Dsgnedit PDF

Wilcom ES
Version 9
User
Manual
Copyright 1990-2004 by 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 Nº 4,821,662
European Patent Nº 0221163
Japanese Patent Nº 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 purchaser’s requirements or operate without
interruption or error.
P/N W2954 Rev 1 Jan 2004

Introduction
Welcome to Wilcom ES V9, 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 Introduction to Embroidery Digitizing. 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 Selecting Design Objects contain essential information about the many
ways of viewing designs in Wilcom ES as well as selecting and manipulating
design ‘objects’.
Upgrade users
Wilcom ES V9 has many new and expanded features which make digitizing
easier and more efficient. Read the chapter Introduction to Embroidery
Digitizing to familiarize yourself quickly with the scope of these
improvements.
Security devices
All product models and optional extra capabilities are controlled by a
security device or ‘dongle’ attached to your computer.
V9 Wilcom ES Online Manual 1

new USB Port Dongle new Parallel Port Dongle
Security codes enable access to features within the software. You need to
be able to identify your system’s access codes, and enter new codes for
upgrades. Upgrades are easily made by entering new access codes or
replacing the dongle. See Entering security codes for details. See also the
Installation Instructions.
Warning The dongle is the most important and valuable part of your
system and should be treated with care. Always store it in a safe place when
it is not in use. If it is faulty, it may be exchanged. If it is physically
damaged, it can be sent to Wilcom and a replacement purchased for the cost
of the dongle alone. However, in cases of loss or theft, you will need to
purchase an entire Wilcom ES replacement system. For this reason, you
should consider insuring your dongle.
Wilcom ES product models

The Wilcom ES V9 range includes five distinct product models described
below. Each product model can be further enhanced by a number of cost
options. See Product Differentiation Table for details.
ES21L Lettering
The sophisticated yet easy-to-use ES21L lettering system is designed for
busy companies applying custom lettering to catalog designs. Choose from
a large range of standard alphabets. Produce monograms or use the
advanced Envelope option to shape letters in special ways. In Reshape mode
you can modify individual letters to match any obscure font requirements.
You can scale designs and even edit individual stitches, fine-tuning to a
perfect finish.
V9 Introduction 2
ES21E Editing
ES21E has all the versatility of ES21L but also enables precision editing. You
can modify embroidery designs as well as combine them. Elements can be
reshaped and transformed interactively. Change between Satin, Zigzag and
Tatami, as well as adjust stitch density over the whole or selected parts of
a design. You can also resequence design elements and add or adjust
underlays as required.
ES21D Digitizing
ES21D is a professional system which has all the editing and lettering
features of ES21E plus powerful digitizing features. Create embroidery
shapes with turning or parallel stitching. Enjoy advanced stitch types like
Program Split or Motif Fill. Use scanned or imported artwork to digitize
designs on-screen or using a digitizing tablet. Or take existing bitmap
images and generate stitches in a few simple steps using the powerful Smart
Design feature.
ES45 Creative Digitizing

ES45 is a popular production digitizing system. In addition to the digitizing,
editing and lettering capabilities of ES21D, ES45 provides advanced
digitizing features such as Florentine Effect, Trapunto, and 3D Warp. Create,
mirror and scale motifs. Eliminate extra trims and digitizing time with
Branching. Generate line stitching from photographs. Appliqué is made easy
with Auto Appliqué. With ES45 you can even save your favorite styles.
ES 65 Advanced Digitizing
ES65 is the top of the range Wilcom ES CAD/CAM product. It has all the
features of ES45 and more. There are specialized digitizing tools for circles,
rings and stars, plus a wide range of artistic, decorative fill patterns that only
come with this model. Point & Stitch tools provide everything necessary to
digitize shapes automatically without using manual input methods. Use
Shaping Tools to separate or join overlapping object in many ways. Create
your own alphabets. Create different embroidery types and effects such as
Chenille as well as traditional cross stitch.
ES65 comes with Design Workflow™, Wilcom’s professional embroidery
management system. The system is designed to efficiently store, organize,
protect, and better utilize your design collection. Based on Microsoft SQL
database software and Windows 2000/NT network servers, it offers robust,
reliable storage and data access security. With its new workflow support
Design Workflow™ becomes an essential tool for the whole company from
sales though design, sampling, and production, through to senior

management. It also provides a solid basis for other enterprise Internet and
Intranet applications.
Printed documentation
Wilcom ES provides you with a number of ways to access information about
the software and how to use it. With your Wilcom ES installation CD you will
have received the following printed documentation — Installation
Instructions, Release Notes, Keyboard Shortcuts, Command Reference,
Digitizer Menu Chart, and User Manual.
Installation Instructions
The Installation Instructions explain how to set up Wilcom ES on your
system.
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’. A short-form Product Differentiation Table is also provided,
listing all new and improved features by product model. For a complete
table, refer to Product Differentiation Table.
Keyboard Shortcuts
The Keyboard Shortcuts table lists all keyboard shortcuts available in ES
Designer. This guide can be kept near your computer as a convenient
reference. A copy of the keyboard shortcuts is included in this manual. See
Quick Reference Guide for details.
Command 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 Command Reference lets you see
at a glance which method best suits you.
Digitizer Menu Chart

The menu chart needs to be placed on your digitizer tablet if you are using
a digitizer. It contains command icons which you select with the digitizer
puck. A copy of the menu chart is included in this manual. See Menu Chart
for details.
V9 Introduction 4
User Manual
The Wilcom ES User Manual is complete with hundreds of step-by-step
instructions together with samples and screen images. These are intended
to be used as a reference when using the application, not as a tutorial. It
documents the following product components:
! ES Designer
! ES Design Explorer.
ES Machine Manager, and the ES Chenille, ES Schiffli, and ES Cross Stitch
Options are documented in separate supplements.
The first four chapters of the manual contain information relevant to all
Wilcom ES product models. To identify sources of information relevant to
your specific model and any options you may have selected, see Product
Differentiation Table.
Note The hard copy manual is current as of V9.0. For information about
software releases subsequent to this, refer to the online manual and
relevant release notes.
Online information
Online documentation is provided in two formats — MS Online Help and
Adobe Acrobat.
Using online help

Online Help can be accessed from the Help menu in Wilcom ES. Online help
provides quick access to general information on ES Designer features and
step-by-step instructions. Context Sensitive help is currently available for
dialog boxes only. Simply press 1 to invoke relevant help.
To use 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.

Tip Alternatively, click Find and enter keywords to search on a specific
subject.
Viewing the online manual

An electronic copy of this user manual is also provided on your installation
CD. You can read this manual online, using Adobe Acrobat™ Reader. This
application is supplied with your ES Designer software. Using the online
manual you can quickly search for the information you need, using standard
Adobe Acrobat™ Reader features.
Note See the Installation Instructions for details of how to install Adobe
Acrobat Reader from CD ROM.
To view the online manual

! Select Help > Online Manual.
Note If ES Designer is not running, you can open the online manual
directly from Windows Explorer. To do this, navigate to the ESWin\Bin
folder, and double-click DSGNEDIT.PDF.
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.
V9 Introduction 6
Conventions used in the manual
Commands
In this manual, 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 shown in the manual only
if they provide important information on using Wilcom ES. The screen
images provided may differ slightly to the layouts generated by the
software.
Mouse 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 a mouse button.
Click OK [ or j Click OK with the mouse or press the Enter key

on the keyboard to complete the action.
Keyboard conventions
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 Quick Reference Guide.

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.
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.

Selecting 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 Selecting Design Objects for details.

Chapter 1
Introduction to Embroidery
Digitizing
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 reference 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
! children’s 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 artwork — e.g. children’s 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.
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 stitchout — for example, to minimize color changes. Details
should be stitched last.
1
5 details 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:
design looks good — details are clearly

shapes, colors, balance defined
shapes are filled with stitches are angled to

correct fill and outline match shapes
stitches
lettering is clear and

easy to read
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 correctly — no unwanted gaps.

! The fabric has not puckered around the stitched areas.
! The design is free of loose ends.
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.
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.
V9 Chapter 1 Introduction to Embroidery Digitizing 12

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 Normal view
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 TrueView™
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.
Selecting 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.
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
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 drawing object.
large irregular shape line (Run)

(Complex Fill)
narrow column (Input C)
column of varying width (Input A)
turning stitches (Input B)
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.
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.
Run for lines
Tatami for large

shapes
Satin for narrow

shapes
Stitch types divide broadly into two categories — outline 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 appliqués, while E Stitch is used as the cover stitch. Both
can also be used for decorative effect.

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.
Colorway 1 Colorway 2
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
1 thread charts or define your own.
2 Search for particular threads by
various criteria. Automatic thread
3 color matching helps you locate
4 thread colors based on closest
match across one or several thread
5 charts. You can also match thread
colors from imported graphics —
vector or bitmap.
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.
connector
stitching starts
trim

Travel runs are typically used to connect segments within filled objects.
Adjust travel run length to reduce stitch count.
Apply Trapunto effect to force
underlying travel runs to the
edges of an object so that they
can’t be seen through open
stitching.
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.
with underlay without 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.
with no effects with Auto Split with Auto Jump
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 backdrops — vector and

bitmap. To create good quality embroidery, you need to choose or create
suitable artwork of either format.
Digitizing with vector drawings

ES Designer provides tools to draw shapes and outlines directly on screen.
Alternatively, insert or paste vector drawings 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 drawing
object outlines and fills. When working with overlapping drawing or
embroidery objects, merge, trim or split them using the Shaping tools.
Vector drawings 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.
vector drawing
converted to
embroidery design
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 ES
Designer. Show or hide them as you digitize.
Preparing images for automatic digitizing

ES Designer supports the automatic and semi-automatic digitizing of both
bitmap images and vector drawings. The quality of the resulting designs
greatly depends on the type and quality of the original artwork. In order to
make bitmap images — both outlined and non-outlined — more suitable for
automatic digitizing, ES Designer provides image processing capabilities
and links to graphics packages.
bitmap image scaled and background areas recolored and outlines improved —
removed — ready for manual digitizing ready for automatic digitizing
Automatic digitizing
ES Designer provides a variety of complementary tools and techniques for
automatically digitizing suitably prepared artwork.
all colors omitted background color

except black omitted
! The Auto Trace feature lets you convert scanned artwork to drawing
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.
gray scale
image
digitized with
Photo Flash
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 selected objects and color blocks. See Selecting and
viewing objects with the Color-Object List and Resequencing embroidery
objects for details.
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
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 objects — e.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.

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.
Style 1 Style 2

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 appliqué
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.
Appliqué
Automatically create all the stitching you need for
appliqué using Auto Appliqué. Simply extract
appliqué shapes from a design to a separate file.
See Digitizing for appliqué for details.
Tip Cross stitch is sometimes combined with

appliqué 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, children’s clothes and folk designs.
See ES Cross Stitch Supplement for details.
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.
Tatami Offset Partition Lines Random Factor
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.
Program Split Flexi Split User Defined Split
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
Blending effect creates interesting perspective, shading and color effects by
blending two colored layers.
Jagged Edge with Accordion Spacing Tatami with Color

Tatami backstitch with circles Blending
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.

Contour spiral Open fill with Single curve with
Trapunto Florentine Effect
Tip Apply Trapunto effect to force underlying travel runs to the edges of
an object so that they can’t be seen through open stitching. See Hiding
travel runs with Trapunto for details.
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.
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.
Creating embroidery lettering

Add lettering directly to designs using current settings or with the dialog
box. Apply formatting just like a word processor, including italics, bolding,
and right/left justification. Adjust formatting directly on-screen or with the
dialog. Or use the fast-access Lettering Box to quickly change values for the
whole text or for individual letters. With object-based operation, you can

type and manipulate your text directly on-screen, changing the size or
spacings to fit.
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.
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.

Special lettering features
Add special characters and symbols to your lettering. Create interesting
distortions using lettering envelopes.
Bridge Pennant Perspective Diamond
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.
Custom alphabets
Turn any TrueType font installed on your system into an embroidery
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. See Custom Alphabets for details.
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

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.

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.
Outputting designs
You can output embroidery designs in a variety of ways — saving to
embroidery disk, punching to paper tape, sending appliqué 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.
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.

Design management
ES Design Explorer provides
an efficient way for viewing
and managing embroidery
designs. With this design
management tool, 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.
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.
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.
Note ES Design Explorer helps you manage designs in folders. It 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 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.

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 need to
be able to identify your system’s 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.
Open ES Designer using the desktop icon or the Windows Start menu.

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.
Title and Menu bars

Standard toolbar
Stitch Types toolbar
Show Vertical toolbar
Pointer toolbar
Input Method toolbar
Travel toolbar
Drawing toolbar
Design window
Color palette
Colorways list
Status bar
Prompt line
Stitch count or XY co-ordinates, length, Stitch type, values Current Zoom
active stitch angle color factor
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.
Using commands
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 applications — from menus, toolbars, or popup menus.

Keyboard shortcuts are also available for the most frequently used
commands. See Quick Reference Guide for details.
Showing or hiding toolbars
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 Drawing Toolbar (Show Vertical toolbar) to display the Drawing
toolbar.
Toolbars provide quick and easy access to 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 Guide.
To show or hide toolbars

1 Select View > Toolbars.
The Toolbars dialog opens.
2 Select the toolbars you want to display.

3 Click OK.
V9 Chapter 2 Basic Procedures 32

Tip Use the buttons on the Show Vertical toolbar to display the
Pointer, Input, Travel, and Drawing toolbars on the side of the design
window.
Tip 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.
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.
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 commands, right-clicking lets you set the properties for
the main (left-click) command. For example, Satin/Values selects
Satin as the stitch type when you click, or opens the Object
Properties dialog for setting Satin stitch values when you
right-click.
Note Not all tools have a right-click function.
Using popup menus

Right-clicking a selected object opens a popup menu containing frequently
used commands.
To use popup menus

1 Right-click a selected object.
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.
Undoing and redoing commands
Use Undo (Standard toolbar) to undo a command.
Use Redo (Standard toolbar) to reapply a command which has been

‘undone’.
You can undo the effects of most commands. If you change your mind, you
can redo them again. ES Designer remembers the last few commands you
used.
To undo and redo commands

! To undo a command, click the Undo icon.
When ES Designer cannot remember more commands, Undo is
dimmed.
! Click Redo to re-apply an ‘undone’ command.

Opening designs
Use Open (Standard toolbar) to open an existing design.
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.
Warning You cannot open EMB files created with a later version of the
software to the one you are running.
To open a design
1 Click the Open icon.
The Open dialog opens.
preview panel
design data
preview on/off
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 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 file — Design1 — is 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
on a template, the template’s 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
sequentially (e.g. Design1, Design2, and so on). See also Working with
design templates.
Creating new designs with the NORMAL template
Use New (Standard toolbar) to start a new design with the NORMAL
template.
Whenever you click the New icon, a black 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
Use New (File menu) to start a new design with a selected template.

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.
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
Use Generate Stitches (Generate toolbar) to generate stitches for new or

selected objects.
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.
Tip Make sure Show Outlines is selected or the objects will not be
visible in the design window.
Displaying the grid
Click Show Grid (Standard toolbar) to show or hide the grid.

Right-click to change the Grid settings.
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 10mm x 10mm.
To display the grid

! Click the Show Grid icon.
When the tool is selected, the grid displays.
! Click Grid again to turn off the grid display.
! Select Setup > Options > Grid tab > Show Grid.
When Show Grid is selected, the grid displays.
! Select Setup > Options > Grid tab > Show Grid again to turn off the
grid display.
Tip You can change the grid spacing, select a reference point and turn
Snap to Grid on or off in the Options dialog. See Setting grid options
for details.
Tip You can also change the color of the grid lines. See Changing display
colors for details.
Measuring distances on-screen
Use Measure (View menu) to measure distances on-screen.

Measure the distance between two points on screen using the Measure
command. Measurements are shown in millimeters or inches, depending on
the option selected in the Windows Control Panel. See your Windows
documentation for more information.
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=).
If turned on, the measurements will also appear in tooltips. See also
Setting other options.
measurements
appear as tooltip
4 Press Esc to finish.
Selecting machine formats
Select the Select Machine Format (Machine menu) to select a machine format.

Before you start digitizing, decide which machine format to use. A design’s
machine format can be changed at any time for stitching to another machine
type, or sending to a paper tape punch or embroidery disk.
To select a machine format

1 Select Machine > Select Machine Format.
The Select Machine Format dialog opens.
Select a machine
format
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 machine formats
or Modifying standard machine formats for details.
3 Click OK.
Saving designs
Use Save (Standard toolbar) to save the current design.

Right-click to open the Save As dialog.
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 also Embroidery design formats and
Embroidery Disks and Paper Tapes.
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.

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.
folder containing
design
design name
format list
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 converted — e.g. Flexi Split stitching may be changed to plain
Tatami.
5 Click Save.
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.
Entering security codes
Use Security (Special menu) to enter security codes.
The options in ES Designer are controlled by a Dongle attached to either a

parallel port or a USB port of your computer, and security access codes
entered in the software. Each security device has a unique serial number
and identity code. New options can be added and products upgraded by
changing the security device options. To do this you need to enter new
security access codes. These are sent by fax or email. You can enter codes
manually, or import them from a text file. See also Device connection
problems.
Identifying your security device

When referring to your system in correspondence or by telephone, you need
to quote the serial number and identity code. This information is found in
the Security Device dialog.
Tip If you need to send your security device information to Wilcom Support
or your reseller, send a screengrab of the Security Device dialog to save
you writing down the information and ensure that accurate details are sent.
It also reassures Wilcom that the correct information has been supplied.
To identify your security device

1 Select Special > Security.
The Security Device dialog opens.
Option 1
Option 2
Option 3
Option 4
Option 5

The Serial Number and Identity Code of your security device display
at the top of the dialog. The options supplied with your current system
are listed in the Enabled Options list.
2 Press Alt and Print Screen at the same time.
3 Start MS Paint.
4 Select Edit > Paste.
A dump of the dialog box is pasted into MS Paint.
5 Select File > Save and save the image as a BMP file.
6 E-mail this file to Wilcom as necessary.
Entering access codes manually

You can enter security access codes manually to upgrade to new options or
software releases.
Tip You can also enter access codes by importing them from a text file. See
Importing access codes for details.
To enter access codes manually

Option 1
Option 2
Option 3
Option 4
Option 5
2 Click Set Options to open the Set Security Device Options dialog.

3 Enter the access codes in the fields using Tab or Enter to move between
them.
Note Do not type spaces as these are entered for you automatically.
4 Click OK.
A message displays indicating that the access codes were successfully
entered. If there is more than one pair of access codes, enter them now,
one pair at a time.
5 Compare the Identity Code displayed in the Security Device dialog with
the one supplied with the access codes.
The two codes must be identical. If they are not, do not enter any more
codes.
Warning If you continue to enter access codes when the Identity Code
does not match, your ES Designer system may cease to function. If in
any doubt, contact your reseller before proceeding.
6 Click OK.
7 Restart ES Designer.
8 When you have confirmed that all access codes have been entered
correctly, discard the access codes.
Warning Access codes should not be entered more than once. ES

Designer will not normally allow you to enter incorrect codes after a
successful update. If in any doubt, contact your reseller as your system
can become inoperable if codes are entered more than once.
Importing access codes

You can import security access codes from a text file. This saves time when
a large number of access codes are required — for example for an upgrade
to multiple new options. Text files are usually supplied by email.
To import access codes

1 Copy the access codes text file into your ES Designer design folder.
For easy recognition and identification, the file name is the same as the
serial number of your security device which is printed on the label.

Option 1
Option 2
Option 3
Option 4 Click to import
Option 5
codes
3 Check that the Serial Number and Identity Code match those on the
email containing the new access codes text file.
4 Click Import Codes.
The Open dialog opens, defaulting to the design folder where you saved
the file.
5 Select the text file containing the new access codes and click Open.
The codes are automatically updated.
6 Restart ES Designer.
7 When you have confirmed that all access codes have been entered
correctly, discard the access codes text file.
Warning Access codes should not be entered more than once. ES

Designer will not normally allow you to enter incorrect codes after a
successful update. If in any doubt, contact your reseller as your system
can become inoperable if codes are entered more than once.

Chapter 3
Viewing Designs

your designs. Zoom in on an area to see more detail, view the design at
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.

Design viewing modes
your design. Zoom in on an area to see more detail, view the design at
window. Pan across the design instead of scrolling, and quickly change
between one view and the last.
Zooming in and out
Select Zoom In 2X (View menu) to display a design at twice its current size.
Select Zoom Out 2X (View menu) to display a design at half its current size.
Select Zoom 1:1 (View menu) to display a design at actual size.
Select Zoom Factor (View menu) to display a design at a particular scale.
Select Zoom Box (View menu) to zoom in on a section of a design.
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.
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.
To zoom in and out

! To display a design at twice its current size, select View > Zoom In 2X.
Alternatively, press Z on the keyboard.
! To display a design at half its current size, select View > Zoom Out 2X.
Alternatively, press Shift + Z on the keyboard.
! To display a design at actual size, select View > Zoom 1:1.
Alternatively, press 1 on the keyboard.
! To display stitches at a particular scale, select View > Zoom Factor.
Alternatively, press F on the keyboard. In the Zoom Factor dialog, enter
a scale as a percentage of the actual size, and click OK.
Enter scale as
percentage of
actual size

! To zoom in on a section of a design, select View > Zoom Box and drag
a bounding box around the zoom area.
Note The current zoom factor is shown at the lower right corner of the
screen.
Viewing the whole design
Click Show Whole Design (Standard toolbar) to display the whole design
in the design window.
ES Designer provides a number of techniques for quickly displaying the

whole design in the design window.
To view the whole design

! To view the whole design:
! Select View > Show All > Design
! Click the Show Whole Design icon, or
! Press 0.
! To display selected objects in the window, select View > Show All >
Selected Objects. See also Design viewing settings.
Panning across designs
Select Pan (View menu) to view parts of the design that are not currently visible.
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. See also Zooming in and out.
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 pan across a design

1 Select View > Pan.
A box representing the size of the window attaches to the mouse pointer.
2 Move the box over the part of the design you want to view.
V9 Chapter 3 Viewing Designs 48

pan box placed over
area to view
3 Click when the box is in the correct position.

ES Designer centers the design window around the point you clicked.
design window
moves to new
position
Viewing designs in the overview window
Use Overview window (Standard toolbar) to view a thumbnail of the

design.
Use the Overview window to view a thumbnail of the design. The window
is updated whenever you make a change, and can be used to zoom in or pan
across the design window.
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 view a design in the Overview window

! Click the Overview window icon.
The Overview window opens.

! To zoom in or out, click the Zoom button at the bottom of the Overview
window and drag a bounding box across an area.
! To pan across the design, move the cursor inside the highlight box — it
changes to a four-way arrow cursor — and drag the box.
Restoring the previous view and redrawing designs
Select Previous View (View menu) to switch to the last view you selected.
Select Redraw (View menu) to redraw the design.
You can 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.
To restore the previous view and redraw a design

! To return to the previous view, select View > Previous View.
! To redraw the screen, select View > Redraw or press r.
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
Viewing designs in the overview window.
Viewing stitches and outlines
Click Show Stitches (Standard toolbar) to show or hide stitches.
Click Show Outlines (Standard toolbar) to show or hide object 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.
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.
stitches ON outlines ON stitches and

outlines ON
Tip Right-clicking these tools opens the Options > View Design tab.
See Viewing selected parts of a design for details.

Viewing designs in TrueView™
Use TrueView™ (Standard toolbar) to change between normal view and

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.
To view designs in TrueView™

! Click the TrueView™ icon to switch between TrueView™ and normal
view.
Normal view (stitches

and outlines)
TrueView™ ON
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
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.
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.
Note You can display or hide design elements in any combination. None
displays while viewing in TrueView™.
To view needle points, connectors and functions

! To show or hide needle points, click the Show Needle Points icon.
Needle Points ON Functions ON Connectors ON
! 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 and Setting design element view
options for details.
Viewing selected parts of a design
Select Options (Special menu) to display all embroidery objects in a design, or hide
all but the selected objects.
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.
To view selected parts of a design

1 Select Special > Options.
The Options dialog opens.
2 Select the View Design tab.
Select way to view

(and print) design
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 the whole 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.

! 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 display — e.g. stitches, outlines, etc. You can also change TrueView™
settings for different effects. See Setting design element view options
and Setting TrueView™ options for details.
4 Click OK.
Viewing design objects by color
Select View By Color (View menu) to view design elements 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.
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.
Viewing the stitching sequence

When working with embroidery designs, you need to understand the
stitching sequence. You can check a design’s 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™.

Tip You can change the display color of unsewn stitches. See Changing
display colors for details.
Traveling by stitches
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 10 stitches at
a time.
Click Travel 1000 Stitches (Travel toolbar) to travel backwards 1000
stitches at a time. Right-click Travel 10 Stitches to travel forwards 1000
stitches at a time.
Use the stitch travel tools or keyboard shortcuts to travel through the design
one or more stitches at a time. See also Quick Reference Guide.
Note 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.
needle position
marker

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.
Travel backwards
one stitch
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
Click Travel by Segment (Travel toolbar) to travel to previous and next

segments.
Use the Travel by Segment tool or keyboard shortcut to travel through the
design by object segment. See also Quick Reference Guide.
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
Click Start/End Design (Travel toolbar) to travel 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 Guide.
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.
Traveling by object
Use Travel by Object (Travel toolbar) to travel to the previous or next

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 Guide.
Traveling by color
Use Travel by Color (Travel toolbar) to travel to the previous or next color
change function.
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 Guide.
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 Travel by Function (Travel toolbar) to travel to the previous or next

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 Guide.

Note Both manually and automatically inserted functions are recognized.
See also Changing Machine Formats.
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.
Redrawing the stitching sequence slowly
Use Slow Redraw (View menu) to view the stitching and color sequence of a design
in slow motion.
Slow Redraw 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.
half-stitched
design
Note Slow Redraw cannot be used with TrueView™.

To redraw the stitching sequence slowly
1 Select View > Slow Redraw.
The Slow Redraw dialog opens.
Adjust display
options
Go Back to Start
Pause Stop
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.
Only areas being

redrawn are displayed,
the rest are hidden
Travel to middle of
design, then start Slow
Redraw
! 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.

