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Common Problems with Digital Embroidery Stitch Files – Help Center https://help.zazzle.com/hc/en-us/articles/221986647-Common-Problems-... 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 (Click Image to Enlarge) Share Your Project 0 0 0 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
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TECHNICAL BULLETIN COMMON EMBROIDER
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10/28/2016 Thick and Thin: So Many
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Pattern Fill Density TruE 3 Create
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Fill Areas with Line TruE 3 Create
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Motif Fill Areas Motif and Other Fi
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TruE 3 Create 71 72 73 74 75 Shape
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Continuous Columns TruE 3 Create Co
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TruE 3 Create Satin Density Satin D
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TruE 3 Create Line Types 2mm Runnin
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Satin vs. Fill Stitch | Applique Ca
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Satin vs. Fill Stitch | Applique Ca
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• Hole Stitch Type: The type of s
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Density : Density is a calculation
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• Second Side: Applies the random
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• Narrow Curve Approach: ➢ ➢
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• Outline: The outline control wi
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➢ Continuous: This is the default
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➢ ➢ Stretch: When stitches are
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➢ ➢ Connect Blocks: What type o
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10/28/2016 Threads & Bobbins Embroi
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10/28/2016 Understanding Hoop Size
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10/28/2016 Understanding Alphabet a
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10/28/2016 Lettering Setups: Mach
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Page 97 and 98: 10/28/2016 Pointers for Appliqué S
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Page 101 and 102: 10/28/2016 Tips For Using Pufy Foam
Page 103 and 104: Run Stitch A run stitch is formed b
Page 105 and 106: Jagged Edge This is an effect that
Page 107 and 108: Bean Stitch This is a variation of
Page 109 and 110: Underlay Types Underlay is the most
Page 111 and 112: Stitch Length The length of a stitc
Page 113 and 114: Tatami Stitch The density of a Fill
Page 115 and 116: Push and Pull Learning to identify
Page 117 and 118: Here are some general pull compensa
Page 119 and 120: When digitizing an embroidery desig
Page 121 and 122: Tie In and Tie Off & Trims Tie ins
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