needle penetrations are close together. 

The image at right shows a circular block of stitches. The green line 

illustrates what the block will look like after it is sewn. 

Pull Compensation: 

Compensates for the effects of Pull. 

Stretch %: 

The amount by percentage you want to add to the block in the direction of the stitch angle. 

Maximum Stretch Length: 

The maximum actual length to add to the block in 1/10 mm. This will override the Stretch %. 

Must be set to a value higher than 0 to achieve any stretch. 

Shorter areas will shrink less than larger areas. You may need as much as 30% stretch in 

some small areas to achieve the correct result, however, 30% of the larger area is too much. 

This parameter allows you to run the higher percentage you need for the small areas while 

limiting the maximum length in te larger areas 

• Compensation Type: 

➢ 

Determines which side(s) to apply the compensation. Normally will be applied to both sides, 

but in some instances you may only want to apply to one side. 

Both Sides: Applies values to both sides of the block in the direction of the stitch angle. 

First Side: Applies values only to the side that the first inclination point was places. 

Second Side: Applies values only to the side that the last inclination point was places. 

Push Compensation: 

Compensates for the effects of Push 

Shrink %: 

The amount by percentage you want to reduce from the block in the direction perpendicular to 

the stitch angle. 

Maximum Shrink Length: 

The maximum actual length to take from the block in 1/10 mm. This will override the Shrink %.

Must be set to a value higher than 0 to achieve any stretch. 

Compensation Type: 

Determines which side(s) to apply the compensation. Normally will be applied to both sides, 

but in some instances you may only want to apply to one side. 

Both Sides: Applies values to both sides of the block perpendicular to the direction of the 

stitch angle. 

First Side: Applies values only to the side that the first inclination point was places. 

Second Side: Applies values only to the side that the last inclination point was places. 

• Shift Outlines: 

Shift Outlines is a unique type of compensation designed for certain types of designs, mainly 

Chenille. Chenille designs tend to Push is all directions. Therefore it is beneficial to be able to 

shrink entire blocks. This effect can also be useful in embroidery designs where you may want 

to shrink or grow a block by a small percentage. 

Outline Shift: 

The distance in 1/10mm you want to grow or shrink the block. (negative numbers shrink the 

block) 

Shift Type: 

Determines what part(s) of the block outlines are to be shifted 

Outlines: 

Shifts only the parent blocks outlines 

Holes: 

Shifts only the outlines for a hole, this is use full when you want to add overlap 

to a hole area but do not want to shift the parent blocks outlines 

Both: 

Shifts both the parent and the hole outlines 

• Internal Connection Policy: 

The Internal Connection Policy controls how individual segments of 

the block interact with one another. This will include branches of the 

same block, layers of underlay etc... 

The Internal connection policy for Normal Fill is rarely set to anything 

other than Never Trim

➢ 

➢ 

Connect Blocks: 

What type of stitch will connect the sub layers of the current block. 

With Running Stitches: 

Connect branches or layers with running stitches 

With Jump Stitch: 

Connect branches or layers with a single stitch. 

In case of Jump: 

Insert actual Jump: 

If the Connect with Jump is selected, this option allows the insertion of an actual JUMP 

command instead of the Normal stitch. 

Trim Controls: 

Trim Always: 

Cut the thread between all layers. Be aware, this will cause the machine to cut the thread 

between the layers of underlay and top stitching. 

Trim if Distance is greater than: 

Causes a trim to occur is the distance between the branches or layers is greater in 1/10 mm 

than the defined setting. 

Never Trim: 

Do not trim between the layers or branches, this is the normal setting. 

Handle Tie Automatically: 

The system will insert tie stitches between layers or branches depending on the options set in 

the Manual Tie Control 

• Manual Tie Control. 

➢ 

➢ 

Tie In Before Block 

Off: Do Not create a tie at the beginning of all branches or 

layers. 

Always Tie in: Create tie stitch at the beginning of all layers 

and branches 

After Trim/Color Change: Create tie stitch only after the 

system has inserted a trim or color change 

Distance from previous block is greater than: Create a tie 

stitch if the distance between layers or branches exceeds the 

specified value in 1/10 mm. 

Tie Off After Block 

Off: Do Not create a tie off at the end of all blocks or layers. 

Always Tie Off: Create tie stitch at the end of all layers and branches 

Before Trim/Color Change: Create tie stitch before a system inserted trim or color change 

Distance from previous block is greater than: Create a tie stitch if the distance between 

layers or branches exceeds the specified value in 1/10 mm.

10/28/2016 Threads & Bobbins Embroidery Article 

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Home > FreeEmbroideryStuff > Embroidery Articles/Projects > Embroidery Articles/Projects Details 


Threads & 

Bobbins 

9 Reviews 

By Bonnie Landsberger on July 26, 

2014 


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Threads & Bobbins 

Threads to an embroiderer are like paints to an artist – 

you can never have enough colors on your palette. But 

having an abundance of thread can be a bad idea 

unless it can be stored properly or used in good time. 

According to manufacturers, a high quality thread has 

an indefinite shelf life when stored in the right 

environment. So, if you’re unable to keep it 

appropriately protected, it’ s best to stock only the 

colors you’ll use the most often and purchase other 

colors when called for in projects. With so many thread 

choices, deciding which to buy and keep handy can be 

difficult. Learning a bit about thread and caring for it 

can save the life of what you have in stock, as well as 

your money. 

Click on the small thumbnail images to enlarge . 

Thread Colors 

Do not buy thread just because the color is pretty . I 

have made that mistake and those colors still sit on 

the shelf, unused after decades. But you do need to 

begin somewhere and choosing the colors of thread 

to keep in your stock is a dif ficult decision. If you set 

out to have every color of the rainbow on hand, the cost 

could exceed the price of your machine, and it’ s likely 

you would never use a good majority of it. You will use 

white and black more than other colors, so it’ s safe to 

buy those in the larger cones, but it’ s best to begin 

your thread stock with the smaller cones or spools of a 

variety of basic colors. There are kits and samplers 

available from most major thread manufacturers that 

are always a wise choice, even for the seasoned 

embroiderer who finds they only need a small amount 

of several colors in the kit for a particular job. If you 

then find that you are using one color more than 

others, buy a larger size of that color in the future. 

There will be a spool or two in the kit you may never 

use, but if it’s stored well, it will be there for you in the 

future to use in that one particular design that needs a 

bit of that color. 

Thread Brands 

Do not buy thread just because it’ s “cheap”. There’ s a 

reason why it doesn’t cost as much as the higher 

quality threads, which you will discover with every 

Isacord Top 10 Thread Kit 

https://www.embroiderydesigns.com/emb_learning/article/954/threadsbobbins.aspx 1/6


thread break it produces or when seeing the 

“bleeding” of thread color into the fabric after the item 

is laundered. Stick with a quality thread from a 

reputable manufacturer that is produced specifically 

for embroidery. At first, the cost can be overwhelming, 

but keep in mind that thread is the major ingredient in 

embroidery and it must be strong enough to handle 

running through the machine at high speeds, so it 

should be considered a justified investment. If you 

purchase a lower quality brand because it’ s more 

affordable, after the trouble you experience when using 

it, those bargain cones will likely end up sitting on the 

shelf right next to those pretty colors that never get 

used. 

Thread Weights 

First, understand that the thicker the thread, the lower 

the weight number . Most stock designs are digitized 

for 40 WT threads, so it’ s the best choice for a new 

embroiderer to make in the beginning. A 60 WT thread 

is much thinner and is often used to stitch very small 

lettering to help retain clarity, as well as a tidy 

appearance. A 30 WT thread is thicker and of fers more 

coverage, such as when stitching on a wool blanket or 

other thick fabric, or when densities in a design are 

lightened during the digitizing to achieve a lower stitch 

count, or when a machine file is increased in size and 

density becomes too thin for a 40 WT . 

Thread Types 

There are many different types of thread to choose 

from and new types continue to appear on the market. 

Common types that are most often used by both 

commercial and domestic embroiderers are as follow: 

RAYON: Preferred by some embroiderers for its high 

sheen and tensile strength for smooth sewing. 

Although quality brands have improved greatly in 

recent years, some types of rayon will bleed into 

fabrics when laundered. The first time you use a 

particular brand of rayon thread, it’ s wise to test by 

stitching on a fabric scrap and toss into the wash. 

POLYESTER: Desired by many commercial 

embroiderers who stitch in high volume because of its 

tensile strength and colorfastness, thereby assuring 

no customer returns due to bleeding when laundered. 

Although it has a lower sheen than rayon, the quality of 

today’s polyester is much improved with a definite 

shine. 

COTTON: A soft, natural thread with a matte finish, it’ s 

often the quilter ’s choice for machine stipple designs. 

At one time, cotton was difficult to run on the 

embroidery machine due to its tendency to shed lint 

and lower tensile strength, however , due to a process 

of “mercerizing” that burns of f the fuzzy fibers, today’s 

cotton thread is strong, and the shedding, as well as 

shrinking, has been nearly eliminated. 

METALLIC: Manufactured with a center core wrapped 

with metal foil or thin slivers of metal foil, and color is 

added with a polyester film. Desired for sparkly 

accents to embroidery , it is known to be difficult to 

stitch, but using the correct needle with a larger eye, 

as well as slowing the machine while sewing will 

improve results. 

MYLAR: Made from plies of film layered together, then 

cut into narrow strips to form a flat filament thread. 

Mylar is available in a wide range of colors as well as 

holographic hues that pick up light and color from 

surrounding objects for luminous, bright results. 

SILK: Easily absorbs dyes, producing a brilliant color 

and high sheen, and its strength lends to smooth 

sewing. At the higher end of cost, it is most often used 

for embroidery on luxurious fabrics. 

SPECIALEFFECT: There are a variety of threads 

available that help create oneofakind embroidery , 

such as a fuzzy acrylic and wool for a hand 

embroidered look or a solar type that changes colors 



when exposed to sunlight. There are fluorescent 

neons, tweeds, and those that glow in the dark, along 

with numerous others. Usually found at a higher cost, 

most embroiderers purchase special ef fect threads 

only when necessary for a particular project, but it 

doesn’t hurt to keep one or two small spools for those 

adventurous days of experimentation. V ery often 

samples are of fered at embroidery events and trade 

shows, and some manufacturers of fer small samples 

at a low price. 

Bobbin Thread 

The bobbin thread is loaded below the needle plate 

and during sewing it connects to the top thread to hold 

the stitches securely in place. For some projects that 

will show both sides of the embroidery , as with a 

napkin, embroiderers will wind the bobbin with the 

same thread as used for top thread, but in general, a 

less expensive thread manufactured specifically for 

the bobbin, works very well. Most commonly it is found 

as a thin 60 WT polyester; a strong, thread that lies 

closer to the fabric, eliminating unnecessary bulk. 

Some embroiderers who prefer to wind their own 

bobbins purchase bobbin thread by the spool or cone, 

and others who produce a high volume of embroidery , 

or those who have a personal preference to remain 

prepared, purchase prewound bobbins by the case. 

The Lstyle prewound bobbin works for most all 

machines; some have cardboard sides, plastic sides 

or no sides at all. Commercial machines work very 

well with bobbins that have a magnetic core because 

the magnetic force stops excessive spinning, which is 

often the cause of thread breaks. T esting dif ferent 

styles of prewound bobbins will reveal which works 

best in your particular commercial machine. 

Some home machines are reported by users to sew 

best with a 90 WT polyester bobbin thread available in 

spools, cones and prewound Class 15/A 90# W eight. 

Machine models include Brother: PE700, PE750D, 

PE150V, PE170D, PE180D, PE700II, PE780D, 

PE770, PE500, HE1, DreamMaker XE VE2200, and 

Simplicity SB7050E; also various models of Baby 

Lock, Bernina, Singer , and most all models of Janome 

machines. Many machine manufacturers of fer their 

own brand of 90 WT bobbin thread to be used 

specifically on their machines.Check your manual for 

the manufacturer ’s bobbin recommendation. 

Thread & Bobbin Storage 

If you want your threads to last, give them a good 

home. Keep them safe from sunlight and dust, and be 

aware that thread does best in a constant average 

humidity. Direct sunlight, will not only fade color , it can 

dry out and rot the fibers. Dust that collects on the 

spool or cone will make its way to the machine, 

causing sewing problems like thread breaks. Humidity 

either too low or too high will damage thread; if the 

area is dry, threads will become brittle and if it is high, 

threads can mold. 

Evaluate your environment with the use of a humidity 

gage and use a humidifier or dehumidifier to adjust 

the percentage accordingly to what is necessary to 

maintain an average of about 4060%. In the Midwest 

where it is most often humid in summer and requires 

a dehumidifier to avoid mold, it becomes extremely dry 

indoors during the winter months. My solution has 

been to run an inexpensive vaporizer in the sewing 

room when the humidity gage drops below 35%. 

Manufacturers advise to also maintain temperature 

between 50 ˚F and 77 ˚F (15 ˚C and 25 ˚C). 

Small spools of thread and bobbins can be stored in 

plastic containers where they are safe from most all 

environmental issues, but this storage solution can 

become quite costly , especially if you acquire an 

abundance of large cones. Thread racks or pegs with 

peg board can be used, combined with the protection 

of a curtain or in a cabinet or closet to keep out dust 

and sunlight. I keep my threads on a 4shelf unit, faced 



away from the window and covered with a curtain to 

keep out any room or sunlight, as well as dust. 