Viewing colorways
Use Colorways (Colorways toolbar) to select a new color

scheme for your design.
A ‘colorway’ is a color scheme or palette of thread colors. It may also include

a background color or fabric sample. In ES Designer, you can define multiple
colorways for the one design. This allows you to 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 Using multiple colorways for details.
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.
3 Select View > Redraw to refresh your screen.
colorway 1 colorway 2
Viewing design information

You can obtain design information in a variety of ways and formats — before
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.
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 tab in ES Designer. See Viewing
design information in ES Designer for details.
4 Click OK.
Viewing design information in ES Designer
Use Design Properties (File menu) to view stitching details about a design.
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 Assigning element
names for details.
To view design information in ES Designer

1 Select File > Design Properties.
The Design Properties > Information tab 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’.
The data in this tab is extracted from the design and, except for
Element, cannot be modified. See also Assigning element names.

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
Use Design Properties (File menu) to view total stitch 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

2 Click Length Calculation.
The Length Calculation dialog opens.

Enter target fabric
thickness in mm
Enter bobbin thread
length as a %
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.
Assigning element names
Use Design Properties (File menu) to assign names to blocks of sequential, same
color objects.
You can assign names to blocks of sequential, same-color objects, known as

‘elements’. Element names appear on the production worksheet.
To assign element names

2 Select the Stop Sequence tab.

Enter element
names for each
color block
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
Click Print Preview (Standard toolbar) to preview the production

worksheet on-screen.
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.
The production worksheet displays in a preview window.

Click to display one or Click Close to return to
two pages Design Window
Click Print to print
the production
worksheet
production
information
Design appears
at actual size
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.

Chapter 4
Selecting 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 drawing objects and embroidery objects are in fact

inter-convertible since they share many of the same characteristics. See
also Digitizing with Vector Drawings.
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 Guide.

To select all objects in a design
! Select Edit > Select All or press Ctrl + A.
Sizing handles appear around the entire design.
no objects selected all objects selected
! 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
! Cancel a selection using any of the following methods.
! Press Esc.
! Click the Cancel icon.
! Select another object.
! Click an empty area of the background.
! Select Edit > Deselect All.
! Remove an object from a selection by holding down Ctrl and clicking the
object to deselect.
Selecting objects with Select Object

The Select Object tool provides various means for selecting objects
including point and click, and bounding box selection. You can also use the
tool in conjunction with Shift and Ctrl keys to select groups of objects. See
also Quick Reference Guide.
V9 Chapter 4 Selecting Design Objects 72

Selecting objects by point and click
Click Select Object (Pointer toolbar) and click the object to select.
The simplest way to select objects is by pointing and clicking with the mouse
with the Select Object tool activated. With Shift and Ctrl keys, you can
select multiple objects.
To select objects by point and click

1 Click the Select Object icon.
2 Click the object you want to select.
When you click an object, selection handles appear around it. You can
move the cursor anywhere within these extents to click-and-drag the
object.
OR
Click first object Ctrl + Hold down Ctrl and Shift + Hold down Shift and
click another object click last object
3 To select a range of items, hold down Shift as you click.
Tip It helps to know the design stitching sequence for this method. See
Traveling by object for details.
4 To select multiple items, hold down Ctrl as you click.
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 a bounding box
Click Select Object (Pointer toolbar) and drag a bounding box around the
object to select.
With the Select Object tool activated, you can select objects by dragging a
bounding box around them.
To select objects with a bounding box

2 Drag a bounding box around the objects you want to select.
Objects are selected when you release the mouse button.
Drag a bounding box around Objects are selected

the objects
Note Unless they have already been grouped, 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
Click Selects On (Standard toolbar) to select a range of objects as you

travel through the design.

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.
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.
Selecting objects while traveling through a design
Click Select Object (Pointer toolbar) together with the Ctrl key to select
objects as you travel 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

2 Travel through the design, stopping just before the object to select.
See Traveling by object for details.
Stop before the first

object
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.

Hold down Ctrl and
travel by object
! 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.
Selecting next or previous object
Click Select Object (Pointer toolbar) and press Tab or Shift + Tab to select
next or previous objects.
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

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
Click Polygon Select /Line Select (Pointer toolbar) to select objects with a
bounding box.
With the Polygon Select /Line Select tool you can select a specific object
by drawing a bounding box around it.
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.
Mark reference
points around
object/s to select
The objects you want to select must be completely within the outline.
3 Press Enter to select.
Selecting objects with Line Select
Click Polygon Select/Line Select (Pointer toolbar) to draw a line

through the object to 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 reference points on either side of the object/s to select.
Mark two
reference points
The line must completely intersect two sides of the object.

3 Press Enter to select.
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.
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.
Select stitch type
2 Select a stitch type from the list.

! To select a range of stitches, hold down Shift as you click.
! To select multiple stitches, 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
Use Color-Object List (Standard toolbar) to select and view objects in a

design.
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
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.
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.

total color object total object total stitch
block count icons count count
image file
node
drawing object object number
node
color block object type

node
stitch type
stitch count
more than one more than one

object type stitch type
The Color-Object List shows a separate icon for each color block and
each object in the design, in order of stitching sequence. Each object’s
stitch count is also shown, together with the input method and stitch
type used in its creation.
2 Click a ‘node’ icon to open or close a color block and see its component
objects.
Click to
open/close all
color block nodes
Click to blue border

open/close appears around
individual color selected objects
block node
3 Click an icon to select a color block and/or individual objects.

When a color block node is selected, all of its objects are selected as
well. A blue border appears around selected objects.

! 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 All then select Select All from the
popup menu.
Right-click ‘All’
and select ‘Select
All’
! To deselect objects, click anywhere outside the color node and object
icon.
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 All then select Unhide All from the
popup menu.
Select ‘Unhide
All’
! To view selected items only, select Hide Others from the popup
menu.
Click Locate to
quickly view
selected items
Select Hide Others

to view only
selected items
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.

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 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.

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.

Chapter 5
Digitizing Methods
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.
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 drawing 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 Drawing objects themselves can be converted directly to embroidery

objects using the Point & Stitch™ tools. See Digitizing shapes automatically
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.

Digitizing tools
Different digitizing methods or ‘tools’ are suited to creating different shapes
or design elements. Digitizing methods divide broadly into two categories —
outline and fill.
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
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.
Use Triple Run (Input toolbar) to place a triple row of run stitches along a
digitized line.
Use Backstitch (Input toolbar) to place a row of backstitches along a
digitized line. Right-click to adjust settings.
Use Stemstitch (Input toolbar) to place a row of stemstitches along a
Use Input A (Input toolbar) to create columns of varying width and stitch
angle.
Use Input B (Input toolbar) to create asymmetrical columns of turning
stitches, where opposite sides are different shapes.
Use Input C (Input toolbar) to digitize columns or borders of fixed width.
Use Complex Fill (Input toolbar) to digitize filled shapes with a single stitch
angle.
Use Fusion Fill™ (Input toolbar) to digitize filled shapes with turning stitch
angles.
Digitizing methods divide broadly into two categories — outline and fill. Run
and Manual digitizing methods are used to digitize outlines or individual
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, Backstitch, and Stemstitch are considered as 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.
Reference points and control points

Once you have selected a digitizing method, you digitize shapes in the same
way by marking ‘reference points’ along an outline. In general, you mark a
reference point where:
! an outline has corner points
! an outline changes curvature
! an outline changes from straight line to curve.
You always use the left mouse button to mark a corner point, and the right
mouse button to mark a curve point.
2 2
4 4
3
3
1 6 1 5
5 6
object is closed object is closed
automatically automatically
The reference points you mark when digitizing a shape become its ‘control
points’. These appear on object outlines and are used to edit or ‘transform’
the objects. Such actions may include reshaping, scaling, letter spacing,
changing entry and exit points. You can modify stitch angles of selected
objects, including setting multiple stitch angles. Control points vary slightly
with the object type. See Modifying Designs for details.
V9 Chapter 5 Digitizing Methods 88

entry point Key to control points
= entry point
= exit point
stitch angle = corner point
line
= curve point
corner point exit point = stitch angle points
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.
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
Use Manual (Input toolbar) to enter individual manual stitches.
Use Triple Manual (Input toolbar) to enter triple manual 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
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.
2 6 10
4 8
1 7 11
3 5
Use the left 9
mouse button
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.
Click for manual Right-click for

stitches jumps
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
Run repeats each stitch two (or more) times for a thicker line. These tools
are typically used to add borders and pickout runs to designs.

length
1 2 3 4 5 6
Run
3 6
Triple Run 1 4
2 5
For a thicker line, 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.
Backstitch Stemstitch Stemstitch with

Motif Fill
Tip ES Designer lets you convert between Run, Triple Run, Backstitch,
Stemstitch and Input C objects. See Converting between Run, Triple Run,
Motif Run and Input C objects for details.
Creating stitch runs
Use Run (Input toolbar) to place a row of single run stitches along a
Use Triple Run (Input toolbar) to place a triple row of run stitches along a
Use Backstitch (Input toolbar) to place a row of backstitches along a
Use Stemstitch (Input toolbar) to place a row of stemstitches along a

Digitize lines of single or triple run
stitching with the Run and Triple Run
tools. Digitize lines of backstitch or
stemstitch stitching with the Backstitch
and Stemstitch tools. Create objects
using left and right mouse clicks to
mark reference points to form an
outline. Use left-clicks to enter corner
points and right-clicks to enter curve points.
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 reference points.
! Click to enter corner points.
! Right-click to enter curve points.
1 3 5 7
14 8 Click for
corner points
13 2 4 6 9
Right-click for
curve points
12 10
11
! 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 connect — either to a straight line or another curve —
click to mark the connection point.

2 Connect corners and 90° 60°
curves with a corner point 45°
curve 30°
point
1 3 180° 0°
curve curve
point point Hold down Ctrl to
constrain the line to
15° increments
270°
Tip Use the prompts in the prompt line to help you digitize. If you make
a mistake, press Backspace to delete the last reference point. Press Esc
to undo all new reference points. Press Esc again to exit digitizing mode.
3 Press Enter to finish digitizing the line.
Setting run stitch length
Right-click Run (Input toolbar) to set run stitch length.
Right-click Triple Run (Input toolbar) to set 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
digitizing methods. 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 Outline Stitch 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.
Run Length Run Length Variable Run on

2.5 mm 1.6 mm Length 2.5 mm

To set run stitch length
1 Right-click the Run or Triple Run icon.
The Object Properties > Outline Stitch tab opens.
Select a stitch
type
Enter stitch
length
2 Select a stitch type from the Stitch Type list.

3 Enter a stitch length in the Run Length box.
Run length Run length
not enough stitches to stitches follow the curve

follow tight curve more closely
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

4.0mm.
4 Click OK.
Setting variable run stitch lengths
Right-click Run (Input toolbar) to set variable stitch length.
Right-click Triple Run (Input toolbar) to set variable stitch length.
ES Designer can automatically shorten stitches in order to follow tight

curves with the Variable Run Length option.

To set variable stitch lengths
1 Right-click the Run or Triple Run icon.
Select
checkbox Enter minimum
Enter chord stitch length
gap
2 Select the Variable Run Length checkbox.

3 In the Minimum Stitch Length 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.
chord
gap
run
length
Fixed Run Length Variable Run Length: Variable Run Length:

2 mm 0.07 mm (default)
Note Stitches will not be reduced to less than the specified minimum
length, even if the chord gap value is exceeded.
5 Click OK.
Setting Triple Run stitch count
Right-click Triple Run (Input toolbar) to set triple run stitch count.

By default, Triple Run repeats each stitch twice. 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.
Select no. of
repetitions
2 Select Triple Run from the Stitch Type list.

3 Enter the number of repetitions in the Run Count field.
4 Click OK.
Adjusting Backstitch settings
Right-click Backstitch (Input toolbar) to set stitch length and overlap

values.
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.

Enter run length

Enter minimum length
Enter chord gap
Enter stitch thickness
Enter overlap
percentage
Select no. of
strokes
2 Enter minimum and maximum run lengths in the Run Length and Min
Length fields.
Run Length: 1.5 mm Run Length: 3.0 mm Run Length: 4.5 mm
3 Adjust the Chord Gap setting as required.

See Setting variable run stitch lengths for details.
4 Adjust stitch thickness in the Stitch Thickness field.
Needle penetrations are spaced more widely for thicker stitches.
Stitch Thickness: 0.15 mm Stitch Thickness: 0.20 mm Stitch Thickness: 0.25 mm
5 Adjust the backstitch overlap percentage in the Overlap field.

Overlap: 30% Overlap: 50% Overlap: 70%
6 Select the new number of strokes — 3 or 5.
Strokes: 3 Strokes: 5
7 Click OK.
Adjusting Stemstitch settings
Right-click Stemstitch (Input toolbar) to set stemstitch length and overlap

values.
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.

Enter line thickness
Enter spacing
Enter angle
Enter type
Enter stitch thickness
2 Adjust the line thickness in the Line Thickness field.
Line Thickness: 1.0mm Line Thickness: 1.5mm
3 Adjust stitch spacing in the Spacing field.
Spacing: 1.2mm Spacing: 0.8mm
4 Enter a stitch angle in the Angle field.

Angle: 90° Angle: 45°
5 Select either Single or Triple.
Type: Triple Type: Single
6 For Triple only, adjust stitch thickness in the Stitch Thickness field.
Needle penetrations are spaced more widely for thicker stitches.
7 Click OK.
Digitizing columns of fixed width

Right-click to adjust Input C settings for new or selected objects.
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.
straight column
turning column
Tip ES Designer lets you convert between Run, Triple Run and Input C
objects. See Converting between Run, Triple Run, Motif Run and Input C

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 reference points to form
an outline. 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 reference points.
Input C — digitize
columns of perpendicular
stitches to create thick
lines or borders
To create columns and borders

1 Select the stitch type you want to use — e.g. Satin.
See Selecting stitch types for details.
2 Click the Input C icon.
3 Digitize the shape of the column by marking reference points.
4
2
5 7
3
6
1
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 reference
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.
! To use the current width (as set in the Input C tab), press Enter.
! To specify the width, mark two additional reference points. The
distance between these points is the width of the column. (You can
mark the column width anywhere on the screen.)
8
Digitize column width
anywhere in design
window 9
Tip You can offset stitches from the center line as you digitize by
right-clicking the reference points (rather than left-clicking) exactly
where you want the offset to be in relation to the center line.
Setting offsets
Right-click Input C (Input toolbar) to set offsets.
By default, stitches are positioned around the center of a digitized line. You
can, however, offset them to one side or the other. Do this as you digitize by
marking the column width with the right mouse button in the offset position
you require. Alternatively, enter an exact offset value in the Object
Properties dialog. See also Creating columns and borders.
To set offsets
1 Right-click the Input C icon.
The Object Properties > Input C tab opens.

Select Offset
Set offsets in either

Side 1 or Side 2
fields
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.
Input C offset: 25% Input C offset: 75%
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 OK.
Tip You can offset stitches from the center line as you digitize by
right-clicking the reference points (rather than left-clicking) exactly
where you want to the offset to be in relation to the center line. See
Creating columns and borders for details.
Setting column width
Right-click Input C (Input toolbar) to set 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


Enter required
column width
2 Enter a width in the Column Width field.

3 Click OK.
Note You can also change the width of Input C objects by selecting the
Reshape tool, and moving the width control points. See Reshaping
objects using control points for details.
Setting corner fractions
Right-click Input C (Input toolbar) to set 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

Enter new
corner fraction
2 Enter a new corner fraction in the Corner Fraction field.

corner corner corner
fraction 0.8 fraction 0.5 fraction 0.25
! Increasing the fraction spreads the turn over more stitches.

! Decreasing the fraction reduces the number of stitches that turn.
3 Click OK.
Digitizing columns of varying width
Use Input A (Input toolbar) to create columns of varying width and stitch
angle. Right-click to adjust Input A settings for new or selected objects.
Use the Input A tool to digitize columns of

varying width and stitch angle. Digitized pairs
of reference points define the outline, while
lines connecting the pairs define the stitch
angles.
Tip The Continuous Input feature provides Input A — create columns of varying
you with a simple and efficient way of width — use evenly spaced angles
digitizing a single Input A object comprised of for a smooth turning fill
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

2 Click the Input A icon.
3 Digitize the column by marking reference points on alternate sides of the
column.

Mark a pair of points wherever the outline changes, and wherever you
want the stitch angle to change.
Stitches change their Stitches remain parallel

angle gradually between parallel stitch
through the entire angles
shape
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.
4 When you have finished digitizing the line, either:
reference point you digitized, or
start start
finish
Press ENTER Press SPACEBAR
OR
finish
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 Input B (Input toolbar) to create columns of turning stitches, where

opposite sides are different shapes. Right-click to adjust Input B settings
for new or selected objects.
Use the Input B tool to digitize shapes where one side is different to the
other, especially where one side requires more reference points than the
other. Stitches turn evenly throughout the entire shape. You can use any fill
stitch type except Motif Fill.
Input B — create
irregular shapes with
turning stitches
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

2 Click the Input B icon.
3 Digitize the first side of the shape (i.e. top or left) by marking reference
points.
2 6
5
3
1
4 7
4 Press Enter.
An elastic line attaches to the pointer, ready for you to digitize the
second side of the shape.

5 Digitize the second (i.e. bottom or right) side of the object.
Press Enter or stitches turn

Spacebar evenly
9 10
Tip You can control the stitch angle by ‘cutting’ the pointy ends of a
shape and marking the first and last reference points further apart.
90°
turn fill parallel fill slope fill
6 When you have finished digitizing the shape, either:

reference point you digitized, or
Digitizing complex shapes
Use Complex Fill (Input toolbar) to digitize filled shapes with fixed stitch
angles. Right-click to adjust Complex Fill settings for new or selected
objects.
Use Fusion Fill™ (Input toolbar) to digitize filled shapes with turning
stitches. Right-click to adjust settings for new or selected objects.
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 drawing or
embroidery objects to make different shapes. See Shaping drawing 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.
boundaries overlap boundary overlaps itself hole within a hole
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
Use Complex Fill (Input toolbar) to digitize filled shapes.
Digitize complex shapes with the Complex Fill tool. Create objects using left
and right clicks to mark reference points to form the boundary outlines.

Tip ES Designer lets you convert between Fusion Fill™ or Complex Fill and
Input A or B objects. See Adding stitch angles to Complex Fill and Fusion
Fill™ objects for details.
To create complex shapes with fixed stitch angles

1 Select the stitch type you want to use — e.g. Tatami.
2 Click the Complex Fill icon.
3 Digitize the boundary of the shape, by marking reference points around
the outline of the shape.
4 Close the shape.
! To close the shape with the same type of reference point as the last
you digitized — i.e. corner or curve — simply press Enter.
! To close the shape using a different type of reference point, mark the
last on top of the first and press Enter.
9 4 8 9
4 8
5 5 7
7 6
6 10 3 10
3
ht
ig 11
2 11 2 rt a e 12
e 12 s lin
rv
cu 1
1 object is closed 13 last point is marked on top of
automatically first with left button
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 digitizing two points.
13
14 15
12
stitch angle 1 stitch angle
1 14 direction 13 direction
9 Press Enter.
Note Complex Fill objects may be stitched out in several smaller

segments, joined by travel runs. All segments and boundaries in a
Complex Fill object are part of the same object.
Creating complex shapes with turning stitches
Use Fusion Fill™ (Input toolbar) to digitize filled 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
columns such as trees, animals, or large filled areas.

Tip ES Designer lets you convert between Fusion Fill™ or Complex Fill and
Input A or B objects. See Adding stitch angles to Complex Fill and Fusion
Fill™ objects for details.
To create complex shapes with turning stitches

1 Select the stitch type you want to use — e.g. Tatami.
2 Click the Fusion Fill™ icon.
3 Digitize the boundary of the shape, by marking reference points around
the outline of the shape.
4 Close the shape:
! To close the shape with the same type of reference point as the last
you digitized — i.e. corner or curve — simply press Enter.
! To close the shape using a different type of reference point, mark the
last on top of the first and press Enter.
9 4 8 9
4 8
5 5 7
7 6
6 10 3 10
3
ht
ig 11
2 11 2 rt a e 12
e 12 s lin
rv
cu 1
1 object is closed 13 last point is marked on top
automatically of first with left button
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 digitizing two points for each angle.
13
14 15
12
stitch angle 1 stitch angle
1 14 direction 13 direction
9 Press Enter.
Note All segments and boundaries in an Fusion Fill™ object are part of
the same object. However, Fusion Fill™ objects may be stitched out in
several smaller segments, joined by travel runs. See also Adding
underlay by segment.
Adding boundaries
Use Complex Fill (Input toolbar) to add boundaries to selected Complex

Fill objects.
Use Fusion Fill™ (Input toolbar) to add boundaries to selected Fusion
Fill™ objects.
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.
Reference points display around the object outline.
3 Digitize additional boundaries making sure they do not overlap. Press
Enter each time.
4 When you have digitized all additional boundaries, press Enter again.
5 If necessary, enter a new entry point, exit point and stitch angle for the
object.
To use the current settings, press Enter to bypass each option.
6 Press Enter.
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
Right-click Complex Fill (Input toolbar) to adjust the stitch angle of

Complex Fill objects.
Right-click Fusion Fill™ (Input toolbar) to adjust the nominal stitch angle
of Fusion Fill™ objects.

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 correctly — for
instance, if the stitch angles are irreconcilable — it 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 tools. 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.
The Object Properties dialog opens to the relevant tab.
Enter required
stitch angle
3 In the Angle or Nominal Angle field, enter the required stitch angle.
Angle: 90° Angle: 0°

4 Click OK.
Adjusting segment overlaps
Right-click Complex Fill (Input toolbar) to adjust number of overlapping

rows in Complex Fill segments.
Right-click Fusion Fill™ (Input toolbar) to adjust number of overlapping
rows in Fusion Fill™ segments.
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, 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 opens to the relevant tab.
Enter required
number of rows
2 Adjust the number of overlapping rows where segments join.

overlapping
rows
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 overlap
taper angle
4 Click OK.
overlap taper angle set overlap taper angle increased to

to minimum minimize overlapping area
Adjusting travel margins
Right-click Fusion Fill™ (Input toolbar) to adjust the distance of travel

stitches from the boundary of Fusion Fill™ objects.
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.
travel run too close

to edge
2 Right-click the Fusion Fill™ icon.

The Object Properties > Fusion Fill™ tab opens.
Adjust travel
margin distance
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.
travel run closer to

center of shape
4 Click OK.

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 categories — outline 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 appliqués, 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.

Selecting stitch types
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.
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 object’s 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.
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
Use Satin (Stitch Types toolbar) to apply Satin stitch to new or selected
narrow columns and shapes. Right-click to adjust Satin settings.
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
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.
straight column
turning column
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.
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
Right-click Satin (Stitch Types toolbar) to adjust Satin 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.
Satin spacing Satin spacing
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.
V9 Chapter 6 Fill and Outline Stitches 122

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 > Fill Stitch tab opens.
Select Satin
Adjust stitch
spacing
Clear Auto
Spacing
2 Clear 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.
Stitch Spacing 1.0 mm Stitch Spacing 1.8 mm
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 OK.
Applying Auto Spacing to Satin stitch
Right-click Satin (Stitch Types toolbar) to adjust Auto Spacing settings.
Auto Spacing 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.
Auto Spacing ON Auto Spacing OFF
To apply Auto Spacing to Satin stitch

Select Auto
Spacing
Adjust spacing
values
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 percentage — e.g. to 110%
-115%.
! To increase stitch density, decrease the percentage — e.g. to 90% -
85%.

>100% (e.g. 115%) — 100% — no <100% (e.g. 85%) —
fewer stitches adjustment more stitches
Tip 75% generally produces very high quality embroidery. An increased

stitch count means the design will take longer and be more expensive
to stitch.
4 Click OK.
Note For even more precise results, you can adjust Auto Spacing
settings. See Adjusting run Auto Spacing settings for details.
Adjusting run Auto Spacing settings
Right-click Satin (Stitch Types toolbar) to adjust 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.
Note Adjust Auto Spacing settings is not for the faint hearted, so take a
note of the default settings before you start. You will usually want to save
any modified settings to a template. See Working with design templates for
details.
spacing 2
spacing 1
length 2
length 1
Fixed spacing Auto spacing
Warning If you want to restore the default settings and have not kept a
record of them, use the Revert utility to revert to factory settings.

To adjust Auto Spacing settings
Click Values
2 Click Values in the Auto Spacing panel.
Adjust stitch length

values
Enter spacing
offsets for each
Adjust spacing thread type
values
3 Adjust stitch settings in the Stitch panel:
Default Spacing values Custom Spacing values
! 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.
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
value — e.g. 0.03 mm — in order to slightly increase stitch spacing
(decrease density).
! Thread type C is thinner than average and requires a negative
value — e.g. -0.03 mm — to decrease stitch spacing (increase
density).
! Thread Type D is very thin and requires an even smaller negative
value — e.g. -0.06 mm.
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.
Tip If you change your mind, click Reset to revert to the factory default
settings.
Adjusting the Satin stitch count
Right-click Satin (Stitch Types toolbar) to adjust the 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 the Satin stitch count
Enter number of
repetitions
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 OK.
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
Click Tatami (Stitch Types toolbar) to apply Tatami stitch to new or

selected large, irregular shapes. Right-click to adjust Tatami settings.
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.
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
Right-click Tatami (Stitch Types toolbar) to adjust Tatami spacing.
For Tatami, stitch density is determined by the distance between each row
of stitches. The spacing setting is the distance between two forward rows.
See also Adjusting stitch density.
row spacing
offset fraction
stitch length
row direction
To adjust Tatami stitch spacing

1 Right-click the Tatami icon.
Adjust stitch
spacing
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.

Stitch Spacing: 1.0 mm
Stitch Spacing: 0.7 mm
3 Click OK.
Adjusting Tatami stitch length
Right-click Tatami (Stitch Types toolbar) to adjust Tatami stitch length.
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.
To adjust Tatami stitch length

Enter max. and min.

stitch lengths
2 In the Stitch Length field, enter the stitch length you require.
Length: 4.5 mm Length: 2 mm Length: 1 mm

Minimum Stitch: 0.4 mm Minimum Stitch: 0.4 mm Minimum Stitch: 0.4 mm
3 In the Min Stitch Length field, enter the length of the shortest stitch to
be generated.

