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Embroidery Software 2006

Online Manual
Copyright 1998-2005 Wilcom International Pty Ltd. All rights reserved.
No parts of this publication or the accompanying software may be copied or
distributed, transmitted, transcribed, stored in a retrieval system or translated into any
human or computer language, in any form or by any means, electronic, mechanical,
magnetic, manual, or otherwise, or disclosed to any third party without the express
written permission of:
Wilcom International Pty Ltd. (A.B.N. 62 062 621 943)
146-156 Wyndham Street, Alexandria (Sydney)
New South Wales, 2015, Australia
PO Box 581, Alexandria, 1435
Phone: +61 2 9578 5100
Fax: +61 2 9578 5108
Email: wilcom@wilcom.com.au
Web: http://www.wilcom.com.au
The Stitch Processor (SP) portion of this product is protected by the following patents:
US Patent N 4,821,662
European Patent N 0221163
J apanese Patent N 2029491
Curve Line Fill Stitching in this product is protected by US Patent No. 6,587,745.
TrueView and Point & Stitch are trademarks of Wilcom International Pty Ltd.
Portions of the imaging technology of this product are copyrighted by AccuSoft
Corporation. The EPS File Import/Export Convertor used in this product is copyrighted
by Access Softek, Inc. All rights reserved.
Wilcom International Pty Ltd. makes no representation or warranties with respect to
the contents of this publication and specifically disclaims any implied warranties of
merchantable quality or fitness for any particular purpose.
Further, Wilcom International Pty Ltd. reserves the right to revise this publication and
to make changes in it from time to time without obligation of Wilcom International Pty
Ltd. to notify any person or organization of such revisions or changes.
The screen illustrations in this publication are intended to be representations, not
exact duplicates of the screen layouts generated by the software.
Subject to any warranties implied by law which are incapable of limitation or exclusion,
the software is purchased as is without any warranty as to its performance, accuracy,
freedom from error or to any results generated through its use and without any implied
warranty of merchantability or of fitness for any particular purpose for which the
software is being acquired. The purchaser relies on its own skill and judgement in
selecting the software for its own use and assumes the entire risk as to the results and
performance of the software. Wilcom International Pty Ltd. specifically does not
warrant that the software will meet the purchasers requirements or operate without
interruption or error.
Rev 1 April 2005
ES 2006 Wilcom ES Online Manual 1
Introduction
Welcome to Wilcom ES 2006, the leading software application for
embroidery industry design and manufacture. Wilcom ES is a suite of
CAD/CAM tools providing a fast, flexible way to create, edit, organize and
stitch out embroidery designs. It is designed to support the high productivity
and efficiency requirements of professional digitizers. It also allows novices
and less frequent users to become productive digitizers. Wilcom ES lets you
edit designs at any stage, or adapt existing designs for use with different
fabrics and machines.
First-time users
Wilcom ES provides a wide range of design capabilities, allowing you to
create, edit, and output embroidery designs with ease. Before you begin
working with the product, read Digitizing with Wilcom ES. This chapter
presents an overview of the basic concepts of digitizing with Wilcom ES and
provides important guidelines on how to use the software for best results.
You should also familiarize yourself with Basic Procedures. This chapter
explains how to start the application and how to use some of the essential
tools and features that Wilcom ES provides. The chapters Viewing Designs
and Working with Design Objects contain essential information about the
many ways of viewing designs in Wilcom ES as well as selecting and
manipulating design objects.
Upgrade or update users
Wilcom ES 2006 has many new and expanded features which make
digitizing easier and more efficient. Read the chapter Digitizing with Wilcom
ES to familiarize yourself quickly with the scope of these improvements.
Wilcom ES product models
Wilcom ES 2006 is available in five product levels21L, 21E, 21D,
45 and 65. Each is designed to fulfil the needs of specific embroidery
businesses and to build upon the others to provide for the whole gamut of
stitching and digitizing requirements of professional digitizers.
ES 2006 Introduction 2
21LLettering
Monogramming, Lettering
Do you routinely embroider lettering and sports Team Name garments?
Empower your business with the flexibility and reliability of in-house
lettering provided by Wilcom ES level 21L. Take possession of over 130
professionally digitized embroidery alphabets, or utilize the endless variety
of Windows fonts with Wilcoms TrueType Font converter. Team Names and
mass monogramming is a breezeautomatically create hundreds of name
badges and emblems in seconds. Powerful lettering reshape tools let you
handle custom lettering jobs with confidence. Combined with professional
colorway and stitch processing technology, Wilcom ES level 21L provides for
all your lettering and monogramming needs.
21ELettering and Editing
Monogramming, Lettering, Editing
Empower your business with the flexibility and reliability of in-house
lettering and editing provided by Wilcom ES level 21E. Take possession of
over 130 professionally digitized embroidery alphabets, or utilize the
endless variety of Windows fonts with Wilcoms TrueType Font converter. Edit
and reshape your embroidery designs or combine them with existing ones.
Change between Satin, Zigzag and Tatami, as well as adjust stitch density
and underlay settings over the whole or selected parts of a design. With
Wilcom ES level 21E, you are professionally equipped for any embroidery
lettering or editing job that comes your way.
21DPowerful Digitizing
Corporate, Sports, Fashion
Wilcom ES level 21D introduces you to professional embroidery digitizing.
Backed with the advanced lettering and editing features of level 21E, 21D
delivers a suite of integrated and powerful digitizing tools plus the flexibility
to create reliable, quality embroidery designs. Using scanned or imported
artwork, create embroidery shapes with turning or parallel stitching plus
advanced stitch types like Program Split or Motif Fill. Ideal for companies
that do corporate, sports and fashion embroidery, level 21D supports all
common embroidery industry formats.
45Creative Digitizing
Creative Flair, High Fashion, Inspiration
Boasting a blend of powerful digitizing tools and creative stitch effects,
Wilcom ES level 45 is Wilcoms most popular embroidery digitizing system.
Import and convert vector files to embroidery using Wilcoms legendary
ES 2006 Wilcom ES Online Manual 3
Point & Stitch technology. Advanced stitch effects such as Florentine Effect,
3D Warp, Trapunto and Stipple stitch bring your embroidery to life. Smart
Branching sequences your embroidery design, eliminating trims, while
Offset Object automatically create borders around lettering and other
design objects. Wilcom ES level 45 gives you the competitive edge to create
superior embroidery designs faster and more simply than ever before.
65Advanced Digitizing
High VolumeMaximum Power
To arm yourself with the full power of Wilcom ES, level 65 is the only choice
for the advanced digitizer. Encompassing Wilcoms complete range of
embroidery lettering, editing and digitizing tools, level 65 contains as
standard superior Chenille embroidery and stunning automated Sequin
design tools. Productivity and efficiency is the main focus of level 65.
Crafted to support high volume embroidery, time-saving tools such as
Mirror-Merge, Fusion Fill and Color Blending complement the easy-to-use
interface to give you maximum power. Take charge of your embroidery
design process with the powerful capabilities of Wilcom ES level 65.
Note For a complete feature listing, see Product Differentiation Table in the
Online Manual.
Wilcom ES documentation
Wilcom ES provides you with a number of ways to access information about
the software and how to use it, both in printed form and online via the Help
menu.
Warning Screen illustrations in the user documentation are intended to be
representations, not exact duplicates of the screen layouts generated by the
software. Procedural descriptions may be at slight variance from particular
installations depending on which default system settings are activated.
Printed documentation
With your Wilcom ES installation CD you will have received the following
printed documentation:
ES 2006 Introduction 4
Release Notes
The Release Notes provide you with information about system requirements
for your Wilcom ES installation, details of new features and major and minor
improvements to the software release, as well as known limitations and
workarounds. For an itemized listing of the new and improved features for
each level of product, refer to the Product Differentiation Table at the end of
this document. For a complete table, refer to Product Differentiation Table
in the Online Manual.
Quick Start Guide
The Wilcom ES Quick Start Guide contains installation instructions as well as
an overview of the ES Designer and ES Design Explorer applications. The
guide provides fully worked sample projects for each product level. While
these projects do not cover all product features, they provide a useful
starting point. There is also a Quick Reference section which lists all the
commands and shortcut keys used in ES Designer.
For detailed procedures covering all features of the ES Designer and
ES Design Explorer applications, refer to the online manual which can be
accessed via the Help menu. To identify sources of information relevant to
your specific model and any options you may have selected, see Product
Differentiation Table in the Online Manual.
Online documentation
Online documentation is provided in two formatsHTML Online Help and
Adobe Acrobat. Components include Release Notes, Quick Reference, Online
Manual, Online Help, as well as various User Manual Supplements.
Release Notes
An online version of the Release Notes is included with the software
installation.
Quick Reference
All commands in ES Designer can be accessed via the various menus, both
dropdown and popup, toolbar icons, menu chart (for use with digitizing
tablets), as well as access and shortcut keys. Many commands can be
accessed by more than one method. The Quick Reference lets you see at a
glance which method best suits you.
ES 2006 Wilcom ES Online Manual 5
Online Manual
The Online Manual contains hundreds of step-by-step instructions together
with samples and screen images. These are intended to be used as a
reference, not a tutorial. The manual documents the following product
components: ES Designer and ES Design Explorer. ES Machine Manager,
and the ES Chenille, ES Schiffli, and ES Cross Stitch Options are
documented in separate supplements described below.
Online Help
Online Help provides quick access to general information on ES Designer
features and step-by-step instructions. Context Sensitive help is currently
available for dialogs by pressing the 1 key.
User Manual supplements
With your Wilcom ES installation CD you will have also received the
following online supplements:
Wilcom ES Machine Manager Supplement
This manual supplement documents the following product capabilities:
ES Machine Manager Direct Connect
feedback from machines
machine activity reporting
technical details of machine network setup.
The supplement must be used in conjunction with the Wilcom ES User
Manual.
Wilcom ES Cross Stitch Supplement
This manual supplement documents the following product capabilities:
manual and automatic cross stitch digitizing
cross stitch editing
cross stitch lettering
handling cross stitch design files.
This supplement is supplied with the ES Cross Stitch Option. It must be used
in conjunction with the Wilcom ES User Manual.
Wilcom ES Chenille Supplement
This manual supplement documents the following product capabilities:
ES 2006 Introduction 6
ES Chenille features within ES Designer
ES Chenille machines, including chain, moss, needle height
ES Chenille stitch types and effects.
This supplement is supplied with the ES Chenille Option. It must be used in
conjunction with the Wilcom ES User Manual.
Wilcom ES Schiffli User Manual
This manual documents the following product capabilities:
ES Schiffli features within ES Designer
read/output to Schiffli files
ES Schiffli disk utilities, Fixpat, Defced.
The manual is supplied with the ES Schiffli Option. It must be used in
conjunction with the Wilcom ES User Manual.
Viewing online documentation
Online documentation can be accessed from the Wilcom ES Programs folder
or from the Help menu in Wilcom ES. You can read it with Adobe Acrobat
Reader which is supplied with your Wilcom ES software installation. Quickly
search for the information you need using standard Adobe Acrobat Reader
features.
To view the online documentation
1 From Windows Start, go to the Programs > Wilcom 2006 folder.
You will find the following online documents:
Wilcom ES Online Manual
Wilcom ES Release Notes
Wilcom ES Quick Reference Guide.
2 Double-click the required document to open it in Adobe Reader.
ES 2006 Wilcom ES Online Manual 7
Tip You can open your online documentation directly from ES Designer.
Go to the Help menu and select the document you want from the
dropdown list.
3 Select the topic you want by clicking on its Bookmark.
4 Change the view magnification in any of the following ways:
Click the Actual Size, or Fit in Window, or Fit Width buttons.
Select the Zoom In tool, then click anywhere on the pageeach
click increases the magnification.
Click the Reader Zoom dropdown and select a settingtry 200% if
you want to look closely at screen diagrams.
5 Use the page turning controls at the bottom of the window to scroll
backwards and forwards through the book or return to previous views.
Tip Select Help > Reader Guide from the top of the Reader screen for
comprehensive information about using Reader.
Using online help
Online Help can be accessed from the Help menu in Wilcom ES.
Bookmarks Page turning controls
Fit in Window
Fit Width Actual Size Zoom dropdown
Paging settings
ES 2006 Introduction 8
To use the online help
1 Select Help > Help Topics.
The ES Designer Help window opens.
2 Click Contents to display the main list of topics.
Topics are grouped under high-level headings with book icons.
3 Double-click a book to view the list of topics, then double-click a topic.
Alternatively, click Find and enter keywords to search on a specific
subject.
Note Context Sensitive help is available for dialogs. When you open a
dialog box, press 1 to invoke relevant help.
Linking to the Wilcom website
You can access sales and support information about the products easily from
within the software.
To link to the Wilcom website
Select Help > Wilcom Web Page.
You are directly connected to the Wilcom homepage at
http://www.wilcom.com.au/
Note You must have a correctly configured web browser on your system
together with web access.
Conventions used in the documentation
The documentation adopts the following conventions:
Commands
Commands on a submenu are referred to by both the submenu and
command name. For example the command Open on the submenu
Embroidery Disk is referred to as Embroidery Disk > Open.
Dialog boxes
Dialog boxes are referred to as dialogs and are displayed only if they
provide important information on using Wilcom ES. The screen images
ES 2006 Wilcom ES Online Manual 9
provided may differ slightly to the layouts generated by the software and
operating system you are using.
Mouse conventions
Keyboard conventions
Instruction Symbol Description
Click [ Click the left mouse button.
Right-click ] Click the right mouse button.
Double-click . Click the mouse button twice without moving the
mouse.
Shift-click V +[ Hold down Shift and click left mouse button.
Click OK [ or j Click OK with the mouse or press the Enter key
on the keyboard to complete the action.
Shortcut Description
C + S While holding down the Control key (Ctrl), press the
lowercase letter S key.
C + V + H While holding down the Control key (Ctrl), press Shift and
the H key.
For a complete list of keyboard shortcuts, see Keyboard Shortcuts.
ES 2006 Wilcom ES Online Manual 10
PART I
OBJECT-BASED
EMBROIDERY
Designs created in ES Designer are composed of embroidery objects. They
are called objects because they are discrete entities which can be
manipulated independently of each other. Each object has certain defining
characteristics or properties such as color, size, position, and so on. The
most important property of an embroidery object is its stitch type.
Basic procedures
This section describes how to start ES Designer, how to open designs, start
new ones and use the basic commands. It also explains how to turn on and
off the grid and measure distances on-screen. You will also find out how to
select machine formats for different output as well as how to save designs.
The section also explains the procedure for entering security codes. See
Basic Procedures for details.
Working with design objects
This section describes how to select objects using the selection tools and
keyboard. It also shows how to select while traveling through designs or by
using the Color-Object List. See Working with Design Objects for details.
ES 2006 Object-Based Embroidery 11
Viewing designs
This section explains the design viewing modes available in ES Designer as
well as the various design viewing settings. It also describes how to view
designs by traveling through the stitching sequence. Design colorways are
explained, as well as how to obtain and modify design information. See
Viewing Designs for details.
ES 2006 Wilcom ES Online Manual 12
Chapter 1
Digitizing with Wilcom ES
Embroidery digitizing consists of turning the basic shapes of a design into
embroidery objects. Different tools are suited to different shapes. You can
digitize them manually by marking points along an outline, or by using
smart tools which transform shapes automatically into embroidery objects.
Planning designs
High quality embroidery starts with good design and forward planning.
Artwork
Artwork in both bitmap and vector formats can be inserted, pasted or
scanned into ES Designer for use as digitizing backdrops. Unless you are
an experienced digitizer, do not use complicated artwork. Possible sources
include:
books of embroidery patterns
childrens story books
printed table cloths or tea towels
business cards, post cards and wrapping paper
clipart libraries from your word processing or graphics programs
internet or CD clipart libraries
samples in the Wilcom ES Design folder
original artworke.g. childrens drawings.
Note Be sure to check the copyright of any images you have not created
yourself. If unsure, contact the company and seek their permission.
Design shapes and stitching sequence
Before digitizing, you need to analyze and plan design shapes and stitching
sequence carefully. Design shapes need to be clearly defined to make them
easy to embroider. The best shapes have relatively constant width, with
smooth edges, no sharp turns and no small, protruding details.
ES 2006 Wilcom ES Online Manual 13
The digitizing sequence defines the stitching sequence, or order in which
shapes are stitched out. Of course you can always change the sequence to
improve the stitchoutfor example, to minimize color changes. Details
should be stitched last.
Completed design
Good design is enhanced by the use of the correct backing, tension and a
good quality embroidery machine. Keep the following points in mind when
digitizing your design and assessing the final output:
The stitched-out design should also have the following characteristics:
The design stitches out efficiently on the machine.
Stitches are neat, smooth and even.
Shapes are stitched correctlyno unwanted gaps.
The fabric has not puckered around the stitched areas.
The design is free of loose ends.
details last
2
3
4
5
1
details are clearly
defined
shapes are filled with
correct fill and outline
stitches
stitches are angled to
match shapes
design looks
goodshapes, colors,
balance
lettering is clear and
easy to read
ES 2006 Chapter 1 Digitizing with Wilcom ES 14
Digitizer tablet
If you are using a digitizer tablet, you
need to prepare an enlargement drawing
from the artwork and place it on the
digitizer tablet. After registering the
drawing, you digitize it using the digitizer
puck. See Using Digitizing Tablets for
details.
Object-based embroidery
Designs created in ES Designer are composed of embroidery objects. They
are called objects because they are discrete entities which can be
manipulated independently of each other. Each object has certain defining
characteristics or properties such as color, size, position, and so on. The
most important property of an embroidery object is its stitch type.
Working with design objects
ES Designer provides various ways to select the objects in an embroidery
design. Modify the design as a whole or select individual objects for more
precise modification. The Color-Object List provides an easy way to select
objects and colors in designs and access their properties. Use it to group and
ungroup, lock and unlock, and show and hide objects as well. See Working
with Design Objects for details.
Viewing designs
ES Designer provides many viewing modes to make it easier to work with
your designs. Zoom in on an area to see more detail, view the design at
actual size, or view a thumbnail of the whole design in a separate Overview
window. Pan the design to move it across the design window instead of
scrolling, and quickly change between one view and the last.
ES 2006 Wilcom ES Online Manual 15
Show or hide various design elements with
the available display settings. You can show
or hide outlines, needle penetration points,
connectors, stitch angles, machine function
symbols and the stitches themselves. You
can also view designs in TrueView.
When working with embroidery designs, you
need to understand the stitching sequence.
Check this by traveling through the design
stitch-by-stitch. You can also check it by
slowly redrawing the design on-screen. You
can also preview a design in different colors
on different fabrics by selecting from among
any number of pre-defined colorways.
ES Designer gives you comprehensive
information about your designs. Even before
opening a design, you can check the
software version number and other design
information for EMB files directly from
Windows Explorer. View stitching details in
the Design Properties dialog. The production worksheet also provides
essential production information, including a design preview, the size of the
design, color sequence and any special instructions. See Viewing Designs for
details.
Digitizing designs
In ES Designer, you build designs from basic shapes or embroidery objects.
These are like ordinary vector objects in that they have certain defining
characteristics or properties such as color, size, position, and so on. They
also have properties unique to embroidery such as stitch type and density.
Digitizing methods
The process of creating embroidery objects on-screen is called digitizing.
Like the creation of designs in graphics applications, this involves the use of
Normal view
TrueView
ES 2006 Chapter 1 Digitizing with Wilcom ES 16
input or digitizing tools. These are similar to drawing tools except that the
end result is an embroidery rather than a vector object.
Different tools are suited to creating different shapes or design elements.
There are specific tools for digitizing larger complex shapes, asymmetrical
columns of turning stitches, columns of varying width, columns of fixed
width, lines, and even individual stitches. See Digitizing Methods for details.
Fill and outline stitches
The most important property of all embroidery objects is the stitch type. The
software uses object outlines and associated stitch type to generate
stitches. Whenever you reshape, transform or scale an object, stitches are
regenerated according to its stitch type and settings.
Stitch types divide broadly into two categoriesoutline and fill. Satin fills
are generally suited to columns and borders. Tatami stitch is used to fill
larger shapes with solid fields of stitching. Run stitch, Backstitch, and
Stemstitch are considered both digitizing methods and stitch types. Both
Zigzag and E Stitch are used as outline stitches. Zigzag is frequently used
for tacking down appliqus, while E Stitch is used as the cover stitch. Both
can also be used for decorative effect. See Fill and Outline Stitches for
details.
narrow columns (Input C)
columns of varying width (Input A)
turning stitches (Input B)
large irregular shape
(Complex Fill)
line (Run)
Run for lines
Satin for narrow
shapes
Tatami for large
shapes
ES 2006 Wilcom ES Online Manual 17
Colorways and thread charts
When digitizing, you select thread colors for each object you create from the
color palette. This contains a selection of thread colors tailored for each
design or color scheme.
The particular colorway represents the actual thread colors in which a
design will be stitched. In fact you can define multiple color schemes and
switch between them. This has important implications for sales
presentations as well as production. You can also print multiple colorways,
design backgrounds, and icons of color blocks together with the production
worksheet.
For each colorway you define, you can
select colors from commercial thread
charts or define your own. Search for
particular threads by various criteria.
Automatic thread color matching helps
you locate thread colors based on
closest match across one or several
thread charts. You can also match
thread colors from imported
graphicsvector or bitmap. See
Colorways and Thread Charts for
details.
Connecting embroidery objects
Connectors link objects in a design. They can be run stitches or jumps. You
can use automatic settings to generate connectors, trims and tie-offs, or
add them manually.
Colorway 1 Colorway 2
1
2
3
4
5
trim
stitching starts
connector
ES 2006 Chapter 1 Digitizing with Wilcom ES 18
Travel runs are typically used to connect segments within filled objects.
Adjust travel run length to reduce stitch count. See Connecting Embroidery
Objects for details.
Improving stitch quality
ES Designer provides many techniques for achieving smooth, even
placement of stitches, and eliminating gaps in your designs. Strengthen and
stabilize designs with automatic underlay.
Compensate for fabric stretch with pull compensation. Reduce stitch
bunching with stitch shortening and fractional spacing. Adjust stitch density
for more efficient production and remove small stitches automatically.
Control corner stitching with Smart Corners and fine-tune handling of long
stitches with Auto Split and Auto Jump. Set automatic start and end points.
These features are all object properties and can be applied, removed or
modified at will. See Improving Stitch Quality for details.
Digitizing with artwork
There are two broad categories of artwork file, both of which can be
imported into ES Designer for use as digitizing backdropsvector and
bitmap. To create good quality embroidery, you need to choose or create
suitable artwork of either format.
with underlay without underlay
with Auto Split with Auto J ump with no effects
ES 2006 Wilcom ES Online Manual 19
Digitizing with vector images
ES Designer provides tools to draw shapes and outlines directly on screen.
Alternatively, insert or paste vector images created in third-party drawing
packages for use as digitizing backdrops. Scale and transform them in the
same way as embroidery objects. You can also select colors for vector object
outlines and fills. When working with overlapping vector or embroidery
objects, merge, trim or split them using the Shaping tools.
Vector images have the advantage over bitmap images that they can be
converted directly to embroidery objects using a variety of input methods.
This allows you to concentrate on design shapes without having to think
about stitch properties and sequence. See Digitizing with Vector Images for
details.
Digitizing with bitmap images
Artwork can be inserted, pasted or scanned into ES Designer and cropped
for use as digitizing templates or backdrops. These help you to:
digitize shapes manually
digitize shapes automatically with Point & Stitch
digitize complete images automatically with Smart Design
digitize photographs with Photo Flash.
Scan artwork directly into ES Designer and edit it before use. Open images
directly in MS Paint, Corel PHOTO-PAINT, or Paint Shop Pro. Images
updated in this way are automatically re-imported into ES Designer.
Alternatively, insert bitmap images saved on your hard disk into
vector image
converted to
embroidery design
ES 2006 Chapter 1 Digitizing with Wilcom ES 20
ES Designer. Show or hide them as you digitize. See Digitizing with Bitmap
Images for details.
Preparing images for automatic digitizing
ES Designer supports the automatic and semi-automatic digitizing of both
bitmap images and vector images. The quality of the resulting designs
greatly depends on the type and quality of the original artwork. In order to
make bitmap imagesboth outlined and non-outlinedmore suitable for
automatic digitizing, ES Designer provides image processing capabilities
and links to graphics packages. See Preparing Images for Automatic
Digitizing for details.
Automatic digitizing
ES Designer provides a variety of complementary tools and techniques for
automatically digitizing suitably prepared artwork. See Automatic Digitizing
for details.
The Auto Trace feature lets you convert scanned artwork to vector
objects. You can then convert these to embroidery objects using a
variety of input methods.
The Point & Stitch tools provide everything necessary to digitize shapes
in bitmap images automatically without using manual input methods.
Areas recolored and outlines
improvedready for automatic digitizing
Bitmap image scaled and background
removedready for manual digitizing
Background color
omitted
All colors omitted
except black
ES 2006 Wilcom ES Online Manual 21
Smart Design automatic digitizing is intended for people working at all
levels of the embroidery industry. Smart Design automatically converts
bitmap images to fully digitized embroidery.
Photo Flash lets you create embroidery designs directly from
photographs and other grayscale bitmap images. The effect resembles
the output of a line printer.
Modifying designs
After digitizing a design, you can modify it as a whole, edit individual objects
or even individual stitches.
Combining and resequencing objects
ES Designer provides techniques for
combining and resequencing
objects. You can add to designs by
duplicating and copying objects.
Combine designs. Split objects into
smaller ones and remove overlaps
between objects. See Combining
and Resequencing Objects for
details.
The stitching sequence
naturally occurs in the order
in which the design was
digitized. The Color-Object
List displays a sequential list
of objects grouped by object
and color. It provides an easy
way to group, cut, copy and
paste, and resequence
gray scale
image
digitized with
Photo Flash
ES 2006 Chapter 1 Digitizing with Wilcom ES 22
selected objects and color blocks. See Selecting and viewing objects with
the Color-Object List for details. See also Resequencing embroidery objects.
Group objects together to apply a
change to them all at once. Better
still, apply Branching to join
like-objects to form a single
branched object. Objects are
resequenced, connectors
minimized, component objects
grouped, and stitches regenerated.
Apply an underlay to all. See
Automatic branching for details.
Arranging and transforming objects
ES Designer also provides techniques for
arranging and transforming objects. Change the
position, size and orientation of objects by
moving, scaling, rotating, skewing, and mirroring
them. Group objects together to apply universal
changes, or lock them to avoid unintentional
modification. Modify objects directly on-screen or
using the Object Properties dialog. Access
commonly used functions via the Color-Object
List. See Arranging and Transforming Objects for
details.
Converting and reshaping objects
There are also techniques available for converting
and reshaping objects. Convert among vector and
embroidery objects of different types at all stages
of the design. The points you mark when digitizing
a shape become its control points. These vary
slightly with the object type. Use them to edit or
transform objectse.g. reshaping, scaling, letter
spacing, changing entry and exit points. Modify
stitch angles of selected objects. Add multiple
stitch angles as required. See Converting and
Reshaping Objects for details.
ES 2006 Wilcom ES Online Manual 23
Editing stitches and machine functions
Techniques are available for specialist stitch and
machine function editing. In essence, you edit
individual stitches like any other object, moving
the needlepoint position as required.
ES Designer also lets you manually insert
machine functions and modify them. This
flexibility allows you to adapt designs to almost
any machine requirement. A Stitch List is
available to help you locate stitches and
machine functions. See Editing Stitches and
Machine Functions for details.
Advanced digitizing techniques
ES Designer provides specialized productivity features as well as special
effects and digitizing techniques.
Object properties, styles and templates
Every object you create in ES Designer has a unique set of properties that
are stored with it whenever you save the design. You can set the properties
of a selected object to be the current property settings. You can also apply
current property settings to existing objects. A style is a group of property
settings stored under a unique name. You can save any combination of
settings to a style. This makes it easy to apply these settings to selected
embroidery and lettering objects. Templates are special files used to store
styles and default property settings. See Object Properties, Styles and
Templates for details.
Style 1 Style 2
ES 2006 Chapter 1 Digitizing with Wilcom ES 24
Specialized digitizing techniques
ES Designer provides specialized
digitizing features to save time as
you digitize, and for special
effects and machine functions.
There are input tools for digitizing
circles, stars, rings and appliqu
objects, as well as methods for
creating repeated or backtracked
duplicates, adding borders or
filling holes. See Specialized Digitizing Techniques for details.
Borders
Add attractive borders such as rectangles, ovals, and shields to
designs using the Borders symbol set. When you add a border, it is
automatically sized to fit the current design. See Adding borders to designs
for details.
Appliqu
Automatically create all the stitching you need for
appliqu using Auto Appliqu. Simply extract
appliqu shapes from a design to a separate file.
See Digitizing for appliqu for details.
Tip Cross stitch is sometimes combined with
appliqu for special effects. Cross stitch is a popular
technique for filling large areas with low stitch
counts. It can also be used for outlines and borders.
It is suitable for homeware, tablecloths, childrens clothes and folk designs.
See ES Cross Stitch Supplement for details.
ES 2006 Wilcom ES Online Manual 25
Textured fills
ES Designer provides special tools to create textured effects from needle
penetrations. Apply offset fractions and partition lines to Tatami fills to
create split-line patterns.
Alternatively, apply Program Split or Flexi Split to create decorative fills
from pre-defined patterns of needle penetrations. Select from the library or
create your own. With User Defined Split, create your own split lines when
you want to add detail to filled objects. See Textured Fills for details.
Artistic stitch effects
ES Designer provides many artistic effects and stitch types to create
textured and contoured fill stitching. Use Jagged Edge to create rough
edges, shading effects, or imitate fur and other fluffy textures. Accordion
Spacing varies stitch spacing between dense and open fill, producing
shading and color effects which are difficult to achieve manually. The Color
Partition Lines Tatami Offset Random Factor
User Defined Split Flexi Split Program Split
ES 2006 Chapter 1 Digitizing with Wilcom ES 26
Blending effect creates interesting perspective, shading and color effects by
blending two colored layers.
Apply Trapunto effect to force
underlying travel runs to the
edges of an object so that they
cant be seen through open
stitching. See Connecting
Embroidery Objects for details.
Create chiaroscuro effects with
Contour. Choose between Standard and Spiral. For another type of curved
effect, use Florentine Effect to curve needle penetrations along a digitized
line. Liquid Effect allows you to enter twin curves. See Artistic Stitch Effects
for details.
Accordion Spacing
with circles
J agged Edge with
Tatami backstitch
Tatami with Color
Blending
Single curve with
Florentine Effect
Open fill with
Trapunto
Contour spiral
ES 2006 Wilcom ES Online Manual 27
Motif runs and fills
Motifs are pre-defined design
elements, such as hearts,
leaves or border patterns. They
generally consist of one or more
simple objects, and are stored
in a special motif set. Use Motif
Run and Motif Fill to create
ornamental runs and textured
fills. Create your own motifs or
use the ones provided with the
software. Motifs can be scaled, rotated and mirrored in the same way as
other objects. Using 3D Warp with motif fills, you can also create interesting
three dimensional effects. See Motif Runs and Fills for details.
Sequins and boring
Some embroidery machines are equipped with a
sequin dispenser that drops sequins onto the
garment as it stitches. Some are also equipped
with a boring knife or needle to cut holes in the
fabric, producing an effect similar to lace. Often the
two techniques are used in combination.
ES Designer provides support for both.
ES Designer provides a dedicated set of Sequin
tools which allow you to digitize sequined designs
for compatible machines. Create sequin runs along
digitized lines, either placing sequins manually or
letting the software generate placement positions
according to current settings. The Sequin tools also
allow you to digitize individual sequins for even
greater control. If your embroidery machine is
equipped with a boring knife or needle, you can use
the Borers tool to cut holes in the fabric, producing
an effect similar to lace. See Sequins and Boring for
details.
Embroidery lettering
Create top-quality lettering quickly and simply. ES Designer provides a large
range of scalable closest-join alphabet styles and multi-color and fancy
stitching alphabets to choose from.
ES 2006 Chapter 1 Digitizing with Wilcom ES 28
Creating embroidery lettering
Add lettering directly to designs using current settings or with the aid of the
dialog. With object-based operation, you can type and manipulate your text
directly on-screen, changing the size or spacings to fit. Apply formatting just
like a word processor, including italics, bolding, and right/left justification.
Change values for the whole text or for individual letters. See Creating
Embroidery Lettering for details.
Adjusting lettering layout
ES Designer gives you both interactive and precise numeric control over
many settings affecting lettering objects. Adjust both individual letters and
lettering objects as a whole. Apply horizontal, vertical, and curved
baselines. Modify baseline type, length, radius and angle, as well as
position. You can even define the rotation angle of letters relative to the
baseline or the design itself. See Editing Embroidery Lettering for details.
Adjusting lettering stitch settings
When it comes to stitching, you can fine-tune the density, add pull
compensation and underlay, or change to center-out stitching. Like all
embroidery objects, each lettering object has its own stitch properties.
Adjust settings at any stage. ES Designer also gives you precise control over
the stitch angles of individual letters. You can also specify the join method
ES 2006 Wilcom ES Online Manual 29
and stitching sequence you prefer. See Adjusting Lettering Stitch Settings
for details.
Special lettering features
Add special characters and symbols to your lettering. Create interesting
distortions using lettering envelopes. See Creating special effects with
envelopes for details.
Use the Team Names feature to create designs with multiple names. For
example, use the same logo with different names for sports teams or
corporate uniforms without having to create multiple copies of the same
design. See Team lettering for details.
Bridge Pennant
Perspective
Diamond
ES 2006 Chapter 1 Digitizing with Wilcom ES 30
Custom alphabets
Turn any TrueType font installed on your system into an embroidery
alphabet. See Converting TrueType fonts to embroidery alphabets for
details.
Typically spacing between certain character pairs appears uneven due to the
optical illusion of having straight lines and curves side-by-side. Automatic
kerning is a user-defined option allowing you to customize kerning. See
Automatic letter kerning for details.
Sometimes you find that you want to reshape a letter to improve its
appearance, perhaps to suit a particular lettering height. ES Designer lets
you save the letter as an alternative version. In fact you can save multiple
versions of the same letter within the same alphabet. See User-refined
alphabets for details.
Letter a opened
up at smaller size
Default a too narrow
at small size
ES 2006 Wilcom ES Online Manual 31
You can even create your own custom alphabets. Alternatively, modify an
existing alphabet for special applications. See Creating custom alphabets for
details.
Merge letters from two or more alphabets with the stand-alone alphabet
merging utility. See Merging alphabets for details.
Design processing & encoding
Design processing and encoding involve all the important, back-end
operations of embroidery design and manufacture. This is where you
actually output your designs to machine, disk, printer, cutter, and so on. For
this, you will need an understanding of embroidery file types as well as
different machine formats. Depending on your setup, you will also need an
understanding of traditional storage media including embroidery disks and
paper tapes.
Processing design files
By default ES Designer saves to its native file format, EMB. This format
contains all information necessary both for stitching a design and for later
modification. When opening designs created or saved in other formats,
ES Designer converts the design internally to EMB format. You can then
modify it using the full range of ES Designer features. Depending on the file
type, you may need to provide additional information to assist ES Designer
in the conversion process. ES Designer also supports the processing of
Melco CND outline files, including color merging and reassignment of colors.
See Processing Design Files for details.
Changing machine formats
Different embroidery machines speak different languages. They have their
own control commands for the various machine functions. Before you can
stitch a design, it must be in a format which can be understood by the
embroidery machine. When you select a machine format, ES Designer
translates the digitized design into machine functions that can be
ES 2006 Chapter 1 Digitizing with Wilcom ES 32
understood by that machine. If required, you can customize machine
formats to meet specific machine requirements. See Changing Machine
Formats for details.
Outputting designs
You can output embroidery designs in a variety of wayssaving to
embroidery disk, punching to paper tape, sending appliqu shapes to a
cutter, or sending directly to machine for stitching. From the same design
file, you can also output a production worksheet for the embroidery machine
operator. Designers frequently want to distribute their designs so that they
can be seen in real colors, in TrueView or otherwise. In ES Designer you can
save both design images and production worksheets to disk or email them
direct. See Outputting Designs for details.
Embroidery disks and paper tapes
Embroidery disks are specially formatted floppy disks used to transfer
designs from computer to embroidery machine. You can format embroidery
disks and save designs to them from within ES Designer. The format you
use will depend on the selected embroidery machine. You can also open
designs from embroidery disk directly into ES Designer.
Paper tape is the traditional medium for storing designs in stitch data
format. You can read paper tape designs of various formats into
ES Designer. Once a design is read, you can output it without change,
modify it and output it in its original format, or save it as an EMB file. You
can also punch designs to paper tape from ES Designer. See Embroidery
Disks and Paper Tapes for details.
Design management
ES Designer provides a number of productivity tools to help you manage
designs and design elements for re-use. The Embroidery Clipart feature is
a powerful productivity tool which makes whole designs and design
fragments easily available. ES Design Explorer provides an efficient way for
viewing and managing embroidery designs in folders.
Note ES Design Explorer is not a multi-user database for company-wide
design management. Wilcom Design Workflow is a central design storage
and management application. Any design format that can be read by
ES Designer can be stored in Design Workflow. Design Workflow uses
ES 2006 Wilcom ES Online Manual 33
Microsoft SQL technology and is a true multi-user tool, allowing far greater
control of designs throughout your company. For this type of requirement,
refer to the Design Workflow User Manual.
Embroidery Clipart
The Embroidery Clipart feature allows you to recycle
commonly used design elements and greatly speeds up the
process of creating new designs. Use the clipart library to
permanently store useful embroidery elements and assign
keywords to them. Summary information such as width and
height, number of stitches and colors is automatically
recorded.
The library displays all design elements currently recorded to
your personal database. Behind this functionality is the
powerful Microsoft Data Engine or MSDE. Sort and search
functionality is provided to filter your list according to name,
keywords, number of colors, or number of stitches. Once a
suitable design element is located, simply drag and drop it
as embroidery clipart into the current project.
Automatically find the nearest match between selected
clipart element colors and the current palette. See Embroidery Clipart for
details.
ES Design Explorer
With ES Design Explorer, you can browse design files stored on your
computer hard disk, CD-ROM, or floppy disk, as well as cut, copy, paste and
delete them. It recognizes all design file formats used by ES Designer. See
ES Design Explorer Basics for details.
Designs in ES Design Explorer
folders can be sorted in various
ways. This is useful when you
want to select designs for
stitching out, printing,
archiving, and so on. Once a
design is selected in an
ES Design Explorer folder, you
can send it direct to an
embroidery machine or
punching machine. You can also
batch-convert your EMB and
other design files to and from
other file formats directly from ES Design Explorer. See ES Design Explorer
Advanced Functions for details.
ES 2006 Chapter 1 Digitizing with Wilcom ES 34
Create design catalogs containing thumbnail images and/or summary
information. These can be sent to a printer, published on your website or
intranet, and exported in formats suitable for spreadsheet and database
programs, and for integration with third-party e-commerce solutions.
Archive design files in folders with the built-in WinZip utility. This can be
useful for sending or receiving multiple files via email. You can even view
design files within zipped archives.
ES 2006 Wilcom ES Online Manual 35
Chapter 2
Basic Procedures
Wilcom ES software is an MS Windows-based product incorporating many of
the conventions with which most PC users are already familiar. To start using
ES Designer, you need to understand something about the organization of
the graphical user interface (GUI) as well as a few basic procedures such as
opening and saving designs. Other basic procedures include displaying the
grid, accessing design information, and selecting machine formats.
Security codes enable access to features within the software. You also need
to be able to identify your systems access codes, and enter new codes for
upgrades.
This section describes how to start ES Designer, how to open designs, start
new ones and use the basic commands. It also explains how to turn on and
off the grid and measure distances on-screen. You will also find out how to
select machine formats for different output as well as how to save designs.
The section also explains the procedure for entering security codes.
Starting ES Designer
Double-click to start ES Designer.
ES 2006 Chapter 2 Basic Procedures 36
Open ES Designer using the desktop icon or the Windows Start menu. The
screen image shown here displays an exploded view of all toolbars in the
product.
To start ES Designer
Double-click the ES Designer shortcut icon on the Windows desktop.
Alternatively, select Programs > Wilcom ES > ES Designer from the
Start menu. ES Designer opens with a new, blank design (Design1).
Customize the design window by showing or hiding the grid, changing
the grid dimensions, and showing and hiding toolbars. See Displaying
the grid and Showing or hiding toolbars for details.
Design Window
Title and Menu bars
Standard toolbar
Stitch Types toolbar
Color toolbar
Status bar
Prompt line
Pointer toolbar
Input toolbar
General object properties
Show Vertical toolbar
Travel toolbar
Image toolbar
ES 2006 Wilcom ES Online Manual 37
The Status and Prompt bars include a General Properties panel for
continuous display and routine modification of general object properties.
See also Accessing object properties.
Using commands and tools
Once you start ES Designer, you use commands or tools, and dialogs to
complete your tasks. You select commands in ES Designer in the same way
as other Windows applicationsfrom menus, toolbars, or popup menus.
Dialogs provide the other principal way of engaging with the system. They
come in two formsmodal and modeless. Modal dialogs effectively lock the
system until you have finished with them. The idea of the modeless dialog
is that you can keep it open as long as you need to while working
interactively with different settings. Keyboard shortcuts are also available
for the most frequently used commands. See Quick Reference for details.
Showing or hiding toolbars
Toolbars provide quick and easy access to most ES Designer commands. You
can choose to show or hide them for convenience.
Tip To increase your working area, hide unwanted toolbars and use the
menu and keyboard commands instead. See also Quick Reference.
Stitch type and
current settings
Stitch count
Coordinates of current
needle position
Status bar
Prompt line
Current color
General properties
permanently available
Length and angle of
current stitch
Current function
Use Show Pointer Toolbar (Show Vertical toolbar) to display the Pointer
toolbar.
Use Show Input Toolbar (Show Vertical toolbar) to display the Input
toolbar.
Use Show Travel Toolbar (Show Vertical toolbar) to display the Travel
toolbar.
Use Show Image Toolbar (Show Vertical toolbar) to display the Image
toolbar.
ES 2006 Chapter 2 Basic Procedures 38
To show or hide toolbars
1 Select View > Toolbars.
The Toolbars dialog opens.
2 Select the toolbars you want to display.
3 Click OK.
Tip Use the buttons on the Show Vertical toolbar to display the Pointer,
Input, Travel, and Image toolbars on the side of the design window.
Toolbar docking and parking
ES Designer toolbars are dockable. To move a toolbar to a more convenient
location, click-and-drag it. To dock it in its normal position, double-click the
toolbar title. The toolbar parking feature allows you to make better use of
available screen real estate.
By default, the Toolbar Park toolbar is situated just above the design
window. Simply drag and drop any toolbar into the Park to move it out of
the way. Click the tab and drag it back out when you need it. You can also
park the Color-Object List, the Color Palette Editor, and the Object
Click-and-drag toolbars and
modeless dialogs into
toolbar park
ES 2006 Wilcom ES Online Manual 39
Properties dialog. The Toolbar Park toolbar itself can be docked at the
bottom of the screen.
Tip A toolbar parked in the Toolbar Park area is automatically removed by
deactivating it in the Toolbars dialog.
Selecting commands from toolbars
Toolbars provide quick and easy access to ES Designer commands. Click a
toolbar button to activate a command or, where applicable, right-click to set
its properties. Some icons are toggles which turn on or off associated
functions.
To select commands from toolbars
Rest the pointer over a tool icon to see its name in a tooltip.
Click the icon to activate the command.
Right-click to adjust settings or activate the secondary command.
If the tool has both left and right-click commands, the name is split
with a slash (/). For example, the Polygon Select/Line Select tool
lets you select objects within a polygon when you click it, or objects
along a line when you right-click.
For many tools, right-clicking accesses current command settings.
For example, left-clicking Satin/Values selects Satin as the stitch
type, while right-clicking accesses Satin stitch settings in the Object
Properties dialog.
Note Object properties can be modified with or without objects
selected. The former affects only selected objects. The latter affects
current settings. See Working with object properties for details.
ES 2006 Chapter 2 Basic Procedures 40
Using popup menus
Generally speaking, popup menus of context-specific commands can be
accessed from the design window as well as some modeless dialogs.
To use popup menus
1 Right-click a selected object/s in the design window or modeless dialog
such as the Color-Object List.
The popup menu opens.
2 Select a command from the menu.
Tip A frequently used command is Properties. This opens the Object
Properties dialog for selected objects. See Accessing object properties
for details.
Accessing object properties
The most important dialog in ES Designer is the Object Properties dialog.
This is a modeless dialog, meaning that it stays in the design window as
long as you need it. Use it together with a General Properties toolbar to
adjust properties of selected objects as you work.
Use Object Properties (Standard toolbar) to set properties for selected
objects.
ES 2006 Wilcom ES Online Manual 41
To access object properties
1 Open the Object Properties dialog by any of the following means:
Select View > Object Properties.
Click the Object Properties icon.
Double-click an object in the design window.
Right-click an object in the design window and select Properties
from the popup menu.
Right-click an object in the Color-Object List and select Properties
from the popup menu.
2 Select a tab to access the object property set you want to adjust.
Adjust settings
Select required
tab
Scroll to view
dialog
Apply settings
ES 2006 Chapter 2 Basic Procedures 42
3 Use dropdown lists, radio buttons and checkboxes to choose options.
Adjust settings by keying in precise values or by using the popup slider
control.
Tip The slider control has two operating modesNormal and
Accelerated. Holding down the Ctrl key puts it in Accelerated mode.
4 Apply settings by means of the control buttons at the bottom of the
dialog.
Note You have the choice of applying changes to object properties
immediately or by means of the Apply button. See Setting Object
Property apply options for details.
Click swivel button
to invoke slider
control
After clicking
swivel button, drag
popup slider to set
Radio buttons are
mutually exclusive
Checkboxes are
optional
Apply current settings to
selected object/s
Click to invoke help
about a particular tab
Click to invoke the
effects tabs
Save settings to the
current template
Revert to previous settings
ES 2006 Wilcom ES Online Manual 43
5 Click the FX button to access a separate set of more specialized object
property settings such as Accordion Spacing, Stitch Shortening, Smart
Corners, etc.
6 Adjust general object propertieswidth, height, positionby means of
the General Properties controls at the bottom of the screen where they
are permanently available.
Tip The Object Properties dialog can be temporarily parked in the new
Toolbar Park toolbar for easy access. See Toolbar docking and parking
for details.
7 Close the Object Properties dialog by any of the following means:
Click the Object Properties icon.
Click the X icon in the Object Properties dialog to close.
Undoing and redoing commands
You can undo the effects of most commands. If you change your mind, you
can redo them again. ES Designer remembers up to 256 undo and redo
command actions.
General properties
permanently available on
right side of status bar
Click to apply
or revert
Use Undo icon (Standard toolbar) to undo an action and Undo Arrow to
undo a range of actions.
Use Redo icon (Standard toolbar) to redo an action and Redo Arrow to redo
a range of actions.
ES 2006 Chapter 2 Basic Procedures 44
To undo and redo commands
To undo a previous command, simply click the Undo icon.
When ES Designer cannot remember more commands, Undo is
dimmed.
Click Redo to re-apply an undone command.
To undo or redo a range of actions, use the dropdown lists by clicking
the arrow next to Undo/Redo icons.
Tip To cancel the current selection in the Undo/Redo List or close it, click
the Undo/Redo Arrow button again or click away the list without
selecting any action.
Opening designs
ES Designer opens a comprehensive range of both outline and stitch files.
You can also open designs from proprietary embroidery disks, or read them
from paper tape. See also Embroidery design formats and Embroidery Disks
and Paper Tapes in the Online Manual.
Warning You cannot open EMB files created with a later version of the
software than the one you are currently running.
To open a design
1 Click the Open icon.
Redo selected
actions
Undo selected
actions
Use Open (Standard toolbar) to open an existing design.
ES 2006 Wilcom ES Online Manual 45
The Open dialog opens.
2 Select a folder from the Look In list.
3 If the design is not in EMB format, select a file type from the Files of
Type list.
4 Select a design or designs.
To select a range of items, hold down Shift then select the first and
last in the range.
To select multiple items, hold down Ctrl as you select.
5 Select the Preview checkbox to preview the design (for supported file
formats) together with the design data. This includes stitch and color
numbers, design height and width, and software version number (V6.0
onwards).
Tip For more information about a selected file, right-click and select
Properties from the popup menu. See Viewing design information in
Windows Explorer for details.
6 For file types other than EMB or ESD, click Options and change the
recognition options. See Processing Design Files for details.
7 Click Open.
Creating new designs
When you start ES Designer, a new fileDesign1is automatically created,
ready for you to start digitizing. By default, Design1 is based on the
NORMAL template. Templates contain pre-set styles, default settings or
objects, to make digitizing quicker and easier. When you create a file based
preview panel
design data
preview on/off
ES 2006 Chapter 2 Basic Procedures 46
on a template, the templates values are copied to the new design. You can
create additional designs based on the NORMAL template, or select a
different template. New designs are given a name, and numbered
sequentiallye.g. Design1, Design2, and so on. See also Working with
design templates.
Creating new designs with the NORMAL template
Whenever you click the New icon, a blank design opens in the design window
using the default NORMAL template.
To create a new design with the NORMAL template
Click the New icon.
A blank design opens in the design window.
Tip Whenever you create a new design, save it with a new name. See
Saving designs for details.
Creating new designs with selected templates
You can select a custom template to base your new design on. See also
Working with design templates.
To create a new design with a selected template
1 Select File > New.
The New dialog opens.
Use New (Standard toolbar) to start a new design with the NORMAL
template.
Use New (File menu) to start a new design with a selected template.
ES 2006 Wilcom ES Online Manual 47
Note If there is no template other than the default, the New dialog may
not appear.
2 Select a template from the list.
3 Click OK.
Tip Whenever you create a new design, save it with a new name. See
Saving designs for details.
Generating stitches
With ES Designer designs, stitches are automatically generated from design
outlines and properties. You can either generate stitches as you digitize, or
wait until you have defined the outlines. With Generate Stitches on (the
default), stitches are calculated for new objects whenever you press Enter.
They are also updated whenever you scale, transform or move the object.
If speed is an issue, you can digitize objects with Generate Stitches off. You
can also select objects and remove all generated stitches. With Generate
Stitches off, only object outlines appear.
To generate stitches
To generate stitches for new or selected objects, click the Generate
Stitches icon or press G.
If any objects are selected, stitches are generated for them
automatically. If no objects are currently selected, stitches are
generated for new objects as soon as you press Enter.
To remove stitches, or digitize without generating stitches, deselect
Generate Stitches icon or press G again.
Tip Make sure Show Outlines is selected, and the colors of background
and object(s) when selected contradict each other, otherwise the objects
will not be visible in the design window. See Changing background colors
and fabrics for details.
Use Generate Stitches (Generate toolbar) to generate stitches for new or
selected objects.
ES 2006 Chapter 2 Basic Procedures 48
Displaying grids, rulers and guides
ES Designer provides a set of grid lines to help accurately align or size
embroidery objects. The Show Rulers and Guides feature improves
usability by allowing you to accurately position stitches and align objects in
the design.
Displaying the grid
Use grid lines to help accurately align or size embroidery objects. You can
show or hide the grid at any time. Default grid spacing is 10 mm x 10 mm.
To display the grid
Toggle grid display by any of the following means:
Click the Show Grid icon.
Select Special > Options > Grid and Guides tab and select the
Show Grid option.
Select View > Grid and Guides tab and select the Show Grid option.
Press Shift+G.
Tip You can change grid spacing, select a reference point and turn Snap
to Grid on or off in the Options dialog. You can also change the color of
the grid lines. See Changing display colors for details. See also Setting
grid options.
Displaying rulers and guides
Click Show Grid (Standard toolbar) to show or hide the grid. Right-click to
change the Grid settings.
Show Grid
Click Show Rulers and Guides (Standard toolbar) to show or hide rulers and
guides. Right-click to change the Guides settings.
Drag the Ruler Zero Point to reset a new ruler zero point.
ES 2006 Wilcom ES Online Manual 49
Rulers are located to the top and left side of the design window. The unit of
measurementmm or inchesdepends on the regional settings in the
Windows Control Panel. The ruler scale, illustrated with numbers and ticks,
depends on the zoom setting. Guides are dotted vertical and horizontal lines
placed across the design window to help you align objects. Each guide has
a yellow guide handle on the ruler that can be used to move or delete it.
Guides are displayed on top of the grid, if present, but beneath all images,
vector objects and embroidery objects. Rulers must be displayed before a
guide can be created.
Note By default, rulers and guides are switched on. When they are
switched off, guides are hidden but are stored in the design and will
reappear when switched back on.
To display rulers and guides
Toggle ruler display by any of the following means:
Click the Show Rulers and Guides icon.
Select Special > Options > Grid and Guides tab and select the
Show Rulers and Guides option.
Select View > Grid and Guides tab and select the Show Rulers and
Guides option.
Press Ctrl+R.
Show Rulers and
Guides
Click-and-drag to
reset ruler zero
point
Click-and-drag to
reposition guides
Click ruler to
create new guide
Drag guide off
ruler to remove
ES 2006 Chapter 2 Basic Procedures 50
Reset the ruler zero point by clicking and dragging the box in the top
left-hand corner of the design window to the required point in the
design.
The point where you release the mouse becomes the new zero
pointX,Y (0,0). The grid always lines up with the rulers. Whenever the
ruler zero is changed, the Set Reference Point checkbox in Special >
Options > Grid tab is deselected.
To create a guide, click on either rulerhorizontal or verticaland
click-and-drag it into position. Multiple guides can be created and just as
easily removed.
For more accurate positioning of guides, double-click the yellow handle.
In the Guide Position dialog, enter a precise distance from the zero
point, and click OK.
Note The ruler zero and the design zero are not the same and in
general do not coincide. When the zero point of the rulers is changed,
the guides maintain their current displacement from the zero point of
the design, not the zero point of the rulers.
To remove a guide, drag the yellow guide handle off the design window.
Tip You can turn Snap to Grid and Snap to Guide on or off in the
Options dialog. You can also change the color of grid and guidelines. See
Changing display colors for details. See also Setting grid options.
Measuring distances on-screen
Measure the distance between two points on screen using the Measure
command. You can show these measurements in a tooltip. Measurements
are shown in millimeters or inches, depending on the option selected in the
Windows Control Panel. See your Windows documentation for more
information.
Enter precise
position
Use Measure (View menu) to measure distances on-screen.
ES 2006 Wilcom ES Online Manual 51
Tip For more accurate results, zoom in before you measure. The
measurement is always the actual size, and is not affected by the zoom
factor.
To measure a distance on-screen
1 Select View > Measure or press M.
2 Click the start point.
3 Move the pointer to the end point and hold the mouse still.
The following information displays in the Status bar:
Position coordinates of the end point (X=, Y=)
Length of the measured line (L=)
Angle of the line relative to the horizontal (A=).
Tip If turned on, the measurements will also appear in tooltips. Use the
tooltip with the crosshair cursor on for a more accurate measurement.
See Setting other options for details.
4 Press Esc to finish.
Selecting machine formats
Before you start digitizing, decide which machine format to use. A designs
machine format can be changed at any time for stitching to another machine
type, or sending to a paper tape punch or embroidery disk.
measurements
appear as tooltip
Select the Select Machine Format (Machine menu) to select a machine format.
ES 2006 Chapter 2 Basic Procedures 52
To select a machine format
1 Select Machine > Select Machine Format.
The Select Machine Format dialog opens.
2 Select a machine format from the list.
Note You can customize or add formats to suit the embroidery machine
you will use to stitch the design. See Creating custom formats or
Adjusting standard machine format settings in the Online Manual for
details.
3 Click OK.
Saving designs
ES Designer lets you save designs in EMB as well as other outline and stitch
file formats. You can also save designs to proprietary embroidery disks, or
punch them to paper tape. See Embroidery design formats and Embroidery
Disks and Paper Tapes in the Online Manual. See also Saving designs for
machine.
Saving a design records its file name, location and format, and updates it
with any changes you make. When you save an existing design under a new
name, to a different location or format, you create a copy of the original
design.
Select machine
format
Use Save (Standard toolbar) to save the current design. Right-click to open
the Save As dialog.
ES 2006 Wilcom ES Online Manual 53
Tip Save your design early and often. Do not wait until you finish working.
You can also set ES Designer to save automatically while you work. See
Setting automatic save and backup options for details.
To save a design
1 Click the Save icon.
If this is the first time you have saved the design, the Save As dialog
opens.
Tip To save changes to an existing file but preserve the original, use
Save As.
2 Select the folder where you want to save the design from the Save In
list.
3 Enter a name for the design in the File name field.
4 Select a file format from the Save as type list. See Supported
embroidery file formats for details.
Warning If a design feature is not available in the file type you select,
it will be convertede.g. Flexi Split stitching may be changed to plain
Tatami.
5 Click Save.
format list
design name
folder containing
design
ES 2006 Chapter 2 Basic Procedures 54
Tip Files saved in EMB format are automatically compressed when
saved and decompressed when re-opened. This reduces the storage
space required, and makes it possible to save large files to floppy disk,
or send them as email attachments.
Once you have saved a design, every time you click Save on the toolbar
the file will be updated.
ES 2006 Wilcom ES Online Manual 55
Chapter 3
Working with Design Objects
ES Designer provides various ways to select the objects in an embroidery
design. Modify the design as a whole or select individual objects for more
precise modification. The Color-Object List provides an easy way to select
objects and colors in designs and access their properties. Use it to group and
ungroup, lock and unlock, and show and hide objects as well.
Note In ES Designer vector objects and embroidery objects are in fact
inter-convertible since they share many of the same characteristics. See
also Digitizing with Vector Images.
This section describes how to select objects using the selection tools and
keyboard. It also shows how to select while traveling through designs or by
using the Color-Object List.
Selecting and deselecting objects
You can select all objects in a design, cancel all selections, or remove
individual objects from a selected group.
Selecting all objects in a design
Select all objects to apply changes to a whole design. See also Quick
Reference.
ES 2006 Chapter 3 Working with Design Objects 56
To select all objects in a design
Select Edit > Select All or press Ctrl+A.
Selection handles appear around the entire design.
To deselect, select Edit > Deselect All, press X or Esc.
Deselecting objects
You can cancel all selections in the design, or remove individual objects from
a group of selected objects.
To deselect objects
Deselect an object/s by any of the following means:
Click an empty area of the background.
Select a different object.
Press Esc or X to deselect all.
Select Edit > Deselect All to deselect all.
Remove an object from a group of selection by holding down Ctrl and
clicking the object to deselect.
Selecting objects with Select Object
ES Designer provides various means for selecting objects including point
and click, and bounding box selection. You can also use the Select Object
tool in conjunction with Shift and Ctrl keys to select groups of objects.
ES Designer allows precise selection of object outlines or fill stitches. It also
allows selection of a solid color (for vector objects), fabric (for appliqus) or
the visible portion, after cropping, of a bitmap. See also Quick Reference.
all objects selected no objects selected
ES 2006 Wilcom ES Online Manual 57
Selecting objects by point & click
The simplest way to select objects is by pointing and clicking with the Select
Object toolthe default. With Shift and Ctrl keys, you can select multiple
objects. Filled objects can be selected by clicking their outlines or stitches.
Closed unfilled objects, such as drawing objects with no fill color, can only
be selected by clicking their outlines. Clicking an object outline selects the
object regardless of whether another object is on top. When clicking at a
point where two or more objects intersect, the last object in the sequence
is selected. Where you have a mixture of closed-curve objects, you can
select object outlines or fill stitches. Clicking within an objects extent box
but outside its outline does not select it. With low-density stitching and/or
at high zooms, it is actually possible to click between stitches and not select
the object.
Note ES Designer allows a degree of selection tolerance around stitches
and outlines when selecting, as though the lines were thicker. Selection
tolerance does not apply to color or fabric fills. When stitching has low
density and/or at high zooms, it is possible to click between stitches and not
select the object.
To select objects by point & click
Click the object you want to select.
Selection handles appear around it. You can move the cursor anywhere
within these extents to click-and-drag the object.
To select a range of items, hold down Shift as you click.
Click Select Object (Pointer toolbar) and click the object to select.
Click first object Hold down Ctrl and
click another object
Ctrl + Hold down Shift and
click last object
Shift +
OR
ES 2006 Chapter 3 Working with Design Objects 58
Tip It helps to know the design stitching sequence for this method. See
Traveling by object for details.
To select multiple items, hold down Ctrl as you click.
Note Clicking within the objects extent box but outside its outline does
not select it.
Where you have a mixture of closed-curve objects with or without fills,
you can select object outlines or fill stitches.
Tip To select an object which is sitting behind another object, zoom in
and position the cursor over the area where they overlap, and holding
down the 2 key, click until the second object is selected. Each click
selects the next overlapping object.
Selecting objects with a bounding box
With the Select Object tool activated, you can select objects by dragging a
bounding box around them. The selection tool is generally activated by
default.
To select objects with a bounding box
Drag a bounding box around the objects you want to select.
Clicking fill selects the object
even if it is within the bounds
of a larger object
Clicking fill behind an object
without fill selects the object
Clicking outline of object
selects the object
Click Select Object (Pointer toolbar) and drag a bounding box around the
object to select.
ES 2006 Wilcom ES Online Manual 59
Objects are selected when you release the mouse button.
Note Only objects completely within the bounding box will be selected
when you release the mouse button. See also Grouping and ungrouping
objects.
Selecting objects on the fly
You can select a range of objects by traveling by object with Selects On
activated, or using the Select Object tool in conjunction with Shift, Ctrl and
Tab keys.
Selecting objects with Selects On
The Selects On tool adds objects to the selection as you travel through the
stitching sequence.
To select objects with Selects On
1 Click the Selects On icon.
2 Click the Select Object icon.
Note If the Select Object tool is not selected, Selects On has no effect.
3 Travel through the design. See Traveling by object for details.
As you travel, objects are added to the selection.
Drag a bounding box around
the objects
Objects are selected
Click Selects On (Standard toolbar) to select a range of objects as you travel
through the design.
ES 2006 Chapter 3 Working with Design Objects 60
Selecting objects while traveling through a design
You can select objects as you travel through the design using the Ctrl key.
Traveling is usually associated with checking the stitching sequence.
To select objects while traveling through a design
1 Click the Select Object icon.
2 Travel through the design, stopping just before the object to select. See
Traveling by object for details.
3 Hold down Ctrl, and travel over the object to select it.
Note If an object is already selected, it is deselected when you travel
through it.
To select more objects, continue traveling with Ctrl held down.
To leave an object out of the selection, release Ctrl before you travel
through it.
Tip You can select the object you are currently traveling through by
pressing Shift+O or right-clicking the Select Object tool.
Click Select Object (Pointer toolbar) together with the Ctrl key to select
objects as you travel through a design.
Stop before the first
object
Hold down Ctrl and
travel by object
ES 2006 Wilcom ES Online Manual 61
Selecting next or previous object
If an object is already selected, you can select the object before or after it
in the stitching sequence using Tab or Shift + Tab with the Select Object tool
activated. With no object selected, you can select the first or last object in
the design sequence.
To select next or previous object
1 Click the Select Object icon.
2 Select an object as required.
3 Do one of the following:
Press Tab to select the next object in the stitching sequence.
Press Shift + Tab to select the previous object in the stitching
sequence.
Tip Hold down Ctrl and press Tab or Shift + Tab to add the next or
previous objects to the selection.
Selecting objects with Polygon Select/Line Select
Sometimes the Select Object tool does not provide fine enough control. The
Polygon Select /Line Select tool lets you select individual objects by
drawing an outline around them or a line through them.
Tip To select an object which is behind another object, you can zoom in and
click the outline. Alternatively, position the pointer over the object, hold
down the 2 key, and click until the object is selected. Each click selects the
next overlapping object.
Selecting objects with Polygon Select
With the Polygon Select /Line Select tool you can select a specific object
by drawing a bounding box around it.
Click Select Object (Pointer toolbar) and press Tab or Shift +Tab to select
next or previous objects.
Click Polygon Select /Line Select (Pointer toolbar) to select objects with a
bounding box.
ES 2006 Chapter 3 Working with Design Objects 62
To select objects with Polygon Select
1 Click the Polygon Select /Line Select icon.
2 Mark reference points around the object/s you want to select.
The objects you want to select must be completely within the outline.
3 Press Enter to select.
Selecting objects with Line Select
With the Polygon Select /Line Select tool you can select a specific object
by drawing a line through it.
To select objects with Line Select
1 Right-click the Polygon Select/Line Select icon.
2 Mark two or more reference points to create a line touching all objects
you want to select.
Any object intersected by the line is selected.
3 Press Enter to select.
Mark reference
points around
object/s to select
Click Polygon Select/Line Select (Pointer toolbar) to draw a line through the
object to select.
Mark two
reference points
ES 2006 Wilcom ES Online Manual 63
Selecting related objects
You can select all objects of the same color or stitch type with a single
command. Use this feature to apply a change across all objects of the same
type.
Selecting objects by color
You can select all objects of the same color with a single command. Use this
feature to apply a change across all objects of the same color. See also
Viewing design objects by color.
To select objects by color
1 Select Edit > Select By > Color.
The Select By Color dialog opens.
2 Select a thread color from the list.
To select a range of colors, hold down Shift as you click.
To select multiple colors, hold down Ctrl as you click.
3 Click OK.
Objects using the selected thread colors are selected in the design.
Note Manual color changes are ignored. Any objects with manual color
changes are selected according to their original color.
ES 2006 Chapter 3 Working with Design Objects 64
Selecting objects by stitch type
You can select all objects of the same stitch type with a single command.
Use this feature to apply a change across all objects of the same stitch type.
To select objects by stitch type
1 Select Edit > Select By > Stitch type.
The Select By Stitch Type dialog opens.
2 Select a stitch type from the list.
To select a range of stitch types, hold down Shift as you click.
To select multiple stitch types, hold down Ctrl as you click.
3 Click OK.
Objects using the selected stitch types are selected in the design.
Selecting and viewing objects with the Color-Object List
The Color-Object List provides a sequential list of objects as digitized,
grouped by color block. It offers an easy way to select objects and
selectively view them. It is synchronized with the design window,
dynamically updating whenever you manipulate objects. It is normally
Select stitch type
Use Color-Object List (Standard toolbar) to toggle the Color-Object List
display on and off. Use it to select and view objects in a design.
ES 2006 Wilcom ES Online Manual 65
docked on the right of the design window but can be dragged to any position
you require.
Note You can use the Color-Object List to group and lock objects. Use it
also to cut, copy and paste, resequence, as well as branch objects. See also
Grouping and locking with the Color-Object List, Copying and pasting
objects, Resequencing colors and objects with the Color-Object List, and
Branching objects with the Color-Object List in the Online Manual.
To select and view objects with the Color-Object List
1 Click the Color-Object List icon.
The Color-Object List opens. It can be docked to the left or right side
of the design window, or dragged to any position.
The Color-Object List shows a separate icon for each color block and
each object in the design, in order of stitching sequence. Each objects
stitch count is also shown, together with the input method and stitch
type used in its creation.
stitch type
stitch count
bitmap image
node
vector image
node
more than one
stitch type
more than one
object type
color block
node
total color
block count
total
object
count
object type
total stitch
count
object
icons
ES 2006 Chapter 3 Working with Design Objects 66
2 Click a node icon to open or close a color block and see its component
objects.
3 Click an icon to select a color block and/or individual objects.
When a color block is selected, all of its component objects are selected
as well. A blue border appears around each.
To select a range of items, hold down Shift as you click.
To select multiple items, hold down Ctrl as you click.
To select all items, right-click any object or color block, and choose
Select All from the popup menu.
To deselect all objects, click away from objects and color blocks.
4 Hide selected color blocks and objects via the popup menu commands.
Right-click a color block or object icon and apply Hide from the
popup menu.
To show all items, right-click any object or color block, and select
Unhide All from the popup menu.
Click to
open/close all
color block nodes
Click to open/close
individual color block
node Blue border appears
around selected
objects
Right-click any object or
color block, and select
Select All
Select Unhide All
ES 2006 Wilcom ES Online Manual 67
To view selected items only, select Hide Others from the popup
menu.
Alternatively, select the items you want to view in isolation, and hold
down Locate.
Note The Locate button will hide all unselected objects, but it will not
pan to the located object. Nor will it update the Overview window.
Select Hide
Others to view
only selected
items
Hold down
Locate to
quickly view
selected items
ES 2006 Wilcom ES Online Manual 68
Chapter 4
Viewing Designs
ES Designer provides many viewing modes to make it easier to work with
your designs. Zoom in on an area to see more detail, view the design at
actual size, or view a thumbnail of the whole design in a separate Overview
window. Pan the design to move it across the design window instead of
scrolling, and quickly change between one view and the last. Show or hide
various design elements with the available display settings. You can show or
hide outlines, needle penetration points, connectors, stitch angles, machine
function symbols and the stitches themselves. You can also view designs in
TrueView.
When working with embroidery designs, you need to understand the
stitching sequence. Check this by traveling through the design
stitch-by-stitch. You can also check it by slowly redrawing the design
on-screen. You can also preview a design in different colors on different
fabrics by selecting from among any number of pre-defined colorways.
ES Designer gives you comprehensive information about your designs. Even
before opening a design, you can check the software version number and
other design information for EMB files directly from Windows Explorer. View
stitching details in the Design Properties dialog. The production worksheet
also provides essential production information, including a design preview,
the size of the design, color sequence and any special instructions.
This section explains the design viewing modes available in ES Designer as
well as the various design viewing settings. It also describes how to view
designs by traveling through the stitching sequence. Design colorways are
explained, as well as how to obtain and modify design information.
ES 2006 Wilcom ES Online Manual 69
Design viewing modes
ES Designer provides many viewing modes to make it easier to work with
your design. Zoom in on an area to see more detail, view the design at
actual size, or view a thumbnail of the whole design in a separate Overview
window. Pan across the design instead of scrolling, and quickly change
between one view and the last.
Note To make sure your design is being displayed at the correct size, you
might need to calibrate your monitor. See Calibrating the monitor for details.
Zooming and panning designs
Magnify your view of the design by zooming in on individual stitches or
details, or zoom out to display more of the design in the window. In addition
to the scroll bars, panning provides a quick way to view parts of a design
which are not currently visible in the design window. Panning is typically
used after zooming in on an area.
Tip Use Auto Scroll to scroll the design automatically while you are
digitizing. This can be more convenient than using panning or the scroll
bars. See Setting auto scroll options for details.
To zoom and pan a design
To display a design at twice its current size, click the Zoom In 2X icon
or press Z.
Click Zoom 1:1 (Zoom toolbar) to display a design at actual size.
Click Show All (Zoom toolbar) to display the whole design in the design
window.
Click Zoom Box (Zoom toolbar) to zoom in on a section of a design.
Select Zoom In 2X (Zoom toolbar) to display a design at twice its current size.
Select Zoom Out 2X (Zoom toolbar) to display a design at half its current
size.
Select a Zoom Factor (Zoom toolbar) from the dropdown list to
display the design at a particular scale.
ES 2006 Chapter 4 Viewing Designs 70
To display a design at half its current size, click the Zoom Out 2X icon
or press Shift+Z.
To display a design at actual size, click the Zoom 1:1 icon or press 1.
To return to the previous view, select View > Previous View or press V.
To view the entire design in the design window, click the Show All icon
or press 0.
Tip To fit selected objects in the window, select View > Show All >
Selected Objects. Alternatively, press Shift+0 on the keyboard. Press
Shift+S to only show selected objects. See also Design viewing settings.
Select a Zoom Factor from the dropdown list to display the design at a
particular scale or key it directly into the field. Alternatively, select View
> Zoom Factor or press F on the keyboard. In the Zoom Factor dialog,
enter a viewing scale and click OK.
To zoom in on a section of a design, click the Zoom Box icon and drag
a bounding box around the zoom area. Alternatively, press B on the
keyboard.
Enter viewing
scale
Click & drag bounding
box around area to
zoom
ES 2006 Wilcom ES Online Manual 71
To pan across a design in the design window, select View > Pan or press
P. Move the pan box over the part of the design you want to view and
left-click. ES Designer centers the design window around the point you
clicked.
Working with the Overview Window
Use the Overview Window to view a thumbnail of the design. The window
updates whenever you make a change and can be used to zoom in or pan
across the design window. See also Zooming and panning designs.
Note To change the view settings for the Overview window, click it to make
it the active window. See Design viewing settings for details.
To work with the Overview Window
1 Click the Overview Window icon.
Use Overview Window (Standard toolbar) to toggle Overview window
display on/off. Use it to view a thumbnail of the design.
Place pan box
over area to view
and click
ES 2006 Chapter 4 Viewing Designs 72
The Overview Window opens.
2 To zoom in or out, click the Zoom button at the bottom of the window
and drag a bounding box around the area to zoom.
Click for
zoom box
Drag bounding box
around area to zoom
ES 2006 Wilcom ES Online Manual 73
3 To pan across the design, move the cursor inside the zoom boxit
changes to a four-way arrow cursorand drag it.
Showing and hiding selected objects
ES Designer provides a number of techniques for quickly hiding or showing
selected objects in the design window. You can also switch quickly between
the current view and the last view you selected. After certain operations,
such as editing thread colors, you may also need to redraw the screen for a
clearer display.
Note To view the stitching sequence, use Slow Redraw. See Redrawing the
stitching sequence slowly for details.
Drag zoom box to
area to pan
ES 2006 Chapter 4 Viewing Designs 74
To show or hide selected objects
To view a selected object in isolation, press Shift+S.
To display the selected object full-screen, press Shift+0.
To return to the previous view, select View > Previous View or press V.
To re-display the entire design, press Esc followed by press Shift+S.
To redraw the screen, select View > Redraw or press R.
For further techniques in showing and hiding objects, see also Viewing
selected parts of a design.
Viewing selected parts of a design
You can set your system to display all embroidery objects in a design, or
hide all but the selected objects. You can also turn off all embroidery objects
in order to see backdrop images more clearly.
Note Display settings apply to both the design window and production
worksheet. See also Design viewing modes and Previewing production
worksheets.
Tip The Color-Object List provides another way to view design objects. See
Selecting and viewing objects with the Color-Object List for details.
Press
Shift+S
Select Options (Special menu) to display all embroidery objects in a design, or hide
all but the selected objects.
ES 2006 Wilcom ES Online Manual 75
To view selected parts of a design
1 Select Special > Options.
The Options dialog opens.
2 Select the View Design tab.
3 In the Visibility panel, select a display option.
No Change: the display remains the same as before.
Show Whole Design: all embroidery objects in the design are
visible. See also Viewing selected parts of a design.
Show Selected Objects: only objects that are currently selected are
visible. This option is only available when objects are selected.
Show Unselected Objects: the reverse of the above option. This
option is only available when objects are selected.
Select viewing (and
print) options
ES 2006 Chapter 4 Viewing Designs 76
Hide Whole Design: all embroidery objects in the design are hidden.
Note From this dialog you can also select the design elements you want
to displaye.g. stitches, outlines, etc. You can also change TrueView
settings for different effects. See Setting design element view options
and Setting TrueView options in the Online Manual.
4 Click OK.
Viewing design objects by color
To help you isolate individual design elements for checking or manipulation,
the View By Color function lets you view objects by color. This is particularly
useful when you are reseqencing objects by color. See also Resequencing
objects by color.
Tip The Color-Object List provides another way to view design objects. See
Selecting and viewing objects with the Color-Object List for details.
To view design objects by color
1 Create or open a design.
2 Select View > View By Color.
The Select By Color dialog opens.
3 Select the colors you want to view.
To select a range of items, hold down Shift as you select.
Select View By Color (View menu) to view design elements by color.
ES 2006 Wilcom ES Online Manual 77
To select multiple items, hold down Ctrl as you select.
4 Click OK.
The design appears with only those colors you selected in view.
Note The View By Color command will not work with grouped objects.
Design viewing settings
You can show or hide design elements with a variety of display settings.
Show or hide object outlines, needle penetration points, connectors, stitch
angles, machine function symbols and the stitches themselves. You can also
show or hide selected colors.
Tip You can change Overview window view settings separately to the design
window. For example, you can view the design in TrueView in the Overview
window and in normal view in the design window. See also Working with the
Overview Window.
Viewing stitches and outlines
You can show or hide stitches and object outlines as you work. Hide stitches
to see outlines more clearly when reshaping. Show outlines if Generate
Stitches is turned off. See also Generating stitches.
Click Show Stitches (Standard toolbar) to show or hide stitches.
Click Show Outlines (Standard toolbar) to show or hide object outlines.
ES 2006 Chapter 4 Viewing Designs 78
Note Show Outlines will not work with stitch files that have been read
without stitch recognition. See Opening stitch files in ES Designer for
details.
To view stitches and outlines
Click the Show Outlines icon to turn outlines on or off.
Click the Show Stitches icon (or press S) to turn stitches on or off.
Tip Right-clicking these tools opens the Options > View Design tab.
See Viewing selected parts of a design for details.
Viewing designs in TrueView
TrueView offers a graphical representation of what the final embroidery will
look like.
Tip Change TrueView settings for different effects. See Setting TrueView
options for details.
stitches and
outlines ON
outlines ON stitches ON
Use TrueView (Standard toolbar) to change between normal view and
TrueView.
ES 2006 Wilcom ES Online Manual 79
To view designs in TrueView
Click the TrueView icon to switch between TrueView and normal view.
Tip Use TrueView together with a background fabric to see how your
design will look when stitched out. See Changing background colors and
fabrics for details.
Viewing needle points, connectors and functions
You can show or hide design elements such as needle points, connectors and
machine function symbols in your design. For example:
View needle points to select stitches for editing
View functions to check color changes or trims
View connectors to help position entry and exit points.
See also Connecting Embroidery Objects and Editing Stitches and Machine
Functions in the Online Manual.
Note You can display or hide design elements in any combination. None
displays while viewing in TrueView.
Normal view (stitches
and outlines)
TrueView ON
Click Show Needle Points (Standard toolbar) to show or hide the needle
points in a design.
Click Show Connectors (Standard toolbar) to show or hide the connectors.
Click Show Functions (Standard toolbar) to show or hide the function
symbols.