Troubleshooting 

If you have had thread stored awhile and you’re not 

sure of its quality, you can test the brittleness by 

pulling about 12” of thread from the cone and holding 

this between your two hands, and then give it a good 

tug. If there is some restraint and it breaks with a fairly 

loud snap, the thread is in good shape. If there is no 

snap and the thread breaks apart easily with frayed 

ends, the thread has become too dry and useless for 

machine embroidery . 

One knot made by the manufacturer during production 

to complete winding a cone will cause the thread to 

break, and this is to be expected to happen on a rare 

occasion, but more than one knot in one cone or more 

than one cone with one knot received in one order of 

multiple cones (very rare with a reputable 

manufacturer) is unacceptable and should be returned 

immediately . As well, if a new spool or cone of thread 

does not pass the quality test, don’t hesitate to return 

the thread for a replacement. Every now and then 

damage can occur unwittingly during processing, 

most especially in dark colors like navy blue or black 

that require a longer processing time than lighter 

colors. Note, for multineedle machines, it’ s best to 

thread the darker colors through the needle that has 

the shortest path between cone and needle to avoid 

thread breaks from strain. 

Place spools on the machine so that the thread will 

come off of the spool without crossing over itself so 

that it unwinds smoothly . To determine the correct 

placement, hold spool in one hand and pull thread 

end in the direction that the machine will be pulling it 

from the spool. If the thread crosses over the unwound 

threads it will not unwind smoothly and it could cause 

thread breaks. 

If a cone of thread is dropped it may cause what is 

referred to as a “bruise”. The damage changes the 

manner of the way the thread unwinds and this can 

affect tension, leading to thread breaks, as well as 

strands that simply fall to the base of the cone into a 

puddle. You can try holding the cone narrow end up 

and allow bruised strands to fall away , but this can 

result in a tremendous waste. Instead, try a thread 

“sleeve” or “sock” that slips around the outside of the 

cone to hold the threads in place, while allowing the 

thread to unwind without puddling. Thread socks can 

be found at various thread suppliers. 

When you find thread has been damaged during 

storage, it is more cost ef ficient to just toss it in the 

trash. On the other hand, you can salvage the cone by 

using it for zigzagging raw edges to keep fabric from 

fraying or for a situation like basting when you want the 

thread to break easily, but keep all damaged threads 

separated from your good threads to be sure they 

aren’t used accidentally in the future for any other 

purpose. I have one such cone that I have run a felt tip 

marker across the top to make sure it gets my 

attention and never gets used for permanent stitching. 



Computer Basics for the Machine Embroiderer Part 1 By Bonnie 

Landsberger 

Computer Basics for the Machine Embroiderer Part 2 By Bonnie 

Landsberger 





Bonnie Landsberger has been a crafter and hand 

embroiderer since childhood and a machine 

embroiderer and digitizer since 1986. She was the inhouse 

head digitizer for a 50head embroidery shop 

for 11 years and later of fered custom digitizing 

services and stock design sales through her web site 

for Moonlight Design since 1993. She currently also 

holds a position as a customer service representative 

at EmbroideryDesigns.com. Bonnie has won several awards for 

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

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

the Stitches Magazine Great Greeting Card Contest 2003. Her 

embroidery and digitizing technical articles can be found in various trade 

magazines and she is currently a contributing writer and Editorial 

Advisory Board Member for Stitches Magazine. You can also find more 

of her articles online at EmbroideryDesigns.com and will continue to 

contribute articles to our Learning Center . 

Feedback 

Rate this Project: 

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Please enter your comments/feedback here. If you tried this 

project, please select a rating above using the 

butterflies. 

All | Comments| 

Reviews 

Helen V Aug 09, 2014 

Comment as Anonymous 

Email me if someone replies to this comment 

Submit 

This would be the best detailed explanation of threads and bobbins I have ever 

read. Well done Bonnie and thanks for the information. 

Reply 

Shawn G Aug 09, 2014 

Wonderful article. I didn't know about using 60w threads for small lettering no 

wonder it doesn't come out like I want it too. 

Reply 

Candy A Aug 09, 2014 

Very helpful. 

Reply 

Anonymous Aug 09, 2014 

Enjoyed the article, very informative. 

Reply 

sue k Aug 09, 2014 

Very helpful information! I have just obtained my first embroidery machine and 

have been tempted by all those pretty colors and varieties. Now I know where to 

start and how to store them. 

Reply 


Thank you an excellent summary of threads for machine embroidery . 

Reply 



Nita L Aug 09, 2014 

This article has been very helpful and I thank you! 

Reply 

Lisa C Feb 28, 2015 

Great article. Very informative. 

Reply 

RoseMarie L Aug 09, 2014 

This is very helpful,especially with people like me that are starting to get into 

embroidery and it head to tell which embroidery thread to use. This here breaks it 

down and makes it very simple. Thank you Bonnie Landsberger with bring this out 

for us. 

Reply 

Roberta S Nov 08, 2014 

Very helpful! 

Reply 

Linda M Aug 10, 2014 

Great article, I learned a few important lessons to day . Thank you. 

Reply 


A lot to know. Useful information. 

Reply 

charlotte c Sep 06, 2014 

I have sewed for more years then I like to admit. And this told some things I never 

knew. Anyone to sewing or embroidery should learn from this. CharlotteC 

Reply 

Mary A Feb 26, 2015 

Thank you so much! 

Reply 

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10/28/2016 Understanding Hoop Size & Sewing Field Embroidery Article 


10 Reviews 

Understanding Hoop Size & 

Sewing Field 

By Bonnie Landsberger on October 29, 2014 


5 0 0 

Understanding Hoop Size & Sewing Field 

The term “hoop size” used throughout the machine embroidery community is confusing. For 

example, you might measure your actual physical hoop to find it is 6.25 x 4.50” and you have been 

told that your machine can only sew a design that fits the 4 x 4” hoop, but in reality the actual 

sewing field of your particular machine model will not stitch a design that exceeds 3.937 x 3.937” 

and not a fraction more! W e can blame this conflict of measurements on decades of upgrades 

and changes to meet global demands for machines that require very fine measurements that 

can’t be calculated in inches, along with the struggle for some of us to grasp the metric system. 

But no matter where the confusion originated, the issue can be frustrating when trying to find the 

right size while shopping for designs, so let’ s see if we can shed a little light on this issue. 

With the exception of commercial machines like a T ajima that will stitch as far as its pantograph 

will reach, most every machine has a “sewing field” limitation. The sewing field is programmed 

into the machine software to not allow stitching designs larger than what has been preset for the 

main purpose of protecting the machine from damage. When a needle comes down on the hoop, 

the needle will likely break, and this can also crack the hoop, as well as cause other mechanical 

problems like throwing of f the “timing” of the needle and hook assembly or other situation that 

requires a technician’ s repair. 

Be aware that unless your machine’ s sewing field allows, you cannot purchase a larger hoop and 

expect it to work for larger designs.As well, some machines of fer optional larger hoops, like the 

Plus Hoop for a small model HusqvarnaV iking, but in this case, to use the hoop for a large 

design, it requires splitting the design into sections no larger than the preset sewing field.Splitting 

the file is accomplished by using the appropriate software that in most cases won’t be included 

with the purchase of a larger hoop. 

Hoop Size 

Each design product page on EmbroideryDesigns.com includes the actual size of the design in 

both millimeters and inches. The product page also includes “Hoop Size” in inches, which is 

supposed to be the equivalent to the sewing field in millimeters, but humans like to approximate 

things. For example 100mm equals 3.937”, which is so very close to 4” that we who hate 

decimals round up the figure. Also the sewing field of 130 x 180mm equals 5.12 x 7.09” but we 

round down the figure to 5 x 7”. So, “Hoop Size” has evolved over the years to being just a term 

without mathematical accuracy , used to indicate the approximate sewing field limit in inches that 

your machine must allow in order to accommodate the actual size of the design. 

Sewing Field 

The measurement of your machine’ s sewing field limit is usually listed in the manual, sometimes 

buried where you least expect to find it. Some software programs, such as Embrilliance 

Essentials, of fer the ability to check and set the sewing limit by machine and hoop size.Many of us 

https://www.embroiderydesigns.com/emb_learning/article/983/understandinghoopsizesewingfield.aspx 

have discovered our machine’ s sewing field limit while trying to stitch a design that exceeds the 

1/8


have discovered our machine’ s sewing field limit while trying to stitch a design that exceeds the 

preset boundaries.My HusqvarnaViking Rose, an older model that runs from a program card with 

one small hoop and no image monitor , will try to stitch the design until it reaches the point where 

the design exceeds its sewing field limit of 3.93 x 3.93” – a frustrating waste of materials and 

time.On the other hand, some machines will simply refuse to stitch a design that is too large, and 

often won’t clearly reveal the reason, such as my Baby Lock Ellageo that doesn’t even recognize 

that the design is on the USB drive when the design size is more than its sewing field limit of 10.2 

x 6.2”. Learn your machine’s sewing field limit, and you will be able to determine whether a 

design will fit within the recommended “Hoop Size”. 

Determining Hoop Size 

First understand that the inch has been defined and internationally accepted as being equivalent 

to 25.4mm (millimeters) or 2.54cm (centimeters).If your ruler displays centimeters, just move the 

decimal one digit to the right to calculate millimeters. Following is a chart of approximate, but 

close conversions of sewing field limits. When shopping, be sure to double check the actual size 

of the design along with the recommended Hoop Size. 


https://www.embroiderydesigns.com/emb_learning/article/983/understandinghoopsizesewingfield.aspx 2/8















Use the above chart to help you decide whether a design will fit within your sewing field limit when 

shopping for designs.And remember , if the design is within 20% too large for your hoop, our 

Design Support Team can decrease the size for you. Just call us with your order number after your 

purchase and we will resize and email the resized design to you. 

Related articles – Resizing Designs 

http://www.embroiderydesigns.com/emb_learning/article/876/resizingdesigns.aspx 









5 0 0 














10/28/2016 Understanding Alphabet and Font Options 

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Understanding Alphabet and Font Options 

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

possible to strike a balance between style and substance. 

November 20, 2013 

By Deborah Jones, Contributing Writer 

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

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

screen with their boundaries touching. Valuebased or manual 

adjustment is needed to create a pleasing arrangement. 

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

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

typically is an integral ingredient. 

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

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

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

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

much in the same way that a player piano operates. 

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

embroidery machine: custom digitizing, digitized keyboard fonts, autodigitized 

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

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

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


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

1. CustomDigitized Lettering 

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

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

method, the lettering is digitized specifically for each job. 

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

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

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

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

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

can be achieved when the lettering is custom digitized. 

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

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

fonts, autodigitized T rueType fonts and alphabets as designs. 

Shop Spotlight 

2. Digitized Keyboard Fonts 

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

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

in between. 

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

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

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

generated according to the user ’s instructions. 

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

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

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

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

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

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

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

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

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

bold enough to stand out on plush material. 

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

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

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

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

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

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

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

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

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

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

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

lettering options. 

3. TrueType Font Generation 

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

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

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

and other edits may be needed. 

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

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

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



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

4. Alphabets as Designs 

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

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

then they are merged later . 

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

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

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

appear to be made from fence posts. 

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

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

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

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

decorative capital letter . 

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

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

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

your particular software package. 

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

highquality alphabets. Jarden controls aspects of his alphabet creations to 

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

various sizes to achieve the best quality for the customer . 

When enlarging either alphabets or keyboard fonts in embroidery software, 

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

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

column width that’s more pleasing and serviceable. 

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

entwined twoletter Victorian alphabet. The special alphabet contains a file 

consisting of every possible twoletter combination. 

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

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

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

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

between style and substance. 

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

experience in the computerized embroidery field. She runs 

myembroiderymentor.com and regularly speaks at the Imprinted Sportswear Shows 

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

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

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

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

Keyboard Font Features 

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

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

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

can’t be programmed to connect automatically . 

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

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

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

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



letter styles. 

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

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

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

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

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

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

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

where the letters connect. 

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

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

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

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

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

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

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

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

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

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

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10/28/2016 Lettering Setups: Machine Fonts, Keyboard Fonts & Alphabet Designs Embroidery Article 

1 Reviews 


Lettering Setups: Machine Fonts, 

Keyboard Fonts & Alphabet 

Designs 

By Bonnie Landsberger on February 24, 2014 


0 0 0 

Links used in this article 

http://www.embroiderydesigns.com/productdetails/InternetStitch/FreeSoftware/1/EFP .aspx 

http://www.embroiderydesigns.com/fonts/EFPFonts.aspx 

http://www.embroiderydesigns.com/OnlineLetteringInfo.aspx 

http://www.embroiderydesigns.com/productdetails/BriT onLeap/DLSoftware/1/ATG40238.aspx 

Preface: 

There are several dif ferent ways that an embroiderer can create lettering for personalization or to add to an 

existing design. You can use the lettering function that is built into your machine, or you can use a keyboard 

lettering software program or you can create words by merging alphabet designs together . The three 

methods often cause confusion when you are shopping for fonts, so let’ s see if we can shed a little 

understanding on the dif ferences. 

https://www.embroiderydesigns.com/emb_learning/article/842/letteringsetupsmachinefontskeyboardfontsalphabetdesigns.aspx 1/7


Machine Fonts 

Most machines include the ability to set up lettering by choosing a font style on the machine, setting style 

parameters such as size, and then typing in the letters that you want to sew . This type of font is built into the 

software of the machine. To add more fonts to the machine, the manufacturer of the machine must be 

contacted and additional font styles are added with an upgrade. Machine font styles are proprietary to each 

machine manufacturer and not sold at embroidery design web sites. 