Length: 4 mm Length: 4 mm Length: 4 mm
4 Click OK.
Selecting a Tatami backstitch
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.
Tatami backstitch is the term used for every second row of stitches in a
Tatami fill. There are three types available — Standard, Borderline, and
Diagonal.
Standard backstitch Borderline backstitch Diagonal backstitch
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 Hiding travel runs with Trapunto for details.
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.
.
minimum stitch
stitch spacing
connecting stitches
connecting stitches are follow the boundary
adjusted
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

Select backstitch
type
2 Select a backstitch type in the Backstitch panel.

3 Click OK.
Creating outlines with Zigzag stitch
Click Zigzag (Stitch Types toolbar) to apply Zigzag stitch to new or

selected objects. Right-click to adjust Zigzag settings.

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 appliqués, while E Stitch is used
as the cover stitch. It can also be used for decorative effect or where fewer
stitches are required.
straight column
turning column
Tip Zigzag and Double Zigzag stitch 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.
Enter spacing
value
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.
stitch spacing: 2.0 mm stitch spacing: 3.0 mm stitch spacing: 4.5 mm
3 Click OK.

Creating outlines with E Stitch
Click E Stitch (Stitch Types toolbar) to apply E Stitch stitch to new or

selected objects. Right-click to adjust E Stitch settings.
E Stitch, sometimes referred to as ‘blanket stitch’, produces long, narrow

columns with a ‘comb’ effect. It is often used to stitch borders around
appliqués. 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.
straight column
turning column
To create outlines with E Stitch

1 Right-click the E Stitch icon.
Enter spacing
value
Enter no. of run

stitches
2 In the Stitch Spacing field, enter the spacing value.

This value is the distance in millimeters between each perpendicular
stitch.
Stitch Spacing: 1.0 mm Stitch Spacing: 2.0 mm Stitch Spacing: 3.5 mm
3 In the Number of Runs field, enter the number of run stitches between
each E Stitch.

3 runs
1 run E Stitch spacing E Stitch spacing
4 Click OK.

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 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 graphics — vector 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
available in the color palette, you may need to add it to the colorway. See
Modifying colorways for details.

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.
Note Color change machine functions are automatically inserted when you
assign a color.
Selecting a new current color

When you digitize a new object, it automatically takes the color selected in
the color palette. This is the ‘current’ color.
To select a new current color

! Deselect all objects, and then select a color from the color palette.
current color
This color becomes current for all new objects.
Recoloring selected objects

Change the color of one or more selected objects in your design at any time.
To recolor a selected object

1 Select the object (or objects) you want to recolor.
2 Select a color from the color palette.
object selected color changed
The objects appear in the new color. The current color does not change.

Recoloring consecutive objects
Select Set Color (Machine menu) to change the color of 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.
To recolor consecutive objects

1 Select the first object in the sequence to recolor.
blue blue
green
2 Select Machine > Set Color.

The Set Color dialog opens.
Select to change
color of consecutive
objects
Select color
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.
5 Click OK.
V9 Chapter 7 Colorways and Thread Charts 138

red
red
green
Using multiple colorways

In ES Designer you can define multiple color schemes, or ‘colorways’, for the
one design. The Colorways feature lets you preview a design in different
colors on different fabrics. In effect, it lets you define multiple color schemes
and switch between them. See Viewing colorways for details.
Note Included as part of the colorway definition are the following properties
— background color or fabric, unique number, as well as display colors for
borer symbols, unsewn stitches, selected objects, object outlines and the
grid.
Colorways are saved automatically when saving in EMB format. You can
save all your colorways as an EMT template file for use in future designs.
They cannot, however, be saved with stitch files.
Consecutive objects of the same color

When creating a design, you may want to define two objects of the same
color in the one colorway, but assign different colors to those objects in
another colorway.
Colorway 1 Colorway 2
same color,
different color
slots
You can do this if you define the first object as thread color X, and the next
object as thread color Y. Both are assigned the same thread color in the
current colorway. This then allows thread color Y to be assigned a different
thread color in another colorway.

Different stitch densities
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.
Note Colorways are not intended to compensate for the different densities.
Rather, different styles should be used, or separate designs — one for dark
threads on light fabric, and one for light threads on dark fabric.
Selecting colorways
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 for the template you are using. In the same way, you
can preview an existing design in different colors on different fabrics by
selecting from among any number of pre-defined colorways for that design.
To select a colorway
1 Open a design.
Select a
colorway
2 Select a colorway from the Colorways toolbar.
colorway 1 colorway 2
Modifying colorways
Right-click the palette to modify a colorway.

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
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 Right-click the color palette.
The Design Properties > Colorways tab opens.
Enter total
colors required
Select color to
change
Select thread
chart
2 Enter the total number of colors you want to use in the Threads in
Palette field.
Tip Colorways are limited to 128 colors each. 36 will fit comfortably at
800 x 600 resolution.
3 Select a thread chart from the list.
4 Select the color you want to change in the colorways table.
Alternatively, select an empty color slot which currently has no color
assigned to it.

Select color to
assign
Click Assign
5 Select a color to assign.

6 Click Assign.
7 Repeat until all the colors you intend to use in the design have been
assigned.
8 Click OK.
The new thread colors appear in the selected colorway.
Creating colorways
Right-click the palette to create a colorway.
You can define an unlimited number of colorways for each design.
To create a colorway
Click New to define

a new colorway
2 Click New and enter a New Colorway name.

Enter a New
Colorway name
Select colorway to
base it on
Tip By default, the Based on Colorway field contains Colorway 1

which may or may not consist of default colors. If you want to base your
new colorway on the default settings, leave this field blank.
3 Click OK.
The new colorway appears in the Design Properties > Colorways tab.
new colorway
Click to toggle display

of thread details
Click to toggle
display of thread
chart
Tip You can choose different display modes in the Colorways tab.
! When the top arrow button points right, multiple colorways are
listed. Click the arrow to show thread details of the selected
colorway.
! When the bottom arrow button points down, the thread charts list
appears. Click the arrow to hide it.
Renaming colorways
Right-click the palette to rename a colorway.
You can rename a colorway at any time either in the current design and/or
current template.

Note When the colorway is saved for the first time it is assigned a unique
number. When you rename the colorway, this number remains unchanged.
You can reorder a design in Design Workflow™ using this number as well as
the design number.
To rename a colorway
Click Rename to
rename a selected
colorway
2 Select the colorway you want to rename and click Rename.

The Rename Colorway dialog opens.
Enter a new colorway

name
3 Enter the new name for the colorway and click OK.
Changing the default colorway

Save your preferred colorway as the default for new designs.
To change the default colorway

1 Select File > Save As.
The Save As dialog opens.
2 In the Save As Type list, select Templates (EMT).

Select
Normal.EMT
Select Templates
(EMT)
3 Save the file as Normal.EMT, replacing the default settings.

The current colorway becomes the default for all new designs.
Deleting colorways
Right-click the palette to delete a colorway.
You can delete a colorway at any time either from the current design and/or
current template.
To delete a colorway
Click Delete to
delete a selected
colorway
2 Select the colorway you want to delete and click Delete.

You are prompted to confirm the deletion.
3 Click Yes.

Matching thread colors
In ES Designer you can search for particular threads manually by various
criteria. Automatic thread color matching allows you to find and change a
thread color based on closest match in one or several thread charts. You can
also match thread colors from imported graphics — vector (either a single
or grouped) or bitmap.
Searching for thread types
Right-click the palette to search for a thread.
You can search for a thread by code, brand, description or thickness in the
Colorways dialog.
To search for a thread type

Enter search Select thread

string criterion
Select thread
chart
2 Select the thread chart/s to be included in the search from the thread
charts list.
3 From the In Column list, select the thread criterion to search on —
Code, Brand, Description or Thickness.
Code is the identification number of a thread color in a brand.
4 In the Find field, enter the first few characters of the required code,
brand, or description, or enter the thickness code.
The system searches for the closest match across all selected charts and
displays them in the thread color list below.
Matching threads from different charts
Right-click the palette to match a thread from a different chart.

You can find and change a thread color based on closest match in one or
several thread charts.
To match threads from different charts

Select color to
match
Click Match
Select thread
chart/s
2 Select the color to match.

3 Select the thread chart/s to be included in the search from the thread
charts list.
4 Click Match.
Select color to
assign
Click Assign
Note Each search negates the previous results.

Matching image colors to threads
Right-click the palette to match image colors to threads.
You can manually or automatically match thread colors to a design or

colorway from an inserted bitmap image or vector drawing using the Match
Drawing Color dialog.
To match image colors to threads

1 Right-click the image.
2 Select Match Drawing Color from the popup menu.
All colors used in the image appear in the Match Drawing Color dialog.
Select color to
match
Click Match
Select thread
Matched colors chart
listed
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.
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 system assigns selected thread colors 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.
Changing backgrounds and display settings

Background colors and fabrics are treated as design properties rather than
design window settings. This is because the background is an integral part
of the colorway. In addition, display colors for borer holes, unsewn and
selected stitches, object outlines and grid are part of the colorway definition.
Changing background colors and fabrics
Right-click the palette to change background color 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 Changing the default colorway for details.
To change the background color or fabric


Double-click to
change background
color
2 Double-click the BKG slot, the first one in the colorway.

The Display dialog opens for the selected colorway.
Edit color
Select background
color or fabric Select fabric
pattern
Center or tile fabric pattern

in design window
3 Select the design window background type.

! Color: uses the selected color.
! Fabric: uses an image of a fabric.
4 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.
Tip Textured backgrounds can also be imported into ES Designer.

Almost any artwork can be used — photographs, magazine pictures,
clipart drawings, and even fabric samples. See also Scanning artwork
into ES Designer.
5 Click OK.
The background is saved with the colorway.

background 1 background 2
Changing display colors
Right-click the palette to change 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 usual display color
is not visible against the colorway background.
To change display colors

Double-click to
change display colors
2 Double-click the BKG slot, the first one in the colorway.

The Display dialog opens for the selected colorway.
Select item
Edit color

3 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.
4 Click Edit.
The Color dialog opens.
Select or mix new

display color
5 Select or mix the new display color and click OK.
blue outline black outline
Creating your own 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.
Creating new thread charts
Right-click the palette to create new thread charts.

When you create a thread chart, you are creating a store of colors to use in
your designs.
To create a new thread chart

Click to modify
thread chart
2 Click Modify Charts.

The Modify Thread Chart dialog opens.
Click New
3 Click New.
The New Thread Chart dialog opens.
Enter name for

chart
4 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.

Click to add your
own
Click to copy
from other chart
5 Click Add to add your own colors.

See Adding your own colors to thread charts for details.
6 Click Copy From to add colors from an existing chart.
See Copying colors between charts for details.
7 Click Close to finish.
The new chart is created and ready for use.
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.
Select
thread chart
Click to copy
from other chart
2 Select a chart from the Thread Chart > Name list.

3 Click Copy From.
The Copy From dialog opens.
Select thread
chart
Select color to
copy
4 From the Name list, select the thread chart containing the color you
want to copy.
5 Select the color you want to copy, then click OK.
The color is copied to the thread chart, and appears at the bottom of the
list.
Adding your own colors to thread charts

You can add colors to thread charts using colors from other charts or colors
you mix yourself.
To add your own colors to a thread chart

2 Click Add to add your own colors.
The Add Thread dialog opens.

Click to select or
mix color
Enter code, brand,
and description
details
Select thread
thickness
3 Enter code, brand, and description details for the new thread color.
Code is the identification number of a thread color in a brand.
4 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.
5 Mix the thread display color.
See Mixing your own thread colors for details.
6 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 In the Add Thread or Edit Thread dialog, click Mix.
! See Adding your own colors to thread charts for details.
! See Modifying thread details for details.
The Color dialog opens.

2 From the Basic colors table, select a color that closely matches the
color you require.
3 Click-and-drag the cross hairs on the color spectrum to get the exact
color you require.
4 Drag the slider on the right of the color spectrum to adjust color
brightness.
The HLS and RGB values appear in the bottom right-hand corner of the
Color dialog. Enter these values directly to define exact colors.
5 When you have mixed the required color, click Add to Custom Colors.
6 Click OK.
The new color appears in the Color preview box.
Modifying thread charts

Update existing thread charts by modifying thread details or removing
threads. You can also rename or delete thread charts.
Modifying thread details

Change the code, description, brand, thickness or display color for an
existing thread.
To modify thread details


Select thread
chart
Select color to
modify
2 From the Name list, select the chart to modify.

3 In the Threads list, select the thread to modify.
4 Click Edit.
The Edit Thread dialog opens.
Click to select or
mix color
Edit code, brand, and
description details
Select thread
thickness
5 Edit thread details as required.

See Adding your own colors to thread charts for details.
6 Click OK.
Removing threads from charts
Right-click the palette to remove threads from charts.
Remove obsolete thread colors from a thread chart using the Modify
Thread Chart dialog.

To remove threads from charts
Select thread
chart
Click to remove
selected color
from chart
Select color to
remove
Click to remove
ALL colors from
chart

3 From the Threads list, select the thread (or threads) to remove.
4 Click Remove. You are prompted to confirm the removal.
5 Click Yes.
Tip To delete all the threads from a thread chart, click Clear All.
Renaming thread charts
Right-click the palette to rename thread charts.
Rename thread charts from the Modify Thread Chart dialog.
Tip Select names that will help you remember the charts you need, or that
sort frequently used charts to the top of the list.
To rename thread charts


Select thread
Click to rename
chart
selected chart

3 Click Rename.
The Rename Thread Chart dialog opens.
Edit thread chart

name
4 Enter the new name for the thread chart, then click OK.
Deleting thread charts
Right-click the palette to delete thread charts.
Delete obsolete thread charts from the Modify Thread Chart dialog.
Note Be careful when deleting thread charts. If you delete the wrong chart
you will need to reinstall Wilcom ES to restore it.
To delete thread charts

Select thread
chart Click to delete
selected chart
2 From the Name list, select the chart to delete.

3 Click Delete.
You are prompted to confirm the deletion.
4 Click Yes.

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. Apply
Trapunto effect to force underlying travel runs
to the edges of an object so that they can’t be
seen through open stitching.
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

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
Because runs are not trimmed, they may be visible in the final embroidery.
For this reason, they are less commonly used as connectors than jumps. If
objects are adjacent and connectors will be hidden, they can be used.
Note Run connectors are not the same as travel runs which join segments
within Complex Fill objects. In other words, they do not apply to segments
within an object. See also Adjusting travel run stitch length.
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
With jumps, the stitch needs to be tied off so the thread can be trimmed
without the stitches unraveling. You can adjust connector settings to
automatically add tie-offs, or add them yourself. 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
starts again. The trimmed connector appears as a dotted line. You can
adjust connector settings to automatically add trims, or add them yourself.
connector
stitching starts
trim
V9 Chapter 8 Connecting Embroidery Objects 162

Using automatic connectors
ES Designer lets you generate automatic connectors in your design based
on settings in the Object Properties > Connectors tab. 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-objects — e.g. the fingers
of a hand — without having to think about the most efficient stitching
sequence and joins. See Automatic branching for details.
Using jumps as connectors
Use Properties (Generate toolbar) to set 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
needle penetrations. You generally need to tie-off and trim the connecting
thread.
Jump connectors connectors not visible in TrueView™
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 Properties icon.
The Object Properties dialog opens.

2 Select the Object Properties > Connectors tab.
Enter trim
Select connector values
type
Select Jump and

enter distance
Enter tie-in Enter tie-off

values values
3 Select a connector type.

! Connector After Object: selects for connectors between discrete
objects.
! Connector Inside Object: selects for connectors between letters
within lettering objects, and motifs within motif runs. It also applies
to the 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 Jump and enter a distance for each frame movement.
5 In the Tie In Before Object panel, enter the tie-in values.
See Adjusting automatic tie-in settings for details.
6 In the Trim After Object panel, enter the trim values.
See Adjusting automatic trim settings for details.
7 In the Tie Off After Object panel, enter the tie-off values.
See Adjusting automatic tie-off settings for details.
8 Click OK.
Using runs as connectors
Use Properties (Generate toolbar) to set 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.
Run Jump
connectors connectors
To use runs as connectors

Select connector
type
Select Run and

enter length
Enter tie-in
values
3 Select a connector type.

! Connector After Object: selects for connectors between objects.
! Connector Inside Object: selects for connectors between letters
and motifs.
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 Trim After Object and Tie Off After Object panels are disabled as
they do not apply to travel runs.
5 In the Tie In Before Object panel, enter the tie-in values.
See Adjusting automatic tie-in settings for details.

6 Click OK.
Adjusting automatic tie-in settings

Tie-in stitches are inserted at the
start of objects to prevent stitches
from unraveling. They are inserted Tie-in with two
stitches
inside the shape on the second
stitch. You generally use them when
the previous connector is trimmed.
To adjust tie-in settings

Enter tie-in
values
3 In the Tie In Before Object panel, 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 Longer Than: tie-ins are inserted when the
previous connector exceeds the length you specify.
5 Click Values.
The Tie In Values dialog opens.

6 Set the tie-in values.
! Stitch length: determines length of tie-in stitches.
! Number of stitches: determines number of tie-in stitches to
generate.
7 Click OK.
Adjusting automatic tie-off settings

With jumps, the stitch needs to be tied off so the thread can be trimmed
without the stitches unraveling. You can select between two automatic
tie-off methods:
! The first inserts tie-off stitches along the last stitch. This is suitable for
large shapes filled with Tatami.
! The second inserts the tie-off stitches between the last two stitches. This
prevents stitches from bulging at the edge of shapes. This is suitable for
Satin stitch columns and Lettering objects.
method 1 with two method 2 with method 2 with two

stitches one stitch stitches
Note For narrow shapes or columns: e.g. small lettering: use only one
tie-off stitch. You may also decrease the stitch length.
To adjust tie-off settings


Enter tie-off
values
3 In the Tie Off After Object panel, select a tie-off option.

! Off: no tie-offs are inserted. By selecting this option, you can add
tie-off functions manually. See Adding tie-offs for details.
! Always Tie Off: tie-offs are inserted after the object.
! Tie Off If: tie-offs are 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: tie-offs are inserted before trims and
color changes.
! Next Connector Longer Than: tie-offs are inserted if the next
connector exceeds the length you specify.
5 Click Values.
The Tie Off Values dialog opens.
6 Set the tie-off values.

! Stitch length: determines length of tie-off stitches.
! Number of stitches: determines number of tie-off stitches to
generate.
7 Click OK.
Adjusting automatic trim 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
Enter trim
values
3 In the Trim After Object 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 value — e.g. if the
thread color contrasts with the background color.
4 Click OK.
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 Connectors tab of the Object Properties dialog.
See Using automatic connectors for details.

Adding tie-offs
Click Tie Off (Pointer toolbar) to insert a tie-off.
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.
Tie-off function
start
Tie-off function
end
Tie-off function inserted, needle

backtracks and returns
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 tab. 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
Click Trim (Pointer toolbar) to insert a trim.
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
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.
trim symbol
details.
Adding empty stitches and empty jumps
Click Empty Stitch/Empty Jump (Pointer toolbar) to insert an empty stitch.

Right-click to insert an empty jump.
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.
details.
To add empty stitches and empty jumps

1 Travel to the needle position where you want to trim the thread.
2 Click the Empty Stitch/Empty Jump icon to insert an empty stitch.
3 Right-click Empty Stitch/Empty Jump to insert an empty jump.
Adding jumps with penetrations off
Deselect Penetrations (Generate toolbar) to create jumps with needles or

borers out.
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.
Needle out, Jump stitches Satin Jumps Tatami
The jumps are saved together as an embroidery object.

Adjusting travel run stitch length
Use Properties (Generate toolbar) to set the travel run stitch length.
Travel runs are typically used to connect segments within filled objects. They
are usually covered by fill stitches when an object is stitched out. You can
adjust the travel run length to reduce the stitch count.
To adjust travel run stitch length

2 Select the Object Properties > Embroidery tab.
Enter travel run

length
3 Enter a value in the Travel Run Length field as required.
Travel Run length: 1mm Travel Run length: 3mm
Tip Increase stitch length to reduce the stitch count. Travel Run
automatically varies the stitch length on tight curves.
4 Click OK.
Hiding travel runs with Trapunto
Use Trapunto (Stitch Types toolbar) to force underlying travel runs to the
edges of a selected object. Right-click to adjust Trapunto settings.

Apply Trapunto effect to force underlying travel runs to the edges of an
object so that they can’t be seen through open stitching. This is often used
for backgrounds.
Complex Fill with

Trapunto effect
Tatami with Borderline Backstitch —

spacing increased for open stitching
You can create a Trapunto effect manually with any type of object using
Tatami stitching with Borderline backstitch. Increase the row spacing to
create open stitching. In Complex Fill or Fusion Fill™ objects, however,
travel runs, spacing variations and overlapping rows between segments are
visible and can spoil the effect. The Trapunto feature automatically moves
travel runs to the edges of Complex Fill or Fusion Fill™ objects. It also
applies consistent row spacing, and prevents segments from overlapping,
regardless of the Overlapping Rows setting in the Complex Fill or Fusion
Fill™ tab.
travel stitches
moved to
boundaries
Complex Fill with Tatami — Complex Fill with Tatami —

Trapunto effect OFF Trapunto effect ON
Note The Trapunto feature is only available for Complex Fill or Fusion Fill™
objects using Tatami stitching. Other object types do not require it.
To apply Trapunto stitching


Enter stitch
spacing
Select borderline
backstitch
2 In the Stitch Spacing field, enter the stitch spacing.

The larger the value, the more open the spacing.
Tip A value of 3.00 mm gives good results.
Spacing: 3 mm
Spacing: 5 mm
3 Select the Borderline backstitch type.

4 Click OK.
The stitching takes on the Trapunto effect.
5 For Complex Fill objects, click the Trapunto icon.
Travel runs and overlapping rows are removed, and consistent row
spacing is applied.

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

Underlay stitching helps stabilize fabric and reduces distortion due to the
pull effect. It also provides ‘loft’, raising cover stitches and preventing them
from sinking into soft fabrics. 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. Without underlay applied, embroidery lies flat on the

fabric and often the underlying fabric can show through. New digitizers
might be tempted to increase stitch density but it is much more effective to
apply an underlay.
Auto Underlay generates underlay stitching for objects based on the
settings specified in the Effects dialog. Underlay settings are stored with
each object in the same way as other object properties. Thus they are
regenerated whenever the object is scaled or transformed.
Applying automatic underlays
Use Auto Underlay (Stitch Types toolbar) to strengthen and stabilize

embroidery designs with automatic underlays. Right-click to adjust
underlay settings.
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.
with underlay without underlay
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
Right-click Auto Underlay (Stitch Types toolbar) to select an underlay

type.
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.
Center Run and Edge Run underlays used together
To select underlays
1 Right-click the Auto Underlay icon.
The Effects > Auto Underlay tab opens.
Select first first underlay

underlay stitch type
first underlay
stitch spacing
and length
first underlay
margins
Select second second underlay

underlay stitch type
second underlay
stitch spacing
and length second underlay
margins
2 Select the first Underlay checkbox.

3 From the First field, select the first underlay type.
4 Select the second Underlay checkbox as required.
5 From the Second field, select the second underlay type.
6 Click OK.
Adjusting Center Run and Edge Run underlay settings
Right-click Auto Underlay (Stitch Types toolbar) to adjust Center Run and
Edge Run underlay settings.
V9 Chapter 9 Improving Stitch Quality 178

Center Run places a row of stitches along the center of a column. It is used
to stabilize narrow columns (e.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.
Center Run underlay Edge Run underlay
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, cover stitch settings for Run and Triple
Run objects.
To adjust Center Run and Edge Run underlay settings

Select first Select Center Run

underlay or Edge Run for
first underlay
Enter fixed or
variable stitch
length
Select second Select Center Run

underlay or Edge Run for
second underlay
Enter fixed or
variable stitch
length

2 Select the first and second (if required) Underlay checkbox and select
Center Run or Edge Run as the First or Second underlay type.
3 In the Stitch Values panels, enter the required 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.
Edge Run and Center Run underlay with Edge Run and Center Run underlay with a
2.5 mm stitch length variable run length
4 Click OK.
Adjusting Zigzag and Double Zigzag underlay settings
Right-click Auto Underlay (Stitch Types toolbar) to adjust Zigzag and

Double Zigzag underlay settings.
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.
Zigzag underlay Double Zigzag underlay
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


Select first Select Zigzag or

underlay Double Zigzag
Enter Zigzag
stitch values
Zigzag or Double Zigzag as the First or Second underlay type.
type:
! Spacing: Sets the required distance between two needle
penetrations on the same side of the column.
Spacing: 3.0 mm Spacing: 4.0 mm
4 Click OK.
Adjusting Tatami underlay settings
Right-click Auto Underlay (Stitch Types toolbar) to adjust 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.

Tatami stitch with
Edge Run and
Tatami underlay
direction of underlay
direction of 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

Select first Select Tatami

underlay
Enter Tatami
stitch values
Tatami as the First or Second underlay type.
type:
! Spacing: Sets the distance between each row of stitching.

Spacing: 3mm
Spacing: 2mm
4 For Complex Fill objects, you can also set the stitch angle for Tatami
underlays.
! Angle 1: the stitch angle for the underlay, when Tatami is selected
as the First underlay type.
! Angle 2: the stitch angle for the underlay, when Tatami is selected
as the Second underlay type.
Angle: 45º
Angle: 135º
Note You can only set the stitch angle for Complex Fill objects.
5 Select a backstitch. See Selecting a Tatami backstitch for details.
6 Click OK.
Setting underlay margins
Right-click Auto Underlay (Stitch Types toolbar) to adjust 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.
underlay margin

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 margins — one 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

2 Select the first and second (if required) Underlay checkbox, and select
the underlays you require from the First and Second dropdown lists.
Select Select stitch

Underlay type
Set required
margins
3 In the Margins panel, set the required margins.