ES 2006 Chapter 4 Viewing Designs 80
To view needle points, connectors and functions
To show or hide needle points, click the Show Needle Points icon.
To show or hide connectors, click the Show Connectors icon. See also
Types of connectors.
To show or hide machine functions, click the Show Functions icon. See
also Machine function types.
Tip Right-clicking these tools opens the Options > View Design tab.
See Viewing selected parts of a design for details. See also Setting
design element view options.
Viewing the stitching sequence
When working with embroidery designs, you need to understand the
stitching sequence. You can check a designs stitching sequence by
traveling through it by stitches, segments, functions or objects. You can
also check the sequence by slowly redrawing the design on-screen.
ES Designer simulates stitching out by changing stitches from black to their
allocated thread color as they are stitched.
Note The stitching sequence can only be viewed in stitch view. It cannot
be used with TrueView.
Connectors ON Functions ON Needle Points ON
ES 2006 Wilcom ES Online Manual 81
Tip You can change the display color of unsewn stitches. See Changing
display colors for details.
Traveling by stitches
Use the stitch travel tools or keyboard shortcuts
to travel through the design one or more stitches
at a time. The current needle position is indicated
by a large white cross or needle position marker.
Initially, this is located at the end of the design.
When you travel through stitches, the needle
position marker moves accordingly. The current
stitch number appears in the Status Line.
To travel by stitches
Click the travel tool you require to travel backwards through the
stitching sequence by 1, 10, 100, or 1000 stitches.
Right-click the required tool to travel forwards through the stitching
sequence.
Alternatively, use the arrow keys, with no objects selected, to travel
backwards and forwards through the stitching sequence. See Quick
Reference for details.
Click Travel 1 Stitch (Travel toolbar) to travel 1 stitch at a time.
Click Travel 10 Stitches (Travel toolbar) to travel backwards 10 stitches at a
time. Right-click Travel 10 Stitches to travel forwards 10 stitches at a time.
Click Travel 100 Stitches (Travel toolbar) to travel backwards 100 stitches at
a time. Right-click Travel 100 Stitches to travel forwards 100 stitches at a
time.
Click Travel 1000 Stitches (Travel toolbar) to travel backwards 1000 stitches
at a time. Right-click Travel 1000 Stitches to travel forwards 1000 stitches at
a time.
Travel backwards
one stitch
ES 2006 Chapter 4 Viewing Designs 82
Tip Slow Redraw lets you view the stitching and color sequence of a
design in slow motion. See Redrawing the stitching sequence slowly for
details.
Traveling by segment
Use the Travel by Segment tool or keyboard shortcut to travel through the
design by object segment. See also Quick Reference.
To travel by segment
To travel to the previous segment, click the Travel by Segment icon.
To travel to the next segment, right-click the Travel by Segment icon.
Traveling to the start or end of a design
Use the Start/End Design tool or keyboard shortcut to travel quickly to the
start or end of the stitching sequence. See also Quick Reference.
To travel to the start or end of a design
To travel to the start of the design, click the Start/End Design icon.
To travel to the end of the design, right-click the Start/End Design icon.
Click Travel by Segment (Travel toolbar) to travel to previous and next
segments.
Click Start/End Design (Travel toolbar) to travel to the start or end of a
design.
ES 2006 Wilcom ES Online Manual 83
Traveling by object
Use the Travel by Object tool or keyboard shortcut to travel through the
design by object. This is useful if you need to locate a specific object to
delete it from the stitching sequence, or in order to insert another object.
Use it in conjunction with the stitch travel tools if you want to nest an
object. See also Nesting objects.
Tip You can select a range of objects by traveling by object with Selects On
activated. See Selecting objects with Selects On for details.
To travel by object
To travel to the previous object, click the Travel by Object icon.
To travel to the next object, right-click the Travel by Object icon.
Tip You can also use keyboard shortcuts to travel through the design
by object. See also Quick Reference.
Traveling by color
Use the Travel by Color tool or keyboard shortcut to travel through the
design by color. This is useful if you need to locate a specific color change in
order to insert an object or delete it from the stitching sequence. See also
Selecting and viewing objects with the Color-Object List and Quick
Reference.
Use Travel by Object (Travel toolbar) to travel to the previous or next object.
Use Travel by Color (Travel toolbar) to travel to the previous or next color
change function.
ES 2006 Chapter 4 Viewing Designs 84
Note When you travel by color, the system looks for the next or previous
color change function. Both automatically and manually inserted color
change functions are recognized.
To travel by color
To travel to the previous color, click the Travel by Color icon.
To travel to the next color, right-click the Travel by Color icon.
Traveling by machine function
Use the Travel by Function tool to travel through the design by machine
function. This is useful, for example, if you are looking for an extra trim that
should not be there. Note, however, that the needle point will stop at every
jump, trim, and color change. See also Quick Reference.
Note Both manually and automatically inserted functions are recognized.
See also Changing Machine Formats.
Use Travel by Function (Travel toolbar) to travel to the previous or next
machine function.
ES 2006 Wilcom ES Online Manual 85
To travel by machine function
To travel to the next machine function, right-click the Travel by
Function icon.
To travel to the previous machine function, click the Travel by Function
icon.
Tip You can use the Stitch List to help locate stitches and machine
functions for editing. See Editing stitches and functions with Stitch List
for details.
Redrawing the stitching sequence slowly
The Slow Redraw tool lets you view the stitching and color sequence of a
design in slow motion. Redrawing can be started from any stitch in the
design. Hide previously stitched parts of the design as required. With larger
designs, you can choose to scroll automatically so that the area being
stitched remains on-screen.
Note Slow Redraw cannot be used with TrueView.
To redraw the stitching sequence slowly
1 Select View > Slow Redraw or press Shift+R.
Use Slow Redraw (View menu) to view the stitching and color sequence of a design
in slow motion.
half-stitched
design
ES 2006 Chapter 4 Viewing Designs 86
The Slow Redraw dialog opens.
Tip To redraw only a section of the design, travel to the point where you
want to start Slow Redraw. See Viewing the stitching sequence for
details.
2 Use the slider bar to adjust the redraw speed.
3 Select the options as required:
Hide Before: Hide all sections of the design prior to the current
cursor position.
Auto Scroll: With larger designs, scroll automatically so that the
area being stitched remains on-screen.
4 Click Go.
The design is redrawn on-screen according to the stitching sequence and
selected speed.
5 Click Pause, Stop or Back to Start as required.
Pause pauses the redraw, letting you resume where you left off.
Stop stops the redraw and returns to the beginning of the design.
Back to Start redraws from the beginning of the design.
Note You can adjust the display color of unsewn stitches. See Changing
display colors for details.
Go
Pause Stop
Back to Start
Adjust display
options
Travel to middle of
design, then start Slow
Redraw
Only areas being
redrawn are displayed,
the rest are hidden
ES 2006 Wilcom ES Online Manual 87
Viewing colorways, backgrounds and display colors
In ES Designer, you can define multiple colorways for the one design. This
means you can preview or stitch out the same design in different colors to
different fabrics. Background colors and fabrics are treated as part of the
colorway rather than design window settings. In addition, display colors for
borer holes, unsewn and selected stitches, object outlines and grid are part
of the colorway definition.
Viewing colorways
A colorway is a color scheme or palette of thread colors. It may also include
a background color or fabric sample. This means you can preview or stitch
out the same design in different colors to different fabrics. In ES Designer,
you can also print multiple colorways, icons of color blocks, and design
backgrounds with the production worksheet. See also Working with
colorways.
Tip When you start a new design, Colorway 1 appears as the default color
palette. You can change it by selecting from among any number of
pre-defined colorways saved to the current template.
To view a colorway
1 Open a design.
2 Select a colorway from the Colorways toolbar.
Tip Select View > Redraw to refresh your screen.
Use the Colorways dropdown (Color toolbar) to select a new color
scheme for your design.
ES 2006 Chapter 4 Viewing Designs 88
Changing background colors and fabrics
ES Designer lets you change the background color of the design window to
match the color of your fabric. Or you can select a background fabric for
more realistic previews and presentations. The background is saved with the
colorway.
Note Default settings are stored in the template as Colorway 1. If you
change the background in Colorway 1 and save your template, it will always
display like this at start up. See also Working with colorways.
To change the background color or fabric
1 Select a colorway and click the BKG button.
The Display dialog opens for the selected colorway.
Use the BKG button (Color toolbar) to change background color and
fabrics.
Select
colorway
Select background
color or fabric
Edit color
Select fabric
pattern
Center or tile fabric
pattern in design
window
ES 2006 Wilcom ES Online Manual 89
2 Select the design window background type.
Color: uses the selected color.
Fabric: uses an image of a fabric.
3 Select a color or fabric to use.
To select a background color, click Edit. Select a color from the Color
dialog and click OK.
To select a fabric, click Browse. Select a fabric type from the Open
dialog and click OK.
You can center or tile the fabric bitmap in the design window. If the
bitmap is large enough to fill the entire window, select Center.
Otherwise, select Tile.
4 Click OK.
Tip Textured backgrounds can also be imported into ES Designer.
Almost any artwork can be usedphotographs, magazine pictures,
clipart images, and even fabric samples. See also Scanning artwork into
ES Designer.
Changing display colors
In addition to background color or fabric, display colors for borer holes,
unsewn and selected stitches, object outlines and grid are part of the
colorway definition. You may want to change them if the default display
color is not visible against the current colorway background.
To change display colors
1 Select a colorway and click the BKG button.
Use the BKG button (Color toolbar) to change background color and
fabrics.
black outline blue outline
ES 2006 Chapter 4 Viewing Designs 90
The Display dialog opens for the selected colorway.
2 Select an item from the Selection list.
Borer: borer points.
Unsewn: unsewn stitches when traveling through design.
Selected: selected objects or stitches.
Object Outline: object outlines.
Grid: grid lines.
Guides: guides.
3 Click Edit.
The Color dialog opens.
4 Select or mix the new display color and click OK.
5 Click OK to close the Display dialog.
Select items
displayed
Edit color
Select or mix new
display color
ES 2006 Wilcom ES Online Manual 91
Viewing design information
You can obtain design information in a variety of ways and formatsbefore
opening the EMB file via Windows Explorer, from the Design Properties
dialog, as well as from the production worksheet.
Viewing design information in Windows Explorer
Before opening EMB files, you can check the software version number and
other design information through Windows Explorer. The Properties dialog
displays a design preview together with design information such as stitch
count, number of stops and color changes, as well as machine format. You
can also view general file information, such as file size and modification
dates.
Note This same dialog can be accessed from within the Open dialog in
ES Designer. See also Opening designs.
To view design information in Windows Explorer
1 In Windows Explorer, select a file.
2 Right-click the file and select Properties from the popup menu.
The Properties dialog opens and displays the EMB tab.
ES 2006 Chapter 4 Viewing Designs 92
3 Check the design information, or click the other tabs for general file
information.
Tip The Summary tab provides some of the same information entered
in the Design Properties > Summary dialog in ES Designer. See
Viewing design information in ES Designer for details.
4 Click OK.
Viewing design information in ES Designer
You can check the software version number and other design information
through the Design Properties dialog. Stitching details are also provided.
Most of the fields cannot be modified directly except for stitch counts,
summary information, Colorways, and Elements.
Note An element, in software terms, is a color block consisting of
sequential, same-color objects. You can assign names to elements which
then appear on the production worksheet. The operator generally uses these
to make sure colors are correct during production. See Naming design
elements via Design Properties for details.
To view design information in ES Designer
1 Select File > Design Properties.
Fish
Marine animals
Hatice Onay
fish, tropical, marine
Tropical fish using curve line fills and trapunto
effect.
Use Design Properties (File menu) to view stitching details about a design.
ES 2006 Wilcom ES Online Manual 93
The Design Properties > Information dialog opens.
This tab contains information about the design height, width, stitch
count and colors. The data is extracted from the design and, except for
stitch count, cannot be modified.
Note This tab also provides important information about the file source
Native Design, Imported Outlines, Processed Stitches, or Imported
Stitches. See Embroidery design formats for details.
2 Click Length Calculation to revise stitch counts according to target fabric
thickness. See Estimating total thread usage for details.
3 Select the Stop Sequence tab to view the color sequence and stitch
counts for each design element.
Enter Element
name
ES 2006 Chapter 4 Viewing Designs 94
The data in this tab is extracted from the design and, except for
Element, cannot be modified. See also Naming design elements via
Design Properties.
Note There is a stitch count for each element in the design. You can
show this as a stitch count for each element or a cumulative stitch count.
See Setting other options for details.
4 Select the Summary tab to view or enter summary information about
the design.
5 Click a field and enter any text which will help you identify the design at
a later date.
Note Information from this tab is included on the production worksheet
as well as the Summary tab of the Windows Properties dialog. See
Viewing design information in Windows Explorer and Previewing
production worksheets for details.
6 Click OK.
Estimating total thread usage
In order to get more precise thread usage estimates, you can adjust the
fabric thickness setting to suit the target fabric.
To estimate total thread usage
1 Select File > Design Properties.
The Design Properties > Information dialog opens.
Hatice Onay
fish, tropical, marine
Tropical fish using curve line fills and trapunto.
Fish
Marine animals
Use Design Properties (File menu) to view total stitch usage.
ES 2006 Wilcom ES Online Manual 95
2 Click Length Calculation.
The Length Calculation dialog opens.
3 Enter the thickness of the target fabric in millimeters.
4 Adjust the bobbin thread length according to the mixture of thread types
in the design.
This factor provides a simple mechanism for a more accurate bobbin
thread length estimate. The default value (100%) is suitable for a design
with a mixture of stitch types. If the design is all Run stitches or all
Tatami, more bobbin thread will be used and the factor can be increased
say to 125%. If the design is all Satin stitch, the factor can be reduced
to say 65%.
5 Click OK.
The Total Thread and Total Bobbin values are adjusted to take into
account fabric thickness on total thread requirement.
Tip Click Save to save the revised settings to the current template.
Naming design elements via Design Properties
You can assign names to blocks of sequential, same-color objects, known as
elements. Each color block can be given a descriptive name for easy
identification. Element names appear on the production worksheet.
Tip The Usage field in the Color Palette Editor shows a list of selected color
blocks which correspond to design elements. See Naming design elements
via the Color Palette Editor for details.
Enter target fabric
thickness in mm
Enter bobbin thread
length as a%
Use Design Properties (File menu) to assign names to blocks of sequential, same
color objects.
ES 2006 Chapter 4 Viewing Designs 96
To name design elements via Design Properties
1 Select File > Design Properties.
The Design Properties > Information dialog opens.
2 Select the Stop Sequence tab.
3 In the Element fields, enter names for each color block as required. To
do so, click the field, type the name, and press Enter.
Note This information may be included on the production worksheet.
See Customizing production worksheet information for details.
4 Click OK.
Previewing production worksheets
The production worksheet is the link between the designer and the
embroidery machine operator. It contains a design preview and essential
production information, including the size of the design, color sequence and
any special instructions. See also Printing or plotting production worksheets.
To preview a production worksheet
1 Click the Print Preview icon.
Enter element
names for each
color block
Click Print Preview (Standard toolbar) to preview the production worksheet
on-screen.
ES 2006 Wilcom ES Online Manual 97
The production worksheet displays in a preview window.
2 Adjust the view as required:
To change the orientation of the paper, click Landscape or Portrait.
To change the information that displays, and set printing/plotting
preferences, click Options. See also Setting production worksheet
print options.
To print the design, click Print.
To close the production worksheet preview, click Close.
Tip Zoom in to read the production information or view the design
preview more closely. Large designs may be displayed over a number of
pages.
Showing and hiding backdrops
Click Close to return to
Design Window
Design appears
at actual size
Click Print to print
the production
worksheet
Click to display one or
two pages
production
information
Use Show Bitmap (Standard toolbar) to show and hide bitmap images.
Right-click to set image display options.
Use Show Vectors (Standard toolbar) to show and hide vector images.
Right-click to set image display options.
ES 2006 Chapter 4 Viewing Designs 98
Artwork can be inserted, pasted or scanned into ES Designer for use as
digitizing templates or backdrops. You can show or hide backdrops
temporarily while you digitize. Depending on the view options set up in the
Options dialog, the image displays in full color, or dimmed. See Setting
image viewing options for details.
Note A design may include both bitmap images and vector images which
can be selectively turned on or off.
To show or hide backdrops
Click the Show Bitmap and/or Show Vectors icons.
When selected, backdrop images are visible.
To hide images, click the icons again.
Tip So you dont accidentally move or delete the backdrop, select it and
press K on the keyboard to lock it down. See Locking and unlocking
objects for details.
vector image
together with
bitmap image
ES 2006 Wilcom ES Online Manual 99
PART II
DIGITIZING DESIGNS
In ES Designer, you build designs from basic shapes or embroidery objects.
These are like ordinary drawing objects in that they have certain defining
characteristics or properties such as color, size, position, and so on. They
also have properties unique to embroidery such as stitch type and density.
Digitizing methods
This section describes how to digitize shapes manually with the available
digitizing tools. It also explains how to adjust input settings to obtain the
best results. See Digitizing Methods for details.
Fill and outline stitches
This section explains how to apply fill and outline stitch types to your
embroidery objects, as well as how to change stitch settings to obtain the
best results. See Fill and Outline Stitches for details.
Colorways and thread charts
This section describes how to select colors from the color palette as well as
how to change colorways. It also explains how to define, modify and delete
colorways. There is also an explanation of how to define your own thread
colors and charts. See Colorways and Thread Charts for details.
ES 2006 Digitizing Designs 100
Connecting embroidery objects
This section describes how to add connectors, tie-offs and trims to your
designs. It also describes adjusting settings for automatic connectors,
including the stitch length for travel runs. There is also a topic on hiding
travel runs using the Trapunto effect. See Connecting Embroidery Objects
for details.
Improving stitch quality
This section describes how to strengthen and stabilize designs with
automatic underlays, as well as how to compensate for fabric stretch.
Reducing stitch bunching with stitch shortening and fractional spacing is
covered, together with adjusting stitch density and removing small stitches
automatically. Techniques for controlling corner stitching and long stitches
with Auto Split and Auto Jump are described. You will also find details of
setting automatic start and end points. See Improving Stitch Quality for
details.
ES 2006 Wilcom ES Online Manual 101
Chapter 5
Digitizing Methods
In ES Designer, you build designs
from basic shapes or embroidery
objects. These are like ordinary
vector objects in that they have
certain defining characteristics or
properties such as color, size,
position, and so on. They also have
properties unique to embroidery
such as stitch type and density.
Note The most important property
for an embroidery object is in fact its
stitch type. Different stitch types are suited to different shapes. See also Fill
and Outline Stitches.
The process of creating embroidery objects on-screen is called digitizing.
Like the creation of designs in graphics applications, this involves the use of
input or digitizing tools. These are similar to drawing tools except that the
end result is an embroidery rather than vector object. Different tools are
suited to creating different shapes or design elements. There are specific
tools for digitizing larger complex shapes, asymmetrical columns of turning
stitches, columns of varying width, columns of fixed width, lines, and even
individual stitches.
Tip Vector objects themselves can be converted directly to embroidery
objects using the Point & Stitch tools. See Digitizing shapes with Point &
Stitch for details.
This section describes how to digitize shapes manually with the available
digitizing tools. It also explains how to adjust input settings to obtain the
best results.
ES 2006 Chapter 5 Digitizing Methods 102
Digitizing tools
Different digitizing methods or tools are suited to creating different shapes
or design elements. Digitizing methods divide broadly into two
categoriesoutline and fill. Different stitch types are suited to different
digitizing methods. See also Corresponding object and stitch types.
Note When you create an embroidery object, you can accept the default
settings for the particular tool, or apply new ones. Default settings are
stored in the design template. You can also define current properties to
influence all the objects you create in the current design. See Object
Properties, Styles and Templates for details.
Selecting digitizing methods
Digitizing methods divide broadly into two categoriesoutline and fill. Run
and Manual digitizing methods are used to digitize outlines or individual
Use Manual (Input toolbar) to enter individual manual stitches.
Use Triple Manual (Input toolbar) to enter triple manual stitches.
Use Run (Input toolbar) to place a row of single run stitches along a digitized
line. Right-click to adjust settings for new or selected objects.
Use Triple Run (Input toolbar) to place a triple row of run stitches along a
digitized line. Right-click to adjust settings for new or selected objects.
Use Backstitch (Input toolbar) to place a row of backstitches along a digitized
line. Right-click to adjust settings for new or selected objects.
Use Stemstitch (Input toolbar) to place a row of stemstitches along a
digitized line. Right-click to adjust settings for new or selected objects.
Use Input A (Input toolbar) to create columns of varying width and stitch
angle. Right-click to adjust settings for new or selected objects.
Use Input B (Input toolbar) to create asymmetrical columns of turning
stitches, where opposite sides are different shapes. Right-click to adjust
settings for new or selected objects.
Use Input C (Input toolbar) to digitize columns or borders of fixed width.
Right-click to adjust settings for new or selected objects.
Use Complex Fill (Input toolbar) to digitize filled shapes with a single stitch
angle. Right-click to adjust settings for new or selected objects.
Use Fusion Fill (Input toolbar) to digitize filled shapes with turning stitch
angles. Right-click to adjust settings for new or selected objects.
ES 2006 Wilcom ES Online Manual 103
stitches. Inputs A, B & C are used to create filled columnar shapes with
differing characteristics. Complex Fill and Fusion Fill, the most commonly
used digitizing tools, can be used to create almost any filled shape. You can
adjust the settings of most of the digitizing methods by right-clicking the
tools and selecting options in the dialog.
Note Run stitch, Triple Run, Motif Run, Backstitch, and Stemstitch are
considered both digitizing methods and stitch types. Other digitizing
methods may use different fill stitch types depending on the particular
application. See also Fill and Outline Stitches.
Control points
Once you have selected a digitizing method, you digitize shapes in the same
way by marking points along an outline. ES Designer uses automatic Beziers
to create object outlines which creates objects much faster than traditional
Bezier methods. Unlike the traditional Bezier method, you do not need to
click-and-drag to create a curved line. Simply use the left mouse button for
a cusp or corner point or right mouse button for a smooth curve
pointES Designer automatically curves the line for you.
The points you mark when digitizing a shape become its control points.
These are used to edit or transform the objects. Such actions may include
reshaping, scaling, letter spacing, changing entry and exi points. You can
modify stitch angles of selected objects, including setting multiple stitch
Object is closed
automatically
Object is closed
automatically
1
2
3
4
5
6
1
2
3
4
5
6
ES 2006 Chapter 5 Digitizing Methods 104
angles. Control points vary slightly with the object type. See Modifying
Designs for details.
Corner and curve points can be interchanged. Most control points can be
added, deleted, or moved. Entry and exit points, however, cannot be
deleted.
Switching between fill and outline digitizing methods
You can quickly switch from a fill stitch digitizing method to Run or Manual
digitizing methods using keyboard shortcuts.
Tip After digitizing, you can convert between Run, Triple Run and Input C
objects, as well as between Complex Fill and Input A & B objects. See
Converting between object types for details.
To switch between fill and outline digitizing methods
Press Enter to switch between a fill stitch digitizing method and Manual
digitizing method.
Press Spacebar to switch between a fill stitch digitizing method and Run
digitizing method.
Digitizing individual stitches
Digitize individual stitches with the Manual digitizing method. You can enter
single manual stitches, or enter three stitch layers at a time with the Triple
=corner point
=exit point
=curve point
=entry point
corner point exit point
entry point
=stitch angle points
stitch angle
line
Use Manual (Input toolbar) to enter individual manual stitches.
Use Triple Manual (Input toolbar) to enter triple manual stitches.
ES 2006 Wilcom ES Online Manual 105
Manual tool. Manual stitches digitized together form a single embroidery
object. They are not well suited to scaling and transforming actions as the
stitches have no associated properties. This means they will either be
stretched or pinched during scaling operations. Use them sparingly, for
example to add a few stitches to a finished design. See Editing Stitches and
Machine Functions for details.
Note As each stitch is individually defined, the only object properties
required by manual objects are general and connector properties.
To digitize individual stitches
1 Click the Manual or Triple Manual icon.
2 Click to mark the start of the stitch and again to mark its end.
The end-point becomes the beginning of the next stitch.
3 Continue marking stitch points until the manual stitch object is
complete.
Tip Stitches that are too long will automatically become jump stitches,
but you can also create jumps manually by right-clicking as you digitize.
See also Using jumps as connectors.
Digitizing lines
Use the Run and Triple Run tools to digitize lines of single or triple run
stitching. Run places a single row of run stitches along a digitized line. Triple
Use the left
mouse button
5
4
3
1
2
6
7
8
9
10
11
Click for manual
stitches
Right-click for
jumps
ES 2006 Chapter 5 Digitizing Methods 106
Run repeats each stitch three (or more) times for a thicker line. These tools
are typically used to add borders and pickout runs to designs.
For thicker, decorative lines, use Backstitch or Stemstitch. Backstitch is an
older-style, adaptable stitch which can be used for delicate outlines. This
stitch follows intricate curves well. Stemstitch is thicker and can be used to
mimic hand-sewn embroidery. It is used for stems and vines with other
decorative stitches, or as an outline for Satin or Motif fills. See Creating
decorative outlines for details.
Tip ES Designer lets you convert between Run, Triple Run, Motif Run,
Backstitch, Stemstitch and Input C objects. See Converting between run
objects for details.
Creating stitch runs
Use the Run and Triple Run tools to
digitize lines of run stitching. Left and
right mouse clicks create reference
pointscorner points and curve points
respectively. Use the Stemstitch and
Backstitch tools for decorative runs.
Motif Run is also available. See also
Creating Motif Run objects.
Run
length
6 5 4 3 2 1
Triple Run 1
2
3
4
5
6
Use Run (Input toolbar) to place a row of single run stitches along a digitized
line. Right-click to adjust settings for new or selected objects.
Use Triple Run (Input toolbar) to place a triple row of run stitches along a
digitized line. Right-click to adjust settings for new or selected objects.
Use Backstitch (Input toolbar) to place a row of backstitches along a digitized
line. Right-click to adjust settings for new or selected objects.
Use Stemstitch (Input toolbar) to place a row of stemstitches along a
digitized line. Right-click to adjust settings for new or selected objects.
ES 2006 Wilcom ES Online Manual 107
To create stitch runs
1 Click an input tool:
Run for run stitch
Triple Run for triple run stitch
Backstitch for backstitch
Stemstitch for stemstitch.
2 Digitize the shape of the line by marking points.
Click to enter corner points.
Right-click to enter curve points.
To constrain the line to 15 increments, hold down Ctrl as you
digitize. This is useful for digitizing straight lines.
For a perfect circular arc, mark three points with a right-click.
Where curves connecteither to a straight line or another
curveclick to mark the connection point.
Tip Use the prompts in the prompt line to help you digitize. If you make
a mistake, press Backspace to delete the last point. Press Esc to undo
all new points. Press Esc again to exit digitizing mode.
3 Press Enter to finish digitizing the line.
Note For details of adjusting Backstitch and Stemstitch settings, see
Creating decorative outlines.
Right-click for
curve points
Click for
corner points
1 3 5 7
2 4 6
8
9
10
11
12
13
14
curve
point
curve
point
curve
point
3 1
2
Connect corners and
curves with a corner point
180
270
0
30
45
60
90
Hold down Ctrl to
constrain the line to
15 increments
ES 2006 Chapter 5 Digitizing Methods 108
Setting run stitch length
For both Run and Triple Run stitches, set the stitch length to suit the
digitized shape. Where the object has tight curves, select a shorter stitch
length. To reduce the stitch count for flatter curves, increase the stitch
length.
Note These values only apply to objects created with the Run or Triple Run
tools. They do not affect travel runs, or underlay stitching.
You can change the stitch length, chord gap and number of stitch repetitions
(Triple Run only) in the Outlines tab of the Object Properties dialog. Preset
Run and Triple Run values by changing the current properties before you
digitize. See Modifying current property settings for details.
To set run stitch length
1 Right-click the Run or Triple Run icon.
The Object Properties > Outlines dialog opens.
2 Select a stitch type from the list.
Use Run (Input toolbar) to place a row of single run stitches along a digitized
line. Right-click to adjust settings for new or selected objects.
Use Triple Run (Input toolbar) to place a triple row of run stitches along a
digitized line. Right-click to adjust settings for new or selected objects.
Run Length
2.5 mm
Run Length
1.6 mm
Variable Run on
Length 2.5 mm
Adjust stitch length
Select stitch type
ES 2006 Wilcom ES Online Manual 109
3 Enter a stitch length in the Length field.
If a line has tight, sharp curves, reduce the length, for example to
1.8 mm, so that the stitches follow the line. Alternatively, activate
Variable Run Length. See Setting variable run stitch lengths for
details.
Tip Mimic hand-made embroidery by setting the Triple Run length to
4.0 mm.
4 Click Apply.
Setting variable run stitch lengths
Automatically shorten stitches to follow tight curves with the Variable Run
Length option.
To set variable stitch lengths
1 Right-click the Run or Triple Run icon.
The Object Properties > Outlines dialog opens.
Not enough stitches to
follow tight curve
Stitches follow the curve
more closely
Run length
Run length
Use Run (Input toolbar) to place a row of single run stitches along a digitized
line. Right-click to adjust settings for new or selected objects.
Use Triple Run (Input toolbar) to place a triple row of run stitches along a
digitized line. Right-click to adjust settings for new or selected objects.
Select variable run length
Adjust variable run
length values
ES 2006 Chapter 5 Digitizing Methods 110
2 Select the Variable Run Length checkbox.
3 In the Min Len field, enter the minimum stitch length to allow.
4 In the Chord Gap field, enter the maximum distance to allow between
the digitized outline and the stitches. When this value is exceeded the
stitch length is reduced to follow the outline more closely.
Note Stitches will not be reduced to less than the specified minimum
length, even if the chord gap value is exceeded.
5 Click Apply.
Setting Triple Run stitch count
By default, Triple Run repeats each stitch three times. You can change the
number of repetitions used for Triple Run by changing the value in the
Object Properties dialog.
To set Triple Run stitch count
1 Right-click the Triple Run icon.
Run
length
Chord
gap
Fixed Run Length Variable Run Length:
0.07 mm (default)
Variable Run Length:
2 mm
Use Triple Run (Input toolbar) to place a triple row of run stitches along a
digitized line. Right-click to adjust settings for new or selected objects.
ES 2006 Wilcom ES Online Manual 111
The Object Properties > Outlines dialog opens.
2 Select Triple Run from the list.
3 Enter the number of repetitions in the Run Count field.
4 Click Apply.
Digitizing columns of fixed width
Use Input C to digitize columns of fixed width. It is typically used for
digitizing borders and outlines of larger shapes. You can digitize columns to
create thick lines or borders. Input C is typically used with Satin stitch but
you can use any fill stitch type except Motif Fill.
Tip ES Designer lets you convert between Run, Triple Run and Input C
objects. See Converting between run objects for details.
Creating columns and borders
Digitize columns and borders of fixed width with the Input C tool. Create
objects using left and right mouse clicks to mark points to form an outline.
Select #repetitions
Select stitch type
Use Input C (Input toolbar) to digitize columns or borders of fixed width.
Right-click to adjust settings for new or selected objects.
ES 2006 Chapter 5 Digitizing Methods 112
Use left-clicks to enter corner points and right-clicks to enter curve points.
Then specify the column width. You can leave the shape open, or create a
border by joining the first and last points. See also Corresponding object and
stitch types.
To create columns and borders
1 Select the stitch type you want to usee.g. Satin. See Selecting stitch
types for details.
2 Click the Input C icon.
3 Digitize the shape of the column by marking points.
Click to enter corner points.
Right-click to enter curve points.
Tip Use the prompts in the prompt line to help you digitize. If you make
a mistake, press Backspace to delete the last point. Press Esc to undo
all new points. Press Esc again to exit digitizing mode.
4 When you have finished digitizing the line, either:
Press Enter to keep the last stitch and place the exit point at the last
point marked, or
Press Spacebar to omit the last stitch and place the exit point on the
opposite side of the column.
Tip To make a border, close the shape by entering the last point exactly
on top of the first. If the points are not exactly on top of each other, the
stitches will not turn smoothly around the corner.
5 Specify the column width.
5
4
3
1
2
6
7
ES 2006 Wilcom ES Online Manual 113
To use the current width (as set in the Special > Input C tab), press
Enter.
To specify the width, mark two additional points. The distance
between these points is the width of the column. (You can mark the
column width anywhere on the screen.)
Tip You can offset stitches by right-clicking the column-width points
(rather than left-clicking) exactly where you want the offset to be in
relation to the center line.
Setting offsets
By default, stitches are positioned around the center of a digitized line. Enter
an exact offset value in the Object Properties dialog. See also Creating
columns and borders.
Tip You can offset stitches by right-clicking the column-width points (rather
than left-clicking) exactly where you want the offset to be in relation to the
center line. See Creating columns and borders for details.
To set offsets
1 Right-click the Input C icon.
8
9
Digitize column width
anywhere in design
window
Use Input C (Input toolbar) to digitize columns or borders of fixed width.
Right-click to adjust settings for new or selected objects.
Right-click
reference points
Right-click
reference points
ES 2006 Chapter 5 Digitizing Methods 114
The Object Properties > Special dialog opens.
2 In the Input Side panel, select Offset.
3 Set an offset in either Side 1 or Side 2 field, either as an exact
measurement (in mm) or a percentage.
Note You only need to enter the value for one side as ES Designer
automatically calculates the other, based on the Column Width value.
4 Click Apply.
Setting column width
You can set the exact width of Input C columns in the Object Properties
dialog. The value you set becomes the current width for new Input C
objects.
To set the column width
1 Right-click the Input C icon.
Select Offset
Set offsets in either
Side 1 or Side 2
fields
Input C offset: 75% Input C offset: 25%
Use Input C (Input toolbar) to digitize columns or borders of fixed width.
Right-click to adjust settings for new or selected objects.
ES 2006 Wilcom ES Online Manual 115
The Object Properties > Special dialog opens.
2 Enter a width in the Column Width field.
3 Click Apply.
Note You can also change the width of Input C objects by selecting the
Reshape tool, and moving the width control points. See Reshaping
embroidery objects for details.
Setting corner fractions
You can control the way stitches turn at the corners of Input C objects by
changing the distance over which they turn. This distance is set by the
corner fraction. The larger the fraction, the greater the distance.
Tip Round Sharp Corners is also available for Input C objects to give you
the option of sharp or round points. See Rounding sharp corners for details.
To set corner fractions
1 Right-click the Input C icon.
Adjust column width
Use Input C (Input toolbar) to digitize columns or borders of fixed width.
Right-click to adjust settings for new or selected objects.
ES 2006 Chapter 5 Digitizing Methods 116
The Object Properties > Special dialog opens.
2 Enter a new corner fraction in the Corner Fraction field.
Increasing the fraction spreads the turn over more stitches.
Decreasing the fraction reduces the number of stitches that turn.
3 Click Apply.
Digitizing columns of varying width
Adjust corner fraction
corner
fraction 0.5
corner
fraction 0.8
corner
fraction 0.25
Use Input A (Input toolbar) to create columns of varying width and stitch
angle. Right-click to adjust settings for new or selected objects.
ES 2006 Wilcom ES Online Manual 117
Use the Input A tool to digitize columns of
varying width and stitch angle. Digitized pairs
of points define the outline, while lines
connecting the pairs define the stitch angles.
See also Corresponding object and stitch
types.
Tip The Continuous Input feature provides you with a simple and efficient
way of digitizing a single Input A object comprised of separately stitched
sections. See Creating smooth joins for details.
Note ES Designer lets you convert between Complex Fill and Input A or B
objects. See Converting Input A or B to Complex Fill or Fusion Fill for
details.
To digitize columns of varying width
1 Select the stitch type you want to usee.g. Satin. See Selecting stitch
types for details.
2 Click the Input A icon.
3 Digitize the column by marking points on alternate sides of the column.
Click to enter corner points.
Right-click to enter curve points.
Mark a pair of points wherever the outline changes, and wherever you
want the stitch angle to change.
Note The control points in a pair do not have to be the same type. For
example, one can be a corner point, the other a curve.
Tip Use the prompts in the prompt line to help you digitize. If you make
a mistake, press Backspace to delete the last point. Press Esc to undo
all new points. Press Esc again to exit digitizing mode.
4 When you have finished digitizing the column, either:
Press Enter to keep the last stitch and place the exit point at the last
point you digitized, or
Stitches change their
angle gradually
through the entire
shape
Stitches remain parallel
between parallel stitch
angles
ES 2006 Chapter 5 Digitizing Methods 118
Press Spacebar to omit the last stitch and place the exit point on the
opposite side of the column.
Tip If you are joining two columns, omit the last stitch on the first
column so that the exit point is close to the entry point of the next
column.
Digitizing asymmetrical columns of turning stitches
Use the Input B tool to digitize shapes where one side is different to the
other, especially where one side requires more points than the other.
Stitches turn evenly throughout the entire shape. See also Corresponding
object and stitch types.
Tip ES Designer lets you convert between Complex Fill and Input A or B
objects. See Converting Input A or B to Complex Fill or Fusion Fill for
details.
To digitize asymmetrical columns of turning stitches
1 Select the stitch type you want to usee.g. Satin. See Selecting stitch
types for details.
2 Click the Input B icon.
3 Digitize the first side of the shape (i.e. top or left) by marking points.
Press Enter Press Spacebar
finish
OR
finish
start start
Use Input B (Input toolbar) to create asymmetrical columns of turning
stitches, where opposite sides are different shapes. Right-click to adjust
settings for new or selected objects.
ES 2006 Wilcom ES Online Manual 119
Click to enter corner points.
Right-click to enter curve points.
4 Press Enter.
An elastic line attaches to the pointer, ready for you to digitize the
second side of the shape.
Tip Use the prompts in the prompt line to help you digitize. If you make
a mistake, press Backspace to delete the last point. Press Esc to undo
all new points. Press Esc again to exit digitizing mode.
5 Digitize the secondi.e. bottom or rightside of the object.
Tip Stitch angles vary from tightly turning fills to parallel fills,
depending on the ends of the shapethe more pointy, the tighter the
stitch angles.
6 When you have finished digitizing the shape, either:
Press Enter to keep the last stitch and place the exit point at the last
point you digitized, or
Press Spacebar to omit the last stitch and place the exit point on the
opposite side of the column.
5
4
3
1
2
6
7
Press Enter or
Spacebar
stitches turn
evenly
9
10
90
parallel fill sloping fill turning fill
ES 2006 Chapter 5 Digitizing Methods 120
Digitizing complex shapes
Use the Complex Fill tool to digitize large, irregular shapes with fixed stitch
angles. Use the Fusion Fill tool to digitize complex shapes with turning
stitches. Many shapes can be digitized with these tools. By digitizing further
boundaries within shapes, you can create filled objects with holes.
Tip Use the Shaping tools to join, trim or split selected vector or
embroidery objects to make different shapes. See Shaping vector and
embroidery objects for details.
Boundaries in complex objects should not overlap or intersect each other. A
boundary should not overlap itself and should not have a second boundary
inside (hole within a hole). These shapes below, for example, cannot be
successfully digitized with Fusion Fill or Complex Fill.
Where they occur, overlapping boundaries in Fusion Fill or Complex Fill
shapes are ignored and stitches are generated in the largest area defined
by the boundaries.
Creating complex shapes with fixed stitch angles
boundaries overlap boundary overlaps itself hole within hole
Use Complex Fill (Input toolbar) to digitize filled shapes with a single stitch
angle. Right-click to adjust settings for new or selected objects.
ES 2006 Wilcom ES Online Manual 121
Digitize complex shapes with the Complex Fill tool. Create objects using
left and right clicks to mark points to form the boundary outlines. See also
Corresponding object and stitch types.
Tip ES Designer lets you convert between Fusion Fill or Complex Fill and
Input A or B objects. See Converting Input A or B to Complex Fill or Fusion
Fill for details.
To create complex shapes with fixed stitch angles
1 Select the stitch type you want to usee.g. Tatami. See Selecting stitch
types for details.
2 Click the Complex Fill icon.
3 Digitize the boundary of the shape, by marking points around the outline
of the shape.
Click to enter corner points.
Right-click to enter curve points.
Tip Use the prompts in the prompt line to help you digitize. If you make
a mistake, press Backspace to delete the last point. Press Esc to undo
all new points. Press Esc again to exit digitizing mode.
4 Close the shape.
To close the shape with the same type of point as the last one
enteredi.e. corner or curvesimply press Enter.
To close the shape using a different type of point, mark the last on
top of the first and press Enter.
2
4
7
10
6
5
12
11
8
9
3
Last point marked on top of
first with right button
c
u
r
v
e
1
2
4
7
10
6
5
12
11
8
9
3
Press Enterthe object is
closed automatically
s
t
r
a
i
g
h
t

l
i
n
e
1
13
ES 2006 Chapter 5 Digitizing Methods 122
5 Digitize any additional boundaries in the same way.
Note Boundaries must not overlap.
6 Press Enter.
7 Mark the entry and exit position by clicking outside the object boundary.
Tip To minimize segments and gaps in your embroidery, place the entry
and exit points opposite each other on the outside boundary. Then
define the stitch angle so it is perpendicular to the line between the
entry and exit points.
8 Define the stitch angle by marking two points.
9 Press Enter.
Note Complex Fill objects generally stitch out in several segments,
joined by travel runs. However, all segments and boundaries are part of
the same object. See also Adding underlay by segment.
Creating complex shapes with turning stitches
Eliminate the need to digitize multiple objects with Fusion Fill. This tool
allows you to create a single complex object with multiple stitch angles and
even holes. It is best used with designs containing complicated, turning
1
12
stitch angle
direction
14
13
1
13
14 15
stitch angle
direction
Use Fusion Fill (Input toolbar) to digitize filled shapes with turning stitch
angles. Right-click to adjust settings for new or selected objects.
ES 2006 Wilcom ES Online Manual 123
columns such as trees, animals, or large filled areas. See also
Corresponding object and stitch types.
Tip ES Designer lets you convert between Fusion Fill or Complex Fill and
Input A or B objects. See Converting Input A or B to Complex Fill or Fusion
Fill for details.
To create complex shapes with turning stitches
1 Select the stitch type you want to usee.g. Tatami. See Selecting stitch
types for details.
2 Click the Fusion Fill icon.
3 Digitize the boundary of the shape, by marking points around the outline
of the shape.
Click to enter corner points.
Right-click to enter curve points.
Tip Use the prompts in the prompt line to help you digitize. If you make
a mistake, press Backspace to delete the last point. Press Esc to undo
all new points. Press Esc again to exit digitizing mode.
4 Close the shape.
To close the shape with the same type of point as the last one
enteredi.e. corner or curvesimply press Enter.
2
4
7
10
6
5
12
11
8
9
3
Last point marked on top of
first with right button
c
u
r
v
e
1
2
4
7
10
6
5
12
11
8
9
3
Press Enterthe object is
closed automatically
s
t
r
a
i
g
h
t

l
i
n
e
1
13
ES 2006 Chapter 5 Digitizing Methods 124
To close the shape using a different type of point, mark the last on
top of the first and press Enter.
5 Digitize any additional boundaries in the same way.
Note Boundaries must not overlap.
6 Press Enter.
7 Mark the entry and exit position by clicking outside the object boundary.
Tip To minimize segments and gaps in your embroidery, place the entry
and exit points opposite each other on the outside boundary. Then
define one of the stitch angles so it is perpendicular to the line between
the entry and exit points.
8 Define the stitch angles by marking two points for each angle.
9 Press Enter.
Note Fusion Fill objects generally stitch out in several segments,
joined by travel runs. However, all segments and boundaries are part of
the same object. See also Adding underlay by segment.
Adding boundaries
1
12
stitch angle
direction
14
13
1
13
14 15
stitch angle
direction
Use Complex Fill (Input toolbar) to digitize filled shapes with a single stitch
angle. Right-click to adjust settings for new or selected objects.
Use Fusion Fill (Input toolbar) to digitize filled shapes with turning stitch
angles. Right-click to adjust settings for new or selected objects.
ES 2006 Wilcom ES Online Manual 125
ES Designer lets you add boundaries to Complex Fill and Fusion Fill
objects.
Tip You can also create new objects from existing boundaries using the
Filled Holes feature. Alternatively, you can use other objects to cut holes.
See Filling holes in objects and Removing underlying stitching for details.
To add boundaries
1 Select the object to modify.
2 Click the Complex Fill or Fusion Fill icon.
Points display around the object outline.
3 Digitize additional boundaries making sure they do not overlap. Press
Enter each time.
Tip Use the prompts in the prompt line to help you digitize. If you make
a mistake, press Backspace to delete the last point. Press Esc to undo
all new points. Press Esc again to exit digitizing mode.
4 When you have digitized all additional boundaries, press Enter again.
5 When prompted, enter a new entry point, exit point and stitch angle for
the object.
Tip To use the current settings, press Enter to bypass each option.
6 Press Enter.
ES 2006 Chapter 5 Digitizing Methods 126
Note To remove unwanted boundaries, select the object and select the
Reshape Object tool. Delete each control point on the unwanted
boundary, and press Enter.
Adjusting stitch angles using object properties
You can change the stitch angle of Complex Fill objects using object
properties. By definition, Fusion Fill objects contain multiple stitch angles.
However, they also have a property called the nominal angle. This has two
functions. First, if a Fusion Fill object fails to stitch correctlyfor instance,
if the stitch angles are irreconcilableit will revert to parallel stitching in the
direction of the nominal angle. Second, the nominal angle affects certain
underlay styles. See also Strengthening and stabilizing with automatic
underlays.
Tip You can adjust the stitch angle of Complex Fill and Fusion Fill objects
interactively using the Stitch Angles tool. See Adjusting stitch angles for
details.
To adjust stitch angles using object properties
1 Select an object.
2 Right-click the Complex Fill or Fusion Fill icon.
Use Complex Fill (Input toolbar) to digitize filled shapes with a single stitch
angle. Right-click to adjust settings for new or selected objects.
Use Fusion Fill (Input toolbar) to digitize filled shapes with turning stitch
angles. Right-click to adjust settings for new or selected objects.
ES 2006 Wilcom ES Online Manual 127
The Object Properties > Special dialog opens.
3 In the Angle or Nominal Angle field, enter the required stitch angle and
click Apply.
Note The nominal angle in a Fusion Fill object only takes effect if
multiple stitch angles are irreconcilableit then reverts to parallel
stitching in the direction of the nominal angle. The nominal angle also
affects certain underlay styles.
Adjusting segment overlaps
Where segments within an object meet, the push-pull effect on the fabric
during stitching may cause gaps to appear. These gaps can be prevented by
adding overlapping rows. An overlap of 1 row means no real overlap. An
overlap of 2 rows means that the first segment is extended by the addition
of one extra row of stitches. And so on. With Fusion Fill objects you can
also adjust the stitch angle where segments join. Normally, when you create
an overlap, it is formed by continuing the two sides of a segment in the
direction of their endpoints. This becomes a problem if either side is parallel,
Adjust stitch
angle
Angle: 90 Angle: 0
Use Complex Fill (Input toolbar) to digitize filled shapes with a single stitch
angle. Right-click to adjust settings for new or selected objects.
Use Fusion Fill (Input toolbar) to digitize filled shapes with turning stitch
angles. Right-click to adjust settings for new or selected objects.
ES 2006 Chapter 5 Digitizing Methods 128
or almost parallel, to the cover stitches the overlap may become
disproportionately wide. For this reason, you can adjust the tapering angle.
To adjust segment overlaps
1 Right-click the Complex Fill or Fusion Fill icon.
The Object Properties > Special dialog opens.
2 Adjust the number of overlapping rows where segments join.
3 For Fusion Fill objects, you can also adjust the stitch angle where
segments join. In the Overlap Taper Angle field, enter the required
angle.
Enter required
number of rows
overlapping
rows
Enter overlap taper angle
ES 2006 Wilcom ES Online Manual 129
4 Click Apply.
Adjusting travel margins
When dealing with complex shapes with multiple segments, you may want
to keep travel runs away from the boundary of the filled shape for various
reasons. If, for instance, you are using Jagged Edge effect, the travel might
become visible through the shortened stitches. For this reason, you can
specify a margin for the travel stitches. As you increase the travel margin,
the travels are positioned more towards the center. Where the filled area
becomes very narrow, however, travel stitches do not necessarily remain at
the specified distance from the boundary.
To adjust travel margins
1 Select an object.
2 Right-click the Fusion Fill icon.
Use Fusion Fill (Input toolbar) to digitize filled shapes with turning stitch
angles. Right-click to adjust settings for new or selected objects.
Overlap taper angle
set to minimum
Overlap taper angle increased
to minimize overlapping area
travel run too close to edge
ES 2006 Chapter 5 Digitizing Methods 130
The Object Properties > Special dialog opens.
3 Adjust the travel margin distance in the Distance field.
The greater the distance, the more the travels are positioned towards
the center of the shape.
4 Click Apply.
Adjust travel margin distance
Travel run closer to
center of shape
ES 2006 Wilcom ES Online Manual 131
Chapter 6
Fill and Outline Stitches
All embroidery objects in ES Designer contain a defining set of settings or
values. The values stored with an object become its properties. All objects
have certain properties in common such as size and position. There are
other, more specific properties of objects which depend on the object type.
The most important property of all embroidery objects is the stitch type. The
software uses object outlines and associated stitch type to generate
stitches. Whenever you reshape, transform or scale an object, stitches are
regenerated according to its stitch type and settings.
Stitch types divide broadly into two categoriesoutline and fill. Satin fills
are generally suited to columns and borders. Tatami stitch is used to fill
larger shapes with solid fields of stitching. Run/Triple Run stitch, Motif Run,
Backstitch, and Stemstitch are considered both digitizing methods and
stitch types. Both Zigzag and E Stitch are used as outline stitches. Zigzag is
frequently used for tacking down appliqus, while E Stitch is used as the
cover stitch. Both can also be used for decorative effect. See also Digitizing
Methods.
This section explains how to apply fill and outline stitch types to your
embroidery objects, as well as how change stitch settings to obtain the best
results.
ES 2006 Chapter 6 Fill and Outline Stitches 132
Selecting stitch types
Different stitch types are suited to different objects. When you digitize an
object, it uses the current stitch type for the selected input method.
However, you can change an objects stitch type at any stage. You can also
preset the stitch type by selecting it as current before digitizing. See
Modifying current property settings for details. See also Corresponding
object and stitch types.
Tip You can change between fill stitch types quickly using the buttons on
the Stitch Types toolbar, or using the keyboard to switch between fill and
outline stitching. See Selecting commands from toolbars and Switching
between fill and outline digitizing methods for details.
To select a stitch type
1 Select the object (or objects) whose stitch type you want to change.
2 Select a stitch type icon.
The new stitch type is applied to the object.
Note You cannot select Run, Triple Run, Backstitch or Stemstitch
stitch types from the Stitch Types toolbar. To use these stitch types you
need to change input methods. See Digitizing lines for details.
Creating fills with Satin stitch
Satin stitch is well-suited to stitching narrow columns and shapes, where the
length of each stitch forms the width of the column. Satin stitches are
Use Satin (Stitch Types toolbar) for narrow columns and shapes.
Use Tatami (Stitch Types toolbar) for large, irregular shapes.
Use Zigzag (Stitch Types toolbar) for long, narrow columns of slanted,
side-by-side stitches in a zigzag pattern.
Use E Stitch (Stitch Types toolbar) for a comb effect with long, narrow
columns.
Use Satin (Stitch Types toolbar) to apply Satin stitch to new or selected
narrow columns and shapes. Right-click to adjust Satin settings.
ES 2006 Wilcom ES Online Manual 133
almost parallel, with every second stitch slightly slanted. Because there are
generally no needle penetrations breaking up the fill, Satin stitch creates a
glossy, high-quality effect. See also Corresponding object and stitch types.
If a column is too wide, stitches may be loose and not cover the fabric
properly. Conversely, in very narrow columns, the stitch density can be too
high, and the needle penetrations can damage the fabric. Adjust stitch
density by setting a fixed spacing value, or let Auto Spacing calculate the
spacing for you. Auto Spacing automatically adjusts the stitch spacing
wherever the column changes width.
Tip The Auto Split and Auto Jump features help you to control long Satin
stitches. See Splitting long stitches with Auto Split and Preserving long
stitches with Auto Jump for details.
Adjusting Satin stitch spacing
Stitch spacing is the distance in millimeters between two needle
penetrations on the same side of a column. Where a column is narrow,
stitches are tight, thus requiring fewer stitches to cover the fabric. Where a
column is very narrow, stitches need to be less dense because too many
needle penetrations can damage the fabric. See also Adjusting stitch
density.
Change the stitch density in Satin fills by adjusting the stitch spacing setting
in the Object Properties dialog. The larger the spacing between stitches,
the lower the density. The smaller the spacing, the higher the density.
Right-click Satin (Stitch Types toolbar) to adjust Satin spacing.
Satin spacing Satin spacing
ES 2006 Chapter 6 Fill and Outline Stitches 134
Tip If you are using a digitizing tablet, you can quickly switch between
preset styles with different spacing settings. Each button on the puck
accesses the next preset style. For example, clicking button 1 accesses
<PRESET_SATIN_1>.
To adjust Satin stitch spacing
1 Right-click the Satin icon.
The Object Properties > Fills > Satin dialog opens.
2 Deselect the Auto Spacing checkbox.
Note If Auto Spacing is selected, the fixed stitch spacing setting is not
used. See Applying Auto Spacing to Satin stitch for details.
3 In the Stitch Spacing field, enter the spacing.
To increase stitch density, enter a smaller value.
To reduce the density for more open stitching, enter a larger value.
4 If you want to control long Satin stitch, select the Auto Split checkbox
and specify the Auto Split Length and Auto Split Minimum Stitch
values.
See Splitting long stitches with Auto Split and Preserving long stitches
with Auto Jump for details.
5 Click Apply.
Deselect Auto Spacing
Adjust stitch spacing
Stitch Spacing 1.0 mm Stitch Spacing 1.8 mm
ES 2006 Wilcom ES Online Manual 135
Applying Auto Spacing to Satin stitch
The Auto Spacing option adjusts stitch spacing for Satin stitches according
to column width. For varying width objects, Auto Spacing changes spacing
to the best density for the width. See also Adjusting stitch density.
To apply Auto Spacing to Satin stitch
1 Right-click the Satin icon.
The Object Properties > Fills > Satin dialog opens.
2 Select the Auto Spacing checkbox.
3 Adjust standard Auto Spacing in the Adjust field.
The spacing is given as a percentage of the preset values:
To decrease stitch density, increase the percentagee.g. to
110-115%.
To increase stitch density, decrease the percentagee.g. to
90-85%.
Right-click Satin (Stitch Types toolbar) to adjust Auto Spacing settings.
Select Auto Spacing and
adjust spacing percentage
100%no adjustment <100%more stitches >100%fewer stitches
ES 2006 Chapter 6 Fill and Outline Stitches 136
Tip 75% generally produces high quality embroidery. An increased
stitch count means the design will take longer and be more expensive
to stitch.
4 Click Apply.
Note For even more precise results, you can adjust Auto Spacing
settings. See Adjusting Auto Spacing settings for details.
Adjusting Auto Spacing settings
Adjust Auto Spacing settings to get the exact results you want. You can
specify how rapidly spacing changes, and by how much, by changing the
stitch length and spacing settings. You can also specify spacing offsets to
automatically adjust spacing for different thread types.
Tip Take a note of the default settings before you start. You will usually
want to save modified settings to a template. See Working with design
templates for details.
Warning If you want to restore the default settings and have not kept a
record of them, use the Revert utility in the Wilcom ES folder to revert to
factory settings.
To adjust Auto Spacing settings
1 Right-click the Satin icon.
Right-click Satin (Stitch Types toolbar) to adjust Auto Spacing settings.
length 1
spacing 1
spacing 2
length 2
Auto spacing
Fixed spacing
ES 2006 Wilcom ES Online Manual 137
The Object Properties > Fills > Satin dialog opens.
2 Click Values in the Auto Spacing panel.
3 Adjust stitch settings in the Stitch panel:
Length: These values define the increments by which spacing is
adjusted.
The smaller the distance between each length, the more rapidly
stitching changes from open to dense. Each length value must be
greater than the previous one.
Spacing: These values define the spacing corresponding to each
stitch length.
4 Adjust spacing offsets for different thread types.
Click to adjust Auto Spacing values
Select Auto Spacing
Adjust stitch
length values
Adjust spacing
values
Enter spacing
offsets for each
thread type
default spacing values custom spacing values
ES 2006 Chapter 6 Fill and Outline Stitches 138
The offset set the compensatory amount by which stitch settings will be
adjusted for different thread types.
Thread type A is average thread, and will generally use the default
value, 0.01 mm.
Thread Type B is thicker than average and requires a larger offset
valuee.g. 0.03 mmin order to slightly increase stitch spacing
(decrease density).
Thread type C is thinner than average and requires a negative
valuee.g. -0.03 mmto decrease stitch spacing (increase
density).
Thread Type D is very thin and requires an even greater negative
valuee.g. -0.06 mmto decrease stitch spacing.
Note You assign the thread type in the Add Thread dialog. Stitch
spacing of the assigned thread type is automatically adjusted according
to the values set here. See Adding your own colors to thread charts for
details.
5 Click OK in the Auto Spacing dialog.
6 Click Apply.
Tip If you change your mind, click Reset to revert to the factory default
settings.
Adjusting Satin stitch count
Triple Satin is often used for folk
designs to mimic handmade
embroidery that uses thicker thread.
If you require thicker stitches, set the
Satin stitch to repeat itself multiple
times. You set the number of
repetitions of each stitch in the Satin
Count field. Every odd (forward)
stitch of a Triple Satin column can be
stitched up to 15 times.
To adjust Satin stitch count
1 Right-click the Satin icon.
Right-click Satin (Stitch Types toolbar) to adjust the Satin stitch count.
ES 2006 Wilcom ES Online Manual 139
The Object Properties > Fills > Satin dialog opens.
2 Enter the number of repetitions in the Satin Count field.
Warning Using a value higher than 10 may cause thread breaks,
depending on the design, fabric, or thread tension.
3 Click Apply.
Tip When you increase the Satin stitch count, you should also increase
the stitch spacing to avoid bunching of stitches and thread breaks. See
Adjusting Satin stitch spacing for details.
Creating fills with Tatami stitch
Tatami stitch consists of rows of run stitches and is suitable for filling large,
irregular shapes. Stitches are laid in rows going back and forth across the
shape. Stitch offsets in each row are used to eliminate horizontal split lines.
See also Corresponding object and stitch types.
Enter number of repetitions
Click Tatami (Stitch Types toolbar) to apply Tatami stitch to new or selected
large, irregular shapes. Right-click to adjust Tatami settings.
ES 2006 Chapter 6 Fill and Outline Stitches 140
You can control stitch density in Tatami objects by adjusting the backstitch
type, stitch length, and row spacing. With Tatami fills you can specify how
each row is offset in order to control the patterns formed by needle
penetrations. See Creating textures with Tatami offsets for details.
Adjusting Tatami stitch spacing and length
Tatami stitch density is determined by the distance between each row of
stitches. The spacing setting is the distance between two forward rows.
Specify the optimum and minimum stitch lengths to be generated for Tatami
objects. The stitch length varies slightly in Tatami fills to ensure that small
stitches are not generated at the edges of the shape. See also Adjusting
stitch density.
Tip Sometimes you may want to increase row spacing to create open
stitching. This is often useful for backgrounds. However, this also means
that travel runs, spacing variations and overlapping rows between segments
are visible and can spoil the effect. The Trapunto effect automatically moves
underlying travel runs to the edges of an object so that they cant be seen.
See Creating open stitching with Trapunto for details.
To adjust Tatami stitch spacing and length
1 Right-click the Tatami icon.
Right-click Tatami (Stitch Types toolbar) to adjust Tatami spacing and length.
row spacing
row direction
stitch length
offset fraction
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The Object Properties > Fills > Tatami dialog opens.
2 In the Stitch Spacing field, enter the new spacing value.
This value is the distance between each forward row of stitching.
To increase the density, enter a smaller value.
To decrease the density, enter a larger value.
3 Enter a stitch length in the Length field.
4 In the Min Stitch Length field, enter the length of the shortest stitch to
be generated.
5 Click Apply.
Adjust stitch values
Spacing: 0.4 mm Spacing: 0.6 mm Spacing: 0.8 mm
Length: 4.5 mm
Minimum Stitch: 0.4 mm
Length: 2 mm
Minimum Stitch: 0.4 mm
Length: 1 mm
Minimum Stitch: 0.4 mm
Length: 4 mm
Minimum Stitch: 0.4 mm
Length: 4 mm
Minimum Stitch: 0.8 mm
Length: 4 mm
Minimum Stitch: 1.2 mm
ES 2006 Chapter 6 Fill and Outline Stitches 142
Selecting a Tatami backstitch
Tatami backstitch is the term used for every second row of stitches in a
Tatami fill. There are three types availableStandard, Borderline, and
Diagonal.
Standard backstitch
The rows are approximately parallel, with every backstitch row slightly
shorter than the forward row. Because the rows are different lengths, there
are fewer small stitches at the edge of the shape, reducing possible damage
to the fabric. Standard backstitch is suitable for high density fills.
Borderline backstitch
The rows are approximately parallel. With lower density fills, borderline
backstitch creates a smooth, well-defined edge. Borderline backstitch is also
called Trapunto style. See Creating open stitching with Trapunto for details.
Right-click Tatami (Stitch Types toolbar) to select a Tatami backstitch.
Click to apply Standard backstitch.
Click to apply Borderline backstitch.
Click to apply Diagonal backstitch.
Standard backstitch Borderline backstitch Diagonal backstitch
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Note Borderline backstitches may not follow the outline of the shape if the
stitch spacing is less than the minimum stitch length. Where the stitch rows
are perpendicular to the boundary, connecting stitches are adjusted to be
longer than the minimum stitch.
.
Diagonal backstitch
The backward rows are diagonal, directly connecting the forward rows.
Diagonal backstitch is suitable for turning shapes, and gives good results
with Jagged Edge. See Creating jagged edges for details.
To select a Tatami backstitch
1 Right-click the Tatami icon.
The Object Properties > Fills > Tatami dialog opens.
2 Select a backstitch type in the Backstitch panel.
3 Click Apply.
Creating outlines with Zigzag stitch
Zigzag stitch is similar to Satin in that the needle penetrates each side of
the column. But while Satin gives a straight line followed by a diagonal,
Zigzag produces two diagonal lines, thereby producing a more open stitch.
Zigzag is frequently used for tacking down appliqus, while E Stitch is used
minimum stitch
stitch spacing
connecting stitches
follow the boundary
connecting stitches
are adjusted
Select backstitch type
Click Zigzag (Stitch Types toolbar) to apply Zigzag stitch to new or selected
objects. Right-click to adjust Zigzag settings.
ES 2006 Chapter 6 Fill and Outline Stitches 144
as the cover stitch. It can also be used for decorative effect or where fewer
stitches are required. See also Corresponding object and stitch types.
Tip Zigzag and Double Zigzag stitches are frequently used as underlays.
See Adjusting Center Run and Edge Run underlay settings for details.
To create outlines with Zigzag stitch
1 Right-click the Zigzag icon.
The Object Properties > Fills > Zigzag dialog opens.
2 Enter a spacing value in the Stitch Spacing field.
This value is the distance in millimeters between two needle
penetrations on the same side of the column.
3 Click Apply.
Creating outlines with E Stitch
Adjust stitch spacing
stitch spacing: 2.0 mm stitch spacing: 3.0 mm stitch spacing: 4.5 mm
Click E Stitch (Stitch Types toolbar) to apply E Stitch stitch to new or selected
objects. Right-click to adjust E Stitch settings.
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E Stitch, sometimes referred to as blanket stitch, produces long, narrow
columns with a comb effect. It is often used to stitch borders around
appliqus. The needle penetrates both sides of the column, and then
penetrates the second side again, laying the thread along the side.
E stitches are usually more open than Satin or Zigzag stitches. See also
Corresponding object and stitch types.
To create outlines with E Stitch
1 Right-click the E Stitch icon.
The Object Properties > Fills > E Stitch dialog opens.
2 In the Stitch Spacing field, enter the spacing value.
This value is the distance in millimeters between each perpendicular
stitch.
Adjust stitch spacing
Enter #run stitches
Stitch Spacing: 1.0 mm Stitch Spacing: 3.5 mm Stitch Spacing: 2.0 mm
ES 2006 Chapter 6 Fill and Outline Stitches 146
3 In the Number of Runs field, enter the number of run stitches between
each E Stitch.
4 Click Apply.
Creating decorative outlines
Digitizing methods divide broadly into two categoriesoutline and fill. Run
and Manual digitizing methods are used to digitize outlines or individual
stitches. Run stitch, Triple Run, Motif Run, Backstitch, and Stemstitch are
considered both digitizing methods and stitch types. See also Digitizing lines
and Creating motif runs.
For thicker, decorative lines, use Backstitch or Stemstitch. Backstitch is an
older-style, adaptable stitch which can be used for delicate outlines. This
stitch follows intricate curves well. Stemstitch is thicker and can be used to
mimic hand-sewn embroidery. It is used for stems and vines with other
decorative stitches, or as an outline for Satin or Motif fills.
E Stitch spacing
1 run
E Stitch spacing
3 runs
Use Backstitch (Input toolbar) to place a row of backstitches along a digitized
line. Right-click to adjust settings for new or selected objects.
Use Stemstitch (Input toolbar) to place a row of stemstitches along a
digitized line. Right-click to adjust settings for new or selected objects.
Backstitch Stemstitch Stemstitch with
Motif Fill
ES 2006 Wilcom ES Online Manual 147
Tip ES Designer lets you convert between Run, Triple Run, Motif Run,
Backstitch, Stemstitch and Input C objects. See Converting between run
objects for details.
Adjusting Backstitch settings
Adjust Backstitch settings to get the exact results you want. You can specify
the exact stitch length, chord gap, thickness and overlap values as well as
the number of strokes.
To set Backstitch settings
1 Right-click the Backstitch icon.
The Object Properties > Outlines > Backstitch dialog opens.
Use Backstitch (Input toolbar) to place a row of backstitches along a digitized
line. Right-click to adjust settings for new or selected objects.
Adjust backstitch values
ES 2006 Chapter 6 Fill and Outline Stitches 148
2 Enter minimum and maximum run lengths in the Length and Min
Length fields.
3 Adjust the Chord Gap setting as required. See Setting variable run
stitch lengths for details.
4 Adjust stitch thickness in the Thickness field.
Needle penetrations are spaced more widely for thicker stitches.
5 Adjust the backstitch overlap percentage in the Overlap field.
Run Length: 1.5 mm Run Length: 2.5 mm Run Length: 4.5 mm
Stitch Thickness: 0.30 mm Stitch Thickness: 0.50 mm Stitch Thickness: 0.70 mm
Overlap: 10% Overlap: 50% Overlap: 90%
ES 2006 Wilcom ES Online Manual 149
6 Select the number of strokes3 or 5.
7 Click Apply.
8 Digitize Backstitch outlines as you would a Run stitch outline. See
Creating stitch runs for details.
Adjusting Stemstitch settings
Adjust Stemstitch settings to get the exact results you want. You can specify
the exact stitch and line thickness, spacing and overlap values as well as the
number of strokes.
To adjust Stemstitch settings
1 Right-click the Stemstitch icon.
Strokes: 3 Strokes: 5
Use Stemstitch (Input toolbar) to place a row of stemstitches along a
digitized line. Right-click to adjust settings for new or selected objects.
ES 2006 Chapter 6 Fill and Outline Stitches 150
The Object Properties > Outlines > Stemstitch dialog opens.
2 Adjust the line thickness in the Thickness field.
3 Adjust stitch spacing in the Spacing field.
4 Enter a stitch angle in the Angle field.
Adjust stemstitch values
Select type and adjust thickness
Line Thickness: 1.0 mm Line Thickness: 1.5 mm
Spacing: 1.2 m Spacing: 0.8 mm
Angle: 90 Angle: 45
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5 Select either Single or Triple.
Note For Triple only, you can also adjust stitch thickness in the Stitch
Thickness field. Needle penetrations are spaced more widely for thicker
stitches.
6 Click Apply.
7 Digitize Stemstitch outlines as you would a Run stitch outline. See
Creating stitch runs for details.
Type: Triple Type: Single
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Chapter 7
Colorways and Thread Charts
When digitizing, you select thread colors for each object you create from the
color palette. This contains a selection of thread colors tailored for each
design or color scheme. The particular colorway represents the actual
thread colors in which a design will be stitched. In fact you can define
multiple color schemes and switch between them. This has important
implications for sales presentations as well as production. You can also print
multiple colorways, design backgrounds, and icons of color blocks together
with the production worksheet.
For each colorway you define, you can select colors from commercial thread
charts or define your own. Search for particular threads by specific code.
Automatic thread color helps you locate thread colors based on closest
match across one or several thread charts. You can also match thread colors
from imported graphicsvector or bitmap.
This section describes how to select colors from the color palette as well as
how to change colorways. It also explains how to define, modify and delete
colorways. There is also an explanation of how to define your own thread
colors and charts.
Changing thread colors
New objects are digitized using the selected color in the color palette. You
can change the color before or after digitizing. If the color you want is not
ES 2006 Wilcom ES Online Manual 153
available in the color palette, you may need to add it to the colorway. See
Modifying colorways for details.
Note Color change machine functions are automatically inserted when you
assign a color.
Selecting colors
When you digitize a new object, it automatically takes the color selected in
the color palette. This is the current color. Change the color of one or more
selected objects in your design at any time.
Tip If the color palette itself does not appear, you need to select it from the
Toolbars dialog. See Showing or hiding toolbars for details.
To select a color
Deselect all objects, and then select a color from the palette.
This color becomes current for all new objects.
To change the color of selected objects, simply select a new color from
the palette.
Note While the selected object/s change color, the current color does
not change.
Edit background
Select color
Change colorway
Edit colorways
Add color to palette
Compact palette
Split palette color
Edit color palette
color changed object selected
ES 2006 Chapter 7 Colorways and Thread Charts 154
Recoloring consecutive objects
You can change the color of consecutive objects of the same color at the
same time. Consecutive objects follow each other in the stitching sequence.
See also Selecting and viewing objects with the Color-Object List.
To recolor consecutive objects
1 Select the first object in the sequence to recolor.
2 Select Machine > Set Color.
The Set Color dialog opens.
3 Select the All consecutive objects of the same color option.
Note If you selected more than one object, this option is not available.
4 Select a color from the list.
Only colors in the colorway are available.
Select Set Color (Machine menu) to change the color of consecutive objects.
blue
blue
green
Change color of
consecutive objects
Select color
ES 2006 Wilcom ES Online Manual 155
5 Click OK.
Working with colorways
ES Designer lets you define multiple color schemes, or colorways, for the
one design. Change them to preview an existing design in different colors
on different fabrics.
When you start a design, Colorway 1 appears as the default color palette.
Colorways are saved automatically with the design when saving in EMB
format. You can save all your colorways as an EMT template file for use in
future designs. Colorways cannot, however, be saved with stitch files. See
also Viewing colorways and Working with design templates.
Note Certain properties are included as part of the colorway
definitionbackground color or fabric, unique number, as well as display
colors for borer symbols, unsewn stitches, selected objects, object outlines
and the grid.
As dark-colored threads cover light-colored fabrics better than vice versa,
different densities may be required when you change from one colorway to
another. For example, a black design on a white shirt may have been
digitized with slightly open Tatami to save on stitches. If the colorway is
changed to white on black, the Tatami density may need adjusting. See
Adjusting stitch density for details.
red
red
green
ES 2006 Chapter 7 Colorways and Thread Charts 156
Note Colorways are not intended to compensate for the different densities.
Rather, different styles should be used, or separate designsone for dark
threads on light fabric, and one for light threads on dark fabric.
Setting up color palettes
When you create a new design, it includes a single default colorway called
Colorway 1. This contains 15 default colors, unassigned to any thread
chart. The Color Palette Editor displays the same default colors. Add extra
color slots as required.
To set up a color palette
1 Open a new design.
The default color palette provides 12 colors.
Tip If you using artwork as a backdrop, you can match image colors
directly to the nearest matching threads in selected thread charts. See
Matching image colors to threads for details.
2 Click the Add Color To Palette icon to add further color slots as
required.
3 Click the Color Palette Editor icon.
The Color Palette Editor dialog opens displaying the same default
colors.
4 Click the Thread Charts button.
Use Add Color To Palette (Color toolbar) to add a new color slot to the
palette. This can be edited by means of the Color Palette Editor.
Use Color Palette Editor (Color toolbar) to assign thread colors to slots in the
Color Palette.
Use Compact Palette (Color toolbar) to remove all unused colors from
palette. Unused slots appear gray.
Click to add color slots
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The Active Thread Charts dialog opens.
5 Select the thread chart/s you want to use and click OK.
All color definitions from the selected chart/s are transferred to the Color
Palette Editor.
6 Select a color slot in the Color Palette Editor and match it to a suitable
thread by one of the following means:
Simply click the Match button at the top of the color list to find the
nearest equivalent thread color in the selected charts.
Enter an exact color code in the Find Code field.
Click-and-drag the selection handle and scroll down the color list to
locate a color you want to use.
Click the arrow buttons on top and at the bottom of the color list.
Select tread
chart/s to use
Click to select
thread chart/s
Search color list manually
for suitable colors
Click Match to match
selected color
Enter exact color
code if known
Default
colors
ES 2006 Chapter 7 Colorways and Thread Charts 158
Note The current selection in the Color Palette Editor is not linked to
the current selection in the Color Palette itself.
7 Select the color in the list by clicking the color or the code.
The color is assigned to the selected color slot, ready for use.
8 Click Assign.
The selected thread is assigned to the color slot and the Color Palette
Editor selection is advanced by one slot.
Tip Once all colors are assigned to objects, you can click the Compact
Palette icon to display only those colors used in the design. See also
Naming design elements via the Color Palette Editor.
Note The Compact Palette tool is disabled for machine formats that use
needle addressingi.e. that have Color Change set as Needle No in the
Machine Format Values dialog. See also Setting color change functions.
Adding and deleting colorways
It is often difficult to imagine your designs stitched out on different fabric
colors and textures, using different combinations of thread colors. When you
create a new design, the design contains a single default colorway called
Colorway 1. You can define up to 100 colorways for each design.
To add or delete a colorway
1 Create a new design or open an existing one.
2 Click the Multi-Colorway Box icon.
The Multi-Colorway Box dialog opens.
Use Multi-Colorway Box (Color toolbar) to open or close the modeless
Multi-Colorway Box dialog which allows you add and edit colorways.
Click to add new
colorways
Colorway 1
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3 Click New and enter a New Colorway name.
Tip By default, the Based on Colorway field contains the current
colorway. Select from the dropdown list to change colorways. If you
want to base the new colorway on default settings, leave the field blank.
4 Edit the colors and background of the new colorway using the Color
Palette Editor. See Modifying colorways for details.
5 Select a colorway in the list to view.
This has the same effect as selecting the colorway from the dropdown
list on the Color toolbar.
6 To delete a colorway, select it and click Delete.
You are prompted to confirm the deletion.
7 Click OK.
Modifying colorways
You can modify a colorway by adding or changing colors. New colors can be
selected from any of the available thread charts. Any modifications to thread
Enter new colorway name
Select colorway to base on
My Colorway
Colorway 1
Click to delete colorway
Click to choose
colorway
Colorway 1
My Colorway
Use Multi-Colorway Box (Color toolbar) to open or close the modeless
Multi-Colorway Box dialog which allows you add and edit colorways.
Use Add Color To Palette (Color toolbar) to add a new color slot to the
palette. This can be edited by means of the Color Palette Editor.
Use Color Palette Editor (Color toolbar) to assign thread colors to slots in the
Color Palette.
Use Compact Palette (Color toolbar) to remove all unused colors from
palette. Unused slots appear gray.
ES 2006 Chapter 7 Colorways and Thread Charts 160
colors only affect the selected colorway. All others remain unchanged. The
modified colorway can be saved with the design you are working with and/or
the current template.
Note The default settings are stored as Colorway 1. If you change the
background in Colorway 1 and save your template, it will always display like
this at start up. All defined colorways are saved in the template.
To modify a colorway
1 With a design open, click the Multi-Colorway Box icon.
The Multi-Colorway Box dialog opens.
2 Select the colorway you want to edit.
3 To edit the name, click the field, key in a new name, and press Enter.
4 To add further color slots, click the Add Color To Palette icon.
5 To change the colorway background and display colors, click BKG.
The Display dialog opens. Background colors and fabrics are treated as
part of the colorway rather than design window settings. In addition,
display colors for borer holes, unsewn and selected stitches, object
outlines and grid are part of the colorway definition. See Viewing
colorways, backgrounds and display colors for details.
6 To modify the thread colors of the selected colorway, click the Color
Palette Editor icon.
Click to change background of colorway
Select colorway
to edit
Colorway 1
My Colorway
ES 2006 Wilcom ES Online Manual 161
The Color Palette Editor dialog opens displaying the current colorway.
7 Assign colors from the current thread chart to selected color slots. See
Setting up color palettes for details.
Tip Once all colors are assigned to objects, you can click the Compact
Palette icon to display only those colors used in the design. See also
Naming design elements via the Color Palette Editor.
Modifying thread colors
Change the code, description, brand, thickness or display color of existing
threads by means of the Color Palette Editor.
To modify a thread color
1 Click the Color Palette Editor icon.
Search color list manually
for suitable colors
Click to assign color to
selected color slot
Enter exact color code if known
Click to locate selected color
Enter descriptive name for
selected color
1 - Clouds
Use Color Palette Editor (Color toolbar) to modify threads in existing charts.
ES 2006 Chapter 7 Colorways and Thread Charts 162
The Color Palette Editor dialog opens.
2 Import threads from the thread chart of your choice. See Setting up
color palettes for details.
3 Select the color slot you want to edit and click the Edit Thread button.
The Edit Thread dialog opens.
4 Edit thread details as required. See Adding your own colors to thread
charts for details.
5 Click OK.
Naming design elements via the Color Palette Editor
You can assign names to blocks of sequential, same-color objects, known as
elements. Element names appear on the production worksheet. The Usage
field in the Color Palette Editor shows a list of selected color blocks which
correspond to design elements. By default, the number in the stop sequence
is displayed. However, each color block can be given a descriptive name for
easy identification.