Keyboard Fonts 

There are many software programs that can be used to set up lettering on the computer . A lettering 

software program allows you to create design files of words, such as a name for personalizing an item, or 

you can import a design and then add the lettering around the design, save as a machine file and sew . Most 

lettering programs come with a few font styles installed. This type of font is called “keyboard lettering” 

because the keyboard is used to type in the words that appear on the screen. Y ou choose the font style; 

adjust the parameters such as size, underlay , density, stitch length and column width or push/pull 

compensation, and then type the letters you want to appear on the screen. After the words are created, the 

screen is saved as a design, and then this file is sewn on the machine like any other design. 

Most lettering programs of fer the option to add font styles to the program. Dif ferent font styles are available 

to purchase as data files that are in a format compatible with the software. Some font data files are 

accompanied by a selfinstaller and others require that the data file be manually moved to a specific folder . 

The data file is commonly stored in a “Fonts” folder of the program, so that when the program loads, the font 

file is recognized and the style becomes available. Complete instructions for adding a font style to your 

software program should be found in the software program’ s manual. 




EmbroideryDesigns.com carries a variety of font style data files available to 

purchase that are specifically digitized for Wilcom and Pulse software programs. 

They are found on our site by placing the cursor over the top of the “Fonts & 

Alphabet” category under “Products” at the left side of the W elcome page to activate 

the drop down menu, and then click on “Wilcom Fonts” or “Pulse Fonts”. 



Keep in mind you cannot use this type of font unless you have either the 

Wilcom or Pulse software program installed on your computer . The sun icon 

that is seen on the product pages designates the keyboard lettering software 

program that is compatible with that particular font data file. 

Another keyboard lettering font data file that is available at our site is specific for Embroidery Fonts Plus 

software, identified by the abbreviation EFP. The EFP software program is available from the vendor 

Internet Stitch and offered as a free download at: http://www.embroiderydesigns.com/productdetails/Internet 

Stitch/FreeSoftware/1/EFP.aspx. 

EFP installs with three font styles: Century_Block.elp, Block_Euro.elp and Embroidery_Script.elp. The ELP 

extension is the format for EFP. There are help guides available for using the program, as well as free online 

training found in the tabs on the EFP download page. 

After you have become familiar with using EFP, you can then add more font styles to the program by 

purchasing the EFP keyboard fonts. Y ou can find the EFP fonts from the drop down under the “Fonts & 

Alphabets” category or at: http://www.embroiderydesigns.com/fonts/EFPFonts.aspx 



Alphabets” category or at: http://www.embroiderydesigns.com/fonts/EFPFonts.aspx 


Instant Lettering 

Instant Lettering is an online keyboard lettering software program that helps you create a design of lettering. 

You can find it on our site at: http://www.embroiderydesigns.com/OnlineLetteringInfo.aspx 

Type in the letters, choose the font style and other settings, and then add it to your shopping cart. The 

completed design that you created will then be stored in your Order History for download. If you find that 

you’ve made an error when creating the design in spelling or size, you are welcome to contact Customer 

Service and we can help you edit the design that is in the download of your Order History . 

Alphabet Designs 

The Alphabet Design Fonts are designs that just happen to look like letters, numbers or other keyboard 

characters. You can sew one character just as you would sew any other design; however , if you plan to sew 

out an entire name or phrase, you will want the letters to sit evenly and balanced, so it’ s best done by 

creating the design first by merging the letters together in editing software program, found on our site at: 

http://www.embroiderydesigns.com/productdetails/BriT onLeap/DLSoftware/1/ATG40238.aspx 

Use an editing program that allows merging designs like Embrilliance Essentials. 

There are a couple of ways that you can merge: 

1) Open the first letter that you want to sew in the design in your editing software program. Select the entire 

design with the select tool. Click on the COPY icon in the top tool bar , or click on EDIT and then click on 

COPY. Then open a new design window and click on the P ASTE icon, or click on EDIT and then PASTE. The 



COPY. Then open a new design window and click on the P ASTE icon, or click on EDIT and then PASTE. The 

letter will paste into the new design window. 

OR if your software will merge a file that is dropped into the software: 

2) Open a new design window and make your software window smaller to allow room on the desktop. Open 

your folder of alphabet designs and arrange the screen so that you can see both open program and folder . 

Hold your left click key down on the file you need and drag the file over the top of the software window and 

let go of the click key; the character will drop into the software. 


Do this with each letter of the words that you are creating. When you are done merging the characters, kern 

them to be appropriately spaced, and then save the new design window in your machine format. Save the 

design to whatever media runs your machine, such as a USB drive or program card, floppy disk or CD, or 

send the design to your machine through a USB cable and sew . 









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10/28/2016 Stitchout or Sewing Problem 

 

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Many things can happen when stitching a design. So, we've 

listed several items below to consider when working with 

machine embroidery designs. 

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All of our designs are test stitched and stitch properly 

before they are added to the website and sold. 

Jump Stitches converted to Running Stitches Some 

embroidery software programs will convert jump stitches 

to running stitches with slight resizing. 

Stabilizer is KEY! 

Keep in mind that stabilizer is a tool, it is used to 

keep your fabric stable so that is doesn’t shift or move 

while stitching and after the fact during washing, 

wearing, etc. 

Very few fabrics don't need stabilizer. 

Always choose the right stabilizer for the fabric/design 

combination. 

If you're having registration issues [outlines not lining 

up with your fill], you probably need more/better 

stabilizer. 

Quick Guide for Which to Use When~ just 

remember that this is just a guide and there will be 

some overlap 

Cutaway 

• Washable fabric 

• Knit fabric 

• Fabric that is stretchy 

• Fabric with a lot of "give" 

• Thin fabric 

• Synthetic fabric 

https://www.akdesignsboutique.com/pages/StitchoutorSewingProblem.html 1/7


Tearaway 

• Nonwashable fabric 

• Woven fabric [including denim and canvas] 

• Fabric that is not stretchy 

• Fabric without much "give" 

• Medium/thick fabric 

o Click HERE to see our Supply Catalog that will 

help guide you to the correct stabilizer for your 

next project. 

Remember that all designs are not for all projects. 

Some designs are too narrow or skinny for plush items 

like fleece & minky blankets 

Some designs are too dense and large for thin & 

stretchy knits 

Some design elements are complex and are “lost” on 

fabrics that are too busy or are too plush 

Tips: 

Use your embroidery software to make adjustments 

Make the letters or designs more bold or thick 

Make letters or designs less dense 

Remember to always test stitch once you've made 

any adjustments to ensure that it will stitch 

properly. 

Registration Issues Are your outlines not lining up 

with your fill? 

Stabilize, stabilize, stabilize…really, this is more 

important than most realize 

The problem that you're having is probably not a 

design flaw, it’s usually a part of the design that pulls 

the thread a little more than your item can handle, 

which means that a little more stabilizer will fix it. We 

strive to account for some of this while digitizing, but 

we can only do so much because if someone has 

properly stabilized their item, they will have the 

opposite problem [the fill will be outside the outline]. 

Resizing Designs Please keep in mind that just 

because your embroidery software will allow you to resize 

a design to half its size does not mean that it will stitch 

well. Please keep all of points below in mind when resizing 

designs. 



Since resizing a design is in essence creating a new 

design that hasn't been tested yet, you'll want to run 

a test stitch before you stitch it on something 

important. 

All designs resize differently and all software resizes 

differently, so the 20% rule is just a guideline. 

Any time you are resizing or editing designs, ensure 

that you are working with a copy so that you don’t 

modify the original design. 

Resizing can cause bird's nests, thread breaks & 

needle breaks. 

Some embroidery software programs will convert jump 

stitches to running stitches with slight resizing. 

Wide, Satin Column Stitches Consider the items 

below when working with designs with wide, satin column 

stitches [like the large wide satin letters in the photos]: 

Most embroidery software programs will convert the 

wide, satin column stitches to regular or fill stitches if 

resized or modified in any way. 

If you have resized or modified the letters in any way 

and are having problems with your stitchouts or are 

not happy with the quality, please test stitch one of 

the letters without resizing or modifying [download the 

set again for the original if necessary] to see the 

difference in stitch quality. 

Keep in mind that we cannot guarantee the quality of 

designs that are modified (including resizing). If you 

have problems with the original designs we will assist 

you in solving the problem. 

Please contact us if the size that you require is not 

available and we'll do what we can to make a set that 

size. 

Original File Satin Column Stitches 



Modified File ~ The same letters that have been 

resized, so the embroidery software converted 

the satin stitches to a standard fill stitch. 

Shifting while stitching– So many things can cause 

your item to shift while stitching. Here are a few things 

to consider: 

Hoop won’t tighten enough, so the stabilizer and item 

slowly started coming out of hoop while stitching 

SOLVE by making sure hoop is tight enough before 

starting, or if the hoop is as tight as it can go and 

your stabilizer still "slips", you can put double sided 

tape on the inside of either the inside or outside hoop 

to help it have more "grip". 

Sometimes something will prevent your hoop from 

moving the full range that it's supposed to while it's 

stitching SOLVE by making sure your sewing area is 

free of objects that could be in the way of your hoop 

while your item is stitching. 

Item is not hooped, only stabilizer is hooped and the 

item shifts while being stitched SOLVE by using a 

basting stitch to attach your item to the stabilizer 

before stitching your design. 

Sparse stitching – too much space between stitches. 

This problem could be caused by a few different things or 

combination of things. Below are some items to consider. 

Did you resize the design? If so, this could be the 

problem. Try test stitching the design in its original 

form to see if there’s a problem. 

Is the item stabilized properly? If not, this can cause 

lots of different problems. Try adding another sheet of 



stabilizer or switching to a heavier or cutaway 

stabilizer. 

Are you stitching on an item with nap or texture? If 

so, make sure you use a solvy wash away topping on 

top to help keep the nap or texture pushed down so 

that the stitches look better. 

Embroidery Software Depending on the embroidery 

program that you use and the settings you have applied, 

your software may automatically change the embroidery 

design when you open it in your software. Below are just 

a few of the settings/changes that your software could 

be automatically applying to designs: 

Remove short stitches this setting will remove 

stitches that are shorter than the setting that is 

applied 

Convert jump stitches to running stitches this 

setting will convert jumps that are longer/shorter than 

a certain length to running stitches 

Convert satin stitches to fill stitches some 

programs make this change automatically and don't 

have a setting that you can adjust and some will let 

you determine the widest width to allow a satin stitch 

to be before converting it to a fill stitch 

ALWAYS REMEMBER: There are so many variables with 

every stitch out that when problems arise, you have to 

be an investigator to determine what part of the process 

went wrong. These tips are meant to help you along the 

way :) 

Click HERE to see our Tips & Tricks document that has a 

ton of information! 



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10/28/2016 Why Can’t I Have the Right Colors? Embroidery Article 

Not Yet Rated 

Why Can’t I Have the Right Colors? 

By Barbara Geer on September 01, 2008 



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Why Can’t I Have the Right Colors? 

As a digitizer and creator of stock embroidery designs, I am certain that this question is 

asked of me at least ten times to one of any other question. Especially for those who are 

new to embroidery, this is one of the most frustrating problems. Though I don’t proclaim to 

be a computer expert, by any means, I am going to try to explain in layman terms, why this 

happens and will AL WAYS happen when you open a design by digitizers who do not work in 

the same software in which the design is opened. 

When you first purchase an embroidery machine, you usually get designs with the machine 

or purchase designs from the same place. Those designs, because they were created in, or 

converted in, the brand of software that accompanies the machine purchased, will appear 

on the screen in the “right” colors. It is only when you venture out into the vast world of 

embroidery designs, that you run into this problem. And it is a problem, indeed, until you 

realize the reasons for it and learn to compensate for those designs. 

When a digitizer creates a design in his/her software, that digitizer chooses the colors in the software that they are using. When the 

design is opened in that software, whether it is owned by the digitizer or someone else with the same brand, it will always open 

with the colors that the digitizer chose. 

However, there are many, many software programs on the market. Each of those programs has its own set of default colors. 

Unless the design that is opened was created in that specific software package, it will AL WAYS open with the default colors instead 

of the "right" colors. 

The above picture of a car was opened as a condensed design in my software. As you can see, the default colors are definitely not 

the “right’ colors, or the colors that will be chosen for embroidery . I have the option to change the colors so the design will look 

better on the computer screen. 

In other words, unless the design was digitized in your specific software program brand, it will open with your default colors. That 

is, unless the design has been converted in your specific software and resaved in your software. Y ou can do that, if you so choose, 

but most embroiderers are far too busy to change the colors of every design they embroider . 

Most digitizers of stock designs do not have the time or the capability of converting designs 

in specific programs. Digitizers use conversion programs that will save the format, but do 

not save colors for the picture. These are usually timesaving mass conversion programs 

that get the job done as far as the stitches are concerned. The mass conversion program is 

not, however, software specific as far as the colors are concerned. The color stops that the 

digitizer places in the design remain in tact, but the actual color does not. 