! 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.
Mgn 1: 0.8 mm, Mgn 2: 0.2 mm, All margins: 0.1 mm

Mgn 3: 0.4 mm

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.
two columns joined
4 Click OK.
Adding underlay by segment
Right-click Auto Underlay (Stitch Types toolbar) to add 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.
To add underlay by segment


Select By
Segment
Or select By
Segment
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 OK.
Compensating for fabric stretch

Embroidery stitches pull the fabric inwards where the needle penetrates.
This can cause the 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.
digitized outline
calculated outline
pull compensation
Adjust the amount of overstitching you need by varying the pull

compensation setting in the Effects 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.
Applying automatic pull compensation
Use Pull Compensation (Stitch Types toolbar) to automatically

compensate for fabric stretch. Right-click to adjust pull compensation
settings.
Apply automatic pull compensation to objects in your design, either before

or after you digitize.
Pull Compensation OFF Pull Compensation ON
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.
Adjusting pull compensation settings
Right-click Pull Compensation (Stitch Types toolbar) to adjust pull

compensation settings.
The amount of overstitching you require for pull compensation depends on

the fabric you want to stitch out on. Use the following table as a guideline.
Fabric Pull compensation (mm)
drills, cotton 0.20
T-shirt 0.35

Fabric Pull compensation (mm)
fleece, jumper 0.40
lettering 0.2 - 0.3
To adjust pull compensation settings

1 Right-click the Pull Compensation icon.
The Effects > Others tab opens.
Select Pull Enter overstitch

Compensation allowance
2 Select the Pull Compensation checkbox.

3 Enter the amount (in millimeters) by which you want to overstitch.
Pull Compensation: 0.3 mm Pull Compensation: 0.6 mm
4 Click OK.
Adjusting column width
Right-click Pull Compensation (Stitch Types toolbar) to adjust column

width setting.
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.
Reduce column width if you need to allow the underlay to extend outside the
object boundary.

To adjust column width
1 Right-click the Pull Compensation icon.
Select Column Enter column width

Width adjustment
2 Select the Column Width checkbox.

3 Enter the amount (mm) by which you want to adjust column widths.
column width: -1 no adjustment column width: +1
4 Click OK.
Reversing stitch direction
Use Reverse Curve (Image menu) to reverse stitch direction in drawing or closed
embroidery objects.
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 drawing and embroidery objects such as Input C can be
reversed. The effect on drawing objects will not be visible, convert them to
embroidery objects first.
To reverse stitch direction

1 Select a closed embroidery object.
2 Select Image > Reverse Curve.
The stitch direction is reversed.
Input C object with

Jagged Edge
Reverse Curve
applied
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.
shortened stitches
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
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.
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.
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.
Adjusting stitch shortening settings
Right-click Shortening (Stitch Types toolbar) to adjust 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 Effects > Shortening tab opens.

Enter minimum
Enter max. allowable spacing allowance
no. of consecutive
short stitches
Define length of short

stitches relative to
original stitch length
Randomize
shortening pattern
2 In the If Spacing < field, enter the minimum spacing permitted

between stitches (as % of nominal spacing) before automatic shortening
takes effect.
If spacing < 90% If spacing < 40%
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.
Max no. of short stitches: 1 Max no. of short stitches: 5
A higher number allows smoother distribution of the needle penetrations

in tight curves, and reduces stitch bunching.
4 In the Shorten Stitch Length to (%) panel, define the individual
lengths of consecutive short stitches, as a percentage of the original.

Shorten stitch length to: 80% Shorten stitch length to: 50%
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.

Shorten stitch length to: 50% Shorten stitch length to: 50%
Row 1: 90 Row 1: 80
Row 2: 70 60 Row 2: 85 70
Row 3: 55 85 55 Row 3: 70 90 70
Row 4: 55 85 75 55 Row 4: 70 90 80 70
Row 5: 55 70 45 70 55 Row 5: 70 85 65 85 70
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.
5 Select the Randomize checkbox to randomize the shortening pattern
values. This will eliminate unwanted lines appearing in regular curves.

Randomize ON Randomize OFF
6 Click OK.
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.
offset fraction: 0.00

0.33
outside edge
0.66
1.00
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.
Applying fractional spacing
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.

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.
Fractional Spacing OFF Fractional Spacing ON
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.
Adjusting fractional spacing settings
Right-click Fractional Spacing (Stitch Types toolbar) to adjust 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.

Select Fractional
Spacing Enter offset fraction
as fraction of
column width
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.
59 stitches 49 stitches 43 stitches
offset fraction 0.00 offset fraction 0.33 offset fraction 0.66
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 OK.
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 run Auto Spacing settings and Removing small stitches
automatically.

100%: 5195 stitches 20%: 987 stitches
Adjusting overall stitch density
Use Process (Generate toolbar) to adjust stitch density of and/or scale the
whole or selected parts of a design.
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.
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
To adjust overall stitch density

1 Select the design or objects you want to process.
2 Click the Process icon.
The Process dialog opens.

Enter target
stitch count
Adjust Pull
Compensation
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.
5 In the Dimensions panel, adjust the Width and Height values to scale
the selected objects as required.
Adjust Width and

Height values to scale
selected objects
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 using
object properties for details.
6 Click OK.
Stitches for Tatami, Satin, Run, and Program Split objects are
regenerated using the new settings.

100%: 5195 stitches 20%: 987 stitches
Note Like the Object Properties dialog, the Process dialog lets you
specify design dimensions precisely.
Adjusting stitch density of certain stitch types
Use Process (Generate toolbar) to change the density of selected stitch

types in a design.
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.
To adjust the density of certain stitch types

1 Select the design or objects you want to process.

Select Auto
Spacing
Adjust stitch
densities
Adjust Pull
Compensation
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 original
— from 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.
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.

Program Split
Tatami stitches Tatami stitch spacing reduced Program Split stitch spacing
(density increased) reduced (density increased)
6 Click OK.
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.
The Small Stitches dialog opens.
Enter minimum stitch

length to keep
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.
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 types — Mitre 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
columns. Use them primarily for corner angles of 75° to 90°. Cap Corners
are suitable for very sharp corners as they generate fewer stitches.
Smart Corners OFF Mitre Corners Cap Corners
Applying Smart Corners
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.
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.
Smart Corners OFF Mitre Corner Cap Corner
Note You can also apply Smart Corners in Input C objects in conjunction
with sharp corner rounding. See Rounding sharp corners for details.
Adjusting Smart Corners settings
Right-click Smart Corners (Stitch Types toolbar) to adjust 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 Effects > Smart Corners tab opens.

Select Smart
Corners
Adjust Mitre Corner
settings
Adjust Cap Corner

settings
2 Select the Smart Corners Stitching checkbox.

3 In the Mitre Corner panel, select the checkbox, and enter the following
values:
! Mitre below Angle: the angle below which to apply Mitre Corner.
Any corners less than this angle are mitred.
mitre below mitre below

angle: 75° angle: 45°
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.
mitre overlap: mitre overlap:

0.5 mm 1.5 mm
4 In the Cap Corner panel, select the checkbox, and enter the following
values:

! Cap below Angle: the angle below which to apply capped corners.
Any corners less than this angle are capped.
cap below cap below

angle: 45° angle: 75°
If Mitre Corners are also selected, then the cap angle is usually
smaller than the mitre angle.
! Capping overlap: the number of overlapping rows to allow where
the sections of the cap join.
capping capping
overlap: 1 overlap: 3
! 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 OK.
Rounding sharp corners
Right-click Input C (Input toolbar) to set sharp corner rounding.
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
Select Round
Sharp Corners
2 Select the Round Sharp Corners checkbox.

This checkbox is only enabled when Smart Corners is turned on in the
Effects dialog. See Controlling corner stitching for details.
3 Click OK.
sharp corner rounded corners
Splitting long stitches with Auto Split
Right-click Satin (Stitch Types toolbar) to apply Auto Split to new or

selected Satin objects.
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.

Auto Split OFF Auto Split ON
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.
Note If you want to preserve the Satin effect — for example, if only a few
stitches are too long — you 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

Select Auto Split
Adjust max. and min.

stitch lengths
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.

4 In the Minimum Stitch field, enter the shortest stitch that can be
generated when using Auto Split.

Minimum Stitch: 5 mm Minimum Stitch: 3 mm Minimum Stitch: 1 mm
5 Click OK.
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.
with Tatami with Program Split with User Defined Split
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, you can preserve long stitches in an object by turning them into a
series of jumps.
Auto Jump OFF Auto Jump ON
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 value, e.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
Use Auto Jump (Stitch Types toolbar) to preserve long stitches in new and
selected objects. Right-click to adjust settings.

Apply Auto Jump to objects with stitches that exceed the maximum stitch
length.
NO jump stitches jump stitches—

— additional not trimmed
needle
penetrations
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.
Adjusting Auto Jump settings
Right-click Auto Jump (Stitch Types toolbar) to adjust 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.
The Effects > Auto Jump tab opens.

Select Auto Jump
Enter maximum stitch

and jump length
values
Select calculation
method
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.
Y
measured along measured along
radius axis
maximum
stitch maximum
stitch
maximum stitch
The option you select depends on the way your machine measures stitch
length. See your embroidery machine’s documentation for details.
6 Click OK.

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.
The Auto Start and End dialog opens.
Select Use Auto

Start and End
Select a centering
method Select preset end
point
Click to enter
separate start and
end points
Specify how to
match connecting
stitches
Specify the
connector type
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.
5 Select to match connecting stitches on the Horizontal plane, Vertical
plane or both in the Match On panel.
Match on vertical Match on horizontal Match on both
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.

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 backdrops — vector and
bitmap. To create good quality embroidery, you need to choose or create
suitable artwork of either format. See Digitizing with Vector Drawings 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 Drawings 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.

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.

Chapter 10
Digitizing with Vector Drawings
ES Designer provides tools to draw shapes and outlines directly on screen.

Alternatively, insert or paste vector drawings 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 drawing
object outlines and fills. When working with overlapping drawing or
embroidery objects, merge, trim or split them using the Shaping tools.
Tip Vector drawings 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 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.
Creating drawings in ES Designer

ES Designer drawing tools let you ‘draft’ shapes and outlines on screen.
Drawing objects can then be converted to embroidery objects with the

application of manual input methods and stitch types. See Converting vector
drawings to embroidery objects for details.
Tip ES Designer lets you select colors for drawing object outlines and fills.
These can be different to the corresponding embroidery objects. See
Coloring drawing objects for details.
Drawing straight lines
Use Line (Drawing toolbar) to create straight line drawing objects.
Draw straight lines in your design using the

Line drawing tool.
Note You can convert line drawing objects to

embroidery objects using an outline input
method — e.g. Run, Triple Run, or
Motif Run — or Input C. See Converting
vector drawings to embroidery objects 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
Use Polyline (Drawing toolbar) to create open-ended drawing objects.
Draw lines of any shape using the Polyline drawing tool.

Enter reference points to create the shape you want.

Note You can convert polyline drawing objects to embroidery objects using
Input C or an outline input method — e.g. Run, Triple Run, or Motif Run. See
Converting vector drawings to embroidery objects 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.
curve point
corner point
3 Press Enter.
Tip ES Designer lets you select colors for drawing object outlines and
fills. These can be different to the corresponding embroidery objects.
See Coloring drawing objects for details.
Drawing polygons
Use Polygon (Drawing toolbar) to create closed drawing objects.
Draw closed shapes using the Polygon drawing tool.

Enter reference points to create the shape you want.
Note You can convert polygon drawing objects to

embroidery objects using Input C, Complex Fill, or an
outline input method — e.g. Run, Triple Run, or Motif
Run. See Converting vector drawings to embroidery
To draw polygons
1 Click the Polygon icon.
2 Digitize the shape by marking reference points on screen.
! Click to enter a corner point.
V9 Chapter 10 Digitizing with Vector Drawings 218

! Right-click to enter a curve point.
curve point
corner 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.
Drawing rectangles and squares
Use Rectangle (Drawing toolbar) to create rectangular or square drawing

objects.
Draw rectangles and squares using the

Rectangle drawing tool.
Note You can convert rectangle drawing

objects to embroidery objects using Input C,
Complex Fill, or an outline input method —
e.g. Run, Triple Run, or Motif Run. See
Converting vector drawings to embroidery objects 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.
3 Move the pointer until the outline is the size and shape you require, then
click again.

Click to enter
corner point
Drag pointer,
click again
Note To draw a square, hold down Ctrl as you move the pointer.
Drawing circles and ellipses
Use Ellipse (Drawing toolbar) to create circular or elliptical drawing

objects.
Draw circles and ellipses using the Ellipse drawing tool.
Note You can convert ellipse drawing objects to embroidery objects using
Input C, Complex Fill, or an outline input method — e.g. Run, Triple Run, or
Motif Run. See Converting vector drawings to embroidery objects 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.
! To draw an ellipse, move the pointer again, then mark a second
radius point when the outline is the required size. Press Enter.

Click to enter
center point
Press Enter for circle

OR
Drag pointer Mark a point for ellipse
Importing and exporting vector drawings

You can insert or paste vector drawings 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 drawings to embroidery objects
and Digitizing shapes automatically with Point & Stitch™.
Note The Auto Trace feature lets you convert scanned artwork to drawing
objects. See Converting bitmaps to outlines with Auto Trace for details.
Inserting vector drawings
Use Insert Drawing File (Image menu) to insert a vector drawing for use as a
backdrop.
Drawings 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 drawings by ‘flattening’ them. This
eliminates overlapping areas of stitching when drawing objects are
converted to embroidery objects. You can also import vector drawings (not
DXF) as bitmaps. See also Supported drawing and image formats.
Tip You can also paste drawings directly into ES Designer through the
Windows clipboard. See Pasting vector drawings for details.

To insert a vector drawing
1 Create a new file in ES Designer or open the design file into which you
want to insert the drawing.
2 Select Image > Insert Drawing File.
Select to remove
overlapping objects
Select to insert as
bitmap rather than
vector
3 From the Look In list, select the folder where you keep your drawing
files.
4 From the Files of Type list, select a suitable vector drawing 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 drawing may not display at
the correct size.
6 Select the As Bitmap checkbox to insert the vector drawing as a bitmap
image.

imported as vector drawing — imported as bitmap image —
individual objects can be selected individual objects cannot be selected
Note DXF files cannot be imported as bitmaps.

7 Select the Flatten checkbox to remove any overlapping areas from the
vector drawing.
hidden areas hidden areas

removed preserved
drawing objects ‘flattened’ drawing objects not ‘flattened’
Note If a vector drawing is imported as a bitmap, it is flattened

automatically.
8 Select the Preview checkbox to see a preview of the vector drawing.
9 Click Open to insert the drawing into the design window.
Note To work with individual vector objects in the drawing, you need to
ungroup them first. See Grouping and ungrouping objects for details.
Exporting vector drawings

You can export vector drawings 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 drawing and image formats
for details.

To export a vector drawing
1 Select the vector drawing or embroidery design.
2 Select File > Export As.
The Export As dialog opens.
3 Select a folder in the Save In field.

4 Select a format from the File Type dropdown list.
5 Enter a new file name and click Save.
Pasting vector drawings
Use Paste Drawing > As Vector (Edit menu) to paste a vector drawing for use as a
digitizing backdrop.
You can insert a vector drawing into ES Designer by copying it from another
embroidery design or graphics application, and pasting it into your design.
To paste vector drawings

1 Select the vector drawing or embroidery design you want to copy and
paste.
2 Copy it to the Windows clipboard.
4 Select Edit > Paste Drawing > As Vector.
The drawing is pasted into the design.

Note You cannot flatten vectors using Paste.
Manipulating vector drawings

Vector drawings may consist of grouped drawing objects. You can ungroup
these to work with them individually. ES Designer lets you remove
unnecessary control points 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 drawing curves into a single
‘complex shape’ — i.e. a shape with holes in it. You can also show or hide
vector drawings in the design.
Tip You can scale and transform vector drawings in the same way as
embroidery objects. Unlike bitmap images, any changes you make to
drawing objects are updated and saved with the design file. See also
Arranging and Transforming Objects.
Smoothing vector drawing curves
Use Reshape Object (Pointer toolbar) in combination with Image >

Smooth Drawing Curves to remove unnecessary control points from
vector drawing objects.
When you insert a vector drawing into a design, control points — the same
as for embroidery objects — are added to the outline. On shapes where the
angle changes constantly, the software may insert hundreds of control
points, making reshaping difficult. To remove unnecessary control points,
ungroup the drawing, and apply ‘smoothing’ to the vector drawing objects.

Precision:
0.1mm
without Precision:
smoothing 0.5mm
To smooth vector drawing curves

1 Select the drawing object (or objects) to smooth.
Note You can only smooth drawing objects that have been ungrouped
and selected. However, you can select multiple objects.
2 Click the Reshape Object icon.
Control points display around the vector drawing object.
3 Select Image > Smooth Drawing Curves.
The Smooth Drawing Curves dialog opens.
Enter smoothing
precision value
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 control points.
5 Click OK.
Coloring drawing objects
Use Options (Special menu) to select Show True Colors.
Use Properties (Generate toolbar) to select colors for drawing outlines

and fills.

Vector drawings may be composed of black outlines only. ES Designer lets
you select colors for outlines as well as fills. These can be different to the
embroidery objects you may create from them. Coloring makes drawing
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 drawing outlines are also important for appliqué cutting. If
appliqué 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 appliqué shapes.
To color drawing objects

2 Select the View Drawing tab.
Select Show True

Colors
3 Select the Show True Colors checkbox.

4 Click OK.
5 Select a drawing object and right-click.
vector drawing with

black outline


7 Select the Drawing Object tab.
Select outline style
Select outline width

Select outline color
8 Select an outline from the Line panel:

! Select an outline style from the Style list.
! Select an outline width from the Width field.
! Click Color and select an outline color from the Color dialog.
Select fill color
Select fill style
Alternatively, select
pattern fill
9 Select a fill from the Fill panel:

! Select a solid color by selecting the Solid option.
! Click the button and select a fill color from the Color dialog.
! Select a pattern from the Style dropdown list.
Alternatively, select a pattern (BMP format) from the Pattern button.
10 Click OK.
outline style and color fill style and color

changed changed
Note To view the changes in the production worksheet, select File >
Print Preview. Then click Options and select the Drawings checkbox.

Combining drawing curves into complex shapes
The Make Complex Shape feature lets you combine any number of drawing
curves into a single ‘complex shape’ — i.e. a shape with holes in it. This can
then be converted directly to an embroidery object. See also Shaping
drawing and embroidery objects.
Tip You can apply either Complex Fill, Input C, an outline input method —
Run, Triple Run, or Motif Run — or the Tatami Fill tool to complex shapes,
preserving any holes within them. See also Digitizing shapes with Tatami
Fill.
To combine drawing curves in complex shapes

1 Insert a vector drawing or create one using the drawing tools.
2 Select the objects you want to combine.
Tip Ungroup any imported drawing 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 drawing object.

4 You can use the Offset Object feature to digitize the complex shape.
See Creating outlines and filling holes for details.
complex shape object

Input C applied Run applied Motif Run applied
created and colored
Tip You can select any number of curves. Different selections create
different complex shapes.
Tip By copying the original drawing objects, you can also create borders
and filled holes. See also Creating outlines and filling holes.

Creating overlapped complex shapes
If drawing 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 drawing
and embroidery objects.
To create overlapped complex shapes

1 Insert a vector drawing 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.
! If you want to clip the overlapping shapes, simply select them.

3 Select Image > Make Complex Shape.
The selected objects become a single drawing object. Make Complex
Shape selects the largest area and clips off the remaining shape. See
also Trimming drawing and embroidery objects.
Viewing and hiding vector drawings
Right-click Show Drawing (Standard toolbar) to set the option to hide

vector drawings.
You can show or hide vector drawings, together with any bitmap images in
the design. Hiding them does not delete them.
Note You cannot hide grouped vector drawings.
To view or hide vector drawings

! Click the Show Drawing icon.
When selected, backdrop drawings are visible.
Note If a design includes both bitmap images and vector drawings,

both will display. See also Viewing and hiding bitmap images.
! To hide the drawing, click Show Drawing again.
! To hide a backdrop image while showing a drawing, right-click the Show
Drawing icon.

Deselect View
Images
! Deselect the View Images checkbox and click OK.
vector drawing
together with
bitmap image
Shaping drawing and embroidery objects

When working with overlapping drawing or embroidery objects, you can
merge, trim or split them using the Shaping tools. All ‘shaped’ embroidery
objects convert Complex Fill, drawing objects remain as drawing objects,
while combinations convert to Complex Fill.

Shaping tools summary table
Source Apply Tool Result Description
Selected objects are combined into a

single object. The resulting object
Weld
takes the properties — stitch color and
type, etc — of the topmost object.
Only areas unique to each selected

Flatten object are retained. All overlapping
areas are removed.
Only areas common to all selected

Intersect objects are retained. All
non-overlapping areas are removed.
Areas where pairs of selected objects

Exclude overlap are removed, starting from the
topmost object.

Source Apply Tool Result Description
The topmost object is retained, but all

Front-Back of the areas overlapping with other
selected objects are removed.
The bottommost object is retained, but

Back-Front all of the areas overlapping with other
selected objects are removed.
The objects are split wherever

Divide overlaps occur and all hidden areas
are removed.
Areas where pairs of selected objects

overlap are removed, starting from the
Combine topmost object. All resulting objects
share the properties — stitch color
and type, etc — of the topmost object.
Tip The Make Complex Shape feature lets you combine any number of
drawing curves into a single ‘complex shape’. This can then be converted to
an embroidery object. See Combining drawing curves into complex shapes
for details.
Merging drawing and embroidery objects
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.
Merge selected objects using the Weld or Combine tools.

Combine
Weld
To merge drawing and embroidery objects

! Select the drawing or embroidery objects to shape.
! Click Weld to merge overlapping objects into a single ‘flattened’ object.
Weld applied
(petals only)
Tip Make symmetrical shapes by digitizing one half, duplicating and

reflecting, then welding the duplicate shapes.
Weld
applied
! Click Combine to convert embroidery objects into multiple objects

sharing the properties — stitch color and type, etc — of the topmost
selected object.
Combine applied
(petals only)

If drawing tools are used as the input method, Combine converts them
to a single complex shape.
Combine applied
(petals only)
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 drawing 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.
Weld + Run
applied to
resulting objects
Weld + Run +
Divide Combine applied to
applied resulting objects
Trimming drawing and embroidery objects
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.
Trim selected objects using the Intersect, Exclude, Front-Back or

Back-Front tools.

Intersect used Exclude used Front-Back used Back-Front used
Note Use the Remove Overlaps feature to maintain shapes but remove
the underlying layer of stitching. See Removing underlying stitching for
details.
To trim drawing and embroidery objects

! Click Intersect to trim overlapping areas so that only those intersected
by all selected objects remain.
Intersect
applied
! Click Exclude to trim overlapping objects and preserve their individual

properties. The result is similar to Combine except that object
properties are not merged.
Exclude applied
(petals only)
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 drawing 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.
Front-Back
applied
Tip Use Image > Make Complex Shape or press Shift + H to trim
overlapping shapes in unfilled drawing objects.
! Use Back-Front to trim overlapping objects so that only non-overlapped
areas of the bottommost object remain.
Back-Front
applied
Splitting drawing and embroidery 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.
Split selected objects using the Flatten or Divide tools. These tools
preserve the outlines of the original shapes.

Flatten Divide
To split drawing and embroidery objects

! Click Flatten to trim all overlaps while retaining the original objects.
Flatten
applied
! Click Divide to split selected objects into separate adjoining objects. All
overlapped areas become discrete objects.
Divide applied
(petals only)

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 drawings automatically without
using manual input methods. See Digitizing shapes automatically 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 designs from photographs for details.

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 drawings, 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.)
clean image with well-defined clean image with well-defined complex image, needs editing to
outlines color blocks remove background and improve
outlines
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
V9 Chapter 11 Digitizing with Bitmap Images 242

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 image containing a lot of
scanner ‘noise’
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.
dithered color blocks

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.
anti-aliased outlines
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.
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.
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 a
drawing. 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.
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
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.
Recommended No. of colors in

Source image Example Description
color mode * scanned image
Line art Two colors — Black/white 2

usually black and drawing 2
white Line art
Drawing/sketch Sketch or drawing Grayscale 256

with shades of Line art 2
gray
Black & white Shades of gray Black/white photo 256

photograph Grayscale 256
* Different scanning software uses different terms for the same mode.

Recommended No. of colors in
Source image Example Description
color mode * scanned image
Color photograph Many colors Color RGB 16 million

Color photo 256
Color picture Two colors or Color RGB 16 million

more Millions of colors 16 million
Color drawing 2 - 256
* Different scanning software uses different terms for the same mode.
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
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.
scanned in 256 color

mode
scanned in RGB color mode

(millions of 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.
scanned with
sharpening
scanned without
sharpening
Scanning bitmap images
Use Scan (File menu) to scan an image into ES Designer.
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 drawing 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 drawings are bitmaps can be saved separately from the
design file. See Saving bitmap images as separate files for details.
Editing images before use

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.
Cropping images for digitizing
Use Crop Image (Image menu) to crop a rectangular image.

Use Crop Image with Polygon (Image menu) to crop a free form image.
Before using bitmap images for design purposes, crop them to remove
unnecessary detail and save processing time.
To crop images for digitizing

1 Select Image > Insert Drawing File to load an image.
2 Select the image.

3 Select a cropping tool.
! Select Image > Crop Image to crop the image in rectangular form.
Click-and-drag a cropping rectangle around the part of the image
you require.
! Select Image > Crop Image 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.
crop image crop image with polygon
Tip Use the prompt line to guide you.

ES Designer crops the area inside the cropping rectangle or polygon
selection. This process may take some time.

image cropped along
marked points
image cropped in
rectangular form
Editing images in third-party applications
Use Edit Image Using (Image menu) to edit images in a graphics package.
Sometimes you need to edit 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.
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.
To edit images in a third-party application

2 Select the image.
background may be
cleaned and eyes
added

3 Select Image > Edit Image Using and select a graphics package.
The image opens in the graphics package.
4 Edit the image and save.
background cleaned eyes added
Note If you return to ES Designer before closing the image in the

graphics package, it appears in ES Designer overlaid with stripes.
file still open in the

graphics package
Return to the graphics package and select either File > Close or File >
Exit & Return <Filename>. In ES Designer, the stripes will disappear.
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
‘anti-aliasing’ to improve image print quality. See also Image preparation
techniques.

partially digitized
bitmap
original bitmap
Inserting bitmap images
Use Insert Drawing File (Image menu) to insert an image for use as a backdrop.
You can insert bitmap images of various formats for use as digitizing
backdrops. See Supported drawing and image formats for details.
Note You can also insert vector drawing files. See Inserting vector drawings
for details.
To insert bitmap images

1 Select Image > Insert Drawing File.
Select folder
Select required
format
2 Select a folder from the Look In list.

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
Use Paste Drawing As Bitmap (Edit menu) to insert an image for use as a backdrop.
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 drawing you want to copy and paste.
2 Copy it to the Windows clipboard.
4 Select Edit > Paste Drawing > As Bitmap.
The drawing is pasted into the design.
Saving bitmap images as separate files
Use Save Bitmap As (File menu) to save an image as a separate file.
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 Drawings 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.
3 In the Save In field, select a folder, then select a format from the File
Type dropdown list.