Tip You can also name design elements via the Design Properties dialog.
See Naming design elements via Design Properties for details.
Click to edit
selected thread
Click to assign
new color to slot
Click to select
or mix color
Edit thread
details
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To name design elements via the Color Palette Editor
1 Use the Color Palette Editor to set up a new palette or edit an existing
colorway. See Setting up color palettes for details.
The Color Palette Editor dialog opens displaying the current colorway.
2 Select a color slot.
3 To view the color, click Locate and hold.
Tip When more than one element appears in the Usage list, you can
select and locate them singly or as a group.
4 To name the design element, double-click the Usage field and key in a
descriptive titlee.g. Clouds.
5 To check the naming of all design elements, select File > Design
Properties.
The Design Properties > Information dialog opens.
6 Select the Stop Sequence tab to view the color sequence and stitch
counts for each design element.
The data in this tab is extracted from the design and, except for
Element, cannot be modified.
Tip You can show the stitch count for each element individually or as a
cumulative count. See Setting other options for details.
1 - Clouds
Enter descriptive
name for selected
color
Select color slot
Click and hold to locate selected color
Click to edit
design elements
ES 2006 Chapter 7 Colorways and Thread Charts 164
7 To edit an Element name, simply click the field, key in a new name, and
press Enter.
Tip The information on this tab may be included in total or in part on
the production worksheet. See Customizing production worksheet
information for details.
Splitting color blocks
A color block or element corresponds to a color stop in the design. It may
be comprised of a single iteme.g. ropesor moree.g. ropes and birds.
In one colorway you may want to assign the same thread color to both
items, while in another you may want to assign different colors to each. The
Split Palette Color tool makes this easysimply create a new color slot
with the same thread specification as the selected slot. This is added to the
palettes of all colorways. Selected objects are assigned to the new palette
position.
Note The design needs to contain at least two colorways and two objects.
The button is disabled when objects of different colors are selected.
To split a color block
1 With a design open, click the Multi-Colorway Box icon.
The Multi-Colorway Box dialog opens.
2 Select the colorway you want to modify.
Use Multi-Colorway Box (Color toolbar) to open or close the modeless
Multi-Colorway Box dialog which allows you add and edit colorways.
Use Color Palette Editor (Color toolbar) to assign thread colors to slots in the
Color Palette.
Use Split Palette Color (Color toolbar) to create a new color slot with the
same thread specification as the selected slot.
Select colorway
to edit
ES 2006 Wilcom ES Online Manual 165
3 Select the object(s) whose color needs to changethey must be
assigned to the same color slot.
The Split Palette Color button is activated.
4 Click the Split Palette Color icon.
A new color slot of the same color is added to the palette and all
colorways. Selected objects are assigned to the new palette position.
5 Assign a new thread color to the new color slot in the selected colorway.
See Setting up color palettes for details.
The colors of the other colorways remain unaffected.
Select objects
to change
New color slot added to all colorways
based on selected color (#2)
New color assigned to slot
in selected colorway
ES 2006 Chapter 7 Colorways and Thread Charts 166
Note By default, the new color slot is placed at the end of the Color
Palette. This, however, does not affect the stitching sequence.
Matching image colors to threads
You can manually match colors from an inserted bitmap or vector image to
thread colors in a selected chart. But the quicker way is by using automatic
color matching.
To match image colors to threads
1 Right-click the image.
2 Select Match Bitmap Color from the popup menu.
Right-click the image and select the Match Bitmap Color command to match image
colors to actual threads.
Consecutive
blocks of same
color remain
separate
ES 2006 Wilcom ES Online Manual 167
All colors used in the image appear in the Match Bitmap Color dialog.
3 Select the thread chart/s to include in the search from the Thread
Charts list.
Note To automatically match the image colors to available threads,
simply click OK. The system automatically assigns thread colors from
the selected chart/s to the current colorway.
4 To make your own color selections, first select the color to match.
5 Click Match.
The system searches for the closest match across all selected charts and
displays them in the thread color list below.
6 Select a thread and assign to the color palette by double-clicking or
clicking Assign.
7 Repeat until all the colors you intend to use in the design have been
matched.
Note Each search negates the previous results.
8 Click OK.
The selected thread colors are assigned to the current colorway. If the
number of available thread colors is less than the number of colors in
the image, the system will increase the number of slots in the color
palette accordingly.
Note The maximum number of new thread colors which can be added
to the color palette from a bitmap is 128.
Select thread
chart
Select color
to match
Matched
colors listed
Click to
assign
Click to
match
ES 2006 Chapter 7 Colorways and Thread Charts 168
Customizing thread charts
Thread charts are lists of pre-defined thread colors. They may be based on
commercially available thread charts, or charts you define yourself. When
you create a thread chart, you are creating a store of colors to use in future
use. You may use pre-defined thread colors from existing charts or define
your own. You may also want to update existing thread charts by modifying
thread details or removing threads.
Creating new thread charts
ES Designer lets you define your own thread charts. When you create a
thread chart, you are creating a store of colors to use in future use.
To create a new thread chart
1 Click the Color Palette Editor icon.
The Color Palette Editor dialog opens displaying the current colorway.
2 Click the Thread Charts button.
The Active Thread Charts dialog opens.
3 Click Modify.
The Modify Thread Chart dialog opens displaying the current thread
chart.
Use Color Palette Editor (Color toolbar) to create new thread charts.
Click to select
thread chart/s
Click to modify
thread charts
Click to create new chart
ES 2006 Wilcom ES Online Manual 169
4 Click New.
The New Thread Chart dialog opens.
5 Enter a name for the chart and click OK.
You return to the Modify Thread Chart dialog. The new chart is created,
ready for you to add thread colors.
6 Click Add to add your own colors. See Adding your own colors to thread
charts for details.
7 Click Copy From to add colors from an existing chart. See Copying colors
between charts for details.
8 Click Close to finish.
The new chart is created and ready for use.
Modifying existing thread charts
Use the Modify Thread Chart dialog to rename existing thread charts and
remove them entirely from the system. Select names that will help you
remember the charts you need or to help you sort frequently-used charts to
the top of the list.
A-My Thread Chart
Enter new thread
chart name
Click to add your
own threads
Click to copy
threads from
other chart
Use Color Palette Editor (Color toolbar) to modify existing charts.
ES 2006 Chapter 7 Colorways and Thread Charts 170
Warning Be careful when deleting thread charts. If you delete the wrong
chart you will need to reinstall Wilcom ES to restore it.
To modify existing thread charts
1 Open the Active Thread Charts dialog. See Creating new thread charts
for details.
2 Select a thread chart and click Modify.
The Modify Thread Chart dialog opens displaying the current thread
chart.
3 From the Name list, select the chart to modify.
4 Click Delete to remove the entire chart.
5 Click Rename to change names.
The Rename Thread Chart dialog opens.
6 Enter the new name for the thread chart and click OK.
Modifying threads in existing charts
Select
thread chart
Click to modify
selected thread chart
Click to rename Click to delete
A-My Royal Chart
Enter new thread
chart name
Use Color Palette Editor (Color toolbar) to modify existing charts.
ES 2006 Wilcom ES Online Manual 171
Remove obsolete thread colors from a thread chart using the Modify
Thread Chart dialog. Change the code, description, brand, thickness or
display color of existing threads.
To modify threads in existing charts
1 Open the Active Thread Charts dialog. See Creating new thread charts
for details.
2 Select the required thread chart and click Modify.
The Modify Thread Chart dialog opens displaying the current thread
chart.
3 From the Name list, select the chart to modify.
4 In the Threads list, select the thread to modify.
5 Click Remove to remove the selected thread from the chart.
Tip To delete all the threads from the thread chart, click Clear All.
6 Click Edit to change thread details.
Select
thread chart
Select color
to modify
Click to remove
selected thread color
Click to remove ALL
colors from chart
Click to edit selected
thread details
ES 2006 Chapter 7 Colorways and Thread Charts 172
The Edit Thread dialog opens.
7 Edit thread details as required. See Adding your own colors to thread
charts for details.
8 Click OK.
Copying colors between charts
You can copy colors between different thread charts to create your own
charts from existing colors.
To copy colors between charts
1 Open the Modify Thread Chart dialog. See Creating new thread charts
for details.
2 Create a new chart or open an existing one from the Name list.
3 Click Copy From.
Click to select
or mix color
Edit thread
details
Use Color Palette Editor (Color toolbar) to modify existing charts.
Click to create
new chart
Select
existing chart
Click to copy
threads from
other chart
ES 2006 Wilcom ES Online Manual 173
The Copy From dialog opens.
4 Select the source thread chart from the Name list.
5 Select the color/s you want to copy.
Tip Use Ctrl or Shift keys to copy a group or range of colors.
6 Click OK.
All colors are copied to the new thread chart.
Adding your own colors to thread charts
You can add colors to thread charts using colors from other charts or colors
you mix yourself.
Select
thread chart
Select color
to copy
Use Color Palette Editor (Color toolbar) to modify existing charts.
ES 2006 Chapter 7 Colorways and Thread Charts 174
To add your own colors to a thread chart
1 Open the Modify Thread Chart dialog. See Creating new thread charts
for details.
2 Create a new chart or open an existing one from the Name list.
3 Click Add to add your own colors.
The Add Thread dialog opens.
4 Enter code, brand, and description details for the new thread color.
Code is the identification number of a thread color in a brand.
5 Select the appropriate thread thickness.
Thickness A: normal embroidery thread (thickness 120/2, or 40).
Thickness B: thicker than normal.
Thickness C: finer than normal.
Thickness D: very fine.
Note This setting determines the Auto Spacing setting used with the
thread. See also Applying Auto Spacing to Satin stitch.
6 Mix the thread display color. See Mixing your own thread colors for
details.
Select
existing chart
Click to add
own colors to
thread chart
Click to create
new chart
Enter code,
brand, and
description details
Click to select
or mix color
Select thread
thickness
1234
My Brand
Deep Purple
ES 2006 Wilcom ES Online Manual 175
7 Click OK.
The new color appears in the Threads list.
Mixing your own thread colors
You can change the color that displays for a particular thread, or create new
thread colors using the Color dialog.
To mix your own thread colors
1 Add your own colors to a thread chart or modify threads in an existing
chart. See Adding your own colors to thread charts or Modifying threads
in existing charts for details.
2 Click Mix.
The Color dialog opens.
3 From the Basic colors palette, select a color that approximates the one
you require.
4 To further refine your color choice, drag the crosshairs on the color
spectrum.
5 To adjust color brightness, drag the arrow on the slider bar.
Alternatively, set the exact HLS or RGB values you require.
6 Click Add to Custom Colors to add mixed color to Custom Colors palette
for future use.
Use Color Palette Editor (Color toolbar) to modify existing charts.
Drag crosshairs to
adjust color
Drag arrow to
adjust brightness
Click to
select color
Click to add selected
color to Custom Colors
Enter exact values
if known
ES 2006 Chapter 7 Colorways and Thread Charts 176
7 Click OK.
ES 2006 Wilcom ES Online Manual 177
Chapter 8
Connecting Embroidery Objects
Connectors link objects in a design.
They can be run stitches or jumps. You
can use automatic settings to generate
connectors, trims and tie-offs, or add
them manually. Travel runs are
typically used to connect segments
within filled objects. Adjust travel run
length to reduce stitch count.
Warning For Schiffli work, you are advised to add connectors manually
rather than rely on the automatic settings. Automatic connectors are turned
off in the Schiffli template. See Adding connectors manually for details.
This section describes how to add connectors, tie-offs and trims to your
designs. It also describes adjusting settings for automatic connectors,
including the stitch length for travel runs. There is also a topic on hiding
travel runs using the Trapunto effect.
Note You can set separate connector settings for Auto Start and End. See
Setting automatic start and end points for details.
Types of connectors
The type of connector you use depends on whether you want it to be visible
in the final design. The default connector setting in ES Designer is for jumps.
Jumps
Jumps move the frame from one part of the design to another without
needle penetrations. You can use automatic jumps as connectors between
embroidery objects. The connecting thread generally needs to be tied-off
ES 2006 Chapter 8 Connecting Embroidery Objects 178
and trimmed. The default connector jump length is the same as that set for
Auto Jump.
Tip You can also digitize jumps manually using the Penetrations function
or with Manual stitch. See Adding jumps with penetrations off and Digitizing
individual stitches for details.
Runs
Travel runs are typically used to connect segments of complex shapes. They
can also connect adjacent objects. Because runs are not trimmed, they may
be visible in the final embroidery. For this reason, they are less commonly
used as connectors between objects than jumps. If objects are adjacent and
connectors will be hidden, they can be used. You can change the stitch
length of travel runs to ensure they do not protrude from the cover stitching.
You may also adjust the travel run length to reduce the stitch count. See
also Adjusting travel run stitch length.
Note While you can control the properties of run connectors between
objects, you generally cannot control connectors within objects. Lettering
and motif run objects are the exception.
Tie-ins
Tie-in stitches are inserted at the start of objects to prevent stitches from
unraveling. They are inserted inside the shape on the second stitch. You
generally use them when the previous connector is trimmed.
Tie-offs
Tie-offs are generally placed before trims to prevent stitches from
unraveling. You can adjust connector settings to automatically add tie-offs
under certain conditions, or add them manually. You can also include trim
functions so machines with trimmers cut the thread automatically.
Trims
If you are using a machine with an automatic trimmer, the trim function
causes the thread to be cut after a tie-off. In the software, trims are
represented by a triangle with a small circle at the point where stitching
ES 2006 Wilcom ES Online Manual 179
starts again. The trimmed connector appears as a dotted line. You can
adjust connector settings to automatically add trims, or add them yourself.
Using automatic connectors
ES Designer lets you generate automatic connectors in your design based
on settings in the Object Properties > Connectors dialog. You can change
the connector settings for the whole design or selected objects.
Tip If you prefer to add tie-offs and trims as you digitize, you can turn off
automatic connectors altogether. For Schiffli work, you are advised to add
connectors manually rather than rely on the automatic settings. Automatic
connectors are turned off in the Schiffli template. See Adding connectors
manually for details.
Note The Branching feature lets you digitize like-objectse.g. the fingers
of a handwithout having to think about the most efficient stitching
sequence and joins. See Automatic branching for details.
Using jumps as connectors
You can use automatic jumps as connectors between embroidery objects.
Jumps move the frame from one part of the design to another without
trim
stitching starts
connector
Use Object Properties (Standard toolbar) to toggle the Object Properties
dialog on/off. Use it to set jumps as connectors.
ES 2006 Chapter 8 Connecting Embroidery Objects 180
needle penetrations. You generally need to tie-off and trim the connecting
thread.
You can also digitize jumps manually using the Penetrations function. See
Adding jumps with penetrations off for details.
To use jumps as connectors
1 Click the Object Properties icon.
The Object Properties dialog opens.
2 Select the Connectors tab.
3 Select a connector method.
After Object: allows you to adjust settings of connectors
immediately following the current object.
Inside Object: allows you to adjust settings of connectors joining
letters within a lettering object, and motifs within motif runs. This
setting also applies to disconnected parts of branched objects.
Select J ump and
enter distance
Select connector method
Adjust Trim
After settings
Adjust tie-in /
tie-off settings
ES 2006 Wilcom ES Online Manual 181
Note This option does not apply to segments within an object. See also
Adjusting travel run stitch length.
4 Select Jump and enter a distance for each frame movement.
5 In the Trim After panel, adjust the trim settings. See Adjusting
automatic trim after settings for details.
6 Select Tie In from the list to adjust tie-in settings. See Adjusting
automatic tie-in settings for details.
7 Select Tie Off from the list to adjust tie-off settings. See Adjusting
automatic tie-off settings for details.
8 Click Apply.
Using runs as connectors
You can use runs of single stitches to connect objects in a design. Because
runs cannot be trimmed, they are visible on the final embroidery, unless
another object is digitized to cover them. For this reason, runs are less
commonly used as connectors than jumps.
To use runs as connectors
1 Click the Object Properties icon.
The Object Properties dialog opens.
Use Object Properties (Standard toolbar) to toggle the Object Properties
dialog on/off. Use it to set runs as connectors.
Run
connectors
J ump
connectors
ES 2006 Chapter 8 Connecting Embroidery Objects 182
2 Select the Connectors tab.
3 Select a connector method.
After Object: allows you to adjust settings of connectors
immediately following the current object.
Inside Object: allows you to adjust settings of connectors joining
letters within a lettering object, and motifs within motif runs. This
setting also applies to disconnected parts of branched objects.
Note This option does not apply to segments within an object. See also
Adjusting travel run stitch length.
4 Select Run and enter a length for the connecting run stitches.
The Tie Off and Trim After options are disabled as they do not apply to
travel runs.
5 Select Tie In from the list to adjust tie-in settings. See Adjusting
automatic tie-in settings for details.
6 Click Apply.
Adjusting automatic tie-in settings
Select Run and
adjust stitch length
Adjust tie-in
settings
Select connector method
Use Object Properties (Standard toolbar) to toggle the Object Properties
dialog on/off.
ES 2006 Wilcom ES Online Manual 183
Tie-in stitches are inserted at the
start of objects to prevent stitches
from unraveling. They are inserted
inside the shape on the second
stitch. You generally use them when
the previous connector is trimmed.
To adjust tie-in settings
1 Click the Object Properties icon.
The Object Properties dialog opens.
2 Select the Connectors tab.
3 Select Tie In from the list and select a tie-in option:
Off: no tie-ins are inserted.
Always tie in: tie-ins are inserted before the object.
Tie In If: tie-ins are created if certain conditions are met. When you
select this option, the condition checkboxes become available.
4 If you selected Tie In If, set the conditions:
After Trim/Color Change: tie-ins are inserted after trims and color
changes.
Previous Connector: tie-ins are inserted when the previous
connector exceeds the length you specify.
5 Set the tie-in values:
Length: determines length of tie-in stitches.
Number: determines number of tie-in stitches to generate.
6 Click Apply.
Tie-in with four
stitches
Adjust tie-in
settings
ES 2006 Chapter 8 Connecting Embroidery Objects 184
Adjusting automatic tie-off settings
With trims, stitches need to be tied off so the thread can be trimmed without
unraveling. Select between two automatic tie-off methods.
Method 1 is generally more visually pleasing on smaller objects and Satin
columns. With this method, however, stitches sew on top of each other with
the consequent risk of thread breakage. On larger areas, the safer
alternative is Method 2.
Tip For narrow shapes or columnse.g. small letteringuse only one
tie-off stitch. You may also decrease the stitch length.
To adjust tie-off settings
1 Click the Object Properties icon.
The Object Properties dialog opens.
2 Select the Connectors tab.
3 In the Tie Off panel, select a tie-off option:
Use Object Properties (Standard toolbar) to toggle the Object Properties
dialog on/off.
Method 1 with four
stitches
Method 2 with
two stitches
Method 2 with four
stitches
Adjust tie-off
settings
ES 2006 Wilcom ES Online Manual 185
Off: no tie-off is inserted. By selecting this option, you need to add
tie-off functions manually. See Adding tie-offs for details.
Always Tie Off: a tie-off is inserted after the object.
Tie Off If: a tie-off is created if certain conditions are met. When
you select this option, the condition checkboxes become available.
4 If you selected Tie Off If, set the conditions:
Before Trim/Color Change: a tie-off is inserted before a trim or
color change.
Always Tie Off Last: a tie-off is inserted if the object is the last one
in the design.
Next Connector Longer Than: a tie-off is inserted if the next
connector exceeds the specified length.
5 Select a tie-off method:
Method 1 inserts tie-off stitches along the last stitch. This hides well
and prevents stitches from bulging. It is suitable for Satin columns
and lettering objects.
Method 2 inserts tie-off stitches between the last two stitches. This
is suitable for larger Tatami-filled shapes.
6 Set the tie-off values:
Length: determines length of tie-off stitches.
Number: determines number of tie-off stitches to generate.
7 Click Apply.
Adjusting automatic trim after settings
You can choose to turn off automatic trimming, to always trim connecting
stitches, or to trim only when the connecting stitch is longer than a specified
value.
To adjust automatic trim settings
1 Click the Object Properties icon.
The Object Properties dialog opens.
Use Object Properties (Standard toolbar) to toggle the Object Properties
dialog on/off.
ES 2006 Chapter 8 Connecting Embroidery Objects 186
2 Select the Connectors tab.
3 In the Trim After panel, select a trim option:
Off: no trims are inserted. This feature is useful if trimming causes
your machine to slow down, or the needle to lose the thread. You can
either add trim functions yourself, or trim the final embroidery by
hand.
Always Trim: trims are inserted after the object.
Trim If Next Connector Is Longer Than: trims are inserted if the
next connector exceeds the length you specify.
Tip Usually, connectors shorter than 3 mm are not visible on the final
embroidery. You may sometimes require a smaller valuee.g. if the
thread color contrasts with the background color.
4 Click Apply.
Adding connectors manually
You can add tie-offs and trims in a design yourself, using the Tie Off, Trim
and Empty Stitch tools. This method is less efficient than using automatic
connectors and it is not recommended, but gives you more control over the
final design. Some machine formats are unable to read functions that
appear on a normal stitch. For these machines, you need to add trim, tie-off
and other machine functions to an Empty Stitch or Empty Jump. You may
also need to add one or more empty stitches or empty jumps to either side
of a function for the machine to read it correctly.
Note If you want to add all the tie-offs and trims yourself, turn off
automatic features in the Object Properties > Connectors dialog. See
Using automatic connectors for details.
Adding tie-offs
Adjust trim after
settings
Click Tie Off (Pointer toolbar) to insert a tie-off.
ES 2006 Wilcom ES Online Manual 187
You can add tie-offs in your design using the Tie Off tool. This provides a
semi-automated technique for adding tie-offs as an alternative to digitizing
them with manual stitches. Tie-offs are usually added before a trim at the
end of an object.
Tip You can also insert machine functions manually using the Insert
Machine Function dialog. See Inserting machine functions manually for
details.
To add a tie-off
1 Travel to the object you want to tie-off. See Traveling by object for
details.
2 Click the Tie-off icon.
A Tie-off function is inserted.
The default number of tie-off stitches is two. This means the needle
backtracks twice and returns at the insertion point. Adjust this value in
the Object Properties > Connectors dialog. See Adjusting automatic
tie-off settings for details.
Note Generally you will follow a tie-off with a trim. See Adding trims for
details.
Adding trims
You can add trims in your design, using the Trim tool. When you add a trim
in this way, the trim function is added to the current stitch. Some machines
Tie-off
function start
Tie-off function inserted, needle
backtracks and returns
Tie-off
function end
Click Trim (Pointer toolbar) to insert a trim.
ES 2006 Chapter 8 Connecting Embroidery Objects 188
require empty stitches or empty jumps on either side of the trim. If this is
the case for the machine you want to stitch to, you will need to insert them.
Tip Make sure that all stitches you trim have been tied in and tied off,
otherwise the stitches will not be secured.
To add a trim
1 Travel to the needle position where you want to trim the thread. See
Traveling by stitches for details.
2 Click the Trim icon.
A trim function is inserted at the current needle position.
Tip You can also insert machine functions manually using the Insert
Machine Function dialog. See Inserting machine functions manually for
details.
Adding empty stitches and empty jumps
Empty stitch is a tight (zero length) lockstitch, used together with, or as an
alternative to, tie-in and tie-off stitches. Use empty stitches instead of
tie-ins or tie-offs for objects filled with light density stitching where standard
tie-ins and tie-offs may be visible. Also, use empty stitches or empty jumps
when required by the selected machine format.
Tip You can also insert machine functions manually using the Insert
Machine Function dialog. See Inserting machine functions manually for
details.
trim symbol
tie-in symbol
Click Empty Function (Pointer toolbar) to insert an empty stitch. Right-click
to insert an empty jump.
ES 2006 Wilcom ES Online Manual 189
To add empty stitches and empty jumps
1 Travel to the needle position where you want to trim the thread. See
Traveling by stitches for details.
2 Click the Empty Function icon to insert an empty stitch.
3 Right-click Empty Function to insert an empty jump.
Adding jumps with penetrations off
You can create jump connectors manually in a design by digitizing with
penetrations off. The Penetrations tool (formerly known as Needles In)
prevents the needle from penetrating the fabric, forcing the machine to
move across the design in a series of jumps. You can use Penetrations with
any input method.
To add a jump with penetrations off
1 Select an input method.
2 Deselect Penetrations.
3 Digitize the connector (or row of jumps) in the usual way for the selected
input method.
The jumps are saved together as an embroidery object.
Adjusting travel run stitch length
Deselect Penetrations (Generate toolbar) to create jumps with needles or
borers out.
Use Object Properties (Standard toolbar) to toggle the Object Properties
dialog on/off. Use it to set the travel run stitch length.
Penetrations offjump stitches Satin J umps Tatami
ES 2006 Chapter 8 Connecting Embroidery Objects 190
Travel runs are usually used to connect segments within filled objects. They
are usually covered by fill stitches when the object is stitched out. You can
adjust the travel run length to reduce the stitch count.
To adjust travel run stitch length
1 Click the Object Properties icon.
The Object Properties dialog opens.
2 Select the Special tab and Travel Run from the list.
3 Enter a value in the Length field as required.
Tip Increase stitch length to reduce the stitch count. Travel Run
automatically varies the stitch length on tight curves.
4 Click Apply.
Adjust travel run length
Travel Run length: 1mm Travel Run length: 3mm
ES 2006 Wilcom ES Online Manual 191
Chapter 9
Improving Stitch Quality
ES Designer provides many techniques for achieving smooth, even
placement of stitches, and eliminating gaps in your designs.
Strengthen and stabilize designs with automatic underlay. Compensate for
fabric stretch with pull compensation. Reduce stitch bunching with stitch
shortening and fractional spacing. Adjust stitch density for more efficient
production and remove small stitches automatically. Control corner stitching
with Smart Corners and fine-tune handling of long stitches with Auto Split
and Auto Jump. Set automatic start and end points. These features are all
object properties and can be applied, removed or modified at will.
This section describes how to improve stitch quality with automatic underlay
and pull compensation. It also covers stitch shortening and fractional
spacing together with adjusting stitch density and automatic removal of
small stitches. Auto Split and Auto Jump are described as well as setting
automatic start and end points.
Strengthening and stabilizing with automatic underlays
Embroidery appearance and quality depends a lot on underlay which serves
as a foundation for the cover stitching. Without an underlay, embroidery lies
flat on the underlying fabric which can often show through. New digitizers
might be tempted to increase stitch density but it is much more effective to
apply an underlay. Although it increases the stitch count, underlay helps to
ES 2006 Chapter 9 Improving Stitch Quality 192
stabilize fabrics and reduce puckering and pulling especially on larger
designs. It also provides loft, raising cover stitches and preventing them
from sinking into soft fabrics. It can also prepare a napped fabric by
flattening it.
Larger areas and stretchy fabrics such as knits and pique generally need
more underlay than smaller areas and firm fabrics such as drill or leather.
ES Designer lets you set values to suit different fabrics, lettering appearance
and size. Underlay settings are stored with each object in the same way as
other object properties. They are regenerated whenever the object is scaled
or transformed.
Applying automatic underlays
You can generate automatic underlay stitching from scratch or apply it to
existing objects. The type of underlay you choose is determined by the
purpose it is to serve. Any combination of underlay types can be applied in
order to achieve the desired purpose.
To apply automatic underlays
Click the Auto Underlay icon with or without objects selected.
With no objects selected, underlay stitches are automatically generated
for all new objects. For both new or selected objects, automatically
generated underlay stitches are based on current properties.
Click again to turn off the effect.
Selecting underlays
Use Auto Underlay (Stitch Types toolbar) to strengthen and stabilize
embroidery designs with automatic underlays. Right-click to adjust underlay
settings.
with underlay without underlay
Right-click Auto Underlay (Stitch Types toolbar) to adjust underlay settings.
ES 2006 Wilcom ES Online Manual 193
ES Designer provides a selection of underlay types to choose from. Use a
single layer of underlay, or for more support, combine two underlay types.
The Auto Underlay feature lets you see both underlay settings at the same
time.
To select underlays
1 Right-click the Auto Underlay icon.
The Object Properties > Underlay dialog opens.
2 Select the First Underlay checkbox.
3 From the first Type field, select the first underlay type.
4 Select the Second Underlay checkbox as required.
5 From the second Type field, select the second underlay type.
6 Adjust settings as required and click Apply.
Adjusted settings are applied to any selected objects. Otherwise, new
settings become current.
Center Run and
Edge Run underlays
used together
Adjust 2nd
underlay settings
Adjust 1st
underlay settings
Select 1st
underlay
Select 1st
underlay type
Adjust 1st
underlay margins
Select 2nd
underlay
Select 1st
underlay type
Adjust 2nd
underlay margins
ES 2006 Chapter 9 Improving Stitch Quality 194
Adjusting Center Run and Edge Run underlay settings
Center Run places a row of stitches along the center of a column. It is used
to stabilize narrow columnse.g. 2-3 mm wide. Edge Run places stitches
around the edge of an object. Use Edge Run together with the Zigzag or
Tatami underlays when digitizing large shapes.
Note You cannot use Center Run with Complex Fill objects.
Adjust the stitch length for Center Run and Edge Run underlays to ensure
the underlay stitches follow the shape of curves and are not visible in the
final embroidery. Set a specific run stitch length, or use a variable stitch
length calculated by ES Designer. If you use a variable length, enter a chord
gap value to control how closely the stitches follow the digitized lines. The
chord gap is the distance between the digitized curve and the underlay
stitch. See also Setting variable run stitch lengths.
Note Stitch settings for Center and Edge Run underlays are stored
separately from and do not affect Run and Triple Run objects.
To adjust Center Run and Edge Run underlay settings
1 Right-click the Auto Underlay icon.
Right-click Auto Underlay (Stitch Types toolbar) to adjust Center Run and
Edge Run underlay settings.
Center Run underlay Edge Run underlay
ES 2006 Wilcom ES Online Manual 195
The Object Properties > Underlay dialog opens.
2 Select the first and second (as required) Underlay checkbox and select
Center Run or Edge Run as the First or Second underlay type.
3 Enter the required length values for each underlay type:
Length: Sets the maximum length of each stitch.
Vary Run Length: If enabled, specify minimum stitch length and
Chord Gap values as required. See Setting variable run stitch
lengths for details.
4 Click Apply.
Adjusting Zigzag and Double Zigzag underlay settings
Adjust fixed or
variable run length
Adjust fixed or
variable run length
Select 1st
underlay
Select Center Run
(or Edge Run)
Select 2nd
underlay
Select Edge Run
(or Center Run)
Adjust underlay
margins
Edge Run and Center Run underlay
with 2.5 mm stitch length
Edge Run and Center Run underlay
with variable run length
Right-click Auto Underlay (Stitch Types toolbar) to adjust Zigzag and Double
Zigzag underlay settings.
ES 2006 Chapter 9 Improving Stitch Quality 196
Use Zigzag and Double Zigzag underlay stitching to support wide columns.
You can combine Zigzag or Double Zigzag with Center Run or Edge Run
underlays. These underlays are best used under Satin cover stitching.
You can set spacing and stitch length properties for Zigzag and Double
Zigzag underlay.
Note Zigzag underlay stitch settings are stored separately from, and do not
affect, zigzag cover stitch settings.
To adjust Zigzag and Double Zigzag underlay settings
1 Right-click the Auto Underlay icon.
The Object Properties > Underlay dialog opens.
2 Select the first and second (if required) Underlay checkbox and select
Zigzag or Double Zigzag as the First or Second underlay type.
3 Enter the required spacing and length for each underlay type:
Spacing: Sets the required distance between two needle
penetrations on the same side of the column.
Zigzag underlay Double Zigzag underlay
Adjust spacing
and length
Adjust spacing
and length
Select 1st
underlay
Select Zigzag (or
Double Zigzag)
Select 2nd
underlay
Select Double
Zigzag (or Zigzag)
Adjust underlay
margins
Adjust underlay
margins
ES 2006 Wilcom ES Online Manual 197
Length: Sets the maximum length of each stitch.
4 Click Apply.
Adjusting Tatami underlay settings
Tatami underlay is used to stabilize large, filled shapes. It resembles an
extremely open Tatami fill stitch, where rows of stitches are placed across
the object to create the underlay. Tatami underlay is often used together
with Edge Run, especially for Complex Fill objects under Tatami cover
stitching.
Change stitch spacing and length settings for Tatami underlay in the same
way as for Tatami fill stitches. Select the backstitch type you require and,
for Complex Fill objects, set the angle of the underlay stitches.
Note Tatami underlay stitch settings are stored separately from, and do not
affect, Tatami cover stitch settings.
To adjust Tatami underlay settings
1 Right-click the Auto Underlay icon.
Spacing: 3.0 mm Spacing: 4.0 mm
Right-click Auto Underlay (Stitch Types toolbar) to adjust Tatami underlay
settings.
Tatami stitch with
Edge Run and
Tatami underlay
direction of cover
stitching
direction of underlay
ES 2006 Chapter 9 Improving Stitch Quality 198
The Object Properties > Underlay dialog opens.
2 Select first or second Underlay checkbox as required and select
Tatami.
3 Adjust spacing and length settings as required:
Spacing: Sets the distance between each row of stitching.
Length: Sets the maximum length of each stitch.
4 For Complex Fill objects, you can also set the stitch angle for Tatami
underlays.
5 Select a backstitch. See Selecting a Tatami backstitch for details.
6 Click Apply.
Adjust Tatami
underlay values
Select 1st
underlay
Select Tatami
Adjust underlay
margins
Spacing: 2mm
Spacing: 3mm
Angle: 135
Angle: 45
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Setting underlay margins
The underlay margin is the distance between an object outline and the edge
of the underlay. Increase this margin to prevent underlay stitches from
extending outside the cover stitches.
For Complex Fill objects, you can enter a single margin value which is used
for all edges in the shape. For objects created with the Input A, Input B,
Input C or Lettering tools, you can set three different marginsone for the
sides of the column and one for each end.
Note Margin values do not apply for Center Run underlays.
To set underlay margins
1 Right-click the Auto Underlay icon.
The Object Properties > Underlay dialog opens.
2 In the Margins panels, set the required margins.
Right-click Auto Underlay (Stitch Types toolbar) to adjust underlay margins.
underlay margin
Select 1st
underlay
Select 2nd
underlay
Set underlay
margins
Set underlay
margins
Select required
underlay type
Select required
underlay type
ES 2006 Chapter 9 Improving Stitch Quality 200
For Input A, Input B, Input C and Lettering objects, enter margins in
the 1:, 2: and 3: fields, using the diagram as a guide.
For Complex Fill objects, enter a margin in the 1: field only. Values
in the other fields will be ignored.
Tip If you are joining two columns, use a negative value at the joining
end. The underlay will extend outside the cover stitching, allowing for
smooth joining of the columns.
3 Click Apply.
Adding underlay by segment
Normally underlay is applied to all segments before the cover stitches are
sewn. With Fusion Fill objects, however, underlay can be applied by
segment. This means that underlay and cover stitch are stitched segment
by segment.
Mgn 1: 0.8 mm, Mgn 2: 0.2 mm,
Mgn 3: 0.4 mm
All margins: 0.1 mm
two columns joined
Right-click Auto Underlay (Stitch Types toolbar) to add underlay by segment.
ES 2006 Wilcom ES Online Manual 201
To add underlay by segment
1 Right-click the Auto Underlay icon.
The Object Properties > Underlay dialog opens.
2 Select first and second underlays as required.
3 Select By Segment for either first or second underlay.
Note If you select By Segment for the first underlay, it is selected by
default for the second as well.
4 Click Apply.
Compensating for fabric stretch
Embroidery stitches tend to pull fabric inwards where the needle penetrates.
This can cause fabric to pucker, and gaps to appear in the embroidery.
Experienced digitizers can manually compensate for pull by overlapping
objects as they digitize. Automatic pull compensation, however, counters
the pull effect by overstitching outlines of filled shapes on the sides where
the needle penetrates. See also Adjusting stitch density.
Adjust the amount of overstitching you need by varying the pull
compensation setting in the Object Properties dialog. This is handy if you
want to stitch a design on fabrics with varying degrees of stretch.
Tip Applying underlay stitching, and using appropriate backing and topping
when stitching out can also reduce the push-pull effect.
Select By
Segment
Or select By
Segment for the
2nd underlay only
Pull compensation
Digitized outline
Calculated outline
ES 2006 Chapter 9 Improving Stitch Quality 202
Applying automatic pull compensation
Apply automatic pull compensation to objects in your design, either before
or after you digitize.
To apply automatic pull compensation
Click the Pull Compensation icon with or without objects selected.
With no objects selected, pull compensation is applied to all new objects.
For both new or selected objects, pull compensation is based on current
properties.
Click again to turn off the effect.
Adjusting pull compensation settings
Appropriate pull compensation settings vary with the type of
fabricstretchy, pile, etchooping methodtight or loosely hoopedand
size of embroidery objectwide or narrow columns. Use the following table
as a guideline.
Use Pull Compensation (Stitch Types toolbar) to automatically compensate
for fabric stretch. Right-click to adjust pull compensation settings.
Pull Compensation OFF Pull Compensation ON
Right-click Pull Compensation (Stitch Types toolbar) to adjust pull
compensation settings.
Fabric Pull compensation (mm)
drills, cotton 0.20
T-shirt 0.35
fleece, jumper 0.40
lettering 0.2 - 0.3
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To adjust pull compensation settings
1 Right-click the Pull Compensation icon.
The Object Properties > Pull Comp dialog opens.
2 Select the Pull Compensation checkbox.
3 Enter the amount (in millimeters) by which you want to overstitch.
4 Click Apply.
Adjusting column width
The Column Width setting adjusts the width of columnar shapes, allowing
you to change the column width at every point by a constant amount in the
direction of stitching. The purpose is to fatten or thin a column, for
example, in order to create bold lettering. See also Making bold lettering.
Tip Reduce column width if you need to allow the underlay to extend
outside the object boundary.
Select Pull Compensation
and enter overstitch
allowance
Pull Compensation: 0.3 mm
Pull Compensation: 0.6 mm
Right-click Pull Compensation (Stitch Types toolbar) to adjust column width
setting.
ES 2006 Chapter 9 Improving Stitch Quality 204
To adjust column width
1 Right-click the Pull Compensation icon.
The Object Properties > Pull Comp dialog opens.
2 Select the Column Width checkbox.
3 Enter the amount (mm) by which you want to adjust column widths.
4 Click Apply.
Reversing stitch direction
Stitching direction can affect embroidery quality because of the push-pull
effect. This is especially visible with Input C objects. Reverse Curve lets
you control the push-pull effect by reversing the stitch direction. This in turn
affects the stitching direction of Jagged Edge, Contour Stitch and E Stitch
objects. It can also affect Contour stitching, Tatami offsets, Flexi Split
pattern orientation, and Motif Run orientation.
Note Only closed vector and embroidery objects such as Input C can be
reversed. The effect on vector objects will not be visible, convert them to
embroidery objects first.
Select Column Width
and enter column width
adjustment
column width: -1 no adjustment column width: +1
Use Reverse Curves (Image menu) to reverse stitch direction in vector or closed
embroidery objects.
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To reverse stitch direction
1 Select a closed embroidery object.
2 Select Image > Reverse Curves.
The stitch direction is reversed.
Creating smooth joins
The Continuous Input feature provides a simple and efficient way of
digitizing a single Input A object comprised of separately stitched sections.
You can also create two smoothly joined objects with different cover stitch
parameters in each.
Note Continuous Input applies only to Input A. The objects so created can
be deleted or edited using standard reshape tools.
To create smooth joins
1 Select Special > Options and click the General tab.
2 Select a continuous input style.
Normal: Use this for non-continuous input.
Use Input A (Input toolbar) together with Continuous Input to create single
objects comprising separately stitched sections.
Reverse Curve
applied
Input C object with
J agged Edge
Select a continuous
input style
ES 2006 Chapter 9 Improving Stitch Quality 206
Continuous Replace: Use this to continue digitizing the same
object after each Enter keypress. Any properties you change during
digitizing will affect the entire object, not just the section you are
working on.
Continuous Add: Use this to join objects of different size where
different stitch types are usede.g. a narrow section of Satin stitch
joining to a larger section of Tatami.
3 Click OK.
4 Digitize the Input A object. See Digitizing columns of varying width for
details.
When you press Enter, the digitized object fills with stitches. The input
tool is still active.
5 If you are using Continuous Add mode, you can select another stitch
type at this point.
Tip To stop the screen scrolling while moving the mouse, hold down
Shift and click the stitch type button you require.
6 Recommence digitizing where you left off and press Enter when you have
finished.
The new section fills with stitches and joins to the previous one. If you
are using Continuous Add mode, the new section actually comprises a
new object. This means that, while the two sections (objects) are
smoothly joined, they can have quite different property settings.
7 To start a new object without joining to the previous object, click the
Input A icon again.
Second section
smooth joined to
firsttwo sections
become a single
object
First section created
First section created
Second section
smooth joined to
firsttwo sections
become separate
objects
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Reducing stitch bunching with stitch shortening
Standard stitch spacing is calculated at the outside edge of a shape. With
sharp curves, spacing which provides adequate coverage on the outside
edge may cause bunching along the inside edge. This may cause thread
breakage when stitching out. The longer the stitches, the worse the
problem.
Stitch shortening reduces the length of some stitches in sharp turns so that
the needle penetrations are distributed evenly, creating smoother stitching.
Tip Fractional spacing provides another way of reducing stitch bunching.
See Reducing stitch bunching with fractional spacing for details.
Applying stitch shortening
Apply stitch shortening to sharp corners to decrease stitch density on the
inside edge.
To apply stitch shortening
Click the Shortening icon with or without objects selected.
shortened stitches
Use Shortening (Stitch Types toolbar) to reduce stitch bunching in tight
curves by shortening some stitches on the inside edge. Right-click to adjust
stitch shortening settings.
ES 2006 Chapter 9 Improving Stitch Quality 208
With no objects selected, stitch shortening is applied to all new objects.
For both new or selected objects, stitch shortening is based on current
properties.
Click again to turn off the effect.
Adjusting stitch shortening settings
Default shortening settings are set to suit most designs. However, advanced
users can adjust the way ES Designer shortens stitches by setting precise
shortening settings.
Note Only change these settings if you understand how stitch shortening
is calculated.
To adjust stitch shortening settings
1 Right-click the Shortening icon.
The Object Properties > Shortening dialog opens.
Right-click Shortening (Stitch Types toolbar) to adjust stitch shortening
settings.
Select Shortening
Access further
settings
Adjust shortening
settings
ES 2006 Wilcom ES Online Manual 209
2 In the If Spacing < field, enter the minimum spacing permitted
between stitches (as % of nominal spacing) before automatic
shortening takes effect.
3 In the Max No Of Short Stitches field, enter the maximum number of
consecutive short stitches to allow, up to a limit of five.
A higher number allows smoother distribution of the needle penetrations
in tight curves, and reduces stitch bunching.
4 Click the Values button.
The Shortening dialog opens.
If spacing <90% If spacing <40%
Max no. of short stitches: 1 Max no. of short stitches: 5
Define length of short
stitches relative to
original stitch length
Randomize
shortening pattern
ES 2006 Chapter 9 Improving Stitch Quality 210
5 In the Shorten Stitch Length to (%) panel, define the individual
lengths of consecutive short stitches, as a percentage of the original.
Note A value of 80% means that the stitch is shortened to 80% of the
original length, not by 80%. The smaller the percentage, the shorter the
stitch.
If you allow three short stitches, you need only fill in the first three rows.
If you allow five short stitches, fill in all five rows.
If only one short stitch is generated between normal stitches, the value
in Row 1 will apply. If two consecutive short stitches are generated, the
values in Row 2 will apply to 1st and 2nd stitch respectively. And so on
up the scale.
Tip For best results use a jagged pattern between consecutive stitches.
Max no. of short stitches: 1
Shorten stitch length to: 80%
Max no. of short stitches: 1
Shorten stitch length to: 50%
Max no. of short stitches: 5
Shorten stitch length to: 50%
Row 1: 80
Row 2: 85 70
Row 3: 70 90 70
Row 4: 70 90 80 70
Row 5: 70 85 65 85 70
Max no. of short stitches: 5
Shorten stitch length to: 50%
Row 1: 90
Row 2: 70 60
Row 3: 55 85 55
Row 4: 55 85 75 55
Row 5: 55 70 45 70 55
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6 Select the Randomize checkbox to randomize the shortening pattern
values. This will eliminate unwanted lines appearing in regular curves.
7 Click Apply.
Reducing stitch bunching with fractional spacing
Standard stitch spacing is calculated at the outside edge of a shape. With
sharp curves, spacing which provides adequate coverage on the outside
edge may cause bunching along the inside edge. This may cause thread
breakage when stitching out. The longer the stitches, the worse the
problem.
With Fractional Spacing, ES Designer calculates spacing settings from a
specified point called the offset fraction. This lies between the outside and
inside edges of the shape. You can change the offset fraction to adjust stitch
spacing at inside and outside edges.
Tip Stitch shortening provides another way of reducing stitch bunching. See
Reducing stitch bunching with stitch shortening for details.
Randomize ON Randomize OFF
0.00
0.66
0.33
1.00
offset fraction:
outside edge
ES 2006 Chapter 9 Improving Stitch Quality 212
Applying fractional spacing
Apply fractional spacing to curved shapes to even out the stitch density
along the outside and inside edges. Fractional spacing is particularly useful
for columns of Satin stitches with sharp turns.
Tip For best results, combine stitch shortening and fractional spacing
effects.
To apply fractional spacing
Click the Fractional Spacing icon with or without objects selected.
With no objects selected, fractional spacing is applied to all new objects.
For both new or selected objects, fractional spacing is based on current
properties. See Adjusting fractional spacing settings for details.
Click again to turn off the effect.
Adjusting fractional spacing settings
Fractional stitch spacing calculates the spacing at some point between the
outside and inside edges of the shape. This point is called the offset fraction.
The offset fraction is entered as a fraction of the column width, where the
outside edge is 0.00, and the inside edge is 1.00.
To adjust fractional spacing settings
1 Right-click the Fractional Spacing icon.
Use Fractional Spacing (Stitch Types toolbar) to reduce stitch bunching in
tight curves by adjusting the point at which stitch spacing is calculated.
Right-click to adjust fractional spacing settings.
Fractional Spacing OFF Fractional Spacing ON
Right-click Fractional Spacing (Stitch Types toolbar) to adjust fractional
spacing settings.
ES 2006 Wilcom ES Online Manual 213
The Object Properties > Smart Corners dialog opens.
2 Select the Fractional Spacing checkbox.
3 In the Offset Fraction field, enter the offset fraction value as a fraction
of the column width, where the outside edge is 0.00, and the inside
edge is 1.00.
Tip An offset fraction of 0.33 generates fewer stitches than standard
spacing, reducing bunching along the inside edge. An offset fraction of
0.66 eliminates bunching on the inside edge, but may produce
insufficient stitches to cover the fabric.
4 Click Apply.
Controlling corner stitching
Sharp points in a shape may cause a bunching of stitches and needle
penetrations which can create a hard spot in the embroidery and may
damage the fabric or needle. Smart Corners helps you control sharp corners
in Input A and Input C objects. There are two typesMitre Corners and
Cap Corners. Specify the corner angle at which either will be automatically
invoked. Mitre Corners create a sharp line at the intersection of the two
Select Fractional Spacing
and enter offset fraction as
fraction of column width
offset fraction 0.00 offset fraction 0.33 offset fraction 0.66
49 stitches 59 stitches 43 stitches
ES 2006 Chapter 9 Improving Stitch Quality 214
columns. Use them primarily for corner angles of 75 to 90. Cap Corners
are suitable for very sharp corners as they generate fewer stitches.
Applying Smart Corners
Apply Smart Corners to reduce the number of stitches and the risk of
bunched, distorted embroidery, in sharp corners.
To apply Smart Corners
Click the Smart Corners icon with or without objects selected.
With no objects selected, Smart Corners are automatically generated for
all new objects. For both new or selected objects, Smart Corners are
based on current properties. See Adjusting Smart Corners settings for
details.
Note You can also apply Smart Corners in Input C objects in conjunction
with sharp corner rounding. See Rounding sharp corners for details.
Click again to turn off the effect.
Use Smart Corners (Stitch Types toolbar) to control the stitching out of sharp
corners in Input A and Input C objects. Right-click to adjust settings.
Mitre Corners Smart Corners OFF Cap Corners
Mitre Corner Smart Corners OFF Cap Corner
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Adjusting Smart Corners settings
You can set the angles at which Mitre Corners and Cap Corners will be
applied, and specify the overlap and stitch length allowances.
Note You can use Mitre Corner and Cap Corner options together. For
example, you may wish a corner with an angle less than 75 to be mitred,
but sharp corners of less than 45 to be capped.
To adjust Smart Corners settings
1 Right-click the Smart Corners icon.
The Object Properties > Smart Corners dialog opens.
2 Select the Smart Corners checkbox.
3 In the Mitre Corner panel adjust the following settings:
Right-click Smart Corners (Stitch Types toolbar) to adjust Smart Corners
settings.
Adjust Mitre Corner
settings
Select Cap Corner
and adjust settings
Select Smart Corners
ES 2006 Chapter 9 Improving Stitch Quality 216
Mitre below Angle: the angle below which to apply Mitre Corner.
Any corners less than this angle are mitred.
For example, set ES Designer to automatically mitre corners with an
angle of less than 75, but stitch wider angles using normal fill stitch
values.
Mitre Overlap: the distance by which the stitches are allowed to
overlap in the center of the corner.
4 In the Cap Corner panel adjust the following settings:
Cap below Angle: the angle below which to apply capped corners.
Any corners less than this angle are capped.
If Mitre Corners are also selected, then the cap angle is usually
smaller than the mitre angle.
mitre below
angle: 75
mitre below
angle: 45
mitre overlap:
0.5 mm
mitre overlap:
1.5 mm
cap below
angle: 45
cap below
angle: 75
ES 2006 Wilcom ES Online Manual 217
Capping overlap: the number of overlapping rows to allow where
the sections of the cap join.
Max Capping stitch length: the maximum length of cap stitches.
Cap Corners with stitches exceeding this length will become Mitre
Corners. This prevents long and short stitches appearing next to
each other.
5 Click Apply.
Rounding sharp corners
ES Designer applies rounding to sharp corners by default. Round Sharp
Corners is available for Input C objects to give you the option of sharp or
round corner points. The option is only available in conjunction with the
Smart Corners effect, and is typically used with the Cap Corner option. See
also Applying Smart Corners.
To round sharp corners
1 Right-click the Input C icon.
The Object Properties > Special > Input C dialog opens.
2 Select the Round Sharp Corners checkbox.
This checkbox is only enabled when Smart Corners is turned on in the
Object Properties dialog. See Controlling corner stitching for details.
capping
overlap: 1
capping
overlap: 3
Right-click Input C (Input toolbar) to set sharp corner rounding.
Select Round
Sharp Corners
ES 2006 Chapter 9 Improving Stitch Quality 218
3 Click Apply.
Adjusting stitch density
You may want to change stitch density in order to stitch on a different fabric
or with a different thread. Alternatively, you may want to make production
cheaper by reducing the overall stitch count. The Process feature lets you
change the density of all stitch types (except Manual) across the whole or
selected parts of a design. It also lets you adjust the density of selected
stitch types. You can even use the feature to scale a design. See also
Adjusting Auto Spacing settings and Removing small stitches automatically.
Adjusting overall stitch density
The Process tool lets you adjust the overall stitch density across the whole
or selected parts of a design in order to achieve a target number of stitches.
You can adjust density as a percentage to avoid calculating the absolute
stitch spacing and length values for each stitch type.
Sharp corner Rounded corners
Use Process (Generate toolbar) to adjust stitch density of and/or scale the
whole or selected parts of a design.
100%: 5195 stitches 20%: 987 stitches
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Tip If a design was originally created in ES Designer, or was converted into
objects, the changes you make through the Process dialog will change the
properties of the selected objects. You can check any changes via the
Object Properties dialog.
To adjust overall stitch density
1 Select the design or objects you want to process.
2 Click the Process icon.
The Process dialog opens.
3 In the Stitch Values panel, enter the number of Target Stitches either
as a percentage or absolute value.
This value sets how much the density of each stitch type needs to
change to achieve the target stitch count. The spacing and length
settings for each stitch type automatically adjust according to the new
overall density setting.
4 In the Pull Compensation field, enter the amount by which to
overstitch (or understitch) in order to compensate for fabric pull.
If the design was originally created in ES Designer, or has been
converted to EMB format, enter a pull compensation value which will be
applied to all objects in the design. See also Compensating for fabric
stretch.
Enter target
stitch count
Adjust Pull
Compensation
ES 2006 Chapter 9 Improving Stitch Quality 220
5 In the Dimensions panel, adjust the Width and Height values to scale
the selected objects as required.
Enter the new sizes as an absolute value or as a percentage of the
current size. The default 100% for stitch spacing and length adjusts
automatically to reflect the new density. See Scaling objects by an exact
amount for details.
6 Click Apply.
Stitches for Tatami, Satin, Run, and Program Split objects are
regenerated using the new settings.
Note Like the Object Properties dialog, the Process dialog lets you
specify design dimensions precisely.
Adjusting stitch density of certain stitch types
The Process tool lets you adjust the density of one or more stitch types
across the whole or selected parts of a design. You do not have to select
objects individually, and you can change density as a percentage. Even if the
selection includes objects created with different stitch types, you can
change the density of only one type. For example, you can select the whole
design, then change the density of all Satin objects. The changes are
reflected in the properties of the individual objects.
Adjust width and
height settings to
scale
100%: 5195 stitches 20%: 987 stitches
Use Process (Generate toolbar) to change the density of selected stitch
types in a design.
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To adjust the density of certain stitch types
1 Select the design or objects you want to process.
2 Click the Process icon.
The Process dialog opens.
3 In the Stitch Values panel, adjust the density for each stitch type as
required.
You can select the new spacing or length as a percentage of the
originalfrom 10% to 1000%or as an absolute value (in millimeters).
Note If you do not want to change the density of a certain stitch type,
leave it as 100%.
4 Select the checkbox if you want to use Auto Spacing for Satin stitching.
If the checkbox is cleared, Auto Spacing will be removed from all Satin
elements of the design which will change to fixed spacing. If the
checkbox is dimmed, the original Auto Spacing values are retained. See
also Applying Auto Spacing to Satin stitch.
5 In the Pull Compensation field, enter the amount by which to
overstitch (or understitch) in order to compensate for fabric pull.
Adjust Pull
Compensation
Adjust stitch
densities
Select Auto
Spacing
ES 2006 Chapter 9 Improving Stitch Quality 222
If the design was originally created in ES Designer, or has been
converted to EMB format, enter a pull compensation value which will be
applied to all objects in the design. See also Compensating for fabric
stretch.
6 Click Apply.
Note Like the Object Properties dialog, the Process dialog lets you
specify design dimensions precisely.
Removing small stitches automatically
Very small stitches can damage the fabric and cause thread or needle
breakage. Before you stitch out a design, you can remove unwanted small
stitches automatically. See also Filtering stitches by stitch length.
Tip For small stitches to be removed automatically whenever you output
the design, select the Run Small Stitch Filter on Output checkbox in the
Options dialog. See Setting other options for details.
To remove small stitches automatically
1 Select Stitch > Small Stitches.
Program Split stitch spacing
reduced (density increased)
Tatami stitch spacing reduced
(density increased)
Tatami stitches
Program Split
Use Small Stitches (Stitch menu) to remove unwanted small stitches automatically.
ES 2006 Wilcom ES Online Manual 223
The Small Stitches dialog opens.
2 Enter the minimum stitch length you want to keep.
3 Click Ok.
All stitches shorter than the specified length will be removed from the
design.
Tip If the new value is smaller than the previous value, regenerate
stitches for the object before you stitch out. Check the Status bar for
the new stitch count.
Setting automatic start and end points
Before stitching, some embroidery machines require you to position the
starting needle exactly above the first needle penetration point. Use Auto
Start and End to connect the first and last stitches in the design. This
makes it easy to position the needle before stitching, and reduces the
chance of the needle hitting the side of the frame.
To set automatic start and end points
1 Select Stitch > Auto Start and End.
Enter minimum stitch
length to keep
Use Auto Start and End (Generate toolbar) to toggle the Auto Start and End
function on/off according to the current settings. Right-click to open the Auto
Start and End dialog.
ES 2006 Chapter 9 Improving Stitch Quality 224
The Auto Start and End dialog opens.
2 Select the Use Auto Start and End checkbox to connect the first and
last stitches in the design.
3 Select the Maintain Automatically checkbox to maintain the design
center after modifying the design.
4 Select a centering method.
Auto Start and End: by default, connecting stitches are created
from the start and end points to the center of the design. Select one
of the nine preset end points.
Return to Start Point: creates a connecting stitch from the end
point to the start point.
Digitize Auto Start/End Point: creates connecting stitches from
the start and end points to a point you define. If you select this, you
are prompted to select the point after you click OK. Click the
Separately checkbox to enter separate start and end points.
Select Use Auto
Start and End
Select centering
method
Specify how to
match connecting
stitches
Specify the
connector type
Select preset end
point
Click to enter
separate start and
end points
ES 2006 Wilcom ES Online Manual 225
5 Select to match connecting stitches on the Horizontal plane, Vertical
plane or both in the Match On panel.
6 Select the type and length of the connecting stitches in the Connectors
panel. See Connecting Embroidery Objects for details.
7 Click OK.
Connecting stitches will be inserted as required before the first and after
the last stitch of the design.
Match on both Match on vertical Match on horizontal
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PART III
DIGITIZING WITH
ARTWORK
There are two broad categories of artwork file, both of which can be
imported into ES Designer for use as digitizing backdropsvector and
bitmap. To create good quality embroidery, you need to choose or create
suitable artwork of either format. See Digitizing with Vector Images for
details.
Digitizing with vector drawings
This section describes how to create drawing objects using the drawing tools
as well as how to import them from third-party applications. It also explains
how to merge, trim and split overlapping drawing or embroidery objects
using the Shaping tools. See Digitizing with Vector Images for details.
Digitizing with bitmap images
This section describes how to choose suitable artwork for digitizing purposes
as well as how to scan it into ES Designer and edit it before use. It also
describes how to insert and save bitmap images into ES Designer, as well
as how to show and hide them as you digitize. See Preparing Images for
Automatic Digitizing for details.
ES 2006 Digitizing with Artwork 227
Preparing images for automatic digitizing
This section describes how to prepare images for automatic digitizing. It
explains how to crop images for digitizing as well as how to prepare both
outlined and non-outlined images. See Preparing Images for Automatic
Digitizing for details.
Automatic digitizing
This section describes how to automatically convert bitmap images to
embroidery objects and complete designs, as well as how to create
embroidery from grayscale images. See Automatic Digitizing for details.
ES 2006 Wilcom ES Online Manual 228
Chapter 10
Digitizing with Vector Images
ES Designer provides tools to draw shapes and outlines directly on screen.
Alternatively, insert or paste vector images created in third-party graphics
packages for use as digitizing backdrops. Scale and transform them in the
same way as embroidery objects. You can also select colors for vector object
outlines and fills. When working with overlapping vector or embroidery
objects, merge, trim or split them using the Shaping tools.
Tip Vector images have the advantage over bitmap images that they can
be converted directly to embroidery objects using a variety of input
methods. This allows you to concentrate on design shapes without having
to think about stitch properties and sequence. See also Converting between
object types.
This section describes how to create vector objects using the drawing tools
as well as how to import them from third-party applications. It also explains
how to merge, trim and split overlapping vector or embroidery objects using
the Shaping tools.
Creating vector outlines
ES Designer drawing tools let you draft shapes and outlines on screen.
Vector objects can then be converted to embroidery objects with the
ES 2006 Wilcom ES Online Manual 229
application of manual input methods and stitch types. See Converting vector
objects to embroidery for details.
Tip ES Designer lets you select colors for vector object outlines and fills.
These can be different to the corresponding embroidery objects. See
Coloring vector objects for details.
Drawing straight lines
Draw straight lines in your design using the
Line drawing tool.
Note You can convert line vector objects to
embroidery objects using an outline input
methode.g. Run, Triple Run, or
Motif Runor Input C. See Converting vector
objects to embroidery for details.
To draw straight lines
1 Click the Line icon.
2 Click the start point of the line.
3 Click the end point.
Tip To constrain the line vertically, horizontally or in 15 angles, press
Ctrl as you mark the end point.
Drawing open shapes
Draw lines of any shape using the Polyline tool. Enter
reference points to create the shape you want.
Use Line (Image toolbar) to create straight line vector objects.
Use Polyline (Image toolbar) to create open-ended vector objects.
ES 2006 Chapter 10 Digitizing with Vector Images 230
Note You can convert polyline vector objects to embroidery objects using
Input C or an outline input methode.g. Run, Triple Run, Motif Run,
Backstitch, or Stemstitch. See Converting vector objects to embroidery for
details.
To draw open shapes
1 Click the Polyline icon.
2 Mark reference points to draw the shape of the line.
Click to enter a corner point.
Right-click to enter a curve point.
3 Press Enter.
Tip ES Designer lets you select colors for vector object outlines and fills.
These can be different to the corresponding embroidery objects. See
Coloring vector objects for details.
Drawing polygons
Draw closed shapes using the Polygon tool. Enter
reference points to create the shape you want.
Note You can convert polygon vector objects to
embroidery objects using Input C, Complex Fill, Fusion
Fill, or an outline input methode.g. Run, Triple Run,
Motif Run, Backstitch, or Stemstitch. See Converting
vector objects to embroidery for details.
To draw polygons
1 Click the Polygon icon.
2 Digitize the shape by marking reference points on screen.
corner point
curve point
Use Polygon (Image toolbar) to create closed vector objects.
ES 2006 Wilcom ES Online Manual 231
Click to enter a corner point.
Right-click to enter a curve point.
Tip To constrain the line between two points to 15 increments, press
Ctrl as you mark the second point.
3 Press Enter to close the shape.
Tip ES Designer lets you select colors for vector object outlines and fills.
These can be different to the corresponding embroidery objects. See
Coloring vector objects for details.
Drawing rectangles and squares
Draw rectangles and squares using the
Rectangle tool.
Note You can convert rectangle vector
objects to embroidery objects using Input C,
Complex Fill, Fusion Fill, or an outline input
methode.g. Run, Triple Run, Motif Run,
Backstitch, or Stemstitch. See Converting vector objects to embroidery for
details.
To draw rectangles and squares
1 Click the Rectangle icon.
2 Click to mark the corner of the rectangle.
An outline attaches to the mouse pointer.
corner point
curve point
Use Rectangle (Image toolbar) to create rectangular or square vector
objects.
ES 2006 Chapter 10 Digitizing with Vector Images 232
3 Move the pointer until the outline is the size and shape you require, then
click again.
Note To draw a square, hold down Ctrl as you move the pointer.
Drawing circles and ellipses
Draw circles and ellipses using the Ellipse tool.
Note You can convert ellipse vector objects to embroidery objects using
Input C, Complex Fill, Fusion Fill, or an outline input methode.g. Run,
Triple Run, Motif Run, Backstitch, or Stemstitch. See Converting vector
objects to embroidery for details.
To draw circles and ellipses
1 Click the Ellipse icon.
2 Click to mark the center of the circle or ellipse.
The outline of a circle attaches to the mouse pointer.
3 Move the pointer until the outline is the diameter you require, then click
again.
To draw a perfect circle, press Enter.
Click to enter
corner point
Drag pointer,
click again
Use Ellipse (Image toolbar) to create circular or elliptical vector objects.
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To draw an ellipse, move the pointer again, then mark a second
radius point when the outline is the required size. Press Enter.
Tip ES Designer lets you select colors for vector object outlines and fills.
These can be different to the corresponding embroidery objects. See
Coloring vector objects for details.
Importing and exporting vector images
You can insert or paste vector images created in third-party drawing
packages for use as digitizing backdrops. You can then convert these to
embroidery objects using a variety of input methods or with the Point &
Stitch tools. See also Converting vector objects to embroidery and Digitizing
shapes with Point & Stitch.
Note The Auto Trace feature lets you convert scanned artwork to vector
objects. See Converting bitmaps to outlines with Auto Trace for details.
Inserting vector images
Images from third-party applications can be inserted into ES Designer in a
variety of native and interchange vector formats. You can choose to remove
overlapping objects in vector images by flattening them. This eliminates
overlapping areas of stitching when vector objects are converted to
embroidery objects. You can also import vector images (not DXF) as
bitmaps. See also Supported image formats.
Tip You can also paste vectors directly into ES Designer through the
Windows clipboard. See Pasting vector images for details.
Click to enter
center point
Press Enter for circle
OR
Mark a point for ellipse Drag pointer
Use Insert File (Image menu) to insert a vector image for use as a backdrop.
ES 2006 Chapter 10 Digitizing with Vector Images 234
To insert a vector image
1 Create a new file in ES Designer or open the design file into which you
want to insert the vector image.
2 Select Image > Insert File.
The Open dialog opens.
3 From the Look In list, select the folder where you keep your vector files.
4 From the Files of Type list, select a suitable vector image format and
select the file you want to insert.
5 If you are working with DXF files:
Click Options.
The DXF File Options dialog opens.
Select Inches or Millimeters from the Units of Measurement list
and click OK.
If this information is not specified, the vector image may not display
at the correct size.
Select to
remove
overlapping
objects
Select to
insert as
bitmap rather
than vector
ES 2006 Wilcom ES Online Manual 235
6 Select the As Bitmap checkbox to insert the vector image as a bitmap
image.
Note DXF files cannot be imported as bitmaps.
7 Select the Flatten checkbox to remove any overlapping areas from the
vector image.
Note If a vector image is imported as a bitmap, it is flattened
automatically.
8 Select the Preview checkbox to see a preview of the vector image.
9 Click Open to insert the vector image into the design window.
Note To work with individual vector objects, you need to ungroup them
first. See Grouping and ungrouping objects for details.
Exporting vector images
You can export vector images and embroidery designs from ES Designer in
various vector formats for use in third party programs. This can be useful,
for example, for screen printing. See Supported image formats for details.
imported as bitmap imageindividual
objects cannot be selected
imported as vector
imageindividual objects can be
selected
vector objects not flattened vector objects flattened
hidden areas
removed
hidden areas
preserved
ES 2006 Chapter 10 Digitizing with Vector Images 236
To export a vector image
1 Select the vector image or embroidery design.
2 Select File > Export As.
The Save Image As dialog opens.
3 Select a folder in the Save In field.
4 Select a format from the Save as type list.
5 Enter a new file name in the File name field and click Save.
Pasting vector images
You can insert a vector image into ES Designer by copying it from another
embroidery design or graphics application, and pasting it into your design.
To paste a vector image
1 Select the vector image or embroidery design you want to copy and
paste.
2 Copy it to the Windows clipboard.
Select folder
Select required
format
Enter file name
Use Paste Drawing >As Vector (Edit menu) to paste a vector image for use as a
digitizing backdrop.
ES 2006 Wilcom ES Online Manual 237
3 Create a new file in ES Designer or open the design file into which you
want to insert the vector image.
4 Select Edit > Paste Vector > As Vector.
The vector image is pasted into the design.
Note You cannot flatten vectors using Paste.
Manipulating vector images
Vector images may consist of grouped vector objects. You can ungroup
these to work with them individually. ES Designer lets you remove
unnecessary reshape nodes by applying smoothing to individual ungrouped
objects. You can select colors for outlines as well as fills. The Make Complex
Shape feature lets you combine any number of vector curves into a single
complex shapei.e. a shape with holes in it. You can also show or hide
vector images in the design.
Tip You can scale and transform vector images in the same way as
embroidery objects. Unlike bitmap images, any changes you make to vector
objects are updated and saved with the design file. See also Arranging and
Transforming Objects.
Smoothing vector objects
When you insert a vector image into a design, reshape nodesthe same as
for embroidery objectsare added to the outline. On shapes where the
angle changes constantly, the software may insert hundreds of reshape
Use Reshape Object (Pointer toolbar) in combination with Image >Smooth
Vector Curves to remove unnecessary reshape nodes from vector image
objects.
ES 2006 Chapter 10 Digitizing with Vector Images 238
nodes, making reshaping difficult. To remove unnecessary reshape nodes,
ungroup the vector image, and apply smoothing to the vector objects.
To smooth a vector object
1 Select the vector object (or objects) to smooth.
Note You can only smooth vector objects that have been ungrouped
and selected. However, you can select multiple objects.
2 Click the Reshape Object icon.
Reshape nodes display around the vector image object.
3 Select Image > Smooth Vector Curves.
The Smooth Vector Curves dialog opens.
4 In the Precision field, enter the smoothing precision value.
This value controls how closely the smoothed outline follows the original.
The larger the precision value, the fewer the reshape nodes.
5 Click OK.
Coloring vector objects
Vector images may be composed of outlines only. ES Designer lets you
select colors for outlines as well as fills. These can be different to the
without
smoothing
Precision:
0.5 mm
Precision:
0.1 mm
Enter smoothing
precision value
Use Object Properties (Standard toolbar) to toggle the Object Properties
dialog on/off. Use it to select colors for vector outlines and fills.
ES 2006 Wilcom ES Online Manual 239
embroidery objects you may create. Coloring makes vector objects easier to
interpret. For example, a solid fill color might suggest Satin or Tatami, while
a fill pattern may be interpreted as Motif Fill or Program Split.
Tip Colored vector outlines are also important for appliqu cutting. If
appliqu objects are digitized in ES Designer, they can be ungrouped,
duplicated, and sent to the laser or other type of cutter. Some can cut
several layers of fabric at the same time. The cutting depth is controlled by
object colors. These can be set within ES Designer without having to export
the shapes to a graphics package. See also Cutting appliqu shapes.
To color a vector object
1 Insert a vector image into the design file. See Inserting vector images
for details.
2 Ungroup the vector objects as necessary.
3 Select a vector object, right-click and select Properties from the popup
menu.
The Object Properties > Special > Vector dialog opens.
4 To change the outline color of the selected object, adjust the settings in
the Line panel:
Select an outline style from the Style list.
Select an outline width from the Width field.
inserted vector
image
ES 2006 Chapter 10 Digitizing with Vector Images 240
Click Color and select an outline color from the Color dialog.
5 To fill the selected object with a solid color, select the Solid Fill icon and
click the Color button to access the Color dialog.
6 To fill the selected object with a pattern fill, select the Pattern Fill icon
and adjust the settings:
Select a pattern style from the dropdown list.
Select a foreground color via the Front button.
Make the background transparent as required or choose a color via
the Back button.
Select outline style
Select outline width
Select outline color
No fill currently
selected
Select solid fill
Click to
choose color
Select pattern fill
Select pattern style
Select colors for pattern
foreground and
background
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7 To fill the selected object with a bitmape.g. a fabric textureselect the
Bitmap Fill icon and click the Load button to insert an image file via the
Open dialog.
8 Click Apply.
Note To view the changes in the production worksheet, select File >
Print Preview. Then click Options and select the Drawings checkbox.
Combining vector curves into complex shapes
The Make Complex Shape feature lets you combine any number of vector
curves into a single complex shapei.e. a shape with holes in it. This can
then be converted directly to an embroidery object. See also Shaping vector
and embroidery objects.
Tip You can convert complex vector shapes directly to embroidery using a
number of different input methods. See Converting between object types for
details. See also Digitizing fills with Point & Stitch.
To combine vector curves in complex shapes
1 Insert a vector image or create one using the drawing tools.
Select bitmap fill
Click to load
image file
ES 2006 Chapter 10 Digitizing with Vector Images 242
2 Select the objects you want to combine.
Tip Ungroup any imported vector object in order to select the required
component objects.
3 Select Image > Make Complex Shape or press Shift+H.
The selected objects become a single Complex Shape vector object.
4 You can use the Offset Object feature to digitize the complex shape.
See Creating outlines and filling holes for details.
Tip You can select any number of curves. Different selections create
different complex shapes.
complex shape object
created and colored
Input C applied Motif Run applied Run applied
ES 2006 Wilcom ES Online Manual 243
Tip By copying the original vector objects, you can also create borders
and filled holes. See also Creating outlines and filling holes.
Creating overlapped complex shapes
If vector objects are overlapping, Make Complex Shape selects the largest
area and clips off the remaining shape. Depending on the shapes you use,
you can create combined or clipped shapes. See also Shaping vector and
embroidery objects.
To create overlapped complex shapes
1 Insert a vector image or create one using the drawing tools.
2 Decide how you want to combine the shapes.
If you want to combine the overlapping shapes, draw a box around
them and select all objects.
ES 2006 Chapter 10 Digitizing with Vector Images 244
If you want to clip the overlapping shapes, simply select them.
3 Select Image > Make Complex Shape.
The selected objects become a single vector object. Make Complex
Shape selects the largest area and clips off the remaining shape. See
also Trimming vector and embroidery objects.
Shaping vector and embroidery objects
When working with overlapping vector or embroidery objects, you can
merge, trim or split them using the Shaping tools. All shaped embroidery
objects convert to Complex Fill or Fusion Fill. Vector objects remain as
vector objects unless combined with embroidery objects. You have the
option of preserving the source objects of shaping operations. You also have
the option of adding overlaps to objects resulting from Flatten or Divide
operations.
ES 2006 Wilcom ES Online Manual 245
Shaping tools summary table
Source Apply Tool Result Description
Weld
Selected objects are combined into a
single object. The resulting object
takes the propertiesstitch color and
type, etcof the topmost object.
Flatten
Only areas unique to each selected
object are retained. All overlapping
areas are removed.
Intersect
Only areas common to all selected
objects are retained. All
non-overlapping areas are removed.
Exclude
Areas where pairs of selected objects
overlap are removed, starting from the
topmost object.
ES 2006 Chapter 10 Digitizing with Vector Images 246
Tip The Make Complex Shape feature lets you combine any number of
vector curves into a single complex shape. This can then be converted to
an embroidery object. See Combining vector curves into complex shapes for
details.
Merging vector and embroidery objects
Front-Back
The topmost object is retained, but all
of the areas overlapping with other
selected objects are removed.
Back-Front
The bottommost object is retained, but
all of the areas overlapping with other
selected objects are removed.
Divide
The objects are split wherever
overlaps occur and all hidden areas
are removed.
Combine
Areas where pairs of selected objects
overlap are removed, starting from the
topmost object. All resulting objects
share the propertiesstitch color and
type, etcof the topmost object.
Source Apply Tool Result Description
Use Weld (Shaping toolbar) to merge overlapping objects into a single
flattened object.
Use Combine (Shaping toolbar) to merge the properties of overlapping
objects and trim overlapping areas.
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Merge selected objects using the Weld or Combine tools.
To merge vector and embroidery objects
Select the vector or embroidery objects to shape.
Click Weld to merge overlapping objects into a single flattened object.
Tip Make symmetrical shapes by digitizing one half, duplicating and
reflecting, then welding the duplicate shapes.
Weld
Combine
Weld applied
(petals only)
Weld
applied
ES 2006 Chapter 10 Digitizing with Vector Images 248
Click Combine to convert embroidery objects into multiple objects
sharing the propertiesstitch color and type, etcof the topmost
selected object.
If drawing tools are used as the input method, Combine converts vector
objects to a single complex shape.
If overlapping areas comprise an even number, all are removed when
Combine is applied. If the overlapping areas comprise an odd number,
the topmost area remains. Compare this with the behavior of the
Exclude tool. See Trimming vector and embroidery objects for details.
Tip Cut objects in half by drawing a line through them and applying
Divide. Apply Combine to create closed objects or Weld to fuse two
objects.
Combine applied
(petals only)
Combine applied
(petals only)
Weld +Run +
Combine applied to
resulting objects
Weld +Run
applied to
resulting objects
Divide
applied
ES 2006 Wilcom ES Online Manual 249
Trimming vector and embroidery objects
Trim selected objects using the Intersect, Exclude, Front-Back or
Back-Front tools.
Note Use the Remove Overlaps feature to maintain shapes but remove
the underlying layer of stitching. See Removing underlying stitching for
details.
To trim vector and embroidery objects
Select the vector or embroidery objects to shape.
Click Intersect to trim overlapping areas so that only those intersected
by all selected objects remain.
Use Intersect (Shaping toolbar) to trim overlapping areas so that only those
intersected by all selected objects remain.
Use Exclude (Shaping toolbar) to trim overlapping objects and preserve their
individual properties.
Use Front-Back (Shaping toolbar) to trim overlapping objects so that only
non-overlapped areas of the topmost object remain.
Use Back-Front (Shaping toolbar) to trim overlapping objects so that only
non-overlapped areas of the bottommost object remain.
Intersect used Exclude used Back-Front used Front-Back used
Intersect
applied
ES 2006 Chapter 10 Digitizing with Vector Images 250
Click Exclude to trim overlapping objects and preserve their individual
properties. The result is similar to Combine except that object
properties are not merged.
If overlapping areas comprise an even number, all are removed when
Exclude is applied. If the overlapping areas comprise an odd number,
the bottommost area remains. Compare this with the behavior of the
Combine tool. See Merging vector and embroidery objects for details.
Tip Use Exclude to cut holes in Complex Fill objects.
Use Front-Back to trim overlapping objects so that only non-overlapped
areas of the topmost object remain.
Tip Use Image > Make Complex Shape or press Shift+H to trim
overlapping shapes in unfilled vector objects.
Use Back-Front to trim overlapping objects so that only non-overlapped
areas of the bottommost object remain.
Exclude applied
(petals only)
Front-Back
applied
Back-Front
applied
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Splitting vector and embroidery objects
Split selected objects using the Flatten or Divide tools. These tools
preserve the outlines of the original shapes.
To split vector and embroidery objects
Select the vector or embroidery objects to shape.
Click Flatten to trim all overlaps while retaining the original objects.
Use Flatten (Shaping toolbar) to trim all overlaps while retaining the original
objects.
Use Divide (Shaping toolbar) to split selected objects into separate adjoining
objects wherever they intersect with other selected objects.
Flatten Divide
Flatten
applied
ES 2006 Chapter 10 Digitizing with Vector Images 252
Click Divide to split selected objects into separate adjoining objects. All
overlapped areas become discrete objects.