If you do not want to use designs that are not in the "right" colors, you will be eliminating the 

possibility for use of many wonderful designs! There are many great digitizers out there who 

provide designs for customer use. However , they can only provide the "right" colors in the 

software program that they are using. 

It is very prohibitive for a company who sells designs to convert the designs to have the proper colors in every software brand. In 

fact, in my opinion, it is an impossible task. Software programs are changed and added continually with the increased technology 

with which we are faced every single day in this technologyridden world. There are companies who have made the attempt, but 

most have abandoned the project once they realized how cumbersome the project is. By the time you have all the designs 

converted to the most common software programs, out comes another one!!! Or two!!! Or ten!!! 

https://www.embroiderydesigns.com/emb_learning/article/561/whycantihavetherightcolors.aspx 

I’m sure we all agree that the car looks much more normal in the “right” colors. T o change the colors of a design, I can just click on 

1/3


I’m sure we all agree that the car looks much more normal in the “right” colors. T o change the colors of a design, I can just click on 

the color number , click on Properties, and select the color I want for each color in the list. It doesn’t take long, but it’ s a few seconds 

we most often save. W e just put the right color of thread on the machine. 

For this reason, digitizers also provide a generic color list with each design, usually numbered with the proper number of color 

changes. Therefore, you can choose your own idea of red, blue, yellow , green, etcetera, by using the list. 

We are spoiled!! And I say that because I have been in the embroidery industry since 1990. People who were in the industry before 

me had only black and white screens on which to view the designs. Before that, they couldn't see the designs at all, but had to trust 

the digitizer's word! While I don't go quite that far back, I do go back to the age where default colors were the only option. I could 

have wasted my time changing the colors on every design to view them on the screen, but as a commercial embroiderer , my staff 

and I just didn't have that kind of time. 

Therefore, we would choose our thread colors from the color list of the design. It's really very 

easy, once you get used to it. We still do that to this day. We rarely look at designs in what 

you call the "right" colors, because we are only concerned that the color changes are in the 

proper order and that the design stitches out correctly . The chances that our customer will 

want the same colors as originally listed in the design are pretty slim anyway , so it’s not very 

often that we stay with the color list chosen by the original digitizer . 

That’s the beauty of stock designs. W e don’t have to stick with what the digitizer chose. W e 

can use our own imaginations to make that design unique to our customers or our projects. 

And, if your software has the capability of color selection, which most do, you have the ability 

to put the “right” colors on the screen. 

§ 

In most software programs today , we can even go one step farther, making the design threedimensional so that it actually looks 

stitched. While it is not a totally perfect representation, it is pretty realistic looking. The great thing about this is the ability to print out 

the design for customer approval. 

I have had customers call me in a mood so irate about the “wrong” colors that they want their money back for designs that are 

absolutely beautiful when stitched out. Usually I can explain why the colors appear “wrong” on their screens and usually I can talk 

them through changing the colors if they insist. However , there are always some who are so insistent that the colors appear 

correctly on their screen without the added work of their changing them. 

It’s sad, I think, especially for the digitizers that are true artists, that the digitizer should be expected to take the time and spend 

impossible amounts of money on software to make the designs appear in the right colors on every embroiderer ’s screen. I think 

that artist’s time could be spent more wisely , creating new artistic designs for our use. It takes just a few seconds for each of us to 

change the colors on our screens for each design that we use. However , for a digitizer, that same task would have to be performed 

in upwards of twenty or more programs. 

Color selection is a challenge that must be faced. W e usually do it anyway. Even when specific thread colors are listed with a brand 

name and color chart, we often have to change the colors to match the garment upon which the design is being placed. W e often 

have to change the colors to satisfy a customer , matching logo colors, etcetera. W e often change the colors just for fun! 

My challenge to you, as an embroiderer , is to be adventurous and choose the colors even when a design appears in the “right” 

colors on your screen. I think you will be amazed at how much fun it is to actually be using your own creativity as you work, rather 

than counting on the creativity of just one person, the digitizer! 






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https://www.embroiderydesigns.com/emb_learning/article/561/whycantihavetherightcolors.aspx 3/3

10/28/2016 Pointers for Appliqué 

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Pointers for Appliqué 

From adhesive to backing, use these tips to perfect the appliqué decorating 

process 

October 03, 2016 

By Alice Wolf, Contributing Writer 

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Appliqué may be a fancysounding word complete with an accent mark, but the 

process is nothing more than simply sewing a piece of fabric on top of another and 

adding a neat border of stitches. 

The technique can be used to quickly and inexpensively fill a large area, produce a 

uniform appearance on many products, and adhere to the colors or fonts of a 

brand or institution. Appliqué adds texture and interest, helps personalize items and 

adds creativity. It also can be used on all types of apparel, caps, hats and totes. 

Choose an Adhesive 

The appliqué process varies slightly by embroidery machine and software, but the 

principle is the same. Put in its most general terms, if you are using a stock design 

file, open it and print the die line, which will show the design in crosshairs so that it 

can be synchronized with the embroidery machine. Place your appliqué fabric on 

top of a piece of heat seal. Then, spray the back side of the printed die line with 

adhesive, position it on top of the appliqué fabric and press down. 

http://impressions.issshows.com/embroiderytips/PointersforApplique10351.shtml 1/3


You’ve just created a “sandwich” consisting of the printed die line on top, appliqué 

fabric in the middle and heat seal on the bottom. Cut out the shape of your 

appliqué, then discard the printed paper you used as a template. 

Hoop the item to which the appliqué will be applied, along with a backing that is 

appropriate for the fabric. Sew an outline stitch onto your base fabric, indicating 

exactly where the appliqué should appear . Then, using an appliqué or regular 

steam iron, apply heat to the design and position the appliqué directly over the 

outline stitch. With the appliqué in place, tack it down around the edges with a 

loose tackdown stitch to hold it in place and then sew around the edges with a 

satin stitch. 

If you are using a zigzag stitch around the edges instead of a satin stitch, you can 

skip the step of applying a loose tackdown stitch. 

Perforated Perfection 

There are times when a nonfabric material, such as a lightweight plastic, foil or 

film, may be used for an appliqué. If the material you use can be perforated by the 

needle as it creates the satinstitch border around the design, there is no need to 

cut it out first; the needle will do this for you. The satin stitch along the design’ s 

border will make it easy to tear away any excess material as long as there are 

decorative stitches of some sort within the appliqué design to keep it in place. 

Backing Choices 

The correct backing for your appliqué work is determined by the fabric to which you 

are applying the design. For example, Figure 1 (shown above) is placed on a tote 

bag, which can withstand a medium to lightweight tearaway backing. The large 

portion of the dog’ s tan coat is a micro suede fabric that adds texture, as well as 

reduces stitch count by filling in large areas. Ideal for childrenswear , embroidery 

stitches give the dog personality , and the coat’ s nap adds character and charm to 

the design. 

Shop Spotlight 

Process Engineering 

When Michael Rothermund got laid of f from his 

fourth job in the engineering industry , he knew it 

was time for a change — and all signs pointed to 

the Tshirt business... 

Read more 

A design more than 12 inches tall, Figure 2 is stitched on the back of a fleece vest. 

The detail of the woman’s face, hair and arms is complemented with green and red 

shaded fabric. The sun behind her is an appliqué, and the flowers and grass at her 

feet share space with her gown’ s green fabric. 

Figure 2 

The appliqué fabrics were chosen to add texture, interest and dimension, and 

perhaps reduce an alreadyhigh stitch count. Because of the fleece’ s stretchiness, 

a cutaway backing was used, as well as topping. To keep the flowers’ small stitches 

from sinking into the fleece’ s pile, a watersoluble topping keeps the stitches 

elevated, even after the excess topping is removed. 

Figure 3 is an example of appliqué on performancewear . The fabric’s stretchiness 

requires stabilization with a sturdy cutaway. In addition, since the flying skull design 

is placed on running shorts that are worn against the skin, a soft, thin coverall is 



applied with heat after much of the cutaway is removed. 

The skull also was done in StitchFoil so that if the person wearing the shorts were 

running along the side of a road at night, car headlights would cause the appliqué 

to shine, adding visibility. 

Figure 3 

Alice Wolf is the marketing communications director for Madeira USA. She began 

doing marketing and public relations for the art industry in New Y ork, then migrated 

north to Madeira’ s New Hampshire headquarters. For more information or to 

comment on this article, email Alice at awolf@madeirausa.com. 

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10/28/2016 Tips For Using Pufy Foam Embroidery Article 

Not Yet Rated 

Tips For Using Puffy Foam 

By Deborah Jones on January 01, 2009 



0 0 0 

Take Your Embroidery to New Heights 

Almost any design can take on new life when you add some dimension by using foam 

beneath the design. It is sold in many colors, so that you can match your thread color to the 

foam color. This is helpful in case any of the foam happens to peek through. 

To begin, select a design that has enclosed areas. Look for enclosed satin shapes, such 

as circles, or shapes that taper to point. Be sure that the designs you select have satin 

stitch areas that are wide enough to accommodate the foam. 

There are two ways to make foam become so perforated that it is very easy to remove, and 

also assure that the foam is encased under the satin stitches. 

If you have the ability in your embroidery software to control your stitch density, increase 

the density of the underlay stitchesso that they are closer together , and then place a 

heavy layer of satin stitches on top. The density on the top layer should be almost double 

the normal density . 

If you don’t have the ability to adjust your density values, you will simply stitch the satin areas twice. In either case, follow this 

procedure. 

Stitch any fill stitch areas that precede the satin areas that you want to puf f. Before the satin 

areas are stitched, lay down a piece of foam in the area to be stitched. Y ou may wish to 

use a very small amount of embroidery spray adhesive to attach it to the location. 

Stitch the underlay, or the first layer of satin stitches. After it is complete, gently pull away 

the foam. Stitch again over the area with the final layer , which will encase the foam inside. 

Tip: To remove any remaining hairy bits, place a pressing cloth over the area and press 

lightly with a hand iron. The small foam bits will shrink up and disappear . 


Corporate Embroidery By Deborah Jones 

Special Occasion Embroidery By Deborah Jones 

Hospitality Niche By Deborah Jones 


0 0 0 

Meet The Author: Deborah Jones 

https://www.embroiderydesigns.com/emb_learning/article/581/tipsforusingpuf fyfoam.aspx 1/2

10/28/2016 Tips For Using Pufy Foam Embroidery Article 

Meet The Author: Deborah Jones 

Deborah Jones is a commercial and home embroiderer with 31 years experience in the 

computerized embroidery field. She is the founding editor of Club Ed, an educational 

newsletter for home embroiderers, and vicepresident of education for Great Notions. 

https://www.embroiderydesigns.com/emb_learning/article/581/tipsforusingpuf fyfoam.aspx 2/2

Stitchitize Embroidery Design Learning Studio 

LESSON 1 - Digitizing Basics & Theory 

Lesson one covers the basics of digitizing artwork for embroidery. We have broken down the art of digitizing into some basic 

fundamental elements. Each element is important to understand, as they are the tools you will have as control factors over 

how your designs sew out. We will refer to these principles throughout the lessons and will expand upon them as we do. At 

the top of each lesson there are links to the various topics in that lesson, so that you can easily return to review a topic. Try 

the glossary for any terms that we may use that you are not familiar with. If you have questions about any of the topics please 

use the bulletin board in the student lounge to post them. Perhaps the answer you are looking for is already there from a previous 

student. This way we can all learn together and from each other. 

Stitch Types 

The goal of the Stitchitize embroidery Design School is to break down modern computerized embroidery, or Swiss Embroidery, 

into the most basic elements. The embroidery machine understands movement from one stitch to the next and has 

settings for either needle up (jump) or needle down (stitch). The needle remains stationary in Swiss embroidery and the movement 

comes only from the hoop. The modern stitch types we use in creating embroidery designs are formed by moving the 

hoop in a similar pattern for a series of stitches that produce an effect or "stitch-type". There are three main types of stitches 

to choose from with many variations of each. The three basic types are "Satin stitch", "Fill stitch" and "Run stitch". Many different 

names are used for each stitch type. For example, Satin stitch can be called a "Blat", Fill stitch can be referred to as 

"Tatami" and Run stitch is also known as "Detail" or "Underlay". For your convenience, a glossary has been created with commonly 

used embroidery terms and explanations. We hope to make our glossary one of the most extensive tools available and 

welcome any input from our students. 

Basic Stitch Types 

Satin Stitch 

This stitch is formed by placing stitches in a zig-zag pattern to form a column. The stitches can be varied in distance from each 

other, can be at any stitch angle, and different stitch lengths. Satin stitches are used in a wide variety of ways, and can be 

found in most embroidery designs. The most common uses for satin stitches are to form letters, to create borders, or patterns. 

The letter “E” is made up of two 

Satin stitch columns. 

This Fill stitched box has a Satin 

stitch border that will help give it a 

clean edge and keep it looking 

straight. 

Page 1 

This flower is made up of a series of 

Satin stitch columns.