4 Enter a new file name and click Save.
When you save the design, the reference is updated to use the new
drawing file.
Manipulating bitmap images

Once you have inserted an image into ES Designer, you can set general
properties such as size and position. You can also scale and transform
bitmap images in ES Designer although it may be best to do this during
scanning. Scaling after scanning can distort the image. 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.
Smoothing bitmap images

When you scale or transform backdrops, the quality is sometimes reduced
— e.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 Double-click the image.
2 Select the Image tab.
Select required
smoothing option
3 Select the required smoothing option, depending on whether the

majority of lines in the image are light or dark.
! Smoothing (dark lines): dark lines on the image are smoothed.
! Smoothing (light lines): light lines on the image are smoothed.
! No Smoothing: turned off.

4 If required, set the scaling or transforming options in the General tab.
You can scale and transform objects both here and on-screen.
5 Click OK.
no smoothing light lines smoothed dark lines smoothed
Note Scaling and transforming takes longer than usual when smoothing
is applied.
Viewing and hiding bitmap images
Use Show Drawing (Standard toolbar) to show and hide backdrops.

Right-click to set image display options.
You can show or hide a bitmap backdrop temporarily while you digitize.
Depending on the view options set up in the Options dialog, the drawing
displays in full color, or dimmed.
To view or hide bitmap images

! Click the Show Drawing icon.
When selected, backdrop images are visible.
Note If a design includes both bitmap images and vector drawings,

both will display. See also Viewing and hiding vector drawings.
! To hide the image, click Show Drawing again.
! To hide a drawing while showing a backdrop image, right-click the Show
Drawing icon.

Clear View
Drawing Vectors
! Clear the View Images checkbox and click OK.
vector drawing
together with
bitmap image
Dimming backdrops
Right-click Show Drawing (Standard toolbar) and check Dimmed to dim

backdrops.
You can dim backdrops on your screen to make it easier to view stitches
when they are the same color as the bitmap.
Note Dimming only applies to bitmap images — you cannot dim vector
drawings.
To dim backdrops
1 Right-click the Show Drawing icon.
The Options > View Drawing tab opens.
Select View
Images
Select Dimmed
2 Select the View Images checkbox.

3 Select the Dimmed checkbox.
4 Click OK.

original bitmap dimmed bitmap
image image
Note To return to full color, deselect the Dimmed checkbox.

Chapter 12
Preparing Images for Automatic
Digitizing
ES Designer supports the automatic and semi-automatic digitizing of both

bitmap images and vector drawings. The quality of the resulting designs
greatly depends on the type and quality of the original artwork. 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.

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 categories — outlined
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 with outlines image without outlines
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
include many colors. After reduction, each area is reduced to a single color.
The detail is preserved.
image before color reduction image after color reduction
If you are scanning images, make sure you scan them correctly for best
results. See Scanning artwork into ES Designer for details.
image scanned in RGB

color mode, then colors
reduced to 6
image scanned in 256

color mode, then colors
reduced to 6
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
colors as it averages all pixels within a defined outline. See also Choosing
suitable artwork.
V9 Chapter 12 Preparing Images for Automatic Digitizing 260

Reduce Colors tool used with non-outlined Sharpen Outline tool used with outlined image
image — dithered color blocks not completely — dithered color blocks cleaned, edges sharp
cleaned, edges fuzzy
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.
image before outline image after outline

sharpening sharpening
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 images in third-party applications for
details.

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 before noise

filtering, mottled
color
image after noise

filtering, single colors
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:
Tool Purpose Capabilities
Edit Image Link to a graphics package Lets you crop, sharpen, re-color, add outlines,
— e.g. Paint Shop Pro™ — remove noise from an image.
for editing an image outside
ES Designer.
Reduce Colors Prepare any non-outlined Lets you reduce colors to a specified number. It
image. 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.

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 used

— outlines not
sharpened, poor
stitching
image with
indistinct
outlines
Sharpen Edges used

— improved stitching
image with solid

outlines
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.

Sharpen Edges
used
image partially outlined, some image colors blended

areas not closed
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 images in third-party applications for
details.
Sharpen Edges
used
image outline completed in outlines sharpened

graphics package
Tip Try darkening the outlines using the Outline Appearance slider. See
Preparing outlined images for details.
Image preparation summary
Action Outlined image Non-outlined image Photograph
Scan artwork • Scan in RGB mode • Scan in RGB mode Scan in RGB mode
• Use sharpening • No sharpening
Scan line drawing Scan in two color mode - -
Touching up in graphics • Crop • Crop • Crop

package • Add or edit outlines • Edit image shapes • Convert to grayscale
• Edit colors • Edit colors • Remove background
• Remove noise • Remove noise • Lighten or darken
• Adjust contrast
Use Sharpen Edges Sharpen outlines and - -

tool in ES Designer remove noise

Action Outlined image Non-outlined image Photograph
Use Reduce Colors tool - Reduce colors and -

in ES Designer remove noise
Digitize • Manual • Manual Photo Flash

• Point & Stitch™ • Point & Stitch™
• Smart Design • Smart Design
Preparing non-outlined images
Use Reduce Colors (Drawing toolbar) to reduce the number of colors and
remove image ‘noise’ in 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 images in third-party applications for details.
To prepare non-outlined images

2 Select the image.

image scanned in RGB color
mode — converted to 256 colors
upon loading
3 Click the Reduce Colors icon.

The Reduce Colors dialog opens.
Zoom in and out of

image preview
Set color
reduction options
Set noise filtering

options
Save Image after
processing
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:

! 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 effect — moving the slider
towards 100% gives you more colors, moving the other way gives
you fewer.
reduced to 13 colors reduced to 6 colors reduced to 3 colors
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.
! 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.

Min. color area: 0.5 sq mm Min. Color area: 1 sq mm Min. color area: 5 sq mm
Min. line length: 2 mm Min. line length: 5 mm Min. line length: 9 mm
8 Click Save Bitmap As to save changes.

9 Click OK to apply the changes.
Preparing outlined images
Use Sharpen Edges (Drawing toolbar) to sharpen outlines and reduce

noise in 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 images in third-party
applications for details.
To prepare outlined images

2 Select the image.

zoomed
area
3 Click the Sharpen Edges icon.

The Sharpen Edges dialog opens.
Zoom in and out of

image preview
Set outline Click to see

appearance colored areas
Save image after

processing
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.
This produces a black and white preview of the detected outlines.

Set outline
appearance
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.
outlines not sharpened slider control moved to left slider control moved to right
8 Click Save Bitmap As to save changes.

9 Click OK to apply the changes.
outlines sharpened
and noise reduced

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 drawing
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
Use Auto Trace (Drawing toolbar) to convert artwork to vector objects for
conversion to embroidery objects.
Use Auto Trace to create vector outlines from bitmap images. Auto Trace
traces areas of the same color in bitmaps to create drawing objects. It can
find holes in shapes — both inside and outside boundaries are detected. See
also Converting vector drawings to embroidery objects.
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 drawing object is created and selected.
6 Select an input method then follow the prompts to enter start, end and
angle.
Click object Press Enter Select input method

At this point you can convert the created drawing object directly into an
embroidery object. See also Converting vector drawings to embroidery
objects.
Digitizing shapes automatically with Point & Stitch™

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.
bitmap image
embroidery design digitized

with Point & Stitch™ tools
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
Matching palette colors to an image
Use Match to Palette (Point & Stitch™ toolbar) to find the nearest match
between the selected image color and the color palette.
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.
Note If your artwork contains colors which are very different to those in the
colorway, you can use the Match Drawing Color function to first add those
colors. See Matching image colors to threads for details.
V9 Chapter 13 Automatic Digitizing 274

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 drawing. See Inserting vector drawings or
Creating drawings in ES Designer for details.
Note If you use a bitmap image as input, it will need to be

image-processed before conversion. See Preparing Images for
2 Click the Match to Palette icon.
3 Select a Point & Stitch™ digitizing method.
The object is digitized in the nearest palette color.
original image matched to palette digitized in current color
Note If Match to Palette is not selected, the object is digitized in the

current palette color.
Digitizing shapes with Turning Satin
Use Turning Satin (Point & Stitch™ toolbar) to digitize narrow column
shapes.
Use Turning Satin to digitize narrow column shapes in your artwork with
Satin stitch.

To digitize a shape with Turning Satin
Note If you are using a bitmap image as input, it will need to be

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 Click the Turning Satin icon.
ES Designer will prompt you to click an image or drawing object.
The shape is filled with Satin stitches.
Click to Click to digitize

digitize
Note Stitches are generated according to current Satin stitch settings.

Jumps may occur if the stitch length exceeds the default setting.
Digitizing shapes with Tatami Fill
Use Tatami Fill (Point & Stitch™ toolbar) to digitize large areas,
preserving any holes.

Use Tatami Fill to digitize large areas in your artwork with Tatami stitch,
preserving any holes within them. If you are using a vector drawing, it must
include a fill color.
To digitize shapes with Tatami Fill


3 Click the Tatami Fill icon.
The shape is filled with Tatami stitches.
Click to digitize
Note Stitches are generated according to current Tatami stitch

settings.
Digitizing shapes with Tatami Fill without Holes
Use Tatami Fill without Holes (Point & Stitch™ toolbar) to digitize large
areas, ignoring any holes.

Use Tatami Fill without Holes to digitize large areas in your artwork with
Tatami stitch, ignoring any holes within the shape.
To digitize shapes with Tatami Fill without Holes


3 Click the Tatami Fill without Holes icon.
Any holes in the shape are ignored.
Click to digitize large

area — hole is ignored
Digitizing shapes with Pickout Run
Use Pickout Run (Point & Stitch™ toolbar) to digitize centerlines.
Use Pickout Run to digitize centerlines in your artwork with run stitches.

To digitize shapes with Pickout Run

3 Click the Pickout Run icon.
4 Click the centerline you want to digitize.
The centerline is traced with Run stitches.
Click to digitize
Note Stitches are generated according to current Run stitch settings.
Digitizing shapes with Outline Run
Use Outline Run (Point & Stitch™ toolbar) to digitize boundaries of

shapes.
Use Outline Run to digitize boundaries of shapes with run stitching. Current
properties are applied. You can change the stitch type to Run, Triple Run,
Satin, Input C or Motif Run for lighter or heavier outlines.
To digitize shapes with Outline Run



3 Click the Outline Run icon.
4 Click the outline you want to digitize.
The outline is traced with run stitches.
Click to digitize
outlines
Note Stitches are generated according to current Run stitch settings.
Automatic digitizing 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 drawing
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 always edit the final result using the available digitizing techniques. See
also Digitizing Methods.
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
Use Smart Design (Drawing toolbar) to create embroidery designs

directly from imported images.
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 image — for example, ‘dimmed’ — will 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.
3 Select the image and click the Smart Design icon.
The Smart Design dialog opens.
The image colors are distributed among the Omit, Fill, and Details
fields depending on how the software interprets the source image.
Select color
conversion
method
Click-and-drag
colors between
fields
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 field.

white
background
color omitted
all colors
omitted except
black
5 Click-and-drag any colors or leave any colors you want to be treated as

filled areas in the Fill field.
fill color pink

only, the rest
omitted
fill colors pink

and yellow, the
rest omitted
Note You can adjust stitching styles and other settings for fill colors.
See Adjusting fill color settings for details.
6 Click-and-drag any colors you want to be treated as ‘details’ — i.e. any
outlines, borders or small areas you want to stitch out last — into the
Details field.
detail color detail color

black only green only
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 drawing colors to
the palette.
drawing colors
added to palette
drawing colors
matched to nearest
thread colors
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,
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.
2 Select color Stitching Options for the image.
See Creating embroidery designs with Smart Design for details.
set stitching style

for details
3 Select a stitching style for details colors from the dropdown list.
! Double Run: most suited for use with thin lines.

! Input C: suited for use with thicker lines.
! Satin: most suited for use with thicker lines or small shapes of
varying width.
4 Click OK.
generates stitches.
Details: black outlines

with Double Run
Details: black outlines

with Satin
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.
2 Select color Stitching Options for the image.
See Creating embroidery designs with Smart Design for details.
Adjust fill color

settings
3 Click Values.
The Automatic Stitching Values dialog opens.

Select style to
Adjust max. apply to each
widths for each object type
object type
Adjust settings Adjust settings for

for recognition of automatic object
Complex Fill sequencing
objects
4 Select the Detect lines in objects checkbox if you want areas defined
within maximum width to be interpreted as ‘lines’ — either Run or Satin
Input C.
The sample below, for example, shows narrow linear shapes being
interpreted as Satin Input C rather than Tatami Complex Fill objects.
original image
yellow and green

selected as Detail colors
with the Satin option —
larger areas may produce
unacceptably long
stitches
Detect Lines not selected,

default values used — most
objects stitched in Tatami
Detect Lines selected, Satin

used — fills stitched in
Tatami, lines in Satin
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.
Note A value entered in the Maximum Width field becomes the

Minimum Width value for the next graphic element.

6 Select a style or stitch type to apply to each object — i.e. Run stitch,
Satin, Tatami, etc.
Satin styles selected

with Auto Split
Tatami styles
selected
7 Adjust settings for the recognition of Complex Fill objects in the Object
Options panel.
stitch angle 90° stitch angle 0°
8 Adjust settings for automatic object sequencing in the Object

Sequence panel.
See Adjusting object sequencing settings for details.
9 Click OK.
generates stitches.
Adjusting object sequencing settings

Smart Design lets you adjust settings for the automatic object sequencing
of recognized embroidery objects.
To adjust object sequencing settings

1 From the Smart Design dialog, access the Automatic Stitching
Values dialog.
See Adjusting fill color settings for details.

Adjust settings for
automatic object
sequencing
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.
original image below width: 1.5 mm below width: 4.0 mm
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.
generates stitches.
Creating embroidery designs from photographs
Use Photo Flash (Insert menu) to create embroidery designs directly 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
pixels. Color images are automatically converted to grayscale when you
apply Photo Flash.

Photo Flash designs consist of rows of Satin 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 designs 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.
The Object Properties > Photo Flash tab opens.
Select spacing
between rows Enter angle for
rows of stitching
Select a
background option
3 In the Resolution panel, select a resolution option — Coarse, Medium,

or Fine.

fine resolution medium resolution coarse resolution
Note The coarser the resolution the more spacing between rows.
4 In the Row panel, enter a new angle as required.
Row Angle: 0o Row Angle: 90o
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.

Light background Dark background
Tip The option you select usually depends on whether the fabric is light
or dark. The Dark option produces a negative of the image.
6 Select the Fill Stitch tab and adjust the stitch spacing and skew angle as
required.
Adjust stitch
values
The Skew Angle determines the angle of the stitches. See Adjusting
Satin stitch spacing for details.
Skew Angle: 0o Skew Angle: 45o
7 Click OK.

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.

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.

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.
V9 294
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.
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
Click Copy (Standard toolbar) to copy selected objects to the clipboard.
Click Paste (Standard toolbar) to paste copied objects in the design.
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.
petals
copied and pasted
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 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.
4 Click the Paste icon.
V9 Chapter 14 Combining and Resequencing Objects 296

The object is pasted in the design, according to the current paste
options. The object remains on the clipboard and can be pasted
repeatedly until the next Copy or Cut command.
Warning 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.
Tip Change the current paste options as required. See Setting paste
position options for details.
Duplicating objects
Select Duplicate (Edit menu) to duplicate selected 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.
Deleting objects
Select Delete (Edit menu) to delete selected 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.
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.

Travel to insertion
point and paste object
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.
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.
You can insert a design between objects in the sequence, or ‘nest’ the
design within an object. See Nesting objects for details.
3 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.

4 From the Look In dropdown list, select the folder where the design you
want to insert is stored, and select the required format from the Files
of type dropdown list.
5 Select the design file to insert, and click Open.
The design is inserted at the current needle position.
6 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
7 Save the combined design under the original or different name.
The designs you have inserted are now combined into one design.
Splitting objects
Use Split Object (Edit menu) to split selected objects.
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 drawing 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.
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.
split object
deleted
split object
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
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
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.
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.
completed object cut to

design — center clipboard
stitched first
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.
4 Click the Paste icon.
cursor inserted object pasted

at end of design
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
Select Resequence By Selects (Edit menu) to resequence 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
Select Resequence By Color (Edit menu) to resequence 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.
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
Use Color-Object List (Standard toolbar) to resequence objects.
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.
To resequence objects with the Color-Object List

The Color-Object List opens.
Click-and-drag
object to new
position
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.
Drop object into new

position
Tip You may need to select all — press Ctrl + A — then regenerate
stitches — press G — to update the display.
Resequencing objects by number
Use Color-Object List (Standard toolbar) to resequence objects by

number.
You can resequence objects numerically in the Color-Object List. Use it to

move an object to a position between consecutive members of a color block.
See also Selecting and viewing objects with the Color-Object List.
To resequence objects by number

2 Select the object to resequence.
3 Right-click the object to resequence in the list.
4 Select Resequence By Number from the popup menu.

Enter number of
target object
5 In the Object # field, enter the number of the object before which you
want to position your selected object.
Note If you prefer to position the selected object after a selected

number — e.g. to make it the last object in the list — select the After
Position option.
6 Click OK.
The selected object will be placed in the new position and all other
objects resequenced accordingly.
Automatic branching
Click Branching (Standard toolbar) to automatically branch selected

embroidery objects.
The Branching feature lets you digitize like objects — e.g. the fingers of a
hand, sections of a custom letter — without having to think about the most
efficient stitching sequence and joins. Branching is designed for use with
shapes made up of objects that overlap — e.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 types —
Input A, Input B, Input C, Run, and Complex Fill. Objects with Motif Run and
Motif Fill cannot be used. The stitch type becomes that of the first object. If,
for example, you first select a Tatami object followed by two Satin objects,
the resulting object is filled with Tatami stitches. The stitch effects are also
those of the first object.
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 characters.
Note Branching does not split segmented objects into separate objects.
The stitching order of overlapped segments is preserved. In effect, all
objects are bound together into a single ‘grouped’ object. See also Grouping
and locking objects.
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
Click Branching (Standard toolbar) to automatically branch selected

embroidery objects.
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. Objects can be a combination of the following
— Input A, Input B, Input C, Run, and Complex Fill.
long connectors
between separate
objects
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.
objects resequenced,
connectors minimized
Stitches are regenerated. Component objects are grouped and take the
stitch type and color of the first object selected.
4 Travel through the branched object to check stitching.
See Viewing the stitching sequence for details.
Branching objects with the Color-Object List
Use Color-Object List (Standard toolbar) to branch objects in a design.
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

long connectors
between separate
objects
2 Select objects in the Color-Object List.

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.

Objects are resequenced, connectors minimized, component objects
grouped, and stitches regenerated.
branching symbol
identifies it as a
‘branched’ object
Note The component objects take the stitch type and color of the first
object selected.
Applying automatic underlay to branched objects
Right-click Auto Underlay (Stitch Types toolbar) to select an underlay type

to apply to branched objects.
Because Branching combines objects to form a single branched object, you

can apply an underlay (single or double) to all.
To apply automatic underlay to branched objects

1 Select the branched object.
Select Select underlay

Underlay type
3 Select the Underlay checkbox and select an underlay type.

4 Click OK.
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.
cover stitched after

underlay
whole underlay
stitched first
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.
To apply two-layer run stitching with branching

1 Select the objects.
one layer of run outline

stitches
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 minimized — no jumps, no extra travels.

combination of one and
two layers of run stitches
created
3 Travel through the branched object to check stitching.

See Viewing the stitching sequence for details.
Tip When the exit and start point are the same, there are two layers of
outline stitching. If they are different, the path between the start 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.

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 Object Properties dialog. ES Designer lets you align
objects to position them relative to each other, or distribute them evenly in
your design.

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.
Use cross-hair cursor

to center object
! For more accurate positioning, use the arrow keys to ‘nudge’ the object
into the required position.
! For even more accurate positioning, double-click the object to open the
Object Properties dialog, and enter the X:Y coordinates in the General
tab.
Enter new
coordinates
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
Select Align (Arrange menu) to align selected objects in a design.
V9 Chapter 15 Arranging and Transforming Objects 314

You can align selected objects in a design. ES Designer lets you align to the
left, right, top, bottom or center of a specified object.
To align objects
1 Select the objects you want to align.
2 Select the object you want to align with.
3 Select Arrange > Align, then select an alignment option.
Align center
1 Align left
3
Align bottom
Note Objects are aligned with the last object selected.
Distributing objects
Select Space Evenly (Arrange menu) to space objects evenly across or down.
You can set spacing to be consistent between selected objects. ES Designer

lets you set vertical or horizontal spacing.
To distribute objects
1 Select the objects you want to space.
2 Select the objects with the spacing you require.
3 Select Arrange > Space Evenly, then select Across or Down.

! Spacing evenly across affects the horizontal spacing of selected
objects.
! Spacing evenly down affects the vertical spacing of selected objects.
Note The new spacing is based on the last two objects selected.
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.
The Color-Object List provides an easy way to group/ungroup,
lock/unlock, and show/hide selected objects.
Grouping and ungrouping objects
Click Group (Standard toolbar) to group selected objects.
Click Ungroup to ungroup selected 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.
To group or ungroup objects

! Select the objects and click the Group icon.

Select, move, resize, or
transform grouped objects as
a single object
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.
ungrouped objects
are selected
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
Select Lock (Arrange menu) to lock selected objects.

Select Unlock (Arrange menu) to unlock selected objects.
Lock objects to prevent them from being moved or modified by accident. For
example, locking backdrop images or drawings 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.
To lock or unlock objects

! Select the object/s to lock and select Arrange > Lock.
The selection handles disappear, indicating that the object can no longer
be selected or modified.
! To unlock objects select Arrange > Unlock.
All locked objects in the design are unlocked.

Grouping and locking with the Color-Object List
Use Color-Object List (Standard toolbar) to group and/or lock objects.
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

2 Click a node to open or close a color block and see its component
objects.
Click to open
or close node
Group/Lock
objects
3 Group and/or lock selected color blocks and objects via the popup menu.
! Right-click a color block or object icon, and select a command from
the popup menu.

! To unlock all items, right-click All then select the required command
from the popup menu.
Unlock all locked

objects
Scaling objects
You can scale objects by dragging selection handles, specifying the exact
dimensions in the Object Properties dialog, 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.
By default, objects scale proportionally. To scale freely in vertical and
horizontal planes, hold down Ctrl as you drag.
Scale proportionally Scale freely in both

Drag directions Ctrl + drag

! To scale height and width proportionally, use a corner handle.
Drag
scale vertically
Drag
! To change the height, use the handles at the center-top or

center-bottom.
Drag
scale horizontally scale horizontally
! To change the width, use the handles at the center-sides.
Tip To resize proportionally around a central anchor point, hold down

Shift as you drag.
Scale horizontally in
both directions Shift + drag Scale proportionally Shift + drag
about center
Scaling objects using object properties

You can scale selected objects or a whole design using their properties. This
allows stitches to be regenerated and the original stitch density preserved.
You can adjust stitch density at the same time. 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 using object properties

2 Double-click the object to open the Object Properties dialog, and select
the General tab.
3 In the Dimensions panel, scale the object as required. Either:
! Enter exact height and width values.
! Enter the new height and width as a percentage of the current
dimensions.
Enter dimensions as
absolute values or
as a percentage
4 Click OK.
original objects shadow scaled

Width: 140% Height: 120%
vase scaled
Width: 120% Height: 140%
Note After scaling, the new object size is reset to 100%.
Scaling objects using reference points
Select Transform (Edit menu) to scale an object or design 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
2 Select Edit > Transform.
The Transform dialog opens.
Select Size
Specify size
checkbox
3 Select the Size checkbox, and enter the required distance between the
reference points.
4 Click OK.
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.
Click to mark the

reference points
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 Alternatively, press Enter twice to use the width of the selected
object as the default reference line.
Making objects the same size
Select Make Same Size (Edit menu) to scale an object or design to the same size
as a reference object.
You can scale objects to be the same size as a reference object in your
design. Resize the height or width separately or proportionally.

To make objects the same size
1 Select the object/s to resize.
2 Select the object that is the size you require.
3 Select Arrange > Make Same Size, then select Height, Width or
Both.
Make same size width
3 1
2 Make same size height
Make Same Size Both
Note Objects are resized according to the last object selected.
Rotating objects
You can rotate objects directly on-screen or by setting the rotation angle in
the Object Properties dialog.
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.
Rotation handles appear at the corners and an anchor point at the
center.

rotation
handle
anchor
point
skew handle
first click displays second click displays

selection handles rotation handles
Note If you click too quickly, the Object Properties dialog opens.
3 Drag the anchor point to any position required.
Drag a corner to rotate anchor point Drag a corner to rotate

about the anchor point repositioned about the anchor point
4 Click a rotation handle, and drag it clockwise or anti-clockwise.

An outline displays as you rotate.
Rotating objects using object properties

You can rotate selected objects by entering an exact angle in the Object
Properties dialog.
To rotate objects using object properties

the General tab.
3 In the Rotate By field, enter the rotation angle you require.

Enter rotation
angle
4 Click OK.
Rotating objects by reference line
Select Transform Special (Edit menu) to rotate an object using reference points.
The Transform Special tool lets you rotate selected objects with the aid of
reference points alone. It can be used both with embroidery and drawing
objects.
Tip This technique is particularly useful to duplicate and rotate objects

around an anchor point — e.g. the petals of a flower.
To rotate objects by reference line

2 Select Edit > Transform Special.
3 Follow the prompts:
! Click the first reference point. This will become the anchor point for
the rotation.
! Click a second reference point. An outline attaches to the pointer.
Move the pointer
! 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
Select Transform (Edit menu) to scale an object or design using reference points and
specified 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 graphics 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

2 Decide which two points in the object or design will form the reference
line. This should be a significant line — e.g. one which must be perfectly
horizontal or vertical in the final design.
Select Angle Enter absolute

rotation angle in
degrees
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°.

Select rotation angle — Digitize reference line — align reference line set to angle
e.g. 0° with base of object specified in dialog
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 the skew angle in the
Skewing objects using click-and-drag

You can skew objects along the horizontal plane by clicking skew handles
and dragging to the required angle.
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.