Preserving original objects
The Keep Source Objects is a toggle which affects the behavior of all the
other shaping tools. While it is active, all selected source objects of all
shaping operations are preserved. The resultant objects are inserted after
the last source object in the stitching sequence.
To preserve original objects
1 Select the source objects.
2 Click the Keep Source Objects icon.
Use Keep Source Objects (Shaping toolbar) to keep the source objects after
shaping.
Divide applied
(petals only)
ES 2006 Wilcom ES Online Manual 253
3 Apply a shaping operation to the selected objects.
All source objects of the shaping operation are preserved. The resultant
objects are inserted after the last source object in the stitching
sequence.
Overlapping shaped objects
The Overlap feature allows you to add overlaps to the objects resulting from
Flatten or Divide shaping operations.
To overlap shaped objects
1 Select the source objects.
2 Adjust the overlap amount using the Overlap control on the Shaping
toolbar.
Use Overlap (Shaping toolbar) to adjust the overlaps of objects
resulting from Flatten or Divide shaping operations.
Use Flatten (Shaping toolbar) to trim all overlaps while retaining the original
objects.
Use Divide (Shaping toolbar) to split selected objects into separate adjoining
objects wherever they intersect with other selected objects.
ES 2006 Chapter 10 Digitizing with Vector Images 254
Note The Overlap range is from 0.00 to 5.00 mm with increments of
0.01 mm. The default overlap is 0.50 mm.
3 Click Flatten or Divide to apply shaping to the selected objects.
The border of the uppermost objectthe last one in the stitching
orderis left unchanged. The border of the next object is extended
where it touches the uppermost fragment by the specified amount.
The border of a third object in the stitching order is extended where it
touches the other two layers of objects. And so on.
Flatten: 0.00 mm Flatten: 2.00 mm Source objects
Flatten: 2.00 mm Flatten: 0.00 mm Source objects
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Chapter 11
Digitizing with Bitmap Images
Artwork can be inserted, pasted or scanned into ES Designer for use as
digitizing templates or backdrops.
Backdrops can help you to:
Digitize shapes manually.
You trace shapes and lines over the artwork using the appropriate input
methods. Using a bitmap image in this way is like using an enlargement
drawing and digitizer tablet, except that everything is done on-screen.
See Digitizing Methods for details.
Digitize shapes automatically with Point & Stitch.
The Point & Stitch tools provide everything necessary to digitize shapes
in bitmap images and vector images automatically without using manual
input methods. See Digitizing shapes with Point & Stitch for details.
Digitize complete images automatically with Smart Design.
Smart Design automatically converts bitmap images to fully digitized
embroidery. See Automatic Digitizing for details.
Digitize photographs with Photo Flash.
Photo Flash lets you create embroidery designs directly from
photographs and other grayscale bitmap images. See Creating
embroidery from photographs for details.
ES 2006 Chapter 11 Digitizing with Bitmap Images 256
From within ES Designer you can open images in MS Paint, Corel
PHOTO-PAINT, or Paint Shop Pro. Images updated in this way are
automatically re-imported into ES Designer.
Tip Textured backgrounds can also be imported to show what a design will
look like on real fabric. Almost any artwork can be used photographs,
magazine pictures, clipart images, and even fabric samples. See also
Changing background colors and fabrics.
This section describes how to choose suitable artwork for digitizing purposes
as well as how to scan it into ES Designer and edit it before use. It also
describes how to insert and save bitmap images into ES Designer, as well
as how to show and hide them as you digitize.
Choosing suitable artwork
For both manual and automatic digitizing purposes, clean images,
sometimes referred to as cartoons, work best. Such images have a limited
number of solid colors which in turn have well-defined outlines. Ideally, they
are:
well defined, where each shape is made up of pixels of the same color
clearly blocked, where each shape is a stitchable size, at least 1 sq mm
saved at a color depth of at least 256 colors (8 bit), or preferably millions
of colors (16 bit). (Images are automatically reduced to 256 colors or
less when loaded into ES Designer.)
ES Designer automatic digitizing techniques Smart Design and Point &
Stitch produce best results with images of the type found in clipart
libraries or created from scratch in a graphics package. Automatic digitizing
can work with images from other sources but they require some
preparation. This is because most commonly available images are not made
clean image with well-defined
outlines
clean image with well-defined
color blocks
complex image, needs editing to
remove background and improve
outlines
ES 2006 Wilcom ES Online Manual 257
up of solid colors. Scanners introduce noise, while graphics packages
perform dithering and anti-aliasing to improve image print quality.
Automatic digitizing works least effectively with photographic images which
may contain many dithered colors and complex forms. With photographs,
however, you can pick out shapes that you want to embroider, leaving out
unnecessary detail. Alternatively, Photo Flash is available to create
embroidery designs from scanned grayscale photographs.
Scanned images
Images scanned from hardcopy drawings or
existing embroidery typically contain a lot of
introduced noise. While they can be used as
input to automatic digitizing, once again, best
results are achieved with relatively clean images
consisting of solid color blocks. Typically, logos
and simple drawings scanned from business
cards, letterheads, books, magazines, cards all
fall into this category.
Noisy images typically need to be prepared by
reducing the color count and sharpening the
outlines. See Image preparation techniques for
details.
Dithered images
Dithering is a software technique which combines existing colors in a
checkerboard arrangement of pixels. It is typically used to simulate colors
that are missing from an image palette.
image containing a lot of
scanner noise
dithered color blocks
ES 2006 Chapter 11 Digitizing with Bitmap Images 258
Like noisy images, dithered images need to be color-reduced before use. Be
aware, however, that while the software is able to process dithered colors
within a defined outline, it does not work so well with non-outlined images.
See Image preparation techniques for details.
Anti-aliased images
Anti-aliasing is a software technique similar
to dithering which is used to soften hard
outlines where color blocks intersect. It
produces smoother outlines by blurring the
pixels where colors join.
Where anti-aliasing is deliberately used to
blur outlines, these need to be sharpened
before use with automatic digitizing. See
Image preparation techniques for details.
Scanning artwork into ES Designer
If you have existing artwork, you can scan it with a TWAIN-compatible
scanner using the ES Designer scanning function. It is important to scan
your artwork properly if you intend to use one of the automatic digitizing
techniques; the scanned image quality will affect the quality of the final
embroidered design.
Tip There are many graphics packages which can help you improve your
scanned images. At one end of the spectrum there is the simple MS Paint
program. This comes free with Windows but can handle few formats or color
conversions. At the other end, there are professional tools such as Corel
PHOTO-PAINT. Such programs can do almost anything but may be too
expensive for occasional use. A compromise is Paint Shop Pro which has
many of the features of the high-end tools but at a much lower cost. See
also Editing bitmaps in third-party applications.
Preparing artwork for scanning
With embroidery design, less is more. You do not need every detail in an
image to create a design. You use the structure of the image rather than
the fine details of texture and color.
To simplify artwork, you can cover it with tracing paper and draw only the
essential shapes and lines which will be filled with stitches. When scanning,
take away the original artwork and put white paper behind the tracing paper.
anti-aliased outlines
ES 2006 Wilcom ES Online Manual 259
Shiny surfaces, such as glossy photographs, may not scan well. Cover them
with tracing paper. If the artwork has very light colors, highlight outlines
with a fine black felt-tip pen.
Scanning resolution
Most scanners require you to enter scanning resolution information.
Resolution determines the number of dots per inch (dpi) used to create an
image. Generally speaking, the smaller the source image and/or more detail
it contains, the higher the resolution needs to be. Use the following table as
a guide.
Color mode
Most scanners also require you to enter color mode information. First decide
whether your image is line art (black and white drawing), sketch, color
picture, or black and white or color photograph, then choose an appropriate
mode. Black and white mode produces the smallest files. Color photograph
and grayscale modes generate 256 color images and produce similar sized
files. RGB, True Color or millions of colors modes generate 16.7 million
colors and produce the biggest files. Use the table below to decide which
mode is suitable for use with your image.
Type of artwork Scanning resolution
Business cards, letter heads 150 - 300 dpi
Hand sketches 150 - 300 dpi
Photos and images 150 - 300 dpi
Commercial art, line drawing 72 - 150 dpi
Source image Example Description
Recommended
color mode *
No. of colors in
scanned image
Line art Two colors
usually black and
white
Black/white
drawing
Line art
2
2
* Different scanning software uses different terms for the same mode.
ES 2006 Chapter 11 Digitizing with Bitmap Images 260
Scanning tips
Do not scan line art images in grayscale mode; grayscale scanning
produces fuzzy edges.
Scan color images in RGB mode (millions of colors) rather than 256 color
mode. You may not notice any difference on screen. In fact the 256 color
image may look better than the RGB image. However, ES Designer
Drawing/sketch Sketch or drawing
with shades of
gray
Grayscale
Line art
256
2
Black & white
photograph
Shades of gray Black/white photo
Grayscale
256
256
Color photograph Many colors Color RGB
Color photo
16 million
256
Color picture Two colors or
more
Color RGB
Millions of colors
Color drawing
16 million
16 million
2 - 256
Source image Example Description
Recommended
color mode *
No. of colors in
scanned image
* Different scanning software uses different terms for the same mode.
ES 2006 Wilcom ES Online Manual 261
converts all images to 256 colors or less upon loading. It uses the extra
information to produce a better image than if it was originally scanned
at 256 colors.
Do not scan color images in CMYK (Cyan, Magenta, Yellow, and Black)
mode as this is only used for images that will be printed; the colors may
be different from RGB colors.
If the image needs to be rotated, do so while scanning. Rotating
afterwards may distort the image.
Sharpening
Some scanning software lets you apply what is called sharpening as you
scan. Sharpening compensates for the slight blurring in a scanned image by
looking for any differences between colors in the image. Sharpening
accentuates these differences which makes the image edges more defined.
It does not increase the image details; it just makes them more obvious. In
general, use sharpening with images that have well-defined outlines. Do not
use it with non-outlined images.
Scanning bitmap images
scanned in 256 color
mode
scanned in RGB color mode
(millions of colors)
Use Scan (File menu) to scan an image into ES Designer.
scanned with
sharpening
scanned without
sharpening
ES 2006 Chapter 11 Digitizing with Bitmap Images 262
You can scan images directly into ES Designer for use as digitizing
backdrops. You can also scan in your own textured background to see what
a design will look like on real fabric. Fabrics can be scanned to provide full,
centered, backgrounds to your design, or as small samples which can be
tiled to fill the screen. See also Changing background colors and fabrics.
The scanning feature in ES Designer allows you to use most
TWAIN-compatible scanners. You can use any scanning software provided
that it can save the image in one of the compatible formats.
To scan bitmap images
1 Set up your scanner. See Setting up scanners for details.
2 Prepare the artwork for scanning. See Preparing artwork for scanning for
details.
3 Create a new file or open a design you want to insert the image into.
4 Select File > Scan.
Your scanning program will open.
5 Choose a scanning mode and resolution. See Scanning resolution and
Color mode for details.
Tip If you are scanning a fabric background, set the scan to 256 colors,
100% and 72 dpi (dots per inch). These settings will give a small file
which will display well on your screen without taking up too much disk
space or memory.
6 Preview the image in the scanning program.
7 Select the area to be scanned and scan the image.
8 Save the scanned image in a compatible format image file to the Design
folder.
9 Scan the artwork.
Note Scanned images can be saved separately from the design file. See
Saving bitmap images as separate files for details.
Inserting and saving bitmap images
Bitmap images can be inserted, pasted or scanned into ES Designer for use
as digitizing backdrops. For both manual and automatic digitizing purposes,
clean images, sometimes referred to as cartoons, work best. Scanners
introduce noise, while graphics packages perform dithering and
ES 2006 Wilcom ES Online Manual 263
anti-aliasing to improve image print quality. See also Image preparation
techniques.
Inserting bitmap images
You can insert bitmap images of various formats for use as digitizing
backdrops. See Supported image formats for details.
Note You can also insert vector image files. See Inserting vector images for
details.
To insert bitmap images
1 Select Image > Insert File.
The Open dialog opens.
2 Select a folder from the Look In list.
Use Insert File (Image menu) to insert an image for use as a backdrop.
partially digitized
bitmap
original bitmap
Select folder
Select required
format
Select file
ES 2006 Chapter 11 Digitizing with Bitmap Images 264
3 Select a file type from the Files of Type list (e.g. BMP).
4 Select the file you want to insert.
Tip Select the Preview checkbox to preview the selected file.
5 Click Open.
Pasting bitmap images
You can insert a bitmap image into ES Designer by copying it from another
embroidery design or graphics application, and pasting it directly into your
design.
To paste bitmap images
1 Select the image you want to copy and paste.
2 Copy it to the Windows clipboard.
3 Create a new file in ES Designer or open the design file into which you
want to insert the image.
4 Select Edit > Paste Vector > As Bitmap.
The image is pasted into the design.
Saving bitmap images as separate files
When you save a design containing a backdrop, a reference to the image file
is saved together with information on its position in the design. When you
re-open the design, the image file is re-inserted. If you scale or transform a
backdrop, you need to save it as a separate file or the changes will be lost.
Note Images that are scanned from within ES Designer must be saved this
way or will be lost when the design is closed.
To save bitmap images as separate files
1 Select the backdrop.
2 Select File > Save Bitmap As.
Save Image As dialog opens.
Use Paste Vector >As Bitmap (Edit menu) to insert an image for use as a backdrop.
Use Save Bitmap As (File menu) to save an image as a separate file.
ES 2006 Wilcom ES Online Manual 265
3 In the Save In field, select a folder, then select a format from the Files
of Type list.
4 Enter a new file name and click Save.
When you save the design, the reference is updated to use the new
image file.
Editing bitmap images
ES Designer allows you to crop bitmap images prior to use. From within
ES Designer you can also open images directly in third-party graphics
packages. Images updated in this way are automatically re-imported into
ES Designer. Within ES Designer you can set general properties such as size
and position. You can also scale and transform bitmap images although it
may be best to do this during scanning. Scaling after scanning can distort
the image. However, ES Designer allows you to smooth an image before and
after scaling or transforming, making it easy to digitize. See also Arranging
and Transforming Objects.
Tip If you scale or transform a backdrop, you need to save it as a separate
file or the changes will be lost. See Saving bitmap images as separate files
for details.
Cropping images for digitizing
Before using bitmap images for design purposes, crop them to remove
unnecessary detail and save processing time.
Use Crop Bitmap (Image menu) to crop a rectangular image.
Use Crop Bitmap with Polygon (Image menu) to crop a free form image.
ES 2006 Chapter 11 Digitizing with Bitmap Images 266
To crop images for digitizing
1 Select the image. See also Inserting bitmap images.
2 Select a cropping tool.
Select Image > Crop Bitmap to crop the image in rectangular
form.
Click-and-drag a cropping rectangle around the part of the image
you require.
Select Image > Crop Bitmap With Polygon to crop the image in
free form.
Mark points to create a cropping shape around the part of the image
you require and press Enter.
Tip Use the prompt line to guide you.
Crop bitmap Crop bitmap with polygon
ES 2006 Wilcom ES Online Manual 267
ES Designer crops the area inside the cropping rectangle or polygon
selection. This process may take some time.
Editing bitmaps in third-party applications
Sometimes you need to edit bitmap images directly in a third-party graphics
package. You would normally do this in order to eliminate backgrounds,
flood-fill solid areas with color, add or reinforce outlines, or close gaps. From
within ES Designer you can open images directly in MS Paint, Corel
PHOTO-PAINT, or Paint Shop Pro. Images updated in this way are
automatically re-imported into ES Designer.
To edit bitmaps in a third-party application
1 Select the image. See also Inserting bitmap images.
2 Select Image > Edit Bitmap Using and select a graphics package.
The image opens in the graphics package.
Use Edit Bitmap Using (Image menu) to edit images in a graphics package.
Bitmap cropped in
rectangular form
Bitmap cropped along
marked points
background may be
cleaned and eyes
added
ES 2006 Chapter 11 Digitizing with Bitmap Images 268
3 Edit the image and save.
Note If you return to ES Designer before closing the image in the
graphics package, it appears in ES Designer overlaid with stripes.
Return to the graphics package and select either File > Close or File >
Exit & Return <Filename>. In ES Designer, the stripes will disappear.
Smoothing bitmap images
When you scale or transform backdrops, the quality is sometimes
reducede.g. thin straight lines become jagged or distorted. By smoothing
an image before and after scaling and transforming, you can preserve its
quality, making it easy to digitize.
To smooth a bitmap image
1 Select the image and double-click. See also Inserting bitmap images.
background cleaned eyes added
file still open in the
graphics package
ES 2006 Wilcom ES Online Manual 269
The Object Properties > Special dialog opens.
2 Select the required smoothing option, depending on whether the
majority of lines in the image are light or dark.
None: turned off.
Dark lines: dark lines on the image are smoothed.
Light lines: light lines on the image are smoothed.
3 If required, set the scaling or transforming options in the General tab.
You can scale and transform objects both here and on-screen.
4 Click Apply.
Note Scaling and transforming takes longer than usual when smoothing
is applied.
Select required
smoothing option
light lines smoothed dark lines smoothed no smoothing
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Chapter 12
Preparing Images for Automatic
Digitizing
ES Designer supports the automatic and semi-automatic digitizing of both
bitmap images and vector images. The quality of the resulting designs
greatly depends on the type and quality of the original artwork. Generally
speaking, vector images preserve the picture quality when resized, whereas
bitmap images cause problems of pixilation and image degradation when
enlarged or scaled down. In order to make bitmap images more suitable for
automatic digitizing, ES Designer provides image processing capabilities
and links to graphics packages.
This section describes how to prepare images for automatic digitizing. It
explains how to crop images for digitizing as well as how to prepare both
outlined and non-outlined images.
Image preparation techniques
Before applying automatic digitizing, you frequently need to improve or
clean up artwork. To work effectively, both Smart Design and Point & Stitch
require solid color images as input. You can improve artwork both with
bitmap editing tools in graphics packages and/or the image processing tools
provided in ES Designer. In fact, the software will not let you apply Smart
Design until the image has been suitably processed.
ES 2006 Wilcom ES Online Manual 271
Outlined vs non-outlined images
Before preparing your image you need to know what type you are using. For
the purposes of automatic digitizing, there are two categoriesoutlined and
non-outlined. Outlined images ideally have a solid black outline around each
colored area. Non-outlined images ideally consist of solid areas of color.
Outlined and non-outlined images require different methods of preparation.
Image clean up
In practice, cleaning up scanned images may involve any one or a
combination of the following techniques:
reducing the number of colors
adding or emphasizing outlines
removing noise, dithering or anti-aliasing
eliminating unnecessary detail
cropping sections
eliminating backgrounds.
See also Choosing suitable artwork.
Color reduction
Sometimes an image looks clean but extra colors have been introduced
during scanning or in a graphics package. Color reduction means reducing
the actual number of image colors in order to eliminate unnecessary detail
and reduce each block to a single color. Color reduction also cleans the
image, removing noise and anti-aliasing if present. This in turn helps
minimize the number of trims and color changes required in the resulting
embroidery design. Reduce colors in a non-outlined image using the Reduce
Colors tool and in an outlined image using the Sharpen Edges tool.
Color reduction should only be applied if the loss of detail does not affect the
image shapes. Before color reduction, the colored areas in the image below
image with outlines image without outlines
ES 2006 Chapter 12 Preparing Images for Automatic Digitizing 272
include many colors. After reduction, each area is reduced to a single color.
The detail is preserved.
If you are scanning images, make sure you scan them correctly for best
results. See Scanning artwork into ES Designer for details.
Be aware that the Reduce Colors tool is good at removing noise and
anti-aliasing but not so good at processing dithering in non-outlined images.
By contrast, the Sharpen Edges tool is excellent at processing dithered
image before color reduction image after color reduction
image scanned in RGB
color mode, then colors
reduced to 6
image scanned in 256
color mode, then colors
reduced to 6
ES 2006 Wilcom ES Online Manual 273
colors as it averages all pixels within a defined outline. See also Choosing
suitable artwork.
Outline sharpening
Outline sharpening means more clearly defining the outlines bordering
distinct color blocks or shapes in the artwork. These may have been
indistinct in the original or made so by the scanning process. Outline
sharpening is important for automatic digitizing because it makes it easier
for the software to identify the distinct areas which become embroidery
objects in the resulting design.
Note Outline sharpening only works on images with black or dark outlines.
Some images have solid outlines but they may be indistinct or incomplete.
These need to be rectified with the ES Designer image preparation tools or
a graphics package. See Editing bitmaps in third-party applications for
details.
Sharpen Outline tool used with outlined
imagedithered color blocks cleaned,
edges sharp
Reduce Colors tool used with non-outlined
imagedithered color blocks not
completely cleaned, edges fuzzy
image before outline
sharpening
image after outline
sharpening
ES 2006 Chapter 12 Preparing Images for Automatic Digitizing 274
Noise filtering
Noise filtering means restoring the solid color blocks of the original artwork
in scanned images. This is achieved by merging different shades into one
solid color. Noise filtering is important for automatic digitizing because it
makes it easier for the software to identify solid color blocks which become
embroidery objects in the resulting design. It also cleans up blurred or
mottled areas of color.
Image preparation tools
Use the artwork preparation tools to prepare images for automatic
digitizing. Your choice of tool depends on the artwork. There are three tools:
image before noise
filtering, mottled
color
image after noise
filtering, single colors
Tool Purpose Capabilities
Edit Image Link to a graphics
packagee.g. Paint Shop
Profor editing an image
outside ES Designer.
Lets you crop, sharpen, re-color, add outlines,
remove noise from an image.
Reduce Colors Prepare any non-outlined
image.
Lets you reduce colors to a specified number. It
automatically:
reduces each block to a single color
removes anti-aliasing, noise and dithering
removes colors smaller than specified area.
Sharpen Edges Prepare outlined images. Lets you adjust lightness or darkness of outlines. It
automatically:
blends each outlined block into a single color
removes anti-aliasing, noise and dithering
sharpens outlines.
ES 2006 Wilcom ES Online Manual 275
Note Even if your artwork looks ready to stitch when inserted into the
software, it will need to be image-processed before conversion. The
software will not let you apply automatic digitizing techniques without
preliminary image-processing.
Using image preparation tools
It is important to use the correct preparation tools for your artwork. The
example below shows an image with indistinct outlines. If the Sharpen
Edges tool is used, outlines can be made darker and more distinct,
improving stitching. By contrast, using the Reduce Colors tool before
stitching produces a poorly stitched design.
Reduce Colors
usedoutlines not
sharpened, poor
stitching
image with
indistinct
outlines
image with solid
outlines
Sharpen Edges
usedimproved
stitching
ES 2006 Chapter 12 Preparing Images for Automatic Digitizing 276
Before using the Sharpen Edges tool, make sure that the image contains
solid outlines. If there are gaps, separate color areas will be blended into
one.
If you need to add outlines, close gaps, or reinforce an outline, you may
need to draw it in by hand before scanning. Or you might add it in a graphics
package after scanning. See Editing bitmaps in third-party applications for
details.
Tip Try darkening the outlines using the Outline Appearance slider. See
Preparing outlined images for details.
Image preparation summary
image colors blended
image partially outlined, some
areas not closed
Sharpen Edges
used
image outline completed in
graphics package
outlines sharpened
Sharpen Edges
used
Action Outlined image Non-outlined image Photograph
Scan artwork Scan in RGB mode
Use sharpening
Scan in RGB mode
No sharpening
Scan in RGB mode
Scan line vector Scan in two color mode - -
Touching up in graphics
package
Crop
Add or edit outlines
Edit colors
Remove noise
Crop
Edit image shapes
Edit colors
Remove noise
Crop
Convert to grayscale
Remove background
Lighten or darken
Adjust contrast
ES 2006 Wilcom ES Online Manual 277
Preparing non-outlined images
Use the Reduce Colors tool to prepare non-outlined images for automatic
digitizing. The tool automatically reduces color blocks in bitmap images to a
single color, removing anti-aliasing and noise. You can let the software
reduce the color count automatically or specify a precise number. The latter
is useful if you want to match design colors to an exact number of thread
colors.
Tip Depending on the quality of the scanned image, you may need to touch
it up manually before processing in ES Designer. You would normally do this
in order to eliminate backgrounds, or flood-fill solid areas with color. See
Editing bitmaps in third-party applications for details.
To prepare non-outlined images
1 Select Image > Insert File to load an image.
Use Sharpen Edges
tool in ES Designer
Sharpen outlines and
remove noise
- -
Use Reduce Colors tool
in ES Designer
- Reduce colors and
remove noise
-
Digitize Manual
Point & Stitch
Smart Design
Manual
Point & Stitch
Smart Design
Photo Flash
Use Reduce Colors (Image toolbar) to reduce the number of colors and
remove image noise in non-outlined images.
Action Outlined image Non-outlined image Photograph
ES 2006 Chapter 12 Preparing Images for Automatic Digitizing 278
2 Select the image.
3 Click the Reduce Colors icon.
The Reduce Colors dialog opens.
The image appears in the preview panel. The Color Count field shows
the number of image colors.
4 Click Zoom In to view the image more closely.
5 Set the color reduction options you require:
image scanned in RGB color
modeconverted to 256 colors
upon loading
Set color
reduction options
Zoom in and out of
image preview
Set noise filtering
options
Save Image after
processing
ES 2006 Wilcom ES Online Manual 279
Select the By Number option to enter the number you require.
ES Designer suggests a number and shows how the image will look.
You can accept this number or change it.
Select the Automatic Selection option if you want the software to
reduce the color count automatically.
The slider increases or decreases the effectmoving the slider
towards 100% gives you more colors, moving the other way gives
you fewer.
6 Check how many colors are in the image.
This is indicated by Color Count. If there appear to be too many, the
image probably contains noise.
7 Set the noise filtering options you require.
Minimum color area: This defines the smallest area recognized in
the conversion. The default is 0.5 by 0.5 square mm (about eight
pixels). Increase this value if your image has a lot of out-of-color
pixels. The minimum color area should not exceed 1/16 of the total
area.
reduced to 13 colors reduced to 6 colors reduced to 3 colors
ES 2006 Chapter 12 Preparing Images for Automatic Digitizing 280
Minimum line length: This defines the smallest line length
recognized as an object. The default is 2 mm. The minimum line
length should not exceed 25% of the smallest dimension.
8 Click Save Image As to save changes.
9 Click OK to apply the changes.
Preparing outlined images
Use the Sharpen Edges tool to prepare outlined images for automatic
digitizing. The tool automatically sharpens outlines and reduces noise. Areas
enclosed by a black outline are reduced to a single color. Outline sharpening
makes it easier for the software to recognize distinct areas in the artwork.
These areas then become the embroidery objects of the finished design. Use
it particularly if the outlines are blurry, fuzzy or indistinct.
Tip Depending on the quality of the scanned image, you may need to touch
it up manually before processing in ES Designer. You would normally do this
in order to eliminate backgrounds, flood-fill solid areas with color, add or
reinforce outlines, or close gaps. See Editing bitmaps in third-party
applications for details.
To prepare outlined images
1 Select Image > Insert File to load an image.
Min. color area: 0.5 sq mm
Min. line length: 2 mm
Min. Color area: 1 sq mm
Min. line length: 5 mm
Min. color area: 5 sq mm
Min. line length: 9 mm
Use Sharpen Edges (Image toolbar) to sharpen outlines and reduce noise in
outlined images.
ES 2006 Wilcom ES Online Manual 281
2 Select the image.
3 Click the Sharpen Edges icon.
The Sharpen Outlines dialog opens.
The image appears in the preview panel. The Color Count field shows
the number of image colors.
4 Click Zoom In to view the image more closely.
5 Set the outline contrast tolerance by dragging the slider control.
zoomed
area
Set outline
appearance
Click to see
colored areas
Zoom in and out
of image preview
Save image after
processing
ES 2006 Chapter 12 Preparing Images for Automatic Digitizing 282
This produces a black and white preview of the detected outlines.
6 Set the Noise reduction options you require.
Minimum color area: This defines the smallest area recognized in
the conversion. The default is 0.5 by 0.5 square mm (about eight
pixels). Increase this value if your image has a lot of out-of-color
pixels. The minimum color area should not exceed 1/16 of the total
area.
Minimum line length: This defines the smallest line length
recognized as an object. The default is 2 mm. The minimum line
length should not exceed 25% of the smallest dimension.
Tip Move the slider to the right until there is too much black, then move
it slowly back to the left. Stop when the image shows all the outlines you
need.
7 Click Show Color Areas to see the updated image.
Set outline
appearance
Outlines not sharpened Slider control moved to left Slider control moved to right
ES 2006 Wilcom ES Online Manual 283
8 Click Save Image As to save changes.
9 Click OK to apply the changes.
Outlines sharpened
and noise reduced
ES 2006 Wilcom ES Online Manual 284
Chapter 13
Automatic Digitizing
ES Designer provides a variety of complementary tools and techniques for
automatically digitizing suitably prepared artwork.
The Auto Trace feature lets you convert scanned artwork to vector
objects. You can then convert these to embroidery objects using a
variety of input methods.
The Point & Stitch tools provide everything necessary to digitize shapes
in bitmap images automatically without using manual input methods.
The Smart Design feature automatic digitizing is intended for people
working at all levels of the embroidery industry. Smart Design
automatically converts bitmap images to fully digitized embroidery.
Photo Flash lets you create embroidery designs directly from
photographs and other grayscale bitmap images. The effect resembles
the output of a line printer.
This section describes how to automatically convert bitmap images to
embroidery objects and complete designs, as well as how to create
embroidery from grayscale images.
Converting bitmaps to outlines with Auto Trace
0
Vector image
Converted to
Complex Fill
Converted to
Run
Converted to
Input C
Use Auto Trace (Image toolbar) to convert artwork to vector objects for
conversion to embroidery objects.
ES 2006 Wilcom ES Online Manual 285
Use Auto Trace to create vector outlines from bitmap images. You can then
convert these to embroidery objects using a variety of input methods. Auto
Trace can find holes in shapesboth inside and outside boundaries are
detected. See also Converting vector objects to embroidery.
Note Even if your artwork looks ready to stitch when inserted into the
software, it will need to be image-processed before conversion. See
Preparing Images for Automatic Digitizing for details.
To convert a bitmap to outlines with Auto Trace
1 Scan or insert a bitmap image. See Scanning artwork into ES Designer
or Inserting bitmap images for details.
2 Select the image and process it. See Image preparation techniques for
details.
3 Click the Auto Trace icon.
ES Designer will prompt you to click an image to select a single-colored
area.
4 Click the shape you want to digitize.
5 Press Enter.
The vector object is created and selected.
6 Select an input method then follow the prompts to enter start, end and
angle.
At this point you can convert the created vector object directly into an
embroidery object. See also Converting vector objects to embroidery.
Digitizing shapes with Point & Stitch
Press Enter Select input method
Click object
Use Turning Satin (Point & Stitch toolbar) to digitize narrow column shapes.
ES 2006 Chapter 13 Automatic Digitizing 286
The Point & Stitch tools provide everything necessary to digitize shapes in
bitmap images automatically without using manual input methods. These
tools are useful for quickly creating embroidery objects from scanned
images that do not require particular artistic effects or embroidery-specific
knowledge. This in turn frees you to spend more time on the artistic or
inherently complicated areas of your designs.
Note If you use a bitmap image as input, it will need to be image-processed
before conversion. The software will not let you apply automatic digitizing
techniques without preliminary image-processing. See Preparing Images for
Automatic Digitizing for details.
Matching palette colors to an image
Use the Match to Palette tool to find the nearest match between a selected
image color block and a palette color. If Match to Palette is not selected,
the color block is digitized in the current palette color.
Use Tatami Fill (Point & Stitch toolbar) to digitize large areas, preserving any
holes.
Use Tatami Fill without Holes (Point & Stitch toolbar) to digitize large areas,
ignoring any holes.
Use Pickout Run (Point & Stitch toolbar) to digitize centerlines.
Use Outline Run (Point & Stitch toolbar) to digitize boundaries of shapes.
Use Match to Palette (Point & Stitch toolbar) to find the nearest match
between the selected image color and the color palette.
Bitmap image
Embroidery design digitized
with Point & Stitch tools
Use Match to Palette (Point & Stitch toolbar) to find the nearest match
between the selected image color and the color palette.
ES 2006 Wilcom ES Online Manual 287
Note If your artwork contains colors which are very different to those in the
colorway, you can use the Match Bitmap Color function to first add those
colors. See Matching image colors to threads for details.
To match palette colors to an image
1 Select the artwork:
Scan or insert a bitmap image. See Scanning artwork into
ES Designer or Inserting bitmap images for details.
Insert or create a vector image. See Inserting vector images or
Creating vector outlines for details.
Note If you use a bitmap image as input, it will need to be
image-processed before conversion. See Preparing Images for
Automatic Digitizing for details.
2 Click the Match to Palette icon.
3 Select a Point & Stitch digitizing method.
4 Click the shape you want to digitize.
The object is digitized in the nearest palette color.
Note If Match to Palette is not selected, the object is digitized in the
current palette color.
Digitizing fills with Point & Stitch
Matched to palette Digitized in current color Original image
Use Turning Satin (Point & Stitch toolbar) to digitize narrow column shapes.
ES 2006 Chapter 13 Automatic Digitizing 288
Point & Stitch can be used to create closed Tatami fill objects, as well as
objects with turning Satin fills. Use Tatami Fill to digitize large areas in your
artwork with Tatami stitch, preserving any holes within them. If you are
using a vector image, it must include a fill color. If you want holes ignored,
use the Tatami Fill without Holes tool. Use Turning Satin to digitize
narrow column shapes with Satin stitch. Current properties are applied. You
can modify these as required before or after using the tools.
To digitize fills with Point & Stitch
1 Select the artwork:
Scan or insert a bitmap image. See Scanning artwork into
ES Designer or Inserting bitmap images for details.
Insert or create a vector image. See Inserting vector images or
Creating vector outlines for details.
Note If you are using a bitmap image as input, it will need to be
image-processed before conversion. See Preparing Images for
Automatic Digitizing for details.
2 Select a thread color from the color toolbar.
Alternatively, use the Match to Palette tool to find the nearest matching
thread color. See Matching palette colors to an image for details.
3 Select the required Point & Stitch fill input method.
4 Click the shape you want to digitize.
Use Tatami Fill (Point & Stitch toolbar) to digitize large areas, preserving any
holes.
Use Tatami Fill without Holes (Point & Stitch toolbar) to digitize large areas,
ignoring any holes.
ES 2006 Wilcom ES Online Manual 289
The shape is immediately filled with stitches.
Note Stitches are generated according to current stitch settings. Jumps
may occur if stitch length exceeds the default setting. These can be
modified
Digitizing outlines with Point & Stitch
Use Point & Stitch to digitize boundaries and details with run stitching. Use
Pickout Run to digitize centerlines in your artwork with run stitches. Use
Outline Run to digitize boundaries of shapes with run stitching. Current
properties are applied. You can modify these as required before or after
using the tools.
To digitize outlines with Point & Stitch
1 Select the artwork:
Scan or insert a bitmap image. See Scanning artwork into
ES Designer or Inserting bitmap images for details.
Insert or create a vector image. See Inserting vector images or
Creating vector outlines for details.
Tatami Fillhole in
apple ignored
Original artwork Turning Satinleaf and
stem filled with turning
stitches
Tatami Fill without
Holeshole in apple
preserved
Use Pickout Run (Point & Stitch toolbar) to digitize centerlines.
Use Outline Run (Point & Stitch toolbar) to digitize boundaries of shapes.
ES 2006 Chapter 13 Automatic Digitizing 290
Note If you are using a bitmap image as input, it will need to be
image-processed before conversion. See Preparing Images for
Automatic Digitizing for details.
2 Select a thread color from the color toolbar.
Alternatively, use the Match to Palette tool to find the nearest matching
thread color. See Matching palette colors to an image for details.
3 Select the required Point & Stitch outline input method.
4 Click the centerline or outline you want to digitize.
The line is traced with Run stitches.
Note Stitches are generated according to current stitch settings. These
can be modified.
Digitizing designs with Smart Design
Smart Design automatically converts bitmap images to fully digitized
embroidery. With Smart Design, novice embroiderers can create simple
designs quickly and easily. Similarly, experienced embroiderers can improve
productivity when working with simple designs. Sales people can estimate
stitches quickly and accurately for price quotations.
An extension of Point & Stitch technology, Smart Design recognizes shapes
in bitmap images and makes decisions about the most suitable input
methods and stitch types to use. It also determines the stitching sequence
based on closest join. Artwork is effectively batch processed to create the
many embroidery objects that make up a design.
Smart Design gives you some control over how an image is interpreted
during conversion. You can choose to omit selected colors as well as select
colors for stitching in front or behind. There are options to add image colors
to the color palette, or match them to the existing palette. You can choose
to ignore lines or shapes under a specified width. Once created, you can
Pickout lines
digitized
Outlines
digitized
ES 2006 Wilcom ES Online Manual 291
always edit the final result using the available digitizing techniques. See also
Digitizing Methods.
Note Even if your artwork looks ready to stitch when inserted into the
software, it will need to be image-processed before conversion. The
software will not let you apply automatic digitizing techniques without
preliminary image-processing. See Preparing Images for Automatic
Digitizing for details.
Creating embroidery designs with Smart Design
In essence, creating an embroidery design with Smart Design is simply a
matter of selecting the image you want to convert, and clicking the Smart
Design tool. There are, however, many settings you can adjust to optimize
the conversion process for a particular image.
Note Only one image may be selected at a time. The command is disabled
if the selection contains anything other than an image. The display mode of
the imagefor example, dimmedwill not affect the embroidery object
colors.
To create embroidery designs with Smart Design
1 Scan or load an image. See Scanning artwork into ES Designer for
details.
2 Select the image and process it. See Preparing Images for Automatic
Digitizing for details.
Use Smart Design (Image toolbar) to create embroidery designs directly
from imported images.
ES 2006 Chapter 13 Automatic Digitizing 292
3 Select the image and click the Smart Design icon.
The Smart Design dialog opens. Image colors are distributed among
the Omit, Fill, and Details fields depending on how the software
interprets the source image.
Note Image information is given in the top panel, including width and
height values as well as the number of image colors.
4 Click-and-drag any colors you want to omit from automatic stitch
processing into the Omit column.
5 Similarly, click-and-drag or leave any colors you want to be treated as
filled areas in the Fill column.
Note You can adjust stitching styles and other settings for fill colors.
See Adjusting fill color settings for details.
Click-and-drag
colors between
fields
Select color
conversion
method
white
background
color omitted
all colors
omitted except
black
fill color pink
only, the rest
omitted
fill colors pink
and yellow, the
rest omitted
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6 Click-and-drag any colors you want to be treated as detailsi.e. any
outlines, borders or small areas you want to stitch out lastinto the
Details column.
Note You can adjust stitching styles for detail colors. See Adjusting
detail colors settings for details.
7 Select a Thread Colors conversion method for image processing.
By default, image colors are matched to the nearest thread colors in
the current colorway.
Select the Add Colors to Palette option to add image colors to the
palette.
8 Click OK.
Smart Design converts the artwork to embroidery objects and
generates stitches.
Note Click Save to save the dialog settings to the template.
Adjusting detail colors settings
Smart Design lets you adjust object recognition settings for the colors of
anything in the design you identify as a detail. A detail may be an outline,
detail color
black only
detail color
green only
image colors
matched to nearest
thread colors
image colors added
to palette
ES 2006 Chapter 13 Automatic Digitizing 294
a border, a pickout run, or a small area of the design you want to be stitched
out last.
Tip If an image color is both a fill and a detail, you can either recolor the
fill color in a graphics package, or omit the color for later editing.
To adjust detail colors settings
1 Select a processed image and click the Smart Design icon.
The Smart Design dialog opens.
2 Click-and-drag any colors you want to be treated as detailsi.e. any
outlines, borders or small areas you want to stitch out lastinto the
Details column. See Creating embroidery designs with Smart Design for
details.
3 Select a stitching style for colors in the Details column.
Double Run: most suited for use with thin lines.
Input C: suited for use with thicker lines of constant width.
Satin: most suited for use with thicker lines or small shapes of
varying width.
4 Click OK.
Smart Design converts the artwork to embroidery objects and generates
stitches.
Adjusting fill color settings
Smart Design lets you adjust object recognition settings for fill colors,
giving you control over stitch types, stitch angles, and sequencing settings.
To adjust fill color settings
1 Select a processed image and click the Smart Design icon.
Choose a suitable line
thickness for details
Details: black outlines
with Double Run
Details: black outlines
with Satin
ES 2006 Wilcom ES Online Manual 295
The Smart Design dialog opens.
2 Click-and-drag or leave any colors you want to be treated as filled areas
in the Fill field. See Creating embroidery designs with Smart Design for
details.
3 Click Values.
The Automatic Stitching Values dialog opens.
4 Select the Detect lines in objects checkbox if you want areas defined
up to maximum width set to be interpreted as lines.
The sample below, for example, shows narrow linear shapes being
interpreted as Satin Input C rather than Tatami Complex Fill objects.
5 Adjust the maximum width for each object type.
These rows determine the way in which graphic elements of specified
thicknesses are to be interpreted.
Adjust fill color
settings
Adjust settings
for automatic
object
sequencing
Adjust max.
widths for
each object
type
Adjust settings
for recognition
of Complex Fill
objects
Select style to
apply to each
object type
Detect Lines selected, Satin
usedfills stitched in
Tatami, lines in Satin
Original image Detect Lines not selected,
default values usedmost
objects stitched in Tatami
Yellow and green in Details
with Satinlarger areas
also stitched in Satin
ES 2006 Chapter 13 Automatic Digitizing 296
Note A value entered in the Maximum Width field becomes the
Minimum Width value for the next graphic element.
6 Select a style to apply to each objecte.g. Run , Satin, Tatami, etc.
7 Adjust settings for the recognition of Complex Fill objects in the Object
Options panel.
8 Adjust settings for automatic object sequencing in the Object
Sequence panel. See Adjusting object sequencing settings for details.
9 Click OK.
Smart Design converts the artwork to embroidery objects and
generates stitches.
Adjusting object sequencing settings
Smart Design lets you adjust settings for the automatic object sequencing
of recognized embroidery objects.
Tatami styles
selected
Satin styles selected
with Auto Split
stitch angle 0
stitch angle 90
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To adjust object sequencing settings
1 From the Smart Design dialog, access the Automatic Stitching
Values dialog. See Adjusting fill color settings for details.
2 Enter the length of the maximum travel run connector in the Maximum
travel path length field. You may enter a large value to avoid trims that
may cause production problems.
3 Enter the minimum width of foreground objects to overlap background
objects in the Stitch under objects below width field.
4 Enter the minimum stitch length you want to keep in the Filter small
objects below width field. See Removing small stitches automatically
for details.
5 Click OK.
Smart Design converts the artwork to embroidery objects and
generates stitches.
Creating embroidery from photographs
Use Photo Flash to create embroidery from photographs or other images,
color or grayscale. Grayscale images are made up of different shades of gray
Adjust settings for
automatic object
sequencing
below width: 1.5 mm below width: 4.0 mm original image
Use Photo Flash (Insert menu) to create embroidery designs directly from
photographs.
ES 2006 Chapter 13 Automatic Digitizing 298
pixels. Color images are automatically converted to grayscale when you
apply Photo Flash.
Photo Flash designs consist of rows of stitches of varying spacing settings.
The effect resembles the output of a line printer. Adjust the angle of the rows
and/or the stitches themselves.
Tip For best results, use images with well-defined subjects or constantly
varying shades.
To create embroidery from photographs
1 Insert the bitmap image in your design and scale it to the required size.
See Inserting bitmap images for details.
2 With the bitmap still selected, select Insert > Photo Flash.
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The Object Properties > Special > Photo Flash dialog opens.
3 In the Resolution panel, select a resolution optionCoarse, Medium, or
Fine.
Note The coarser the resolution the more spacing between rows.
Select resolution
option
Select background
option
Enter angle
medium resolution coarse resolution fine resolution
ES 2006 Chapter 13 Automatic Digitizing 300
4 In the Row panel, enter a new angle as required.
5 In the Background panel, select a background option:
Light: applies the maximum row width value to the lightest part of
the image.
Dark: applies the maximum row width to the darkest part of the
image.
Tip The option you select usually depends on whether the fabric is light
or dark. The Dark option produces a negative of the image.
Row Angle: 90
o
Row Angle: 0
o
Dark background Light background
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6 Select the Fills tab and adjust the stitch spacing and skew angle as
required.
The Skew Angle determines the angle of the stitches. See Adjusting
Satin stitch spacing for details.
7 Click Apply.
You are prompted to select the part of the image you want to convert.
8 Click-and-drag a cropping rectangle around the part of the image you
require.
ES Designer generates stitches for the area within the cropping
rectangle. This process may take some time.
Tip Use TrueView for a more accurate representation of the stitching.
Adjust stitch
values
Skew Angle: 0
o
Skew Angle: 45
o
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PART IV
MODIFYING DESIGNS
After digitzing a design, you can modify it as a whole, edit individual objects
or even individual stitches.
Combining and resequencing objects
This section describes how to combine objects and designs by copying and
pasting, duplicating, and inserting techniques. It also describes how to
resequence objects by cut and paste, by color, with the Color-Object List,
and by number. Using Branching to sequence objects is also explained. See
Combining objects and designs for details.
Arranging and transforming objects
This section describes how to position objects, how to lock and group, align
and space objects, as well as how to scale, rotate, skew, and mirror objects.
See Arranging and Transforming Objects for details.
Converting and reshaping objects
This section describes how to reshape objects with control points, reshape
circle, star and ring objects. It also describes how to convert object types,
adjust stitch angles, change entry and exit points, as well as keep or omit
the last stitch. See Converting and Reshaping Objects for details.
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Editing stitches and machine functions
This section deals with selecting and editing stitches, and converting
selected stitches to objects. It also includes instructions for inserting,
checking, editing and clearing manually-inserted functions. It also describes
how to edit stitches and functions using the Stitch List. See Editing Stitches
and Machine Functions for details.
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Chapter 14
Combining and Resequencing
Objects
ES Designer provides techniques for combining and resequencing objects.
You can add to designs by duplicating and copying objects. Combine
designs. Split objects into smaller ones and remove overlaps between
objects.
The stitching sequence naturally occurs in the order in which the design was
digitized. The Color-Object List displays a sequential list of objects grouped
by object and color. It provides an easy way to group, cut, copy and paste,
and resequence selected objects and color blocks.
Group objects together to apply a change to them all at once. Better still,
apply Branching to join like-objects to form a single branched object.
Objects are resequenced, connectors minimized, component objects
grouped, and stitches regenerated. Apply an underlay to all.
This section describes how to combine objects and designs by copying and
pasting, duplicating, and inserting techniques. It also describes how to
resequence objects by cut-and-paste, by color, with the Color-Object List,
and by number. Using Branching to sequence objects is also explained.
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Combining objects and designs
You can copy or cut a design or design objects to the Windows clipboard for
temporary storage. These can then be pasted any number of times to the
same or another design until replaced on the clipboard. You can also cut,
copy and paste lettering objects within and between designs.
Copying and pasting objects
You can copy objects to create multiple, identical objects, or to insert
objects from other designs.
Tip ES Designer lets you click-and-drag objects between designs. To copy,
hold down the Ctrl key as you click-and-drag the object. To temporarily
deactivate Auto Scroll, hold down the Shift key.
Note Cut-and-paste changes the stitching sequence in the design. See
Resequencing objects with cut-and-paste for details.
To copy and paste objects
1 Select the object (or objects) to copy.
2 Click the Copy icon.
The selected object is copied to the clipboard.
3 Select a color palette option as required. See Setting inserted
embroidery file options for details.
Click Copy (Standard toolbar) to copy selected objects to the clipboard.
Click Paste (Standard toolbar) to paste copied objects in the design.
Petals
copied and pasted
ES 2006 Chapter 14 Combining and Resequencing Objects 306
By default, when you insert a design, colors are matched to the current
color palette.
4 Travel to the position in the stitching sequence at which you want to
paste the object. See Viewing the stitching sequence for details.
Alternatively, use the Color-Object List to locate the required position in
the stitching sequence. See Selecting and viewing objects with the
Color-Object List for details.
Tip You can paste between other objects in the sequence, or nest the
copied object within an object. See Nesting objects for details.
5 Click the Paste icon.
The object is pasted in the design, according to the current paste
options. Alternatively, use the popup menu to override the current paste
options.
Tip Change the default paste option as required. See Setting paste
position options for details.
Colors added
to palette
Colors matched
to palette
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6 Make sure that there is only one copy of an object at any one position.
If an object is pasted twice into the same position, it will be stitched
twice.
Note The object remains on the clipboard and can be pasted repeatedly
until the next Copy or Cut command.
Duplicating objects
Objects can be duplicated rather than copied. When an object is duplicated,
it is not copied to the clipboard. This leaves the clipboard free for you to cut
or copy other objects.
Tip The Mirror-Merge tools allow you to duplicate and transform selected
embroidery objects, and merge them into a single object. See Duplicating
and mirroring objects for details.
To duplicate objects
1 Select the object (or objects) to duplicate.
2 Travel to the position in the stitching sequence at which you want to
place the object. See Viewing the stitching sequence for details.
You can place the duplicate between other objects in the sequence, or
nest it within an object. See Nesting objects for details.
3 Select Edit > Duplicate.
The duplicate object is placed directly on top of the original, in the
specified position in the stitching sequence.
4 Move the duplicate object to the required position.
Select Duplicate (Edit menu) to duplicate selected objects.
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Cloning objects
The Quick Clone feature lets you quickly duplicate selected objects by
right-clicking, dragging and releasing at a new position.
To clone objects
1 Select an object or objects.
2 Holding down the right mouse button, drag the object(s) to a new
position.
A black outline of the object appears. The cursor icon includes a plus
symbol.
Tip For more precise positioning, hold down the Ctrl key while
draggingmovement is thereby constrained to X or Y axes.
3 Release the mouse.
A duplicate object(s) is created at the release point.
Use Select Object (Pointer toolbar) to select and clone objects.
Right-click object
Drag-and-drop
Object duplicated
Right-click, hold down Ctrl
key, and drag-and-drop
object
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Tip Clone objects to another window by the same method. To
temporarily deactivate automatic scrolling, hold down the Shift key
while dragging. An identical copy of the selection is created at the same
coordinates as the first window, no matter where the mouse is released.
Deleting objects
Various methods are available for deleting objects.
To delete objects
Select the object (or objects) to delete, and do one of the following:
Press Delete.
Select Edit > Delete.
Right-click and select Delete from the popup menu.
Nesting objects
ES Designer lets you nest one object inside another at an exact point of the
stitching sequence. This feature is particularly useful with motifs and other
designs where long connectors may be generated. It also helps reduce the
overall numbers of objects, minimizing trims and tie-offs.
Select Delete (Edit menu) to delete selected objects.
ES 2006 Chapter 14 Combining and Resequencing Objects 310
To nest objects
1 Travel through the first object until the needle position marker is
positioned where you want to insert the second object. See Traveling by
stitches for details.
2 Insert the second object. To do this, either digitize the object, or copy
and paste, or cut-and-paste it.
The second object is nested in the stitching sequence of the first object.
All required functions are automatically inserted for the second object.
3 Move the copied object into the required position.
Tip To view the connectors that are generated for the nested object,
click the Show Connectors icon.
Combining designs
ES Designer lets you insert one design into
another. The two (or more) designs can
then be saved as a combined design. When
you insert a design in another, the two
color palettes are combined. Colors with
the same RGB values are automatically
identified as having the same thread color.
If you want to preserve these as separate
colors, you need to change one or other
before merging. See Modifying colorways
for details.
To combine designs
1 Open the first design.
2 Travel to the position in the stitching sequence where you want to insert
the design. See Viewing the stitching sequence for details.
Travel to insertion
point and paste object
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You can insert a design between objects in the sequence, or nest the
design within an object. See Nesting objects for details.
3 Select a color palette option as required. See Setting inserted
embroidery file options for details.
By default, when you insert a design, colors are matched to the current
color palette.
4 Select Insert > Embroidery File.
To select a design from any available DOS drive, select DOS Disk.
To select a design from an embroidery disk, select Embroidery
Disk.
The Open dialog opens.
5 From the Look In list, select the folder where the design you want to
insert is stored, and select the required format from the Files of type
list.
6 Select the design file to insert, and click Open.
The design is inserted at the current needle position.
7 Move the second design into the required position. See Positioning
objects for details.
Tip To ensure that all the objects in the inserted design stay together,
group the design while working with it. See Grouping and ungrouping
objects for details.
8 Save the combined design under the original or different name.
The designs you have inserted are now combined into one design.
Splitting objects
Colors added
to palette
Colors matched
to palette
Use Split Object (Edit menu) to split selected objects.
ES 2006 Chapter 14 Combining and Resequencing Objects 312
ES Designer lets you split embroidery objects into smaller objects. This is
useful, for example, when you want to split Manual objects up in order to
convert sections to outline objects with Stitch Processor. Use the Split
Object command to split embroidery objects created with the Input A,
Input B, and Input C tools together with Satin, Tatami, or Program Split as
the stitch type. Run objects may also be split but Complex Fill objects
cannot. See also Shaping vector and embroidery objects.
To split objects
1 Select an object to split.
2 Travel to the stitch where you want it to be split.
You can travel to a stitch inside a Satin, Tatami, Run or Manual object.
See Traveling by stitches for details.
Note You cannot split an object at the first stitch.
3 Select Edit > Split Object.
The object is split into two objects at the needle position marker.
Tip You can convert any split Manual objects to outline objects with
Stitch Processor. See Recognizing object/outlines after editing for
details.
Resequencing embroidery objects
The embroidery objects in a design form a stitching sequence. Initially,
objects are stitched in the order in which they were created. You can change
Split object
Split object
deleted
ES 2006 Wilcom ES Online Manual 313
the position of a selected object by cutting it, then pasting it somewhere else
in the sequence, or by using the Resequence command. You can also
resequence objects by color or using the Color-Object List.
Resequencing objects with cut-and-paste
You can resequence objects by cutting an object from the design and pasting
it back at a different point in the sequence. This does not change the
physical location of the object. See also Nesting objects.
To resequence objects with cut-and-paste
1 Select the object (or objects) to resequence.
2 Click the Cut icon.
The selected object is removed from the design and moved to the
clipboard.
3 Travel to the position in the stitching sequence where you want to paste
the object. See Viewing the stitching sequence for details.
You can paste between other objects in the sequence, or nest the cut
object within another object. See Nesting objects for details.
If you do not move the current needle position marker, the object is
pasted at the end of the sequence.
Click Cut (Standard toolbar) to cut a selected object or objects and place
them on the clipboard.
Click Paste (Standard toolbar) to paste copied objects in the design.
Completed
designcenter
stitched first
Object cut to
clipboard
ES 2006 Chapter 14 Combining and Resequencing Objects 314
4 Click the Paste icon.
The object is pasted back in the design according to the current paste
options. See also Setting paste position options.
Note The object remains on the clipboard and can be pasted repeatedly
until the next Copy or Cut command.
Resequencing selected objects
You can resequence objects by selecting them in the required stitching
order.
To resequence selected objects
1 Select the first object in the range you want to resequence.
2 Holding down Ctrl, select the subsequent objects to resequence.
Note Select each object in the order you want it to stitch out in.
3 With the objects still selected, select Edit > Resequence > By Selects.
The objects are resequenced in the order they were selected.
Resequencing objects by color
The Resequence By Color feature lets you resequence all objects by color.
This reduces the number of color changes in a design.
Object pasted Cursor inserted
at end of design
Select Resequence By Selects (Edit menu) to resequence selected objects.
Select Resequence By Color (Edit menu) to resequence objects by color.
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Note This technique resequences all color blocks of the same color in the
stitching sequence. If, for any reason, you want to maintain separate color
blocks, you should use the Color-Object List. See Resequencing colors and
objects with the Color-Object List for details.
To resequence objects by color
1 Select the objects to resequence.
2 Select Edit > Resequence > By Color.
The Sequence By Color dialog opens listing the colors used in the
selected objects.
3 Select a color and click Move Up or Move Down to change its position in
the sequence.
4 Click OK.
Resequencing colors and objects with the Color-Object List
The Color-Object List provides an easy way to select objects in designs and
access their properties. You can resequence color blocks and objects easily
by changing their position in the Color-Object List.
Tip You can also use it to group and ungroup, lock and unlock, and show
and hide objects. Use it also to cut, copy and paste, as well as branch
objects. See also Grouping and locking with the Color-Object List, Copying
and pasting objects, and Branching objects with the Color-Object List.
Select color
block
Use buttons to
resequence
Use Color-Object List (Standard toolbar) to resequence objects.
ES 2006 Chapter 14 Combining and Resequencing Objects 316
To resequence objects with the Color-Object List
1 Click the Color-Object List icon.
The Color-Object List opens.
2 Select the color block or object to resequence.
To select a range of items, hold down Shift as you click.
To select multiple items, hold down Ctrl as you click.
3 Click-and-drag selected objects to reposition them.
Note You cannot move an object between colors in a manual color
change. However, you can move an object between consecutive
members of a grouped object.
Tip You may need to select allpress Ctrl+Athen regenerate
stitchespress Gto update the display.
Click-and-drag object
to new position
Drop object into new
position
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Automatic branching
The Branching feature lets you digitize like objectse.g. the fingers of a
hand, sections of a custom letterwithout having to think about the most
efficient stitching sequence and joins. Branching is designed for use with
shapes made up of objects that overlape.g. complicated letters, Asian
characters, etc. Apply Branching to join selected objects to form a single
branched object. Objects are resequenced, connectors minimized,
component objects grouped, and stitches regenerated. All component
objects are grouped and selectable as one. You can apply a single underlay
to all.
Properties of branched objects
Branching works with any combination of the following object typesRun,
Input A, Input B, Input C, Complex Fill and Fusion Fill. Objects with Motif
Run and Motif Fill cannot be used. Branched objects preserve their original
properties while sharing the color of the first object in the sequence.
Note When dissimilar objects are selected and branched, any which cannot
be branched are omitted.
Connections between branched objects
The component objects of a branched object are connected by the Closest
Join method used with custom alphabets. All objects are resequenced both
externally (in relation to each other) and internally (by automatic
segmentation). See also Digitizing custom letters.
Click Branching (Standard toolbar) to automatically branch selected
embroidery objects.
Mixture of object types and
colors
Color shared but object types
preserved
ES 2006 Chapter 14 Combining and Resequencing Objects 318
Editing branched objects
Branched objects remain editable. They can be reshaped. There is only one
entry and one exit point, but all component objects have individual reshape
points. The object properties of a branched object can be accessed via the
Object Properties dialog. Stitch types can also be re-assigned via the
toolbar.
Applying branching
Apply Branching to selected objects. These become a single branched
object.
To apply branching
1 Select the objects.
Note The function is only available if more than one object of any
suitable type is selected.
Click Branching (Standard toolbar) to automatically branch selected
embroidery objects.
Long connectors
between separate
objects
ES 2006 Wilcom ES Online Manual 319
2 Click the Branching icon.
ES Designer will prompt you to digitize entry and exit points.
3 Digitize entry and exit points, or press Enter twice to accept the defaults.
Component objects are grouped and share the color of the first branched
object. Objects are resequenced, connectors minimized, and stitches
regenerated.
4 Travel through the branched object to check stitching.
See Viewing the stitching sequence for details.
Branching objects with the Color-Object List
The Color-Object List provides an easy way to select objects in designs and
access their properties. You can use it to branch like objects in a design.
Tip Use the Color-Object List also to cut, copy and paste, group and
ungroup, lock and unlock, and show and hide objects, as well as resequence
objects. See also Grouping and locking with the Color-Object List, Copying
and pasting objects, and Resequencing colors and objects with the
Color-Object List.
To apply branching with the Color-Object List
1 Click the Color-Object List icon.
2 Select objects in the Color-Object List.
Objects resequenced,
connectors minimized
Use Color-Object List (Standard toolbar) to branch objects in a design.
ES 2006 Chapter 14 Combining and Resequencing Objects 320
3 Right-click and select Branching from the popup menu.
Note The function is only available if more than one object of any
suitable type is selected.
4 Digitize entry and exit points, or press Enter twice to accept the defaults.
Component objects are grouped and share the color of the first branched
object. Objects are resequenced, connectors minimized, and stitches
regenerated.
Applying automatic underlay to branched objects
Because Branching combines objects to form a single branched object, you
can apply an underlay (single or double) to all.
Branch selected
objects
Long connectors
join objects
Right-click Auto Underlay (Stitch Types toolbar) to select an underlay type to
apply to branched objects.
Selected objects
grouped into single
branched object
Long connectors
eliminated
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To apply automatic underlay to branched objects
1 Select the branched object.
2 Right-click the Auto Underlay icon.
The Object Properties > Underlay dialog opens.
3 Select the First Underlay checkbox and select an underlay type.
4 Click Apply.
Underlay stitches are automatically generated for the branched object.
Note If component objects are touching or overlapping, the underlay is
first stitched out for the whole branched object followed by the cover
stitch.
Applying two-layer run stitching with branching
With run stitching, digitizers frequently aim to have exactly two layers of
stitching on every segment while minimizing jumps and trims. This
technique effectively eliminates the need to have extra travel or jump
stitches to get from one part of the outline to another. It does so by using
the stitches themselves as travel stitches wherever possible, providing a
higher quality result in the process.
Select underlay
type
Select First
Underlay
Whole underlay
stitched first
Cover stitched after
underlay
ES 2006 Chapter 14 Combining and Resequencing Objects 322
To apply two-layer run stitching with branching
1 Select the objects.
2 Click Branching and digitize entry and exit points in the normal way.
See Applying branching for details.
Stitches are regenerated. Component objects are grouped and
connectors minimizedno jumps, no extra travels.
3 Travel through the branched object to check stitching. See Viewing the
stitching sequence for details.
Tip When the entry and exit point are the same, there are two layers
of outline stitching. If they are different, the path between the entry and
exit will have three layers. It is your choice whether to have the extra
travel layer or a trim connection to the next object instead.
One layer of run
outline stitches
Combination of one
and two layers of run
stitches created
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Chapter 15
Arranging and Transforming
Objects
You can change the position, size and orientation of objects in a design by
moving, scaling and transforming them. Group objects together to apply
universal changes, or lock them to avoid unintentional modification. Modify
objects directly on-screen or using the Object Properties dialog. Access
commonly used functions via the Color-Object List.
Warning The scalability and stitching quality of a design ultimately depend
on its original source Native Design, Imported Outlines, Processed
Stitches, or Imported Stitches. Only EMB designs contain the complete
set of design information required for 100% perfect scaling and
transformation. See also Embroidery design formats.
This section describes how to position objects, how to lock and group, align
and space objects, as well as how to scale, rotate, skew, and mirror objects.
Positioning, aligning and distributing objects
Position objects in your design using the mouse to drag them to a new
position, nudging them with the arrow keys or by specifying the X:Y
coordinates in the General Properties bar. ES Designer lets you align
objects to position them relative to each other, or distribute them evenly in
your design.
ES 2006 Chapter 15 Arranging and Transforming Objects 324
Positioning objects
The simplest way to move an object in your design is to click-and-drag it to
a new position. Use the arrow keys to nudge objects into position.
Note If no objects are selected, using the arrow keys moves the current
needle position.
To position objects
Select the object/s to move and click-and-drag it to a new position.
For more accurate positioning, use the arrow keys to nudge the object
into the required position.
For even more accurate positioning, enter the X:Y coordinates in the
General Properties bar.
The object is centered above the coordinates you set.
Tip Zoom in to make small adjustments. The distance the object moves
depends on the current zoom factor. The greater the zoom factor, the
smaller the distance moved.
Aligning objects
Use cross-hair cursor
to center object
Enter exact
coordinates
Use Align Left (Arrange toolbar) to left-align selected objects.
Use Align Vertical Centers (Arrange toolbar) to align selected objects
through their vertical centers.
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You can align selected objects in a design to the left, right, top, bottom or
center of a specific object. The Arrange toolbar offers a set of buttons to
trigger functions of the same name found in the Arrange menu. The tools
all become enabled when two or more objects are selected.
To align objects
1 Select the objects you want to align.
2 Select the object you want to align with.
3 Click an alignment tool or select Arrange > Align > ...
Note Objects are aligned with the last object selected. When we select
all the objects in the design by using Ctrl+A all the objects are aligned
with the last object in the sequence.
Distributing objects evenly
Use Align Right (Arrange toolbar) to right-align selected objects.
Use Align Top (Arrange toolbar) to top-align selected objects.
Use Align Horizontal Centers (Arrange toolbar) to align selected objects
through their horizontal centers.
Use Align Bottom (Arrange toolbar) to bottom-align selected objects.
Align center
Align left
Align bottom
1
3
2
Use Space Evenly Across (Arrange toolbar) to distribute selected objects
evenly across the screen.
ES 2006 Chapter 15 Arranging and Transforming Objects 326
You can automatically distribute selected objects with even spacing between
them, both vertically or horizontally. The Arrange toolbar offers a set of
buttons to trigger functions of the same name found in the Arrange menu.
The tools all become enabled when three or more objects are selected.
To distribute objects evenly
1 Select the objects you want to space.
2 Click a spacing tool or select Arrange > Space Evenly > ...
Grouping and locking objects
ES Designer lets you group objects together for group modifications.
Ungroup whenever you need to work with the component objects. You can
also lock objects to prevent them from being moved or modified by accident.
Grouping and ungrouping objects
You can group selected objects, or an entire design, to keep them together
for moving, scaling and transforming actions. With grouped objects you can
also apply global changes, saving time and ensuring consistency. When you
have finished making changes to a group, you can ungroup and work with
the component objects.
Note You need to ungroup before you can set properties for any individual
object in the group.
Use Space Evenly Down (Arrange toolbar) to distribute selected objects
evenly down the screen.
Click Group (Arrange toolbar) to group selected objects.
Click Ungroup (Arrange toolbar) to ungroup selected objects.
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To group or ungroup objects
Select the objects and click the Group icon or press Ctrl+G.
Selected objects are combined into a group. This can be selected,
moved, resized and transformed as a single object.
To ungroup, select the grouped object and click the Ungroup icon or
press Ctrl+U.
Tip To select with a bounding outline, simply drag the outline over one
component object and the whole group will be selected. See also
Selecting objects with a bounding box.
Locking and unlocking objects
Lock objects to prevent them from being moved or modified by accident. For
example, locking backdrop images holds them in place as you digitize,
transform or reshape the embroidery objects near them. Locked objects can
be unlocked for modification at any time.
Select, move, resize, or
transform grouped objects as
a single object
ungrouped objects
are selected
Click Lock (Arrange toolbar) to lock selected objects.
Click Unlock All (Arrange toolbar) to unlock all locked objects in a design.
ES 2006 Chapter 15 Arranging and Transforming Objects 328
To lock or unlock objects
Select the object/s to lock and click the Lock icon or press K.
The selection handles disappear, indicating that the object can no longer
be selected or modified.
To unlock objects, click the Unlock All icon.
All locked objects in the design are unlocked.
Grouping and locking with the Color-Object List
The Color-Object List provides an easy way to select objects in designs and
access their properties. You can use it to group and ungroup, lock and
unlock, and show and hide objects.
Tip Use the Color-Object List also to cut, copy and paste, resequence, as
well as branch objects. See also Copying and pasting objects, Resequencing
colors and objects with the Color-Object List, and Branching objects with the
Color-Object List.
To group or lock with the Color-Object List
1 Click the Color-Object List icon.
The Color-Object List dialog opens.
Use Color-Object List (Standard toolbar) to group and/or lock objects.
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2 Click a node to open or close a color block and see its component
objects.
3 Select a color block or object/s and right-click to invoke the popup
menu.
4 Group and/or lock selected color blocks and objects via the popup menu.
Scaling objects
You can scale objects by dragging selection handles, specifying the exact
dimensions in the General Properties bar, or by setting the distance
between reference points on the design. As an object is scaled, the stitch
count changes to preserve the current stitch spacing.
Note Only EMB designs contain the complete set of design information
required for 100% perfect scaling and transformation.
Scaling objects using click-and-drag
You can change the height and width of an object, or scale it proportionally
using selection handles. Scale objects individually, or select multiple objects
and scale them together.
To scale objects using click-and-drag
1 Select the object/s to scale.
Eight selection handles appear around the object.
2 Click-and-drag a selection handle to resize the object.
Click to open
or close node
Group/Lock
objects
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To scale height and width proportionally, use a corner handle.
Tip By default, objects scale proportionally. To scale freely in vertical
and horizontal planes, hold down Ctrl as you drag.
To change the height, use the handles at the center-top or
center-bottom.
To change the width, use the handles at the center-sides.
Scale proportionally Scale freely in both
directions
Ctrl +drag
Drag
Scale vertically
Drag
Drag
Scale vertically
Scale horizontally
Scale horizontally
Drag
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To resize proportionally around a central anchor point, hold down
Shift as you drag.
Scaling objects by an exact amount
You can scale artwork, selected objects or a whole design using their
properties. With normal outline (EMB) files, this allows stitches to be
regenerated while preserving the original stitch density. See also Adjusting
stitch density.
Warning If you scale a stitch design by more than 5%, changes to stitch
density will affect the design quality. See also Embroidery design formats.
To scale objects by an exact amount
1 Select the object/s to scale.
2 In the General Properties bar, either:
Enter exact height and width values.
Enter the new height and width as a percentage of the current
dimensions.
Tip To preserve aspect ratio, copy the calculated percentage from one
field to the other.
Scale proportionally
about center
Shift +drag
Scale horizontally in
both directions
Shift +drag
Enter dimensions as exact
values or as a percentage
Click Apply
ES 2006 Chapter 15 Arranging and Transforming Objects 332
3 Click the Apply button.
Note After scaling, the new object size is reset to 100%.
Scaling objects using reference points
You can scale an object or design by marking reference points and specifying
the required length of the line between them. For example, to resize a
design to a specific width, select all objects, then mark the reference points
across the width of the design.
To scale objects using reference points
1 Select the object/s to scale.
2 Select Edit > Transform.
The Transform dialog opens.
3 Select the Size checkbox, and enter the required distance between the
reference points.
4 Click OK.
vase scaled
Width: 120% Height: 140%
shadow scaled
Width: 140% Height: 120%
Select Transform (Edit menu) to scale an object or design using reference points.
Select Size
checkbox
Specify size
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You are prompted to enter the start and end points of the reference line.
You will have already decided which two points in the object or design
will form the reference line.
5 Click to mark the reference points on the design.
The object is scaled so that the distance between the points is the value
you entered in the dialog.
Tip Press Ctrl to constrain the angle of the axis to 15 increments. Press
Enter twice to use the default reference line.
Making objects the same size
You can scale objects to the same size as a reference object. Resize the
height or width separately or both.
To make objects the same size
1 Select the object/s to resize.
2 Select the object that is the size you require.
Click to mark the
reference points
Click Make Same Width (Arrange toolbar) to scale an object or design to the
same width as a reference object.
Click Make Same Height (Arrange toolbar) to scale an object or design to the
same height as a reference object.
Click Make Same Width and Height (Arrange toolbar) to scale an object or
design to the same size as a reference object.
ES 2006 Chapter 15 Arranging and Transforming Objects 334
3 Click a sizing tool or select Arrange > Make Same Size > ...
Note Objects are resized according to the last object selected.
Rotating objects
You can rotate objects directly on-screen or by setting an exact rotation
angle.
Rotating objects using click-and-drag
When you select an object, selection handles display at its extremities. If
you click the object again, the handles change to rotation handles.
To rotate objects using click-and-drag
1 Select the object/s to rotate.
2 Click the object a second time.
Make same width
Make same height
Make same width and height
2
3
1
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Rotation handles appear at the corners and an anchor point at the
center.
Note If you click too quickly, the Object Properties dialog opens.
3 Drag the anchor point to any position required.
4 Click a rotation handle, and drag it clockwise or anti-clockwise.
An outline displays as you rotate.
Rotating objects by an exact amount
You can rotate selected objects in 45 increments or by entering an exact
value using the Transform toolbar.
First click displays
selection handles
Second click displays
rotation handles
anchor
point
skew handle
rotation
handle
Drag a corner to rotate
about the anchor point
Anchor point
repositioned
Drag a corner to rotate
about the anchor point
Click Rotate 45 CW (Transform toolbar) to rotate selected objects by 45 in
a clockwise direction.
Click Rotate 45 CCW (Transform toolbar) to rotate selected objects by 45 in
a counter-clockwise direction.
Use Rotate (Transform toolbar) to rotate selected objects by an exact
amount (in degrees).
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To rotate objects by an exact amount
1 Select the object/s to rotate.
2 To rotate in 45 increments, click one of the Rotate 45 icons.
3 To rotate by an exact amount, enter the angle in the Rotate field and
press Enter.
Rotating objects by reference line
The Transform Special tool lets you rotate selected objects with the aid of
reference points alone. It can be used both with embroidery and vector
objects.
Tip This technique is particularly useful to duplicate and rotate objects
around an anchor pointe.g. the petals of a flower.
To rotate objects by reference line
1 Select the object/s to rotate.
2 Select Edit > Transform Special.
3 Follow the instruction in the prompt bar:
Click the first reference point. This will become the anchor point for
the rotation.
Select Transform Special (Edit menu) to rotate an object using reference points.
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Click a second reference point. An outline attaches to the pointer.
Tip Press Ctrl to constrain the angle of the axis to 15 increments.
Click the anchor point. The pointer then aligns itself with the second
reference point.
Click a guide point for the required rotation position. Use the
coordinates on the Status bar for exact alignment.
Rotating objects by reference line and angle
The Transform tool provides another method for transforming selected
objects using a combination of reference points and numeric values. This
provides a very accurate technique for rotating selected objects. It can be
used with embroidery objects, vector images or bitmap images. The
technique is particularly useful when you want to align objects precisely with
a common reference line.
To rotate objects by reference line and angle
1 Select the object/s to rotate.
2 Decide which two points in the object or design will form the reference
line. This should be a significant linee.g. one which must be perfectly
horizontal or vertical in the final design.
3 Select Edit > Transform.
Move the pointer
Select Transform (Edit menu) to scale an object or design using reference points and
specified angle.
ES 2006 Chapter 15 Arranging and Transforming Objects 338
The Transform dialog opens.
4 Select the Angle checkbox, and enter the rotation angle of the reference
line.
For example, to rotate the image so that it aligns with the horizontal
axis, enter a value of 0.
5 Click OK.
6 Click to mark the start and end points of the reference line.
Tip Press Ctrl to constrain the angle of the axis to 15 increments. Press
Enter twice to use a horizontal reference line by default.
Skewing objects
You can skew objects directly on-screen or by setting an exact skew angle.
Skewing objects using click-and-drag
You can skew objects along the horizontal plane by clicking skew handles
and dragging to the required angle.
Select Angle Enter absolute
rotation angle in
degrees
Select rotation
anglee.g. 0
reference line set to angle
specified in dialog
Digitize reference linealign
with base of object
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To skew objects using click-and-drag
1 Select the object/s to skew.
2 Click the object a second time.
Rotation and skew handles appear around the object. Skew handles are
diamond-shaped and appear at the center-top and bottom of the object.
3 Drag the skew handles left or right.
The object skews along the horizontal plane.
Skewing objects by an exact amount
You can skew selected objects by entering an exact angle in the Skew field.
To skew objects by an exact amount
1 Select the object/s to skew.
2 In the Skew field of the Transform toolbar, enter the skew angle you
require.
3 Press Enter.
Duplicating and mirroring objects
You can mirror objects horizontally or vertically by means of the Transform
toolbar. You can also mirror around a defined axis using a reference line. The
Use Skew (Transform toolbar) to skew selected objects by an exact
amount (in degrees).
Drag skew handle left
or right
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Mirror-Merge tool allows you to duplicate and transform selected
embroidery objects, as well as merge them into a single object.
Mirroring objects horizontally and vertically
You can mirror selected objects horizontally or vertically using the
Transform toolbar.
To mirror objects horizontally or vertically
1 Select the object/s to mirror.
2 Click one (or both) of the Mirror icons.
Mirroring objects about a specified axis
You can mirror objects around a defined axis using a reference line. Using
this method you mark the start and end points of the line around which the
object mirrors.
To mirror objects about a specified axis
1 Select the object/s to mirror.
Click Mirror Horizontally (Transform toolbar) to flip selected objects in the
horizontal plane.
Click Mirror Vertically (Transform toolbar) to flip selected objects in the
vertical plane.
Select Transform (Edit menu) to mirror objects about a specified axis.
mirrored in Y mirrored in X & Y
mirrored in X starting object
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2 Select Edit > Transform.
The Transform dialog opens.
3 Select the Mirror checkbox.
4 Click OK.
5 Click to mark the reference points of the mirror axis.
After the second click, the selected object is mirrored in the reference
line.
Tip Press Ctrl to constrain the angle of the axis to 15 increments. If
you just want to mirror your selection around a horizontal axis, press
Enter twice. The mirror axis defaults to zero.
Reflecting designs with Mirror-Merge
Select Mirror
mirrored
starting object
Use Reflect (Mirror-Merge toolbar) to duplicate and mirror objects or
designs.
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Use the Mirror-Merge Reflect tool to duplicate and mirror designs
simultaneously. You can use it to quickly create borders. You can also use it
merge duplicates into a perfectly symmetrical object such as a face or heart.
To reflect designs with Mirror-Merge
1 Select the object or design.
2 Click the Reflect icon.
The pointer attaches to the center point. As you move it around, the
duplicate outlines move accordingly.
Tip Press Shift to disable Auto-Scroll while using Mirror-Merge.
3 Set the number of columns and rows you require.
4 Move the reference line to position the duplicates.
Set no. of rows Set no. of columns
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5 For more precise positioning, adjust spacing settings.
Tip Tab from field to field to enter values. Press Enter to confirm.
6 Click to mark the anchor point or press Enter to confirm.
The design is duplicated and distributed around the center point.
Note If the duplicates overlap the original, you are prompted to merge
objects. Use this feature to merge duplicates into a perfectly
symmetrical object such as a face or heart.
Creating wreaths with Mirror-Merge
Use the Mirror-Merge Wreath tool to duplicate objects around a center
point. The Kaleidoscope tool works like Wreath but mirrors objects as well.
Set precise row spacing Set precise column spacing
Use Wreath (Mirror-Merge toolbar) to duplicate objects around a center point.