Run Stitch 

A run stitch is formed by placing stitches one after 

the next to create a line, the width of a thread, and 

is used for a variety of purposes. For example, a 

run stitch is used to travel from one object to the 

next, to produce most underlays, and to create 

detail in a design. When detailing a design, a twoply 

run stitch is most often used to create 

volume or to give better coverage. In some cases, on very small designs, a one-ply run stitch is sufficient to create the desired 

effect. Also, on very large designs, a three or four-ply run stitch can be used to enhance the detail line. 

This cowboy boot was 

digitized using Run 

stitch. 

This rope was digitized 

in Satin stitch with a Run 

stitch border. 

Fill Stitch 

This computer generated stitch type is created by a 

series of lines that fill in an area. The distance between 

the lines can be varied for loose or full coverage and is 

determined by the density of the stitches and the stitch 

length. Generally, any object with a width greater than 

one centimeter requires a fill stitch to reduce long stitches that may slow the speed of the machine (long jumps create unnecessary 

wear and tear on the machine). The use of fill stitch is not recommended for smaller objects that have a width less than 

five millimeters, as this does not give the needle sufficient space to move, potentially causing thread breaks and/or sewing 

problems. The fill stitch is used for a variety of purposes. For example, to fill in an area under lettering or to fill any large area 

with color. 

Fill stitches can be placed at one stitch angle or the angle can be 

varied to create a turning fill. Stitch length, density, and fill patterns 

can be used to create different looks. 

Backstitch or Returnstitch 

Standard Edge Walk Zig Zag 

Page 2

Some software may have options for the type of backstitch or return stitch. This option allows the digitizer to add different 

effects to the edge of the fill stitch object. The standard Backstitch allows every second row of stitches to be shorter in order 

to avoid too many small stitches on the edge of a shape. Edge Walk Backstitch is suitable for very open fills. It is sometimes 

referred to as trapunto. The edge on this type of fill follows the shape of the object. The diagonal Backstitch is the true zigzag 

pattern and works well for blending and jagged edge fills. 

TIP 

Large filled areas generally look best if they are finished with a Satin stitch border, although, 

a Run Stitch border may also be used. 

CAUTION 

Large filled areas should start sewing at one side and move steadily to the other side without 

breaking up the fill. This reduces the chance of fabric movement and puckering. 

Effects 

Split Satin 

This effect is very versatile for objects that have large and 

small areas combined. This stitch type combines Satin stitch 

and Fill stitch in one object. The length of the split can be 

varied depending on the size of the object. The use of split 

satin provides dimension and texture to objects that otherwise 

would appear flat. It also allows for an area to be sewn with a Fill stitch, but will use only a Satin stitch if smaller than the 

split length. Some examples are flames, trees and animals. 

This tree was digitized as one object. The 

use of Split Satin allows for Fill stitch in the 

middle and Satin stitch in the branches. 

Split Satin is very effective for shapes such 

as flames, where some areas are too large 

to satin. 

Page 3

Jagged Edge 

This is an effect that can be used for both satin stitch and fill stitch columns. The jagged edge is formed by varying the length 

of the stitches on one or both sides of an object. The length from one stitch to the next is called the range, and it can be 

increased or decreased to produce different effects . Some uses for jagged edge stitching are creating a tree line in a landscape, 

or blending colors together to create the fur on an animal. . 

This embroidery of the Northern Lights is made using the Jagged Edge effect 

Curved Fill 

This is an effect that can be applied to a fill stitch to create movement 

or dimension. The effect is formed by placing stitches on a 

curved line within a filled shape. This is an excellent way to add 

realism to a design. There are many different uses for this fill 

effect. Some examples are wave patterns, globe shapes, 

animals, snow, and clouds. 

TIP 

Try varying the density of the curved fill to create different effects but watch out for exposed 

underlay. 

Page 4

Patterned Fill 

Many of todays digi-systems have pre-set options to choose from, which can create a duplicating pattern throughout an area. 

The pattern fill is very helpful in adding dimension to designs that would otherwise look flat. There are many patterns that can 

be created and these are just a few examples of what there are to choose from. 

User-defined Patterned Fill 

This effect gives the user the ability to create a pattern that will be duplicated within a filled area. An example would be to take 

a word and repeat it over and over as part of a fill background. This effect is created by applying a .bmp image to a basic fill 

pattern. The needle penetrations are removed from the fill to create the pattern of the word. See how the word Data Stitch Inc. 

is repeated in this fill pattern. Also see the SS pattern in the other example. 

Complex Fill with holes 

This is a tool that some digi systems have that gives us the ability to create a fill of any shape with a consistant stitch angle. 

The tool then calculates the best way to fill in the various parts of the object, without having to break the area into separate 

pieces. The stitch angle as well as the density and stitch length can all be varied, as in any fill stitch. This option is extremely 

useful in creating any irregular shapes. It also allows holes of any shape to be placed within the fill. 

Page 5

Bean Stitch 

This is a variation of the run stitch that is the equivalent of three-ply run stitch, and is created making only one path. This 

means it starts at one end of a line and finishes at the other. The machine actually stitches each stitch three times before it 

moves on to the next stitch. 

The Stitch is formed by making a stitch forward, then back to 

the previous stitch and then forward two stitches. So it stitches 

forward-back, forward-forward-back, forward-forward-back. 

This is a good stitch to use to outline a shape without having 

to make multiple passes around the shape. 

CAUTION 

This is not the best type of stitch to use for designs that have detail lines that would require 

you to detail in and out to connect everything. If you double up a Bean stitch the result is 

equal to a six-ply run stitch. 

Motif Run Stitch 

This is an effect we can apply to a run stitch to create a pattern look. This stitch is formed by having a pattern repeat along a 

detail line. Many of todays digi systems have a list of motifs that can be used to enhance a run stitch. The size and length can 

be varied to suit the user. 

Cross Stitch 

This is a variation of the run stitch that creates the look of handmade cross stitch embroidery. In handmade cross stitch, one 

has the ability to pull the needle through the material in one place and then bring it up in a different place. This is not possible 

with today's embroidery machines as the needle goes in and comes out in the same spot. The cross stitch effect is made up 

of Run stitches creating a cross pattern to emulate the hand sewn look. Many of today's digi systems have an automated 

feature to create cross stitch designs. 

Page 6

Accordian Stitch 

This is an effect that can be used on either satin stitches or fill stitches. It is an effective tool used to blend two colours together. 

The effect is created by having either increasing or decreasing density from one side of an embroidery object to the other. 

Trapunto Stitch 

This is a general term for an open fill used to cover the background of a design. The open areas between the stitches will puff 

out slightly creating texture and dimension to the design. Edge run backstitch is required to finish the edge of such an open fill 

properly. 

TIP 

This effect can be combined with a heavy cotton batting between the material and the backing 

so that the areas that are not stitched will puff out and look even more raised. 

Page 7

Underlay Types 

Underlay is the most effective technique used to produce quality embroidery. It is the inital stitches used within an object as 

a foundation for the top stitching. Underlay is used to help objects maintain their digitized shapes, reduce the pull of the thread 

and the stretch of the various materials. Underlay is also used to stop the top stitching from sinking into the material or other 

layers of embroidery. More than one type of underlay can be used on an object when necessary. For example, a large filled 

area may require an edge run as well as a tatami or grid underlay. 

Center Run (Underlay) 

This type of underlay is used to provide lift for the satin stitch column. To create a center run underlay we would use a combination 

of one and two ply runstitch depending on the object. 

To underlay the letter "i" starting at the bottom and finishing at the bottom we would walk to the top with center run underlay 

and satin stitch back to the bottom. However, to digitize the letter "i" starting at the bottom and finishing in the middle, we 

would center run underlay from the bottom to the top and then satin stitch to the middle. Then we would center run from the 

middle back to the bottom and satin stitch back to the middle. The result is half a letter with one-ply center run and the other 

half with two-ply center run underlay. 

Edge Run (Underlay) 

This type of underlay is used to provide loft for satin stitches and also to provide a clean sewing edge to an object. We use it 

to stop stitches from sinking into the material or into a previous layer of embroidery that is sewn on the same stitch angle. To 

create edge run underlay, the thread is placed just inside the outer edge of the top stitches, and travels around the entire 

perimeter of the object. 

TIP 

This effect can be combined with a heavy cotton batting between the material and the backing 

so that the areas that are not stitched will puff out and look even more raised. 

Page 8

TIP 

Digitize the edge run underlay 0.5 millimeter in from the edge of the embroidered object. 

Placing the underlay any closer to the edge could cause it to poke out of the top stitching. 

CAUTION 

An object must have a width greater than two mm to use this type of underlay. 

Zig Zag & Double Zig Zag (Underlay) 

This type of underlay is used to provide loft and hold down fabric such as terry cloth or fleece. To digitize the zig zag underlay 

we stitch back and forth like a satin stitch, but with much less density. The underlay stitch spacing can be use to make more 

or less zig zag underlay. The greater the stitch spacing the farther apart the zig zag will be. 

Grid or Tatami (Underlay) 

This type of underlay is used most often under large areas of fill, and is used to reduce the push or give of the material. The 

tatami underlay is equivalent to a very open density fill and is most effective at a 90 degree angle to the top stitching. The 

underlay will tack down the area to be filled in, and will stabilize the material. 

Page 9

Stitch Length 

The length of a stitch will vary depending on the stitch type, but there are a few general rules that are determined by the equipment 

being used. Most equipment today will have a maximum stitch length of 12mm. To travel longer distances, the use of a 

jump stitch or needle up would be required. This does not mean that a 12mm satin stitch is a good idea. Most stitches should 

be kept at 6mm or less. Longer stitches are not as stable and are more likely to be snagged. In addition, they will cause wear 

and tear on your embroidery equipment. It is possible to digitize a satin stitch at 10mm wide but to ensure smooth sewing, the 

use of jump stitches is necessary. Most digi systems have an automatic setting of 7mm, which is industry standard. This 

means the 10mm satin stitch actually has a jump in between each stitch which ensures smoother sewing. 

Minimum stitch length should also be considered. Although your equipment may be able to create stitches that are less than 

1mm, the stitch will not form well. The needle and thread need to move far enough away from the last stitch to make a new 

needle penetration. If the distance is shorter than 1mm, the needle and thread may simply sew into the same hole, causing 

most of the embroidery to end up behind the material. You will also find that if the stitch is too short, the underlay may poke 

out of the top stitching. 

Here are some guidelines to consider concerning stitch length: 

- Keep all stitches longer than 1mm 

- Set jump stitch for 7mm 

- Try to keep all satin stitches no longer than 6-10mm 

- Use a stitch length of 3-6mm for tatami stitches 

- Use 2-3mm for underlay stitch length 

- Use 1.5-2.5mm for run stitches or detail. 

Page 10

Density 

Density is also known as Stitch Spacing 

Density of an embroidered object is best described as the distance between stitches. The greater the density, the smaller the 

distance between the stitches. The density used will vary, depending on stitch type. Underlay also effects the density we 

choose. For example, if we have a double zig zag underlay, less top stitching is required. The desired look will also affect the 

density required. For example, to achieve a blended look, the first color will be sewn at full coverage density and the second 

color would sew at the same angle using half density. If you play with the density, you can affect the number of stitches in a 

design. 

Here is a chart to use as a guideline for density, but we strongly recommend experimentation. 

Satin Stitch (Assuming that we are going for full coverage) 

Stitch length (column width) Underlay used Density used 

1mm center run .42 or 4.2 

1.5mm 

center run .40 or 4.0 

2mm 

3mm 

edge run 

edge run 

.38 or 3.8 

.36 or 3.6 

4mm 

edge run 

.34 or 3.4 

5mm edge run and/or zigzag .32 or 3.2 

6-10mm edge run and/or zigzag .30 or 3.0 

Page 11

Tatami Stitch 

The density of a Fill Stitch is like the Satin density, in that, it is based on the distance between two rows of stitches. With Fill 

stitches there is a back stitch to return to the other side of the embroidery. As a result the density of a fill stitch would appear to 

be based on every other row of stitching. 

Stitch Length 

3mm-6mm 

Density 

.35mm 

Underlay type 

Edge run and grid 

Effect 

Full coverage 

4mm-6mm 

.4 - 2mm or more 

Try to hide travel stitches 

Open coverage 

5mm-6mm 

.4 graduating to 2mm 

None 

Colour blend 

This guide is suitable for most fills with varying stitch lengths, depending on the application. To fill a banner with lettering on top, 

a 4mm stitch length would be used to prevent the letters sewing on top from pulling the fill stitches apart, causing the material 

to show through. For a large fill with no top stitching, we would use a 6mm stitch length to reduce the number of stitches in the 

design. 

TIP 

Try using a longer stitch length for blending colors together, as they can more easily sink 

into and blend with each other. 

To achieve a more open look for a background where the material will show through, try 

reducing the density. This type of open stitch works well for sky or water. 

Page 12

Stitch Angles 

Stitch angle is the direction of the stitch inside a column in a satin stitch or the direction of the stitches in a tatami fill. 

The stitch angle in a turning angle fill is controlled by the line that connects each set of points. 

The stitch angle in a tatami fill is parallel and does not turn. 

Adding Realism 

This leaf is an example of how stitch angle can add realism to an embroidery design. 

The leaf is made of 2 colours, one for the leaf and a second for the stem and veins. In the image on the left, the leaf is stitched 

with 1 stitch angle and the result looks a little flat. In the image on the right, the leaf is stitched with 2 angles one for each side 

of the leaf. The result is that the leaf looks more three-dimensional. The complete leaf is made of three objects one for each 

side of the leaf and a third for the stem and veins. 