Drag skew handle left
or right
Skewing objects using object properties

You can skew selected objects by entering an exact angle in the Object
Properties dialog.
To skew objects using object properties

1 Select the object/s to skew.
the General tab.
3 In the Skew By field, enter the skew angle you require.
Enter skew
angle
4 Click OK.
Duplicating and mirroring objects

You can mirror objects horizontally or vertically using the Object Properties
dialog. You can also mirror around a defined axis using a reference line. The
Mirror-Merge tool allows you to duplicate and transform selected
embroidery objects, as well as merge them into a single object.
Mirroring objects using object properties

You can mirror selected objects horizontally or vertically using the Object
Properties dialog.

To mirror objects using object properties
1 Select the object/s to mirror.
the General tab.
3 In the Mirror panel, select the In X or In Y checkbox.
! In X mirrors the object in the horizontal plane.
! In Y mirrors the object vertically.
Flip horizontally
Flip vertically
Tip Select both checkboxes to mirror in both axes.
mirrored in X starting object
mirrored in X & Y mirrored in Y
4 Click OK.
Mirroring objects about a specified axis
Select Transform (Edit menu) to mirror 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.
Select Mirror
3 Select the Mirror checkbox.

4 Click OK.
starting object
mirrored
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 If you just want to mirror your selection around a horizontal axis,
press Enter twice. The mirror axis defaults to zero.
Duplicating designs with Mirror-Merge
Use Array (Mirror-Merge toolbar) to duplicate objects or designs.
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

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.
Set no. of columns Set no. of rows
4 Move the reference line to position the duplicates.
5 For more precise positioning, adjust spacing settings.

Set precise column Set precise row
spacing spacing
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.
Mirroring designs with Mirror-Merge
Use Reflect (Mirror-Merge toolbar) to duplicate and mirror objects or

designs.
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 mirror designs with Mirror-Merge

2 Click the Reflect icon.
The pointer attaches to the center point. As you move it around, the
Tip Press Shift to disable Auto-Scroll while using Mirror-Merge.

3 Set the number of columns and rows you require.
Set no. of columns Set no. of rows
5 For more precise positioning, adjust spacing settings.
Set precise column Set precise row

spacing spacing
The design is duplicated and distributed around the center point.
objects. Use this feature to merge duplicates into a perfectly
symmetrical object such as a face or heart.
object reflected reflected objects merged

Creating wreaths with Mirror-Merge
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.
Use the Mirror-Merge Wreath tool to duplicate objects around a center

point. The Kaleidoscope tool works like Wreath but mirrors objects as well.
Because objects are mirrored, Kaleidoscope works best with an even
number.
six-point wreath eight-point kaleidoscope five-point wreath
To create wreaths with Mirror-Merge

2 Click the Wreath or Kaleidoscope icon.
The pointer attaches to the center point. As you move it around, the
3 Enter the number of Wreath points.
Enter no. of wreath

points
Note Enter an even number for a kaleidoscope effect.


five-point wreath six-point kaleidoscope
Tip Hold down Ctrl to constrain the reference line to 45o increments.
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.
Set precise Set precise

distance angle
The design is duplicated and distributed around the center point.
five-point wreath six-point kaleidoscope
objects.

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 drawings directly to embroidery objects. Similarly, you can convert
embroidery designs or objects to vector drawings. 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’ objects — e.g. reshaping, scaling, letter spacing, changing entry
and exit points. Modify stitch angles of selected objects. Add multiple stitch
angles as required.
entry point Key to control points
= entry point
= exit point
stitch angle = corner point
line
= curve point
corner point exit point = stitch angle points
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.

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 drawings directly to embroidery objects
using a variety of input methods. Similarly, you can convert embroidery
designs or objects to vector drawings. These can then be converted to any
kind of embroidery object. You can also convert between Run, Triple Run and
Input C objects. This is useful when scaling designs — e.g. for creating
thicker or thinner columns and borders, or converting between Complex Fill
and Input A or Input B objects.
Tip You can also create embroidery objects with turning stitches by
applying stitch angles directly to drawing objects. See Adjusting stitch
angles for details.
Tip You can also convert from Complex Fill to Input A or B using the Stitch
Angles tool. See Adding stitch angles to Complex Fill and Fusion Fill™
Converting vector drawings to embroidery objects
Use Convert > Complex Fill (popup menu) to convert drawing objects to
Use Convert > Input C (popup menu) to convert drawing objects to
Input C objects.
Use Convert > Auto Appliqué (popup menu) to convert drawing objects to
Appliqué objects.
Use Convert > Run (popup menu) to convert drawing objects to Run
objects.
Use Convert > Triple Run (popup menu) to convert drawing objects to
Triple Run objects.
V9 Chapter 16 Converting and Reshaping Objects 338

Use Convert > Motif Run (popup menu) to convert drawing objects to
Motif Run objects.
You can convert drawing 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. Drawing
objects can be converted to appliqué. You can even send them directly to a
laser cutter. See also Cutting appliqué shapes.
Tip The Point & Stitch™ tools can also be used with vector drawings created
either in a graphics package or with the ES Designer drawing tools. See
Digitizing shapes automatically with Point & Stitch™ for details.
vector drawing converted to

Input C
converted to converted to
Complex Fill Run
Tip You can also create embroidery objects with turning stitches by
applying stitch angles directly to drawing objects. See Adjusting stitch
angles for details.
To convert drawing objects to embroidery objects

1 Select a thread color from the color palette.
2 Select the drawing object to convert.
Note If you select Complex Fill as the input method, you can select
several drawing objects to create an object with multiple boundaries.
3 Select an input method from the Input Method 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.

! 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 drawing objects. See Adding stitch angles to Input A
and B objects for details.
4 Depending on the selected input method, ES Designer may prompt you
to provide additional information.
! For Complex Fill objects, mark stitch entry and exit points, and
define the stitch angle.
! For Input C objects, mark two reference points to define the width
of the column.
! For Auto Appliqué objects, mark stitch entry and exit points, and
other details as prompted. See Creating appliqué objects for details.
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.
Converting embroidery objects to drawing objects
Use Convert > Drawing (popup menu) to convert embroidery objects to

drawing objects.
You can convert embroidery designs or objects to vector drawings at any

time. These can in turn be re-converted to any kind of embroidery object.
See also Pasting vector drawings.
To convert an embroidery object to a drawing 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 drawing objects.
3 Convert selected drawing objects to embroidery objects as required.

run object drawing object appliqué object
Converting between Run, Triple Run, Motif Run and Input C

objects
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 Input C (Input toolbar or popup menu) to digitize and then convert to
Run or Triple Run.
You can quickly inter-convert objects digitized with Run, Triple Run, Motif
Run or Input C. This is useful for creating thicker or thinner columns and
borders when scaling.
Tip You can convert drawing to embroidery objects (and vice versa) in the
same way. See also Converting vector drawings to embroidery objects.
To convert between Run, Triple Run, Motif Run and Input C

objects
1 Select a Run object.

Run object
2 Click the Triple Run, Motif Run or Input C icons.

Alternatively, right-click and select Convert > Triple Run, Motif Run
or Input C from the dropdown list.
3 Follow the instruction in the prompt bar:
! Motif Run is converted automatically.
! Enter the entry point for Triple Run or press Enter to accept the
default.
! Enter width point1 and width point2 for Input C or press Enter to
accept the current default width.
4 Press Enter.
The object is converted.
Enter width point1 and point2 Press Enter to convert to Input C object
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™
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.
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.

converted to motif fill curve effect
Complex Fill applied applied
Tip You can also convert from Complex Fill to Input A or B using the Stitch
Angles tool. You can convert drawing to embroidery objects (and vice
versa) in the same way. See Adding stitch angles to Complex Fill and Fusion
Fill™ objects for details. and See also Converting vector drawings to
embroidery objects.
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.
Follow the instruction in the prompt bar.
3 Enter angle points 1 and 2.
Enter angle
points
Note If the Input A or B object stitch type is not applicable to Complex

Fill — e.g. contour stitch — Tatami will be substituted. If the underlay
type is not applicable — e.g. Center Run — Zigzag will be used.
4 Adjust control points and add effects as required.

Tip You can change an Auto Appliqué or drawing object to a Complex
Fill object in the same way. You can also convert Complex Fill to Fusion
Fill™ if required.
Converting Complex Fill to Auto Appliqué
Use Auto Appliqué (Input toolbar or popup menu) to convert objects from
Complex Fill to Auto Appliqué.
You can convert objects from Complex Fill to

Auto Appliqué with the Auto Appliqué tool.
By adding entry, exit points and frame-out
position, the object is converted to an
appliqué object. See also Cutting appliqué
shapes.
To convert Complex Fill to Auto

Appliqué
1 Select the Complex Fill object.
Complex Fill object
2 Click the Auto Appliqué icon.

Alternatively, right-click and select Convert > Auto Appliqué from the
dropdown menu.
Follow the instruction in the prompt bar.
3 Click the outline to set the stitch entry and exit points or press Enter to
accept the defaults.
4 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.

Frame-out position
Entry and Exit points
Note You can convert a drawing object to an Auto Appliqué object in

the same way.
Reshaping objects using control points
Use Reshape Object (Pointer toolbar) to reshape selected objects by

means of control points.
Change object shapes with the Reshape Object tool. Use it to add, delete,
or move control points 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.
To reshape objects using control points

1 Select the object to reshape.
2 Select the Reshape Object icon.
Control points appear around it.
3 Add extra control points as required:
! Left-click to add a corner point.
! Right-click to add a curve point.

Right-click
Left-click
4 Select control points as required:

! Click to select a single control point.
! Holding down Ctrl, click to select multiple control points.

! Click-and-drag a bounding box around a group of control points to
select.
5 Adjust the position of selected control points by dragging them along the
outline as required.

6 Press Delete to delete unwanted control points.
If the object only has two control points (or two pairs of control points
as in the case of Input A objects), deleting one deletes the whole object.
7 Press Spacebar to toggle between selected corner and curve control
points.
Tip If you make a mistake, press ESC to remove the changes, press
ESC again to exit Reshape mode.
Note You cannot change or delete the end points of Input A and Input B
columns, or any control point in objects created with the Circle/Star or
Ring tools. See also Reshaping circle, star and ring objects.
8 Press Enter to apply the changes.

entry point
curve control curve control

point point
stitch angle line
stitch angle stitch angle

control point control point
corner control
exit point
point
Note You can also adjust stitch angles as required, as well as change
entry and exit points. See Adjusting stitch angles and Fine-tuning
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.
Reshaping circle/star objects
Use Reshape Object (Pointer toolbar) to reshape circle and star objects.
You can change Circle/Star objects from circles to ovals using the Reshape
Object tool. Circle/Star objects have two reshape control points (used to
change the radius and orientation of the object), a center point (used to
reposition it), and an entry point.

entry point
90°
control point
center point
stitch angle
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.
Tip To move a circle, click the control point in the circle’s center, and
drag it to a new position.
3 Click a control point on the circumference of the circle, and drag it to
reshape the outline.
! To reshape without changing the orientation, use the control point at

the top of the object.
! To reshape and spin the object around its center point, use the
control point at the side.
4 Press Enter.
Reshaping ring objects
Use Reshape Object (Pointer toolbar) to reshape 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 control points for changing radius and orientation, as well
as a center point for moving the boundary. The object has a single entry
point.
entry point
center point may control point

not be visible
To reshape ring objects

1 Select the Ring object.
3 Click a control point on the circumference of the boundary you want to
reshape, and drag it to change the outline.
! To reshape without changing the orientation, use the control point at
the top of the boundary.
! To reshape and spin the boundary around its center, use the control
point at the side.
4 To offset the boundaries, select the center point of a boundary and drag
it to a new position.
Note The center points are generally on top of each other to begin with,
and may not be visible.
5 Press Enter.

Drag center
point
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 Complex Fill stitch angles on-screen
Use Reshape Object (Pointer toolbar) to adjust stitch angles of selected

Complex Fill objects on-screen.
You can adjust the stitch angle of Complex Fill objects interactively using the
Reshape Object tool.
Tip You can change the stitch angle of Complex Fill objects using object
properties. See Adjusting stitch angles using object properties for details.
To adjust Complex Fill stitch angles on-screen

1 Select a Complex Fill object.
Control points appear together with a stitch angle line.

3 Click-and-drag the line as required.
4 Press Enter.
Adding stitch angles to Input A and B objects
Use Reshape Object (Pointer toolbar) to add stitch angles to selected

Input A and B objects.
Modify and add stitch angles of Input A and Input B objects with the
Reshape Object tool. Input A objects thereby convert to Input B. You can
also create embroidery objects with turning stitches by applying stitch
angles directly to drawing objects. See also Converting between object
types.
Note You can also use the Reshape Object tool to add individual control
points on either side of Input A and B objects, modifying the shape without
affecting the stitch angles. See Reshaping objects using control points for
details.
To add stitch angles to an Input A or B object

1 Select an object.

Input A object
Input B object

You are prompted to select and move one or several control points to
reshape.
Tip Clicking the Stitch Angles icon automatically activates the

3 Holding down the Ctrl key, click the outline wherever you want to place
a stitch angle line.
Hold down Ctrl key

and click the outline
to add stitch angle
line
4 Select and adjust the end points as required.

5 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 control points to create
control point pairs. See Reshaping objects using control points for
details.
Adding stitch angles to Complex Fill and Fusion Fill™ objects
Use Stitch Angles (Pointer toolbar or popup menu) to add stitch angles to
selected Complex Fill objects.
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 drawing objects. Adding stitch angles to
Complex Fill or drawing objects converts them to Fusion Fill™. See also
Converting between object types.
Complex Fill object —

one stitch angle
Complex Fill
converted to Fusion
Fill™
To add stitch angles to a Complex Fill or Fusion Fill™ object

1 Select an object.
Complex Fill object —

one stitch angle
2 Click the Stitch Angles icon.

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.

Enter stitch Complex Fill
angles converted to Fusion
Fill™
4 Enter angle points 1 and 2 as many times as required to create a turning

fill effect.
5 Press Enter.
The object is re-generated with the new angles.
Fine-tuning entry/exit points and last stitches

ES Designer lets you change the stitch 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
Use Reshape Object (Pointer toolbar) to adjust the entry and exit points
of selected objects.
You can change the stitch entry and exit points of individual objects. Do this
to place the exit point next to adjoining objects for smaller connecting
stitches, or to reduce the number of travel runs.
entry point exit point entry point
exit point entry point exit point
Note In Circle objects, the stitch angle is perpendicular to the line

connecting the entry point to the circle center. Thus, changing the stitch
entry point in a Circle object changes its stitch angle.

To change entry and exit points
1 Select the object to change.
Control points appear, including entry and exit points.
Note In Circle/Star or Ring objects, only the entry point appears.

3 Select the entry or exit point as required, and drag it to a different
position on the object outline.
4 Press Enter.
Keeping or omitting the last stitch
Click Keep Last Stitch (Pointer toolbar) to keep the last stitch in a column.
Right-click to omit the last stitch in a column.
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.
columns smoothly
joined
columns with
unwanted space
Note This feature only applies when the exit point is at the end of the
column — i.e. the default exit point. Moving the exit point using the
Reshape Object tool overrides the Keep Last Stitch/Omit Last Stitch
command.

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.
last stitches kept
columns
smoothly joined
last stitches omitted
Tip Alternatively press Spacebar to omit the last stitch or Enter keep it.
Press Spacebar — last

stitch omitted
Press Enter — last

stitch kept

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 objects — e.g. Input A, Complex Fill, etc — need to be
maintained manually. If an object’s 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.

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
Use Stitch Edit (Pointer toolbar) to select individual stitches for editing.
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.
selected Hold down

stitch Shift to select
a range of
stitches
! To select a range of stitches, hold down Shift as you select.

! To select multiple stitches, hold down Ctrl as you select.

Selecting stitches with a bounding box
Click Stitch Edit (Pointer toolbar) to select 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

2 Drag a bounding box around the stitches you want to select.
Stitches are selected when you release the mouse button.
bounding stitches
box selected
Selecting stitches with the Stitch List
Use Stitch List (Standard toolbar) to select individual stitches.
You can select individual stitches in your design using 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.
The Stitch List opens. It shows stitch position coordinates and function
information — e.g. whether the stitch is a jump. It also shows the length
of every stitch in the design.
V9 Chapter 17 Editing Stitches and Machine Functions 360

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.
selected
stitches
Tip Right-click inside the Stitch List to access the popup menu options.
Note 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.
Selecting a range of stitches

Click Selects On (Standard toolbar) to select 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

2 With the Selects On tool off, travel through the design, stopping just
before the first stitch to select.
Stop before the first

stitch
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.
Click the last stitch in

the range
Note If the Stitch Edit tool is not selected, Selects On has no effect.
Selecting stitches while traveling through a design
Click Selects On (Standard toolbar) to select a range of stitches as you

travel through the design.
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.
Travel to the first

stitch.

3 Click the Selects On icon to turn it on.
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.
Travel 10 Stitches
tool used
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.
! Press Esc.
! Click the Cancel icon.

! 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 object’s stitches are regenerated for any reason, all stitch
editing functions are lost. Where possible, edit the object properties rather
than individual stitches.
Inserting stitches
Use Stitch Edit (Pointer toolbar) to insert stitches in an object.
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 object’s 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
2 Zoom into the area you want to edit.
3 Select a needlepoint.
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.
Right-click
5 Move the mouse to where you want to insert the next stitch, and
right-click.
Right-click
6 Continue right-clicking as required.
Moving stitches
Use Stitch Edit (Pointer toolbar) to select individual stitches for moving.
You can move individual or groups of selected stitches.
editing functions are lost. Where possible, reshape the object rather than
move individual stitches. See Converting and Reshaping Objects for details.
To move stitches
2 Select stitches and drag them to a new position.
The stitch shadow outline shows the new position.

shadow outline
selected stitches
Drag stitch to new

position
3 Press Enter.
Deleting stitches
Use Stitch Edit (Pointer toolbar) to select individual stitches for deletion.
You can delete individual or groups of selected stitches.
editing functions are lost. Where possible, edit the object properties rather
than individual stitches. See Adjusting Satin stitch spacing, Adjusting Tatami
stitch spacing and Adjusting stitch density for details.
To delete stitches
2 Select a stitch or stitches.
3 Press Delete.
Select
stitches Press
Delete

Converting selected stitches to objects
Use Stitch Edit (Pointer toolbar) together with Recognize Object/Outline

to turn selected stitches into an embroidery object.
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.
stitches selected
2 Select Edit > Recognize Object/Outline.

The selected stitches are converted to objects.
objects and
outlines
created
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.
Warning When you insert stitches or machine functions manually, you

must maintain them manually. If an object’s 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
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.
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
inserted when using the Sequin Mode tool. See Digitizing with sequins 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
Use Insert Function (Machine menu) to insert machine functions manually in your
design.
You can insert machine functions manually by means of the Insert Function
dialog. Depending on your machine’s 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 the machine
function. See Traveling by stitches for details.
2 Select Machine > Insert Function.
The Insert Function dialog opens.

Select from among
functions listed for
selected machine
format
Tip It is faster to digitize individual jumps — Jump(M) — by

right-clicking with the Manual input method selected. If you want the
whole object to consist of jumps, deselect the Penetrations icon.
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.

Additional empty
jumps inserted before
and after the selected
function
The selected function, together with any additional empty stitches or

jumps, appears in the Sequence panel.
6 Click OK.
The selected function, together with any additional empty stitches or
jumps, is added at the current needle position.
Additional empty
jumps inserted before
and after the selected
function
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
Use Edit Function (Machine menu) to add 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.
The Edit Function dialog opens.
Insert empty
stitch/jump before or
after the machine
function
Select empty stitch or

empty jump
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
Use Clear Function (Machine menu) to clear a manually inserted machine function
from your design.
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.
Tip Check the Prompt line for the function’s 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
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 and select stitches 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 Stitch List (Standard toolbar) to edit coordinates of individual stitches.
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
object’s 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.
The Move Stitch dialog opens.
Enter new
coordinates
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
Use Stitch List (Standard toolbar) to insert machine functions directly into
the stitching sequence.

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

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
Use Stitch List (Standard toolbar) to edit machine function encoding and
to clear machine functions.
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

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
Use Stitch List (Standard toolbar) to display stitches associated with

specific functions.
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

2 Right-click any stitch in the Stitch List and select Show Functions from
the popup menu.
The Functions dialog opens.
Select functions
to show
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.

Only selected functions
are displayed
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
Use Stitch List (Standard toolbar) to display only stitches of a certain

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.
To filter stitches by stitch length

2 Right-click any stitch in the Stitch List and select Show Stitches from
the popup menu.
The Show Stitches dialog opens.

Select stitch
range to show
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.
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.

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 appliqué, 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.

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.

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.

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 object’s 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.
Changing properties of existing objects

You can change an object’s 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-screen —
for 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 setting — e.g. stitch length — the field will be blank. If
you enter a new value, it will apply to both objects.
To change properties of existing objects

1 Select the object (or objects) whose properties you want to change.
2 Double-click to open the Object Properties dialog.
3 Select the tab you want and change the settings as required.
4 Click OK.
Tip Some properties, such as Auto Underlay, are applied by means of

toolbar buttons. When the button is selected, that tool’s settings are
current.
Making selected object properties current
Click Make Properties Current (Styles toolbar) to make the properties of

a selected object current for the design.
You can make the properties of an existing object current for all newly
created objects.
V9 Chapter 18 Object Properties, Styles and Templates 384

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
Use Properties (Generate toolbar) to set properties for the current design.
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.
Note Some object properties, such as Auto Underlay, are made current
by means of toolbar buttons. When the button is selected, that tool’s
settings are current.
To modify current property settings

1 With no objects selected, click the Properties icon.

Select tab
Modify settings
as required
Tabs display at the top of the Object Properties dialog. These provide
access to all possible object property settings.
2 Click a tab to view the current settings and change as required.
3 Click OK.
Applying current settings to existing objects
Use Apply Current Properties (Styles toolbar) to apply current settings to

selected objects.
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
Use Properties (Generate toolbar) to change default property settings for

the current template.
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
current — not the default — properties. See Modifying current property
settings for details.
To change default property settings

1 With or without any objects selected, click the Properties icon.
Change settings
as required
Click Save
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
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
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.

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.
Select a style
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.
Any settings that are not specified in the style will remain unchanged.
Style 1, E stitch spacing Style 2, E stitch spacing Style 3, E stitch spacing

0.75mm 1.25mm 1.75mm
Tip To apply a favorite style, click the Favorite Style icon assigned to
it. See also Assigning favorite styles.
Defining new styles
Select Define Style (Stitch menu) to make the properties of a selected object current
for the design.

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.
Click New
3 Click New.
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 or object to
base the new style on, its settings will display.

7 Enter the required values for the new style in the Object Properties
tabs.
Note You do not have to enter values in all fields, only those you
specifically wish to store.
8 Click OK and then Close.
The new style is saved to the current template.
Assigning favorite styles
Select Define Style (Stitch menu) to assign a favorite style.
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

Click Favorites
2 Click Favorites.
The Organize Favorites dialog opens.
Click Add
3 Click Add.
The Add To Favorites dialog opens.

Select a style
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.
Merging styles
Select Define Style (Stitch menu) to merge style settings.
You can merge settings from one style to another. When you merge, the
settings from the second style overwrite the first.
To merge styles
Select a style
Click Merge
2 Select a style to merge to.

3 Click Merge.
The Merge With Style dialog opens.

Select a style
4 Select a style to merge from and click OK.

The styles are merged.
5 Click Close.
The first selected style is updated and saved to the current template.
Modifying styles
Select Define Style (Stitch menu) to modify a style.
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
Select a style
Click Edit
2 Select a style to modify.

3 Click Edit.
4 Change the settings in the tabs as required.
5 Click OK.
A warning message asks you to confirm that you want to overwrite the
existing style settings.
6 Click OK.

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.
To rename or remove a style

Select a style
Click Rename
2 Select a style to rename.

3 Click Rename.
The Rename Object Style dialog opens.
Enter new style

name
4 Enter a new style name.

5 Click OK.
Deleting styles
You can remove any unwanted styles from a template.

To delete styles
Select a style
Click Remove
2 Select a style to delete.

3 Click Remove.
A warning message asks you to confirm the deletion.
4 Click OK.
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
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.

Enter template
name
Select Design
Templates (EMT)
5 Select Design Templates (EMT) from Save as type dropdown 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 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, the NORMAL template is applied by
default.
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.

2 Navigate to the ESWin\Template folder, then select Templates (EMT)
from the Files of type dropdown 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.
6 Change the location to the ESWin\Template folder.
7 From the Save as type dropdown list, select Templates (EMT), and
click Save.
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 Properties icon.
! To use the properties for a particular object, select the object, then
double-click it.
2 Change property settings as required.
3 Click Save.
A confirmation message appears.
Note Only the current property settings — not the objects or other
settings in the design — are saved to the template.
4 Click OK to update the template.
5 Click OK to return to the design window.
The new settings are saved in the template from which the design was
created and are available for use.

Tip To save more than one set of property settings in a template, save
them as a styles. These will then be available when working in the
selected template. 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.
Click OK
Select Templates
3 Select the Templates checkbox and click OK.

The original settings for the NORMAL template are restored.
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.

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 appliqué 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 appliqué, sequins and boring.
Reinforcing outlines
Use Backtrack / Repeat (Pointer toolbar) to reinforce an outline, stitching it

in the same or opposite direction.
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.

Use Backtrack for open shapes Use Repeat for 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:
! 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.
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.

circle with Program Split star ring with Contour
Digitizing circles and ovals
Use Circle/Star (Input toolbar) to digitize filled 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.
circle with
Program Split
oval with Contour
Tip To achieve a spiral contour fill effect for a circle, digitize the circle using
a different input method — e.g. Ring — leaving 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 also marks the entry point. The stitch angle will be
perpendicular to the line connecting the center point and the radius
reference point.
! To create a circle, press Enter.
V9 Chapter 19 Specialized Digitizing Techniques 402

! To create an oval, click again to mark a second radius point, and
press Enter.
reference point
2
reference
90° point
1 center 3
Digitizing stars
Use Circle/Star (Input toolbar) to digitize star shapes filled with Zigzag
stitching.
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.
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 also marks the entry
point for the star.
! To create a circular star, press Enter.