Use Kaleidoscope (Mirror-Merge toolbar) to duplicate and mirror objects
around a center point.
reflected objects merged object reflected
ES 2006 Chapter 15 Arranging and Transforming Objects 344
Because objects are mirrored, Kaleidoscope works best with an even
number.
To create wreaths with Mirror-Merge
1 Select the object or design.
2 Click the Wreath or Kaleidoscope icon.
The pointer attaches to the center point. As you move it around, the
duplicate outlines move accordingly.
3 Enter the number of Wreath points.
Note Enter an even number for a kaleidoscope effect.
4 Move the reference line to position the duplicates.
Tip Hold down Ctrl to constrain the reference line to 45
o
increments.
six-point wreath eight-point kaleidoscope five-point wreath
Enter no. of wreath points
five-point wreath six-point kaleidoscope
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5 For more precise positioning, adjust the Distance and Angle settings.
Distance and angle are measured from the center of the original to the
center of the wreath or kaleidoscope.
Tip Tab from field to field to enter values. Press Enter to confirm.
6 Click to mark the anchor point or press Enter to confirm.
The design is duplicated and distributed around the center point.
Note If the duplicates overlap the original, you are prompted to merge
objects.
Duplicating designs with Mirror-Merge
Use the Mirror-Merge Array tool to create multiple copies of designs, such
as badges, spaced in rows and columns for faster stitchouts. Mirror-Merge
Set precise angle Set precise distance
five-point wreath six-point kaleidoscope
Use Array (Mirror-Merge toolbar) to duplicate objects or designs.
ES 2006 Chapter 15 Arranging and Transforming Objects 346
automatically sequences each color block to eliminate unnecessary machine
color changes.
To duplicate designs with mirror-merge
1 Select the object or design.
2 Click the Array icon.
The pointer attaches to a reference line. As you move it around, the
duplicate outlines move accordingly.
Tip Press Shift to disable Auto-Scroll while using Mirror-Merge.
3 Set the number of columns and rows you require.
4 Move the reference line to position the duplicates.
Set no. of rows Set no. of columns
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5 For more precise positioning, adjust spacing settings.
Tip Tab from field to field to enter values. Press Enter to confirm.
6 Click to mark the anchor point or press Enter to confirm.
The design is duplicated and distributed around the reference lines.
Note If the duplicates overlap the original, you are prompted to merge
objects.
Set precise row spacing Set precise column spacing
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Chapter 16
Converting and Reshaping
Objects
ES Designer also lets you convert among vector and embroidery objects of
different types at all stages of the design. For example, you can convert
vector images directly to embroidery objects. Similarly, you can convert
embroidery designs or objects to vector images. These can then be
converted to any kind of embroidery object. You can also convert between
embroidery object types.
The reference points you mark when digitizing a shape become its control
points. These vary slightly with the object type. Use them to edit or
transform objectse.g. reshaping, scaling, letter spacing, changing entry
and exit points. Modify stitch angles of selected objects. Add multiple stitch
angles as required.
Most control points can be added, deleted, moved or changed to corner or
curve points. Some control points have a specific function and cannot be
deleted, for example, the entry point.
Key to control points
=corner point
=exit point
=curve point
=entry point
corner point exit point
entry point
=stitch angle points
stitch angle
line
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Tip Before modifying any design, a good practice is to save a copy under a
new name and keep the original in case you want to discard your changes
and start again.
This section describes how to reshape objects with control points, reshape
circle, star and ring objects. It also describes how to convert object types,
adjust stitch angles, change entry and exit points, as well as keep or omit
the last stitch.
Converting between object types
ES Designer lets you convert vector images directly to embroidery objects
using a variety of input methods. Similarly, you can convert embroidery
designs or objects to vector images. These can then be converted to any
kind of embroidery object. You can also convert between different run
objects as well as Input C objects. This is useful when scaling designse.g.
for creating thicker or thinner columns and borders, or converting between
Complex Fill and Input A or Input B objects. See also Object
interconversion.
Tip You can also create embroidery objects with turning stitches by
applying stitch angles directly to vector objects. You can also add turning
stitches to Complex Fill objects with the Stitch Angles tool. See Adding stitch
angles in Stitch Angles mode for details.
Converting vector objects to embroidery
Use Convert >Stitch Angles (popup menu) to convert vector objects to
Fusion Fill objects.
Use Convert >Complex Fill (popup menu) to convert vector objects to
Complex Fill objects.
Use Convert >Input C (popup menu) to convert vector objects to Input C
objects.
Use Convert >Fusion Fill (popup menu) to convert vector objects to
Fusion Fill objects.
Use Convert >Auto Appliqu (popup menu) to convert vector objects to
Appliqu objects.
Use Convert >Run (popup menu) to convert vector objects to Run objects.
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You can convert vector objects to embroidery objects using Complex Fill,
Input C, or an outline input method. The resulting object takes the current
stitch type, color and object properties set for that input method. Vector
objects can be converted to appliqu. You can even send them directly to a
laser cutter. See also Cutting appliqu shapes.
Tip You can also create embroidery objects with turning stitches by
applying stitch angles directly to vector objects. See Adding stitch angles in
Stitch Angles mode for details.
To convert vector objects to embroidery
1 Select a thread color from the color palette.
2 Select the vector object to convert.
Note If you select Complex Fill as the input method, you can select
several vector objects to create an object with multiple boundaries.
3 Select an input method from the Input toolbar.
Alternatively, right-click and select Convert > from the popup menu.
Tip Before you apply an input method, select the correct properties. For
Complex Fill and Input C, select a stitch type and set the desired effects,
otherwise the last selected stitch types and properties are used.
Use Convert >Triple Run (popup menu) to convert vector objects to Triple
Run objects.
Use Convert >Motif Run (popup menu) to convert vector objects to Motif
Run objects.
Use Convert >Backstitch (popup menu) to convert vector objects to
Backstitch objects.
Use Convert >Stemstitch (popup menu) to convert vector objects to
Stemstitch objects.
Vector object Complex fill object Motif run object Fusion Fill object
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For open shapes and outlines, select Run, Triple Run, Motif Run or
Input C. You can apply these input methods to closed shapes as well
if you want to stitch their outlines.
For closed, filled shapes, use Complex Fill.
Tip You can also create objects with turning stitches by adding stitch
angles directly to vector objects. See Adjusting and adding stitch angles
in Reshape mode for details.
4 Follow the instruction in the prompt bar:
For Complex Fill objects, enter stitch entry and exit points and the
stitch angle points.
For Input C objects, enter width point1 and width point2.
For Auto Appliqu objects, enter stitch entry and exit points, and
follow other details as prompted. See Creating appliqu objects for
details.
For other Run objects, enter the entry point. Motif Run is converted
automatically.
Tip Press Enter to accept defaults at each step. You can edit the results
at any stage.
5 Press Enter.
Stitches are generated according to the current properties of the
selected input method. For fill input methods, the current properties
include the stitch type as well.
Tip The Point & Stitch tools can also be used with vector images created
either in a graphics package or with the ES Designer drawing tools. See
Digitizing shapes with Point & Stitch for details.
Converting embroidery objects to vector objects
Use Convert >Drawing (popup menu) to convert embroidery objects to
vector objects.
ES 2006 Chapter 16 Converting and Reshaping Objects 352
You can convert embroidery designs or objects to vector images at any time.
These can in turn be re-converted to any kind of embroidery object. See also
Pasting vector images.
To convert an embroidery object to a vector object
1 Select an embroidery object or design.
2 Right-click it and select Convert > Drawing from the popup list.
The selected embroidery objects are converted to vector objects.
3 Convert selected vector objects to embroidery objects as required. See
Converting vector objects to embroidery for details.
Converting between run objects
run object vector object appliqu object
Use Run (Input toolbar or popup menu) to digitize and then convert to Triple
Run or Input C.
Use Triple Run (Input toolbar or popup menu) to digitize and then convert to
Run or Input C.
Use Motif Run (Input toolbar or popup menu) to digitize and then convert to
Run or Input C.
Use Convert >Backstitch (popup menu) to convert vector objects to
Backstitch objects.
Use Convert >Stemstitch (popup menu) to convert vector objects to
Stemstitch objects.
Use Input C (Input toolbar or popup menu) to digitize and then convert to
Run or Triple Run.
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You can quickly inter-convert objects digitized with Run, Triple Run, Motif
Run, Backstitch, Stemstitch, or Input C. This is useful for creating thicker or
thinner columns and borders when scaling.
Tip You can convert vector objects to embroidery objects (and vice versa)
in the same way. See also Converting vector objects to embroidery.
To convert between run objects
1 Select a run objecte.g. Run, Triple Run, Motif Run, Stemstitch,
Backstitch, or Input C.
2 Click a run stitch icon.
Alternatively, right-click and select Convert > from the popup menu
3 Follow the instruction in the prompt bar:
Motif Run is converted automatically.
For Input C, enter width point1 and width point2.
For other run stitches, enter the entry point.
Tip Press Enter to accept defaults at each step. You can edit the results
at any stage.
The object is converted.
Run object
Enter width point1 and point2 Converted to Input C object
ES 2006 Chapter 16 Converting and Reshaping Objects 354
Note You can convert between any of these object types in the same
way.
Converting Input A or B to Complex Fill or Fusion Fill
You can easily convert objects from Input A or Input B to Complex Fill or
Fusion Fill. This is useful for editing. For example, as curved fill effects can
only be used with Complex Fill objects, you can add them to Input A or B
shapes by first converting to Complex Fill. Also when scaling designs, an
Input A or B shape may become too big for Turning Satin. By converting to
Complex Fill or Fusion Fill, you can apply fixed or turning Tatami or some
other fill stitch type. If the original object has overlapping areas, these are
removed. See also Object interconversion.
Tip You can also convert Complex Fill objects to turning stitches using the
Stitch Angles tool. You can even convert vector objects to embroidery in
the same way. See Adding stitch angles in Stitch Angles mode and
Converting vector objects to embroidery for details.
To convert Input A or B to Complex Fill or Fusion Fill
1 Select the Input A or Input B object.
2 Click the Complex Fill or Fusion Fill icon.
Alternatively, right-click and select Convert > Complex Fill or Fusion
Fill from the popup menu.
3 Follow the instruction in the prompt line:
Use Fusion Fill (Input toolbar or popup menu) to convert objects from Input
A or B to Fusion Fill.
Use Complex Fill (Input toolbar or popup menu) to convert objects from Input
A or B to Complex Fill.
Converted to Complex Fill Curve effect applied Motif fill applied
ES 2006 Wilcom ES Online Manual 355
For Complex Fill objects, enter angle points 1 and 2.
For Fusion Fill objects, enter more than one stitch angle line and
press Enter.
Note If the Input A or B object stitch type is not applicable to Complex
Fille.g. contour stitchSatin will be substituted. If the underlay type
is not applicablee.g. Center RunZigzag will be used.
4 Adjust reshape nodes and add effects as required.
Tip You can change an Auto Appliqu or vector object to a Complex Fill
object in the same way. You can also convert Complex Fill to Fusion
Fill.
Converting Complex Fill to Auto Appliqu
You can convert objects from Complex Fill to
Auto Appliqu with the Auto Appliqu tool.
By adding entry, exit points and frame-out
position, the object is converted to an
appliqu object. See also Cutting appliqu
shapes.
To convert Complex Fill to Auto
Appliqu
1 Select the Complex Fill object.
2 Click the Auto Appliqu icon.
Enter angle
points
Press Enter
Use Auto Appliqu (Input toolbar or popup menu) to convert objects from
Complex Fill to Auto Appliqu.
ES 2006 Chapter 16 Converting and Reshaping Objects 356
Alternatively, right-click and select Convert > Auto Appliqu from the
popup menu.
3 Follow the instruction in the prompt bar:
Click the outline to set the stitch entry and exit points or press Enter
to accept the defaults.
Mark the frame-out position if you are prompted or press Enter to
use the current frame-out values. See also Adjusting the default
frame-out position.
The object is converted to an appliqu object.
Note You can convert a vector object to an Auto Appliqu object in the
same way.
Reshaping embroidery objects
The Reshape Object tool is an important tool in ES Designer. Use it to add,
delete, or move reshape nodes on the object outline. For some objects, you
can also change corner points to curves. ES Designer lets you select a range
of reshape nodes in open and closed objects, making reshaping operations
quick and simple.
Viewing control points
Frame-out position
Entry and exit points
Complex Fill object
Use Reshape Object (Pointer toolbar) to reshape selected objects, edit stitch
angles, and adjust entry/exit points.
Use Show Reshape Nodes (Reshape toolbar) to toggle reshape node
display when using the Reshape Object tool.
Use Show Stitch Angles (Reshape toolbar) to toggle stitch angle display
when using the Reshape Object tool.
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The Reshape Object tool is an important tool in ES Designer. It invokes its
own Reshape toolbar which allows you to selectively view reshape nodes,
stitch angles, and entry/exit points. Use the Reshape Object tool whenever
you want to change object shapes by adding, deleting, or moving reshape
nodes on the object outline. Edit stitch angles as well as entry and exit
points in Reshape mode.
To view control points
Select the object and click the Reshape Object icon.
Control points appear around the object and the Reshape toolbar
appears. By default, reshape nodes, stitch angles and entry/exit points
display together.
Note When editing an Input A object in Reshape Mode, turning off the
Show Reshape Nodes button also disables the Show Stitch Angles
button. When editing an Input C object or any outline object, the Show
Stitch Angles button is always disabled.
Use Show Start/End (Reshape toolbar) to toggle entry/exit point display
when using the Reshape Object tool.
stitch angle
point
curve reshape
node
entry point
stitch angle
point
stitch angle line
curve reshape
node
corner reshape node exit point
ES 2006 Chapter 16 Converting and Reshaping Objects 358
Click icons on the Reshape toolbar to selectively display control points
depending on what you want to edit.
Use Show Reshape Nodes to toggle reshape node display. See
Reshaping objects with reshape nodes for details.
Use Show Stitch Angles to toggle stitch angle display. See Adjusting
stitch angles for details.
Use Show Start/End to toggle entry/exit point display. See Changing
entry and exit points for details.
Tip The Show Reshape Nodes button can be toggled using the hotkey
combination Alt+N. The Show Stitch Angles button can be toggled
using the hotkey combination Alt+A.
To view the next or previous objects, press Tab or Shift+Tab keys.
Note Pressing Tab or Shift+Tab also causes all changes to the object to
be accepted.
Show Reshape Nodes Show Stitch Angles Show Entry/Exit
Shift +Tab Tab
ES 2006 Wilcom ES Online Manual 359
Reshaping objects with reshape nodes
Change object shapes with the Reshape Object tool. Use it to add, delete,
or move reshape nodes on the object outline. For some objects, you can also
change corner points to curves.
Note The Reshape Object tool lets you modify shapes without affecting
the stitch angles and the entry and exit points.
To reshape objects with reshape nodes
1 Select the object to reshape.
2 Click the Reshape Object icon.
Control points appear around the object and the Reshape toolbar
appears.
3 Click Show Reshape Nodes to view only these control points.
4 To add extra nodes on the outline:
Left-click to add a corner point.
Right-click to add a curve point.
Use Reshape Object (Pointer toolbar) to reshape selected objects by means
of control points.
Use Show Reshape Nodes (Reshape toolbar) to toggle reshape node
display when using the Reshape Object tool.
Right-click
Left-click
ES 2006 Chapter 16 Converting and Reshaping Objects 360
5 Select reshape nodes as required:
Click to select a single reshape nodes.
Use the Ctrl key to select multiple reshape nodes.
Click-and-drag a bounding box around a group of reshape nodes to
select.
Use the Shift key to select a range of reshape nodes. Left-clicking or
right-clicking in closed shapes changes the direction of the selection.
6 Adjust the position of selected reshape nodes by dragging them along
the outline as required and press Enter.
Tip Use the arrow keys to nudge selected reshape nodes.
Click to selecthold
down Ctrl to select
multiple nodes
Drag bounding box
around reshape
nodes to select
OR
Hold down Shift and right or
left-click to select range of nodes
Drag reshape
nodes Press Enter
ES 2006 Wilcom ES Online Manual 361
7 Press Delete to delete unwanted reshape nodes and press Enter.
If the object only has two reshape nodesor two pairs of reshape nodes
as in the case of Input A objectsdeleting one deletes the whole object.
8 Press Spacebar to toggle between selected corner and curve reshape
nodes and press Enter.
Tip If you make a mistake, press Esc to remove the changes, press Esc
again to exit Reshape mode.
Note You can also adjust stitch angles as required, as well as change
entry and exit points. See Adjusting stitch angles and Adjusting
entry/exit points and last stitches for details.
Reshaping circle, star and ring objects
For objects created with the Circle/Star or Ring tools, you reshape using
the existing control points only. You cannot add, change or delete control
points in these objects.
Delete reshape
nodes
Press Enter
Select reshape
nodes and press
spacebar
Press Enter
ES 2006 Chapter 16 Converting and Reshaping Objects 362
Reshaping circle/star objects
You can change circle/star objects from circles to ovals using the Reshape
Object tool. The Show Stitch Angles icon is disabled. Circle/star objects
have two reshape nodes (used to change the radius and orientation of the
object), a center point (used to reposition it), and an entry point.
Tip To scale a circle without changing it to an oval, select it with the Select
Object tool, and use the selection handles to scale it.
To reshape circle/star objects
1 Select the circle/star object.
2 Click the Reshape Object icon.
The Reshape toolbar appears.
Use Reshape Object (Pointer toolbar) to reshape circle and star objects.
Entry point
Reshape node
Center point
Stitch angle
90
ES 2006 Wilcom ES Online Manual 363
3 Click a reshape node on the circumference of the circle, and drag it to
reshape the outline.
To reshape without changing the orientation, use the reshape node
at the top of the object.
To reshape and spin the object around its center point, use the
reshape node at the side.
4 To move the circle, click the center point and drag it to a new position.
5 Press Enter.
Reshaping ring objects
You can reshape the inner and outer boundaries of ring objects with the
Reshape Object tool. Reshaping rings is similar to reshaping circle/star
objects except that you reshape each boundary individually. Each boundary
has two reshape nodes for changing radius and orientation, as well as a
center point for moving the boundary. The object has a single entry point.
To reshape ring objects
1 Select the ring object.
2 Click the Reshape Object icon.
Click-and-drag
reshape node
Press Enter
Use Reshape Object (Pointer toolbar) to reshape ring objects.
ES 2006 Chapter 16 Converting and Reshaping Objects 364
The Reshape toolbar appears.
3 Click a reshape node on either boundary, drag it to change the outline,
and press Enter.
To reshape without changing the orientation, use the reshape node
at the top of the boundary.
To reshape and spin the boundary around its center, use the reshape
node at the side.
4 To offset the boundaries, select the center point of a boundary, drag it
to a new position, and press Enter.
Note The center points are generally on top of each other to begin with,
and may not be visible.
Entry point
Reshape node Center point may
not be visible
Press Enter
Click-and-drag
reshape node
Press Enter
Click-and-drag
center point
ES 2006 Wilcom ES Online Manual 365
Adjusting stitch angles
Stitch angle adjustments depend on the type of object you are working with.
With Complex Fill objects you can set a single stitch angle for the entire
object. You can add multiple stitch angles to objects with the Stitch Angles
tool. You can also adjust stitch angles with the Reshape Object tool.
Note You cannot change the stitch angle of Star, Ring and Input C objects
as the stitches automatically turn to follow the shape. You can, however,
change the stitch angle of Circle objects by moving the entry point. See
Reshaping circle, star and ring objects for details.
Adjusting and adding stitch angles in Reshape mode
You can adjust the stitch angle of embroidery objects interactively using the
Reshape Object tool. ES Designer also lets you add stitch angles to
Input A, Input B or Fusion Fill objects while in Reshape Object mode.
Input A objects thereby convert to Input B. See also Converting between
object types.
You can also use the Reshape Object tool to add individual reshape nodes
on either side of Input A and B objects, modifying the shape without
affecting the stitch angles. See Reshaping embroidery objects for details.
Tip You can change the stitch angle of Complex Fill objects using object
properties. See Adjusting stitch angles using object properties for details.
Use Reshape Object (Pointer toolbar) to add stitch angles to selected Input
A and B objects.
Use Show Stitch Angles (Reshape toolbar) to toggle stitch angle display
when using the Reshape Object tool.
ES 2006 Chapter 16 Converting and Reshaping Objects 366
To adjust and add stitch angles in Reshape mode
1 Select the object.
2 Click the Reshape Object icon and click Show Stitch Angles to view
only these control points.
3 Click-and-drag stitch angle points to their required positions.
4 Select and adjust the end points as required.
Note You cannot add stitch angles to Complex Fill objects in Reshape
mode. See Adding stitch angles in Stitch Angles mode for details.
5 Holding down the Ctrl key, click the outline wherever you want to place
a stitch angle line.
Input B object Complex Fill object Input A object
Input B object Complex Fill object Input A object
Input B object with stitch
angle added
Fusion Fill object with
stitch angle added
Input A object
converted to Input B
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Tip Input A objects automatically convert to Input B as soon as you add
or adjust a stitch angle. See Adding stitch angles in Stitch Angles mode
for details.
6 Press Enter.
The stitch angles change accordingly.
Tip You need to convert Input B objects to Input A in order to apply
Smart Corners. To do this, you need to edit the reshape nodes to create
reshape node pairs. See Reshaping embroidery objects for details.
Adding stitch angles in Stitch Angles mode
Modify the stitch angles of Complex Fill and Fusion Fill objects with the
Stitch Angles tool. You can also create objects with turning stitches by
adding stitch angles directly to vector objects. Adding stitch angles to
Complex Fill or vector objects converts them to Fusion Fill. See also
Converting between object types.
To add stitch angles in Stitch Angles mode
1 Select an object.
2 Click the Stitch Angles icon.
Use Stitch Angles (Pointer toolbar or popup menu) to add stitch angles to
selected Complex Fill objects.
Complex Fill objectone
stitch angle
Complex Fill converted
to Fusion Fill
ES 2006 Chapter 16 Converting and Reshaping Objects 368
Alternatively, right-click and select Convert > Stitch Angles from the
dropdown menu. You are prompted to enter stitch angles.
3 Digitize stitch angles so that they intersect two sides of the object.
Make sure that they do not intersect each other.
4 Press Enter.
The object is re-generated with the new angles.
Adjusting entry/exit points and last stitches
ES Designer lets you change the entry and exit points of individual objects.
You can also keep or omit the last stitch in a column of stitches.
Changing entry and exit points
You can change the entry and exit points of individual objects. Aim to place
the end point next to adjoining objects for smaller connecting stitches, or to
reduce the number of travel runs.
To change entry and exit points
1 Select the object to change.
2 Click the Reshape Object icon and click Show Start/End to view only the
entry and exit points.
Complex Fill object Stitch angles added
Use Reshape Object (Pointer toolbar) to adjust the entry and exit points of
selected objects.
Use Show Start/End (Reshape toolbar) to toggle entry/exit point display
when using the Reshape Object tool.
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3 Select the entry or exit point as required, and drag it to a different
position on the object outline.
Tip To view the next or previous objects, press Tab or Shift+Tab keys.
Pressing these keys also causes all changes to the object to be accepted.
4 Press Enter.
Note In circle/star or ring objects, only the entry point appears. In
circle objects, the stitch angle is perpendicular to the line connecting the
entry point to the circle center point. Thus, changing the stitch entry
point changes its stitch angle.
Keeping or omitting the last stitch
If you are digitizing adjoining columns, you can keep or omit the last stitch
in the first column to achieve a smoother join or shorter connecting stitches.
Note This feature only applies when the exit point is at the end of the
columni.e. the default exit point. Moving the exit point using the Reshape
Object tool overrides the Keep Last Stitch/Omit Last Stitch command.
exit point
entry point
exit point
entry point
exit point
entry point
Click Keep Last Stitch (Pointer toolbar) to keep the last stitch in a column.
Right-click to omit the last stitch in a column.
columns smoothly
joined
columns with
unwanted space
ES 2006 Chapter 16 Converting and Reshaping Objects 370
To keep or omit the last stitch
To keep the last stitch, select the object and click the Keep Last
Stitch/Omit Last Stitch icon.
To omit the last stitch, select the object and right-click the Keep Last
Stitch/Omit Last Stitch icon.
Tip Alternatively press Spacebar to omit the last stitch or Enter keep it.
last stitches kept
last stitches omitted
columns
smoothly joined
Press Enterlast
stitch kept
Press Spacebarlast
stitch omitted
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Chapter 17
Editing Stitches and Machine
Functions
ES Designer automatically generates stitches from design outlines and
properties. This means you can scale, transform, and reshape native
designs without affecting stitch density or quality.
However, ES Designer also lets you edit
individual stitches. You simply select them like
any other object and move the needlepoint
position as required. You may need to do this,
for example, when working with stitch files
which do not contain design outline data. See
Embroidery design formats for details.
Like stitches, most machine functions are
inserted automatically whenever you select
commands or specify object properties. They
are stored with the embroidery object and
updated whenever the object is modified. However, ES Designer also lets
you manually insert machine functions and modify them. This flexibility
allows you to adapt designs to almost any machine requirement.
Warning Stitches or machine functions which are manually inserted into
non-manual objectse.g. Input A, Complex Fill, etcneed to be maintained
manually. If an objects stitches are regenerated for any reason, stitch edits
are lost. Machine functions may be moved to another point in the stitch
sequence. For this reason, only insert functions manually if they cannot be
added automatically.
This section deals with selecting and editing stitches, and converting
selected stitches to objects. It also includes instructions for inserting,
checking, editing and clearing manually-inserted functions. It also describes
how to edit stitches and functions using the Stitch List.
ES 2006 Chapter 17 Editing Stitches and Machine Functions 372
Selecting and deselecting stitches
The Stitch Edit tool lets you select single stitches, several stitches, or a
range of stitches by selecting their needle points, or dragging a bounding
box around them. You can select all stitches in a design, cancel all
selections, or remove individual stitches from a selected group. Selected
stitches are highlighted in a different color. You can also select individual
stitches in your design using the Stitch List.
Selecting stitches by needle point
You can select individual stitches in Stitch Edit mode by selecting their
needle points.
Tip Zoom in and display the needle points for easier selection.
To select stitches by needle point
1 Click the Stitch Edit icon.
2 Click a needle point.
The needle point changes color and the needle position marker moves
to the selected stitch. All stitches after the needle position marker in the
stitching sequence appear in black.
To select a range of stitches, hold down Shift as you select.
To select multiple stitches, hold down Ctrl as you select.
Use Stitch Edit (Pointer toolbar) to select individual stitches for editing.
Selected
stitch
Hold down
Shift to select
a range of
stitches
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Selecting stitches with a bounding box
With the Stitch Edit tool activated, you can select stitches by dragging a
bounding box around them.
To select stitches with a bounding box
1 Click the Stitch Edit icon.
2 Drag a bounding box around the stitches you want to select.
Stitches are selected when you release the mouse button.
Selecting stitches with the Stitch List
You can view and select individual stitches in your design by means of the
Stitch List. See also Editing stitches and functions with Stitch List.
To select stitches with the Stitch List
1 Click the Stitch List icon.
Use Stitch Edit (Pointer toolbar) to select stitches with a bounding box.
Use Stitch List (Standard toolbar) to toggle Stitch List display on and off. Use
it to select individual stitches.
bounding
box
stitches
selected
ES 2006 Chapter 17 Editing Stitches and Machine Functions 374
The Stitch List opens. It shows stitch position coordinates and function
informatione.g. whether the stitch is a jump. It also shows the length
of every stitch in the design.
Tip To display the text in black, select Black Text from the popup menu
(right-click). To display the text in the associated stitch color, select
MultiColored Text. To change the background color of the Stitch List,
select Background Color and edit to suit stitch colors.
2 Click a stitch in the Stitch List to select it.
Stitches selected in the Stitch List are also selected in the design, and
vice versa.
To select a range of stitches, hold down Shift as you select.
To select multiple stitches, hold down Ctrl as you select.
Tip Right-click inside the Stitch List to access the popup menu options.
For example, you can select to display the Stitch List in black and white,
or open the Stitch Edit dialog. See Editing stitch coordinates with Stitch
List for details.
Stitch List shows position
coordinates, function
information, and individual stitch
lengths
Change Stitch List
text and background
colors
Selected
stitches
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Selecting a range of stitches
You can select a range of stitches with Selects On activated. The Selects
On tool adds stitches to the selection.
To select a range of stitches with Selects On
1 Click the Stitch Edit icon.
2 With the Selects On tool off, travel through the design, stopping just
before the first stitch to select.
3 Click the Selects On icon.
4 Click the last stitch in the range.
The stitches between the needle marker and this stitch are selected.
Note If the Stitch Edit tool is not selected, Selects On has no effect.
Selecting stitches while traveling through a design
Use Stitch Edit (Pointer toolbar) to select individual stitches for editing.
Click Selects On (Standard toolbar) to select a range of stitches.
Stop before the first
stitch
Click the last stitch in
the range
Use Stitch Edit (Pointer toolbar) to select individual stitches for editing.
Click Selects On (Standard toolbar) to select a range of stitches as you travel
through the design.
ES 2006 Chapter 17 Editing Stitches and Machine Functions 376
You can select a range of stitches by traveling by stitch with Selects On
activated. The Selects On tool adds stitches to the selection as you travel
through the stitching sequence.
To select stitches while traveling through a design
1 With the Selects On tool off, travel to the required stitch or select an
individual stitch.
2 Click the Stitch Edit icon.
3 Click the Selects On icon.
Note If the Stitch Edit tool is not selected, Selects On has no effect.
4 Travel through the design. See Traveling by stitches for details.
As you travel, stitches are added to the selection.
Note If a stitch is already selected, it is deselected when you travel
through it.
Deselecting stitches
You can deselect individual stitches from a group of selected stitches or
cancel all selections in the design.
To deselect stitches
Deselect individual stitches using the following method.
Travel backwards by one stitch.
Note The Stitch Edit and Selects On must be selected.
Deselect all stitches using any of the following methods.
Travel to the first
stitch
Travel 10 Stitches
tool used
ES 2006 Wilcom ES Online Manual 377
Press Esc.
Deselect Selects On, then select another stitch.
Select Edit > Deselect All.
Editing stitches
You can insert stitches in an object to fill gaps. You can move or delete
individual or clusters of selected stitches.
Warning If an objects stitches are regenerated for any reason, all stitch
editing functions are lost. Where possible, edit the object properties rather
than individual stitches.
Inserting stitches
You can insert stitches in an object to fill gaps. Inserted stitches are
considered part of the object (rather than independent objects). They will,
however, be lost if the objects stitches are regenerated. Where possible,
edit the object properties rather than individual stitches. For example, to
increase stitch density, reduce spacing rather than insert stitches.
Note Inserting stitches is different from creating stitches using the Manual
input method. Using the Manual tool you create a separate object, with its
own properties and connectors. See Digitizing individual stitches for details.
To insert stitches
1 Click the Stitch Edit icon.
2 Zoom into the area you want to edit.
3 Select a needlepoint.
Use Stitch Edit (Pointer toolbar) to insert stitches in an object.
ES 2006 Chapter 17 Editing Stitches and Machine Functions 378
The stitch changes color and the needle position marker moves to the
selected stitch.
4 Move the mouse pointer where you want to insert the new stitch, and
right-click.
5 Move the mouse to where you want to insert the next stitch, and
right-click.
6 Continue right-clicking as required.
Moving stitches
You can move individual or groups of selected stitches.
Warning If an objects stitches are regenerated for any reason, all stitch
editing functions are lost. Where possible, reshape the object rather than
move individual stitches. See Converting and Reshaping Objects for details.
To move stitches
1 Click the Stitch Edit icon.
2 Select stitches and drag them to a new position.
Right-click
Right-click
Use Stitch Edit (Pointer toolbar) to select individual stitches for moving.
ES 2006 Wilcom ES Online Manual 379
The stitch shadow outline shows the new position.
3 Press Enter.
Deleting stitches
You can delete individual or groups of selected stitches.
Warning If an objects stitches are regenerated for any reason, all stitch
editing functions are lost. Where possible, edit the object properties rather
than individual stitches. See Adjusting Satin stitch spacing, Adjusting Tatami
stitch spacing and length and Adjusting stitch density for details.
To delete stitches
1 Click the Stitch Edit icon.
2 Select a stitch or stitches.
3 Press Delete.
Drag selected
stitch to new
position
shadow outline
Use Stitch Edit (Pointer toolbar) to select individual stitches for deletion.
Select
stitches
Press
Delete
ES 2006 Chapter 17 Editing Stitches and Machine Functions 380
Converting selected stitches to objects
New or revised object outlines can be recognized after stitch edits have been
made. This capability is particularly useful with stitch files which have been
opened without Object/Outline recognition. You may do this to preserve
the original stitching in most of the design, while modifying a single section
of it. You may also want to turn edited stitches into an embroidery object in
order to preserve the edits. See also Recognizing object/outlines after
editing.
To convert selected stitches to objects
1 Click the Stitch Edit icon and select the individual stitches you want to
process. See Selecting and deselecting stitches for details.
2 Select Edit > Recognize Object/Outline.
The selected stitches are converted to objects.
Editing machine functions
Most machine functions are inserted automatically whenever you select
commands or specify object properties. They are stored with the embroidery
object and updated whenever the object is modified. However, ES Designer
lets you insert machine functions manually. Depending on your machine,
different machine functions are available. The most common types are
described below. See your machine manual for further details.
Use Stitch Edit (Pointer toolbar) together with Recognize Object/Outline to
turn selected stitches into an embroidery object.
Stitches selected
Objects and
outlines
created
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Warning When you insert stitches or machine functions manually, you
must maintain them manually. If an objects stitches are regenerated for
any reason, all stitch editing and machine functions are lost. For this reason,
only insert manual functions if they cannot be added automatically.
Machine function types
ES Designer lets you manually insert color changes, thread trims, jumps,
machine stops, needles in and out, and boring functions, depending on the
selected machine format.
Color Change functions
Color Change functions tell the machine to use the next thread color in the
design. They are automatically inserted when you select a new color from
the color palette. See Changing thread colors for details.
You only need to insert manual color change functions if you cannot recolor
using the standard methods, for example, when using multiple colors within
a single object. See Editing machine functions for details.
Trim functions
Trim functions instruct machines with trimmers to cut connecting threads
before moving to the next object. You insert trims automatically by setting
connector values or using the Trim tool. See Adjusting automatic trim after
settings and Adding trims for details.
If you need additional trims, you can insert the functions manually. See
Editing machine functions for details.
Note If a machine does not have a trimmer, the Trim function is ignored.
Depending on the machine format, the Trim function may be a code or a
sequence of jumps. See Setting trim functions for details.
Stop functions
If you want the embroidery machine to stop for any special reason during
stitching, you need to manually insert a Stop function in the stitching
sequence. See Editing machine functions for details.
Tip Because a Stop function may be inserted for various reasons, you
should record the purpose of the stop on the production worksheet to assist
the machine operator.
ES 2006 Chapter 17 Editing Stitches and Machine Functions 382
Jump functions
Jump functions cause frame movements without needle penetrations and
are used to move smoothly from one part of a design to another. There are
various methods for automatically entering Jump functions.
Apply Auto Jump to preserve long stitches. See Preserving long stitches
with Auto Jump for details.
Digitize individual jumps by right-clicking the Manual icon. See
Digitizing individual stitches for details.
Select jumps as connectors. See Using jumps as connectors for details.
Create jump connectors manually by digitizing with Penetrations
deselected. See Adding jumps with penetrations off for details.
If you need additional jumps, you can insert the functions manually. See
Editing machine functions for details.
Begin/End Jump functions
The Begin/End Jump functions (formerly known as Needle Out/In) instruct
the machine whether or not to use needle penetrations. You insert these
functions automatically using the Penetrations tool (formerly known as
Needles In). See Adding jumps with penetrations off for details.
If you need additional Begin/End Jump functions, you can insert them
manually. See Editing machine functions for details.
Note Remember to insert a End Jump function to instruct the machine to
resume normal stitching.
Borer In/Out functions
Borer In/Out functions are available for embroidery machines equipped with
a borer. They instruct the machine when to use the boring knife or tool
instead of a needle. You insert these functions automatically using the
Borers tool (formerly known as Borers In). See Digitizing boring holes for
details.
If you need additional Borer In or Out functions, you can insert them
manually. See Editing machine functions for details.
Sequin On/Off functions
Sequin On and Sequin Off functions are available for embroidery machines
that are equipped with a sequin dispenser. The Sequin On function generally
instructs the machine to physically lower the sequin dispenser into position
for sequins to be placed (fed and cut). These functions are automatically
ES 2006 Wilcom ES Online Manual 383
inserted when using the Sequin Mode tool. See Sequins and Boring for
details.
If you need additional Sequin On or Sequin Off functions, you can insert
them manually. See Editing machine functions for details.
Some machines, notably Schiffli, use only explicit Drop Sequin functions.
These instruct the machine to drop a sequin on the fabric for stitching.
Schiffli machines, for example, do not require Sequin On/Off functions. See
the ES Schiffli User Manual Supplement for details.
Inserting machine functions manually
You can insert machine functions manually by means of the Insert Function
dialog. Depending on your machines requirements, you will either add the
function to the current stitch, or insert it on an empty stitch or empty jump.
For some machines you will also need to add empty stitches or empty jumps
on either side of some functions. See your machine manual for details.
Note The available functions and their options depend on the selected
machine format. See also Selecting machine formats.
To insert machine functions manually
1 Travel to the position in the design where you want to insert a machine
function. See Traveling by stitches for details.
2 Select Machine > Insert Function.
The Insert Function dialog opens.
Use Insert Function (Machine menu) to insert machine functions manually in your
design.
Select from functions
available for selected
machine format
ES 2006 Chapter 17 Editing Stitches and Machine Functions 384
Tip It is faster to digitize individual jumpsJump(M)by right-clicking
with the Manual input method selected. If you want the whole object to
consist of jumps, deselect the Penetrations icon. See Adding jumps
with penetrations off for details.
3 From the Available Functions list, select the function you want to
insert.
With some functions you can choose whether to insert on the current
stitch or on an empty stitch.
4 If available, choose the insertion method:
Insert on Empty Stitch: inserts the selected function on an empty
stitch.
Add to Current stitch: inserts the selected function on the current
stitch.
Depending on your machine, you may need to insert additional empty
stitches or empty jumps before or after the selected function. For
example, before a particular Stop function, you may want to insert a
number of empty jumps. See your machine manual for details.
5 To insert additional empty stitches or empty jumps, select one or other
in the Component field.
Select Insert Before if you want the empty stitch/jump to precede the
selected function.
Select Insert After if you want the empty stitch/jump to follow the
selected function.
To insert multiple empty stitches or jumps, click Add.
The selected function, together with any additional empty stitches or
jumps, appears in the Sequence panel.
6 Click OK.
Additional empty
stitches inserted
before and after
selected function
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The selected function, together with any additional empty stitches or
jumps, is added at the current needle position.
Tip The Stitch List provides an alternative means for inserting machine
functions manually. See Editing stitch coordinates with Stitch List for
details.
Adding empty stitches/empty jumps to machine functions
You can edit the encoding of machine functions by changing the number or
sequence of empty stitches or empty jumps that appear around them. Some
machines require a specific number of empty stitches or empty jumps in
combination with a function in order to interpret it correctly. You may need
to edit functions if they were inserted incorrectly or the machine format has
changed.
Note You generally only need to edit manually inserted machine functions.
Functions added by ES Designer are automatically updated if the machine
format changes.
To add empty stitches/empty jumps to machine functions
1 Travel to the function you want to edit. See Traveling by machine
function for details.
When you reach the function, its name appears in the Prompt line.
2 Select Machine > Edit Function.
Additional empty jumps
inserted before and after
selected function
Use Edit Function (Machine menu) to add empty stitches/empty jumps to machine
functions.
ES 2006 Chapter 17 Editing Stitches and Machine Functions 386
The Edit Function dialog opens.
The Sequence panel shows the current format of the selected function.
3 To insert additional empty stitches or empty jumps, select one or other
in the Component field.
Select Insert Before if you want the empty stitch/jump to precede the
selected function.
Select Insert After if you want the empty stitch/jump to follow the
selected function.
4 To insert multiple empty stitches or jumps, click Add.
5 To delete an empty stitch or empty jump from the sequence, select it,
then click Remove.
6 Click OK.
Tip The Stitch List provides an alternative means for editing machine
functions manually. See Editing machine functions with Stitch List for
details.
Clearing machine functions
Manually inserted machine functions are not automatically removed or
updated when an object is modified. If a function is no longer required, it
must be manually cleared from the design. Both automatic and
manually-inserted functions can be removed.
Select empty stitch or
empty jump
Insert empty
stitch/jump before or
after the machine
function
Use Clear Function (Machine menu) to clear a manually inserted machine function
from your design.
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Tip Check the Prompt line for the functions name to ensure you clear the
correct one.
To clear machine functions
1 Travel to the function you want to remove. See Traveling by machine
function for details.
When you reach the function, its name appears in the Prompt line.
2 Select Machine > Clear Function.
The function is removed.
Tip The Stitch List provides an alternative means for editing machine
functions manually. See Editing machine functions with Stitch List for
details.
Editing stitches and functions with Stitch List
You can use the Stitch List to help locate stitches and machine functions for
editing. The Stitch List displays stitch number, stitch coordinates, stitch
length, stitch function, stitch color. When you select a stitch in the list, it is
simultaneously selected in your design.
Editing stitch coordinates with Stitch List
Use the Stitch List to edit the coordinates, and therefore position, of
individual stitches.
Note Changes to stitch coordinates are stitch edits and will be lost if the
objects stitches are regenerated.
To edit stitch coordinates with Stitch List
1 Open the Stitch List. See Selecting stitches with the Stitch List for
details.
2 Double-click the stitch you want to edit.
Use Stitch List (Standard toolbar) to toggle Stitch List display on/off. Use it to
edit coordinates of individual stitches.
ES 2006 Chapter 17 Editing Stitches and Machine Functions 388
The Move Stitch dialog opens.
3 Enter the new coordinates in the X and Y fields.
Note The specified coordinates will change the location of the stitch end
point.
4 Click OK.
The stitch is regenerated in the new position and the Stitch List
information is updated.
Inserting machine functions with Stitch List
You can use the Stitch List to access the Insert Function dialog. This
provides a convenient means for inserting machine functions manually into
the stitching sequence.
Warning When you insert machine functions manually, you must maintain
them manually. For this reason, only insert manual functions if they cannot
be added automatically.
To insert machine functions with Stitch List
1 Open the Stitch List. See Selecting stitches with the Stitch List for
details.
Enter new
coordinates
Use Stitch List (Standard toolbar) to toggle Stitch List display on/off. Use it to
insert machine functions directly into the stitching sequence.
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2 Locate the position in the stitching sequence where you want to insert
the machine function.
3 Right-click the stitch in the Stitch List and select Insert Function from
the popup menu.
4 From the Available Functions list, select the function you want to
insert. See Inserting machine functions manually for details.
5 Click OK.
The name of the inserted function appears in the Prompt line.
Editing machine functions with Stitch List
You can use the Stitch List to access the Edit Function dialog. This provides
a convenient means for editing existing machine functions. The Stitch List
also lets you clear machine functions from the stitching sequence.
Note You generally only need to edit manually inserted machine functions.
Functions added by ES Designer are automatically updated if the machine
format changes.
To edit machine functions with Stitch List
1 Open the Stitch List. See Selecting stitches with the Stitch List for
details.
Insert machine
functions directly
Use Stitch List (Standard toolbar) to toggle Stitch List display on/off. Use it to
edit machine function encoding and to clear machine functions.
ES 2006 Chapter 17 Editing Stitches and Machine Functions 390
2 Locate the function you want to edit.
3 Right-click any stitch in the Stitch List and select Edit Function from the
popup menu.
The Edit Function dialog opens.
4 Edit the function as required. See Editing machine functions for details.
5 To remove the function altogether from the stitching sequence, select
Clear Function from the popup menu.
Filtering stitches by function
You can apply a filter to the Stitch List so that only stitches associated with
specific functions appear in the list.
To filter stitches by function
1 Open the Stitch List. See Selecting stitches with the Stitch List for
details.
2 Right-click any stitch in the Stitch List and select Show Functions from
the popup menu.
Edit selected
machine function
Use Stitch List (Standard toolbar) to toggle Stitch List display on/off. Use it to
display stitches associated with specific functions.
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The Show Functions dialog opens.
3 Select the functions you want to show.
Tip Click Select All to show all function types. To select multiple function
types, hold down Ctrl as you select. To select a range, click the first type
in the range, then hold down Shift and click the last type in the range.
4 Click OK.
Only the selected functions are displayed in the list.
Tip To display the text in the associated stitch color, select
MultiColored Text from the popup menu. To display the text in black,
select Black Text.
5 To show all stitches again, right-click in the Stitch List and select Show
All from the popup menu.
Filtering stitches by stitch length
You can apply a filter to the Stitch List so that only stitches of a certain
length appear in the list. The main use of this feature is to find stitches which
cause production problems, such as short stitches (e.g. < 1.0 mm). See also
Removing small stitches automatically.
Select functions
to show
Only selected functions
are displayed
Use Stitch List (Standard toolbar) to toggle Stitch List display on/off. Use it to
display only stitches of a certain length.
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To filter stitches by stitch length
1 Open the Stitch List. See Selecting stitches with the Stitch List for
details.
2 Right-click any stitch in the Stitch List and select Show Stitches from
the popup menu.
The Show Stitches dialog opens.
3 Select the range of stitch lengths you want to show.
Radial corresponds to the actual stitch length.
Axial X,Y corresponds to the horizontal and vertical frame
movements.
See Adjusting Auto Jump settings for details.
4 Click OK.
Only the selected stitches are displayed in the list.
Show specified
stitches
Select stitch
range to show
Only selected stitches
are displayed
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Tip To display the text in the associated stitch color, select
MultiColored Text from the popup menu. To display the text in black,
select Black Text.
5 To show all stitches again, right-click in the Stitch List and select Show
All from the popup menu.
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PART V
ADVANCED DIGITIZING
ES Designer provides specialized productivity features as well as special
effects and digitizing techniques.
Object properties, styles and templates
This section explains how to change the property settings in your design, as
well as how to apply, create and maintain styles and templates in
ES Designer. See Object Properties, Styles and Templates for details.
Specialized digitizing techniques
This section describes how to reinforce outlines. It also describes how to
digitize circles, stars and rings. Creating smooth joins, as well as borders
and filled holes are covered. You can also find instructions for specialist
digitizing with appliqu, sequins and boring. See Specialized Digitizing
Techniques for details.
Textured fills
This section describes how to apply textures to fills, and how to adjust their
settings to get the results you want. Details of Tatami offsets and partition
lines are explained, as well as how to create textures with Program Split and
Flexi Split. Adding details with User Defined Split is also covered. See
Textured Fills for details.
ES 2006 Advanced Digitizing 395
Artistic stitch effects
This section describes how to create artistic effects with Jagged Edge,
Accordion Spacing, and Color Blending, and how to adjust their settings to
get the results you want. Creating contoured stitch effects with the Contour
feature is also covered, as well as how to create curved fills with Florentine
Effect and Liquid Effect. See Artistic Stitch Effects for details.
Motif runs and fills
This section describes how to insert motifs into your design, and how to
rotate, mirror and scale them. It explains how to manage motifs, including
how to create your own motifs and motif sets. It also describes how to
create both motif runs and motif fills, as well as how to apply 3D effects to
motif fills. See Motif Runs and Fills for details.
Sequins and Boring
This section describes how to set up custom sequin palettes for the creation
of sequin designs. It also describes how to create sequin runs and digitize
individual sequins, as well as how to convert sequin artwork to Sequin Run.
Scaling and reshaping sequin runs is also explained as well as digitizing
boring holes. See Sequins and Boring for details.
ES 2006 Wilcom ES Online Manual 396
Chapter 18
Object Properties, Styles and
Templates
Every object you create in ES Designer has a unique set of properties that
are stored with it whenever you save the design. These properties define
general characteristics such as size and position, as well as
embroidery-specific characteristics such as stitch type and density. The
stitch properties determine how stitches will be regenerated when you
reshape, transform or scale the object.
Default property settings
Default or starting property settings are the ones stored with the design
template. These are automatically applied to any newly created objects in
the design.
Current property settings
Current property settings override the template defaults. Unless you
deliberately change them, these take the default values. You generally
change them to save time when digitizing. For example, you may preset
Tatami stitch spacing to use a specific density for all new Tatami objects you
create.
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Note When you close the design, the current settings are not automatically
saved. You can save them as the new default settings of the current
template or to another template altogether.
Object properties
Each object has its own unique set of properties stored with it. You can set
the properties of a selected object to be the current property settings. You
can also apply current property settings to existing objects.
Styles
A style is a group of property settings stored under a unique name. You can
save any combination of settings to a style. This makes it easy to apply
these settings to selected embroidery and lettering objects. When you apply
a style to an object, the style settings replace its current properties. Any
properties not specified in the style, retain their current settings.
Templates
Templates are special files used to store styles and default property settings.
Use templates when digitizing frequently-used design types to save time
re-adjusting the current property settings.
This section explains how to change the property settings in your design, as
well as how to apply, create and maintain styles and templates in
ES Designer.
Working with object properties
When you create an embroidery object, you can simply accept the default
settings or apply new ones. Default property settings are stored with the
design template. You can also define current settings to influence all the
objects you create in the current design. You can change an objects
properties at any time without affecting those of any other object.
Alternatively, you can make any changes to the selected object current for
all new objects. Alternatively again, you can change all the current property
settings in the Object Properties dialog with no objects selected at all. You
can then apply current settings to any existing objects. You can also save
any modified settings to the current template as the new default property
settings.
Tip You can save any combination of settings to custom styles. See Working
with styles for details.
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Changing properties of existing objects
You can change an objects properties at any time without affecting those of
any other object not currently selected. Nor do such changes affect the
current or default settings. Some properties can be modified on-screenfor
example, you can change the size properties by scaling the object with the
selection handles. Other properties, such as stitch spacing or length, can
only be modified via the Object Properties dialog.
If you select more than one object, the Object Properties dialog will only
display tabs relevant to all selected objects. For example, if you select a
Complex Fill object and an Input C object, neither of these tabs will display
as the settings do not apply to both. If selected objects have different
values for the same settinge.g. stitch lengththe field will be blank. If you
enter a new value, it will apply to both objects.
To change properties of an existing object
1 Select an object and double-click.
The Object Properties dialog opens.
Tabs display at the top of the Object Properties dialog. These provide
access to all possible object property settings.
2 Select a tab to view the object properties and adjust as required.
3 Click the FX button to access another set of tabs.
4 When you are finished, click Apply.
Select tab
Modify settings
as required
Click to apply
settings
Click to access
another set of tabs
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These settings are applied to the selected object. They do not affect
current settings or those newly created objects. See also Making
selected object properties current.
Tip Some properties, such as Auto Underlay, are applied by means of
toolbar buttons. When the button is selected, that tools settings are
current.
Making selected object properties current
You can make the properties of an existing object current for all newly
created objects.
Note Only the settings applicable to the selected object change. Other
settings retain their current values. For example, if you make the properties
of a selected Input C object current, settings specific to Complex Fill will not
change.
To make selected object properties current
1 Select the object on which you want to base the current properties.
2 Click the Make Properties Current icon.
The properties of the selected object become the current ones. You can
now create new objects with these settings or apply them to existing
objects.
Tip To check that the now current settings are as you intended, open
the Object Properties dialog.
Modifying current property settings
Whenever you change the current property settings, these will automatically
apply to any new objects you create. If you know which settings you require
before digitizing, you can preset them.
Click Make Properties Current (Styles toolbar) to make the properties of a
selected object current for the design.
Use Object Properties (Standard toolbar) to toggle the Object Properties
dialog on/off. Use it to set properties for the current design.
ES 2006 Chapter 18 Object Properties, Styles and Templates 400
Note Some object properties, such as Auto Underlay, are made current
by means of toolbar buttons. When the button is selected, that tools
settings are current.
To modify current property settings
1 With no objects selected, click the Object Properties icon.
The Object Properties dialog opens.
Tabs display at the top of the Object Properties dialog. These provide
access to all possible object property settings.
2 Select a tab to view the current settings and adjust as required.
3 Click the FX button to access another set of tabs.
4 When you are finished, click Apply.
These settings are current for all newly created objects. You can apply
them to existing objects by means of the Apply Properties Current tool.
See Applying current settings to existing objects for details.
Applying current settings to existing objects
Select tab
Modify settings
as required
Click to apply
settings
Click to access
another set of tabs
Use Apply Current Properties (Styles toolbar) to apply current settings to
selected objects.
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When you change the current property settings, these apply to all new
objects you create but not automatically to any existing objects. However,
you can apply them to selected objects as required.
To apply current settings to existing objects
1 Select the object (or objects) whose properties you want to change.
2 Click the Apply Current Properties icon.
The current values are immediately updated.
Changing default property settings
You can change default property settings at any time by saving the current
settings in the Object Properties dialog to the current template. If the
settings you are saving are based on a selected object, only these values
are updated in the template.
Note All changes affect any new designs created using this template. If you
only want the changes to apply to the design you are working in, change the
currentnot the defaultproperties. See Modifying current property
settings for details.
To change default property settings
1 With or without any objects selected, click the Object Properties icon.
Use Object Properties (Standard toolbar) to toggle the Object Properties
dialog on/off. Use it to set change default property settings for the current
template.
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The Object Properties dialog opens.
2 Select the tab you want and change the settings as required.
3 Click Save.
The object properties are saved to the current template. These will
apply to any new objects in any design based on this template.
Tip You may wish to save your modified property settings to a custom
template for certain specialist purposes. See Working with design
templates for details.
Working with styles
A style is a group of property settings stored under a unique name. You can
save any combination of settings to your styles. This makes it easy to apply
them to selected embroidery and lettering objects. When you apply a style
to an object, the style settings replace its current properties. Any properties
not specified in the style, retain their current settings.
Styles are stored with the design template. The NORMAL template provides
a selection of preset styles for you to use. You can modify these as required
and save them back to the NORMAL template or to your own custom
templates. Each template may contain specific styles for different types of
embroidery. See also Working with design templates.
Styles toolbar
Change settings
as required
Click to save to
template
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Use the Styles toolbar to quickly apply styles in your design. This toolbar
lets you:
apply current settings to selected objects
change current settings, and
apply styles to selected objects.
The styles you select as favorites are each assigned a tool icon on the
toolbar.
Applying styles
When you select a style, the settings overwrite the current property
settings. You can apply a style to current property settings before you
digitize, or to a selected object. See also Working with object properties.
Tip If you are using a digitizing tablet, you can quickly switch between
preset styles. Each button on the puck accesses the next preset style with
different spacing settings. For example, clicking Button 1 accesses
<PRESET_SATIN_1>.
To apply styles
1 Click the Apply Style icon.
The Use Object Style dialog opens.
2 Select a style from the dropdown list, then click OK.
If an object is selected, the style settings are applied to it alone.
If no object is selected, the style settings become the current
property settings, and apply to any new objects you create.
Click Apply Style (Styles toolbar) to apply a style from the template to new or
selected objects.
Use the Styles toolbar to apply favorite styles to new or selected objects.
Select style My Style
ES 2006 Chapter 18 Object Properties, Styles and Templates 404
Any settings that are not specified in the style will remain unchanged.
Tip To apply a favorite style, click the Favorite Style icon assigned to
it. See also Assigning favorite styles.
Defining new styles
Define new styles for a template, either from scratch, or based on an
existing style or object. You can create styles in the Object Properties box
by specifying settings in any or all of the tabs. New styles are saved to the
current template.
Note The stitch type, settings and effects you specify for the new style do
not automatically change the current property settings. See also Applying
current settings to existing objects.
To define new styles
1 To base the new style on an existing object, select it now. To base it on
the current settings, make sure no objects are selected.
2 Select Stitch > Define Style.
The Organize Styles dialog opens.
3 Click New.
Style 1, E stitch spacing
0.75 mm
Style 2, E stitch spacing
1.25 mm
Style 3, E stitch spacing
1.75 mm
Select Define Style (Stitch menu) to make the properties of a selected object current
for the design.
My Style
Click to define new style
ES 2006 Wilcom ES Online Manual 405
The New Object Style dialog opens.
4 Enter a name in the Style Name field.
5 To base the new style on an existing style, select it from the Based On
Style dropdown list.
Tip If you want the new style to be added to the Style toolbar, select
the Add to Favorites checkbox.
6 Click OK.
The Object Properties dialog opens. If you selected a style to base the
new style on, those settings will display.
7 Update the Object Properties tabs for the new style.
Note You do not have to enter values in all fields, only those you
specifically wish to store.
8 Click Apply and close the dialogs.
The new style is saved to the current template.
Assigning favorite styles
You can assign up to ten favorite styles to tool icons on the Styles toolbar.
To apply the style, you then simply select the tool.
To assign favorite styles
1 Select Stitch > Define Style.
My Style
My New Style
Enter name for
new style
Select style to
base it on
Select Define Style (Stitch menu) to assign a favorite style.
ES 2006 Chapter 18 Object Properties, Styles and Templates 406
The Organize Styles dialog opens.
2 Click Favorites.
The Organize Favorites dialog opens.
3 Click Add.
The Add To Favorites dialog opens.
4 Select a style from the list.
5 Click OK.
6 Change the order in which the favorites will appear on the Styles toolbar
using Move Up and Move Down.
7 Click OK and then Close.
The styles are assigned in the order they appear in the Organize
Favorites box. The tool tip for each button shows the style name.
Organize favorite styles
Select style
My Style
My New Style
Click Add
Select style My New Style
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Merging styles
You can merge settings from one style to another. When you merge, the
settings from the second style overwrite the first.
To merge styles
1 Select Stitch > Define Style.
The Organize Styles dialog opens.
2 Select a style to merge to.
3 Click Merge.
The Merge With Style dialog opens.
4 Select a style to merge from and click OK.
5 Close the dialogs.
The first selected style is updated and saved to the current template.
Modifying styles
Select Define Style (Stitch menu) to merge style settings.
My Style
My New Style
Click to merge styles
Select style
Select style My Old Style
Select Define Style (Stitch menu) to modify a style.
ES 2006 Chapter 18 Object Properties, Styles and Templates 408
You can modify all styles, including the preset styles in the NORMAL
template.
Tip At some stage, you may want to revert to the original style settings in
the NORMAL template. See Reverting to the NORMAL template for details.
To modify a style
1 Select Stitch > Define Style.
The Organize Styles dialog opens.
2 Select a style and click Edit.
The Object Properties dialog opens.
3 Change the settings in the tabs as required. See Modifying current
property settings for details.
4 Click Apply.
A warning message asks you to confirm that you want to overwrite the
existing style settings.
5 Close the dialogs.
The modified style is updated and saved to the current template.
Note Changes apply only to future uses of the style. Existing objects
based on the style are not affected.
Renaming styles
You can rename a style without affecting its settings.
My Style
My New Style
Click to edit style
Select style
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Tip At some stage, you may want to revert to the original style settings in
the NORMAL template. See Reverting to the NORMAL template for details.
To rename a style
1 Select Stitch > Define Style.
The Organize Styles dialog opens.
2 Select a style to rename.
3 Click Rename.
The Rename Object Style dialog opens.
4 Enter a new style name and OK.
5 Close the dialogs.
The style is renamed.
Deleting styles
You can remove any unwanted styles from a template.
Tip At some stage, you may want to revert to the original style settings in
the NORMAL template. See Reverting to the NORMAL template for details.
My Style
My New Style
Click to rename style
Select style
Enter new style name My Style 1
ES 2006 Chapter 18 Object Properties, Styles and Templates 410
To delete styles
1 Select Stitch > Define Style.
The Organize Styles dialog opens.
2 Select a style to delete and click Remove.
A warning message asks you to confirm the deletion.
3 Close the dialogs.
The style is deleted from the current template and removed from the list
of style names.
Note To remove all styles from a template click Remove All.
Working with design templates
Templates are special files used to store styles and default settings. Use
templates when digitizing frequently-used design types so that you do not
have to set the current property settings every time. For example, a
template may include standard objects and sample lettering. It may simply
have preferred stitch settings, lettering font and size, and colors set as
current settings. Or it may have special density, pull compensation or
underlay settings to suit different fabrics.
The NORMAL template
The NORMAL template is the default template supplied with ES Designer. It
contains current property settings as well as a selection of preset styles.
These styles include variations on the current property settings. For
example, <PRESET_SATIN_1> and <PRESET_SATIN_2> contains different
My Style 1
My New Style
Click to remove style
Select style
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stitch spacing settings for Satin stitches. You can view and modify the
settings for these styles at any time. See Modifying styles for details.
Note If necessary, you can revert to the original NORMAL template after
modifying it. See Reverting to the NORMAL template for details.
Creating design templates
You create templates from designs containing the required objects and
property settings. Simply save the design, or elements of it, as a template.
Templates look the same as design files, but use the file extension EMT.
Note You cannot overwrite templates by accident. Each time you create a
new design from a template, ES Designer opens a duplicate. When you save
the design the first time, the Save As dialog opens so you can save the
template under a new name.
To create a design template
1 Start a new design or open an existing one.
2 Adjust the property settings, styles, and effects as required.
3 Add the objects and lettering you want to appear in the template.
Tip You can enter lettering baselines on their own but it helps to include
sample text. You can overtype the sample text when using the template.
4 Select File > Save As.
The Save As dialog opens.
Select Design
Templates (EMT)
Enter template name
ES 2006 Chapter 18 Object Properties, Styles and Templates 412
5 Select Design Templates (EMT) from Save as type list.
ES Designer automatically opens the ESWin\Template folder. Design
templates must be saved here or they will not appear in the template
list when you start a new design.
6 Enter a name for the template in the File name field.
7 Click Save.
Using design templates
When you start a new design from the File > New menu, a list of the
available templates appears in the New dialog. See Creating new designs
with selected templates for details.
Note The template list only appears when you start a design from the File
menu. If you select the New tool on the Standard toolbar, the NORMAL
template is applied by default. See also Creating new designs with the
NORMAL template.
Modifying design templates
You can modify templates in the same way as a normal design.
Note Changes apply only to future uses of the template. Existing designs
based on the template are not affected.
To modify design templates
1 Select File > Open.
The Open dialog opens.
2 Navigate to the ESWin\Template folder, then select Templates (EMT)
from the Files of type list.
The available template files display.
3 Select the template you want to modify and click Open.
4 Modify property settings, styles and other settings as required.
5 Select File > Save As.
The Save As dialog opens.
6 From the Save as type list, select Templates (EMT).
7 Enter the name of the template and click Save.
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Tip To create a new template based on the modified one, type a new
file name and click Save.
8 Click Yes to confirm.
The modified template is ready for use.
Saving current properties to a template
You can easily save current property settings to the current template. See
also Working with object properties.
To save current properties to a template
1 Access the Object Properties dialog.
To use the current property settings, deselect all objects, then click
the Object Properties icon.
To use the properties for a particular object, select the object, then
double-click it.
The Object Properties dialog opens.
2 Change property settings as required. See Modifying current property
settings for details.
Use Object Properties (Standard toolbar) to change current properties.
Select tab
Modify settings
as required
Click to save to
current template
ES 2006 Chapter 18 Object Properties, Styles and Templates 414
3 Click Save.
The modified settings are saved to the current template.
Note Only the current property settingsnot the objects or other
settings in the designare saved to the template.
Tip To save more than one set of property settings to the template, save
them as styles. See Defining new styles for details.
Reverting to the NORMAL template
If you modify the NORMAL template supplied with ES Designer, you can
revert to the original version. A factory copy is always maintained so that
the NORMAL template can be restored.
To revert to the NORMAL template
1 Close ES Designer.
2 Click the Windows Start button and select Programs > Wilcom ES>
Revert.
The Revert to Factory Template dialog opens.
3 Select the Templates checkbox and click OK.
The original settings for the NORMAL template are restored.
Select Templates
Click OK
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Deleting design templates
Delete templates in the same way as you would any other Windows file,
using Windows Explorer. Templates are located in the ESWin\Template
folder.
ES 2006 Wilcom ES Online Manual 416
Chapter 19
Specialized Digitizing
Techniques
ES Designer provides specialized digitizing
features to save time as you digitize, and for
special effects and machine functions. There are
input tools for digitizing circles, stars, rings and
appliqu objects, as well as methods for creating
repeated or backtracked duplicates, adding
borders or filling holes. If your machine type
supports boring or sequining, you can use
ES Designer to digitize these effects as well.
This section describes how to reinforce outlines. It
also describes how to digitize circles, stars and
rings. Creating smooth joins, as well as borders
and filled holes are covered. You can also find
instructions for specialist digitizing with appliqu, sequins and boring.
Digitizing circles, stars and rings
ES Designer provides special time-saving input tools for digitizing circles,
stars, rings. Use the Ring and Circle tools to digitize circles or rings and the
Star tool for smaller scale star effects. You can use any fill stitch type with
circles and ovals although Contour stitch only looks effective with long,
narrow ovals.
ES 2006 Wilcom ES Online Manual 417
Digitizing circles and ovals
Digitize filled circles and ovals with a few clicks. You can use any fill stitch
type with circles and ovals although Contour stitch looks most effective with
long, narrow ovals.
Tip To achieve a spiral contour fill effect for a circle, digitize the circle using
a different input methode.g. Ringleaving a small hole in the middle.
To digitize circles and ovals
1 Click the Circle/Star icon.
2 Digitize the circle or oval.
Click to mark the center of the circle or oval. A circle outline attaches
to the pointer.
Move the pointer until the outline is the required size, then click to
mark the radius reference point.
This point becomes the entry point for the whole object. The stitch
angle will be perpendicular to the line connecting the center point
and the radius reference point.
To create a circle, press Enter.
To create an oval, click again to mark a second radius point, and
press Enter.
Use Circle/Star (Input toolbar) to digitize filled circles and ovals.
oval with Contour
circle with
Program Split
1
90
reference point
reference
point
3
2
center
ES 2006 Chapter 19 Specialized Digitizing Techniques 418
Digitizing stars
You can digitize circles and ovals which use turning Zigzag stitches to create
a Star or French dot.
Note Stars are only stitched using Zigzag. You cannot select a different
stitch type for this effect. See also Corresponding object and stitch types.
To digitize stars
1 Right-click the Circle/Star icon.
2 Digitize the reference points for the star.
Click to mark the center of the star. A circle outline attaches to the
pointer.
Move the pointer until the outline is the required size, then click to
mark the radius reference point. This point becomes the entry point
for the whole object.
To create a circular star, press Enter.
To create an oval star, click again to mark the second radius point,
then press Enter.
Digitizing rings
Use Circle/Star (Input toolbar) to digitize star shapes filled with Zigzag
stitching.
1
center
reference point
2
Use Ring (Input toolbar) to digitize circle and oval-shaped rings.
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Create rings by digitizing circles and ovals within each other. Use different
combinations of inner and outer boundary shapes to create different effects.
You can digitize rings with a variety of fill stitch types. Contour stitch is well
suited to rings, as it runs stitches around the ring in a spiral pattern. See
also Corresponding stitch types, input methods, and effects.
Tip Digitize the inner circle first to ensure that the stitches push outwards.
To digitize rings
1 Click the Ring icon.
2 Digitize the inner boundary of the ring.
Click once to mark the center of the inner boundary. A circle outline
attaches to the pointer.
Move the pointer until the outline is the required size, and click to
mark the radius reference point. This point becomes the entry point
for the whole object.
Press Enter to create a circle, or click again to mark a second radius
point for an oval.
The outline of the second boundary now attaches to the pointer.
circle in oval oval in circle oval in oval
ring with Satin ring with Tatami ring with Contour
ES 2006 Chapter 19 Specialized Digitizing Techniques 420
3 Digitize the outer boundary of the ring in the same way as the first, then
press Enter.
Reinforcing outlines
Use Backtrack and Repeat to reinforce outlines while specifying the
direction of the stitching. Backtrack stitches in reverse direction to the
original. It is typically used to make run stitch outlines thicker without
creating unwanted connecting stitches. Repeat duplicates the original stitch
direction and is typically used with closed shapes.
Note If you use Repeat for open shapes, a connecting stitch is inserted
from the end to the start of the object which will require trimming.
To reinforce outlines
1 Select the object (or objects) to reinforce an outline.
2 Click the Backtrack/Repeat icon to backtrack, right-click to repeat.
The object is duplicated and placed on top of the original. It is the same
color as the original and is positioned after it in the stitching sequence.
3 Check that the object has been duplicated by using one of the following
methods:
Use Backtrack / Repeat (Pointer toolbar) to reinforce an outline, stitching it
in the same or opposite direction.
center
reference
point
reference
point
1
2
3
4
reference
point
Use Backtrack for open shapes Use Repeat for closed shapes
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Check the stitch count in the Status Line.
Use Slow Redraw. See Redrawing the stitching sequence slowly for
details.
Travel through the stitches. See Viewing the stitching sequence for
details.
Removing underlying stitching
Use the Remove Overlaps command to remove the underlying layer of
stitching in overlapping objects. This helps to reduce the stitch count and
prevent a build-up of stitches where they are not needed. See also Shaping
vector and embroidery objects.
To remove underlying stitching
1 Select one or more cutters.
2 Select Arrange > Remove Overlaps.
Use Remove Overlaps (Arrange menu) to remove overlapping stitches.
Select cutters
ES 2006 Chapter 19 Specialized Digitizing Techniques 422
The Remove Overlaps dialog opens.
3 In the Cutters panel, enter the minimum object width and the
maximum stitch spacing allowed.
These settings are useful if, for example, you choose an entire design as
a cutter and wish to exclude objects, such as borders or details, less
than a certain width. The Maximum Stitch Spacing setting allows you
to exclude background stitches of a certain density.
4 Select Accordion Allowed to include Accordion Spacing objects.
By default, the software treats Accordion Spacing objects as
backgrounds and excludes them from the cutting operation. This option
allows you to include them.
5 Enter the amount of overlap required in the Cutting Overlaps field.
6 In the Minimum Fragments field, enter the size of the smallest object
that will be produced after cutting.
This eliminates the generation of small objects and unnecessary color
changes.
7 Click OK.
Set cutter values
Enter amount of overlap
Enter size of smallest
permissible object
Cutting Overlap: 0.5 mm Cutting Overlap: 2.0 mm Cutting Overlap: 3.5 mm
ES 2006 Wilcom ES Online Manual 423
The stitching overlap is removed.
Tip You can use an entire design as a cutter excluding objects, such as
borders or details, less than a certain width.
Splitting long stitches with Auto Split
If a Satin shape is wide, some stitches may exceed the maximum stitch the
particular embroidery machine can produce. When Auto Split is applied,
ES Designer breaks any long Satin stitches into shorter ones. It also
distributes needle penetrations in a random pattern so that they do not form
a line in the middle of the shape.
While Auto Split is used primarily to prevent long stitches in wide columns,
it can also be used as an alternative to Tatami fill. Auto Split looks more
Satin-like and works well with turning stitches, creating soft lines and a little
more depth. By contrast, Tatami is flat and can show unwanted patterns
with tight curves.
Right-click Satin (Stitch Types toolbar) to apply Auto Split to new or selected
Satin objects.
Auto Split ON Auto Split OFF
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Note If you want to preserve the Satin effectfor example, if only a few
stitches are too longyou can use Auto Jump instead. Auto Split must be
turned off for Auto Jump to take effect. See Preserving long stitches with
Auto Jump for details.
If you do not apply either Auto Split or Auto Jump, the stitches are split into
smaller stitches of equal length. The line formed by the needle penetrations
will be visible in the final embroidery.
To split long stitches with Auto Split
1 Right-click the Satin icon.
The Object Properties > Special dialog opens.
2 Select the Auto Split checkbox.
3 In the Length field, enter the maximum Satin stitch length to allow
before Auto Split is applied.
Stitches that exceed this value will be split into smaller stitches. This
value can be smaller than the maximum stitch generally used in the
design.
Tip Use a length of 7.00 mm to preserve the Satin effect.
Select Auto Split
Adjust max and min
stitch lengths
Length: 5 mm
Minimum Stitch: 0.4 mm
Length: 4 mm
Minimum Stitch: 0.4 mm
Length: 3 mm
Minimum Stitch: 0.4 mm
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4 In the Minimum Stitch field, enter the shortest stitch that can be
generated when using Auto Split.
5 Click Apply.
Tip As an alternative to Auto Split, try a textured Tatami fill or Program
Split. Or, use User Defined Split to manage split lines in Satin fills. See
Textured Fills for details.
Preserving long stitches with Auto Jump
Embroidery machines have a maximum possible stitch length which is
determined by the frame movement limitations of the machine itself. If a
stitch exceeds this, it is broken into smaller stitches. This can affect the
appearance of the embroidery, especially Satin fills. By applying Auto Jump,
Length: 4 mm
Minimum Stitch: 5 mm
Length: 4 mm
Minimum Stitch: 3 mm
Length: 4 mm
Minimum Stitch: 1 mm
with User Defined Split with Tatami with Program Split
ES 2006 Chapter 19 Specialized Digitizing Techniques 426
you can preserve long stitches in an object by turning them into a series of
jumps.
Note Auto Jump is applied by default to connectors. See also Using jumps
as connectors.
Auto Jump can be used, for example, with manually digitized underlays. It
can also be used to create quilted effects, for example, by applying it to
Satin areas that are over-stitched with Run stitch or Motif Fill.
To create a narrow column with more loft than normal Satin, apply Auto
Jump, in conjunction with a suitable underlay, with the maximum stitch
length set to a small valuee.g. 6 mm. If the cover stitches are short,
splitting them with a jump makes them looser and thus more effectively
raised off the fabric. See also Strengthening and stabilizing with automatic
underlays.
Note The maximum frame movement is defined in the software by the
machine format values. See Adjusting standard machine format settings for
details.
Applying Auto Jump
Auto J ump ON Auto J ump OFF
Use Auto J ump (Stitch Types toolbar) to preserve long stitches in new and
selected objects. Right-click to adjust settings.
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Apply Auto Jump to objects with stitches that exceed the maximum stitch
length.
Note Many machines trim by jumps. Thus, to prevent the trimmers being
activated, usually only one or two jumps between needle penetrations may
be used. See also Setting trim functions.
To apply Auto Jump
Click the Auto Jump icon with or without objects selected.
With no objects selected, Auto Jump is applied to all new objects. For
both new or selected objects, Auto Jump is based on current properties.
Click again to turn off the effect.
Adjusting Auto Jump settings
You can adjust Auto Jump settings to vary the length at which stitches are
converted to jumps, the length of the jumps themselves, and the method of
calculating stitch length.
To adjust Auto Jump settings
1 Right-click the Auto Jump icon.
jump
stitchesnot
trimmed
NO jump stitches
additional
needle
penetrations
Right-click Auto J ump (Stitch Types toolbar) to adjust settings.
ES 2006 Chapter 19 Specialized Digitizing Techniques 428
The Object Properties > Auto Jump dialog opens.
2 Select the Auto Jump checkbox.
3 In the Maximum Stitch field, enter the maximum stitch length to allow.
Stitches exceeding this value will have Auto Jump applied.
Note This value must be smaller than or equal to the maximum stitch
length possible for the selected machine format. See Adjusting standard
machine format settings for details.
4 In the Jump Length field, enter the length of each jump.
Smaller jumps increase the time required to stitch out, but move the
frame more smoothly across the design.
5 In the Length Calculation panel, click the required method of
calculating stitch length.
Along Radius: measures the distance between two consecutive
needle penetrations.
Along Axis: measures either the horizontal or vertical movement
required for the stitch.
The option you select depends on the way your machine measures stitch
length. See your embroidery machines documentation for details.
6 Click Apply.
Select Auto J ump
Enter maximum stitch
and jump length
settings
Select calculation
method
measured along
radius
measured along
axis
Y
X
maximum
stitch
maximum stitch
maximum
stitch
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Creating outlines and filling holes
ES Designer provides tools for quickly creating outlines and filled areas
based on existing boundaries. The Offset Object feature creates new
outlines (up to eight) from the outlines of selected objects with both fixed
and variable spacings. The Filled Holes feature creates filled objects from
the outlines of selected Complex Fill objects.
Creating offset objects with fixed spacings
Use the Offset Object tool to quickly create new outlines from selected
objects. Any closed object can be used, including vector objects, runs, or
any of the input types. The generated outline is an independent object that
can be reshaped or modified as required. Use offset objects to highlight
design detailse.g. small Satin objectsor create seamless borders. You
can center generated objects over the original outline or offset them.
Various offset object types are availableRun, Triple Run, Motif Run or
Input C, Backstitch, Stemstitch, or vector objects. You can even create
offset Complex Fill and Fusion Fill objects.
To create offset objects with fixed spacings
1 Select the source object.
2 Click the Offset Object icon.
Use Offset Object (Generate toolbar) to create accurate outlines for any filled
embroidery object or any closed vector object.
Motif outline Run outline Stemstitch outline Input C outline
ES 2006 Chapter 19 Specialized Digitizing Techniques 430
The Offset Object dialog opens.
3 Select Fixed Offset and enter the required offset in millimeters.
To center the generated object over the original, accept the default
value of 0.00.
To position the generated object outside the original, enter a positive
offset (e.g. 1.00).
To position the generated object inside the original, enter a negative
offset (e.g. -1.00).
Note For Complex Fill objects, offset objects are created around all
boundaries. If necessary, select any unwanted objects, and press Delete.
Enter required offset
Enter offset count
Select rounded
or squared
corners
Choose target
object type
Replace the
original object if
required
Zero Offset Negative Offset Positive Offset Source object
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4 In the Offset Count field, enter the required number of offset objects.
Note If the Use Spiral checkbox is selected, the offsets are joined
together to create one or more spirals, according to the geometry of the
original outline. The Offset Count field needs to be set to 2 or more.
5 Select rounded or squared corners as required.
Note The squared option allows you to adjust the angle limitfirst
select Cut Sharp Corners and set required angle value.
6 From the Object Type list, select an object type for the offset object(s).
Offset Count: 2 Source object Offset Count: 1 Offset Count: 3
Spiral Offset
Object: 2
Spiral Offset
Object: 3
Spiral Offset
Object: 4
Squared
Angle limit: 30
Rounded Squared
Angle limit: 20
Squared
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Note If you select Complex Fill as the outline object type, you get a
complete offset shape, not just an outline.