Page 13

Push and Pull 

Learning to identify the "push and pull" of a design, and how to compensate for it, is an essential but very simple concept. All 

embroidery objects are affected by push and pull, the extent of which will depend on the stitch type, stitch direction, application, 

tension of the thread, and the backing. Embroidery stitches "pull" inward on the sides, and "push" outward on the ends of an 

object. Predicting what will happen to an object when all of these variables are applied and then compensating where necessary, 

is the key to achieving perfect results. This is called digitizing with distortion and is the most effective way to control the look of 

an embroidered design. Here is how it works; 

How Push and Pull affects basic shapes 

Page 14

Push Compensation 

Push only affects the ends of an object or the side that is parallel to the stitch angle. Most objects will push out one or two 

stitch widths beyond the digitized points. Therefore, in order to best compensate, the digitizer would create the object shorter 

than the artwork depicts. 

Pull Compensation 

Pull affects the edges of an object, causing the width of an object to sew thinner than the actual digitized shape. The amount 

or percentage of pull compensation depends on the fabric used. Therefore, in order to best compensate, the digitizer would 

create the object slightly wider than the artwork depicts. Many digi systems have an automated pull compensation that allows 

us to digitize the actual shape of an embroidery object and then assign a value to the compensation. Most digi systems use 

a percentage for pull compensation (ie: 110%) but some will use an actual distance (ie: .4mm) in place of the percentage. 

Page 15

Here are some general pull compensation guidelines. Experimentation with different fabrics is recommended. 

Object Width Percentage Based Pull Comp. Actual Value Based Pull Comp. 

1mm satin 110 -130% 

0.2 - 0.4mm 

4mm satin 105 - 115% 

0.17 - 0.25mm 

7mm satin 

7mm fill 

40mm + fill 

103 - 110% 

103 - 110% 

100 - 103% 

0.17 - 0.25mm 

0.17 - 0.25mm 

0.17 - 0.25mm 

CAUTION 

Be careful not to add too much pull compensation to small lettering or objects. If you do, the letters can 

become too fat and the space in between the letters starts to disappear. The result is that the letters 

don't look very clear. 

This has too much pull compensation 

This has just enough pull compensation to keep the letters bold but not so much that it closed up. 

Page 16

Spacing 

Space is an extremely important element to consider when creating quality embroidery. Where a space is desired, it is necessary 

to allow at least 1mm of distance between each column of embroidery. If two columns are placed side by side with insufficient 

space, the result can actually cut the material or leave the embroidery looking solid, with no definition. The space within 

an embroidery object must also be considered. Using the letter 'O' as an example, if the inside or hole in the letter is too small, 

the inside of theletter may close up. In this case, slight adjustments to the dimensions of the letter would be necessary. Too 

much space between two embroidery objects can also be a problem when trims are unwanted. Maintaining a consistent 

distance between objects ensuressmooth machine operation and reduces theappearance ofconnections. This idea is 

explained more thoroughly later in this unit under Tie Offs and Trims. 

Corners 

The importance of a clean looking corner in embroidery can never be underestimated. There are three basic ways to turn the 

same corner. The standard method (A) to turn a corner in embroidery requires at least three sets of points to suit the corner. 

The use of short stitches (D) allows less stitching on the inside of the corner to avoid thread breaks and sewing problems while 

ensuring enough stitches on the outside edge to create a clean and consistent line. Example (E) shows a corner without short 

stitches. Note the excessive density on the inside. The second method (B) is called a capped corner, and is formed by breaking 

the corner into pieces that all sew at the same angle. This type of corner works well for large, sharp corners as they 

produce fewer stitches. The third method (C) to turn a corner is called a mitred corner. In this case, the corner is split into two 

segments that overlap each other in the center. This method works well for corners between 75 and 90 degrees, and also on 

objects that must appear as if the stitch angle is turning. 

Connections 

Page 17

When digitizing an embroidery design, we create objects that combine to make the different elements of the design. Each 

satin stitch, run stitch and fill stitch we create are individual objects. The digitizer must consider how to connect the objects 

for smooth sewing. If the objects are close enough together, they can be closest point connected. If they are too far apart to 

connect, plan a jump stitch to connect the objects. If possible, plan for the start and end point of an object to be in the same 

place, so that both threads can be trimmed at the same time (see figure below left). Also consider the best place for each 

object to start and end, in order that the jump stitch connection does not get sewn over by subsequent objects (see figure 

below right). Proper pathing procedures will be more thoroughly explained later in this unit. 

Overlapping 

When we create embroidery objects, we need to overlap any objects that touch each 

other. In a perfect world we could make all embroidery objects exactly as they appear 

in the original artwork, but we know that in reality, Push and Pull, along with the give 

of the material, would cause gaps. These gaps make embroidery look very poor. To 

avoid these gaps, we need to overlap our objects. The object that is sewn first is over 

punched under the top object that will sew later. In the object that sews first we also 

need to consider the stitch angle of the areas that overlap. 

Parallel Stitch angle overlap 

When the Stitch Angle of the objects are parallel, the stitches will finger 

together. The use of an Edge run underlay would stop the objects from bleeding 

together. We use a double edge run underlay for the top layer of stitches. 

TIP 

TIP 

Double Edge run underlay. 

As in an example like the Canada flag shown here we 

want to keep all the fill objects with the same stitch angle 

so that the flag will always stay square. To ensure that 

the red and white Fill stitches do not bleed together we 

use a Double Edge Run underlay on the sewing that 

comes on top. 

Page 18

Cross section of overlapping embroidered shapes. 

Perpendicular Stitch angle overlap 

When the stitch angle is perpendicular to the overlapping object, the top object may grab the thread of the under object and 

pull it apart causing a gap. This gap can easily be avoided by adding extra underlay stitches under the first object. We call 

these special underlay stitches "Ticky Ticky Underlay". These very few underlay stitches can really improve the quality of your 

embroidery. The trick is to add the Ticky Ticky by hand as a Manual or Run stitch. 

These stitches become necessary where the top object sews across the bottom object. (figure A below). The Ticky Ticky 

underlay is not needed if the top object sews adjacent to the under object and just butts up to it as shown below (figure B 

below). 

Page 19

Tie In and Tie Off & Trims 

Tie ins and tie offs are some of the most important stitches in any design. The tie in stitches are the first few stitches at the 

beginning of an embroidery design. They are also necessary after any color change and after any thread trim or long jump. 

The tie in stitches ensure that the top thread and bobbin thread catch, or tie a knot before sewing begins. The tie in stitches 

are created by placing 3-5 stitches close together. These stitches are not part of the underlay and will be covered by top stitching, 

rendering them invisible. The tie off stitches are the last few stitches placed at the end of a design, and are mandatory to 

ensure that the threads do not unravel. They are also necessary at the end of a color and at the end of any object that will 

have a long jump or thread trim. A tie off is made in a similar fashion by placing 3-4 stitches very close together, creating a 

knot. The stitches should be placed inside the top stitching so that they are not visible. The stitch length for both tie ins and 

tie offs should be kept at 0.5 mm. Most digi systems have automatic tie ins and tie offs that can be preset for number of 

stitches and stitch lengths, and should be utilized at all times. 

Pathing 

Taking a moment to think through a design and choose a suitable path is essential to the digitizing process. The way that a 

design will be pathed determines both the efficiency and the aesthetics of the finished product. Machine time is reflected by 

the amount of trims, jumps and color changes in a design. This makes intelligent pathing extremely important in production. 

In deciding an effective path for a design, the digitizer must first learn to visualize the two dimensional artwork in its finished, 

three dimensional form. This process is important since some elements in the design may appear as if they are under other 

elements. Color sequence should be carefully thought out. Plan to use each color as few times as possible, to reduce the 

number of color stops in the design. Also consider the different elements of the design and how they affect the best path. 

In the case of this flower we stitched the petals first, so that we could hide the travel stitches under the second color (flower 

center).We chose to digitize the flower first and the lettering second so that the connecting thread from “Flower”to”Power” is 

not sewn over by the flower in the center. 

9 

In addition to the color and element sequence, a good digitizer 

would consider the start and end point of each object, so that 

they connect to the next object with no trim or jump. 

Page 20

Segmentation 

Deciding the best path of your embroidery is made easier by segmenting elements into their most basic Stitch types. 

The letter E can be broken up into four separate objects. 

Below is a complex shape. Most digi systems today have a tool to digitize this object. The concept is that the object is 

segmented into pieces that will vary depending on the stitch angle that you choose for the object. Image A has a horizontal 

stitch angle and requires 5 segments. Image B has a vertical (90 degree) stitch angle and requires 4 segments. 

TIP 

When choosing the stitch angle of a complex object consider the number of segments 

required. Less segments are generally better when possible. Also, consider if you can 

minimize the way that the push and pull will affect the object. 

Page 21

10/28/2016 The Pros & Cons of Resizing Designs Embroidery Article 

1 Reviews 

The Pros & Cons of Resizing Designs 

By Barbara Geer on November 04, 2008 



0 0 0 

Nothing is exactly the size you need it to be right? You can find the perfect design, but you need a cap logo and the design is jacketback 

sized, or vice verse. What do you do? Do you purchase the design and hope that it will resize well? There are some 

considerations to take into account before you do that. 

Most design companies say that you can reduce or enlarge a design up to fifteen percent. Most of the time, when they say that, it is 

merely to cover their proverbial backsides, and with good reason. Large designs are usually digitized with much detail. Smaller 

designs lack detail. Consequently , if you go too far in either direction, there will be problems. 

What problems? When you reduce a large, detailed design, the stitches that make up the detail in that design become packed too 

closely together. On the reverse, when you take a small design that doesn’t have as many commands in the program up to a very 

large size, the design often looks distorted and unsightly . The rule of thumb is that designs are usually created to be stitched at the 

original size. You can, however, resize designs, and I do often. 

How Good Is Your Editing Software? 

Resizing well depends largely on how good your embroidery editing software program is. Does it eliminate stitches when the 

design is reduced? Does it add stitches when the design is enlarged? Does it read the stitch lengths and the column widths and 

adjust them accordingly? These are things you have to know if you intend to resize designs. 

How Good Are You at Operating Your Editing Software? 

It used to be, that if a design was in an expanded stitch format of any type, that the design could not be edited. However , there have 

been many advances in editing software. 

Today, most software programs will convert the stitch file to an outline format, allowing for 

more ease in editing. Assuming that you have such a software program, let’ s take a look at 

what you can do. 

The design at the right is a simple crown and is digitized at a size of nearly 2.5 inches wide 

by about 2 inches high. The problem with enlarging this design is the columns. There are 

columns creating the “jewels” on the bottom section, as well as the outline of the design. 

The columns are hefty, and when enlarged, would be too wide to look nice, and they would 

possibly catch on sharp objects and threads would pull out. (W e all know how dif ficult it is 

to rip out embroidery when it’ s a mistake, but many of us also have experience with what 

happens when the columns in a design are too wide. Once the embroidery starts coming 

out, it’s almost impossible to stop that process!) 

Let’s assume, for the sake of this article, that I want to double the size of this design. The only columns that become too large at 

that size are the purple gems. They would be about a quarter of an inch, at the edge of what we call reasonable. For that color , it 

would be wise to employ the technique of changing the column to a fill. This would be found in your editing properties. 

Now the question is, is there enough underlay to support that fill? Does the stitch direction 

of the new fill run at an angle that will allow it to sit atop the base fill of that section as 

easily as a column does. Is the density at which the column was set suitable for a fill 

density? These are all properties that can, once again, be checked out in your editing 

properties. 

Something else that needs to be checked out when enlarging a design this much is the 

underlay of the rest of the sections. This particular design, I noticed, when I was analyzing 

its ability to be resized, was constructed with a manual underlay . In other words, the 

digitizer placed each row of stitches by hand, rather than relying on the software to place 

the underlay for him. Therefore, with the click of a button in the fill section of the properties, 

you can add underlay to the rest of the sections. 

https://www.embroiderydesigns.com/emb_learning/article/572/theprosconsofresizingdesigns.aspx 1/4


you can add underlay to the rest of the sections. 

Those simple changes should make this uncomplicated design stitchable at double the 

size. It’s still not a jacket back size, though, so if we triple the size of the design, what then? 

The problems are the same, just in a bigger proportion. 

All of the columns become too wide at the tripled 

size. They can be changed to a fill, but now they 

need more underlay than did the columns on the 

original design. Again, with the click of a button, I 

added an edge walk for the primary underlay and 

an additional center walk for the secondary 

underlay. 

Since the problem was universal, I didn’t have to 

change the properties of each section, but could 

choose the entire design and change them only 

once. 

Double The Size 

You’d think this might be a very stitch intensive 

design at this size, but not so. It came out to 28,240 total stitches, on the low size of jacket back sized designs. 

§ 

Columns and fills are pretty easy to deal with when enlarging designs. Much more dif ficult 

are the designs that have a running stitch outline. What seems accurate at a small size is 

not necessarily so when enlarged. Any discrepancies in the outline become bigger and 

bigger as the size goes up. The design on the right, for instance, is a small design, cute at 

the size it is, but lacking in the detail that you would want if you were to enlarge it 

significantly. 