2
reference point
1
center
! To create an oval star, click again to mark the second radius point,
then press Enter.
Digitizing rings
Use Ring (Input toolbar) to digitize circle and oval-shaped rings.
Create rings by digitizing circles and ovals within each other. Use different
combinations of inner and outer boundary shapes to create different effects.
circle in oval oval in circle oval in oval
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.
ring with Satin ring with Contour ring with Tatami
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 is also the entry point for
the inner boundary.
! 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.
3 Digitize the outer boundary of the ring in the same way as the first, then
press Enter.
reference
4 point
reference
2 point
3
1 center reference
point
Creating smooth joins
Use Input A (Input toolbar) together with Continuous Input to create single
objects comprising separately stitched sections.
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.
The Options > General tab opens.

Select a continuous
input style
2 Select a continuous input style.

! Normal: use this for non-continuous input.
! 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.
second section
‘smooth joined’ to
first — two sections
become a single
first section created object
! Continuous Add: use this to join objects of different size where

different stitch types are used — e.g. a narrow section of Satin stitch
joining to a larger section of Tatami.
second section
‘smooth joined’ to
first — two sections
become separate
objects
first section created
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.
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 from the outlines of selected objects. The Filled Holes feature
creates filled objects from the outlines of selected Complex Fill objects.
Creating outlines with offset objects
Use Offset Object (Insert menu) to create accurate outlines for Complex Fill, Input A
and Input B objects.
Use the Offset Object command to create new outlines from selected
objects. Any closed object can be used, including drawing 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 details — e.g. small Satin objects — or create seamless borders. You
can center generated objects over the original outline or offset them.
Various outline types are available — Run, Triple Run, Motif Run or Input C.
Motif Run outline
Run outline
To create outlines with offset objects

1 Select the object for which you want to create a border.
2 Select Insert > Offset Object.
The Offset Object dialog opens.

Enter required offset
Select input method for

the outline
3 In the Offset field, enter the required offset in millimeters.
Complex Fill object Negative Offset Zero Offset Positive Offset
! To center the generated object over the original outline, accept the
default value of 0.00.
! To position the generated object outside the original object, enter a
positive offset (e.g. 1.00).
! To position the generated object inside the original object, 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.
4 From the Object Type list, select an input method for the outline.
Drawing Object Run Input C Motif Run Complex Fill
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.
5 Click OK.

Note If you select Complex Fill as the outline object type, you get a
complete offset shape, not just the outline.
Filling holes in objects
Use Filled Holes (Insert menu) to create new objects from object outlines.
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.
positive offset - gap

between objects
negative offset -
overlapping objects
To fill holes in objects

1 Select an object.
2 Select Insert > Filled Holes.
The Holes dialog opens.
Enter required
offset
3 In the Offset field, enter the offset value.

Offset: 0.00 Offset: 1.00 Offset: -0.50
! 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.
Removing underlying stitching
Use Remove Overlaps (Arrange menu) to remove overlapping stitches.
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
drawing and embroidery objects.

Note All underlying objects are converted to Complex Fill during
processing.
To remove underlying stitching

1 Select one or more ‘cutters’.
Select cutters
2 Select Arrange > Remove Overlaps.

The Remove Overlaps dialog opens.

Set ‘cutter’
values
Enter amount of
overlap
Enter size of smallest

permissible object
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.
Cutting Overlap: 0.5 mm Cutting Overlap: 2.0 mm Cutting Overlap: 3.5 mm
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.
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.
Digitizing for appliqué

Automatically create all the stitching you need for appliqué using the Auto
Appliqué input method. When you digitize an object with Auto Appliqué,
the guide run, tacking and cover stitches are automatically generated using
the current Auto Appliqué settings. You can also extract appliqué shapes
from a design to output to a cutter or to a separate file. See Cutting appliqué
shapes for details.
Tip Apply Smart Corners to appliqué objects if required. See Controlling

corner stitching for details.
Tip Print a copy of appliqué patterns to use in cutting out fabric pieces. Each
appliqué pattern piece is numbered according to the stitching sequence. See
Printing appliqué patterns for details.
Creating appliqué objects
Use Auto Appliqué (Input toolbar) to digitize appliqué objects.

Use Auto Appliqué to produce the stitching
you require for appliqué objects. Appliqué
objects are digitized in the same way as
Complex Fill objects and may have multiple
boundaries.
Tip You can also convert Complex Fill and

drawing objects to appliqué by selecting
them, then clicking the Auto Appliqué icon.
To create appliqué objects

1 Click the Auto Appliqué icon.
2 Digitize the boundary of the appliqué, 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 Status 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.

frame out
position
Note If you select None as the Frame Out option in the Object
Properties > Auto Appliqué 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.
Up to four layers of stitching — guide run, cutting line, tack and cover
— are generated for the appliqué object, depending on the current Auto
Appliqué values.
Tip When you stitch out an appliqué 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
appliqué material and start the machine again for the tack and cover
stitch.
Adjusting guide run settings
Right-click Auto Appliqué (Input toolbar) to adjust Auto Appliqué guide run
settings.
A guide run is a layer of run stitches around the outline of an appliqué

object. It is the first appliqué layer stitched and is used to position the
appliqué 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 Appliqué icon.
The Object Properties > Auto Appliqué tab opens.

Set values for
guideline stitching
2 Enter Stitch length and Offset values as required in the Guide Run
panel.
A negative offset value moves the guide run within the outline, a positive
value moves it outside.
Offset: 1 Offset: -1 Offset: 0
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 appliqué
4 Click OK.
Adjusting the default frame-out position
Right-click Auto Appliqué (Input toolbar) to adjust Auto Appliqué frame out
settings.
When you stitch out appliqué 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 appliqué shapes. The frame-out settings determine the distance and
direction of the hoop movement.
To adjust the default frame-out position


Set frame out
coordinates
2 In the Frame Out panel, set the frame-out coordinates.

! X: enter a horizontal distance for the hoop to move.
! Y: enter a vertical distance for the hoop to move.
3 Click OK.
Adjusting tacking settings
Right-click Auto Appliqué (Input toolbar) to adjust Auto Appliqué tacking

settings.
Tacking is used to fix appliqué 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

Select tack
stitch type
2 In the Tack panel, select a tack stitch type.

If you do not require a tacking layer, select None.

tacking: E Stitch tacking: Zigzag
3 Select the tack stitch settings. Depending on the selected stitch type,
you can set different stitch properties:
! Stitch Length: enter a stitch length (Run stitch only).
! Offset: a negative offset value moves the tack stitching within the
outline, a positive value moves it outside (Run stitch only).
! Spacing: enter a stitch spacing value (E Stitch and Zigzag).
! Count: enter the number of stitch repetitions (Zigzag only).
! No. of Runs: enter the number of runs between stitches (E Stitch
only).
! Width: enter a column width (Zigzag and E Stitch).
! Inside/Outside: enter an offset value either an exact measurement
or a percentage. If you enter a measurement, the total of the Inside
and Outside fields is the width of the column. If you enter a
percentage, the total equals 100%.
inside: 25% outside: 75% inside: 50% outside: 50% inside: 75% outside: 25%
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. See Creating appliqué
5 Click OK.

Adjusting cover stitch settings
Right-click Auto Appliqué (Input toolbar) to adjust Auto Appliqué cover

stitch settings.
The cover stitch is the Satin border around the appliqué 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 appliqué fabric in position. If the fabric has been pre-cut, this
cutting line is not needed.
To adjust cover stitch settings

Enter cover
stitch values
2 In the Cover panel, adjust the cover stitch settings.

! Width: enter the width of the Satin column.
! Inside/Outside: enter the amount to offset to the inside and
outside of the boundary as either an exact measurement or a
percentage.
If you enter a measurement, the total of the Inside and Outside
fields is the width of the column. If you enter a percentage, the total
equals 100%.
inside: 10% outside: 90% inside: 90% outside: 10%
3 Select an appliqué Style.

! Pre-Cut: no cutting line.
! Trim in Place: creates a cutting line.

Select Style
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 OK.
Tip Ungroup the auto-appliqué 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-appliqué objects in the same design.
Creating partial cover appliqué objects
Use Auto Appliqué (Input toolbar) to digitize appliqué objects. Select

Partial Appliqué (Stitch menu) to create appliqué objects with partial cover
stitching.
You can create appliqué objects with partial cover stitching to create an
overlapping effect without doubling-up borders.
partial cover
unstitched part of
boundary
Tip Print a copy of appliqué patterns to use in cutting out fabric pieces. Each
appliqué pattern piece is numbered according to the stitching sequence. See
Printing appliqué patterns for details.

To create partial cover appliqué objects
1 Digitize appliqué shapes in the same way you digitize with Auto
Appliqué.
See Creating appliqué objects for details.
Note If the appliqué has holes, digitize the shape in the same way as
Complex Fill with Holes so that the software can recognise the holes.
2 Select the appliqué shapes in the group and select Stitch > Partial
Appliqué.
partial cover
unstitched part of
boundary
Note The cover stitches are generated in a clockwise direction between

the start and end points, leaving the rest of the boundary unstitched.
Digitizing sequins and boring holes

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 together. ES Designer provides
support for both.

Digitizing with sequins
Use Penetrations on (Generate toolbar) together with Sequin Mode to

digitize sequined designs.
Use Sequin Mode (Generate toolbar) together with Manual input to
digitize sequined designs.
Use Manual (Input toolbar) together with Sequin Mode to digitize
sequined designs.
You can digitize sequined designs for compatible

machines using Sequin Mode together with the
Manual input method. You need to plan the stitching
sequence carefully in order to minimize unnecessary
stitches. Sequin Mode inserts Sequin On/Off functions
at the beginning and end of the object as required by
the machine. It also enables right-clicking with Manual
input. To add a sequin in the stitching sequence, you
right-click to drop it on the design, then secure it with
Manual stitches. 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 with sequins

1 Ensure Penetrations is on.
2 Click the Sequin Mode and Manual icons.
3 Right-click to add a sequin to the design.
A circle representing the sequin appears.
Note Sequins are not visible in TrueView™.

4 Digitize manual 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.

5 Press Enter.

Digitizing boring holes
Use Penetrations on (Generate toolbar) together with Borers to digitize

boring holes.
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.
If your embroidery machine is equipped with a boring knife or needle, you

can use Borers (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.
2 Click the Run icon and digitize an outline around the shape you want to
bore.
Digitize outline
with Run stitch
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™.
Digitize boring holes

with Manual or Run
stitch
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 length — e.g. 1.0-1.5 mm — to 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.
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.
Digitize around hole Digitize borders with

with Input A and Input A and Satin
Zigzag
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.

Chapter 20
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.
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 Tatami offsets
Use Tatami (Stitch Types toolbar) to apply to new or selected objects.

Right-click to adjust settings.
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.

Tatami Offset Partition Lines Random Factor
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.
Setting Tatami offset fractions
Right-click Tatami (Stitch Types toolbar) to adjust 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.
default offset values textured fill stitch penetrations visible
To control the patterns created by needle penetrations you set offset

fractions for both forward and backward rows.
A=0.25, B=0.25
forward backward
offset fraction B
offset fraction A offset fraction B
offset fraction A
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
Select Offset
Fraction
Enter offset fraction

values
2 Select the Offset Fraction option.

3 In the A: and B: fields, enter the offset fraction values you require.
Different combinations of offset settings create 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
! 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.
V9 Chapter 20 Textured Fills 428

! 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.
4 Click OK.
Applying Tatami partition lines
Right-click Tatami (Stitch Types toolbar) to adjust Tatami partition lines.
The Partition Line feature provides an alternative method for offsetting

needle penetrations in Tatami fills. Two parameters can be set — Sequence
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 typical partition sequence number might be 20143. This translates to the
following pattern.
stitch length
knot 2
row 1
knot 0 knot 0
row 2
knot 1
row 3
knot 4
row 4
knot 3
row 5
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:
row 1
row 2
row 3
row 4
row 5
To apply partition lines

Select Partition
Line
Enter partition
sequence and grid
angle
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.

Sequence: 11 Sequence: 012 Sequence: 01
4 In the Angle field, enter the grid angle you require.
Sequence: 11
Angle: 135
Sequence: 11
Angle: 45
5 Click OK.
Applying random factors
Right-click Tatami (Stitch Types toolbar) to apply random factors and

eliminate split line patterns.
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.
Random factor: 50%
Random factor: 0%
To apply random factors


Enter a random
factor
2 In the Random Factor field, specify a random factor between 0% and

100%.
random factor: 10% random factor: 50% random factor: 100%

offset fraction A: 0.25, B: 0.25 offset fraction A: 0.25, B: 0.25 offset fraction A: 0.25, B: 0.25
Tip A value of around 50% gives good results.

3 Click OK.
Creating textures with Program Split
Use Program Split (Stitch Types toolbar) to create decorative fill stitches
where needle penetrations form a tiled pattern. Right-click to adjust
settings.
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
Click Program Split (Stitch Types toolbar) to apply the effect to new or
selected objects.
You can apply Program Split to Input A, Input B, Input C, Complex Fill and
Circle/Ring objects. The current Program Split values are set in the Fill
Stitch tab of the Object Properties dialog. You can adjust these either
before or after applying the effect.
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
effect of Program Split.
Selecting Program Split patterns
Right-click Program Split (Stitch Types toolbar) to select Program Split

patterns.
You can select different patterns to use in a Program Split from the Object
Properties dialog. Select the pattern either before or after digitizing the
object.

Note For a complete catalog of samples, see Program Split Samples.
To select Program Split patterns

1 Right-click the Program Split icon.
Select
pattern
2 From the Pattern dropdown list, select the required pattern.

A preview of the pattern appears.
3 Click OK.
Scaling Program Split patterns
Right-click Program Split (Stitch Types toolbar) to scale Program Split

patterns.
Set the exact size of Program Split patterns in the Object Properties
dialog.
To scale Program Split patterns

Enter pattern
width
Enter pattern
height
2 In the Size X field, enter the required width of each fill pattern.
3 In the Size Y field, enter the required height of each fill pattern.

default values Size X and Size Y Size X increased
decreased
4 Click OK.
Selecting Combination Split options
Right-click Program Split (Stitch Types toolbar) to access Combination

Split options.
Select different combinations of Satin and Tatami stitches in a Program

Split to create various effects with the same pattern. There are three
Combination Split options — Satin in Satin, Satin in Tatami and Tatami
in Tatami.
Satin in Satin Satin in Tatami Tatami in Tatami
To select Combination Split options

Select a
Combination Split
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.
Satin in Satin Satin in Tatami Tatami in Tatami
3 Click OK.
Adjusting column and row spacing settings
Right-click Program Split (Stitch Types toolbar) to access 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 points — the center of each pattern
coincides with an intersection.
default spacing values column spacing increased row spacing decreased
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
Set column spacing

and offset values
Set row spacing

and offset values
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.
! Offset: the distance by which to offset patterns in each column.
3 In the Rows panel, set the spacing and offset settings for rows in the
same way as for columns.
default spacing values column spacing increased row spacing decreased
4 Click OK.
Adjusting Program Split stitch settings
Right-click Program Split (Stitch Types toolbar) to adjust 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


Adjust stitch
settings
2 In the Stitch Spacing field, enter the required spacing value.

For Tatami this is the distance between two forward rows of stitches,
for Satin, the distance between each forward stitch.
3 In the Stitch Length field, enter the stitch length.
This is the maximum stitch length to be generated in the fill.
4 In the Min Stitch Length field, enter the length of the shortest stitch to
be generated.
default spacing values stitch spacing increased stitch spacing decreased
5 Click OK.
Adjusting Program Split offset settings
Right-click Program Split (Stitch Types toolbar) to adjust row and column
offset settings.
You can apply offset settings to rows, columns or Tatami stitches in

Program Split objects.
Offsetting columns and rows

The column and row offsets determine the angle of the grid lines. If both
offsets are set to 0, the grid lines are perfectly vertical and horizontal.
column offset
negative – positive + positive +
0 row offset
negative –
0

Offsetting stitches
You can control needle penetration splits by offsetting each forward row of
stitching.
zero offset column positive offset row positive offset
Tip Only enter stitch offset settings for Program Split using the
combinations Satin in Tatami or Tatami in Tatami.
To adjust Program Split offset settings

Enter column
offset
Enter row
offset
Enter stitch
offset
2 Enter an offset for each column of the pattern in the Column > Offset
field.
column offset: 0 column offset: 1 column offset: 4
3 Enter an offset for each row of the pattern in the Row > Offset field.

row offset: 0 row offset: 1 row offset: 4
4 Enter an offset for stitches in Satin in Tatami or Tatami in Tatami

combinations in the Stitch Values > Offset field.
This offset controls where the needle penetrations line up for each row
of stitching.
offset: 0.00 offset: 0.25 offset: 0.50
5 Click OK.
Applying Program Split random factors
Right-click Program Split (Stitch Types toolbar) to adjust random factor

setting.
You can eliminate unwanted patterns and distribute stitches evenly within a
shape using a random factor. Apply random factors to Program Split 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

Enter random
factor

2 In the Random field, enter the required random factor.
Specify a random factor between 0% and 100%.
Tip Values of around 50% give good results.
random factor: 0 random factor: 25% random factor: 90%
3 Click OK.
Laying out Program Split patterns on-screen
Right-click Program Split (Stitch Types toolbar) to adjust layout options.
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.
Use top guide pattern to change row

spacing, row offset, and to scale patterns
Use middle guide pattern to

Use side guide pattern to
move, rotate, skew, and scale
change column spacing, and to
patterns
scale patterns
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


Select pattern
pattern preview
Click Layout
2 Select a pattern from the Pattern list.

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.
! Scale patterns by selecting a guide pattern and resizing it using the
selection handles.
Scale
proportionally
Drag the Scale

pattern horizontally
Scale vertically
! 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.

rotate
anchor
skew
! Change column spacing by selecting the side guide and dragging

it left or right.
Change column
spacing
! Change row spacing by selecting the top guide and dragging it up

or down.
! Change row offset by selecting the top guide and dragging it left
or right. Changing the offset distorts the rows.
Change row
spacing
Change
offset

5 Press Enter 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 > Fill Stitch > Program Split tab
and click Save. See Program Split Samples for details.
6 Digitize the object outline as you normally would.
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.
Enter pattern
name

3 Enter a name in the Make Program Split dialog.
4 Click OK.
The new pattern is automatically selected in the Pattern list.
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

Select pattern
pattern preview
Click Edit
2 Select a pattern and click Edit.
Edit pattern
The pattern appears in the design window.
Tip Use View > Show All > Selected Objects 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.
The Make program Split dialog opens.

Enter pattern
name
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
Use Flexi Split (Stitch Types toolbar) to apply a decorative effect to new
or selected objects. Right-click to adjust settings.
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 Input A, Input B or Input C objects that use
Satin, Tatami, Zigzag, or Program Split fill stitches. It is most effective with
objects with turning stitches or constantly changing column width. The
current Flexi Split values are set in the Effects dialog. You can adjust these
either before or after applying the effect.
Note Flexi Split is not compatible with Complex Fill objects.
To apply Flexi Split

! Click the Flexi Split icon.

The effect is applied to new or selected objects, based on the current
Flexi Split settings.
Tip Turn on TrueView™ or click the Show Needle Points icon to see
the effect of Flexi Split.
Selecting Flexi Split patterns and options
Right-click Flexi Split (Stitch Types toolbar) to select patterns and options.
You select Flexi Split patterns and options from the Flexi Split tab of the
Effects dialog.
To select Flexi Split patterns and options

1 Right-click the Flexi Split icon.
The Effects > Flexi Split tab opens.
Select Flexi
Split
pattern
Select preview
pattern
Click Flexi Split

icon
2 Select the Flexi Split checkbox.

3 Select a pattern from the Pattern list.

4 In the Options panel, click a Flexi Split icon.
5 Adjust Flexi Split size and spacing settings as required. See Adjusting
Flexi Split settings for details.
6 Click OK.
Adjusting Flexi Split settings
Right-click Flexi Split (Stitch Types toolbar) to adjust 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 Effects > Flexi Split tab opens.
Select Flexi
Split
pattern preview
Enter dimensions
of largest pattern
Enter distance
between first pattern
and first stitch line
Enter spacing
and offsets
Click Flexi Split

icon
2 Select the Flexi Split checkbox.

3 In the Size X and Size Y fields, enter the dimensions of the largest
pattern in the effect.

4 In the Shape Indent field, enter the distance between the first pattern
and the first stitch line.
5 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.
default column values column spacing column offset value

decreased changed
Note If you selected an option that uses more than one row of patterns,
the fields in the Row panel are available.
6 In the Row panel, enter spacing and offset settings as required.
default column and row column and row spacing row offset value changed
values decreased
7 Click OK.
Adding details with User Defined Split

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
Use User Defined Split (Stitch Types toolbar) to create your own split line
effects. Right-click to adjust settings.
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.
Repeat this step for additional split lines.
Digitize object outline Digitize split line Generate stitches
Tip For best results, digitize split lines approximately perpendicular to

the stitch angle.
5 Press Enter.

Applying User Defined Split to selected objects
Use User Defined Split (Stitch Types toolbar) to apply the effect to
selected objects. Right-click to adjust settings.
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
method — e.g. Run — or 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 method — including fill input methods — as 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.
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 see
the effect of User Defined Split.
Splitting alternate lines
Right-click User Defined Split (Stitch Types toolbar) to apply split lines.
The User Defined Split feature sometimes creates a split line which is too
hard for certain applications such as Schiffli design work. The new Split
Alternate Stitch Lines setting softens the split line.
To split alternate lines

1 Select a User Defined Split object.
user defined
split
2 Right-click the User Defined Split icon.

3 Select the Split Alternate Stitch Lines checkbox.
Select Split
Alternate
4 Click OK.

Split lines are softened.
split lines
applied

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.
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 curves.
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.

Creating jagged edges
Use Jagged Edge (Stitch Types toolbar) to create rough edges and
shading effects, or to imitate fluffy textures. Right-click to adjust Jagged
Edge settings.
Use Jagged Edge to create rough edges, shading effects, or imitate fur and
other fluffy textures.
Note Jagged Edge does not work with Contour stitch.
Applying Jagged Edge
Click Jagged Edge (Stitch Types toolbar) to apply the effect to new or
selected objects.
Apply Jagged Edge to create a rough edge along one or more sides of an
object. Jagged Edge is applied using the current Jagged Edge settings in
the Effects dialog. Change these settings before or after applying the effect.
See Adjusting Jagged Edge settings for details.
To apply Jagged Edge

! Click the Jagged Edge icon.
Jagged Edge settings.

side 2 jagged side 1 jagged both sides jagged
Tip For objects filled with Tatami, use Diagonal backstitch for the best
results. See Selecting a Tatami backstitch for details.
Adjusting Jagged Edge settings
Right-click Jagged Edge (Stitch Types toolbar) to adjust Jagged Edge

settings.
Adjust the Jagged Edge settings to change the side of the object to which
the effect is applied and the range within which the stitches should fall.
range
To adjust Jagged Edge settings

1 Right-click the Jagged Edge icon.
The Effects > Jagged Edge tab opens.
Select Jagged
Select values
V9 Chapter 21 Artistic Stitch Effects 456

2 Select the Jagged checkbox.
3 From the Jagged Side list, select the side of the object to apply the
effect to.
Side 2
Side 1
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.
Roughness: 1 Roughness: 10
more variation in stitch length less variation in stitch length
5 In the Range field, enter the margin in which you want the stitches to
fall.
Range: 4
Range: 1.5
6 Click OK.
Creating accordion spacing effects
Use Accordion Spacing (Stitch Types toolbar) to vary the stitch spacing
between dense and open fill. Right-click to adjust Accordion Spacing
settings.

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 settings — including
Auto Spacing and Fractional Spacing — are ignored. However, other stitch
effects will still apply.
Tip Apply Trapunto effect to force underlying travel runs to the edges of
an object so that they can’t be seen through open stitching. See Hiding
travel runs with Trapunto for details.
Applying Accordion Spacing
Click Accordion Spacing (Stitch Types toolbar) to apply the effect to new
or selected objects.
Use Accordion Spacing to create perspective effects and shading.
maximum
spacing
minimum
spacing
You can apply it using the current settings in the Effects dialog. 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.
Accordion Spacing settings.
Adjusting Accordion Spacing settings
Right-click Accordion Spacing (Stitch Types toolbar) to adjust the settings.
Use the Effects 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.
The Effects > Accordion tab opens.
Select Accordion
Spacing
Select spacing
effect
Select spacing
values
2 Select the Accordion Spacingcheckbox.

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.
! Minimum Spacing: the smallest spacing value to allow.
max spacing: 3.5 mm max spacing: 6 mm min spacing: 1 mm min spacing: 3 mm
Tip Apply Trapunto effect to force underlying travel runs to the edges
of an object so that they can’t be seen through open stitching. See
Hiding travel runs with Trapunto for details.
5 Click OK.
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 effects — linear 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
Click Color Blending (Generate toolbar) to apply the effect to selected

objects.
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.
maximum
spacing
minimum
spacing
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 Effects > Color Blending tab opens.

Select first Spacing
effect
Select first
color
Select first
spacing
Select second
Spacing effect
Select second
color
Select second
spacing
3 In the Top Layer panel:

! Click a Profile icon for the first layer.
! Select the color of the first layer.
! Enter the first color new spacing values as required.
4 Repeat this step with the Bottom Layer panel.
5 Click OK.
Top and Bottom Layer Top and Bottom Layer Top and Bottom Layer Top and Bottom Layer
Linear Profile Exponential Profile Convex Profile Wave Profile
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 Hiding travel runs 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.
3 Change the color as required.
4 Double-click it to open the Object Properties dialog.
5 Select the Effects > Accordion Spacing tab.
Select Profile
Adjust spacing
settings
6 Select a profile and adjust spacing settings as required.

7 Click OK.
8 Repeat the process for the second object and re-group the objects.
Creating contoured stitch effects
Use Contour (Stitch Types toolbar) to create curved fills where stitches
follow the contours of the shape. Right-click to adjust Contour settings.
Contour is a curved fill stitch type — stitches follow the contours of a shape,
creating a curved, light and shade effect. It only works on columnar shapes.
There are two types — Standard and Spiral — both of which can be applied

to Input A, Input B, Input C or Ring objects. Standard Contour can also be
applied to Circle objects.
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
stitching is denser where the shape is narrower, and more open where the
shape is wider.
Standard Contour
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
circle with Spiral Contour

created from a ring
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
Click Contour (Stitch Types toolbar) to apply Contour stitch to new or

selected objects.
You apply Contour to filled objects in the same way as other stitch types —
by selecting it from the toolbar either before or after digitizing.
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 ends — e.g. leaves,
diamonds, stars — cut the ends to prevent the stitches from bunching.
3
2 4
1 5
Input B
6 10
7
9
8
3
2 4
1 stitch bunching
Input B
8 at sharp ends
5
7
6
Selecting Contour stitch types
Right-click Contour (Stitch Types toolbar) to select 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.