Tip If you are using Input C, set the column width in the Object
Properties dialog before you start as the default setting is generally too
wide.
7 Adjust the Approximation setting as required.
This controls the smoothness of the generated object outlinethe larger
the value, the smoother the curve. The smaller the value, the greater
the number of reshape points.
Tip If the value is set to zero, there is no approximation and the
generated outline is unsmoothed. This is suitable for use with cutting
machines.
8 Choose to replace the original or source object with the offset object as
required.
If this option is selected, the offset object replaces the original in the
same position in the stitching order. The start and end points of the
resultant object will be as close as possible to those of the source object.
9 Click OK.
Warning If angle lines in the offset object cross, they are removed
one-by-one until the object can be generated. If this happens, you are
prompted to continue.
Creating offset objects with variable spacings
Approximation: 0.3 mm Approximation: 0 mm Approximation: 0.6 mm
Use Offset Object (Generate toolbar) to create accurate outlines for any filled
embroidery object or any closed vector object.
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The Offset List allows you to specify up to eight offsets with different
spacings. All objects are created by offsetting from the original selection.
Offsets are cumulative.
To create offset objects with variable spacings
1 Select the source object.
2 Click the Offset Object icon.
The Offset Object dialog opens.
3 Select Use Offset List and click Offset List.
The Offset List dialog opens.
4 Select the required number of offset objects using the checkboxes.
Select variable
offset
Select rounded
or squared
corners
Choose a target
object type
Replace the
original object if
required
Select required
number of
offsets
Specify offset
values
ES 2006 Chapter 19 Specialized Digitizing Techniques 434
5 Set the offset values for different spacings and click OK.
The Result column gives you the cumulative total of each offset.
6 Select other options as required. See Creating offset objects with fixed
spacings for details.
7 Click OK.
Filling holes in objects
Create new objects from boundaries in Complex Fill or Fusion Fill objects
using the Filled Holes feature. This lets you fill holes formed by existing
boundaries, without having to re-digitize the shape. When you fill a hole, a
new object is created using the current fill stitch type. You can choose to fill
the hole exactly or offset it.
To fill holes in objects
1 Select the source object.
2 Select Insert > Filled Holes.
Offset Object: 2 Offset Object: 3 Offset Object: 4
Use Filled Holes (Insert menu) to create new objects from object outlines.
positive offset-gap
between objects
negative offset-
overlapping objects
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The Holes dialog opens.
3 In the Offset field, enter the offset value.
To cover holes exactly, accept the default value of 0.00.
To leave a gap between the filled holes and the original object, enter
a positive offset (e.g. 1.00).
To overlap the filled holes and the original object, enter a negative
offset (e.g. -1.00). Overlapping the objects prevents gaps
appearing between them.
4 Click OK.
All holes in the object are converted to Complex Fill objects and are filled
with the current fill stitch type and color.
You can modify the outlines and object properties of the filled holes in
the normal way.
Note If you do not want to fill all the holes, select the unwanted new
objects, and press Delete.
Adding borders to designs
Enter required offset
Offset: 0.00
Offset: 1.00
Offset: -1.00 Source object
Use Borders (Generate toolbar) to edit letters in envelopes on-screen.
ES 2006 Chapter 19 Specialized Digitizing Techniques 436
Add decorative borders such as rectangles, ovals, and shields to designs
using the Borders library. When you add a border, it is automatically sized
to fit the current design. Adjust border thickness and size as required.
To add borders to designs
1 Open the design.
2 Click the Borders icon.
The Select Border dialog opens.
3 Select a border and adjust the Border Width setting as required.
The default is 3.00 mm. This value can be adjusted after insertion in the
design.
4 Click Make Current.
Select border
Click to insert
Adjust border
width
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The Select Border dialog closes and the border is generated to include
all design elements in the design window.
5 Change the thread color as required.
Note Thread color defaults to the last object in the design.
6 Adjust border size as required. See Reshaping embroidery objects for
details.
Digitizing for appliqu
Automatically create all the stitching you need for appliqu using the Auto
Appliqu tool. When you digitize an object with Auto Appliqu, the guide
run, tacking and cover stitches are automatically generated using the
current Auto Appliqu settings. You can also extract appliqu shapes from a
design to output to a cutter or to a separate file. See Cutting appliqu
shapes for details.
Tip Apply Smart Corners to appliqu objects as required. See Controlling
corner stitching for details.
Tip Print a copy of appliqu patterns to use in cutting out fabric pieces. Each
appliqu pattern piece is numbered according to the stitching sequence. See
Printing appliqu patterns for details.
Creating appliqu objects
Use Auto Appliqu to produce the stitching
you require for appliqu objects. Appliqu
objects are digitized in the same way as
Complex Fill objects and may have multiple
boundaries.
Tip You can also convert Complex Fill and
vector objects to appliqu by selecting
them, then clicking the Auto Appliqu icon.
Use Auto Appliqu (Input toolbar) to digitize appliqu objects.
ES 2006 Chapter 19 Specialized Digitizing Techniques 438
To create appliqu objects
1 Click the Auto Appliqu icon.
2 Digitize the boundary of the appliqu, by marking reference points
around the outline of the shape.
Click to create a corner point.
Right-click to create a curve point.
Tip Follow the prompts in the Prompt Line to help you digitize. If you
make a mistake, press Backspace to delete the last reference point, then
continue digitizing.
3 Press Enter to close the shape.
4 Click the outline to set the stitch entry and exit points or press Enter to
accept the defaults.
5 If prompted to do so, mark the frame-out position.
To use the current frame out values, press Enter. See also Adjusting
the default frame-out position.
To specify a frame out position, click a point on the design.
Note If you select None as the Frame Out option in the Object
Properties > Auto Appliqu dialog for both guide and tack stitching,
you will not be prompted to enter a frame out position. See Adjusting
guide run settings or Adjusting tacking settings for details.
6 Press Enter.
frame out
position
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Up to four layers of stitchingguide run, cutting line, tack and
coverare generated for the appliqu object, depending on the current
Auto Appliqu values.
Tip When you stitch out an appliqu object, the machine stops between
layers. Before you start, lay the fabric over the design and start the
machine. When the guideline has been stitched, trim the excess
appliqu material and start the machine again for the tack and cover
stitch.
Adjusting guide run settings
A guide run is a layer of run stitches around the outline of an appliqu
object. It is the first appliqu layer stitched and is used to position the
appliqu fabric on the background material. You can adjust the guide run
stitch length, offset and frame-out setting.
To adjust guide run settings
1 Right-click the Auto Appliqu icon.
The Object Properties > Special dialog opens.
2 Enter Stitch length and Offset values as required in the Guide Run
panel.
Right-click Auto Appliqu (Input toolbar) to adjust Auto Appliqu guide run
settings.
Adjust settings for
guide run stitching
ES 2006 Chapter 19 Specialized Digitizing Techniques 440
A negative offset value moves the guide run within the outline, a positive
value moves it outside.
3 Select a Frame Out option to insert a Stop or Color Change function
after the guide run.
Note If you select None for both guide and tack stitching, you will not
be prompted to enter a frame-out position. See Creating appliqu
objects for details.
4 Click Apply.
Adjusting the default frame-out position
When you stitch out appliqu objects, you can set a frame-out position. This
shifts the hoop out from under the needle, making it easier to place and trim
the appliqu shapes. The frame-out settings determine the distance and
direction of the hoop movement.
To adjust the default frame-out position
1 Right-click the Auto Appliqu icon.
The Object Properties > Special dialog opens.
2 In the Frame Out panel, set the frame-out coordinates.
Offset: 1 mm Offset: -1 mm Offset: 0 mm
Right-click Auto Appliqu (Input toolbar) to adjust Auto Appliqu frame out
settings.
Set frame out
coordinates
ES 2006 Wilcom ES Online Manual 441
X: enter a horizontal distance for the hoop to move.
Y: enter a vertical distance for the hoop to move.
3 Click Apply.
Adjusting tacking settings
Tacking is used to fix appliqu shapes to a background fabric before cover
stitching is applied. You can change the stitch type and settings used to
generate tacking, or choose to omit this layer altogether.
To adjust tacking settings
1 Right-click the Auto Appliqu icon.
The Object Properties > Special dialog opens.
2 In the Tack panel, select a tack stitch type.
If you do not require a tacking layer, select None.
Right-click Auto Appliqu (Input toolbar) to adjust Auto Appliqu tacking
settings.
Select tack stitch type
Adjust settings for
tack stitching
tacking: E Stitch tacking: Zigzag
ES 2006 Chapter 19 Specialized Digitizing Techniques 442
3 Select the tack stitch settings. Depending on the selected stitch type,
you can set different stitch properties:
Stitch Length: stitch length value for Run stitch only.
Spacing: stitch spacing value for E Stitch and Zigzag.
Count: number of stitch repetitions for Zigzag only.
Width: column width value for Zigzag and E Stitch.
Offset: negative offset value moves the tack stitching within the
outline, a positive value moves it outside (Run stitch only).
No. of Runs: number of runs between stitches for E Stitch only.
Inside/Outside: offset value as a percentagethe sum of both
equals 100%.
4 Select a Frame Out option to insert a Stop or Color Change function
after the tack stitching.
Note If you select None for both guide and tack stitching, you will not
be prompted to enter a frame-out position.
5 Click Apply.
Adjusting cover stitch settings
The cover stitch is the Satin border around the appliqu shape. You can
change the width of the cover stitch, and offset it to the inside or outside of
the digitized outline. An extra line of stitching can be added if you need to
trim the appliqu fabric in position. If the fabric has been pre-cut, this
cutting line is not needed.
To adjust cover stitch settings
1 Right-click the Auto Appliqu icon.
inside: 25% outside: 75% inside: 75% outside: 25% inside: 50% outside: 50%
Right-click Auto Appliqu (Input toolbar) to adjust Auto Appliqu cover stitch
settings.
ES 2006 Wilcom ES Online Manual 443
The Object Properties > Special dialog opens.
2 In the Cover panel, adjust the cover stitch settings.
Width: enter the width of the Satin column.
Inside/Outside: offset value as a percentagethe sum of both
equals 100%.
3 Select an appliqu cutting method.
Pre-Cut: no cutting line.
Trim in Place: creates a cutting line.
Adjust cover
stitch settings
inside: 90% outside: 10% inside: 10% outside: 90%
Select cutting
method
ES 2006 Chapter 19 Specialized Digitizing Techniques 444
Tip A cutting line is only generated if Trim in Place is selected. Place
the fabric patch after the placement line has been stitched, then trim
after the cutting line has been stitched.
4 Click Apply.
Tip Ungroup the auto-appliqu object, then Select All and generate the
stitches. You now have a guide stitch, cutting line, tack down and cover
stitch that are separate objects. This allows you to edit them separately
or resequence by color. This technique is useful when you have multiple
auto-appliqu objects in the same design.
Creating partial cover appliqu objects
You can create appliqu objects with partial cover
stitching to create an overlapping effect without
doubling-up borders.
Tip Print a copy of appliqu patterns to use in
cutting out fabric pieces. Each appliqu pattern
piece is numbered according to the stitching
sequence. See Printing appliqu patterns for
details.
To create partial cover appliqu objects
1 Digitize appliqu shapes in the same way you digitize with Auto
Appliqu.
Right-click Auto Appliqu (Input toolbar) to digitize appliqu objects. Select
Partial Appliqu (Stitch menu) to create appliqu objects with partial cover
stitching.
ES 2006 Wilcom ES Online Manual 445
Note If the appliqu has holes, digitize the shape in the same way as
Complex Fill with Holes so that the software can recognize the holes.
2 Select the appliqu shapes in the group and select Stitch > Partial
Appliqu.
Note The cover stitches are generated in a clockwise direction between
the start and end points, leaving the rest of the boundary unstitched.
unstitched part of
boundary
partial cover
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Chapter 20
Textured Fills
ES Designer provides special tools to
create textured effects from needle
penetrations. Use Stipple Run for
special stippled effects. Apply offset
fractions and partition lines to Tatami
fills to create split-line patterns.
Alternatively, apply Program Split or
Flexi Split to create decorative fills from
pre-defined patterns of needle
penetrations. Select from the library or
create your own. With User-Defined
Split, create your own split lines when
you want to add detail to filled objects.
This section describes how to apply
textures to fills, and how to adjust their settings to get the results you want.
Details of Tatami offsets and partition lines are explained, as well as how to
create textures with Program Split and Flexi Split. Adding details with
User-Defined Split is also covered.
Creating textures with stippling
Stippling is a method for creating textured fills of run stitching which
meanders more or less randomly within a border. It can be applied to closed
objects with a single stitch angle. You can control stitch density in Stipple
Use Stipple Run (Generate toolbar) for special stippled effects.
ES 2006 Wilcom ES Online Manual 447
objects by adjusting stitch length and loop spacing. See Corresponding
object and stitch types for details.
Note When creating Stipple objects, you need to preset the stitch values.
You can, however, adjust the stitch settings of the generated Run object via
the Object Properties dialog.
To create a texture with stippling
1 Create a closed curve object of some kind and select it.
2 Click the Stipple icon.
The Stipple dialog opens.
Adjust stitch
settings
Choose whether to
replace original
object
ES 2006 Chapter 20 Textured Fills 448
3 Adjust the Stitch Length as required.
4 Adjust Minimum Stitch Length and Chord Gap as required.
5 Adjust the Loop Spacing as required.
6 Choose whether to preserve the original object or replace it with the
generated stipple object.
7 Click OK.
Stitch length: 0.25 mm Stitch Length: 0.75 mm Stitch Length: 1.5 mm
Min stitch length: 0.1 mm
Chord Gap: 0.01 mm
Min stitch length: 0.4 mm
Chord Gap: 0.03 mm
Min stitch length: 0.7 mm
Chord Gap: 0.05 mm
Loop Spacing: 1.0 mm Loop Spacing: 2.0 mm Loop Spacing: 3.0 mm
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Tip You can change run stitch settings of stipple objects in the Object
Properties dialog. You can even change run stitch typee.g. Triple Run,
Stemstitch, Backstitch, etc.
Creating textures with Tatami offsets
With Tatami fills you can specify how each row is offset in order to create
patterns formed by needle penetrations. You do this by adjusting either
offset fractions or partition lines. With only two offsets available, the number
of patterns is limited, but even with small offsets, visible lines are produced.
Partition lines, with up to eight offsets, can create more patterns. Using a
random factor you can eliminate patterns formed by regular needle
penetrations and distribute stitches randomly inside the shape.
Tip Auto Split can be used to create special textures in Satin stitches as an
alternative to Tatami fill. See Splitting long stitches with Auto Split for
details.
Use Tatami (Stitch Types toolbar) to apply to new or selected objects.
Right-click to adjust settings.
Stipple with Stemstitch Stipple with Satin Stipple with Backstitch
Partition Lines Tatami Offset Random Factor
ES 2006 Chapter 20 Textured Fills 450
Setting Tatami offset fractions
The Tatami offset default settings are designed to create a needle
penetration pattern or texture in the stitched embroidery that is uniformly
flat and smooth. The texture is like a woven Tatami mat without obvious split
lines. By manipulating offset fractions, you can create textured fills where
the stitch penetrations are more clearly visible.
To control the patterns created by needle penetrations you set offset
fractions for both forward and backward rows. Offsets for each row are
defined as fractions of stitch lengthe.g. 0.3 = 30%.
Tip By adjusting the offsets, you can also improve the quality of turning
Tatami where the pattern may be disturbed by non-parallel stitches.
Changing the offsets can reduce this interference.
To set Tatami offset fractions
1 Right-click the Tatami icon.
The Object Properties > Fills > Tatami dialog opens.
2 Select the Offset Fraction option.
3 In the A: and B: fields, enter the offset fraction values you require.
Use Tatami (Stitch Types toolbar) to adjust Tatami offset fractions.
default offset values textured fill stitch penetrations visible
Select Offset Fraction
Enter offset fraction values
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Different combinations of offset settings create different effects.
Even stitching: set both fields to 0.25.
Strong horizontal lines: set both fields to 0.00 or 1.00. The
distance between each line of needle penetrations is the stitch
length.
Light horizontal lines: set both fields to 0.5. Lines are produced at
half stitch-length intervals.
Diagonal lines: set both fields to any value other than 0.00, 0.50
and 1.00. Diagonal lines are less noticeable than horizontal or
vertical lines. Vary both values to change the angle of the lines and
the distance between them.
Other: set one field to 0.00, and experiment with the other values
to place the needle penetrations on the forward and backward rows
close to each other, but with different effects.
A=0.00, B=0.00 A=0.50, B=0.50 A=0.25, B=0.25
A=0.50, B=0.25 A=0.30, B=0.60 A=0.40, B=0.00
offset: A=0.3, B=0.6
stitch length: 4 mm
offset: A=0.3, B=0.6
stitch length: 3 mm
offset: A=0.3, B=0.6
stitch length: 2 mm
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Note If A-B offsets add up to 1.0, the lines will be horizontal. If the sum
is less than 1.0, the lines will slope down, more and they slope up. The
mirror image of A=0.3 and B=0.6 is A=0.7 and B=0.4. That is, the
mirror of A and B is 1.0-A and 1.0-B.
4 Click Apply.
Applying Tatami partition lines
The Partition Line feature provides an alternative method for offsetting
needle penetrations in Tatami fills. Two parameters can be setSequence
and Angle.
Setting the sequence
Partition Line allows you to specify up to eight Tatami offsets. Each stitch
length is split into knots numbered anywhere from 0 up to 7. For example,
A=0.30, B=0.60
A=0.50, B=0.50 A=0.70, B=0.40
Use Tatami (Stitch Types toolbar) to adjust Tatami partition lines.
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a typical partition sequence number might be 20143. This translates to the
following pattern.
In this partition sequence (20143), there are five rows of stitches indicated
by the five digits. The stitch length is also divided into five knots numbered
0 to 4. (In any pattern, both the number of rows and the number of knots
are determined by the number of digits in the sequence number.)
The first digit in the sequence, 2, is the knot number at which the needle
penetration will occur in the first row. The second digit, 0, is the knot
assigned to the second row. And so on. Thus, each row in a partition
sequence is assigned a digit which represents a particular knot.
Note Because Partition Line allows you to specify only up to eight Tatami
offsets (0 to 7), the software ignores digits 8 and 9 and nothing appears in
the entry field.
Setting the angle
If you imagine lines drawn through the rows and partition knots, they form
a grid, as seen above. You can skew the grid formed by the partition knots
to further vary the needle penetrations. For example, the partition sequence
20143 at a 45 angle produces the following stitch pattern:
knot 0
row 1
row 2
row 3
row 4
knot 1
knot 2
knot 4
row 5
knot 3
stitch length
knot 0
row 1
row 2
row 3
row 4
row 5
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To apply partition lines
1 Right-click the Tatami icon.
The Object Properties > Fills > Tatami dialog opens.
2 Select the Partition Line option.
3 In the Sequence field, enter the partition sequence number.
In any pattern, both the number of rows and the number of knots are
determined by the number of digits in the sequence number. See Setting
the sequence for details.
4 In the Angle field, enter the grid angle you require. See Setting the
angle for details.
5 Click Apply.
Select Partition Line
Enter partition sequence
and grid angle
Sequence: 11 Sequence: 012 Sequence: 01
Sequence: 11
Angle: 135
Sequence: 11
Angle: 45
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Applying random factors
Using a random factor you can eliminate the split line patterns formed by
regular needle penetrations and distribute the stitches randomly inside the
shape. This can create interesting mottled effects.
To apply random factors
1 Right-click the Tatami icon.
The Object Properties > Fills > Tatami dialog opens.
Right-click Tatami (Stitch Types toolbar) to apply random factors and
eliminate split line patterns.
Random factor: 0%
Random factor: 50%
Enter random factor
ES 2006 Chapter 20 Textured Fills 456
2 In the Random field, specify a random factor between 0% and 100%.
Tip A value of around 50% generally gives good results.
3 Click Apply.
Creating textures with program splits
Program Split is a decorative fill stitch in which the needle penetrations form
a tiled pattern. Select a pre-defined pattern or create your own.
Note For a complete catalog of samples, see Program Split Samples.
Applying Program Split
You can apply Program Split to a wide variety of objects. The current
Program Split values are set in the Object Properties > Fills dialog. You
can adjust these either before or after applying the effect. See also
Corresponding stitch types, input methods, and effects.
random factor: 10%
offset fraction A: 0.25, B: 0.25
random factor: 50%
offset fraction A: 0.25, B: 0.25
random factor: 100%
offset fraction A: 0.25, B: 0.25
Use Program Split (Stitch Types toolbar) to create decorative fill stitches
where needle penetrations form a tiled pattern. Right-click to adjust settings.
Click Program Split (Stitch Types toolbar) to apply the effect to new or
selected objects.
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To apply Program Split
Click the Program Split icon.
Program Split stitching is applied to new or selected objects, based on
the current Program Split settings.
Tip Turn on TrueView or click the Show Needle Points icon to see the
Program Split effect.
Selecting and sizing program split patterns
You can select a wide variety of program split patterns from the Object
Properties dialog. Select the pattern either before or after digitizing the
object. Set the exact program split pattern size in the Object Properties
dialog.
Note For a complete catalog of samples, see Program Split Samples.
To select program split patterns
1 Right-click the Program Split icon.
Right-click Program Split (Stitch Types toolbar) to select patterns.
ES 2006 Chapter 20 Textured Fills 458
The Object Properties > Fills > Program Split dialog opens.
2 Select a pattern from the dropdown list.
Alternatively, click the arrow button to expand the pattern list for
TrueView representations of patterns and select one.
3 In the Size X field, enter the required width of each fill pattern.
4 In the Size Y field, enter the required height of each fill pattern.
5 Click Apply.
Selecting Combination Split options
Standard program split consists of a Satin foreground and backgroundi.e.
Satin-in-Satin. In effect it is a Satin stitch with a complicated user-defined
split. If the patterns do not overlap you may get jump stitches occurring in
the background. In this case, you can select from different combinations of
Satin and Tatami stitches. There are two possible
combinationsSatin-in-Tatami and Tatami-in-Tatami. Tatami in
Click to select pattern
Click to expand
pattern list
pattern preview
Enter pattern width
and height
Select pattern
default values Size X and Size Y
decreased
Size X increased
Right-click Program Split (Stitch Types toolbar) to access Combination Split
options.
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combination with Satin also offers a different, flatter look to standard
Satin-in-Satin.
To select Combination Split options
1 Right-click the Program Split icon.
The Object Properties > Fills > Program Split dialog opens.
2 In the Combination Split panel, click the icon you require.
Satin-in-Satin: The needle penetrates the fabric only where the
patterns intersect the stitch rows. This is the standard program split
stitch type, which produces the smallest number of stitches.
Satin-in-Tatami: The foreground of the pattern uses Satin
stitching, while the background is filled with Tatami. Use this option
to avoid long stitches when the patterns are small but the column
and row spacings are wide.
Tatami-in-Tatami: Both foreground and background use Tatami.
Select this option for large objects and patterns to avoid long
stitches.
3 Click Apply.
Satin-in-Satin Satin-in-Tatami Tatami-in-Tatami
Satin-in-Tatami
Tatami-in-Tatami Satin-in-Satin
Satin-in-Satin Satin-in-Tatami Tatami-in-Tatami
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Adjusting column and row spacing settings
Set the exact row and column spacing in program split objects. Column and
row spacing settings determine the distance between grid lines. Patterns are
placed at intersection pointsthe center of each pattern coincides with an
intersection.
The initial settings define a simple grid, where the spacing equals the
dimensions of the pattern. The row offset is set to 0.00 mm so columns and
rows are perpendicular.
Note Spacing is measured from the start of each pattern. Thus, to define
a new spacing setting, add the distance you require between patterns to the
original setting. Reducing it will cause the patterns to overlap.
To adjust column and row spacing settings
1 Right-click the Program Split icon.
The Object Properties > Fills > Program Split dialog opens.
2 In the Column panel, set the spacing and offset settings for columns in
the pattern grid.
Spacing: the distance between each vertical column of patterns.
Right-click Program Split (Stitch Types toolbar) to access column and row
spacing settings.
column spacing increased row spacing decreased default spacing values
Set column spacing
and offset values
Set row spacing and
offset values
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Offset: the distance by which to offset patterns in each column.
3 In the Row panel, set the spacing and offset settings for rows in the
same way as for columns.
4 Click Apply.
Adjusting program split stitch settings
Specify the stitch length, minimum stitch length and spacing settings for
program split objects, in the same way as for other fill stitch types.
To adjust program split stitch settings
1 Right-click the Program Split icon.
The Object Properties > Fills > Program Split dialog opens.
2 In the Stitch Spacing field, enter the required spacing.
For Tatami this is the distance between two forward rows of stitches, for
Satin, the distance between each forward stitch.
3 In the Length field, enter the stitch length.
This is the maximum stitch length to be generated in the fill.
column spacing increased row spacing decreased default spacing values
Right-click Program Split (Stitch Types toolbar) to adjust stitch settings.
Adjust stitch spacing, length
and minimum length
ES 2006 Chapter 20 Textured Fills 462
4 In the Min Len field, enter the length of the shortest stitch to be
generated.
5 Click Apply.
Adjusting program split offset settings
With all three program split combinationsSatin-in-Satin,
Satin-in-Tatami and Tatami-in-Tatamiyou can vary the pattern by
applying offset settings to rows and/or columns. Using Tatami in
combination with Satin offers a different, flatter look to standard
Satin-in-Satin. With these combinations, you can also provide background
texture with Tatami stitch offsets.
Column and row offsets
The column and row offsets determine the angle of the grid lines by shifting
rows and/or columns relative to each other. If both offsets are set to 0, the
grid lines are perfectly vertical and horizontal. As a rule, it only makes sense
to use values between 0 and half the pattern size. For example, if the
pattern is 8 mm, select row and column offsets between 0 mm and 4 mm.
Tatami stitch offsets
When using Tatami stitch in the program split combinations Satin-in-Tatami
or Tatami-in-Tatami, you can also control Tatami stitch offsets. In effect,
stitch spacing increased stitch spacing decreased default spacing values
Right-click Program Split (Stitch Types toolbar) to adjust row and column
offset settings.
column offset: 3 column and row offset: 0 row offset: 3 column and row offset: 3
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Tatami stitch becomes the background pattern with the program split
superimposed. Tatami is mainly used to avoid long stitches, so it should not
have a distinct appearance which may obscure the program split pattern.
Therefore, typical offsets are in the range 0.2 mm to 0.4 mm. See also
Creating textures with Tatami offsets.
To adjust program split offset settings
1 Right-click the Program Split icon.
The Object Properties > Fills > Program Split dialog opens.
2 Enter an offset for each column of the pattern in the Column > Offset
field.
Tip As a rule, it only makes sense to use values between 0 and half the
pattern size. For example, if the pattern is 8 mm, select row and column
offsets between 0 mm and 4 mm.
offset A: 0.25 offset A: 0 offset A: 0.4 offset A: 0.75
Enter column
offset
Enter row offset
Enter stitch
offset
column offset: 1.00 column offset: 2.50 column offset: 4.00
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3 Enter an offset for each row of the pattern in the Row > Offset field.
4 Enter a stitch offset in the Stitch > Offset A field.
This offset controls where the needle penetrations line up for each row
of stitching.
5 Click Apply.
Applying program split random factors
You can eliminate unwanted patterns and distribute stitches evenly within a
shape using a random factor. Apply random factors to program splits that
use combinations of Satin-in-Tatami or Tatami-in-Tatami.
Note The random factor does not affect the deliberate needle penetrations
that form the pattern.
To apply program split random factors
1 Right-click the Program Split icon.
row offset: 1.00 row offset: 2.50 row offset: 4.00
offset A: 0.00 offset A: 0.25 offset A: 0.50
Right-click Program Split (Stitch Types toolbar) to adjust random factor
setting.
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The Object Properties > Fills > Program Split dialog opens.
2 Enter a value in the Random fieldspecify a factor between 0% and
100%.
Tip Values of around 50% generally give good results.
3 Click Apply.
Laying out program split patterns on-screen
You lay out program splits on-screen in a similar way to Motif Fills by using
guide patterns to scale, space, transform and offset the entire pattern fill.
There are three blue guide patterns. Other sample patterns appear in
yellow. Each guide pattern lets you change different elements of the layout.
When you change a guide pattern, all patterns in the fill change accordingly.
See also Laying out motif fills on-screen.
Enter random factor value
random factor: 25% random factor: 90% random factor: 0%
Right-click Program Split (Stitch Types toolbar) to adjust layout options.
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Tip Generally you define the layout of the fill before digitizing the object. If
it is important to align the patterns with the object boundary, digitize the
object using the current settings, and change the layout afterwards.
To lay out program split patterns on-screen
1 Right-click the Program Split icon.
The Object Properties > Fills > Program Split dialog opens.
2 Select a pattern from the dropdown list.
Alternatively, click the arrow button to expand the pattern list for
TrueView representations of patterns and select one.
3 Click Layout.
Sample and guide patterns appear in the design window. When you
change a guide pattern, all patterns in the fill change accordingly.
Tip Zoom in to select the correct guide pattern.
4 Adjust the guide patterns to achieve the effect you require.
Move patterns by selecting the middle guide pattern and dragging it
to a new position.
Select pattern
Click to change
pattern layout
Use top guide pattern to change row
spacing, row offset, and to scale patterns
Use side guide pattern to
change column spacing, and to
scale patterns
Use middle guide pattern to
move, rotate, skew, and
scale patterns
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Scale patterns by selecting a guide pattern and resizing it using the
selection handles.
Rotate patterns by clicking the middle guide twice to display the
rotation handles. Click a corner handle and drag to rotate.
Skew patterns by clicking the middle guide twice, then dragging the
skew handles.
Change column spacing by selecting the side guide and dragging it
left or right.
Drag the
pattern
Scale
proportionally
Scale
horizontally
Scale vertically
rotate
skew
anchor
ES 2006 Chapter 20 Textured Fills 468
Change column offset by selecting the side guide and dragging it up
or down.
Change row spacing and offsets in the same way as columns.
5 Press Esc to finish.
The size and layout settings you select become the current Program Split
settings.
Tip To revert to the original factory settings, run the Revert utility. See
Reverting to factory settings for details. Alternatively, enter the values
manually in the Object Properties > Fills > Program Split dialog and
click Save. See Program Split Samples for details.
6 Digitize the object outline as you normally would.
Change column
spacing
Change
offset
Change row
spacing
Change
offset
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Note Digitize the stitch angle carefully when creating objects filled with
program split. The needle penetrations are placed where the lines of the
pattern intersect the stitch rows. If the rows are parallel with the lines
of the pattern, they will rarely intersect, and the pattern may not be
visible. A 45 stitch angle is suitable for most patterns.
Making program split patterns
Make your own patterns to use in program split fills. Create patterns from
the outlines of embroidery objects or from drawing objects.
Note Patterns you create can also be used for Flexi Split effects.
To make program split patterns
1 Select the object (or objects) you want to use for the pattern.
2 Select Special > Make Program Split.
The Make Program Split dialog opens.
3 Enter a name in the Make Program Split dialog.
You are prompted with a confirmation message.
4 Click OK.
The new pattern is automatically selected in the Pattern list.
Enter pattern
name
A-My ProgramSplit
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Editing program split patterns
Editing a pattern changes the actual pattern, not just the object layout. See
also Laying out program split patterns on-screen.
To edit program split patterns
1 Right-click the Program Split icon.
The Object Properties > Fills > Program Split dialog opens.
2 Select a pattern and click Edit.
The pattern appears in the design window.
Tip Press Shift+0 to zoom in on the pattern.
3 Scale, transform or reshape the pattern as required.
See Arranging and Transforming Objects for details.
See Converting and Reshaping Objects for details.
4 Select Special > Make Program Split with the pattern selected.
The Make program Split dialog opens.
Select pattern
Click to edit pattern
Edit pattern
Enter pattern
name
A-My New ProgramSplit
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5 Enter a name for the pattern in the Make Program Split dialog.
To create a pattern based on the old one, enter a new name.
To overwrite the original pattern, enter the name of the original.
6 Click OK.
The pattern is automatically selected in the Pattern list.
Creating textures with Flexi Split
Flexi Split is a decorative effect where one or more
lines of a program split pattern are used in the
object fill. The pattern follows the stitch angle and
may be scaled to fit the width of the object. There
are four different Flexi Split effects. Use the existing
patterns for Flexi Split or create your own. See also
Making program split patterns.
Applying Flexi Split
You can apply Flexi Split to a wide variety of object and stitch types. It is
intended for use with objects with turning stitches or constantly changing
column width. You can adjust Flexi Split values either before or after
applying the effect. See also Corresponding stitch types, input methods, and
effects.
To apply Flexi Split
Select an object and click the Flexi Split icon.
The effect is applied based on the current Flexi Split settings.
Use Flexi Split (Stitch Types toolbar) to apply a decorative effect to new or
selected objects. Right-click to adjust settings.
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You can also activate the effect with no objects selected. It then applies
to all newly created objects.
Tip Turn on TrueView or click the Show Needle Points icon to see the
effect of Flexi Split.
Selecting Flexi Split patterns and options
You select Flexi Split patterns and options from the Object Properties >
Flexi Split dialog.
To select Flexi Split patterns and options
1 Right-click the Flexi Split icon.
The Object Properties > Flexi Split dialog opens.
2 Select the Flexi Split checkbox.
Right-click Flexi Split (Stitch Types toolbar) to select patterns and options.
Click to select pattern
Select Flexi Split
Select option
Pattern preview
Click to expand
pattern list
Select pattern
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3 Select a pattern from the dropdown list.
Alternatively, click the arrow button to expand the pattern list for
TrueView representations of patterns and select one.
4 Select one of four Flexi Split options.
5 Adjust size and spacing settings as required. See Adjusting Flexi Split
settings for details.
6 Click Apply.
Adjusting Flexi Split settings
You can adjust Flexi Split settings to vary size, shape indent, spacing and
pattern offsets.
To adjust Flexi Split settings
1 Right-click the Flexi Split icon.
The Object Properties > Flexi Split dialog opens.
2 Select the Flexi Split checkbox.
3 Select a pattern from the dropdown list.
Right-click Flexi Split (Stitch Types toolbar) to adjust settings.
Enter
dimensions of
largest pattern
Select Flexi
Split option
Enter spacing
and offsets
Enter distance
between first pattern
and first stitch line
Select Flexi Split
Select pattern
ES 2006 Chapter 20 Textured Fills 474
Alternatively, click the arrow button to expand the pattern list for
TrueView representations of patterns and select one. See also Selecting
Flexi Split patterns and options.
4 In the Size X and Size Y fields, enter the dimensions of the largest
pattern in the effect.
5 In the Indent field, enter the distance between the first pattern and the
first stitch line.
6 In the Column panel, enter spacing and offset settings as required:
Spacing: the distance between each column of patterns in the
effect.
Offset: the distance by which each pattern repeat is offset.
Note If you selected an option that uses more than one row of patterns,
the fields in the Row panel are available.
7 In the Row panel, enter spacing and offset settings as required.
8 Click Apply.
Indent: 2 mm default indent values Indent: 4 mm
default column values column spacing
decreased
column offset value
changed
default column and row
values
column and row spacing
decreased
row offset value changed
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Creating user-defined splits
User-Defined Split lets you add detail to filled
objects by digitizing lines of needle
penetrations called split lines. Split lines are
stored as object properties. They are
preserved when stitches are regenerated
even if you apply a different stitch type.
Note Split lines are not part of the object outline and cannot be reshaped
with the rest of the object.
Creating new objects with User-Defined Split
Select User-Defined Split before digitizing to add split lines to new objects.
As you digitize, you are prompted to enter the split lines. You digitize them
in the same way as Run objects. You can define multiple splits if required.
Tip Satin is the most suitable stitch type for User-Defined Split as there are
no initial needle penetrations inside the shape.
To create new objects with User-Defined Split
1 Select a fill input method and stitch type.
2 Click the User-Defined Split icon.
3 Digitize the object boundaries, entry and exit points and stitch angle as
you normally would, following the prompts in the Prompt Line.
4 Digitize a split line over the object when prompted, then press Enter.
Use User-Defined Split (Stitch Types toolbar) to create your own split line
effects. Right-click to adjust settings.
ES 2006 Chapter 20 Textured Fills 476
Repeat this step for additional split lines.
Tip For best results, digitize split lines approximately perpendicular to
the stitch angle.
5 Press Enter.
Applying User-Defined Split to selected objects
Add split lines to an existing object by
digitizing the required line over it, then
converting it to a split line. Digitize the
split line using an input methode.g.
Runor a vector drawing tool.
To apply User-Defined Split to selected objects
1 Select an input method or drawing tool to digitize the split line.
Tip Use any input methodincluding fill input methodsas only the
outlines are used to create the split lines.
2 Digitize a split line on top of the filled object, using left and right-clicks
to enter reference points, and press Enter.
Digitize object outline Digitize split line
Generate stitches
Use User-Defined Split (Stitch Types toolbar) to apply the effect to selected
objects. Right-click to adjust settings.
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To create more than one split line, repeat this step.
Tip To use existing objects to create split lines, simply move the object
on top of the filled object you are creating lines for.
3 Select the split line object (or objects).
4 Select Special > Make Lines For > User Defined Split.
5 Press Delete to remove the split line object (or objects).
6 Select the filled object on which you digitized split lines.
7 Click the User Defined Split icon.
Tip Turn on TrueView or click the Show Needle Points icon to view the
effect.
Splitting alternate lines
The User-Defined Split feature sometimes creates a split line which is too
hard for certain applications such as Schiffli design work. The Split
Alternate Stitch Lines setting softens the split line.
To split alternate lines
1 Select a user-defined split object.
2 Right-click the User Defined Split icon.
The Object Properties > Decorative dialog opens.
Right-click User-Defined Split (Stitch Types toolbar) to apply split lines.
user-defined
split
ES 2006 Chapter 20 Textured Fills 478
3 Select the Split Alternate Stitch Lines checkbox.
4 Click Apply.
Split lines are softened.
Select to soften split line
split lines
applied
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Chapter 21
Artistic Stitch Effects
ES Designer provides many
artistic effects and stitch types to
create textured and contoured fill
stitching.
Use Jagged Edge to create rough
edges, shading effects, or imitate
fur and other fluffy textures.
Apply Trapunto effect to move
underlying travel runs to the edges
of an object so that they cant be
seen through open stitching.
Accordion Spacing varies stitch
spacing between dense and open
fill, producing shading and color
effects which are difficult to
achieve manually. The Color Blending effect creates interesting
perspective, shading and color effects by blending two colored layers. The
colors are merged smoothly from one to another using a mixture of dense
and open fill.
Create interesting chiaroscuro effects with Contour. Choose between
Standard and Spiral. For another type of curved effect, use Florentine Effect
to curve needle penetrations along a digitized line. Liquid Effect allows you
to enter twin guidelines.
This section describes how to create artistic effects with Jagged Edge,
Accordion Spacing, and Color Blending, and how to adjust their settings to
get the results you want. Creating contoured stitch effects with the Contour
feature is also covered, as well as how to create curved fills with Florentine
Effect and Liquid Effect.
Tip ES Designer also provides special tools to create patterns from needle
penetrations. These include Program Split, User Defined Split and Flexi
Split. See Textured Fills for details.
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Creating jagged edges
Use Jagged Edge to create rough edges, shading effects, or imitate fur and
other fluffy textures. See also Corresponding stitch types, input methods,
and effects.
Note Jagged Edge does not work with Contour stitch.
Applying Jagged Edge
Apply Jagged Edge to create a rough edge along one or more sides of an
object. Change settings before or after applying the effect. See Adjusting
Jagged Edge settings for details.
To apply Jagged Edge
Click the Jagged Edge icon.
The effect is applied to new or selected objects, based on the current
Jagged Edge settings.
Tip For objects filled with Tatami, use Diagonal backstitch for the best
results. See Selecting a Tatami backstitch for details.
Click J agged Edge (Stitch Types toolbar) to apply the effect to new or
selected objects.
side 2 jagged side 1 jagged both sides jagged
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Adjusting Jagged Edge settings
Adjust Jagged Edge settings to change the side of the object to which the
effect is applied. You can also set the range within which stitches will fall.
To adjust Jagged Edge settings
1 Right-click the Jagged Edge icon.
The Object Properties > Decorative dialog opens.
2 Select the Jagged checkbox.
3 Select the side to apply the effect toSide 1, Side 2, or Both Sides.
Right-click J agged Edge (Stitch Types toolbar) to adjust J agged Edge
settings.
Adjust J agged
Edge settings
Select J agged
Edge
Side 2 Side 1 Both Sides
ES 2006 Chapter 21 Artistic Stitch Effects 482
4 In the Roughness field, enter a value between 1 and 10 to indicate the
required degree of jaggedness. The larger the value, the more variation
in the stitch length.
5 In the Range field, enter the margin within which you want the stitches
to fall.
6 Click Apply.
Creating open stitching with Trapunto
Trapunto traditionally refers to quilting in which a design is outlined with
two or more rows of running stitches and then padded from the underside
to achieve a raised effect. For a consistent puffed look, rows need to be
separated with fixed spacing. In ES Designer, the Trapunto effect is
typically used in combination with open stitching to fill backgrounds or for
Roughness: 1
Range: 5
Roughness: 5
Range: 5
Roughness: 10
Range: 5
Range: 1.5
Range: 4
Use Trapunto (Stitch Types toolbar) to force underlying travel runs to the
edges of a selected object. Right-click to adjust Trapunto settings.
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shading effects where the absence of travels under the fill is more important
than exact spacing.
The Trapunto effect automatically moves underlying travel runs to the edges
of an object so they cant be seen. It also applies consistent row spacing and
prevents segments from overlapping, regardless of the Overlapping Rows
setting. Without it, travel runs, spacing variations and overlapping rows
between segments are visible and can spoil the effect of open stitching.
Another major use of Trapunto is with color blending which is created by a
combination of Trapunto and Accordion Spacing. Accordion Spacing extends
the usefulness of Trapunto by providing a simple way to produce variation
in a filled pattern and the illusion of depth in a design. Trapunto and
Accordion Spacing can also be combined with Liquid and Florentine effects
to produce curved color blending. See also Creating color blending effects
and Creating curved fills with Florentine Effect.
Note The Trapunto feature is only available with Complex Fill objects using
Tatami stitching.
To create open stitching with Trapunto
1 With or without a Complex Fill object selected, right-click the Tatami
icon.
The Object Properties > Fills > Tatami dialog opens.
2 In the Stitch Spacing field, enter the required stitch spacing.
Complex Fill / Tatami
object without
Trapunto effect
Complex Fill / Tatami
object with Trapunto
effect
Adjust stitch spacing
ES 2006 Chapter 21 Artistic Stitch Effects 484
The larger the value, the more open the spacing.
3 Click Apply.
4 With the Complex Fill object selected, click the Trapunto icon.
Travel runs and overlapping rows are removed and consistent row
spacing applied.
Note Trapunto effect overrides whatever Tatami Backstitch settings
currently apply. See also Selecting a Tatami backstitch.
Creating accordion spacing effects
Accordion Spacing varies the stitch spacing between dense and open fill,
producing shading and color effects which are difficult to achieve manually.
Eight different Accordion Spacing effects are available. When you use
Accordion Spacing, the current spacing settingsincluding Auto Spacing
and Fractional Spacingare ignored. However, other stitch effects will still
apply. See also Corresponding stitch types, input methods, and effects.
Tip Apply Trapunto effect to force underlying travel runs to the edges of an
object so that they cant be seen through open stitching. See Creating open
stitching with Trapunto for details.
Spacing: 3 mm Spacing: 5 mm
Use Accordion Spacing (Stitch Types toolbar) to vary stitch spacing between
dense and open fill. Right-click to adjust settings.
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Applying Accordion Spacing
Use Accordion Spacing to create perspective effects and shading.
You can apply it using the current settings. These can be adjusted and the
type of Accordion Spacing changed either before or after you apply it.
Tip You cannot use Accordion Spacing with Contour stitch or Motif Fill.
However, you can also use Accordion Spacing over standard Tatami to create
interesting shading effects.
To apply Accordion Spacing
Click the Accordion Spacing icon.
The effect is applied to new or selected objects, based on the current
Accordion Spacing settings.
Adjusting Accordion Spacing settings
Use the Object Properties dialog to select the Accordion Spacing type and
set the minimum and maximum spacings.
Tip Because of the open stitch, Accordion Spacing is best used without
Auto Underlay.
To adjust Accordion Spacing settings
1 Right-click the Accordion Spacing icon.
Click Accordion Spacing (Stitch Types toolbar) to apply the effect to new or
selected objects.
maximum
spacing
minimum
spacing
Right-click Accordion Spacing (Stitch Types toolbar) to adjust settings.
ES 2006 Chapter 21 Artistic Stitch Effects 486
The Object Properties > Accordion dialog opens.
2 Select the Accordion Spacing checkbox.
3 In the Profile panel, click an Accordion Spacing icon.
4 In the Values panel, enter new spacing values as required.
Maximum Spacing: the largest spacing value to allow.
Select Accordion Spacing
Select spacing effect
Adjust spacing settings
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Minimum Spacing: the smallest spacing value to allow.
Tip Apply Trapunto effect to force underlying travel runs to the edges
of an object so that they cant be seen through open stitching. See
Creating open stitching with Trapunto for details.
5 Click Apply.
Creating color blending effects
From sunsets to wood grains, the Color Blending effect creates interesting
perspective, shading and color effects by blending colored layers. Two colors
are merged smoothly from one to another using a mixture of dense and
open fill. The effect is created by duplicating the object, then applying
Accordion Spacing and Trapunto to both layers which are then grouped.
There are four Color Blending effectslinear stitch spacing, exponential
spacing, convex or concave spacing, and wavy spacing.
Color Blending can be applied to ungrouped objects filled with Satin, Tatami,
Zigzag, E Stitch, or Program Split stitch, or objects outlined with Satin or
E Stitch.
Applying Color Blending
max spacing: 3.5 mm max spacing: 6 mm min spacing: 1 mm min spacing: 3 mm
Click Color Blending (Generate toolbar) to apply the effect to selected
objects.
ES 2006 Chapter 21 Artistic Stitch Effects 488
Use the Color Blending effect to create color blends, perspective effects
and shading. Select which type of Color Blending to use, and set the spacing
settings in the Color Blending dialog.
Note Color Blending cannot be applied to grouped objects. Ungroup, select
the object, then apply Color Blending.
To apply Color Blending
1 Select the object.
2 Click the Color Blending icon.
The Color Blending dialog opens.
3 In the Top Layer panel, select a profile and color, and set spacing
values.
4 Repeat this step with the Bottom Layer panel.
maximum
spacing
minimum
spacing
Select first
Spacing effect
Select first color
Select second color
Select second
Spacing effect
Select first
spacing
Select second
spacing
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5 Click OK.
Tip To prevent underlay stitching from showing through, deselect Auto
Underlay. Trapunto effect is applied by default. See also Strengthening
and stabilizing with automatic underlays and Creating open stitching
with Trapunto.
Adjusting Color Blending settings
Objects with Color Blending can be resized, rotated and skewed without
losing the color blending effect. However, reshaping the object is not
recommended. Editing a Color Blending object is limited. The two objects
must first be ungrouped and the separate objects edited according to
Accordion Spacing settings such as color, profile, and spacing. See
Creating accordion spacing effects for details.
To adjust Color Blending settings
1 Select the blended object and ungroup it.
2 Select one of the objects and change the color as required.
3 Double-click the object to open the Object Properties dialog.
Top and Bottom Layer
Linear Profile
Top and Bottom Layer
Exponential Profile
Top and Bottom Layer
Convex Profile
Top and Bottom Layer
Wave Profile
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4 Click the FX button and select the Accordion tab.
5 Select a profile and adjust spacing settings as required.
6 Click Apply.
7 Repeat the process for the second object and re-group the objects.
Creating contoured stitch effects
Contour is a curved fill stitch typestitches follow the contours of a shape,
creating a curved, light and shade effect. It only works on columnar shapes.
There are two typesStandard and Spiralboth of which can be applied
to a variety of objects. See also Corresponding object and stitch types.
Standard Contour
Standard Contour creates rows of stitches across the shape, perpendicular
to the digitized stitch angle. The number of stitch lines is constant, so the
Select spacing effect
Adjust spacing settings
Use Contour (Stitch Types toolbar) to create curved fills where stitches follow
the contours of the shape. Right-click to adjust Contour settings.
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stitching is denser where the shape is narrower, and more open where the
shape is wider.
Spiral Contour
Spiral Contour creates a single, continuous line of stitching that spirals
around to fill the shape. Typically, it is used for rings and borders, but it is
also suitable for other closed shapes.
Spiral Contour can only be used with closed shapes with two outlines such
as rings. If a shape is not properly closed, it will be filled with Standard
Contour instead. You cannot use Spiral Contour with Circle objects.
Tip To fill a solid shape with Spiral Contour, create a closed object with a
very small hole at the center. For example, to create a circle filled with Spiral
Contour, digitize a thick ring with a very small inner boundary.
Applying Contour stitch to fills
Apply Contour to filled objects in the same way as other stitch typesby
selecting it from the toolbar either before or after digitizing.
Standard Contour
Spiral Contour
circle with Spiral Contour
created from a ring
Click Contour (Stitch Types toolbar) to apply Contour stitch to new or
selected objects.
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To apply Contour stitch to fills
Click the Contour icon.
Contour stitch is applied to selected objects based on the settings in the
Object Properties dialog. See Adjusting Contour stitch settings for
details.
Tip When you digitize shapes with pointed endse.g. leaves,
diamonds, starscut the ends to prevent the stitches from bunching.
Selecting Contour stitch types
Apply Standard or Spiral Contour to new or existing objects in a design.
To select Contour stitch types
1 Right-click the Contour icon.
The Object Properties > Fills > Contour dialog opens.
2 In the Type panel, click a contour type icon.
Right-click Contour (Stitch Types toolbar) to select Contour stitch types.
stitch bunching
at sharp ends
1
2
3
4
5
6
7
8
9
10
1
2
3
4
5
6
7
8
Input B
Input B
Select contour type
Select backstitch type
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Standard: lays rows of stitches back and forth along the shape.
Spiral: fills the shape with a continuous spiral of stitches.
3 In the Backstitch panel, click a backstitch type icon.
Standard: creates backstitch rows that are slightly shorter than the
forward rows, reducing small stitches. Suitable for high density fills.
Borderline: creates parallel backstitch rows to give a smooth,
well-defined edge. Suitable for lower density fills.
Note If the spacing is small, Borderline backstitch will not be applied.
This is to prevent damage to the fabric from the large number of small
stitches that are generated.
4 If required, adjust the Contour stitch settings. See Adjusting Contour
stitch settings for details.
5 Click Apply.
Adjusting Contour stitch settings
Set the stitch settings for Contour fills to adjust the stitch length, spacing
and offset fraction.
To adjust Contour stitch settings
1 Right-click the Contour icon.
Standard
Spiral
Borderline
Standard
Right-click Contour (Stitch Types toolbar) to adjust Contour stitch settings.
ES 2006 Chapter 21 Artistic Stitch Effects 494
The Object Properties > Fills > Contour dialog opens.
2 In the Length field, enter an approximate stitch length.
Each stitch is adjusted to distribute the stitches evenly throughout the
shape. See Adjusting Tatami stitch spacing and length for details.
3 In the Spacing field, enter the maximum spacing value.
This value is used at the widest part of the shape. As the shape narrows,
the spacing decreases. See Adjusting Tatami stitch spacing and length
for details.
4 In the Offset Fraction field, enter the required offset value.
Adjust stitch values
Adjust offset setting
Adjust variable
stitch settings
stitch length
3.6 mm
stitch length
1.5 mm
stitch spacing:
3.0 mm
stitch spacing:
1.5 mm
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The offset fraction controls the pattern of needle penetrations to achieve
even distribution of stitches and prevent needle penetrations from
forming unwanted lines.
5 In the Vary Stitch Length panel, set the variable stitch length values,
if required. See Setting variable run stitch lengths for details.
6 Click Apply.
Creating curved fills with Florentine Effect
Florentine Effect can be applied to Complex Fill objects to create a flowing
stitch effect along a digitized line. The stitches follow the digitized line but
maintain uniform density and needle penetration patterns. The digitizing
method varies, depending whether you are applying the effect to new or
existing objects. See also Creating curved fills with Liquid Effect.
Note For all other object types, use Standard Contour to achieve curved
stitching.
too big offset: 1 mm,
unwanted lines
default offset: 0.25 mm,
stitches evenly distributed
Variable Length selected,
stitch values vary
Variable Length not selected,
stitch values fixed
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Creating new objects with Florentine Effect
To apply the effect to new Complex Fill objects, select Florentine Effect
before starting.
Tip For best results, use smaller stitch lengthse.g. 4.00 mm or less.
To create a new object with Florentine Effect
1 Click the Complex Fill icon and select Tatami stitch.
2 Click the Florentine Effect icon.
3 Digitize the boundaries, and entry and exit points of the Complex Fill
object following the prompts.
4 Digitize the guideline you want the stitches to follow.
Use Complex Fill (Input toolbar) to create an embroidery object.
Use Florentine Effect (Stitch Types toolbar) to create user-defined curved
stitching.
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The guideline must intersect both sides of the object, have at least three
points, and must not overlap itself. Curves generally give better results
than sharp corners.
5 Press Enter.
Tip Use the Reshape Object tool to change the shape of the curve. See
Applying Florentine Effect to existing objects for details.
Applying Florentine Effect to existing objects
Apply Florentine Effect to existing Complex Fill objects in a design. Then
use the Reshape Object tool to adjust the guideline.
To apply Florentine Effect to existing objects
1 Select an object.
Note The Florentine Effect icon is only available with Complex Fill
objects using a suitable stitch type.
2 Click the Florentine Effect icon.
3 With the object still selected, click the Reshape Object icon.
Use Florentine Effect (Stitch Types toolbar) to apply curve stitching to
existing objects.
Use Reshape Object (Pointer toolbar) to adjust control points of the
guideline.
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A default guideline with three corner control points appears.
4 Reshape the guideline by moving, adding, changing or deleting
reference points.
5 Press Enter.
ES Designer regenerates the stitches along the new curve.
Tip Turn on TrueView or click the Show Needle Points icon to view the
results.
Applying Florentine Effect to multiple objects
You can apply Florentine Effect to multiple objects in a design by copying
the properties of the first object and applying them to other objects.
Use Florentine Effect (Stitch Types toolbar) to apply curve stitching to
multiple objects.
Use Reshape Object (Pointer toolbar) to adjust control points of the
guideline.
Click Make Properties Current (Styles toolbar) to make the properties of a
selected object current for the design.
Use Apply Current Properties (Styles toolbar) to apply current settings to
selected objects.
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To apply Florentine Effect to multiple objects
1 Select an object.
Note The Florentine Effect icon is only available with Complex Fill
objects using a suitable stitch type.
2 Click the Florentine Effect icon.
3 With the object still selected, click the Reshape Object icon.
A default guideline with three corner control points appears.
4 Reshape the guideline so that it overlaps the objects you want to
include.
5 Press Enter.
ES Designer regenerates the stitches of the first selected object along
the curve.
6 With the first object selected, click the Make Properties Current icon.
The stitch properties of the first object, including the florentine effect,
now become the current settings. See Making selected object properties
current for details.
7 Apply the current settings to each of the other objects with the Apply
Current Properties tool. See Applying current settings to existing
objects for details.
Apply current
settings to selected
object
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Tip Turn on TrueView or use the Show Needle Points tool to view the
results.

Adjusting Florentine Effect settings


In a Florentine Effect fill, stitch lengths vary to adjust the needle point
pattern to the curve of the digitized line. You can specify how ES Designer
calculates the stitch length by choosing between Nominal and Maximum.
The Nominal setting generates roughly the same number of fill stitches as
with normal stitching. The Maximum setting generally produces smoother
curves than Nominal, but the stitch count is higher.
Tip Use Maximum when the curve is tight with respect to the stitch length.
To adjust Florentine Effect settings
1 Right-click the Florentine Effect icon.
The Object Properties > Curve dialog opens.
2 Select the Florentine Effect checkbox.
3 Select the required stitch length calculation option:
Nominal: the average length of the fill stitches matches the Stitch
Length setting.
Right-click Florentine Effect (Stitch Types toolbar) to adjust settings.
Select Florentine Effect
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Maximum: the longest stitch matches the Stitch Length setting.
4 Click Apply.
Creating curved fills with Liquid Effect
Liquid Effect is similar to Florentine Effect except that you enter twin
guidelines for stitches to follow in Complex Fill objects. This means that
stitches at the top of a shape can follow a different guideline to those at the
bottom. The change between the two guidelines is distributed evenly to
produce smooth stitching.
Creating new objects with Liquid Effect
nominal
maximum
Use Complex Fill (Input toolbar) to create an embroidery object.
Use Liquid Effect (Stitch Types toolbar) to create curved stitch effects with
two guidelines.
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Unlike Florentine Effect, Liquid Effect guidelines are digitized outside the
object, rather than over it. If any part of a guideline crosses the object
boundary, an error message appears.
Tip You can also apply the Liquid Effect to existing objects. To get the
required shapes, select the object and adjust the guidelines using Reshape
Object icon.
To create new objects with Liquid Effect
1 Click the Complex Fill icon and select Tatami stitch.
2 Click the Liquid Effect icon.
You are prompted to enter the first point of boundary 1 of the object.
3 Digitize the boundaries, entry and exit points and stitch angle of the
Complex Fill object following the prompts.
Note You are not prompted to digitize the stitch angle.
4 Digitize the first guideline around the outside of the object.
You must enter at least three reference points.
5 Press Enter.
guideline 1
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You are prompted to enter the second guideline. Notice that the pointer
has elastic lines attached to it. These lines join each side of the guideline
shape.
6 Digitize the second guideline in the same direction of the first, marking
at least three reference points.
Note The two guidelines must not overlap or intersect the object
outline.
7 Press Enter.
Tip To modify the guidelines, select the object and then the Reshape
Object icon. Click-and-drag the guidelines into the required shapes, and
press Enter.
Adjusting Liquid Effect settings
As with Florentine Effect fill, you can specify how ES Designer calculates
the stitch length by choosing between Nominal and Maximum.
Tip Use Maximum when the guideline is tight with respect to the stitch
length.
guideline 1
guideline 2
Right-click Liquid Effect (Stitch Types toolbar) to adjust settings.
ES 2006 Chapter 21 Artistic Stitch Effects 504
To adjust Liquid Effect settings
1 Right-click the Liquid Effect icon.
The Object Properties > Curve dialog opens.
2 Select the Liquid Effect checkbox.
3 Select the required stitch length calculation option:
Nominal: the average length of the fill stitches matches the Stitch
Length setting.
Maximum: the longest stitch matches the Stitch Length setting.
4 Click Apply.
Select Liquid
Effect
Maximum Nominal
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Chapter 22
Motif Runs and Fills
Motifs are pre-defined design elements, such as hearts, leaves or border
patterns. They generally consist of one or more simple objects, and are
stored in a special motif set.
With Motif Run and Motif Fill you can use simple motifs such as hearts,
leaves or border patterns to create ornamental runs and textured fills.
Create your own motifs or use the ones provided with the software. Motifs
can be scaled, rotated and mirrored in the same way as other objects. Using
3D Warp with motif fills, you can also create interesting three dimensional
effects.
This section describes how to insert motifs into your design, and how to
rotate, mirror and scale them. It explains how to manage motifs, including
how to create your own motifs and motif sets. It also describes how to
create both motif runs and motif fills, as well as how to apply 3D effects to
motif fills.
Creating motif runs
Motif Run is an input method that creates motif repeats along a digitized
line. You can create decorative outlines using any motif from the selection
ES 2006 Chapter 22 Motif Runs and Fills 506
list. You can modify the rotation angle, orientation and scale, and vary the
space between motifs.
Creating Motif Run objects
Use the Motif Run tool to create a string of motifs along a digitized line. You
can select motifs in the Object Properties dialog before or after digitizing.
You can also adjust scale and spacing settings.
Tip You can also apply Motif Run to other selected run objects such as Run,
Stemstitch, etc. See Converting between run objects for details.
To create a Motif Run object
1 Click the Motif Run icon.
2 Digitize the line along which you want the motif to appear by entering
reference points.
Click to add a corner point
Right-click to add a curve point.
3 When you have finished digitizing the line, press Enter.
An outline of the current motif attaches to your cursor.
To use the original size and orientation of the motif press Enter.
Use Motif Run (Input toolbar) to create a string of motifs along a digitized line.
Resize motif
outline to scale
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To scale the motif, move the pointer until the motif is the required
size, click, then press Enter.
To mirror the motif, right-click then press Enter.
Tip You can combine scaling and mirroring.
Selecting motifs for motif runs
You can select motifs to use before or after digitizing a motif run. If you use
Motif Run without selecting a motif, a default will be used. To change a
motif after digitizing, use the Object Properties dialog as described here.
See also Selecting and inserting single motifs.
Note For a complete catalog of samples, see Motif Samples.
To select a motif for motif runs
1 Select a Motif Run object.
2 Right-click the Motif Run icon.
Right-click Motif Run (Input toolbar) to select motifs to use with Motif Run.
ES 2006 Chapter 22 Motif Runs and Fills 508
The Object Properties > Outlines > Motif Run dialog opens.
3 Select a motif set from the Set list.
There are two pre-defined setsSingle Motifs and Two-Part Motifs.
Two-Part Motifs are more appropriate to motif fills but can be used for
motif runs as well. You can also define your own motif sets. See Creating
motif sets for details.
4 Select a pattern from the dropdown list.
Alternatively, click the arrow button to expand the motif list for TrueView
representations of motifs and select one.
5 Click Apply.
The selected Motif Run object is updated according to the motif selected.
Tip Select a motif with no object selected and click Apply to make the
selection current.
Select motif
Select motif set
Select motif
Click to expand
motif list
Motif preview
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Scaling motifs in motif runs to an exact size
You can set the exact size of motifs in a Motif Run by entering the
dimensions in the Object Properties dialog.
Note You can enter motif dimensions before or after digitizing the object.
To scale motifs in a motif run to an exact size
1 Select a Motif Run object.
2 Right-click the Motif Run icon.
The Object Properties > Outlines > Motif Run dialog opens.
3 In the Size X and Size Y fields, enter horizontal and vertical dimensions
for the motifs.
4 Click Apply.
Tip You can also scale motifs as you digitize Motif Run objects. See
Creating Motif Run objects for details.
Right-click Motif Run (Input toolbar) to scale motifs in Motif Run.
Enter horizontal and
vertical dimensions
Original run
Scaled in X
Scaled in Y
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Adjusting Motif Run spacing
Adjust the spacing between each motif in a Motif Run before or after
digitizing. See Saving motifs for details.
To adjust Motif Run spacing
1 Select a Motif Run object.
2 Right-click the Motif Run icon.
The Object Properties > Outlines > Motif Run dialog opens.
3 In the Spacing field, enter the distance between each repetition of the
motif.
If they do not fit the baseline exactly, ES Designer adjusts the spacing
to make them fit:
If the space remaining at the end of the baseline is less than half a
motif, the extra space is spread evenly between the motifs.
Right-click Motif Run (Input toolbar) to adjust Motif Run spacing.
Original spacing Spacing increased Spacing decreased
Enter distance between
motif repetitions
spacing initial spacing
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If the space is larger than half a motif, ES Designer inserts an extra
motif, and slightly overlaps the motifs to distribute them evenly
along the baseline.
Tip You can reshape the baseline to achieve the exact spacing you
require. See Reshaping Motif Run objects for details.
Keeping or omitting motifs
If you are digitizing adjoining lines with Motif Run, you can omit the last
motif of the current objector the first motif of the next objectto avoid an
overlap where the lines join.
Note You can adjust these settings either before or after digitizing the
object.
To keep or omit motifs
1 Select a Motif Run object.
2 Right-click the Motif Run icon.
Right-click Motif Run (Input toolbar) to select whether to keep or omit first
and last motifs.
First and last
motifs kept
First motif kept,
last motif omitted
ES 2006 Chapter 22 Motif Runs and Fills 512
The Object Properties > Outlines > Motif Run dialog opens.
3 Choose whether to keep or omit first and last motifs.
4 Click Apply.
Reshaping Motif Run objects
Reshape Motif Run objects in the same way as you reshape lettering objects.
See also Special Lettering Features.
To reshape Motif Run objects
1 Select a Motif Run object and click the Reshape icon.
Control points appear around the motifs.
2 Adjust the outline and motif spacings as required:
Reposition and/or change reshape nodes from corner to curve.
Add or delete reshape nodes.
Choose whether to keep or
omit first and last motifs
Use Reshape Object (Pointer toolbar) to reshape selected Motif Run objects.
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Click-and-drag individual motifs to adjust spacing.
3 Adjust the size of the whole object as required:
Drag the vertical resize handle to scale the height of the object.
Drag the horizontal resize handle to scale the width of the object.
Drag the proportional resize handle to scale the object
proportionally.
4 Click the diamond control point of the motif to activate reshape nodes:
Drag resize handles to scale the motif.
Drag the skew handle to skew the motif.
Drag the rotate handle to rotate the motif.
5 Press Esc to finish.
Drag to shift
motif
Select and press
Spacebar to toggle
between corner and
curve reshape nodes
Right/left-click
to add reshape
node
Drag to scale
object height
Drag to scale
object
proportionately
Drag to scale
object width
Drag to resize motif
Click to activate
reshape nodes
Drag to
skew motif
Drag to
rotate motif
ES 2006 Chapter 22 Motif Runs and Fills 514
Creating motif fills
Motif Fill is a decorative stitch used for filling Complex Fill objects. This
feature repeats motifs in parallel rows to fill the shape. You can select
different motifs for forward and backward rows. You can design the motif
layout on-screen, or by adjusting settings in the Object Properties dialog.
Creating Motif Fill objects
Digitize Complex Fill objects with Motif Fill or apply it to existing Complex
Fill objects to create decorative fill stitching using current settings. You can
select motifs in the Object Properties dialog before or after digitizing. You
can also adjust scale and spacing settings.
Note The stitch angle has no effect on motif layout.
To create a Motif Fill object
1 Click the Complex Fill and Motif Fill icons.
2 Digitize an object.
Use Complex Fill (Input toolbar) to create an object to apply Motif Fill to.
Use Motif Fill (Stitch Types toolbar) to apply Motif Fill to objects using current
settings. Right-click to change settings.
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As soon as the entry and exit points are entered the Motif Fill stitches
are generated using current settings. See Digitizing complex shapes for
details.
Tip You can generate layers of colored motifs by duplicating an object
and selecting a different color. For example, after filling a shape with
circles, you can create a second layer, apply a different color and motif,
and offset it from the first. You can even apply effects such as Globe Out
to the whole motif fill. See also Applying 3D effects to motif fills.
Selecting motifs for motif fills
t
Select from a wide range of motifs in the Object Properties dialog. You can
mix and match different motifs for forward and backward rows, or use the
same motif for each. See also Using two-part motifs in motif fills.
Note For a complete catalog of samples, see Motif Samples.
To select a motif for motif fills
1 Right-click the Motif Fill icon.
Use Motif Fill (Stitch Types toolbar) to apply Motif Fill to objects using current
settings. Right-click to change settings.
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The Object Properties > Fills > Motif Fill dialog opens.
2 In the Motif 1 panel, select a motif set to choose from and select a motif
from the dropdown list.
Alternatively, click the arrow button to expand the motif list for TrueView
representations of motifs and select one. See also Selecting motifs for
motif runs.
3 If you want different motifs for forward and backward rows, select the
Motif 2 checkbox.
4 In the Motif 2 panel, select the motif to use in the backward row fill
using the same method.
Note You can scale Motif 1 and Motif 2 motifs independently. See
Scaling motifs to an exact size for details.
5 Click Apply.
Select motif set to
select from for
forward row
Select motif for
backward row
Select motif for
forward row
Select motif set to
select from for
backward row
Same motif selected for
forward and backward
rows
Different motif
selected for
backward row
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Using two-part motifs in motif fills
ES Designer provides two pre-defined motif sets. One contains single motifs
for fills which use the same pattern in both forward and backward rows. The
other set is intended for use with two-part motifs which use complementary
patterns for forward and backward rows.
Note For a complete catalog of samples, see Motif Samples.
To use two-part motifs in motif fills
1 Right-click the Motif Fill icon.
The Object Properties > Fills > Motif Fill dialog opens.
2 In the Motif 1 panel, select the two-part motif set and select a motif
from the dropdown list.
Click Motif Fill (Stitch Types toolbar) to select the current motif. Select the
Motif Fill object, and click Properties to change the properties of Motif Fill
objects.
Select two-part motif
set to select from for
forward row
Select complementary
motif for backward row
Select motif for
forward row
Select two-part motif
set to select from for
backward row
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Alternatively, click the arrow button to expand the motif list for TrueView
representations of motifs and select one. See also Selecting motifs for
motif runs.
3 Select the Motif 2 checkbox to add a complementary backward row and
again select the two-part motif set from the dropdown list.
4 In the Motif 2 panel, select a complementary motif to use in the
backward row.
The pre-defined two-part motif set is specially designed to provide
complementary motifs for forward and backward rowse.g. Duet01a
and Duet01b.
Note You can scale Motif 1 and Motif 2 motifs independently. See
Scaling motifs to an exact size for details.
5 Click Apply.
Adjusting Motif Fill spacing and offset settings
You can adjust the exact row, column and spacing settings for motif fills. The
default settings define a simple grid where the spacing equals the motif
dimensions. The row offset is set to 0.00 mm so columns and rows are
perpendicular.
Right-click Motif Fill (Stitch Types toolbar) to adjust the exact row, column
and spacing settings.
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Note Spacing is measured from the start of each motif. So to define new
spacing settings, add a distance between motifs to the original spacing.
Reducing the original setting causes motifs to overlap.
To adjust spacing and offset settings
1 Right-click the Motif Fill icon.
The Object Properties > Fills > Motif Fill dialog opens.
2 Select a motif set and motif. See Selecting motifs for motif fills for
details.
3 Enter column spacing in the Column > Spacing field.
4 Enter row spacing in the Row > Spacing field.
5 Enter row offset in the Row > Offset field.
Enter column
spacing
Enter row
spacing and
offset
Scale and clip
motifs to fit
shape
row spacing
changed
offset
changed
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6 Select the Scale motifs to fit grid checkbox to scale motifs to exactly
fit the grid squares.
7 Select the Clip motifs to fit shape checkbox to clip motifs that do not
fit the shape.
Note If more than half a motif is outside the boundary, it will be
omitted.
8 Click Apply.
Scaling motifs to an exact size
You can set the exact size of motifs in a fill. You can also scale Motif 1 and
Motif 2 motifs independently to create special effects.
Scale motifs to
fit grid OFF
Scale motifs to
fit grid ON
Clip motifs to fit
shape OFF
Clip motifs to fit
shape ON
Right-click Motif Fill (Stitch Types toolbar) to scale motifs to an exact size.
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To scale motifs to an exact size
1 Right-click the Motif Fill icon.
The Object Properties > Fills > Motif Fill dialog opens.
2 Select a motif set and motif. See Selecting motifs for motif fills for
details.
3 In both panels, enter the dimensions of motif 1 and 2 for the forward
and backward rows:
Size X: Enter motif width.
Size Y: Enter motif height.
Note If you want the same motifs for forward and backward rows,
deselect the Motif 2 checkbox.
4 Click Apply.
Enter motif width and
height of forward rows
Enter motif width and
height of backward rows
Motif 1: default size
Motif 2: default size
Motif 1: size adjusted
Motif 2: default size
Motif 1: default size
Motif 2: size adjusted
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Rotating motif fills by an exact amount
t
The rotation angle defines the orientation of the entire motif fill pattern. It
overrides the stitch angle you set when digitizing the shape with Complex
Fill.
To rotate a motif fill by an exact amount
1 Right-click the Motif Fill icon.
The Object Properties > Fills > Motif Fill dialog opens.
2 Select a motif set and motif. See Selecting motifs for motif fills for
details.
3 In the Rotation field, enter the rotation angle of the fill.
4 Click Apply.
Right-click Motif Fill (Stitch Types toolbar) to rotate motifs by an exact
amount.
Enter rotation
angle
Rotation: 30 Rotation: 0 Rotation: 90
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Laying out motif fills on-screen
Lay out motif fills on-screen in a similar way to program splits by using
guide motifs to scale, space, transform and offset the entire motif fill. There
are three blue guide motifs. Other sample motifs appear in yellow. Each
guide motif lets you change a different element of the layout. When you
change a guide motif, all other motifs change accordingly. See also Laying
out program split patterns on-screen.
Motif Fill does not have a column offset since motifs are connected along
each row. Instead you can rotate the layout to achieve a similar effect. See
Rotating motif fills by an exact amount for details.
Tip Generally you define the layout of the motif fill before digitizing the
object. If it is important to align motifs with the object boundary, digitize the
object using current settings, and change the layout afterwards.
To lay out Motif Fills on-screen
1 Right-click the Motif Fill icon.
The Object Properties > Fills > Motif Fill dialog opens.
2 Select a motif set and motif. See Selecting motifs for motif fills for
details.
Right-click Motif Fill (Stitch Types toolbar) to access layout options.
Click to lay out
selected motif
ES 2006 Chapter 22 Motif Runs and Fills 524
3 Click Layout.
Sample and guide motifs appear in the design window. When you
change a guide motif, all motifs in the fill change accordingly.
Tip Zoom in to select the correct guide motif.
4 Adjust the guide motifs to achieve the effect you require.
Move motifs by selecting the middle guide motif and dragging it to a
new position.
Scale motifs by selecting a guide motif and resizing it using the
selection handles.
Rotate motifs by clicking the middle guide twice to display the
rotation handles. Click a corner handle and drag to rotate.
Use top guide motif to change row
spacing, row offset, and to scale motifs
Use side guide motif to change
column spacing, and to scale
motifs
Use middle guide motif to
move, rotate, skew, and
scale motifs
Scale
proportionally
Scale
horizontally
Scale
vertically
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Skew motifs by clicking the middle guide twice, then dragging the
skew handles.
Change column spacing by selecting the side guide and dragging it
left or right.
Change row spacing by selecting the top guide and dragging it up or
down.
rotate
skew
anchor
Change
column
spacing
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Change row offset by selecting the top guide and dragging it left or
right.
5 Press Esc to finish.
The size and layout settings you select become the current Motif Fill
settings.
Tip To revert to the original factory settings, run the Revert utility. See
Reverting to factory settings for details. Alternatively, enter the values
manually in the Object Properties > Fills > Motif Fill and click Save.
See Motif Samples for details.
Applying 3D effects to motif fills
Use the 3D Warp tool with motif fills to create three dimensional effects.
You can make shapes appear concave or convex using Globe In or Globe
Out. You can also create distance effects using Perspective. You can apply
3D Warp as you digitize, or apply it to existing motif fills.
Tip Small stitches may be generated along the edge of objects using 3D
Warp. You can remove these automatically. See Removing small stitches
automatically for details.
Change row
spacing
Change
offset
Without 3D Warp Globe In Globe Out Perspective
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Applying and adjusting 3D Warp with Globe In/Globe Out
Using Globe In with 3D Warp gives a concave effect by increasing the motif
size and spacing around a center point. Globe Out gives a convex effect by
decreasing motif size and spacing.
You can apply Globe In and Globe Out to an entire object, or to a specified
part of the fill. You can modify the effect by adjusting the guide frame.
To apply and adjust 3D Warp with Globe In/Globe Out
1 Select the Motif Fill object.
Note To apply 3D Warp to newly created objects, make sure you have
no objects selected.
2 Right-click the 3D Warp icon.
The Object Properties > Curve dialog opens.
3 Select the 3D Warp checkbox, and select Globe In or Globe Out from
the list.
4 Click Apply.
Click 3DWarp (Stitch Types toolbar) to apply 3D effects to selected motif
fills. Right-click to change settings.
Use Reshape Object (Pointer toolbar) to reshape selected 3DWarp objects.
Select 3D Warp
Select Globe In or
Globe Out
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The Globe In or Out effect is applied to the selected object.
5 To make further adjustments, click the Reshape icon with the object
selected.
A guide frame appears around the object with three control points.
6 Adjust the control points to modify the effect as required:
Top point: change frame height
Side point: change frame width
Center point: reposition frame.
7 Press Enter.
Tip You can generate layers of colored motifs by duplicating an object
and selecting a different color. For example, after filling a shape with
circles, you can create a second layer, offset it, and apply a different
color. You can then apply effects such as Globe Out to the whole motif
fill.
Globe In applied Complex FIll object
with Motif Fill
Globe Out applied
OR
Click-and-drag
to reposition
frame
Click-and-drag
control point
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Applying and adjusting 3D Warp with Perspective
Use Perspective with 3D Warp to create a perspective effect by
exaggerating relative sizes.
Note You need to adjust the guide frame for Perspective 3D Warp to
specify the direction in which to make motifs larger and smaller.
To apply and adjust 3D Warp with Perspective
1 Select the Motif Fill object.
Note To apply 3D Warp to newly created objects, make sure you have
no objects selected.
2 Right-click the 3D Warp icon.
The Object Properties > Curve dialog opens.
3 Select the 3D Warp checkbox, and select Perspective from the list.
4 Click Apply.
5 Click the Reshape icon.
Click 3DWarp (Stitch Types toolbar) to apply 3D effects to selected motif
fills. Right-click to change settings.
Use Reshape Object (Pointer toolbar) to reshape selected 3DWarp objects.
Select 3D Warp
Select Perspective
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A guide frame appears around the object.
6 Adjust the frame to move the guidelines closer together or further apart.
Warning The guide frame must not cross the outer boundary of the
shape, and cannot be inside the shape.
7 Press Enter.
The perspective effect is applied.
Working with single motifs
You can add motifs to your design one-by-one. Rotate, scale, or mirror
motifs as you add them or edit them like any other object.
Selecting and inserting single motifs
Add motifs to your design by selecting them from the Object Properties
dialog.
Select object
and click
Reshape
Adjust frame and
Press Enter
Use Motif Run (Input toolbar) to select motifs for individual use.