Compare the size of the running stitch outline to the size of a column. It’ s apparent that 

there is far less leeway in portraying accuracy . However, if you do choose to enlarge a 

simple design like this one, and there are areas of the fill that need adjustment, you need 

a software program that allows you to move the edges of the outline. 

The push/pull factor is huge when it comes to resizing designs. Experience will tell you 

that the larger the design, the more compensation that will be needed for fill patterns, 

simply because they are larger . Experience is the key! It takes time to become proficient in using the features in your editing 

software. 

Let’s go the other direction. Using the same two designs, let’ s take a look at what 

happens when we go smaller . The original design of the child was just over four inches 

tall. Reducing it to 50 percent of that size works great. The only noticeable dif ferences are 

in the compacting of the hair and the fill stitches seem a bit long. Remember , though, that 

we are looking at screengenerated pictures, and the look is not totally accurate. While they 

are a good judge of what will work and not work, an embroiderer really has to stitch out the 

design to test its accuracy . 

Now let’s go back to that crown. The crown is a dif ferent story because of the columns. The 

columns that finish of f the edges of the design work great at the original size, but when 

reduced are too narrow for easy stitching, and will result in thread breaks. 

The columns, before adjustment, were at .04 inches, much too small to stitch. T o get them back to a workable size, I increased the 

column width 170 percent. The whole thing seems a little overrun by black to me. 

https://www.embroiderydesigns.com/emb_learning/article/572/theprosconsofresizingdesigns.aspx 

Let’s try changing the color and see what that 

2/4


Let’s try changing the color and see what that 

does. The design looks very dif ferent, doesn’t it? 

My changing the black to yellow gold, the aspect of 

the black being overwhelming is eliminated. § 

Neither of 

the two 

designs 

that we 

have 

studied 

so far 

have very 

much 

detail. 

Just for 

fun, I’m 

going to 

take a very large motorcycle design and reduce it so that you will be able to see what happens when too much detail is compacted 

into a small area. The motorcycle was digitized at a size of 1 1.5 inches. That’ s a huge design, but the size allows for much detail to 

be put into the motor area and the spokes on the wheels. Notice, too, the shadows that give the design a threedimensional look. 

The great amount of detail is possible because of the size. This design could be reduced 

effectively to about half of its original size. However, it is still almost six inches wide, 

certainly too wide for a left crest or cap design. You can see, though, that the stitches are 

already more compacted than in the design of the original size. 

So let’s check out the same design at three inches, a size that would be suitable for left crests or caps. W 

go? 

ow, where did the detail 

Once again, the black outline takes over the design, hiding what detail there would be in 

stitches that are too close together . Piling the stitches one on top of the other as this 

design would surely do, will not only result in lost detail, but would give the embroiderer 

countless thread breaks, as well. 

If we’re not digitizers, we often ask why we have to pay for digitizing the same design more 

than one time to get various sizes. Those of us who are digitizers would like to be able to 

take the shortcuts to get designs of various sizes. 

Sometimes it is possible, and other times it is not. But, the better you are at editing, the 

more you will be able to resize. 








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10/28/2016 Troubleshooting Design Problems: Machine Setup Embroidery Article 


Enlarge) 

Not Yet Rated 

Troubleshooting Design Problems: 

Machine Setup 

By James M. (Jimmy) Lamb on February 01, 2009 


0 0 0 

The most common problem caused by the machine is incorrect thread tensioning. Improper tensioning can lead to bobbin thread 

showing on top, loops forming in the topstitching, and outlines that don’t line up, especially running stitch outlines. It’ s imperative 

that you know how to set proper tensions and that you do so as needed. 

Sewing tensions are af fected by a number of variables, such as the color of the thread, how tightly wound it is on the spool, and 

how much is left on the spool. Also, if dirt and lint build up along the thread path, it can af fect the tension as well. And though you 

may have an ideal tension setting, you sometimes need to adjust it based on the item being sewn. (One of our machines sewed 

much better on caps if we loosened the upper thread tension slightly . That’s not to say this applies to your equipment, but we found 

it to be true with some of ours.) The thickness of the fabric will af fect the sewing as well. While you should attempt to compensate 

for this in the digitizing process, adjusting your thread tensions may improve the quality of the sewing when dealing with thicker 

fabrics. 

Another machine issue that can cause poor quality sewing is an improperly mounted hoop. Each brand of machine is a little bit 

different, but with most, it’ s possible to mount a hoop without getting it latched in place tightly . In some cases the hoop stays firmly 

in place, it’s just not straight, which causes the design to be crooked. In other cases the hoop develops a bit of “play” or bounce, 

which will lead to all kinds of creative problems. Always doublecheck that the hoop is installed securely and properly . Give it a 

slight tug. 

This is especially true with older caps frames. In fact, with cap frames, a design that is too 

tall can cause a major registration problem. Y ou may find that it “fits” within acceptable cap 

design parameters and assume it’ s ok. But for low profile caps the crown is obviously not 

as tall as on golf caps. As the sewing approaches the top of the design, the cap is moved 

physically closer to the machine so that the end of the sewing arm starts to push against 

the inside top of the cap. (Since the end of the sewing arm is hidden by the cap, you may 

not be aware of this.) As it pushes against the inside top of the cap, it begins to stretch the 

cap causing distortion of the sewing surface. This is a limitation caused by the cap 

construction as well as the machine design. Some machines have slightly longer sewing 

arms than others. Slight is the key word, as the sewing arm contains the bobbin assembly 

which has to be directly below the sewing needle. However , some machines have a 

slightly reduced distance between the bobbin case and the end of the arm. The only cure 

is to reduce the height of the design or perhaps place it lower on the cap, if possible. And 

of course changing cap brands may improve this situation as well. With some models of machines, the pressure of the sewing 

arm against the inside top of the cap is enough to “pop” the entire sewing frame loose from the machine, a nightmare in itself. 

Along these same lines, dif ferent machines have dif ferent methods of installing mounting brackets which mate to the frames and 

hoops. For example, if you are converting from flats to caps, you may to remove certain physical brackets and screws, then replace 

them with different brackets and screws. Occasionally, you may forget a screw, not tighten a screw, or overlook a firm seating for the 

brackets being installed. Once again, sewing quality will be af fected. Along the same lines, you may have to change out needle 

plates depending upon what’ s being sewn. The wrong needle plate or a loose one can cause quality problems as well as thread 

and needle breaks. 

Finally, there may be physical obstructions that limit hoop and frame movement. Maybe a loose object has fallen into the path of the 

hoop travel, blocking it or limiting it. (Ink pens are a major culprit.) On most machines, the sewing head attaches (vertically) to the 

sewing table. This of course is a builtin limitation for how far the hoop can travel vertically . However, most machines will allow 

sewing movement right up to the base of the sewing head. But if something falls into the space between the top edge of the hoop 

and the sewing head, it further limits or blocks the vertical movement. And, depending upon the machine, this may not cause a 

crunching, grinding noise, so you don’t realize when it’ s happening. One common obstruction is the garment itself. Big, bulky items 

https://www.embroiderydesigns.com/emb_learning/article/583/troubleshootingdesignproblemsmachinesetup.aspx 

such as jackets and overalls may have sleeves that flop over into the path of hoop travel. Likewise, bulky items may catch on the 

1/2

10/28/2016 Troubleshooting Design Problems: Machine Setup Embroidery Article 

such as jackets and overalls may have sleeves that flop over into the path of hoop travel. Likewise, bulky items may catch on the 

needles, presser feet, or trimmer assemblies, any of which can limit proper hoop movement. 


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

(Jimmy) Lamb 

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

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


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Meet The Author: James M. (Jimmy) Lamb 

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

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

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

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

seminars. 

https://www.embroiderydesigns.com/emb_learning/article/583/troubleshootingdesignproblemsmachinesetup.aspx 2/2

10/28/2016 Troubleshooting Design Problems: Improper Digitizing Embroidery Article 


Enlarge) 

Not Yet Rated 

Troubleshooting Design Problems: 

Improper Digitizing 

By James M. (Jimmy) Lamb on February 01, 2009 


0 0 0 

The third area of influence for poor registration is, of course, digitizing. It should be noted that for purposes of this article, digitizing 

will include keyboard lettering and the use of stock designs. 

Digitizing problems can be broken down into the following categories: incorrect setup for the given garment, improper manipulation 

of the design parameters, and applying the design to a dif ferent fabric than the one it was digitized for . 

Typically, an incorrect setup means that the digitizer either didn’t know what they were 

doing or didn’t pay attention to the job details. The most significant factor of the digitizing 

process is pushpull compensation. That begins with an understanding of the 

characteristics of the fabric that the design will be sewn on. Some fabrics are more stable 

than others. For the unstable ones, certain elements must be added to the design to 

ensure that quality and registration are maintained at the highest levels. Inexperienced 

digitizers may not have a thorough understanding of the pushpull phenomenon, and thus 

may not have predicted and compensated for it, which is a leading cause of poor 

registration. 

In some cases, the embroiderer takes a welldigitized design and then tries to resize it or 

change some of the parameters to suit their own needs. By altering the original design, 

the very features that ensure top quality sewing, are changed and the quality level 

decreases. 

Finally, sewing a design on a dif ferent garment/fabric than the one for which it was digitized can cause all kinds of quality 

issues. Like it or not, no design sews great on everything. Since each fabric has dif ferent characteristics, a design needs to be 

digitized differently for each one. But in the real world, no one wants to pay to have several versions created. Instead they take the 

design and apply it to every fabric and hope that it works. When it doesn’t, they assume the digitizing is flawed. 

The same thing happens with stock designs. You buy something of f the internet and find that it sews great on denim shirts, but 

when you try to sew it on a tshirt, the outlines don’t line up. Once again the digitizer is to blame. In reality , the embroiderer is the 

one to blame for assuming a given design works well on every fabric. It doesn’t. 

In review, digitizing is not always the culprit when it comes to poor registration. Machine problems, improper hooping, backing 

issues, lack of topping and fabric characteristics can all contribute to poor registration. It’ s up to the embroiderer to assess the 

situation completely and determine what the real cause (or causes) is for poor registration. Don’t scream at the digitizer until you 

know he/she really is the problem. And if that is the case, don’t scream too loudly – be professional – a mild shout might suf fice. 



(Jimmy) Lamb 




https://www.embroiderydesigns.com/emb_learning/article/585/troubleshootingdesignproblemsimproperdigitizing.aspx 1/2

10/28/2016 Troubleshooting Design Problems: Improper Digitizing Embroidery Article 


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seminars. 

https://www.embroiderydesigns.com/emb_learning/article/585/troubleshootingdesignproblemsimproperdigitizing.aspx 2/2

10/28/2016 Troubleshooting Design Problems: Don't Shoot the Digitizer Embroidery Article 


Enlarge) 

Not Yet Rated 

Troubleshooting Design Problems: Don't 

Shoot the Digitizer 

By James M. (Jimmy) Lamb on January 01, 2009 


0 0 0 

You’re anxiously pacing the floor while glaring at the clock. T ime is of the essence! Y ou have to deliver two dozen embroidered 

shirts to a hot new client by 4:30pm and it’ s already 1:00pm. Miss the deadline and you lose the customer . Everything is ready. The 

shirts are stacked on the hooping table, the machine is threaded, and the backing is cut and ready to go. The only thing left is to get 

the finished logo back from the digitizer . You check your email every two minutes, but there is nothing there other than more 

useless “spam”. As you pace a little more frantically , a blood vessel in your forehead begins to throb. Profane thoughts begin to 

flood your mind. Suddenly you’re overcome with an uncontrollable desire to pickup the phone and call that “slowasaturtle” 

digitizer and scream at him. Better yet, maybe you could reach through the phone and strangle him with his mouse cord. Just as 

you reach the height of your anxiety, ready to cross the line into insanity , a distant electronic chime penetrates the hail of spinning 

outofcontrol thoughts in your brain. What was that sound? The realization hits and you quickly regain your composure. Email, it’ s 

email! You run to the computer and sure enough, there is the file, ready for download. “Thankyou, thankyou, thankyou” you shout. 

Quickly, you download the design and prepare to sew it. Reason would dictate that you run a sewout first, but the clock says no. So 

you take a chance. This particular digitizer is supposed to be one of the best, so there is very little chance that the design won’t sew 

properly. Hurriedly, you hoop the first shirt and place it on the machine. Y ou set up the color sequence, give everything one last 

cursory glance and hit start. The sewing process begins. Y ou watch for the first hundred stitches or so, until you are confident 

things are going well. Then you turn away to focus on hooping the next shirt, as well as a few administrative details. Y ou begin to 

relax as you realize that you will make the deadline after all. 

When the machine finally completes the first run, you rush over with another shirt in hand, 

ready to make the swap. You quickly remove the finished shirt, and replace it with the next 

one, a broad smile on your face as you admire your ef ficiency. You hit the start button, then 

reach over and pick up the finished shirt to admire your work. Y our smiling face slowly 

changes into a blank look of shock. Then it rapidly transitions to red and finally a deep 

crimson, as anger replaces confusion. “That @#$% digitizer!” you scream. “This looks like 

&*?@, it’s puckered and the outlines don’t line up.” Rage overwhelms you as you realize 

that you won’t meet the deadline, because the embroidery has registration problems, 

obviously the fault of the digitizer. You march over to the phone ready to call the puncher 

and chew him out. ST OP! 