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Note If a motif is comprised of two or more objects, these will be
automatically grouped when inserted.
To select and insert a single motif
1 Right-click the Motif Run icon.
The Object Properties > Outlines > Motif Run dialog opens.
2 Select a motif set from the Set list.
3 Select a pattern from the dropdown list.
Alternatively, click the arrow button to expand the motif list for TrueView
representations of motifs and select one.
4 Click Apply to make the selection current.
5 Select Special > Motif > Use.
The outline of the motif appears attached to the mouse pointer.
6 Move the pointer to the position you want to add the motif, and click to
mark the anchor point.
7 Move the pointer until the motif is in the position you need, then click
again for a guide point.
Stitches are generated automatically. The outline of the motif appears
attached to the mouse pointer ready for the next motif.
Select motif
Select motif set
Insert anchor
point
Insert guide
point
Repeat if
required
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You can rotate, scale and mirror motifs as you insert them. See Rotating,
mirroring and scaling motifs for details.
8 Repeat the steps to insert the motif again.
Tip Press Enter to accept the default position and settings.
9 Press Esc to finish.
Rotating, mirroring and scaling motifs
You can rotate, scale, or mirror motifs as you add them to your design using
the keyboard and mouse.
Tip If you find it easier to insert a motif at its original size and orientation,
you can scale, rotate and mirror it later just like any other object.
To rotate, mirror and scale motifs
1 Select a motif to insert.
See Selecting and inserting single motifs for details.
2 Move the pointer to the position you want to add the motif, and click to
mark the anchor point.
The motif attaches to the mouse pointer. As you move the pointer, the
motif rotates around the anchor point you marked.
3 Rotate, scale, or mirror the motif with the mouse.
Click to mark
anchor point
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To rotate the motif, move the pointer until the rotation angle is
correct, then click again.
To mirror the motif, right-click.
To scale the motif, press Shift. Move the pointer until the motif
outline shows the required size, then click again.
Tip When mirroring and scaling, make sure the motif is at the required
rotation angle, before clicking or right-clicking.
4 Press Esc to finish.
Tip You can create motifs from patterns made in the cross stitch
program and use them to create a cross stitch sampler. See the Cross
Stitch User Manual Supplement for details.
Click to mark
guide point
motif rotated
Motif rotated and
mirrored
Right-click to mark
guide point and
mirror motif
Hold down Ctrl to constrain
rotation angles
Motif rotated and
scaled
Hold down Shift to
resize the motif
motifs created in
Cross Stitch program
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Managing motifs
ES Designer provides various ways to manage your motifs including making
motif sets, saving motifs, copying motifs between motif sets, and deleting
motifs.
Saving motifs
The Make Motif function lets you save your own motifs for future use. Motifs
may be saved to different files or motif sets.
To save motifs
1 Select the embroidery object you want to save as a motif.
2 Select Special > Motif > Make.
The Make Motif dialog opens.
3 Select a Motif Set from the list. See also Creating motif sets.
4 Enter a name in the Motif Name field.
5 If you want to automatically remove machine functions from the motif,
select the Remove Functions checkbox.
6 Click OK.
7 Click to mark two reference points for the motif.
Use Motif >Make (Special menu) to save motifs.
Select motif set
Enter motif name
Select to remove unwanted
machine functions
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These determine the default motif orientation in motif runs and fills.
Reference points also determine the spacing between each motif.
Reference point 1 becomes the anchor point in the final motif. Reference
point 2 becomes the rotation point.
8 Click OK.
The motif is ready to use.
Creating motif sets
The Make Motif function lets you create your own motif sets to organize
and classify your motifs.
To create motif sets
1 Select an embroidery object.
2 Select Special > Motif > Make.
Reference point 1
Reference point 2 Reference point 1
rotation direction
Reference point 2
Use Motif >Make (Special menu) to create your own motif set.
ES 2006 Chapter 22 Motif Runs and Fills 536
The Make Motif dialog opens.
3 Click New.
The New Motif Set dialog opens.
4 Enter a name for the new motif set and click OK.
The Motif Set is ready for use.
Note Motif sets are stored in the C:\ESWin\Userletw folder. You can
delete or rename these motif sets as required.
Deleting motifs
Delete any motifs you no longer want from a motif set.
To delete motifs
1 Select Special > Motif > Select.
The Select Motif dialog opens.
2 Select the motif to delete.
3 Click Delete.
A confirmation message appears.
4 Click Yes.
Click New to create
new motif set
Enter name for
motif set
My New Motif Set
Use Motif >Select (Special menu) to delete motifs from a set.
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Chapter 23
Sequins and Boring
Some embroidery machines are equipped with a
sequin dispenser that drops sequins onto the
garment as it stitches. Some are also equipped
with a boring knife or needle to cut holes in the
fabric, producing an effect similar to lace. Often
the two techniques are used in combination.
ES Designer provides a dedicated set of Sequin
tools which allow you to digitize sequined designs
for compatible machines. There are also tools for
creating boring holes.
Note Sequin Mode is currently only supported in
Schiffli, Tajima, and ZSK embroidery machine
formats. Before you can use Sequin Mode, you
must select a machine format that supports it.
See Selecting machine formats for details. See
also Saving designs in ZSK-TC format.
You can set up a sequin palette for each design
from a library of pre-defined shapes and sizes.
Create sequin runs along digitized lines, either
placing sequins manually or letting the software
generate placement positions according to
current settings. You can change sequin shapes
and fixing stitch patterns at any stage.
The Sequin tools also allow you to digitize individual sequins for even
greater control. Artwork for sequin designs is frequently prepared in
third-party applications. Vector files can be imported into ES Designer and
converted directly to sequin runs. You have complete control over scaling
and reshaping Sequin Run objects.
If your embroidery machine is equipped with a boring knife or needle, you
can use the Borers tool to cut holes in the fabric, producing an effect similar
to lace. With Borers selected, each needle penetration point becomes a
borer hole, regardless of the selected stitch type. Borer holes are generally
ES 2006 Chapter 23 Sequins and Boring 538
stabilized with Zigzag to prevent fraying and movement, and bordered with
Satin stitches.
This section describes how to set up custom sequin palettes for the creation
of sequin designs. It also describes how to create sequin runs and digitize
individual sequins, as well as how to convert sequin artwork to Sequin Run.
Scaling and reshaping sequin runs is also explained as well as digitizing
boring holes.
Setting up custom sequin palettes
Set up a dedicated sequin palette from a library of pre-defined shapes and
sizes. The Sequin Palette dialog lets you prepare a palette of sequins to use
in your design. Adjust the color and size of each sequin. You can even adjust
the hole size.
To set up a custom sequin palette
1 Click the Sequin Palette Editor icon.
The Sequin Palette dialog opens.
2 Click the Add button to add sequin types to the Sequin Palette.
Use Sequin Palette (Sequin toolbar) to select from a
user-defined palette of sequin shapes for the current design.
Use Sequin Palette Editor (Sequin toolbar) to select sequin shapes from a
sequin library.
Click to add sequin types
Click to mix colors of sequins
Adjust size and hole size
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The Select Sequin Type dialog opens.
3 Select a sequin from the list and click OK.
4 Adjust the sequin and hole size as required.
Note The number in the Name field adjusts automatically to correspond
to the Size field setting.
5 Select the color checkbox or Mix button in the Sequin Palette dialog.
The Color dialog opens.
6 Select or mix a color and click OK.
7 Repeat as many times as necessary.
Select sequin
to add
Click to add to
palette
Drag crosshairs to
adjust color
Drag arrow to
adjust brightness
Click to
select color
Add selected color
to Custom Colors
Enter exact values
if known
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Selected sequins are now available for use in the Sequin Palette.
Creating sequin runs
Create sequin runs along digitized lines, either placing sequins manually or
letting the software generate placement positions according to current
settings. You have the choice of exact spacing, for open shapes, or even
spacing, for closed shapes. You can preset sequin type or change at any
stage. Similarly, you can preset fixing stitches or change them after
digitizing. There is an option to ensure that the stitch before the Drop Sequin
function is placed opposite the feeding direction, as recommended by
machine manufacturers.
Note The Backtrack/Repeat tool is enabled for Sequin Run objects. See
Reinforcing outlines for details.
Creating manual and automatic sequin runs
Select sequin
to use
Use Sequin Run Auto (Sequin toolbar) to create a string of sequins along a
digitized line according to current settings.
Use Sequin Run Manual (Sequin toolbar) to manually digitize sequin-drops
along a digitized line.
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Use the Sequin Run input method to create a string of sequins along a
digitized line. You have the option of digitizing individual sequin drops with
the manual method, or letting the system automatically generate drops
along the line according to current settings. Digitize lines as you would motif
runs. Fixing stitches are generated automatically according to current
settings.
Note Sequin Mode is currently only supported in Schiffli, Tajima, and ZSK
embroidery machine formats. Before you can use Sequin Mode, you must
select a machine format that supports it. See Selecting machine formats for
details.
To create manual and automatic sequin runs
1 Select the sequin type you want to use from the dropdown list in the
Sequin Palette. See Setting up custom sequin palettes for details.
2 Click the Sequin Run Auto icon.
3 Digitize the line along which you want the sequin run to appear by
entering reference pointsleft-click for corner points, right-click for
curve points.
4 When you have finished digitizing the line, press Enter.
Sequins of the selected type are automatically generated along the
digitized line along with their fixing stitches. Spacings can be individually
adjusted. See Scaling and reshaping sequin runs for details.
5 To add details or create special spacings, click the Sequin Run Manual
icon.
Use Sequin Palette (Sequin toolbar) to select from a
user-defined palette of sequin shapes for the current design.
Press Enter
Digitize outlineleft-click
corner points, right-click
curve points
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6 Digitize individual sequinsagain, left-click for corner points, right-click
for curve points.
Connecting and fixing stitches are automatically generated. See
Changing sequin shapes and fixing stitches for details.
Changing sequin shapes and fixing stitches
You can select sequins before or after digitizing a sequin run. Similarly, you
can preset fixing stitches or change them at any stage.
Note Sequin Run stitch has potential as a decorative stitch in its own right.
For this purpose you can select None in the Sequin Palette. This option is
best used with the Sequin Drop Direction set to Any. See also Changing
sequin-drop direction.
To change sequin shapes and fixing stitches
1 To change shapes, select the object and select a different sequin type
from the Sequin Palette on the Sequin toolbar.
Use Sequin Palette (Sequin toolbar) to select from a
user-defined palette of sequin shapes for the current design.
Press Enter
Digitize individual
sequinsleft-click corner
points, right-click curve points
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All sequins in the object are immediately substituted.
2 To change fixing stitches, double-click the object.
The Object Properties > Outlines > Sequin Run dialog opens.
3 Click the Fixing Type Chooser button in the Type panel.
The Object Properties dialog extends to the Fixing Type Chooser.
Click to open
Fixing Type
Chooser
Fixing stitch
preview
Select fixing
stitch type
ES 2006 Chapter 23 Sequins and Boring 544
4 Select a fixing stitch type.
A preview of the selected fixing stitch appears in the Preview Pane.
5 Click Apply.
Fixing stitches for the object are regenerated.
Note To close the Fixing Type Chooser, click the Fixing Type Chooser
button again.
6 To adjust the fixing stitch size, select one of the followings:
Match Sequin: sets a margin around the sequin so that fixing
stitches dont punch too close to the sequin.
Set Manually: sets the fixing stitch size for all sequins, regardless
of size.
7 Click Apply.
Adjust automatic or
manual settings
Sequin size: 7 mm
Auto Margin: 0.50 mm
Sequin size: 7 mm
Manual Size: 5.00 mm
Sequin size: 7 mm
Manual Size: 10.00 mm
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Changing sequin-drop direction
There is an option to ensure that the
stitch before the Drop Sequin function is
placed opposite the feeding direction, as
recommended by machine
manufacturers. Otherwise, the sequin
may be deflected by the thread. If the
needle then misses the center of a
sequin because of incorrect placement,
the embroidery material, needles or
needle plates may be damaged. In
multihead machines, sequins are fed from the front or south which means
that the initial fixing stitch should be placed on the north side. In Schiffli
machines, the opposite is the case.
To change sequin-drop direction
1 Select a sequin run object and double-click.
The Object Properties dialog opens.
2 Select the Special tab and Sequin in the dropdown list.
3 Select a required sequin drop stitch direction:
From North: ensures that the initial fixing stitch is opposite the
feeding directionfront or southwhich is the case in multihead
machines.
Select
special tab
Select sequin
Select sequin
drop direction
Select to prevent
multiple penetrations
ES 2006 Chapter 23 Sequins and Boring 546
From South: ensures that the initial fixing stitch is opposite the
feeding directionthe top or northwhich is the case in Schiffli
machines.
Warning With the Any option, direction is not important. This option
generates the least number of fixing stitches but may not be suitable for
your sequin device. It should be used by experienced digitizers only.
4 Enter an angle in the Max Angle field to specify an angular range within
which drop sequin stitch will fall.
You can set the value for either North or South fixing stitches. The
default is 90 but this can be increased or decreased depending on the
capabilities of your machine.
5 Select the Prevent multiple penetrations option as required.
Drop direction From
South: initial fixing stitch
always placed below, and
sequin fed from north
Drop direction From
North: initial fixing stitch
always placed above, and
sequin fed from south
Set maximum allowable
angle for placement of
fixing stitch
Drop stitch direction
set to North or South
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This option is used to minimize penetrations at the same point, and to
generate Schiffli-compatible fixing stitching. If you select the Schiffli
template, the option is on by default. When set to off, some fixing
stitches will have multiple penetrations at the same point, both at the
sequin center and outer edge.
6 Select the Closest Point Join option as required.
By default, this option is off, meaning that the system connects the
predefined exit leg of the fixing stitch motif to the predefined entry leg
of the next fixing stitch motif. That is, unless the connector exceeds the
maximum sequin stitch. Choose the Closest Point Join option if you
want to always connect fixing stitch motifs from the leg closest to the
nearest leg of the next fixing stitch motif.
7 Click Apply.
Adjusting sequin run spacing and orientation
You can change the spacing in a sequin run at any stage. If you use the
manual method, you define the spacings between sequin-drops with every
click you make. If you use the automatic method, sequin-drops are
calculated according to the current spacing setting. You have the choice of
exact spacing, better for open shapes, or even spacing, better for closed
shapes. You can also manually fine-tune sequin spacings with the Reshape
tool.
Prevent Multiple Penetrations on Prevent Multiple Penetrations off
ES 2006 Chapter 23 Sequins and Boring 548
To adjust sequin run spacing and orientation
1 Select a sequin run objectmanual or automatic.
2 Double-click the object.
The Object Properties > Outlines > Sequin Run dialog opens.
3 In the Positioning panel, select a spacing method:
Exact: uses the specified Spacing exactly. This may result in an
uneven spacing at the end of the curve.
Expand to fit: makes the spacing increase from the nominal value
until there is a sequin at the end of the path.
Compact to fit: makes the spacing decrease from the nominal value
until there is a sequin at the end of the path.
Tip If you want the sequins irregular, digitize using the Sequin Run
Manual tool and for fine-tuning of individual sequin spacings, use the
Reshape tool. See also Scaling and reshaping sequin runs.
manual sequin
run
automatic
sequin run
Select spacing
method
Exact Expand to fit Compact to fit
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4 To adjust fixing stitch orientation to place the first stroke of the fixing
stitch, select one of the following:
Left Orientation: to the left of the sequin run curve.
Right Orientation: to the right.
Vertical Orientation: always in the vertical planenot relevant to
one-stroke fixing stitch types.
5 Adjust the minimum, run and maximum stitch lengths when connecting
the fixing stitches, if required.
6 Click Apply.
Digitizing individual sequins
Choose fixing stitch
orientationleft, right, vertical
Orientation: Left Orientation: Right Orientation: Vertical
Adjust stitch lengths
Use Manual Sequin (Sequin toolbar) to digitize individual sequins.
ES 2006 Chapter 23 Sequins and Boring 550
The Manual Sequin input method allows you
individual control over sequin placement and fixing
stitches. Create decorative outlines and patterns
manually using sequins from the selection list. To
add a sequin to the stitching sequence, simply
right-click to drop it onto the design, and secure it
with manual stitches. Manual sequin stitching is a
difficult digitizing skill to master and you need to
plan the stitching sequence carefully in order to
minimize unnecessary stitches. Experiment with
your machine and stitch width and spacing settings
to achieve the desired result. See also Sequin On/Off
functions.
Note Sequin Mode is currently only supported in Schiffli, Tajima, and ZSK
embroidery machine formats. Before you can use Sequin Mode, you must
select a machine format that supports it. See Selecting machine formats for
details.
To digitize individual sequins
1 Click the Manual Sequin icon.
2 Right-click to add a sequin to the design.
A shape representing the sequin appears.
3 Left-click to digitize fixing stitches around the sequin to secure it.
Three stitches in the shape of a Y are generally used. The needle points
of each stitch must be placed precisely to ensure that sequins are not
pierced by the needle when stitching.
Tip Zoom in for more accurate digitizing.
4 Press Enter.
Left-click to digitize
fixing stitches
Right-click to drop a
sequin
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Converting sequin artwork to Sequin Run
Frequently, artwork for sequin designs is independently created by a
specialist designer and supplied to the embroidery digitizer in vector file
format. The Vectors to Sequins tool is available for just this purpose. A
sequin run is automatically created from a set of vector objects representing
sequins selected by intersecting line. The order the line crosses the sequins
determines the sequin order. Fixing stitches are generated automatically
according to current Sequin Run settings.
Note Sequin Mode is currently only supported in Schiffli, Tajima, and ZSK
embroidery machine formats. Before you can use Sequin Mode, you must
select a machine format that supports it. See Selecting machine formats for
details.
To convert sequin artwork to Sequin Run
1 Insert the sequin artwork into the design.
Properly designed artwork will contain vector objects centered on the
exact locations required for sequins in the design.
2 Select the Vectors to Sequins icon.
You are prompted to Enter point 1 on the polyline on the Prompt
Message bar.
Use Vectors to Sequins (Sequin toolbar) to create a sequin run from a set of
sequin vector objects selected by intersecting line.
Specially prepared
sequin artwork
ES 2006 Chapter 23 Sequins and Boring 552
3 Click the sequin graphic which will start the Sequin Run.
4 Digitize a line connecting all sequins to be included in the Sequin Run.
The line only needs to touch the sequin object somewhere within its
boundary. Enter reference points by left-clicking for corner points and
right-clicking for curve points.
5 Press Enter.
A Sequin Run is generated with a curve that passes through the center
of each sequin graphic with sequin objects positioned at these centers.
Current properties are applied and the object is set to manual by
default.
Note The generated curve contains a reshape node at each sequin
position.
Digitize connecting
line passing through
all sequin graphics
Generated curve
contains reshape
node at each
sequin position
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Scaling and reshaping sequin runs
Sequin editing often requires individual control over sequin positions.
Change sequin shapes and fixing stitch patterns at any stage. You have
complete control over scaling and reshaping Sequin Run objects. Scale and
reshape sequin run lines, as well as remove or add individual sequins. You
can also manually fine-tune sequin spacings. You can even edit individual
fixing stitches.
Note Performing manual edits to Sequin Run objects automatically
deselects all the options. If you set it back to Exact, Compact to fit, or
Expand to fit spacing, all manual edits are lost.
To scale and reshape a sequin run
Scale Sequin Run objects in the normal way by clicking and dragging
selection handles, or by adjusting the general properties. See Scaling
objects for details.
If the object is created with the Sequin Run Auto tool, the sequin
drops are automatically recalculated.
Use Select Object (Pointer toolbar) to resize objects using selection handles.
Use Reshape Object (Pointer toolbar) to reshape selected Sequin Run
objects.
Sequin drops
regenerated according
to current settings
ES 2006 Chapter 23 Sequins and Boring 554
If the object is created with the Sequin Run Manual tool, the original
number of sequin drops is preserved.
Reshape sequin run lines with the Reshape tool as you would any run
object. Add reshape nodes by left- or right-clicking the outline. See
Reshaping embroidery objects for details.
Note When a sequin run object is in the Reshape Mode, the Show
Stitch Angles icon is disabled.
Fine-tune individual sequin spacings with the Reshape
toolclick-and-drag a spacing handle.
You can also select a range of or multiple spacing handles by using Shift
or Ctrl keys. See Reshaping embroidery objects for details.
Original number of
sequin drops
preserved
ES 2006 Wilcom ES Online Manual 555
Note The movement of sequin objects is contained on the sequin run
line.
Delete selected sequins by pressing the Delete.
Add sequins by holding down the Alt key and clicking the sequin run line.
Rotate sequins and fixing stitches with the Reshape tool.
Reshape individual fixing stitches with the Reshape tool. To view the
fixing stitch reshape nodes, click the sequin outline.
Digitizing boring holes
Click-and-drag
spacing handle
Click-and-drag
rotation handle
Use Penetrations (Generate toolbar) together with Borers to digitize boring
holes.
Click-and-drag
fixing stitch
ES 2006 Chapter 23 Sequins and Boring 556
If your embroidery machine is equipped with a boring knife or needle, you
can use the Borers tool (formerly known as Borers In) to cut holes in the
fabric, producing an effect similar to lace. With Borers selected, each needle
penetration point becomes a borer hole, regardless of the selected stitch
type. Borer holes are generally stabilized with Zigzag to prevent fraying and
movement, and bordered with Satin stitches.
Tip Boring is a difficult digitizing skill to master. You may need to
experiment with your machine and stitch width and spacing settings to
achieve the effect you require.
With Tajima and Barudan
machines Borers inserts a Stop
function which allows the machine
to change to the needle position
that uses the boring attachment.
The machine must be correctly
programmed to use the correct
needle position.
Note The default setting for
Multihead borers is for a knife
attachment, where the cutting
position is offset 12 mm from the main needle line. This offset is only
expressed when you save your design to a stitch format like DST. If you are
using a boring needle, you need to change the offset value to 0. See Setting
borer functions for details.
To digitize boring holes
1 Ensure Penetrations is on.
Use Run (Input toolbar) to digitize an outline around the shape you want to
bore.
Use Borers (Generate toolbar) to activate the boring function.
Use Manual (Input toolbar) to digitize boring holes.
Use Input A (Input toolbar) to digitize border stitching around the holes.
ES 2006 Wilcom ES Online Manual 557
2 Click the Run icon and digitize an outline around the shape you want to
bore.
This helps prevent the fabric from tearing.
3 Click the Borers icon.
A machine function is inserted to indicate the change from stitching to
boring.
4 Click the Manual icon and digitize individual stitches where you want a
boring knife to cut. See Digitizing individual stitches for details.
Each stitch you digitize becomes a boring hole. The borer penetration
points appear as diamonds, connected by dotted lines. These do not
appear in TrueView.
Alternatively use Run to digitize lines for boring holes. See Digitizing
lines for details.
For a round hole, digitize two intersecting lines.
For an oval hole, digitize one line.
Tip Reduce the Run stitch lengthe.g. 1.0-1.5 mmto place the borer
penetrations closer together, thereby ensuring the fabric will be cut right
through. See Setting run stitch length for details.
5 Click Borers again to deselect it.
Digitize outline
with Run stitch
Digitize boring holes
with Manual or Run
stitch
ES 2006 Chapter 23 Sequins and Boring 558
This returns you to normal stitching. You now need to stabilize the fabric
and create borders by stitching around them with Zigzag and Satin cover
stitches.
6 Digitize around the hole with Input A together with Zigzag stitch.
Place the inside edge close to the center of the hole so it wraps the
fabric. See Digitizing columns of fixed width for details.
7 Digitize border stitching with Input A together with Satin stitch.
Place the inside edge of the object close to the center of the hole. If you
have used Zigzag stitches for reinforcement, ensure they are covered.
Warning You should not use Satin with a Zigzag underlay because a
run stitch is also generated (to return to the entry point). This can cause
thread breakage.
Digitize borders with
Input A and Satin
Digitize around hole
with Input A and
Zigzag
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PART VI
EMBROIDERY LETTERING
Create top-quality lettering quickly and simply. ES Designer provides a large
range of scaleable closest-join alphabet styles and multi-color and fancy
stitching alphabets to choose from.
Creating embroidery lettering
This section describes how to add and edit lettering, change formatting
settings, and adjust lettering size and spacing. See Creating Embroidery
Lettering for details.
Adjusting lettering layout
This section describes how to adjust lettering objects as well as individual
letters. It also describes how to apply and adjust lettering baselines. See
Editing Embroidery Lettering for details.
Adjusting lettering stitch settings
This section describes changing lettering stitch types in lettering objects,
and adjusting lettering stitch angles. It also explains how to adjust the
lettering stitching sequence as well as lettering join method. See Adjusting
Lettering Stitch Settings for details.
Special lettering features
This section shows you how to add special characters and symbols. It
describes how to create special effects with envelopes. It also covers adding
ES 2006 Embroidery Lettering 560
borders to lettering, as well as setting up team lettering designs. See
Special Lettering Features for details.
Custom alphabets
This section describes how to create new alphabets from TrueType fonts. It
also describes how to create and modify your own custom alphabets and
letters. Alphabet merging is also explained. See Custom Alphabets for
details.
ES 2006 Wilcom ES Online Manual 561
Chapter 24
Creating Embroidery Lettering
Create top-quality lettering quickly and simply. ES Designer provides a large
range of scalable closest-join alphabet styles and multi-color and fancy
stitching alphabets to choose from. Add lettering directly to designs using
current settings or with the aid of the dialog. With object-based operation,
you can type and manipulate your text directly on-screen, changing the size
or spacings to fit. Apply formatting just like a word processor, including
italics, bolding, and right/left justification. Change values for the whole text
or for individual letters.
This section describes how to add and edit lettering, change formatting
settings, and adjust lettering size and spacing.
ES 2006 Chapter 24 Creating Embroidery Lettering 562
Adding lettering to embroidery designs
You can add lettering to a design by typing it directly in the design window,
or entering it via the Object Properties dialog.
Tip The size of your lettering will determine the type of underlay you need
to apply. Apart from stabilizing, underlay helps give loft or to raise your
lettering off the fabric. Lettering with heights under 5 mm should not have
underlay. Letters 6 mm to 10 mm can have a center-run underlay applied.
Lettering larger than 10 mm is large enough for edge-run underlay. See
Strengthening and stabilizing with automatic underlays for details.
Creating lettering on-screen
If it is not essential to fit letters precisely to a certain area, you can type
them directly on-screen as with a word processor. Current lettering settings
are used. You can change these before or after you digitize. You can also
modify lettering objects directly on-screen to achieve various artistic effects.
To create lettering on-screen
1 Click the Lettering icon.
2 Select a color from the color palette.
3 Click where you want to insert the text and start typing.
Tip To start a new line, press Shift + Enter.
4 Press Enter to complete.
Use Lettering (Input toolbar) to add lettering directly on-screen.
Use Generate Stitches (Generate toolbar) to generate stitches for new or
selected objects.
ES 2006 Wilcom ES Online Manual 563
5 Click the Generate Stitches icon or press G.
Note Appearance and layout depend on current settings in the Object
Properties dialog. Baselines determine the shape of lettering objects in
a design. You can place lettering on a straight horizontal or vertical line,
curve lettering around a circle or arc, or digitize your own baseline.See
Working with lettering baselines for details.
Creating lettering with Object Properties
Using the Object Properties dialog, you can specify letter formatting before
adding it to the design. This is the more traditional method and is useful with
more complex designs.
To create lettering with Object Properties
1 Right-click the Lettering icon.
Right-click Lettering (Input toolbar) to enter text in the dialog and adjust
settings for embroidery lettering.
Use Generate Stitches (Generate toolbar) to generate stitches for new or
selected objects.
ES 2006 Chapter 24 Creating Embroidery Lettering 564
The Object Properties > Special > Lettering dialog opens.
2 Enter the text you want to embroider in the text entry panel.
To start a new line of lettering, press Enter.
Tip You can insert a color change between two letters by keying a caret
(^) symbol. Subsequent letters default to the next color in the palette.
3 Select alphabet, formatting and baseline settings for the lettering. See
Selecting alphabets and Formatting lettering for details.
4 Click Apply.
Select baseline
Adjust
formatting
Select
alphabet
Enter text
Click to apply
ES 2006 Wilcom ES Online Manual 565
Note Alternatively, click Create Text to create text on the screen when
the Apply button is deactivated.
5 Click where you want to place the lettering, or mark reference points for
the baseline you selected. See Working with lettering baselines for
details.
6 Select Generate Stitches icon or press G.
Note Appearance and layout depend on current settings in the Object
Properties dialog. Baselines determine the shape of lettering objects in
a design. You can place lettering on a straight horizontal or vertical line,
curve lettering around a circle or arc, or digitize your own baseline.See
Working with lettering baselines for details.
Selecting alphabets
ES Designer provides an alphabet range suitable for many applications.
Select from the supplied alphabets, create your own, or convert TrueType
fonts. See also Custom Alphabets.
apply button deactivated
Click to create text
Right-click Lettering (Input toolbar) to select an alphabet for new or selected
lettering objects.
ES 2006 Chapter 24 Creating Embroidery Lettering 566
Tip Once recorded, user-refined alphabet letters can be applied via the Use
saved version checkbox. See also Saving user-refined letters.
To select an alphabet
1 Right-click the Lettering icon.
The Object Properties > Special > Lettering dialog opens.
2 Click the Preview in Dropdown List checkbox to view preview of
alphabets.
3 Select an alphabet from the Alphabet list.
A sample character of the chosen alphabet appears in the preview
window. For samples of the complete selection of standard alphabets,
see Standard Alphabets.
Tip Consider letter size before you change alphabets. Some alphabets
look best in a smaller size. Others can be stitched at a larger size. See
also Adjusting letter height and width.
4 Click the Use saved version checkbox to use saved user-refined
lettering in preference to the default.
Select
alphabet
Select to preview alphabet
in dropdown list
Use user-refined
version
ES 2006 Wilcom ES Online Manual 567
User-refined lettering lets you save multiple versions of the same letter
to the same alphabet. Each version can have a unique height range. See
User-refined alphabets for details.
5 Click Apply.
The lettering alphabet is set.
Working with lettering baselines
Baselines determine the shape of lettering objects in a design. You can place
lettering on a straight horizontal or vertical line, curve lettering around a
circle or arc, or digitize your own baseline. Different reference points are
needed depending on the baseline you use. You can digitize baselines
on-screen or, if you are working from an enlargement drawing, on a
digitizing tablet.
Baselines use default settings to determine their size, spacing and angles.
ES Designer gives you both interactive and precise numerical control over
many baseline settings. Techniques are available to modify baseline type,
length, radius and angle, as well as baseline position. You can numerically
define the rotation angle of letters relative to the baseline or the design
itself.
User-refined letter
a used for
smaller sizes
ES 2006 Chapter 24 Creating Embroidery Lettering 568
Applying baselines
You can select different baselines through the Object Properties > Special
dialog. You can also adjust baseline settings. You can apply baselines to
existing objects or pre-set a baseline for new lettering objects.
To apply a baseline
1 Double-click a selected lettering object or right-click the Lettering icon.
The Object Properties > Special > Lettering dialog opens.
2 Select a baseline from the list.
The baseline you choose depends on the effect you want to achieve.
Options include:
Right-click Lettering (Input toolbar) to select baselines and adjust baseline
settings.
Select baseline
ES 2006 Wilcom ES Online Manual 569
Horizontal (Free Line and Fixed Line): See Applying horizontal
baselines for details.
Vertical (Free Line Vertical and Fixed Line Vertical): See Applying
vertical baselines for details.
Arc (Arc CW and Arc CCW): See Applying arc baselines for details.
Circle (Circle CW and Circle CCW): See Applying circular baselines
for details.
ES 2006 Chapter 24 Creating Embroidery Lettering 570
Custom (Any Shape): See Applying custom baselines for details.
Predefined: See Using predefined baselines for details.
3 Adjust baseline settings in the Layout dialog. See Adjusting baselines
for details.
4 Click Apply.
Applying horizontal baselines
Free Line and Fixed Line baselines are straight, horizontal baselines. Free
Line does not have a fixed or pre-determined lengththe baseline extends
as long as you keep adding letters. Fixed Line has a fixed length which you
can digitize or specify numerically. If the text extends beyond the baseline,
letter spacing is reduced and letters may overlap. The letter width, however,
does not change.
ES 2006 Wilcom ES Online Manual 571
To apply horizontal baselines
1 Create a new lettering object. See Creating lettering with Object
Properties for details.
2 Select the horizontal baseline you want to apply and click Apply.
3 For variable-length horizontal lines, enter your text in the Object
Properties dialog and select Free Line. Click the screen to establish the
start-point of the baseline.
For fixed-length horizontal lines, enter your text in the Object
Properties dialog and select Fixed Line. Click the screen to
establish the start and end points of the baseline.
You can define any angle depending on where you mark the
reference points.
You can adjust baseline settings at any stage. See Adjusting straight
baseline settings for details.
Applying vertical baselines
Vertical baselines are effective for embroidering on sleeves, as a
decorative effect, and for Asian text. There are two typesFree
Line Vertical and Fixed Line Vertical. Free Line Vertical baselines do
not have a fixed length, and extend to fit the letters you enter.
Fixed Line Vertical baselines are a fixed length. Letter spacing may
be compressed to make the letters fit.
Line spacing is calculated horizontally while letter spacing is
calculated vertically. Letters, by default, are centered along vertical
lines. New lines are placed by default from right to left to suit Asian
languages.
Tip For Western languages, vertical lettering is best suited to
uppercase because descenders in lowercase letters are not
accommodated in the letter spacing.
Free LineClick on-screen to
mark start point
Fixed LineClick on-screen to
mark start and end points
ES 2006 Chapter 24 Creating Embroidery Lettering 572
To apply a vertical baseline
1 Create a new lettering object. See Creating lettering with Object
Properties for details.
2 Select the vertical baseline you want to apply and click Apply:
For variable-length vertical lines, enter your text in the Object
Properties dialog and select Free Line Vertical. Click the screen to
establish the start-point of the baseline.
For fixed-length vertical lines, enter your text in the Object
Properties dialog and select Fixed Line Vertical. Click the screen
to establish the start and end points of the baseline.
You can define any angle depending on where you mark the
reference points.
Note You can adjust baseline settings at any stage. See Adjusting
straight baseline settings for details.
Applying arc baselines
Use Arc Clockwise (Arc CW) and Arc Counter-Clockwise (Arc CCW)
baselines to place lettering objects in a curved arc. You can place the
lettering clockwise (CW) or counter-clockwise (CCW) along the arc. By
Free Line
Verticalclick the
screen to mark
mid-point
Fixed Line Verticalclick
the screen to mark start and
end points
ES 2006 Wilcom ES Online Manual 573
default, letters are positioned above the Arc CW and below the Arc CCW
baseline. They are also centered by default.
To apply arc baselines
1 Create a new lettering object. See Creating lettering with Object
Properties for details.
2 Select Arc CW or Arc CCW as a baseline and click Apply.
3 Mark the start and end points of the arc.
Tip Hold down the Ctrl key to constrain the line to 15 increments.
4 Move the pointer up or down to increase the radius of the arc.
5 Mark a third point above the first two points for Arc CW, and below them
for Arc CCW baseline.
6 Press Enter to complete and press G to generate stitches.
Depending on the order in which you mark the reference points, the text
will be placed left to right, or right to left.
1 2
3
1
2
3
arc clockwise
arc
counter-clockwise
ES 2006 Chapter 24 Creating Embroidery Lettering 574
Applying circular baselines
Use Circle Clockwise (Circle CW) or Circle Counter-Clockwise (Circle
CCW) baseline to place letters around a full circle or oval.
To apply circular baselines
1 Create a new lettering object. See Creating lettering with Object
Properties for details.
2 Select Circle CW or Circle CCW as a baseline and click Apply.
3 Mark the center of the circle.
4 Mark a point on the circumference to define the radius.
Tip Hold down the Ctrl key to constrain the line to 15 increments.
5 Mark a third point to define an ellipse or press Enter directly for a perfect
circle.
As soon as Enter is pressed, the letters of your text are distributed
around the circle. See also Setting letter justification.
ES 2006 Wilcom ES Online Manual 575
Applying custom baselines
Use Any Shape baselines to shape lettering around elements in your
design. Digitize Any Shape baselines by marking reference points to form
the required line. The number of reference points and length of baseline are
practically unlimited.
Tip If the baseline has tight curves, or sharp corners, the letters may
overlap. For best results, only mark curve points, and digitize lines which
have shallow, gentle curves.
To apply custom baselines
1 Create a new lettering object. See Creating lettering with Object
Properties for details.
2 Select Any Shape as a baseline and click Apply.
3 Mark the baseline reference points.
Mark curve points with the right mouse button.
Mark corner points with the left mouse button.
4 Press Enter to complete and press G to generate stitches.
1
2
3
4
ES 2006 Chapter 24 Creating Embroidery Lettering 576
Using predefined baselines
Use Predefined baselines to quickly create
three rows of lettering, or two rows
surrounding a design object. This technique
is typically used for creating logos.
To use a predefined baseline
1 With no objects selected, right-click the
Lettering icon.
The Object Properties > Special >
Lettering dialog opens.
2 Enter two or three lines of text in the text entry panel.
To start a new line of lettering, press Enter.
Tip If you want to insert a logo or design between the top and bottom
lines, leave the middle line of text blank.
Select options
and adjust
settings
Enter two or three
lines of text
ES 2006 Wilcom ES Online Manual 577
3 Select the alphabet and adjust other settings you require. See Selecting
alphabets and Formatting lettering for details.
4 Select Predefined from the baseline list.
5 Click OK.
6 Click where you want to place the lettering and drag the cursor
downward.
Tip Hold down the Ctrl key to constrain the line to 15 increments.
7 Click to enter a point on the circumference of the circle.
8 Mark another point if you want to create an oval, or press Enter for a
circular baseline.
9 Press G to generate stitches.
The lines of text are generated and dispersed around the baseline you
have defined. Each line of text becomes a separate lettering object.
Select Predefined
baseline
ES 2006 Chapter 24 Creating Embroidery Lettering 578
Formatting lettering
You can control the appearance of lettering by changing formatting settings
in the Object Properties dialog. Change current formatting settings before
or after adding lettering in the same way as other objects.
Making italic lettering
You can slant letters to the left or right for an italic effect. Enter the degree
of slant in the Angle field. The default angle is 0.
To make italic lettering
1 Right-click the Lettering icon or double-click selected lettering object/s.
The Object Properties > Special > Lettering dialog opens.
2 Enter an angle in the Italic field.
The largest angle that the lettering can lean at is 45. (0 is equivalent
to no italics.)
3 Click Apply.
Making bold lettering
You can create the effect of bold lettering either by increasing the pull
compensation settings for selected lettering objects, or adjusting the
column width setting. The difference is that the column width setting adjusts
Enter italic angle
italic angle 45 italic angle 0 italic angle -45
ES 2006 Wilcom ES Online Manual 579
the entire column, including underlay, while pull compensation adjusts only
cover stitching. See also Compensating for fabric stretch.
To make bold lettering
1 Right-click the Lettering icon or double-click selected lettering object/s.
The Object Properties > Special > Lettering dialog opens.
2 Select the Pull Comp tab.
3 Select Column Width or Pull Compensation as required. See
Compensating for fabric stretch and Adjusting column width for details.
4 Increase the values in the respective fields.
5 Click Apply.
Increase pull compensation
or column width
Select Pull Comp tab
normal pull comp: 0.3 mm column width: 140%
ES 2006 Chapter 24 Creating Embroidery Lettering 580
Setting letter justification
Justification is the way that lettering aligns itself on a baseline. You can
justify lettering left or right, center it, or fully justify it. Full justification
spreads the letters out to fill the length of the baseline.
To set letter justification
1 Right-click the Lettering icon or double-click selected lettering object/s.
The Object Properties > Special > Lettering dialog opens.
2 Select a justification settingLeft, Centered, Right, or Justified.
3 Click Apply.
Adjusting letter spacing
Letter, word and line spacings can be determined before or after creating
lettering objects and placing them in your design. You can edit spacing
directly on-screen or via the dialog. Letter spacing is calculated
left fully justified centered right
ES 2006 Wilcom ES Online Manual 581
automatically according to justificationLeft, Centered, Right, or Full
Justified. See also Setting letter justification.
Note When the justification setting is Full, letters are evenly distributed
along the baseline. To change the spacing for fully justified lettering, simply
change the length of the baseline.
Adjusting overall letter spacing on-screen
The spacing between letters is calculated automatically as a percentage of
the letter height. In most cases the default spacing is adequate. Sometimes,
however, you may want to change the overall letter spacing.
To adjust overall letter spacing on-screen
1 Select the lettering object.
2 Click the Reshape Object icon.
3 Drag the letter spacing control point left or right to adjust the spacing of
all letters along the baseline.
Click Reshape Object (Pointer toolbar) to change letter spacing.
Drag letter spacing
control point
ES 2006 Chapter 24 Creating Embroidery Lettering 582
4 Release the mouse button to complete and press Esc.
Adjusting individual letter spacing on-screen
The spacing between letters is calculated automatically as a percentage of
letter height. In most cases the default spacing is adequate. Sometimes,
however, the spacing between certain letters may appear too large or too
small, depending on the shape of neighboring letters. To compensate for this
visual effect, you can move one or several selected letters closer or further
apart along the baseline to improve spacing. See also Automatic letter
kerning.
To adjust individual letter spacing on-screen
1 Select the lettering object.
2 Click the Reshape Object icon.
3 Click the diamond control point in the centre of the letter.
Tip To select multiple or a range of letters, hold down Ctrl or Shift as you
select.
4 Drag selected letter/s along the baseline or use arrow keys to adjust the
spacing.
Use Reshape Object (Pointer toolbar) to change individual letter spacing.
Hold down Ctrl and click
diamond control points
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Tip Alternatively, to move multiple letters, right-click the diamond
control point of the first letter and drag. All letters to the end of the line
move as one.
5 Release the mouse button to complete and press Esc.
Adjusting line spacing on-screen
Change the space between lines in a multiple-line lettering object using the
Reshape Object tool.
To adjust line spacing on-screen
1 Select the lettering object.
2 Click the Reshape Object icon.
3 Drag the line spacing control point up or down to change line spacing.
4 Release the mouse button to complete and press Esc.
Use Reshape Object (Pointer toolbar) to change line spacing.
Drag line spacing
control point
ES 2006 Chapter 24 Creating Embroidery Lettering 584
Adjusting spacing settings
You can adjust letter, word and line spacings in lettering objects at any stage
via the Object Properties dialog.
To adjust spacing settings
1 Double-click a selected lettering object or right-click the Lettering icon.
The Object Properties > Special > Lettering dialog opens.
2 Enter Spacing values as absolute values (mm) or percentages of the
height.
Letter Spacing: the space between letters.
Word Spacing: the space between words.
Line Spacing: the space between lines.
Enter values as absolutes (mm)
or percentages
ES 2006 Wilcom ES Online Manual 585
Note Whether you enter a percentage or absolute value, the other
updates automatically.
3 Click Apply.
Tip If you want to remove spacing between words, set Word Spacing
to 0%.
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Chapter 25
Editing Embroidery Lettering
ES Designer gives you interactive and precise numeric control over many
settings affecting lettering objects. Adjust both individual letters and
lettering objects as a whole. Apply horizontal, vertical, and curved
baselines. Modify baseline type, length, radius and angle, as well as
position. You can even define the rotation angle of letters relative to the
baseline or the design itself.
This section describes how to adjust lettering objects as well as individual
letters. It also describes how to apply and adjust lettering baselines.
Editing lettering text
When you have created a lettering object, you can select it and make
changes to it directly on-screen or by adjusting object properties.
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Editing lettering text on-screen
With ES Designer you have the option of editing lettering directly on-screen.
To edit lettering text on-screen
1 Click the Lettering icon then click inside the lettering object.
An I-beam appears where you clicked.
2 Edit the text as required.
Tip Press Shift + Enter to start a new line.
3 Press Enter to complete.
Editing lettering via object properties
When you have created a lettering object, you can select it and make
changes to it by adjusting object properties.
To edit lettering via object properties
1 Use one of the following techniques to select lettering objects:
Select a single lettering object: Click the lettering object with the
left mouse button. The object changes color and eight selection
handles appear around it.
Select a group of lettering objects: Select a lettering object then,
holding down the Ctrl key, click other objects as required.
Select lettering objects with a bounding box: Click-and-drag a
bounding box around the lettering object/s and release the mouse.
2 Double-click the selected lettering object/s.
Click Lettering (Input toolbar) to edit lettering on-screen.
I-beam
ES 2006 Chapter 25 Editing Embroidery Lettering 588
The Object Properties > Special > Lettering dialog opens.
3 Edit the text in the text entry panel as required.
4 Make any other adjustments you require. See Formatting lettering for
details.
5 If you want to save settings to the template, click Save.
6 Click Apply.
Letters are filled with stitches according to current settings. See also
Adjusting Lettering Stitch Settings.
Scaling lettering
When you first create lettering, it may be too big or too small. Size can be
adjusted in three ways:
by scaling on-screen with the Select Object or Reshape Object tools
by adjusting width and height settings in the Object Properties >
Special > Lettering dialog
Edit text
Adjust settings
Click to save to
template
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by adjusting width and height settings in the General Properties bar.
Tip The size of your lettering will determine the type of underlay you need
to apply. Apart from stabilizing, underlay helps give loft or to raise your
lettering off the fabric. Lettering with heights under 5 mm should not have
underlay. Letters 6 mm to 10 mm can have a center-run underlay applied.
Lettering larger than 10 mm is large enough for edge-run underlay. See
Strengthening and stabilizing with automatic underlays for details.
Scaling lettering with Select Object
You can scale your lettering objects vertically, horizontally and
proportionally with the Select Object tool. See also Transforming lettering
with Select Object.
To scale lettering with Select Object
1 Click the Select Object icon and select the lettering object.
Selection handles appear around the lettering object.
Use Select Object (Pointer toolbar) to scale lettering objects on-screen.
Drag to resize
Horizontally
Drag to resize
Proportionally
Drag to resize Vertically
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2 Click-and-drag one of the selection handles to resize the object
horizontally, vertically or proportionally.
A shadow outline shows the new size of the lettering object as you drag.
3 Release the mouse to complete.
Scaling lettering with Reshape Object
You can scale your lettering objects vertically, horizontally and
proportionally with the Reshape Object tool. See also Rotating lettering
with Reshape Object.
To scale lettering with Reshape Object
1 Select the lettering object.
2 Click the Reshape Object icon.
3 Click-and-drag one of the dark triangular control points to resize the
object horizontally, vertically or proportionally.
Drag
Use Reshape Object (Pointer toolbar) to scale lettering objects on-screen.
Drag to resize
Horizontally
Drag to resize
Proportionally
Drag to resize Vertically
Drag
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A bounding box shows the new size of the lettering object as you drag.
4 Release the mouse to complete.
Adjusting letter height and width
You can scale your lettering objects vertically, horizontally and
proportionally via the Special tab of the Object Properties.
Tip Change the appearance of an alphabet by changing the letter width in
proportion to the height. The original width value is 100%.
To adjust letter height and width
1 Right-click the Lettering icon or double-click selected lettering object/s.
The Object Properties > Special > Lettering dialog opens.
2 In the Height field enter the height of your lettering object in
millimeters.
Note Letter height can be between 1 mm and 200 mm. For
recommended sizes, see Standard Alphabets.
3 Enter the width of your lettering object in the Width field as a
percentage of the height.
For wide letters, increase the percentagee.g. 140%.
For narrow letters, decrease the percentagee.g. 70%.
4 Click Apply.
Use Lettering (Input toolbar) to adjust letter height and width.
Enter width
percentage
Enter letter
height in mm
width 100% width 70% width 140%
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Adjusting lettering dimensions
You can scale your lettering objects vertically, horizontally and
proportionally using the general properties.
Tip Change the appearance of an alphabet by changing the letter width in
proportion to the height. The original width value is 100%.
To adjust lettering dimensions
1 Select the lettering object.
The current dimensions of the selected object appear in the General
Properties bar.
2 Adjust width and height settings either as absolute values (mm) or as a
percentage of the current settings.
3 Click Apply.
Tip When you enter a value in either width or height field, the
percentage is automatically calculated. To resize proportionally, copy
this value to the other field and click Apply.
Adjust width and
height settings
Click Apply to
accept changes
original width and height 125%
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Transforming lettering objects
Apart from scaling, you can use the Select Object and Reshape Object
tools to skew and rotate lettering objects. See also Scaling lettering.
Transforming lettering with Select Object
You can transform lettering objects by manipulating control points
on-screen with the Select Object tool. See also Scaling lettering with Select
Object.
To transform lettering with Select Object
1 Click the Select Object icon and select the lettering object.
The selection handles appear. See also Scaling lettering with Select
Object.
2 Click the lettering object again.
Another set of control points appears. These let you rotate and skew the
lettering object.
Use Select Object (Pointer toolbar) to transform lettering objects on-screen.
Drag to rotate Drag to skew
rotation point
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3 Click-and-drag one of the diamond-shaped control points to skew the
lettering object horizontally.
A shadow outline shows the skewed lettering object as you drag.
4 Click-and-drag one of the hollow square control points to rotate the
lettering object.
A shadow outline shows the rotated lettering object as you drag.
Tip Click-and-drag the rotation point itself to a new position before
rotating.
5 Release the mouse to complete.
Rotating lettering with Reshape Object
You can rotate lettering objects by manipulating control points on-screen
with the Reshape Object tool. See also Scaling lettering with Select Object.
To rotate lettering with Reshape Object
1 Select the lettering object.
2 Click the Reshape Object icon.
Drag
Drag
rotation
point
Use Reshape Object (Pointer toolbar) to rotate lettering objects on-screen.
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Control points appear around the lettering object.
3 Click-and-drag one of the solid square control points on the baseline to
rotate the lettering object.
A baseline shows the rotated position of the lettering object as you drag.
4 Release the mouse to complete.
Adjusting individual letters
As well as scaling and rotating lettering
objects, the Reshape Object tool is used
to manipulate individual letters. You can
reposition letters in relation to each other,
scale, rotate and skew them, as well as
reshape them. You can also recolor letters
individually.
Repositioning letters on-screen
Click and drag to rotate
object
Use Reshape Object (Pointer toolbar) to reposition individual letters
on-screen.
ES 2006 Chapter 25 Editing Embroidery Lettering 596
You can reposition individual letters in a lettering object using the Reshape
Object tool.
To reposition letters on-screen
1 Select the lettering object.
2 Click the Reshape Object icon.
3 Click the diamond control point in the centre of the letter.
Tip To select multiple or a range of letters, hold down Ctrl or Shift as you
select.
4 Click-and-drag the letter to the new position:
To move the letter horizontally, drag it along the baseline. See
Adjusting individual letter spacing on-screen for details.
To move the letter vertically, hold down Shift as you drag.
Click diamond control points
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To move the letter freely, hold down Ctrl as you drag.
5 Release the mouse button to complete.
Transforming individual letters on screen
You can transform individual letters by manipulating control points
on-screen with the Reshape Object tool.
To transform individual letters on screen
1 Select the lettering object.
2 Click the Reshape Object icon.
Control points appear.
Use Reshape Object (Pointer toolbar) to transform individual letters
on-screen.
Select diamond
control point
ES 2006 Chapter 25 Editing Embroidery Lettering 598
3 Click the diamond control point of the letter to activate reshape nodes.
4 Click-and-drag the special control points to transform individual letters.
5 Press Esc to finish.
Reshaping individual letters on-screen
Create special lettering effects by reshaping letter outlines with the
Reshape Object tool.
To reshape individual letters on-screen
1 Select the lettering object.
2 Click the Reshape Object icon.
Control points appear around the lettering object.
3 Click the letter outline.
Drag to scale letter width
Drag to scale letter proportionally
Drag to scale
letter height
Drag to rotate
Drag to skew
Use Reshape Object (Pointer toolbar) to reshape individual letters
on-screen.
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Control points appear around the outline. You can turn on or off reshape
nodes, stitch angles, and entry/exit points as required.
4 Select reshape nodes by any of the following means:
Drag a bounding box around the reshape nodes you require.
Holding down Ctrl, select individual nodes.
Holding down Shift, left- or right-click start and end nodes.
5 Reshape the letter by adding, deleting and dragging the reshape nodes,
and press Enter. See Reshaping embroidery objects for details.
Click letter outline
Hold down Shift and
left- or right-click to
select range
Hold down Ctrl and
click to select individual
nodes
Draw bounding box to
select group of nodes
Reshape by adding,
deleting and dragging
reshape nodes
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6 Adjust the stitch angles as required and press Enter. See Adjusting stitch
angles for details.
Tip Holding down the Ctrl key, click the outline wherever you want to
place an additional stitch angle line.
7 Adjust the entry/exit points as required and press Enter. See Adjusting
entry/exit points and last stitches for details.
Tip You can select and delete multiple nodes on a single segment. If
there are fewer than four nodes remaining, the segment itself is deleted.
However, if the letter includes more than one segment, those remaining
are still viable.
8 Press Esc to finish.
Adjust entry/exit
points
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Tip The Stitch Angle and Reshape Object tools let you add, delete,
or adjust stitch angles in lettering objects. See Adjusting stitch angles
for details.
Recoloring letters on-screen
ES Designer lets you change the color of individual letters within a lettering
object.
Tip You can also insert a color change between two letters by keying a caret
(^) symbol. Subsequent letters default to the next color in the palette. See
Creating lettering with Object Properties for details.
To recolor letters on-screen
1 Click the Lettering icon then click within the lettering object.
2 Select a letter (or letters) by dragging the cursor over the letter.
3 Click a color on the color palette.
4 Press Enter.
Adjusting baselines
Baselines can be modified after placement either directly on-screen or via
the Object Properties > Special > Lettering dialog. With the exception
of Free Line, baselines allow you to set the final length of the finished
Use Lettering (Input toolbar) to recolor letters on-screen.
Drag cursor over
letter to select
ES 2006 Chapter 25 Editing Embroidery Lettering 602
lettering. Once you have placed a baseline, ES Designer attempts to fit all
the letters without altering the baseline length.
Tip As a baseline is filled with letters, letter spacing decreases. Eventually,
letters may overlap. If so, you can adjust the baseline length to
accommodate them, or change the lettering width in the Object Properties
> Special > Lettering dialog.
Reshaping baselines on-screen
Baselines can be adjusted on-screen after they have been placed in the
design with the Reshape Object tool. Depending on the baseline type you
are working with, you can adjust baseline angles, lengths, and sizes. You
can change curve radii and justification points. You can completely reshape
Any Shape baselines.
Tip For more precise numeric control over lettering layout, use the Layout
dialog. See Adjusting straight baseline settings and Adjusting curved
baseline settings for details.
To reshape a baseline on-screen
Select the lettering object and click the Reshape Object icon
Use Reshape Object (Pointer toolbar) to reshape lettering baselines.
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Different control points display for different baselines.
Tip The large diamond and cross represent stitching start and end
points. You may need to move them to access baseline control points.
See Reshaping individual letters on-screen for details.
Change angles of straight baselines by dragging the solid square control
points at either end.
Create an arc baseline from a circular one by dragging the hollow square
control point apart.
baseline control
points
Drag up or down to change
baseline angle
Drag left or right to change
circle baseline to arc
ES 2006 Chapter 25 Editing Embroidery Lettering 604
Change lettering orientation of arc baselines by dragging the solid
square control points at either end.
Tip The exact letter positions depend on the justificationleft, center,
right or justified. If the baseline becomes too short, letter spacing is
reduced, and letters may overlap.
Change the radius of curved baselines by dragging the solid square
control point in the center of the circle.
Alternatively, change the radius of curved baselines by dragging the
solid square control point in the center of the baseline.
Drag along circumference to
change baseline length
Drag up or down
to change radius
of curve
Drag up or down
to change radius
of curve
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Adjust Any Shape baselines by adding, deleting, changing or moving
reference points like any embroidery object. See also Reshaping
embroidery objects.
To reshape, left-click to bend the line at an angle, right-click to bend
into a curve.
To re-position, drag any one of the baseline control points up or
down.
To delete, select a control point and press Delete.
To change straight to curve, or curve to straight, select the control
point and press Spacebar.
Press Esc to finish.
Adjusting straight baseline settings
A Free Line baseline does not have a fixed or pre-determined length; the
baseline extends as long as you keep adding letters. You can adjust baseline
angle numerically. A Fixed Line baseline has a fixed length which you can
digitize or specify numerically. Various options are available to handle text
Left or right-click on the
baseline to add
Drag any control
point up or down
Drag to change curvature
Use Lettering (Input toolbar) to adjust baseline settings.
ES 2006 Chapter 25 Editing Embroidery Lettering 606
that extends beyond the baseline. See also Applying horizontal baselines
and Applying vertical baselines.
To adjust straight baseline settings
1 Double-click a selected lettering object/s.
The Object Properties > Special > Lettering dialog opens.
2 Click Layout.
The Layout dialog opens. The baseline options depend on the type of
baseline selected.
3 Select a horizontal or vertical baseline, free or fixed, from the list.
Click to lay out
baseline
Adjust length and
angle values
Select auto
frame style
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Free Line baselines allow you to adjust the Line Angle value. Fixed Line
baselines also give you control over line length as well as options for
handling text which does not fit the baseline. This is particularly useful
for multiple team names. See Team lettering for details.
4 For fixed line baselines, select an auto-frame style:
Spacing: Letter size and width stays the same and letters are
spaced evenly along the baseline. Letters may overlap if the text is
too wide.
Width: The width of each letter is reduced and the original spacing
kept.
Size (Keep Proportions): Letter width and height is reduced
proportionally but the original spacing remains.
Spacing and Width: Letter width and spacing is reduced.
Spacing and Size (Keep Proportions): Letter width, height and
spacing is reduced proportionally.
5 Adjust the Length and Line Angle values as required.
Length: Enter the default length of fixed line baselines. For free line
baselines this is not available.
Line Angle: Enter the exact angle of the baseline to the horizontal
axis.
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6 Select a baseline position.
When creating lettering for a badge, for example:
For lettering above the badge, select a baseline below.
For lettering below the badge, select a baseline above.
For horizontal lettering through the middle of the badge, select a
centered baseline.
7 Specify the letter, word and line spacing as required. See Adjusting
spacing settings for details.
8 Select the letter orientation. See Changing letter orientation for details.
9 Click OK to return to Object Properties > Special and click Apply.
Adjusting curved baseline settings
Adjust circle and arc baseline settings for more precise numeric control over
radius (X and Y), as well as tilt, justification, and arc angles.
Tip For interactive control over lettering layout, see Reshaping baselines
on-screen.
To adjust curved baseline settings
1 Double-click a selected lettering object/s.
baseline
below
baseline
centered
baseline
above
Use Lettering (Input toolbar) to adjust baseline settings.
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The Object Properties > Special > Lettering dialog opens.
2 Click Layout.
The Layout dialog opens. The baseline options depend on the type of
baseline selected.
3 Select a circle or arc baseline type from the list.
The Tilt, Radius X, Radius Y, Justification Angle and Arc Angle fields
are activated.
4 Adjust these values as required:
Radius X: default radius of the baseline arc (X-axis).
Radius Y: default radius of the baseline arc (Y-axis).
Click to lay out
baseline
Adjust Tilt, Radius X, Radius
Y, J ustification and Arc Angle
values
radius X: 50
radius Y: 50
radius X: 50
radius Y: 100
radius X: 100
radius Y: 50
ES 2006 Chapter 25 Editing Embroidery Lettering 610
Tilt: angle of the baseline relative to the horizontal axis.
Note The Tilt field is activated when Radius X and Radius Y values are
different.
Justification Angle: angle of the vertical axis through the lettering
object relative to the horizontal axis.
Arc Angle: angle between radii connecting ends of baseline to
center of arc. This constrains the baseline so the text falls within the
arc specified.
5 Select a baseline position.
When digitizing lettering for a badge, for example:
tilt angle 45
tilt angle 0
justification
angle 90
justification
angle 45
arc angle 70 arc angle 100
baseline
below
baseline
centered
baseline
above
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For lettering above the badge, select a clockwise circle or arc with
baseline below.
For lettering below the badge, select a counterclockwise circle or arc
with baseline above.
For horizontal lettering through the middle of the badge, select a
fixed line with baseline centered.
6 Specify the letter, word and line spacing as required. See Adjusting letter
spacing for details.
7 Select the letter orientation. See Changing letter orientation for details.
8 Click OK to return to Object Properties > Special > Lettering and
click Apply.
Changing letter orientation
You can define the rotation angle of letters relative to the baseline or the
design itself. The latter lets you keep letters vertical regardless of baseline
angle in order to achieve a staircase effect.
To change letter orientation
1 Right-click the Lettering icon or double-click selected lettering object/s.
The Object Properties > Special > Lettering dialog opens.
2 Click Layout to open the Layout dialog.
Click to lay out
baseline
ES 2006 Chapter 25 Editing Embroidery Lettering 612
3 Select an Orientation setting.
Baseline: orients letters relative to the lettering baseline.
Design: orients letters relative to the horizontal.
4 Enter an orientation angle.
5 Click OK to return to Object Properties > Special > Lettering dialog
and click Apply.
Set orientation
angle
Select orientation
relative to baseline
or design
Baseline angle: 0
Orientation: 60 to
design
Baseline angle: 0
Orientation: 10 to
baseline
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Chapter 26
Adjusting Lettering Stitch
Settings
When it comes to stitching, you can fine-tune the density, add pull
compensation and underlay, or change to center-out stitching. Like all
embroidery objects, each lettering object has its own stitch properties.
Adjust settings at any stage. ES Designer also gives you precise control over
the stitch angles of individual letters. You can also specify the join method
and stitching sequence you prefer.
This section describes changing lettering stitch types in lettering objects,
and adjusting lettering stitch angles. It also explains how to adjust the
lettering stitching sequence as well as lettering join method.
Note For information about adjusting travel run length in lettering objects,
see Adjusting travel run stitch length. For information about adjusting
lettering connector values, see Using automatic connectors.
Changing lettering stitch types
By default, lettering objects are filled with Satin stitch. You can also apply
other basic fill stitch types, such as Tatami or Zigzag, as with other
embroidery objects. See Selecting stitch types for details.
ES 2006 Chapter 26 Adjusting Lettering Stitch Settings 614
Note Lettering values are stored in the <PRESET_LETTERING> style in the
Normal template. Changing these does not affect the values of other
objects. Do not delete or rename this style. See Working with styles for
details.
Adjusting Satin stitch settings for lettering objects
By default, lettering objects are filled with Satin stitch. Where a letter is
narrow, stitches are tight, thus requiring fewer stitches to cover the fabric.
Where a column is very narrow, stitches need to be less dense because too
many needle penetrations can damage the fabric. See also Creating fills with
Satin stitch.
To adjust Satin stitch settings for lettering objects
1 Double-click a selected lettering object.
The Object Properties > Special > Lettering dialog opens.
2 Select the Fills tab.
Alternatively, right-click the Satin icon with the lettering object selected.
Right-click Satin (Stitch Types toolbar) to adjust Satin values for lettering
objects.
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3 Select Satin stitch from the Stitch Type list.
4 Select the type of stitch spacing you want for your lettering.
For Fixed Spacing, clear the Auto Spacing checkbox and select a
value (in millimeters) in the Stitch Spacing field. For more open
stitching, select a higher value for decreased stitch density. See
Adjusting Satin stitch spacing for details.
For Auto Spacing, select the Auto Spacing checkbox and specify the
amount of adjustment to make to the spacings as a % value. See
Applying Auto Spacing to Satin stitch for details.
5 If you want to use Auto Split, select the checkbox and specify the Auto
Split Length and Auto Split Minimum Stitch values.
Note The Auto Split and Auto Jump features help you to control long
Satin stitches. See Splitting long stitches with Auto Split and Preserving
long stitches with Auto Jump for details.
6 Click Apply.
Adjust stitch
settings
Select Satin
Auto Spacing OFF Auto Spacing ON
ES 2006 Chapter 26 Adjusting Lettering Stitch Settings 616
Adjusting Tatami stitch settings for lettering objects
You can fill lettering shapes with Tatami stitching. It is suitable for filling
large, irregular lettering shapes. See also Creating fills with Tatami stitch.
To adjust Tatami stitch settings for lettering objects
1 Double-click a selected lettering object.
The Object Properties > Special > Lettering dialog opens.
2 Select the Fills tab.
Alternatively, right-click the Tatami icon with the lettering object
selected.
3 Select Tatami stitch from the list.
4 Adjust stitch spacing to increase or decrease density.
Right-click Tatami (Stitch Types toolbar) to adjust Tatami values for lettering
objects.
Select Tatami
Adjust stitch values
Adjust offset settings
Select backstitch type
Enter random factor
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5 Adjust stitch length to increase or decrease needle penetrations. See
Adjusting Tatami stitch spacing and length for details.
6 Choose a backstitch typeStandard, Borderline, or Diagonal. See
Selecting a Tatami backstitch for details.
7 Select the Offset Fraction option to specify how each row is offset in
order to create special embroidery effects. See Setting Tatami offset
fractions for details.
8 Select the Partition Lines option as an alternative method for offsetting
needle penetrations in Tatami fills. See Applying Tatami partition lines
for details.
9 Specify a random factor to eliminate the split line patterns formed by
regular needle penetrations. See Applying random factors for details.
10 Click Apply.
Adjusting Zigzag stitch settings for lettering objects
Zigzag stitch is similar to Satin in that the needle penetrates each side of
the column. But while Satin gives a straight line followed by a diagonal,
Zigzag produces two diagonal lines, thereby producing a more open stitch.
It is generally used for decorative effect or where fewer stitches are
required. The density is determined by the stitch spacing setting. See also
Creating outlines with Zigzag stitch.
To adjust Zigzag stitch settings for lettering objects
1 Double-click a selected lettering object.
The Object Properties > Special > Lettering dialog opens.
2 Select the Fills tab.
Alternatively, right-click the Zigzag icon with the lettering object
selected.
Right-click Zigzag (Stitch Types toolbar) to adjust Zigzag values for lettering
objects.
ES 2006 Chapter 26 Adjusting Lettering Stitch Settings 618
3 Select Zigzag stitch from the Stitch Type list.
4 Enter a spacing value in the Stitch Spacing field.
5 Click Apply.
Adjusting stitching sequence and join method
You can specify the sequence in which letters are stitched to minimize
registration problems such as on caps or difficult fabrics. While the Closest
Join method is recommended in most cases to minimize trims, you may
sometimes want to use the As Digitized setting with alphabets which
include multiple colors, multiple stitch types, or special effects.
Adjusting letter sequencing
You can specify the sequence in which letters are stitched to minimize
registration problems such as on caps or difficult fabrics. For example, the
Center Out option is especially useful when stitching on caps. There are
also options for multiple lines of lettering which are useful for machines
without trimmers.
To adjust letter sequencing
1 Right-click the Lettering icon or double-click selected lettering object/s.
Adjust stitch
spacing
Select Zigzag
stitch spacing: 1.0 mm stitch spacing: 1.5 mm
Click Lettering (Input toolbar) to adjust the lettering stitching sequence.
ES 2006 Wilcom ES Online Manual 619
The Object Properties > Special > Lettering dialog opens.
2 Click Sequence.
The Sequence dialog opens.
3 Select a stitching sequence. Options include:
In Line: Select whether you want the lettering to be stitched
left-to-right or right-to-left in each line.
Center Out: Select this checkbox if you want the lettering stitched
from the center out. You can specify that one side of the center is
stitched followed by the other, or that each letter is stitched
alternatively on either side of the center.
Click Sequence
Adjust single line
stitching sequence
Adjust multiple line
stitching sequence
stitched left-to-right stitched right-to-left
left side stitched first right side stitched first
ES 2006 Chapter 26 Adjusting Lettering Stitch Settings 620
Line by Line: Choose whether you want multiple lines of lettering
to stitch top-to-bottom or bottom-to-top. You can also specify that
the first line should be stitched left-to-right, and the second
right-to-left.
Note You can combine both In Line and Line by Line sequencing
options.
4 Click OK to return to the Special tab.
5 Click Apply.
Tip Travel through your design to check the stitching sequence. See
Traveling by stitches for details.
Changing lettering join method
The lettering stitch method is preset to
give the best results for each alphabet. In
most cases, Closest Join is
recommended in order to minimize trims.
See Standard Alphabets for details.
The As Digitized setting is used with
alphabets which include multiple colors or
special effects. Such alphabets may include machine functions, as for
two-color alphabets, or run stitches as part of the cover stitching.
Lettering objects normally consist of one stitch type only. However, the As
Digitized join method together with Original Stitch Values setting can be
used with special fonts which combine several stitch typese.g. Satin with
Run, or Tatami, or Motifs.
To adjust lettering join method
1 Right-click the Lettering icon or double-click selected lettering object/s.
stitched
bottom-to-top
stitched
top-to-bottom
Use Lettering (Input toolbar) to change the lettering join stitch method.
ES 2006 Wilcom ES Online Manual 621
The Object Properties > Special > Lettering dialog opens.
2 Click Sequence.
The Sequence dialog opens.
3 Select a join method from the list:
Bottom Join: Letters are joined along the baseline. Use it when
stitching on towellingjoins are hidden in the pile.
Closest Join: Letters are joined at the closest point. Use it to
minimize trims.
As Digitized: Letters are stitched out the same way they were
originally digitized. Use it with alphabets combining different fill
stitch types or special effects.
4 Select the Original Stitch Values checkbox as required.
This setting is only available if the As Digitized join type is selected.
Select it when using special fonts which combine several stitch types. If
not selected, these letters will be stitched with a single stitch type.
Tip For the recommended stitch and join methods, see Standard
Alphabets.
5 Click OK to return to the Special tab.
6 Click Apply.
Select join method
Select Original Stitch
Values
Closest J oin As Digitized Bottom J oin
As Digitized and Original
Stitch Values selected
As Digitized but Original
Stitch Values not selected
Closest J oin selected
ES 2006 Chapter 26 Adjusting Lettering Stitch Settings 622
Adjusting lettering underlay settings
Lettering appearance and quality depends a lot on underlay which serves as
a foundation for the cover stitching. As well as stabilizing, underlay also
provides loft, raising cover stitches and preventing them from sinking into
soft fabrics. It can also prepare a napped fabric by flattening it. Most
lettering used in designs is 15 mm high or less. The columns at such sizes
are less than 3 mm wide for normalnot heavy or blockfonts. Such
objects are best served with a single Center Run or Edge Run underlay.
Center Run places a row of stitches along the center of a column. Edge Run
places stitches around the edge of each column. Large letters for jacket
backs and so on, can of course use a second layer of underlay.
Double-zigzag is sometimes used to give added loft. See also Strengthening
and stabilizing with automatic underlays.
Edge Run underlays for lettering and branched objects also provide a Weld
option. When activated, underlay is applied to the lettering object as a
whole, rather than segment-by-segment. This means there should be no
overlaps where segments join.
To adjust lettering underlay settings
1 Select a lettering object.
2 Right-click the Auto Underlay icon.
Right-click Auto Underlay (Stitch Types toolbar) to adjust lettering underlay
settings.
ES 2006 Wilcom ES Online Manual 623
The Object Properties > Underlay dialog opens.
3 Select the First Underlay checkbox and select Center Run or Edge Run
as the First underlay type.
Tip If you select Edge Run, a further Weld option becomes available.
When activated, underlay is applied to the lettering object as a whole.
This means there is no duplication where two objects overlap.
4 Enter the required length values for each underlay type.
See Adjusting Center Run and Edge Run underlay settings for details.
5 Click Apply.
Tip Run Slow Redraw to see how the underlay will stitch out. See
Redrawing the stitching sequence slowly for details.
Adjust fixed or
variable run length
Select Edge Run
(or Center Run)
Select 1st underlay and
optionally select Weld
ES 2006 Wilcom ES Online Manual 624
Chapter 27
Special Lettering Features
Add special characters and symbols to
your lettering. Create interesting
distortions using lettering envelopes. Add
attractive borders such as rectangles,
ovals, and shields. Use the Team Names
feature to create designs with multiple
names. For example, use the same logo
with different names for sports teams or
corporate uniforms without having to
create multiple copies of the same design.
This section shows you how to add special
characters and symbols. It describes how to create special effects with
envelopes. It also covers adding borders to lettering, as well as setting up
team lettering designs.
Adding special characters and symbols
Embroidery and TrueType fonts generally contain many more characters
than are available via your keyboard. In ES Designer, you can add special
characters and symbols directly through the Select Symbols dialog or by
means of the Windows Character Map.
Inserting symbols
Use Lettering (Input toolbar) to add special characters and symbols.
Right-click to select lettering options.
ES 2006 Wilcom ES Online Manual 625
You can quickly add special characters and symbols to your lettering
designs.
Tip If you know the keyboard shortcut for a symbol, add it to your lettering
by entering the combination on-screen or in the Object Properties >
Special > Lettering dialog.
To insert symbols
1 Right-click the Lettering icon.
The Object Properties > Special > Lettering dialog opens.
2 Click Insert Symbol.
Click Insert
Symbol
ES 2006 Chapter 27 Special Lettering Features 626
The Symbol Selection dialog opens.
3 Select an alphabet or symbol set from the Symbol Set list.
4 Select the symbols you want to use.
The selected symbols are displayed in the Selection field.
5 Click Make Current.
The selected symbols are displayed in the text entry panel of the Object
Properties > Special > Lettering dialog.
Note Click Delete to remove symbols displayed in the Selection field
as required.
6 Click Apply.
7 Continue creating the lettering object in the normal way. See Creating
lettering with Object Properties for details.
Show pictures and
characters
Select alphabet
or symbol set
Select
symbols
Show pictures
Show characters
Selected symbols
displayed
Click to add
Click to close Click to delete
ES 2006 Wilcom ES Online Manual 627
Using the Character Map
Use the Windows Character Map to provide quick access to common
symbols and letters. The Character Map is usually installed as part of the
Windows setup. See your Windows documentation for more details.
To use the Character Map
1 Open the Windows Character Map.
By default, you will find it under Start > Programs > Accessories >
System Tools > Character Map.
2 Select a font from the Font list.
3 Double-click a character, or select it and press Select.
The character/s appear in the Characters to copy field.
4 Click Copy to copy the character to the clipboard.
5 Paste it into the text entry panel of the Object Properties > Special >
Lettering dialog.
To do this, click inside the text entry panel and press Ctrl+V.
Tip You can also paste characters and symbols into an external graphics
program to use as the basis for creating your own custom characters.
See Digitizing custom letters for details.
Select font
Select symbols
or double-click
Selected symbols
displayed
Click to
select
Click to
copy
ES 2006 Chapter 27 Special Lettering Features 628
Creating special effects with envelopes
Apply Envelope effects to lettering objects to make them bulge or arch,
stretch or compress.
Distorting lettering objects
Four types of Envelope effect are availableBridge, Pennant, Perspective
and Diamond.
Tip Envelopes are typically applied to lettering objects, but they can also
be applied to other types of embroidery object.
To distort lettering objects
1 Select the lettering object you want to distort.
Tip To apply an envelope to several objects, group them first, then
apply the envelope. See Grouping and ungrouping objects for details.
2 Select Edit > Envelope.
3 Select an envelope type from among the following alternatives:
Different handles display around the object outline depending on the
envelope type.
Use Envelope (Edit menu) to create special effects with envelopes.
Bridge Pennant Perspective Diamond
Bridge Pennant Perspective Diamond
Bridge reshape
handles
ES 2006 Wilcom ES Online Manual 629
4 Drag one or more handles up or down to distort the object.
To move two handles in opposite directions, hold the Shift key down
while dragging a handle.
To move the handles in the same direction, hold down the Ctrl key
while dragging a handle.
5 Press Esc to finish.
Editing text in envelopes
You can edit the lettering text in envelopes on-screen in the same way as
normal lettering. When you click inside the lettering, a duplicate displays
below the envelope.
To edit text in envelopes
1 Click the Lettering icon with the lettering object in an envelope
selected.
Duplicate letters appear below the selected shape in their original form.
The cursor changes to an I-beam and appears after the last letter.
Drag
Shift +drag
Ctrl +drag
Use Lettering (Input toolbar) to edit letters in envelopes on-screen.
ES 2006 Chapter 27 Special Lettering Features 630
2 Click inside the duplicate lettering object and edit text as required.
3 Press Enter to complete.
The lettering in the envelope is updated.
Removing envelopes
Return an object to its original shape by removing the envelope.
To remove envelopes
Select the lettering object.
Select Edit > Envelope > Delete.
The envelope is removed and the letters return to their original shape.
Team lettering
The Team Names feature lets you create designs with multiple names. For
example, you can use the same logo with different names for sports teams
or corporate uniforms without having to create multiple copies of the same
design. When you use Team Names, you create a variable lettering object,
Add letters at
I-beam cursor
Press Enter
Use Envelope >Delete (Edit menu) return an object to its original shape by removing
the envelope.
ES 2006 Wilcom ES Online Manual 631
and associate names with it. Names are stored in lists that can be accessed
from any design. You can add to these lists, or remove names at any time.
Depending on how you want to stitch out, you can choose to save and stitch
the names and designs separately, or together.
Creating name groups
Create a new name group to associate a list of names with Team Names
objects. Once you create a group, the names in it are available to all
designs.
Note Team Names groups are stored in the Namedrop.emn file in your
installations ...\res folder. If the file becomes corrupted, copy
ESWin\bin\namedrop.emn to ESWin\res\namedrop.emn. This will
restore Team Names groups to the default settings.
To create a name group
1 Click the Team Names icon.
The Team Names dialog opens.
2 Click Add in the Group panel.
Use Team Names (Input toolbar) to create name groups.
Add new
group
ES 2006 Chapter 27 Special Lettering Features 632
The Group Name dialog opens.
3 Enter a name for the group and click OK.
The new group name appears in the Group list. The Group Members
panel remains empty until you add names to it.
4 Add members to the group as required:
See Adding individual members to name groups for details.
See Adding multiple members to name groups for details.
5 Click OK.
Adding individual members to name groups
You can add members to a group one-by-one or as a entire group. See also
Adding multiple members to name groups.
To add individual members to a name group
1 Click the Team Names icon.
Enter group
name
Gaelic Football Club
Gaelic Football Club
new group
Use Team Names (Input toolbar) to add individual members to a group.