How do you know that the registration problems in the design were caused by poor 

digitizing? It’s so easy to blame the digitizer for sewing problems, but in many cases 

he/she is not to blame. In reality , there are three areas of the embroidery process that can cause quality and registration problems: 

hooping, machine setup, digitizing. Sewing quality issues can easily be caused by any one of the three as well as a combination of 

the three. Some times it is the digitizing, but not always. Y ou have to do some troubleshooting to determine the real cause or 

causes. Look for more "T roubleshooting Design Problems" articles next month that will cover these three areas to see how they 

affect embroidery quality. 



(Jimmy) Lamb 



https://www.embroiderydesigns.com/emb_learning/article/582/troubleshootingdesignproblemsdontshootthedigitizer .aspx 1/2

10/28/2016 Troubleshooting Design Problems: Don't Shoot the Digitizer Embroidery Article 


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seminars. 

https://www.embroiderydesigns.com/emb_learning/article/582/troubleshootingdesignproblemsdontshootthedigitizer .aspx 2/2

Common Problems with Digital Embroidery Stitch Files – Help Center 

https://help.zazzle.com/hc/en-us/articles/221986647-Common-Problems-... 

1 of 4 10/28/2016 12:06 AM 

English (US) 

Help Center > Designer 

> Guidelines and Policies 

The following 4 reasons are the most common reasons for 

Embroidery and stitch files being removed from the Zazzle site. 

Please review the information below so that you can review your file 

and make the appropriate changes. 

1. Underlays - The fill area sewn does not have a correctly composed 

underlay, or it has none at all. Good underlays are the basis for successful 

design, especially on knit fabrics, such as pique knit used in polo shirts. 

Usually, professional digitizers use a criss-cross method of establishing a 

quilted effect on the garment first. This first layer tacks down and 

compresses the fabric. The final layer loops over the underlay so that it does 

not sink into the garment. Without proper underlays, stitches will gap, distort 

when sewing, misalign with other colors, and sink into the garment. 

2. Overcompression - This happens when a digitized file intended for a larger 

area is shrunk down for a smaller sewn area. Many digitized file formats do 

not resize with compensations, so the result is an image that is too dense to 

be sewn. The final sew breaks needles, feels bullet-proof, and is warped. 

Suppose, for example, that a person found the perfect image designed for a 

jacket back in a DST format, and that image has 100,000 stitches. If they



2 of 4 10/28/2016 12:06 AM 

shrink it down for a left chest, then the entire 100,000 stitches would 

compress to that size. Their stitch lengths would also shorten. In the end, 

the garment would sustain too many stitches and disintegrate (tear or rip, 

especially at the edges of the design). The opposite effect happens when a 

small image is expanded to accommodate a larger area. In this case, there 

would not be enough stitches or density to cover the area, so the design 

would be gapped. 

3. Pull Compensation Errors - Digitizing is not the same as graphic design. 

An image may look fine on screen and not sew properly. Take the case of a 

simple fill with an outline (a square or circle). The fill would sew first, and 

then the outline would sew around it. However, as the fill sews in the 

garment, the sewn threads will tighten, and this will cause the garment to 

draw up, or condense. In embroidery, this is called "pull". Pull occurs most 

in the direction of sew, so in the case of a circle sewn with a horizontal stitch, 

the distance from left to right would be less than the distance from top to 

bottom when a final product is completed. To achieve a perfect circle, 

therefore, the designer would need to design an ellipse. To achieve a 

square, the designer would need to create a rectangle with the longest 

distance in the direction of the sew. After sewing the fill, the outline would 

then be sewn, but since the garment has changed during the fill, the outline 

would need to be designed in such a way to account for this change. Most 

professional digitizers will create files that appear to be misaligned on 

screen, but in fact these files sew correctly when run on commercial 

embroidery machines. This misalignment and distortion to achieve a perfect 

end result is called "pull compensation". When a final product is sewn and 

gaps and misalignments occur, then the design failed to account for the 

fabric distortion. 

4. Wrong Stitch Type - Not all stitches can be used to achieve the results we 

would want in our logo. There are basically three types: complex fills, 

column (satin) stitches, and manual stitches. Of these, the most common 

error by digitizers is using a column stitch on logo items that are too small. 

Column stitches are created using a loop stitch from one side of the column



3 of 4 10/28/2016 12:06 AM 

to the other. There is a minimal distance that must be maintained in columns 

for the stitch to succeed. This varies depending on fabric (twills are different 

from piques, for example), but the result is the same: if a stitch is too short, 

the column will sink into the fabric and cut the garment. The use of threads 

to produce a logo has a limitation on size. Some small details simply cannot 

be achieved successfully with threads. Logos may need to be adjusted in 

size or re-evaluated on the level of detail possible. 

Additional issues include: 

Inadequate underlays - Underlays are not sufficient enough to 

adequately prepare the garment for stitching. This is especially 

noticeable on complex fills, where sufficient underlay is not present 

and the fill has no layer to rest on, causing some gapping and 

distortion issues. 

Lack of pull compensation - Especially when outlines or multiple 

colors are crossing one another, in some cases there is no sufficient 

compensation built into the designs for the final sew. We are seeing 

some misalignments 1/8-1/4" off on small sews. When using a 

complex fill that is outlined, the complex fill is not designed to 

compensate for the true stitched position of the final outline, causing 

gapping in the sewn image between the outline and the fill, or 

misalignments. 

Column fill gapping - We have found that underlays on standard 

columns work best when an edge stitch is used at around 30pts 

70-75% column width, followed by a zig zag of around 20pts 85%, 

then a density in the final sewn column of 3pts, 1-2 lines overlap, and 

a pull compensation according to the size of the column. Using 

anything greater than 3pts produces gaps in the sew. The same can 

be said of complex fills.



4 of 4 10/28/2016 12:06 AM 

Low density on complex fills - What we have found to work on 

complex fills is 3pts on density, with underlay #1 at 45 degrees, 1pt 

border, 15pt density. Underlay #2 is the same pt/border/density, but is 

at 90 degrees. We have found that prime number stitch lengths work 

best, so in the case of a standard fill, we have seen good results 

around 57pts on the standard stitch and 31 pts in the underlays. The 

use of a prime number means that we are less likely to produce a 

moiré pattern in the stitch. If we use anything greater than 3pts in 

density, we get gapping. Anything less produces objects too dense to 

sew without numerous frays or thread breaks. 

Small Columns/text - On columns that are very small and narrow in 

width(such as small text or text with narrow columns less than 1/8"), we find 

that no underlay is fine, when we use a 3pt density and 1-2 lines of overlap. 

We also find that the pull compensation should be around 107%-130%, 

depending on the design characteristics. 

RELATED ARTICLES 

How Do I Create a Design Suitable for Zazzle 

Embroidery? 

Image Conversion Fees for Embroidery 

Creating and Uploading Images to Zazzle 

Content Guidelines for Undergarments 

Marketplace Optimization 

Still have questions? 

Email or call us and our customer support heroes will be happy to help.

10/28/2016 Working With Photographs Embroidery Article 

Not Yet Rated 

Working With Photographs 

By Barbara Geer on October 01, 2008 



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Most digitizers do not like to work from photos of any kind. The reason? Concrete lines are harder to find than on most logo artwork. 

Also, with photos there are many shadows that either can be hard to create in a realistic fashion or can be left out altogether . 

Some digitizers prefer to turn their artwork into vector files before they begin the process of digitizing. On a photograph, that can be 

a long and arduous project. 

My solution to this problem is to create the outline first. I chose a photograph of a car as 

my example. I digitize many cars, and they all come to me as photos, often taken at car 

shows. Sometimes, without a concrete outline, it is dif ficult to see where one car ends and 

the other car begins, especially if the cars next to each other are the same color . This 

particular photograph doesn’t have that problem, however . 

When looking at the screen capture 1.1, you will see that the design, which so far is only 

one color, starts with a color change. By putting the color change first, I can insert other 

colors ahead of the outline that I created and won’t be working with the same color . 

However, if I didn’t have that color change there, I would be working with the same color , 

making it dif ficult to see where I’m going with my stitches. This example has the 

completed outline, shown in 3D to see the stitches. 

Screen Capture 1.1 

Because working in 3D takes more power from the computer than the flat version of the 

stitches, I don’t work in 3D as I am digitizing. The black against the black of the picture would be very dif ficult to see, so I usually 

choose a bright color , red or yellow or bright blue, while I am working. I only change the color once the area that I am working on is 

finished. 

Once the outline has been completed, it’ s time to start at the beginning. Y ou will notice that 

on the right side of the screen capture 1.2, there is a black line between numbers 236 and 

237. That is the insert line, showing me where I am placing each command. By this time, I 

had completed the design. However , I have turned off the colors so that you can see the 

order in which the car was digitized. Hence, the Xes on the color chart at the bottom of the 

screen. 

On most photos, there is a shadow below a car , caused by the sun shining on the car . I 

like to use that shadow in the design, for the simple reason that there is so much black on 

the bottom of any vehicle. If this design were to be stitched on a black garment, much of 

the detail in the design gets lost. Placing a shadow of another color under the vehicle 

makes it stand out from the garment and adds a realistic touch to the design. I usually use 

a light fill for two reasons. One, it doesn’t add so many stitches to what would already be a Screen Capture 1.2 

quite intensive design. T wo, a light fill provides just enough color to contrast with any 

garment. Here I chose a tan, like gravel, but gray for concrete, or charcoal for pavement would also work. 

I have digitized so many cars, that I have found a system that works pretty well for me, and 

consequently, I almost always go in the same order . The next color in the design is the 

silver wheels. 

I should back up a second and mention that I didn’t do all of the black outline at the end. I 

could have chosen to make the tires part of the last outline, but I did not. While I am a firm 

believer in changing thread colors as few times as possible, there are times when 

layering the design is also important, and may cause the use of a color more than one 

time. This is one of those times. 

https://www.embroiderydesigns.com/emb_learning/article/564/workingwithphotographs.aspx 1/4


time. This is one of those times. 

The tires are underneath the car , and so, I also like the black thread that makes up the 

tires to be beneath the thread that stitches the body of the car . This technique adds 

dimension to the design. 

The same theory applies to the silver in the wheels and rims. This silver needs to be 

beneath the black, but the silver that trims the body of the car needs to be on top of the 

main body color . 

Also notice the running stitches (Screen Capture 1.3) from one silver section to the next. 

Though this adds stitches to the design, running stitches take less time than either 

machine trimming or hand trimming (for those who don’t have machine trimmers), and 

should be used to move from one color section to another whenever possible. 


§ 

The next color in the series is the black of the tires. 

Notice that the black detail on the silver hubcaps is stitched in the same sequence as the 

tires (Screen Capture 1.4), as is the black underbelly of the car . The order is determined 

by what appears closer in the view with the underlying things stitched first and the wheels 

last in this color on the bottom. Since the interior of the car is also black, I chose this time 

digitize that portion as well, using running stitches to get from one section to the next all 

the way through. 

Now it’s time to start working on the body of the 

car. 


Though it’s a little difficult to see in a screen 

capture (1.5), I always do the windows, especially 

in a large car design where I have also digitized 

the interior, as a light fill. That way, you will be 

able to see the interior of the car through the 

stitches of the window , making the design look 

very realistic. 

Charcoal or gray are good colors for windows, Screen Capture 1.5 

but another great choice would be a white or 

clear lamé thread. Lamé thread is shiny , as are windows. 

The next color is white, as you can tell from the color chart at the bottom of the screen 

(Screen Capture 1.6). The white is for the headlights, which in the dimensional scheme, 

are under the silver trim. A running stitch between the lights is possible since both the 

black that is already digitized, (but we are inserting the colors ahead of) and the silver will 

cover those stitches. 

I could have chosen to stitch the car body next. It really wouldn’t matter . Most of the time 

there are reasons for the choices. In this case, however , the white and the red of the car 

body do not intersect, so either choice would have been OK. Mine was the lights. 

I also chose to add the small light on the side of 

the car and the fog lights on the front, which I 

made deep yellow , or amber (Screen Capture 

1.7). Stitching these before the body allows 

running stitches between the fill patterns again. 




Even though it appears that most of the car is left 

to do, the hardest work is now done! The body of 

the car is usually a series of fill patterns, and the 

outline that was digitized way back at the 

beginning serves as a guide for where to place 

the fills. 

One 

thing 


that I 

really 

like to 

do is to 

break 

the body 

of the 

car (and 

other 

large 

areas, Screen Capture 1.8 

as well,) 

into small sections, and choose dif ferent fill directions for each of them (Screen Capture 1.8). That process really brings out the 

shape of the car, and adds highlights because of the way that the light hits the threads. 

The final color, which is still inserted before that first black outline, is silver , which makes up all the trim on the car (Screen Capture 

1.9). 

As stated back in the first paragraph, the secret to working with a photograph is to define the lines before you get started. 

Before onscreen digitizing was invented, it was a timeconsuming process to draw the 

outlines on an enlarged version of a photograph. Another option was to completely redraw 

the image, usually with the help of an overhead projector . 

It’s still timeconsuming to draw the outline with a mouse. One of the advantages of doing 

it in this manner is that one color of the design is already done when the outline is 

complete. The second is that the placement of all the other fill patterns is clearly defined 

and good registration is a snap. 

Try it. It’s not as hard as you think! 







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