ES 2006 Wilcom ES Online Manual 633
The Team Names dialog opens.
2 Select a group from the Group list, or create a new one. See Creating
name groups for details.
3 Click Add in the Group Members panel.
The Group Member Add/Edit dialog opens.
4 Enter the first name of the member in the Name 1 field.
5 Optionally, enter second and third names as required.
6 Click OK.
Gaelic Football Club Select group
Add new
member
Add first name
Add second name
Add third name
Patrick
Michael
Fitzpatrick
ES 2006 Chapter 27 Special Lettering Features 634
The name is added to the Group Members list.
Adding multiple members to name groups
You can add members to a group one-by-one or as a entire group. See also
Adding individual members to name groups.
To add multiple members to a name group
1 Click the Team Names icon.
The Team Names dialog opens.
2 Select a group from the Group list, or create a new one. See Creating
name groups for details.
3 Click Quick Names.
Use Team Names (Input toolbar) to add multiple members to a group.
Gaelic Football Club
Fitzpatrick Patrick Michael name added
Gaelic Football Club Select group
Select Quick
Names
ES 2006 Wilcom ES Online Manual 635
The Quick Names dialog opens.
4 Enter the names in the format Name 1, Name 2, Name 3.
You can type the names, or paste them in from a text file. Each name
must be separated by a comma. Each complete name must be on a new
line.
5 Click OK.
The new names are added to the Group Members list.
Tip Edit the list by using Add, Delete and Edit.
Creating team name designs
To associate multiple names with a design, you create a variable Team
Names object. Names are stored together in groups. You can select names
from an existing group or create a new one.
Michael,Patrick,Fitzpatrick
Patrick,Simon,Fitzsimons
Simon,Gerald,Fitzgerald
Gerald, Roy, Fitzroy
Roy,John, Fitzjohn
John, Maurice, Fitzmaurice
Maurice,Henry,Fitzhenry
Enter names
Gaelic Football Club
Fitzpatrick Patrick Michael
Fitzsimons Simon Patrick
Fitzgerald Gerald Simon
Fitzroy Roy Gerald
Fitzjohn John Roy
Fitzmaurice Maurice John
Fitzhenry Henry Maurice
names added
Add/edit/delete
names
Use Team Names (Input toolbar) to associate multiple names with a design.
ES 2006 Chapter 27 Special Lettering Features 636
To create a team name design
1 Open the design you want to use.
2 Click the Team Names icon.
The Team Names dialog opens.
3 Select a group from the Group list.
The names display in the Group Members list. See also Creating name
groups and Adding multiple members to name groups.
4 Select names to associate with the design from the Group Members
list.
To select multiple names, hold down Ctrl as you select.
To select a range of names, hold down Shift as you select.
5 Click Add to add them to the Team Members list.
Alternatively, to associate all names in the group, click Add All.
Selected names are copied to the Team Members list. The Naming
Order defaults to Name 1, Name 2, Name 3.
Tip When you click Add, names are appended to the Team Members
list. Clicking Add repeatedly means that a fresh copy of the selected
name or names is appended each time.
Gaelic Football Club
Fitzpatrick Patrick Michael
Fitzsimons Simon Patrick
Fitzgerald Gerald Simon
Fitzroy Roy Gerald
Fitzjohn John Roy
Fitzmaurice Maurice John
Fitzhenry Henry Maurice
Select group
Add all or
selected names
ES 2006 Wilcom ES Online Manual 637
6 In the Team Members list, edit members as required.
To sort team member names alphabetically, select a column by
clicking the button at the top of the column. To select multiple
columns, hold down Ctrl as you select.
To change the stitching order, select a name and click Up or Down.
To remove a name from the list, select it, and click Remove. To clear
all names from the Members Selected list, click Remove All.
7 Set Naming Order options as requirede.g.
To stitch only first and third names, select Name 1 and Name 3 in
columns one and two.
To stitch names in reverse order, select Name 3, Name 2, and
Name 1 in columns one, two and three.
8 To adjust lettering format settings, click Show Properties.
The Object Properties > Special > Lettering dialog opens. The text
entry panel is grayed out, indicating that you are entering lettering by a
different method to normal.
Gaelic Football Club
Fitzpatrick Patrick Michael
Fitzsimons Simon Patrick
Fitzgerald Gerald Simon
Fitzroy Roy Gerald
Fitzjohn John Roy
Fitzmaurice Maurice John
Fitzhenry Henry Maurice
Remove all or
selected names
Set naming
order options
Click to sort
names
alphabetically
Adjust lettering
format
Michael
Patrick
Simon
Gerald
Roy
John
Maurice
Fitzpatrick
Fitzsimons
Fitzgerald
Fitzroy
Fitzjohn
Fitzmaurice
Fitzhenry
Text entry panel
grayed out
ES 2006 Chapter 27 Special Lettering Features 638
Tip You have the opportunity to change the settings after the names
are stitched, but it is quicker to set them at this stage. If the design
already contains Team Member objects, Show Properties is disabled.
9 Adjust the settings as required. See Creating lettering with Object
Properties for details.
10 Click Apply.
11 Click OK in the Team Names dialog.
Depending on your baseline selection, you may be prompted to enter
reference points. See Applying baselines for details.
ES Designer generates stitches for all names in the Team Members list.
The associated Team Members dialog opens automatically, the first
Team Member name in the list is selected and is visible in the design
window.
12 Select names one-by-one from the Team List to view them together
with the design.
Viewing and modifying individual team names
You can preview individual team names in the design window as they will be
stitched out with the design. Set individual properties for each name.
Select names to
view on-screen
Simon
Patrick
Michael
Gerald
Maurice
John
Roy
Fitzgerald
Fitzsimons
Fitzpatrick
Fitzroy
Fitzhenry
Fitzmaurice
Fitzjohn
Use Team List (Standard toolbar) to toggle Team Members display on/off.
Use it to view and edit individual team names.
ES 2006 Wilcom ES Online Manual 639
To view and modify team names
1 Open the Team Names design you want to use. See also Creating team
name designs.
2 Click the Team List icon.
The Team Members dialog opens. By default all member names are
selected.
Tip By default a space is inserted between Name 1 and Name 2. To
remove this space, set the Word Spacing value in the Layout dialog to
0%. See Adjusting letter spacing for details.
3 View team names in any of the following ways:
Select a team member name. The selected name displays on-screen
with the current lettering properties.
Use the arrows keys to scroll up and down the list to view each name
in turn.
To sort team member names alphabetically, click the tab at the top
of a column to select, then click the Sort button.
4 To view and/or edit a selected team members object properties, select
a name then click Show Properties.
Simon
Patrick
Michael
Gerald
Maurice
John
Roy
Fitzgerald
Fitzsimons
Fitzpatrick
Fitzroy
Fitzhenry
Fitzmaurice
Fitzjohn
Select name to
view on-screen
Click to select
column
View properties of
selected names
Click to sort
selected names
alphabetically
Simon
Patrick
Michael
Gerald
Maurice
John
Roy
Fitzgerald
Fitzsimons
Fitzpatrick
Fitzroy
Fitzhenry
Fitzmaurice
Fitzjohn
ES 2006 Chapter 27 Special Lettering Features 640
The Object Properties > Special > Lettering dialog opens.
5 Adjust the settings as required and click Apply.
The lettering updates automatically. See Creating lettering with Object
Properties for details.
6 For additional reshaping on-screen, do one of the followings:
Edit a selected name on-screen as you would any other lettering
object.
Team Names lets you do this without having to save the name as
separate design. Most important is the ability to manually adjust
lettering kerning. See Editing Embroidery Lettering for details.
Adjust the lettering baseline as you would any other lettering object.
Most important is the ability to select an auto-frame style for fixed
line baselines. See Adjusting straight baseline settings for details.
7 To copy the object properties of one selected team member to all team
members, click Apply to All.
8 To add members to the list, click Add.
The Team Names dialog opens. You can add further names to the list
from the current Team Names group or any other group. See Creating
team name designs for details.
9 To delete members from the list, click Delete.
Simon Fitzgerald
Adjust settings for
individual names
Edit text for
individual name
ES 2006 Wilcom ES Online Manual 641
10 Click X in the top corner of the dialog to close.
Note When the Team Members dialog is closed, all team member
names become visible but the one on top is selected in the design
window.
Modifying team names by column
You can easily set properties, such as font, size or color for an entire column
of names. For example, you might want to highlight the given name in a
particular way.
To modify team names by column
1 Open the Team Names design you want to use. See also Creating team
name designs.
2 Click the Team List icon.
All team member names
visibleonly the one on
top selected
Use Team List (Standard toolbar) to toggle Team Members display on/off.
Use it to view and edit individual team names.
Right-click Lettering (Input toolbar) to edit lettering on-screen.
ES 2006 Chapter 27 Special Lettering Features 642
The Team Members dialog opens. By default all member names are
selected.
3 Click the tab at the top of a column and right-click the Lettering icon.
The Object Properties > Special > Lettering dialog opens.
4 Adjust the settings as required and click Apply.
The lettering for the entire column updates automatically. See Creating
lettering with Object Properties for details.
Simon
Patrick
Michael
Gerald
Maurice
John
Roy
Fitzgerald
Fitzsimons
Fitzpatrick
Fitzroy
Fitzhenry
Fitzmaurice
Fitzjohn
Click to select
column
Adjust settings for all
names in column
Text entry panel
grayed out
Select alphabet
ES 2006 Wilcom ES Online Manual 643
Creating individual designs with team names
You can create individual designs from each name in a Team Names design.
The name will still be included in the original.
To create individual designs with team names
1 Open the Team Names design you want to use.
See also Creating team name designs.
2 Click the Team List icon.
The Team Members dialog opens. By default all member names are
selected.
3 Select names you want to use.
To select multiple names, hold down Ctrl as you select.
To select a range of names, hold down Shift as you select.
To select all names in the list, click Select All.
4 To create individual embroidery designs for each selected team member,
click Create Design(s).
A new design is created for each selected name. The name is now a
normal lettering object.
5 Click the Save icon to open the Save As dialog.
Use Team List (Standard toolbar) to toggle Team Members display on/off.
Use it to view and edit individual team names.
Select names
to use
Click to create
individual designs
Simon
Patrick
Michael
Gerald
Maurice
John
Roy
Fitzgerald
Fitzsimons
Fitzpatrick
Fitzroy
Fitzhenry
Fitzmaurice
Fitzjohn
ES 2006 Chapter 27 Special Lettering Features 644
6 Enter a new name for the design and click Save.
Creating a matrix of team name designs
The Team Names Matrix feature allows you to automatically create a
matrix for all names in a team name object together with their
corresponding design. You have the option to minimize the number of color
changes created by the matrix operation. The operation also attempts to
minimize the number of jumps. A team name object must be present in the
design to activate the feature.
To create a matrix of team name designs
1 Open the team name design you want to use. See also Creating team
name designs.
2 Select the entire design if you want to process the design together with
the team name object.
3 Select Arrange > Team Name Matrix.
ES 2006 Wilcom ES Online Manual 645
The Team Names Matrix dialog opens.
The Team Names field derives from the actual number of names
included in the design.
The Rows field is calculated from Hoop Height divided by Row
Height. Similarly the Columns field is calculated from Hoop Width
divided by Column Width.
The Output Files field is calculated from the number of team names
divided by rows X columns, rounded up to the nearest whole
number.
Note All calculated fields are updated when you change any of the
height and width settings.
4 Set the hoop height and width to suit the requirements of the hoop you
are using.
These settings are remembered within a session but the defaults are
loaded whenever you launch ES Designer.
5 Set the row height and column width within the selected hoop settings.
These settings are based on the design height and width properties.
Increase them if you want to enlarge the gap between designs. Minimum
and maximum settings: 2.50 mm and 999.99 mm.
6 Select a Sequence option.
Each option indicates a possible stitch sequence for the entire matrix.
The red square indicates the starting point and the arrow shows the
direction of the stitching sequence.
7 Select the Minimize Color Changes checkbox as required.
Adjust row and
column settings
Adjust hoop width
and height
Select stitching
sequence
Select to minimize
color changes
Calculated fields
based on hoop size,
and row and column
settings
ES 2006 Chapter 27 Special Lettering Features 646
When selected, provided the team name object has more than one color,
the entire matrix is resequenced by color.
8 Click OK.
A new file is created containing the number of team names that will fit
into the specified hoopi.e. the number of rows multiplied by the
number of columns, or less. If the number of team names exceeds this
value, another file is created to accommodate the additional names. The
total number of files created is given by the Output Files field.
Outputting team name designs
When you output a Team Names design, you need to define how it is to be
generated as a stitch file. You can generate files that include:
both the design and the names
design in one file and names in another, or
design and names in individual files.
You set these options whenever you save the file in stitch format or output
it to machine.
To output team name designs
1 Create a Team Names design or open an existing one.
2 Select File > Save As and select a stitch format from the Save As Type
list.
3 Click Options.
The Save Options > Team Names dialog opens.
ES 2006 Wilcom ES Online Manual 647
Note Options is also available when you output designs. See also
Stitching designs with Stitch Manager.
4 Select a Save option:
Design and Team Names with stops: creates a single stitch file
including one copy of the design and all names.
Stops are inserted after the design, and between the
namesi.e. Design Stop TeamMember1 Stop TeamMember2
Stop, etc.
Repeated Design and Team Names with stops: creates a single
stitch file with multiple copies of the design, and all names.
Stops are inserted after each static design/name
combinatione.g. Design + TeamMember1 Stop
Design + TeamMember2 Stop.
Create multiple output files: creates separate files for each name,
each of which includes a copy of the static part of the design.
When stitching to ES Machine Manager, each file is queued
separately.
Design part only: creates a file containing only the static part of the
design.
Team Names only with stops: creates a single file containing only
the names, separated by stops. This means that after each machine
stop, you can change frames.
If you have selected Team Names only with stops, you have a further
two options:
Select Follow Auto Start/End Menu to set the start/end point for
each name.
ES 2006 Chapter 27 Special Lettering Features 648
As with any design, the needle should return to a known position
before a frame change. This ensures that the next name is stitched
in the correct position. See Setting automatic start and end points
for details.
Select Based on justification to set the start/end point for each
name according to its lettering justification, as follows:
5 Click OK to return to the Save As dialog.
6 Click Save.
You are prompted with a confirmation message.
7 Click OK.
Justification Auto Start / End Point
Align Left Bottom Left
Center Bottom Middle
Align Right Bottom Right
J ustify Bottom Left
ES 2006 Wilcom ES Online Manual 649
Chapter 28
Custom Alphabets
Turn any TrueType font installed on your system into an embroidery
alphabet. Typically spacing between certain character pairs appears uneven
due to the optical illusion of having straight lines and curves side-by-side.
Automatic kerning is a user-defined option allowing you to customize
kerning. Sometimes you find that you want to reshape a letter to improve
its appearance, perhaps to suit a particular lettering height. ES Designer lets
you save the letter as an alternative version. In fact you can save multiple
versions of the same letter within the same alphabet. You can even create
your own custom alphabets. Alternatively, modify an existing alphabet for
special applications. Merge letters from two or more alphabets with the
stand-alone alphabet merging utility.
This section describes how to create new alphabets from TrueType fonts.
Automatic letter kerning and user-refined alphabets are explained. The
section also describes how to create and modify your own custom alphabets
and letters. Alphabet merging is also explained.
Converting TrueType fonts to embroidery alphabets
The Convert TrueType Font feature lets you convert any TrueType font
installed on your system to an embroidery alphabet. You can do this on the
ES 2006 Chapter 28 Custom Alphabets 650
fly or convert entire fonts for later use. This is an important feature for
Asian alphabets which may contain several thousands of characters.
The process is fully automatic. Lettering shapes are cut into Input A or
Input B embroidery objects. Overlaps and stroke order are detected and
stitch angles defined. The result is similar to manually digitized alphabets
although the quality may not be quite as high. The quality greatly depends
on the original shapes, narrower serif type alphabets producing better
results than blocked alphabets.
Converting individual TrueType letters
You can convert individual TrueType letters on the fly and add them directly
to a design through the Object Properties dialog.
To convert individual TrueType letters
1 Right-click the Lettering icon.
The Object Properties > Special > Lettering dialog opens.
Use Lettering (Input toolbar) to add TrueType lettering directly on-screen.
Right-click to set the formatting values for new or selected lettering objects.
Select TT font
Enter text
Set conversion
values
ES 2006 Wilcom ES Online Manual 651
2 Select a TrueType font from the Alphabet list.
3 Enter the text you want to embroider in the text entry panel.
Alternatively, type it directly on-screen after adjusting the conversion
settings.
Note The more letters you enter, the more time needed to convert
them.
4 Click TTF Conversion.
The Conversion Values dialog opens.
Tip Click Suggest Values if you are not sure which options to select.
Values are automatically set according to the selected alphabet.
5 Select the lettering style you want to create from the Styles
listRegular, Bold, Bold Italic or Italic.
Note The Style panel is not available for some fonts.
6 If you want the stitching to follow the contours of the letters, select
Turning Strokes. Otherwise select Complex Fill.
Select lettering
style
Select Complex Fill
for fixed stitch angle
Select Turning
Strokes for variable
stitch angle
ES 2006 Chapter 28 Custom Alphabets 652
The Turning Strokes option has preset values adjusted for the
particular alphabet style. The Complex Fill option lets you adjust the
stitch angle.
7 Select the Match Ends checkbox to keep stitch angles parallel to the end
of the stroke.
Note This option will override any corner detection and corner fraction
where parallel stitching applies.
Tip Stitch angles in strokes should normally be perpendicular to the
stroke, but the exceptions are letters like K, X, Y with short slanted
strokes. In these cases it is better to keep the stitch angle parallel to the
end of the stroke.
8 Select the Break Angle checkbox to apply a cap to sharp angles.
This effect is similar to Smart Cornersif the stroke bends sharply, like
the letter A or V, it will be split or capped.
Complex Fill
stitch angle 0
Turning Strokes Complex Fill
stitch angle 30
Match Ends
ONstitches
parallel to baseline
Match Ends OFF
Break Angle 87
Break Angle
OFFno split
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9 Select the Create Overlaps checkbox to prevent gaps forming between
segments.
You can fine-tune the overlaps by setting values in the T junctions and
O junctions fields.
10 Select the Separate Serifs checkbox if you are converting a serif font.
Tip As the serifs are made into separate strokes, this option is better
used with larger lettering where serifs are greater than 0.8 mm in
breadth.
11 Fine-tune processing of corners with these settings:
Corner Detection Angle specifies the angle which will identify a
corner in the letter. This is more important for getting well-defined
small letters. Note, however, that ES Designer automatically inserts
stitch angles where needed in order to obtain smooth turning
stitches. These generally occur at locations where the shape
changes significantly in direction or width.
Create Overlaps
OFF
Create Overlaps
ON
Separate Serifs
ON
Separate Serifs
OFF
ES 2006 Chapter 28 Custom Alphabets 654
Corner Fraction specifies fractional spacing at corners. It is used to
create smooth transitions of stitch angle at corners, shape ends, or
where a shape changes in width or curvature significantly.
12 Click OK to return to the Object Properties > Special > Lettering
dialog.
13 Click Apply.
14 Click the entry point.
If you have already entered text in the Lettering dialog, lettering
outlines are created directly.
If not, type the letters on-screen and press Enter to create the
lettering outlines.
15 Select Stitch > Generate Stitches or press G.
Converting complete TrueType fonts
The Convert TrueType Font feature lets you convert any suitable TrueType
font installed on your system into an embroidery alphabet. Converted letters
can be filled with parallel or turning stitches.
Note The conversion usually only takes a few minutes, although Asian fonts
may take longer.
Corner Detection Angle 150
Corner Fraction 0.6 mm
Corner Detection Angle 30
Corner Fraction 1.0 mm
Use Convert TrueType Font (Special menu) to convert a TrueType font into an
embroidery alphabet.
ES 2006 Wilcom ES Online Manual 655
To convert a complete TrueType font
1 Select Special > Alphabet > Convert TrueType Font.
The Convert TrueType Font dialog opens.
2 Select the font to be converted and font style.
3 Click Conversion Values.
The Conversion Values dialog opens. See Converting individual
TrueType letters for details.
Tip Click Suggest Values if you are not sure which options to select.
Values are automatically set according to the selected alphabet.
4 Enter a Font Name if you want to overwrite the default.
5 Choose whether to convert standard or extended character sets.
The standard character set contains alphanumeric characters only. It
excludes punctuation marks and other special characters.
6 Click OK.
Select font
Select font style
Set values
Enter font
name
Choose
character set
Arial Bold Arial Regular Arial Italic
ES 2006 Chapter 28 Custom Alphabets 656
When the font has been converted, the Convert TrueType Font dialog
confirms.
7 Click OK.
8 To check that the alphabet has been created, right-click the Lettering
icon to open the Object Properties > Special > Lettering dialog.
The newly converted TrueType font will be selected by default. You can
now use it in the same way as other embroidery alphabets.
Converting between Complex Fill and Turning Strokes
When you convert TrueType fonts to embroidery lettering, the letters can be
filled with parallel or turning stitches. You can convert between Complex Fill
and Turning Strokes at any stage.
To convert between Complex Fill and Turning Strokes
1 Digitize a lettering object using Convert TrueType Font. See To convert
individual TrueType letters for details.
2 Select the lettering object.
3 Right-click the Lettering icon.
The Object Properties > Special > Lettering dialog opens.
Right-click Lettering (Input toolbar) to convert between Complex Fill and
Turning Strokes.
Complex Fill with
stitch angle of 0
TrueType font appears
in Alphabet list
Set conversion
values
ES 2006 Wilcom ES Online Manual 657
4 Click TTF Conversion.
The Conversion Values dialog opens.
5 Specify whether the letters will be converted as Turning Strokes or
Complex Fill.
If Turning Strokes is selected, select the required options.
If Complex Fill is selected, enter the stitch angle.
See To convert individual TrueType letters for details.
6 Click OK to return to the Object Properties > Special > Lettering
dialog.
7 Click Apply.
Automatic letter kerning
The purpose of the automatic kerning feature is to improve lettering
appearance and legibility by fine-tuning spacings between letter pairs.
Typically spacing between certain pairs appears uneven due to the optical
Select Complex Fill
for fixed stitch angle
Select Turning
Strokes for variable
stitch angle
letters converted to
Turning Strokes
ES 2006 Chapter 28 Custom Alphabets 658
illusion of having straight lines and curves side-by-side. Automatic kerning
is a user-defined option allowing you to customize kerning.
Applying automatic kerning
The automatic kerning option is accessed by means of the Object
Properties dialog.
To apply automatic kerning
1 Double-click a lettering object.
The Object Properties > Special > Lettering dialog opens.
2 Scroll down to the Spacing panel.
If a kerning table exists for the selected alphabet or TrueType font, the
Auto Kerning checkbox is enabled and selected by default.
Right-click Lettering (Input toolbar) to adjust automatic kerning for selected
lettering objects.
Select or deselect
auto kerning
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3 Select or deselect Auto Kerning as required and click Apply.
Note If the Auto Kerning checkbox is disabled, no kerning table exists
for the selected alphabet or TrueType font, or all the kerning values are
set to zero. See Managing user-refined letters for details.
Managing kerning tables
A kerning table is an array of kerning values for every possible pair of letters
in the alphabet. The Kerning Table command accesses a dialog used to
manage kerning tables. You can copy tables from one alphabet or TrueType
font to an embroidery alphabet or remove its kerning table altogether.
Note TrueType kerning tables cannot be replaced, added to, or modified in
any way. You can, however, convert a TrueType font to an embroidery
alphabet and add or modify a kerning table as required.
To manage kerning tables
1 Open the Object Properties > Special > Lettering dialog.
Use Object Properties (Standard toolbar) to access kerning tables.
Click to access
kerning table
Select alphabet
ES 2006 Chapter 28 Custom Alphabets 660
2 Select an alphabet from the dropdown list.
3 Scroll down to the Spacing panel and click the Kerning Table button.
The Kerning Table dialog opens with the current (target) embroidery
alphabet displayed.
The Choose Source dropdown list displays all alphabets and TrueType
fonts that contain kerning tables.
Note The Zero Table command is enabled if the current (target)
alphabet already has a kerning table. If you click this button, you are
prompted to confirm removal of kerning information.
4 Choose a suitable alphabet or TrueType font from the list and click Copy
Source to Table to load its kerning table to the current embroidery
alphabet.
If the current alphabet already contains a kerning table, you are
prompted to overwrite it.
Editing kerning values
You have created a lettering object which has Automatic Kerning toggled
ON.
Choose similar
alphabet or font
Current (target)
alphabet
Copy kerning
table to current
alphabet
Use Reshape Object (Pointer toolbar) to reshape selected objects, edit stitch
angles, and adjust start/end points.
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To edit kerning values
1 Select a lettering object with automatic kerning and click the Reshape
icon.
2 Click the diamond control point in the centre of the letter.
3 Drag selected letter/s along the baseline or use arrow keys to adjust the
spacing. See Adjusting individual letter spacing on-screen for details.
Tip Alternatively, to move multiple letters, right-click the diamond
control point of the first letter and drag. All letters to the end of the line
move as one.
4 Repeat as many times as necessary to fine-tune all letter spacings in the
object.
5 Select one or more blocks of contiguous letters by Ctrl-clicking their
diamond control points or dragging a selection box around them.
Each block may contain two or more letters.
6 Select Special > Alphabet > Update Kerning Values.
You are prompted with a confirmation message box stating that the
operation will affect letter spacing of new lettering objects.
7 Click OK.
A new kerning value is generated for each contiguous pair of selected
letters of the same alphabet or font, and written to the associated
kerning table.
User-refined alphabets
Sometimes you find that you want to reshape a letter to improve its
appearance, perhaps to suit a particular lettering height. ES Designer lets
you save the letter as an alternative version. In fact you can save multiple
versions of the same letter within the same alphabet. Each version can have
ES 2006 Chapter 28 Custom Alphabets 662
a unique height range. When using the letter in a design, the height setting
will automatically determine which version is used. The feature thereby
allows you to permanently record fixes to particular lettering problems and
thereafter automatically apply them.
Note The software preserves all user-refined alphabet letters when a new
version is installed. Only factory default letters are overwritten. Similarly all
user-refined alphabets are preserved unchanged.
Saving user-refined letters
User-refined letters are saved via the Save Letter option. This is enabled
only if an alphabet letter or converted and/or reshaped TrueType font letter
is currently highlighted in the design window or selected in Reshape mode.
One and only one letter may be saved at a time. In the example below, the
letter a tends to close over at reduced sizes. You may want to open it up.
By saving it as a user-refined letter, any changes made will be automatically
applied to new lettering objects using the alphabet in the specified size
range.
To save a user-refined letter
1 Create a lettering object using the embroidery alphabet letters or a
TrueType font. See Creating Embroidery Lettering for details.
Use Reshape Object (Pointer toolbar) to reshape selected objects, edit stitch
angles, and adjust start/end points.
Letter a opened up at
smaller size
Default a too narrow at smaller size
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2 Size the lettering object and reshape the letter as required. See
Reshaping individual letters on-screen for details.
Tip The Stitch Angle and Reshape Object tools let you add, delete,
or adjust stitch angles in lettering objects. See Adjusting stitch angles
for details.
3 With the letter selected (by clicking the diamond control point), select
Special > Alphabet > Save Letter.
The Save User-Refined Letter dialog opens.
4 Set the height range for the letter:
All: the letter will be used at all letter heights (effectively replacing
the factory default).
Greater than: the letter will only be at heights greater than that
specified.
Less than: the letter will only be at heights less than that specified.
5 Give the new letter a unique name that you can easily identifyby
default, the new version is given the name User 1.
Select modified letter
Name the new
version
Specify the
height range
ES 2006 Chapter 28 Custom Alphabets 664
If the name has already been used for that letter, you will be prompted
to overwrite the existing saved letter. You can use the same name for
other letters.
6 Click OK.
A confirmation message appears when the letter has been saved. Note
that changes to the selected letter are not automatically applied to the
current lettering object.
7 To apply changes to all the same letters in the selected object, select the
Use saved version checkbox in the Object Properties > Special >
Lettering dialog and click Apply. See also Selecting alphabets.
Managing user-refined letters
User-refined letters are managed via the Manage User-Refined Letters
option. This menu item is only enabled when a lettering object with an
alphabet containing user-refined letters is currently selected.
To manage user-refined letters
1 While the letter is selected, select Special > Alphabet > Manage
User-Refined Letters.
modified
letter a
default letter a
Changes applied to
both letters
Select to use
user-refined letters
ES 2006 Wilcom ES Online Manual 665
The Manage User-Refined Lettering dialog opens.
The name of the alphabet is shown at the top of the dialog. If the
alphabet is a TrueType font, the TT font symbol is shown before the
name.
The original factory default letter is identified by the name Factory.
For converted TrueType font letters, the word Convert appears
instead of Factory. These labels cannot be edited.
With embroidery alphabets generated entirely by you, the original
digitized letter is named User 1 by default. Every version of the
letter, including the original, is editable.
2 Use the left and right arrow buttons or dropdown list to select a
user-refined letter in the current alphabet.
3 Make any of the following modifications:
Click and rename any of the versions, except Factory or Convert,
as required.
Delete any selected version name except Factory by clicking Delete.
If the letter is a TrueType font conversion, all versions may be
deleted. If the letter is user-definedi.e. non-Wilcomyou can
delete all versions except one.
Deselect the Use checkbox of any version if you dont want to
include it in the alphabet but dont want to delete it. When
deselected, the size range formerly occupied by the letter is
distributed evenly between the closest neighboring versions which
have their Use checkbox checked.
4 Adjust the height range for the selected version of the letter by moving
the slider bars.
Swap height ranges
by moving selected
version up or down
Adjust height range for the
selected letter version
Select letter version to
include in alphabet
Scroll to next or
previous letter
Click and
rename version
as required
ES 2006 Chapter 28 Custom Alphabets 666
The height is shown in the current units set in the Regional Options of
your PC. These can only be changed via the Control Panel.
5 Swap height ranges of the selected version of the letter with the Move
Up and Move Down buttons.
6 Click OK to confirm changes.
Creating custom alphabets
You digitize letters for a custom alphabet just like other embroidery objects.
Custom letters can be made up of multiple objects, and may be letters,
numbers, symbols or pictures. You can use artwork from sources such as
calligraphy books to create alphabet letters.
Note You can also create new alphabets by converting TrueType fonts. See
also Converting TrueType fonts to embroidery alphabets.
Choosing artwork to create custom alphabets
You can use artwork to create alphabet letters in the same way you do other
objects. Before digitizing, however, establish whether the letter shapes are
suitable for embroidery, and determine reference height and baseline for the
alphabet.
Warning Because of copyright laws, you cannot simply select letters from
an existing embroidery alphabet and save them directly to another
alphabet.
ES 2006 Wilcom ES Online Manual 667
Letter shapes
For best results, letter columns should be of similar width, without tight
curves or sharp corners, or very fine, very wide, or curved serifs.
Reference height and baseline
Reference height is the maximum height of capital letters. Although there
may be subtle differences between upper and lower case letters, it is a
useful guide for digitizing. See also Saving custom alphabets.
Tip Place letters along a standard baseline to help digitize at a standard
height. Draw in the baseline if you are digitizing from artwork, or use a grid
line as your guide. Descenders in letters such as y or g generally fall below
the baseline.
Tip Use E or H as reference letters to determine the height and baseline for
the alphabet. These letters work well because they sit on the baseline and
do not extend above the standard cap-height.
corners too sharp
differences in column
width too great
serifs too long and fine
letter height
baseline
ES 2006 Chapter 28 Custom Alphabets 668
Letter spacing and width
Letter width varies with the letter shape and spacing. When you digitize
letters, you enter two reference points to mark the width, and a third to
mark the height.
Default spacing affects kerning or spacing across all letters. Additional
width can be added as spacing around individual letters.
Tip For italic styles, you may need some overlap between letter extents.
Digitizing custom letters
You can digitize letters from backdrop images, convert vector objects, or
digitize freehand using any of the input method tools. You can also copy
characters and symbols from the Windows Character Map into an external
graphics program. Here you can modify them as you like, save them to a
graphics file, and use it as a design backdrop. See also Using the Character
Map.
Letter stitching sequence is based on the alphabet join type you select when
saving it. If you save using the Closest Join or Bottom Join methods,
ES Designer applies automatic branching to the letters. In this case, you
dont need to worry about the direction individual letter strokes will stitch
in. When branching is applied, ES Designer determines where each stroke
starts and ends, adding travel runs as necessary. However, it is good
discipline to digitize the strokes in the direction they are most likely to be
stitched in. It is also important to specify the stroke order as this is
maintained when sequencing is calculated. See also Saving custom
alphabets.
If you want to specify the stitching sequence and connectors yourself,
digitize the letter in sequence and manually digitize the connecting
stitching. You then need to select As Digitized as the alphabet join method.
See also Changing lettering join method.
letter width
letter width
spacing
increased
ES 2006 Wilcom ES Online Manual 669
To digitize custom letters
1 Select an input method.
If you are digitizing the sequence and connectors manually, use any
input method. If you want the letter to be automatically resequenced
with Closest Join or Bottom Join, use Input A, Input B, Input C and
Complex Fill objects.
2 Select the stitch type.
Tip Most letters use Satin or Tatami.
3 Digitize each section of the letter.
Where one stroke butts up against the side or end of another, create
an underlap to bind the two strokes together. Underlaps should be
about a third of the stroke width or less, but may be half for thin
strokes.
Try to avoid having more than two strokes on top of each other as
this causes thread buildup and can lead to thread breaks.
Sometimes modifying the shape can improve it.
Sometimes it is helpful to angle the ends of underlaps so that a few
stitches are caught by the overlapping stroke. This prevents a gap
appearing if the stitches of the top stroke pull back.
underlaps
overlap / underlap
ES 2006 Chapter 28 Custom Alphabets 670
Where a stroke crosses another stroke, such as in the letter t, one
stroke is commonly broken into two parts. For thin objects, you may
digitize the above stroke in one piece, crossing over or under the
other.
4 Adjust outlines using the Reshape Object tool if necessary.
When the letter is the correct shape, save it as a custom letter. See also
Saving custom letters.
Saving custom letters
When you create a new letter, you need to select an alphabet for it, give it
a name, specify its height, and indicate whether to preserve any machine
functions. You also need to indicate its spacing settings by digitizing
reference points on-screen.
Warning Do not use the tilde (~) symbol when naming letters. This is a
special character for entering letters with multiple-character names. See
Selecting custom alphabets for details.
To save custom letters
1 Digitize the objects that make up the new letter, and select them.
See Digitizing custom letters for details.
2 Select Special > Alphabet > Make Letter.
Use Alphabet >Make Letter (Special menu) to create a new letter.
Select whole
character
ES 2006 Wilcom ES Online Manual 671
The Make Letter dialog opens.
3 Select an alphabet from the Alphabet Name list. See also Saving
custom alphabets.
4 Enter a name for the letter in the Letter field.
For example, if you digitized the letter H, enter H in the Letter field.
Tip You can create names with multiple characters to identify special
letterse.g. Star for a star symbol, or e-acute for . See also
Selecting custom alphabets.
5 In the Reference Height field, enter a height for the letter.
The letter is recorded at this height regardless of its original size. You
can also set height on-screen by selecting the Digitize Reference
Height checkbox. When you return to the design window, you are
prompted to digitize the height. If you select Digitize Reference
Height, the value in the Reference Height field is ignored.
Tip Letters are generally 20 to 40 mm in height. See also Standard
Alphabets.
6 Deselect Remove Functions only if you want to keep any machine
functions in the object.
The letter may, for example, include deliberate color changes or other
machine functions. Such letters require the As Digitized join type. See
also Changing lettering join method.
7 Click OK.
8 Click to mark two reference points for letter width and the baseline.
Enter reference height
Enter letter name
Select alphabet
Select to set height on-screen
Deselect to include functions
ES 2006 Chapter 28 Custom Alphabets 672
The distance between reference points determines the letter width,
including any spacing either side of the letter. This then determines
standard spacing between letters. See also Letter spacing and width.
Note The reference points you digitize also determine where the letter
sits on the baseline.
9 If you selected Digitize Reference Height in the Make Letter dialog,
you are prompted to digitize a third reference point to mark letter
height. See also Reference height and baseline.
A message confirms that the letter has been saved to current alphabet.
10 Click OK.
Saving custom alphabets
Use custom alphabets to store any letters you create. To make a new
alphabet, you name it and set the default spacing and join type for adjacent
letters. You also specify the file type.
To save custom alphabets
1 Digitize the objects that make up the new letter, and select them.
See Digitizing custom letters for details.
2 Select Special > Alphabet > Make Letter.
1 2
1 2
1 2
Select whole letter
ES 2006 Wilcom ES Online Manual 673
The Make Letter dialog opens.
3 Click New.
The New Alphabet dialog opens.
4 Enter a name for the alphabet in the Alphabet Name field.
5 Enter the default spacing in the Default Letter Spacing field.
Tip Use 8-10% for standard alphabets such as block and serif styles and
0% for script-style alphabets.
6 Select a default method of joining adjacent letters from the Default Join
Type list.
As Digitized: preserves the original stitching sequence of each
letter as it was digitized, as well as any stitch types and machine
functions used in its creation.
Closest Join: resequences entry and exit points in adjacent letters
to join them at the closest point.
Bottom Join: resequences entry and exit points in adjacent letters
to create a connector along the lettering baseline.
See also Changing lettering join method.
7 Click OK.
8 Enter additional values for the selected letter in the Make Letter dialog.
See Saving custom letters for details.
9 Click OK.
Click to create
new alphabet
Enter alphabet name
Enter default spacing
Select join method
ES 2006 Chapter 28 Custom Alphabets 674
Selecting custom alphabets
To use a custom alphabet, select it like any other alphabet. If a letter has a
multi-character name, you can only access it from the Lettering dialog
using the special tilde (~) symbol.
To select custom alphabets
1 Right-click the Lettering icon.
The Object Properties > Special > Lettering dialog opens.
2 Select a custom alphabet from the Alphabet list.
3 Enter the names of the letters you want to use in the text box.
If the letter name is a single charactere.g. Aenter that
character.
If the letter name consists of more than one charactere.g.
Starenter a tilde (~) followed by the letter name.
Right-click Lettering (Input toolbar) to select a custom alphabet.
Select custom
alphabet
ES 2006 Wilcom ES Online Manual 675
Tip Combine letters that use single or multiple characters in their name
by prefacing the single character with two tildese.g. ~Star~~A~Star.
See also Saving custom letters.
4 Set the formatting values as you would for other lettering objects. See
Formatting lettering for details.
5 Click Apply.
6 Add the lettering to your design. See Adding lettering to embroidery
designs for details.
Modifying custom alphabets
You can modify custom alphabets by changing names, default letter
spacings and join types. If an alphabet is no longer required you can delete
it. You can also rename, delete or reshape letters within custom alphabets.
Modifying alphabets
Modify custom alphabets by changing names, default letter spacings and
join types. If an alphabet is no longer required, delete it.
To modify alphabets
1 Select Special > Alphabet > Modify Alphabet.
The Modify Alphabet dialog opens.
2 Select an alphabet from the Alphabet > Name list.
Use Alphabet >Modify Alphabet (Special menu) to modify custom alphabets.
Select
alphabet
Click to rename
alphabet
ES 2006 Chapter 28 Custom Alphabets 676
To rename the alphabet, click Rename. Enter a new name in the
Rename Alphabet dialog and click OK.
To delete an alphabet, click Delete. A message prompts you for
confirmation.
To change default letter spacing, enter a new value in the Default
Letter Spacing field. See also Adjusting spacing settings.
To change the default join type, select a new one from the Default
Join Type list. See also Adjusting stitching sequence and join
method.
3 Click OK.
Modifying custom letters
Rename, delete or reshape letters within custom alphabets.
To modify custom letters
1 Select Special > Alphabet > Modify Alphabet.
The Modify Alphabet dialog opens.
2 Select an alphabet from the Alphabet > Name list.
Enter new name
Use Alphabet >Modify Alphabet (Special menu) to rename, delete or reshape letters
within custom alphabets.
Select
alphabet
Select letter
ES 2006 Wilcom ES Online Manual 677
3 Select a letter from the Letter > Name list.
To delete a letter, click Delete. A message prompts you for
confirmation.
To rename a letter, click Rename. Enter a new name in the Rename
Letter dialog and click OK.
Tip You can use names with more than one character.
4 Click OK.
Reshaping custom letters
To change the shape of letters in custom alphabets, ungroup them and
change their outlines and stitch angles using the Reshape Object tool.
Warning When you ungroup, the letter is converted back to objects, and
letter details such as alphabet and baseline are lost. When you have finished
reshaping, you have to enter these details again.
Enter new name
Use Ungroup (Standard toolbar) to ungroup a letter into its component
objects.
Use Reshape Object (Pointer toolbar) to reshape custom letters.
Use Alphabet >Make Letter (Special menu) to create a new letter.
ES 2006 Chapter 28 Custom Alphabets 678
To reshape custom letters
1 Select a letter and ungroup.
2 Click the Reshape Object icon and reshape the objects as required.
3 When you have finished reshaping, select the objects.
4 Select Special > Alphabet > Make Letter.
The Make Letter dialog opens.
5 Select the alphabet to which the letter belongs from the Alphabet
Name list.
6 Select the letter name from the Name list.
Note To save the letter under a different name, enter a new name.
7 Click OK.
8 Confirm you want to replace the old letter with the new.
Reshape objects
Select alphabet
Select letter name
ES 2006 Wilcom ES Online Manual 679
Merging alphabets
You can merge letters from two or more alphabets with the stand-alone
alphabet merging utility. Files to be merged must be placed in the
ES Designer userletw folder of your installation.
To merge alphabets
1 Select Start > Programs > MS-DOS Prompt.
2 When the DOS prompt appears, change to the bin directory of your
ES Designer installation.
This is usually C:/ESWin/bin.
3 Choose whether to automatically overwrite or receive prompt.
To automatically overwrite the letters in the first file with letters of
the same name from the other file(s), type:
alphcat.exe file1.ESA file2.ESA file3.ESA.
To receive a prompt message before a letter is overwritten, type:
alphcat.exe file1.ESA file2.ESA file3.ESA /Y.
Press Y or N to confirm whether to overwrite.
4 Click Yes to merge.
ES 2006 Wilcom ES Online Manual 680
PART VII
DESIGN PROCESSING &
ENCODING
Design processing and encoding involve all the less glamorous, back-end
operations of embroidery design and manufacture. This is where you
actually output your designs to machine, disk, printer, cutter, and so on. For
this, you will need an understanding of embroidery file types as well as
different machine formats. Depending on your setup, you will also need an
understanding of traditional storage media including embroidery disks and
paper tapes.
Processing design files
This section describes how to select conversion options for opening and
saving different stitch and outline design formats. It also provides details
about the processing of Melco CND outline files, including color merging, as
well as reassigning colors to both stitch and Melco CND files. See Processing
Design Files for details.
Changing machine formats
This section describes how to select a machine format for a design, output
it using other formats, and customize machine formats to meet your
machines specific requirements. See Changing Machine Formats for details.
ES 2006 Design Processing & Encoding 681
Outputting designs
This section describes how to create production worksheets. It explains how
to send designs as email attachments, as well as how to output designs as
drawings and images. Cutting appliqu shapes is also covered, as well as
stitching designs with Stitch Manager. See Outputting Designs for details.
Embroidery disks and paper tapes
This section describes how to read from and write embroidery design files
to embroidery disk and paper tape. See Embroidery Disks and Paper Tapes
for details.
ES 2006 Wilcom ES Online Manual 682
Chapter 29
Processing Design Files
By default ES Designer saves to its native file format, EMB. This format
contains all information necessary both for stitching a design and for later
modification. When opening designs created or saved in other formats,
ES Designer converts the design internally to EMB format. You can then
modify it using the full range of ES Designer features. Depending on the file
type, you may need to provide additional information to assist ES Designer
in the conversion process.
This section describes how to select conversion options for opening and
saving different stitch and outline design formats. It also provides details
about the processing of Melco CND outline files, including color merging, as
well as reassigning colors to both stitch and Melco CND files.
Embroidery design formats
Embroidery designs are saved in one of two formatsoutline format or
stitch format.
Note For details of specific formats supported by ES Designer, see
Supported embroidery file formats.
Outline files
Outline or condensed files are high-level formats which contain object
outlines, object properties and stitch data. When you open an outline file in
ES 2006 Wilcom ES Online Manual 683
ES Designer, corresponding stitch types, input methods and effects are
applied.
Outline files can be scaled, transformed and reshaped without affecting
stitch density or quality. After modification, you can choose to save your
design to EMB format, or to a different format altogether.
Note Some outline files, such as Wilcom INP and Gunold PCH, contain
incomplete information. Old format ESD designs are somewhere between an
outline and a stitch file. They contain stitch data, information about selected
stitch types, densities, and machine functions. They do not, however,
contain information about shapes and lines. ESD files require object/outline
recognition if you want to perform object editing in ES Designer. See
Opening stitch files in ES Designer for details.
Stitch files
Different embroidery machines understand different languages. Each has its
own control commands for the various machine functions. Before you can
stitch a design, it must be in a format which can be interpreted by the
machine. Stitch or expanded designs are low-level formats for direct use
by embroidery machines. They contain only stitch coordinates and machine
functions. They are generally created on the fly when sending designs to
machine. They can also be output to embroidery disk or paper tape. See
Embroidery Disks and Paper Tapes for details. See also Supported Machine,
File and Disk Types.
When they are read into ES Designer, stitch files do not contain object
information such as outlines or stitch types, but present the design as a
collection of stitch blocks called Manual objects. Manual objects are created
wherever machine functionse.g. color changes or trimsare detected in
Complex
Fill object
ES 2006 Chapter 29 Processing Design Files 684
the design. They have only General and Connector properties. Manual
objects, in turn, consist of individual stitches, called Manual stitches.
Stitch designs are generally not suited to modification because stitches are
not regenerated. However, ES Designer patented Stitch Processor
technology can interpret object outlines, stitch types and spacing from stitch
data with some success. In this way, you can re-constitute old tape format
files and other stitch file format designs for modification in ES Designer.
These recognized designs can be scaled with stitches recalculated for the
new outlines. Processing is effective for most stitch designs but cannot
produce the same level of quality as original outlines and may not handle
some fancy stitches.
By default, stitch files are converted to outlines and objects upon opening
but you can also choose to open them without recognition. Designs opened
in this way can be output for stitching in another format. Or you can edit
stitches and add new elements. For such purposes, you do not need to
retrieve information about how the design was created.
You can scale stitch format designs which have been opened without
object/outline recognition. However, because the stitch count does not
change, the density increases or decreases with the design size. Thus you
Manual
object
ES 2006 Wilcom ES Online Manual 685
should not scale stitch designs by more than 5% or some areas may be
too thickly or too thinly covered.
Alternatively, you can process the whole or selected parts of a design after
editing. You can even split larger manual objects into smaller objects, and
process them individually.
Note With or without object/outline recognition, stitch files can be saved in
EMB format once they are opened in ES Designer.
File sources
While embroidery files are broadly classified as outline (condensed) or
stitch (expanded), ES Designer internally tags files as belonging to one of
four typesNative Design, Imported Outlines, Processed Stitches, or
Imported Stitches.
Original stitch
design
Scaled stitch design
opened without
object/outline
recognition
File source Description
Native Design Designs created in ES Designer (or equivalent).
Imported Outlines Designs read from non-EMB outlineCND or PCHwhere
stitches have been generated in ES Designer (or
equivalent) from original outlines and stitching data.
Processed Stitches Designs read from stitch files where stitches have been
regenerated by processing.
ES 2006 Chapter 29 Processing Design Files 686
For information about the source of a design file, refer to the Design
Properties dialog. See Viewing design information in ES Designer for
details.
Opening stitch files in ES Designer
If you want to scale a design, edit an outline or change a stitch type, then
the design or selected elements must be converted into objects using Stitch
Processor. By default, stitch files are converted to outlines and objects upon
opening. If you do not want to scale the design by more than 5%, or only
want to make minor stitch edits, or output in another format, you can
choose to open the stitch file without object/outline recognition. The design
is then presented as a collection of manual objects. If you only want to
convert selected parts of a design, you can open the file without
object/outline recognition and process only the required stitch blocks.
Tip To ensure object outlines, stitch types, stitch density and colors are
correct, it is always a good idea to check and edit designs after conversion.
To improve the quality of a stitch file, it is often better to edit stitches before
conversion.
Object/outline recognition
When you convert a stitch file to outline format, ES Designer reads stitch
data stitch-by-stitch according to the needle penetration points. It
recognizes stitch types, spacing and length values, stitch effects, and can
determine object outlines.
All filled areas in a design become Input A or Run objects with fill or outline
stitch properties as well as general and connector properties. Stitch types
are assigned as Satin, Tatami, or Program Split depending on the pattern of
needle penetrations. With Tatami, ES Designer recognizes stitch spacing
and length, and applies a random factor. If a design is converted from ESD
Imported Stitches Designs read from stitch files, where outlines may or may
not have been recognized, but stitches have not been
regenerated through stitch processing.
Note, however, that if you change a stitch designe.g. add
a lettering objectthe status changes to Processed
Stitches even though the imported stitches may not have
been regenerated.
File source Description
ES 2006 Wilcom ES Online Manual 687
format, Zigzag and Triple Run objects are also recognized. If an object is not
recognized, it becomes (or remains) a manual object with general and
connector properties only. As such, it will not scale well.
Recognized object outlines and stitch values are stored as object properties
in ES Designer. This means you can scale and transform recognized designs
in the usual way. You can also change the stitch density of the whole or
selected parts of a design, and/or of certain stitch types.
Tip ES Designer Stitch Processor is intended primarily to enable the
re-use of stitch format designs, but it also provides a convenient method for
changing the object properties of EMB designs. You can change stitch
density as a percentage without having to select objects individually. See
Adjusting stitch density for details.
Recognition limitations
ES Designer cannot recognize the backstitch type for Tatami fills. Before
scaling a design, select the correct backstitch in the Object Properties
dialog. If a stitch type is not recognized accurately, the values in the Object
Properties dialog will not match the stitches. The stitches will remain the
same as in the original design, until you make changes and regenerate
them. If you change the design, stitches will be regenerated according to
the object properties.
Tip Designs converted from tape format files and expanded designs which
have non-standard stitch types may require editing in ES Designer to ensure
that the object outlines, stitch types, stitch density and colors are correct.
Opening stitch files with object/outline recognition
When you open stitch files with object/outline recognition, you can set open
options to determine how to convert the design. Options vary with the type
of stitch file you select.
Note Open options should reflect how the design was originally digitized,
not how you want it now. Experiment with the settings to get the best
results.
To open stitch files with object/outline recognition
1 Open the file from your hard disk, or read it from tape or embroidery
disk.
ES 2006 Chapter 29 Processing Design Files 688
The Open dialog opens.
2 Select a stitch format from the Files of Type list and select the file to
open.
3 Click Options.
The Open Options dialog opens.
Note Depending on the file type selected, different options are
available.
4 Select the Objects/Outlines checkbox.
5 Select a different machine format from the Machine Type list as
required.
6 Enter the number of jumps to recognize as trims.
When ES Designer encounters this number of consecutive jumps, it will
convert them to a trim function.
Select format
Click
Options
Select file
Select
Objects/Outlines
Select machine
format
Select output type
for stop codes
Enter number of
jumps as trims
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Warning If this value is different from the original design, trim
functions will be not be inserted correctly.
7 Use the Stop Code as panel to select the output type for stop codes as
required.
Color Change: Stop codes are interpreted as Next Color
commands. The next color is selected from the default color palette.
Stops: Stop codes are interpreted as Explicit Stops. The machine
stops stitching.
Custom: Lets you map thread colors to every stop code in the file.
This means you can color code stitch file designs which do not
contain needle addressing information, before opening the file. See
Reassigning colors to stitch and Melco CND files for details.
8 Select or deselect the Automatic Connectors checkbox as required.
Deselect to open designs with connectors recognized as Manual
objects. This avoids stitch editing problems caused by automatic
connectors. This is recommended for open fills.
Select to open appropriate designs with automatic connectors
without having to use object/outline recognition.
9 Check the status of your embroidery machine as required, then select
the correct settingSpeed1 or Speed2from the list (if available).
On some Barudan machines there is a speed switch. Depending on its
position, fast is assigned as either Speed1 or Speed2. For example, if
you select Speed1, each fast speed function will be translated into a
Speed1 command.
10 Click Advanced to set advanced recognition options. See Adjusting
advanced recognition settings for details.
11 Click OK.
12 Click Open.
Select required
speed
ES 2006 Chapter 29 Processing Design Files 690
The selected design is processed and converted to Input A or Run
objects with fill or outline stitch properties as well as general and
connector properties. If an object is not recognized, it becomes a
manual object with general and connector properties only.
Note Stitch Processor adds the missing information to the file, but
does not change the stitches. See also Adjusting stitch density.
Opening stitch files without object/outline recognition
By opening a stitch file without object/outline recognition, you can output
the design without change, edit individual stitches, and perform minor
scaling and transforming actions without losing the original stitch
information. Alternatively, you can process the whole or selected parts of a
design after editing. See also Recognizing object/outlines after editing.
To open stitch files without object/outline recognition
1 Open the file from your hard disk, or read it from tape or embroidery
disk.
The Open dialog opens.
2 Select a stitch format from the Files of Type list and select the file to
open.
3 Click Options.
Manual
object
Input A
object
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The Open Options dialog opens.
4 Deselect the Objects/Outlines checkbox.
5 Set other open options as required.
Depending on the file type selected, different options are available. See
Opening stitch files with object/outline recognition for details.
6 Click OK.
7 Click Open.
The design opens as a collection of manual objects with only general and
connector properties.
Tip At this point, you can edit the stitches so that the Stitch Processor
can recognize the stitch types and object outlines more accurately:
Eliminate Stitch Shortening and Jagged Edge effects for smooth,
accurate outlines.
Remove small stitches from the design.
Deselect
Objects/Outlines
Manual
object
ES 2006 Chapter 29 Processing Design Files 692
The exit point of a column may be on the same side as the entry
point. You may need to add an extra stitch at the end so that the
Stitch Processor can recognize the outline accurately.
See Editing Stitches and Machine Functions for details.
Recognizing object/outlines after editing
You can process a stitch file, or selected parts of it, to recognize objects and
outlines, or adjust its size and stitch density. Processing a stitch file is similar
to converting it to an outline file when opening except that you can process
only selected objects or stitches. You can also split larger manual objects
into smaller objects, and process them individually. See also Splitting
objects and Converting selected stitches to objects.
Tip You can also use the Process feature to change stitch count and density
for the whole design, or for objects of a particular stitch type only. See
Adjusting stitch density for details.
To recognize object/outlines after editing
1 Open a stitch file without object/outline recognition. See Opening stitch
files without object/outline recognition for details.
2 Edit parts of the design as required. See Editing Stitches and Machine
Functions for details.
3 Select the part of the design you want to process.
You can select the whole design or individual manual objects.
Use Process (Generate toolbar) to adjust stitch density of the whole or
selected parts of a design.
Manual object
ES 2006 Wilcom ES Online Manual 693
4 Click the Process icon.
The Process dialog opens.
5 In the Stitch Values panel, enter the number of Target Stitches as
either a percentage or absolute value (in millimeters).
6 Adjust the density for each stitch type as required.
You can change the density for selected objects and/or for specific stitch
types only. See also Adjusting stitch density of certain stitch types.
Note If a design contains objects created with other stitch types, the
target stitch count will not be achieved as these objects will not change.
7 Click Recognition to set advanced recognition options as required. See
Adjusting advanced recognition settings for details.
8 Click OK.
Adjust stitch
densities
Enter target
stitch count
Adjust Pull
Compensation
Click to access
advanced
recognition
options
ES 2006 Chapter 29 Processing Design Files 694
The selected objects are processed and converted to Input A or Run
objects with fill or outline stitch properties as well as general and
connector properties. If an object is not recognized, it remains a manual
object with general and connector properties only. In this case, the
target stitch count may not be reached.
Note Stitch Processor adds the missing information to the file, but does
not change the stitches. See also Adjusting stitch density.
Adjusting advanced recognition settings
You can fine-tune how ES Designer converts stitch files using the advanced
recognition settings. By default, ES Designer converts stitches as Tatami,
Satin, or Run stitches according to the settings in the Recognition -
Advanced Options dialog. You can change these values, or choose not to
convert a certain stitch type at all.
Generally, the default settings provide the best results for the most
frequently used fill stylesTatami and Satintheir propertiesstitch length
and spacingand edge effects, such as stitch shortening. Default settings,
however, cannot always guarantee the best results as the variety of
embroidery designs is virtually unlimited.
Manual object
converted to
Input A and Run
objects, or left as
Manual
Original design
opened without stitch
recognition
Opened with stitch
recognition -
pattern splits recognized
as Tatami
ES 2006 Wilcom ES Online Manual 695
Tip When using the advanced object/outline recognition options, select only
those options you want to be recognized. This will minimize the time taken
to process the design and ensure stitches are preserved.
To adjust advanced recognition settings
1 Access the Open Options dialog. See Opening stitch files with
object/outline recognition for details.
2 Click Advanced.
The Recognition - Advanced Options dialog opens.
3 In the Tatami panel, select Recognize Tatami in order to process
Tatami fills, and adjust conversion options as required:
Stitch Spacing: enter spacing range to recognize. If the row
spacing falls outside this range it will not be converted to Tatami.
Min Stitch Length: enter minimum stitch length to recognize as
Tatami.
Select to
recognize Tatami
stitches
Select to
recognize Satin
stitches
Select to
recognize Run
stitches
Select to
recognize
J agged Edges
Select to
recognize
Splits
Set space and
stitch length
rounding
Select Segments
Resolution and
Merging Factors
Select to recognize
random needle
penetrations
ES 2006 Chapter 29 Processing Design Files 696
Random Factor: select to allow for random needle penetrations.
Deselect the Recognize Splits checkbox to detect Random Factor
more accurately.
4 In the Satin panel, select Recognize Satin in order to process Satin
stitching, and adjust stitch spacings as requiredif the row spacing falls
outside the specified range it will not be converted to Satin.
5 In the Run panel, select Recognize Run in order to process Run
stitching, and adjust conversion options as required:
Max Stitch Length: enter maximum stitch length to recognize.
Length Variation: enter percentage by which stitch length can vary
in Run objects.
6 In the Parameter Consistency panel, set options for Complex Fill
segment recognition.
Spacing Rounding: enter rounding value for stitch
spacingssnaps spacing values in Tatami and Satin fills to specified
increments.
Tatami Spacing range 0.4 mm
to 1.5 mm, Random Factor not
selected
Tatami Spacing range
0.4 mm to 1.5 mm,
Random Factor selected
Satin Spacing range
0.5 mm to 5.0 mm
Satin Spacing range
0.1 mm to 2.0 mm
Run, Max Stitch Length
4 mm Length Variation 10%
Run, Max Stitch Length 4 mm
Length Variation 90%
ES 2006 Wilcom ES Online Manual 697
Stitch Length Rounding: enter rounding value for stitch
lengthssnaps stitch length values in Tatami fills to specified
increments.
For example, if the Tatami minimum stitch length is 4 mm, and the
Stitch Length Rounding is 0.4 mm, stitches from 3.80 to 4.20 mm are
snapped to 4.0 mm, and recognized as Tatami.
7 In the Effects panel, select Jagged in order to recognize the Jagged
Edge effect. Specify a minimum range in millimetersanything
variation greater than this value will be recognized as Jagged Edge.
8 In the Splits panel, select Recognize Splits to recognize splits in Tatami
fills, and adjust conversion options as required.
Program Splits as User Defined Splits: recognize split patterns as
user-defined splits. Note, however, that user-defined splits are
scaled when the design is scaled. This results in stitch lengths
getting longer as the design is enlarged, thus limiting scaling. With
native program splits, on the other hand, patternsshape, size and
spacingremain the same after objects are scaled. See also
Textured Fills.
Recognize Auto Splits: recognize Auto Splits in Satin objects.
Otherwise, patterns created with Auto Split will be recognized as
Tatami. See also Splitting long stitches with Auto Split.
Tatami Spacing range: 0.4 mm to 1.5 mm,
Spacing Rounding: 0.01 mm,
Stitch Length Rounding: 0.2 mm
Tatami Spacing range: 0.4 mm to 1.5 mm,
Spacing Rounding: 0.05 mm,
Stitch Length Rounding:0.5 mm
J agged selected, border object
recognized as jagged edge
J agged NOT selected, border
object recognized as Manual
ES 2006 Chapter 29 Processing Design Files 698
Recognition Level: restrict recognition of Program Splits by
increasing percentage. Decrease to increase recognition. A low
percentage number will detect more areas as Satin with User
Defined Split than Tatami.
Tip Program splits are reliably recognized when patterns are not
overlapping.
Warning Split patterns can be complex, so the recognition process can
take up to five times longer with this option. Do not use it unless the
design contains Program Splits, User Defined Splits with Tatami or Satin,
or Auto Splits.
9 In the Segments Resolution/Merging Factors panel, enter values to
fine-tune the recognition of segments and objects.
Spacing: this value expresses the ratio between stitch spacings in
adjacent stitch blockse.g. adjacent spacings of 0.6 mm and
1.0 mm gives a ratio of 1.67. A value of 2.0 in the Spacing field
means that these stitch blocks will be recognized as one segment or
object. A value of 1.5 means that they will not. The default value is
3.0. Normal Satin and Tatami stitching ranges in spacing from 0.3 to
0.6 mm, so most continuous sections of stitching of the same type
will not be split. To preserve spacing variations for color-blended
designs and more artistic designs, you may need to reduce the
spacing factor. In manually punched designs which include stitching
with irregular spacing, segment breaks can be reduced by increasing
the factor.
Height: this value expresses the ratio between heights of stitch
blocks. It is important in recognizing Complex Fill shapes,
particularly with holes.
Tip Generally, the lower these values, the larger the number of
segments/objects likely to be identified. Normally you want to obtain
design information with a minimum number of identified
User Defined Split
Auto Split
ES 2006 Wilcom ES Online Manual 699
segments/objects. In practice there is always a compromise between
design recognition quality and the minimum number of correctly
identified segments/objects.
10 Click OK.
Tip To revert to the original conversion settings, click Reset.
Opening Melco CND outline files
Melco Condensed (CND) is the native file format of Melco embroidery
digitizing software. CND files store only digitized outlines and stitch values.
When you open CND designs in ES Designer, these outlines are scaled and
stitches recalculated to preserve density. ES Designer recognizes all Melco
machine functions and stitch types, including Partition Lines and Complex
Fill, and automatically converts them to EMB format. However, CND files do
not contain specialty features such as Pull Compensation or Auto Spacing,
nor do they include actual stitches, thread colors, or design icons.
There are several versions of CND, all of which can be read by ES Designer.
While these designs scale accurately, the number and placement of stitches
may differ somewhat from the original design. You may notice some
difference (5%) in the stitch counts between original and converted files.
This is because of differences in the software methods used to calculate
stitches. ES Designer cannot interpret certain specialty features of CND
design objects because there is no direct equivalent. However, stock designs
do not normally use these features and will generally convert without
problem.
Tip Before CND designs are stitched out, an EXP format file is created. The
EXP stores the actual stitches and can be stitched directly. This file too can
be opened in ES Designer. See Opening stitch files in ES Designer for
details.
When you open Melco CND files, the Melco stitch types used in the design
are converted to ES Designer stitch typesSatin, Run, Tatami, etc. You
Recognized objects
shown in different colors
Spacing: 0.5 mm,
Height: 2 mm
Spacing: 3 mm,
Height: 4 mm
ES 2006 Chapter 29 Processing Design Files 700
can change conversion settings to adjust the spacing, stitch length, effects
and defaults applied to ES Designer stitch types. You can also set scaling
values to open the design at a different size to the original. See also Saving
designs in Melco CND format.
Note For details of how each CND stitch type is converted, see Conversion
of Melco CND format to Wilcom EMB.
To open a Melco CND outline file
1 Open the file from your hard disk, or read it from tape or embroidery
disk.
The Open dialog opens.
2 Select Melco (CND) from the Files of Type list and select the file to
open.
3 Click Options.
Select CND
format
Select file
ES 2006 Wilcom ES Online Manual 701
The Condensed File Input Values dialog opens.
4 In the Scale Factor panel, enter the scale at which you want to open
the design.
New dimensions are expressed as a ratio of the original design size. For
example, to scale to 120% of the original, enter a scale factor of 1.2 in
each field.
5 In the Adjust panel, enter the spacing and length values to apply to the
design as a percentage of the original values.
You can adjust Satin spacing, Run stitch length as well as Tatami
spacing and length.
6 In the Auto Color Merge panel, choose whether you want to read
thread color information from CND files.
Select Auto
Color Merge
option
Enter scale
values
Adjust stitch
values
Select effects
to apply
Adjust default
values
Scale Factor
X: 1.00
Y: 1.00
Scale Factor
X: 0.50
Y: 1.00
ES 2006 Chapter 29 Processing Design Files 702
This ensures that stitches are displayed in the correct colors when
converted to EMB. See Color merging Melco CND files and Reassigning
colors to stitch and Melco CND files for details.
7 In the Effects panel, select the effects you want to apply to the design.
For information about these effects, see the relevant sections of the
manual:
Auto Spacing: See Applying Auto Spacing to Satin stitch.
Short Stitches: See Reducing stitch bunching with stitch
shortening.
Fractional Spacing: See Reducing stitch bunching with fractional
spacing.
8 In the Default Values panel, adjust the default values for Satin
Spacing, Stitch Length and Maximum Stitch Length as required.
If the CND design was created with values different to the factory
settings, you can override them in these fields.
To save new settings as defaults, click Save.
To revert to the Melco factory settings, click Reset.
9 Click OK.
10 Click Open.
The selected design opens in the Design window. You can scale the
design directly on screen, or via the Object Properties dialog. You can
also rotate, mirror and skew the design. See Modifying Designs for
details.
Color merging Melco CND files
The Auto Color Merge feature reads thread color information for CND files
from an associated TXT file so that stitches are displayed in the correct
colors when they are converted to EMB.
Tip Your EMB and other design files can be converted to and from other file
formats using ES Design Explorer. Use it to batch process multiple CND
designs using Auto Color Merge. See Converting design files in folders for
details.
Setting up the color merge TXT file
Auto Color Merge reads and interprets a TXT file that contains color names
from a thread chart. You can create this text file manually with a text editor
ES 2006 Wilcom ES Online Manual 703
such as MS Notepad. The text file must have the same file name as the CND
filee.g. Fish.TXT and Fish.CND. Both files must also reside in the same
folder. For the Auto Color Merge function to work correctly, information in
the text file must be entered in a certain format.
Example text file: Fish
A typical text file might look like this:
Fi sh
Uses cur ve ef f ect s
Fi l e: Fi sh
55. 9mmWX 74. 5mmH
ST: 6, 780
Col or s: 8
1. Tr opi cal Sunset
2. Saf f r on
3. Pal e powder Bl ue
4. Tr opi cal Sunset
5. Pal e powder Bl ue
Cur ve ef f ect
6. Tr opi cal Whi t e
7. Tr opi cal Sunset
8. Pal e powder Bl ue
Text file structure
All text files contain some or all of the following elements.
Text file element Mandatory Description Example
Design name This is the name of the design as it appears
in File > Information > Design
Properties > Subject.
Fish
Comments Lines inserted here appear under File >
Information > Design Properties >
Comments.
Uses curve effects
File name

This is the file name of the CND design file.
The file extension should not be included.
File: Fish
Design size Enter the expected design size for the
design. The actual design size is derived
from the software.
55.9mmW X
74.5mmH
Stitch count Enter the expected stitch count for the
design. The actual stitch count is derived
from the software.
ST: 6,780
Number of colors

States the total number of colors in the
design.
Colors: 8
ES 2006 Chapter 29 Processing Design Files 704
Reading Melco CND files with Auto Color Merge
When opening a CND file which has a TXT file associated with it, you must
specify the thread chart used when the design was originally created in EDS
(or other design software). The thread colors nominated in the text file will
correspond to the selected thread chart. Alternatively, you can assign colors
manually to every Color Stop code in the file. See also Reassigning colors to
stitch and Melco CND files.
To read Melco CND files with Auto Color Merge
1 Select File > Open.
The Open dialog opens.
2 Select a CND design.
3 Click Options.
Thread name 1

Enter the first thread name. The name of


the thread is searched against the Thread
Chart. The thread name is shown in the File
> Design Properties > Stop Sequence
tab.
1. Tropical Sunset
Thread name 2 Enter the second thread name. 2. Saffron
Thread name 3 Enter the third thread name. 3. Pale Powder Blue
Thread name 4 Enter the fourth thread name. 4. Tropical Sunset
Thread name 5 Add any extra threads to this list. 5. Pale Powder Blue
Thread
comments
Place comments below the relevant thread
number.
Curve effect
Thread name 6 6. Tropical White
Thread name 7 7. Tropical Sunset
Thread name 8 8. Pale Powder Blue
Text file element Mandatory Description Example
ES 2006 Wilcom ES Online Manual 705
The Condensed File Input Values dialog opens.
4 Select a color merge option from the Auto Color Merge panel.
If you want to read thread color information for the selected CND file
from an associated TXT file, select From File and follow the steps
below.
If you want to assign colors manually to every Color Stop code in the
file, select Custom and click Define Stop Sequence. See Reassigning
colors to stitch and Melco CND files for details.
5 If you have chosen to associate a text file with your CND file, select a
corresponding thread chart from the Auto Color Merge dropdown list.
Note Any thread color named in the text file must correspond to a color
in the selected thread chart. If not, it will default to black.
6 Click OK.
The design opens, the stitches appear in the correct thread colors, and
the color palette displays the selected thread chart.
Select thread
chart
Assign colors
manually
no chart selecteddefault
colors assigned
original colors correctly
assigned from text file
one color not correctly
matcheddefaults to black
ES 2006 Chapter 29 Processing Design Files 706
Reassigning colors to stitch and Melco CND files
When you open a stitch file or CND file, a design without color code
assignment automatically uses the default color palette. You can, however,
map thread colors to every Color Stop code in the file. This means that
before opening the file you can color-code designs which do not contain
needle addressing information.
Note In order to assign colors correctly, you need to consult a production
worksheet for the necessary color sequence information.
To reassign colors to a stitch or Melco CND file
1 Select File > Open.
The Open dialog opens.
2 Select a stitch file or CND design and click Options.
If youve selected a stitch file, the Open Options dialog opens. If CND,
the Condensed File Input Values dialog opens. This procedure is the
same.
3 Select Custom and click Define Stop Sequence.
without color code
assignment
with color code
assignment
Select Define Stop
Sequence
CND file
Stitch file
Select Define Stop
Sequence
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The Define Stop Sequence dialog opens. Initially the Building Stop
Sequence grid is empty.
4 Select a thread chart and first color.
5 Click Assign Color.
The color and the description are entered at the current Stop in the
Building Stop Sequence grid.
Note The selection moves to the next color in the thread chart. Two
consecutive same colors are not allowed and Assign Color is disabled.
6 Click Assign Stop to enter an explicit Stop code.
Select thread
chart
Select color
Click to
assign color
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Stop is entered in the Description field.
Note A Stop Sequence Warning message displays if a redundant color
function is assigned. Press Delete to delete a selected entry in the stop
sequence. Click Reset to delete all the entries.
7 Use the Extra Stop codes as panel to select the output type for extra
stop codes.
Color Changes: Extra Stop codes are interpreted as Next Color
commands. The next color is selected from the default color palette.
Stops: Extra Stop codes are interpreted as Explicit Stops. The
machine stops stitching.
Repeat Sequence: If you select fewer colors than the design
requires, the selected colors are repeated. For example, if your
design requires four colors and youve only selected two in the
Building Stop Sequence list, colors 3 & 4 will be the same as
original colors 1 & 2.
8 Repeat the operation as many times as indicated in the production
worksheet.
9 Click OK.
The design will have the desired colors and the correct number of Color
Changes.
Note You can convert color changes to an explicit Stop Code. You can
also remove Color Stops by assigning the same color number to
consecutive color blocks.
Click to
assign stop
Choose how
extra stops are
to be interpreted
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Chapter 30
Changing Machine Formats
Different embroidery machines speak different languages. They have their
own control commands for the various machine functions. Before you can
stitch a design, it must be in a format which can be understood by the
embroidery machine. When you select a machine format, ES Designer
translates the digitized design into machine functions that can be
understood by that machine. If required, you can customize machine
formats to meet specific machine requirements.
This section describes how to select a machine format for a design, output
it using other formats, and customize machine formats to meet your
machines specific requirements.
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Selecting machine formats
When you create a design, you need to select a format corresponding to the
embroidery machine you intend to use. You dont, however, need to change
the designs native machine format in order to output to a different
machine. See Outputting to different machine formats for details. For a
complete list of supported machine formats, see Supported machine types.
Note You can change the machine format if machine values are incorrect
for your particular machine. You can even change the machine format for a
particular design. You should only modify formats if you no longer require
the original values. Otherwise see Creating custom formats.
To select a machine format
1 Select Machine > Select Machine Format.
The Select Machine Format dialog opens.
2 From the Available Machine Formats list, select the required machine
format.
3 Adjust machine formats as required:
To check or modify settings for the selected format, click Values. See
also Adjusting standard machine format settings.
To create a new format based on the selected one, click Create. See
also Creating custom formats.
4 Click OK.
Use Select Machine Format (Machine menu) to change the machine format.
Select machine
format
Click to adjust
format
Click to create
new format
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Note If a selected machine format does not support a particular
function in the designeither automatically or manually insertedit is
simply ignored.
Outputting to different machine formats
Once a design is complete, you can stitch it out to any supported embroidery
machine without changing the original design format. If a selected machine
format does not support a particular function in the designeither
automatically or manually insertedit is simply ignored.
Note To change the original format, see Selecting machine formats.
To output to a different machine format
Click the Stitch to Stitch Manager icon, then select a different format
from the Output as Machine Format list. See Stitching designs with
Stitch Manager for details.
Use Stitch to Stitch Manager (Standard toolbar) to send a design to a
machine for stitching.
Use Save to Embroidery Disk (Standard toolbar) to save a design to an
embroidery disk.
Select machine
format
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Click the Save to Embroidery Disk icon, then select a different machine
format from the dropdown list. See Saving designs to embroidery disk
for details.
Select File > Paper Tape > Punch, then select a different machine
format from the dropdown list.
Adjusting standard machine format settings
Different machines require different settings. When you select a machine
format, you only modify values relevant to that machine. Typical modifiable
values are stitch and jump length, trim functions and color change
functions. Use the Machine Format Values dialog to define values to allow
when outputting to a specific machine format.
Select machine
format
Select machine
format
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Note Not all values described here are available for all machine formats.
Use these instructions to enter values that apply to your selected format.
See your embroidery machine manual for more information about machine
formats.
Setting stitch and jump length values
With some machines you can set the maximum frame movement, minimum
stitch length to recognize, and automatic jump length.
To set stitch and jump values
1 Access the Machine Format Values > Standard dialog. See Selecting
machine formats for details.
Note Only fields relevant to the selected machine format will appear.
2 In the Maximum Stitch field, enter the maximum stitch length to allow.
The value you enter depends on the tape code used by your machine:
Binary coding system: 12.7 mme.g. Barudan machines
Ternary coding system: 12.1 mme.g. Tajima machines
3 In the Minimum Stitch field, enter the minimum stitch length to allow.
This sets the default Small Stitches value. See Removing small stitches
automatically for details.
Tip Generally the minimum stitch length is increased for dense
materials and thick threads to prevent thread breakage.
4 In the Maximum Jump field, enter the maximum jump length to allow.
This sets the default Auto Jump value. See Adjusting Auto Jump settings
for details.
Tip Shorter jump values generally improve stitch quality and reduce
wear on the machine but may increase stitch-out time.
5 Click Save then Close.
Adjust stitch and
jump settings
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Setting trim functions
With some machine formats you can specify how to format and interpret
trim commands. Some machines understand specific trim codes. Other
machines interpret multiple jumps as a trim command. Machines without an
automatic trimmer may not know how to interpret trim commands, and may
even shift the design when a trim code is encountered. For these machines
you need to deselect the Output Trims checkbox so that trim functions are
ignored when the design is stitched.
To set trim functions
1 Access the Machine Format Values > Standard dialog. See Selecting
machine formats for details.
Note Only fields relevant to the selected machine format will appear.
2 In the Trim panel, select the Output Trims checkbox to include trim
functions when outputting to the selected machine format.
Note If you deselect the Output Trims checkbox, the trim functions
are not removed from the design but simply ignored for the selected
machine format.
3 Specify the trim function format to use:
Jumps: for machines that interpret multiple jumps as trims. You
also need to enter the required number of jumps.
Trim Code: for machines that require specific trim codes.
4 Click Save then Close.
Setting color change functions
Machines interpret the Color Change function differentlyeither as a
Needle Number or Stop command.
Select to output
trim functions
Select trim
function format
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Needle number commands
Needle Number commands tell the machine to move to the next needle
whenever a Color Change function is encountered. Each color in the design
corresponds to a needle number in the order listed in the Colors list. See
Changing thread colors for details.
Note The machine must have the correct thread colors loaded for each
needle to stitch out correctly.
For needle addressing machines, you need to specify how many needles are
on the machine. This tells the machine how often it needs to stop for the
operator to change threads. For example, for a design with 25 colors to be
stitched out on a machine with five needles, it must stop after every five
color changes in order for the operator to change threads. Needle Number
commands are sometimes combined with Jump commands to indicate color
changes.
Stop commands
Stop commands allow the operator to manually change threads whenever a
Color Change function is encountered. They are generally used with
machines that only have one needle or do not support needle addressing.
Stop commands are sometimes combined with Jump commands to indicate
color changes.
To set color change functions
1 Access the Machine Format Values > Standard dialog. See Selecting
machine formats for details.
Note Only fields relevant to the selected machine format will appear.
2 In the Color Change panel, select a method to use to interpret color
change functions.
Needle No: converts color change functions to Needle Number
commands.
Select method to interpret
color change functions
Select optional
functions as required
Enter number of needles
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Stops: converts color change functions to Stop commands.
Stop & Jump: converts color ch