Select contour
effect
Select backstitch
type
2 In the Type panel, click a contour effect icon.

! Standard: lays rows of stitches back and forth along the shape.
! Spiral: fills the shape with a continuous spiral of stitches.
Standard
Spiral
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.
Standard
Borderline
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 OK.
Adjusting Contour stitch settings
Right-click Contour (Stitch Types toolbar) to adjust 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.
Adjust max
spacing
Adjust stitch
Adjust offset length
value
Adjust variable
stitch lengths
2 In the Stitch Length field, enter an approximate stitch length.

Each stitch is adjusted to distribute the stitches evenly throughout the
shape. See Adjusting Tatami stitch length for details.
stitch length
3.6 mm
stitch length
1.5 mm
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 for details.

stitch spacing:
3.0 mm
stitch spacing:
1.5 mm
4 In the Offset Fraction field, enter the required offset value.

The offset fraction controls the pattern of needle penetrations to achieve
even distribution of stitches and prevent needle penetrations from
forming unwanted lines.
default offset: 0.25 mm, too big offset: 1 mm,

stitches evenly distributed unwanted lines
5 In the Variable Length panel, set the variable stitch length values, if
required. See Setting variable run stitch lengths for details.
Variable Length selected, stitch Variable Length not selected, stitch

values varies values fixed
6 Click OK.
Creating curved fills with Florentine Effect
Use Florentine Effect (Stitch Types toolbar) to curve stitching along a


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.
Creating new objects with Florentine Effect
Use Complex Fill (Input toolbar) to create an embroidery object.
Use Florentine Effect (Stitch Types toolbar) to create curved stitching in

new objects.
To apply the effect to new Complex Fill objects, select Florentine Effect
before starting.
Tip For best results, use smaller stitch lengths — e.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.

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
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.
Apply Florentine Effect to existing Complex Fill objects in a design with the
Effects dialog. Then use the Reshape Object icon to adjust the curve line.
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.
3 With the object still selected, click the Reshape Object icon.

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
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.
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.
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.
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 Create a style based on the first object.
See Defining new styles for details.
7 Apply the style to each of the other objects.
See Applying styles for details.
Tip Turn on TrueView™ or click the Show Needle Points icon to view
the results.

Adjusting Florentine Effect settings
Right-click Florentine Effect (Stitch Types toolbar) to adjust 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.
Nominal calculates stitch length so that the average matches the setting
in the Fill Stitch tab. Roughly the same number of fill stitches are generated
as with normal stitching. Maximum calculates stitch length so that the
longest matches the setting in the Fill Stitch tab. This 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 Effects > Curve Fill tab opens.
Select Florentine
Effect
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.
! Maximum: the longest stitch matches the Stitch Length setting.
nominal
maximum
4 Click OK.

Creating curved fills with Liquid Effect
Liquid Effect is similar to Florentine Effect except that you enter twin
curves for stitches to follow in Complex Fill objects. This means that stitches
at the top of a shape can follow a different curve to those at the bottom.
The change between the two curves is distributed evenly to produce smooth
stitching.
Creating new objects with Liquid Effect
Use Complex Fill (Input toolbar) to create an embroidery object.
Use Liquid Effect (Stitch Types toolbar) to create curved stitch effects with
two curves.
Unlike Florentine Effect, Liquid Effect curve lines are digitized outside the
object, rather than over it. If any part of a curve line crosses the object
boundary, an error message appears.
Note To apply Liquid Effect, you need to select it before digitizing. You
cannot apply it to existing objects.
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 curve line around the outside of the object.
You must enter at least three reference points.
curve line 1
5 Press Enter.
You are prompted to enter the second curve. Notice that the pointer has
elastic lines attached to it. These lines join each side of the curve line
shape.
6 Digitize the second curve line in the same direction of the first, marking
at least three reference points.
Note The two curves must not overlap or intersect the object outline.
7 Press Enter.
curve line 2
curve line 1
Tip To modify the curves, select the object and then the Reshape
Object icon. Click-and-drag the curves into the required shapes, and
press Enter.

Adjusting Liquid Effect settings
Right-click Liquid Effect (Stitch Types toolbar) to adjust 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 curve is tight with respect to the stitch length.
To adjust Liquid Effect settings

1 Right-click the Liquid Effect icon.
The Effects > Curve Fill tab opens.
Select Liquid
Effect
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.

Nominal Maximum
4 Click OK.

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.
Selecting and inserting motifs
Click Motif Fill (Stitch Types toolbar) to use the current motif. Right-click
Motif Fill to select a different motif or adjust settings for new or selected
objects.
Add motifs to your design by selecting them from the Select Motifs dialog.

Note If a motif is comprised of two or more objects, these will be
automatically grouped when inserted.
To select and insert motifs

1 Select Special > Motif > Select.
The Select Motif dialog opens.
Select viewing
Select motif mode
set
selected motif
Make selection
current
2 Select a motif set from the Symbol Set dropdown list.

3 Select a viewing mode. You can list motifs by picture, name, or both.
4 Select a motif.
The name of the selected motif appears in the Selection field.
5 Click Make Current.
The dialog closes and 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.
8 Press Enter.
Stitches generate.

press
Insert anchor Insert guide Enter
point point
9 Repeat the step to insert the motif again.

You can rotate, scale and mirror motifs as you insert them. See Rotating,
mirroring and scaling motifs for details.
Tip To reuse the same motif, select Special > Motif > Use.
Note Each motif is treated as a single object. To edit only a section of

a motif, ungroup the motif.
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 motifs for details.
2 Move the pointer to the position you want to add the motif, and click to
mark the anchor point.
V9 Chapter 22 Motif Runs and Fills 480

Click to mark
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.
! To rotate the motif, move the pointer until the rotation angle is
correct, then click again.
Click to mark
motif rotated
guide point
! To mirror the motif, right-click.
Press Shift and drag motif to Right-click to mark guide Motif rotated, scaled
new size and rotation point and mirror motif and mirrored
! To scale the motif, press Shift. Move the pointer until the motif
outline shows the required size, then click again.
Hold down Shift to

resize the motif
Motif rotated and

Hold down Ctrl to constrain scaled
rotation angles
Tip When mirroring and scaling, make sure the motif is at the required
rotation angle, before clicking or right-clicking.
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.

motifs created in
cross stitch program
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.
Creating motif sets
Use Motif > Make (Special menu) to create your own motif set.
The Make Motif function lets you create your own motif sets to organize and
classify your motifs.
To create motif sets

1 Select the object/s you want to save as a motif.
2 Select Special > Motif > Make.

The Make Motif dialog opens.
Click New to create

new motif set
3 Click New.
The New Motif Set dialog opens.

Enter name for
motif set
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.
Saving motifs
Use Motif > Make (Special menu) to save 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 object/s you want to save as a motif.
2 Select Special > Motif > Make.

The Make Motif dialog opens.
Select a motif set
Enter a motif name
Select to remove unwanted

machine functions
3 Select a Motif Set from the dropdown 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.
You are prompted to digitize reference points.
7 Click to mark two reference points on the motif.
Reference points set the standard orientation of the motif. This
determines the way the motif is oriented when directly inserted, or along
a digitized line with Motif Run, or stitch line with Motif Fill.
Reference points also set the spacing between each repetition of the
motif in Motif Run and Motif Fill.
2 right reference point
left reference point 1

rotation direction
1 2
left reference point right reference point

8 Click OK.
The motif is ready to use.
Copying motifs between sets
Use Motif > Select (Special menu) to copy motifs between sets.
As your collection of motifs grows, you sometimes need to classify them in

different ways. The Select Motif function lets you copy and paste motifs
between motif sets.
To copy motifs between sets


Select viewing
‘source’ motif options
set
Select motifs
to copy
Click Copy
2 Select the ‘source’ motif set from the Symbol Set dropdown list.
3 Select a motif or motifs you want to copy.
4 Click Copy.
5 Select the ‘target’ motif set from the Symbol Set dropdown list.
Select target
motif set
Click Paste
6 Click Paste.
The copied motifs are pasted into the target motif set.
7 Click Cancel to close the dialog.

Deleting motifs
Use Motif > Select (Special menu) to delete motifs from a set.
Delete any motifs you no longer want from a motif set.
To delete motifs
2 Select the motif to delete.
3 Click Delete.
4 Click Yes.
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
list. You can modify the rotation angle, orientation and scale, and vary the
space between motifs.
Using Motif Run
Use Motif Run (Input toolbar) to create a string of motifs along a digitized
line.
Use the Motif Run input method 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.

To use Motif Run
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 selected motif attaches to your cursor.
! To use the original size and orientation of the motif press Enter.
! 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.
motif mirrored
Tip You can combine scaling and mirroring.
Selecting and changing motifs for Motif Run
Right-click Motif Run (Input toolbar) to select motifs to use with Motif Run.
Select the motif to use in the Motif Run before or after digitizing. Select a
motif before digitizing as described in Selecting and inserting motifs. 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 in To
change motifs for Motif Run.
motif selected after motif selected before

digitizing digitizing
Note For a complete catalogue of samples, see Motif Samples.
To change motifs for Motif Run

1 Select a Motif Run object.
2 Right-click the Motif Run icon.
Click to select
motif
3 Click Select.
4 Select a motif from the list.
See Selecting and inserting motifs for details.
Scaling motifs in Motif Run objects
Right-click Motif Run (Input toolbar) to scale motifs in Motif Run.
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 Motif Run objects
Enter horizontal
and vertical
dimensions
3 In the Size X and Size Y fields, enter horizontal and vertical dimensions
for the motifs.
Size X and Size Y Size X and Size Y

values adjusted
4 Click OK.
Tip You can also scale motifs as you digitize Motif Run objects. See
Using Motif Run for details.
Adjusting Motif Run spacing
Right-click Motif Run (Input toolbar) to adjust Motif Run spacing.
You can change the distance between each motif in a Motif Run. The initial
spacing setting for motifs in a Motif Run is the distance between the
reference points that were marked when the motif was created. See Saving
motifs for details.
original spacing spacing increased spacing decreased
Note You can adjust spacing settings before or after digitizing the object.

To adjust Motif Run spacing
Enter distance
between motif
repetitions
3 In the Spacing field, enter the distance between each repetition of the
motif.
spacing initial spacing
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.
! 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
Right-click Motif Run (Input toolbar) to select whether to keep or omit first
and last motifs.
If you are digitizing adjoining lines with Motif Run, you can omit the last
motif of the current object — or the first motif of the next object — to avoid
an overlap where the lines join.

first and last first motif kept, last
motifs kept motif omitted
Note You can adjust these settings either before or after digitizing the
object.
To keep or omit motifs

Choose whether to
keep or omit first and
last motifs
3 Choose whether to keep or omit first and last motifs.

4 Click OK.
Reshaping Motif Run objects
Use Reshape Object (Pointer toolbar) to reshape selected 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 the Motif Run object to reshape, then click the Reshape icon.
Control points appear around the motifs.
2 Reshape the object as required.
You can change the width and height of the motifs, the space between
motifs, or the shape of the digitized line.

object control motif control
points adjusted points adjusted:
motifs rotated
Creating motif fills
Use Motif Fill (Stitch Types toolbar) to fill Complex Fill objects with
repeated motifs.
Motif Fill is a decorative fill stitch with which you can fill 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.
Using Motif Fill
Use Complex Fill (Input toolbar) to create an object to apply Motif Fill to.
Click Motif Fill (Stitch Types toolbar) to apply Motif Fill to a selected object
using the current settings.
Use Motif Fill with Complex Fill objects to create decorative fill stitching using
the current Motif Fill settings. You can select a motif, or change the layout
and settings either before or after you digitize. See Laying out motif fills
on-screen and Adjusting Motif Fill spacing and offset settings for details.

To use Motif Fill
1 Click the Complex Fill icon.
2 Digitize the Complex Fill object as you would normally.
See Digitizing complex shapes for details.
Note The stitch angle has no effect on motif layout.

3 Select the Complex Fill object.
4 Click the Motif Fill icon.
5 Press Enter.
The digitized object is filled with the current Motif Fill.
Selecting motifs to use in Motif Fills

t
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 the motifs to use in a Motif Fill from the Object Properties dialog.
You can select different motifs for the forward and backward rows, or the
same motif for each.
Note For a complete catalogue of samples, see Motif Samples.

To select motifs to use in Motif Fills
1 Right-click the Motif Fill icon.
Select motif for Select motif for

forward rows backward rows
2 In the Motif 1 panel, select the motif to use in the forward row fill. To
do this:
! click Select to open the Select Motif dialog.
! select the motif to use in the forward rows of the fill, then click Make
Current.
3 In the Motif 2 panel, select the motif to use in the backward row fill,
using the same method.
If you select the same motif for forward and backward rows, they will
point in the same direction.
forward and backward

same motif selected
backward motif
resized
Note You can scale Motif 1 and Motif 2 motifs independently. See
Scaling motifs to an exact size for details.
4 Click OK.

Adjusting Motif Fill spacing and offset settings
Right-click Motif Fill (Stitch Types toolbar) to adjust the exact row, column
and spacing 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.
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 object.
Enter column
spacing
Enter row spacing
and offset
Scale and clip

motifs to fit shape
2 Enter column spacing in the Columns > Spacing field.

3 Enter row spacing in the Rows > Spacing field.
4 Enter row offset in the Rows > Offset field.

offset row spacing
changed reduced
5 Select the Scale motifs to fit grid checkbox to scale motifs to exactly
fit the grid squares.
Scale motifs to fit

grid ON
Scale motifs to fit

grid OFF
6 Select the Clip motifs to fit shape checkbox to clip motifs that do not
fit the shape.
.
Clip motifs to fit

shape ON
Clip motifs to fit

shape OFF
Note If more than half a motif is outside the boundary, it will be

omitted.
7 Click OK.
Scaling motifs to an exact size
Right-click Motif Fill (Stitch Types toolbar) to scale 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.

original values values adjusted values adjusted
To scale motifs to an exact size

1 Right-click Motif Fill object.
Enter motif width Enter motif width

and height of and height of
forward rows backward rows
2 In the Motif 1 panel, enter the dimensions of motifs in the forward rows.
! Size X: Enter motif width.
! Size Y: Enter motif height.
Size X and Size Y

adjusted
3 In the Motif 2 panel, enter the dimensions of motifs in the backward

rows.
Size X and Size Y

adjusted
4 Click OK.

Rotating Motif Fills by an exact amount
t
Right-click Motif Fill (Stitch Types toolbar) to rotate motifs by an exact

amount.
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 Motif Fills by an exact amount

Enter rotation
angle
2 In the Rotation Angle field, enter the rotation angle of the fill.
3 Click OK.
Laying out motif fills on-screen
Right-click Motif Fill (Stitch Types toolbar) to access layout options.
You 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 different elements of the layout. When you
change a guide motif, all motifs in the fill change accordingly. See also
Laying out motif fills on-screen.

Use top guide motif to change row
spacing, row offset, and to scale motifs
Use middle guide motif to

Use side guide motif to change
move, rotate, skew, and scale
column spacing, and to scale
motifs
motifs
Tip Generally you define the layout of the fill before digitizing the object. If
it is important to align the motifs with the object boundary, digitize the
object using the current settings, and change the layout afterwards.
To lay out Motif Fills on-screen

Select Layout
2 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.

3 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.

Scale
proportionally
Scale
horizontally
Scale
vertically
! Rotate motifs by clicking the middle guide twice to display the

rotation handles. Click a corner handle and drag to rotate.
! Skew motifs by clicking the middle guide twice, then dragging the
skew handles.
rotate
anchor
skew
! Change column spacing by selecting the side guide and dragging

it left or right.
Change
column
spacing
! Change row spacing by selecting the top guide and dragging it up

or down.

! Change row offset by selecting the top guide and dragging it left
or right. Changing the offset distorts the rows.
Change row
spacing
Change
offset

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 > Fill Stitch > Motif Fill tab and
click Save. See Motif Samples for details.
Creating 3D effects with motif fills

3D Warp is used with Motif Fill 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 Complex Fill objects.
Without 3D Warp Globe In Globe Out Perspective
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.

Applying 3D Warp with Globe In/Globe Out
Click 3D Warp (Stitch Types toolbar) to apply 3D effects to selected motif

fills. Right-click to change 3D effects.
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 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.
Select 3D Warp
Select Globe In
or Globe Out
3 Select the 3D Warp checkbox, and select Globe In or Globe Out from
the list.
4 Click OK.
The Globe In or Out effect is applied to the selected object.

OR
Complex FIll object Globe In applied Globe Out applied

with Motif Fill
5 To make further adjustments, select the object and click the Reshape
icon.
A guide frame appears around the object.
6 Adjust the control points to modify the effect as required.
7 Press Enter.
Globe Out selected 3D Warp control points Globe Out adjusted

reshaped
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.

Applying 3D Warp with Perspective
Click 3D Warp (Stitch Types toolbar) to apply 3D effects to selected motif

fills. Right-click to change 3D effects.
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 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.
Select 3D Warp
Select
Perspective
3 Select the 3D Warp checkbox, and select Perspective from the list.
4 Click OK.
5 Click the Reshape icon.
A guide frame appears around the object.

Select object
and click
Reshape
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.
Adjust frame and

Press Enter

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
Adjusting Lettering Layout 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

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.

Chapter 23
Creating Embroidery Lettering
Add lettering directly to designs using current settings or with the dialog
box. Apply formatting just like a word processor, including italics, bolding,
and right/left justification. Adjust formatting directly on-screen or with the
dialog. Or use the fast-access Lettering Box to quickly change values for the
whole text or for individual letters. With object-based operation, you can
type and manipulate your text directly on-screen, changing the size or
spacings to fit.
This section describes how to add and edit lettering, change formatting
settings, and adjust lettering size and spacing.
Adding lettering to embroidery designs

You can add lettering to a design by typing it directly in the design window,
or entering it in the Object Properties - Lettering dialog.

Creating lettering on-screen
Use Lettering (Input toolbar) to add lettering directly 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 start typing.
4 Type the letters you want to embroider.
Tip To start a new line, press Shift + Enter.

5 Press Enter to complete.
6 Select Stitch > Generate Stitches or press G.
Note Appearance and layout depend on current settings in the Object

Properties - Lettering dialog. You can change them at any time. See
Adjusting Lettering Layout for details.

Creating lettering with the Lettering dialog
Right-click Lettering (Input toolbar) to enter text in the dialog and adjust
settings for embroidery lettering.
Using the Object Properties - Lettering 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 the Lettering dialog

1 Right-click the Lettering icon.
The Object Properties - Lettering dialog opens.
Enter text
Select
options
Select
baseline
Select text
justification
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 OK.
5 Click where you want to place the lettering, or mark reference points for
the baseline you selected.
See Applying lettering baselines for details.
V9 Chapter 23 Creating Embroidery Lettering 510

6 Press Enter.
Note Letters are filled with stitches according to current settings in the
Fill Stitch and Connectors tabs of the Object Properties - Lettering
dialog. You can change these at any time. See Adjusting Lettering Stitch
Settings for details.
Selecting alphabets
Right-click Lettering (Input toolbar) to select an alphabet for new or

selected lettering objects.
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.
To select an alphabet
Select
alphabet
Select
Preview in
Dropdown List

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.
alphabet Block2
preview
alphabet Carla
preview
alphabet Hobo
preview
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 OK.
The lettering alphabet is set.
Tip The same options are available in the floating Lettering Toolbox. See
Editing with the lettering toolbox for details.

Editing lettering objects
When you have created a lettering object, you can select it and make
changes to it directly on-screen, via the toolbox or toolbar, or via the Object
Properties - Lettering dialog.
Editing lettering text on-screen
Click Lettering (Input toolbar) to edit lettering 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.
I-beam
2 Edit the text as required.
Tip Press Shift + Enter to start a new line.

Editing with the lettering toolbox
Use Lettering Box (Standard toolbar) to open the lettering toolbox.
Access commonly used lettering commands and features with the Lettering
Toolbox.

To edit with the lettering toolbox
1 Click the Lettering Box icon.
The Lettering Box opens.
alphabet
join stitch method
letter height
letter width
italic angle
baseline
justification
baseline position
2 Select a lettering object and change its settings as required.

You can control alphabet, baseline, italic angle, width, height and join
method. See Formatting lettering for details.
3 To close the toolbox, click X in the top right corner.
Editing lettering with the Lettering dialog

When you have created a lettering object, you can select it and make
changes to it via the Lettering tab of the Object Properties - Lettering
dialog.
To edit lettering with the Lettering dialog

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 sizing 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.
The Lettering tab of the Object Properties - Lettering dialog opens.

Edit text
Adjust
settings
Save to
template
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 OK.
Note Letters are filled with stitches according to current settings in the
Fill Stitch and Connectors tabs of the Object Properties - Lettering
dialog. You can change these at any time. See Adjusting Lettering Stitch
Settings for details.
Formatting lettering
You can control the appearance of lettering by changing formatting settings
in the Object Properties - Lettering 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 of the Lettering tab. The default angle is 0°.
To make italic lettering

1 Right-click the Lettering icon or double-click selected lettering object/s.
Select italic
angle
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.)
italic angle 45° italic angle 0° italic angle -45°
3 Click OK.
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
the entire column, including underlay, while pull compensation adjusts only
cover stitching. See also Compensating for fabric stretch.

To make bold lettering
2 Select the Fill Stitch tab.
Click Effects
3 Click Effects and select the Others tab.

The Effects dialog opens.
Increase pull
compensation or
column width
4 Select Column Width or Pull Compensation as required.

See Compensating for fabric stretch and Adjusting column width for
details.
5 Increase the values in the respective fields.
normal pull comp: 0.3 mm column width: 140%
6 Click OK.
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

2 Select a justification setting — Left, Right, Centered, or Justified.

left right centered fully justified
3 Click OK.
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 Lettering tab
! by adjusting width and height settings in the General tab.
Scaling lettering with Select Object
Use Select Object (Pointer toolbar) to scale lettering objects on-screen.
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.
Resize Vertically Resize

Proportionally
Resize
Horizontally
2 Click-and-drag one of the square control points to resize the object

horizontally, vertically or proportionally.
Drag
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
Use Reshape Object (Pointer toolbar) to scale lettering objects

on-screen.

proportionally with the Reshape Object tool. See also Rotating lettering
with Reshape Object.
To scale lettering with Reshape Object

1 Select the lettering object.

Resize Vertically Resize
Proportionally
Resize
Horizontally
3 Click-and-drag one of the dark triangular control points to resize the

object horizontally, vertically or proportionally.
Drag
A bounding box shows the new size of the lettering object as you drag.
Adjusting letter height and width
Use Lettering (Input toolbar) to adjust letter height and width.

proportionally via the Lettering tab of the Object Properties - Lettering
dialog.
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


Select letter
Select width height in mm
percentage
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 percentage — e.g. 140%.
! For narrow letters, decrease the percentage — e.g. 70%.
width 100% width 70% width 140%
4 Click OK.
Adjusting lettering dimensions

proportionally via the General tab of the Object Properties - Lettering
dialog.
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
Adjust width
and height
settings
2 Adjust the width and height settings either as absolute values (mm) or
as a percentage of the current settings.
original
width and height 125%
3 Click OK.
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
automatically according to justification — Left, Right, Centered, 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
Click Reshape Object (Pointer toolbar) to change letter spacing.
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

Drag letter spacing

control point
3 Drag the letter spacing control point left or right to adjust the spacing of
all letters along the baseline.
4 Release the mouse button to complete and press Esc.
Adjusting individual letter spacing on-screen
Use Reshape Object (Pointer toolbar) to change individual letter

spacing.
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 Repositioning letters
on-screen.
To adjust individual letter spacing on-screen

3 Click the diamond control point in the middle of the letter.
Hold down Ctrl and click

diamond control points
Tip To select multiple letters, hold down Ctrl as you select.

4 Drag the letter/s along the baseline to adjust the spacing.
Adjusting line spacing on-screen
Use Reshape Object (Pointer toolbar) to change line spacing.
Change the space between lines in a multiple-line lettering object using the
Reshape tool.
To adjust line spacing on-screen


3 Drag the line spacing control point up or down to change line spacing.
Drag line spacing

control point
Adjusting letter, word and line spacings

You can adjust letter, word and line spacings in lettering objects at any stage
via the dialog.
To adjust letter, word and line spacings

1 Double-click a selected lettering object or right-click the Lettering icon.
2 Select the Lettering tab and click Layout.
The Layout dialog opens.
Enter values as
absolutes (mm) or
percentages
3 Enter Spacing values as absolute values (mm) or percentages of the

height.
! Letter Spacing: the space between all letters.

! Word Spacing: the space between words.
! Line Spacing: the space between lines.
Note Whether you enter a percentage or absolute value, the other

updates automatically.
4 Click OK.
Tip If you want to remove spacing between words, set Word Spacing
to 0%.

Chapter 24
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.
This section describes how to adjust lettering objects as well as individual

letters. It also describes how to apply and adjust lettering baselines.
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
Use Select Object (Pointer toolbar) to transform lettering objects

on-screen.
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 resizing control points appear. See Scaling lettering with Select
Object for details.
2 Click the lettering object again.
Another set of control points appears. These let you rotate and skew the
lettering object.
Skew handle Rotation handle

Rotation point
3 Click-and-drag one of the diamond-shaped control points to skew the

lettering object horizontally.
Drag
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.
Rotation
point
Drag
A shadow outline shows the rotated lettering object as you drag.
V9 Chapter 24 Adjusting Lettering Layout 528

Tip Click-and-drag the rotation point itself to a new position before
rotating.
Rotating lettering with Reshape Object
Use Reshape Object (Pointer toolbar) to rotate lettering objects

on-screen.
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

Control points appear around the lettering object.
Rotate object
3 Click-and-drag one of the solid square control points on the baseline to

rotate the lettering object.
Drag
A baseline shows the rotated position of the lettering object as you drag.

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
Use Reshape Object (Pointer toolbar) to reposition individual letters

on-screen.
You can reposition individual letters in a lettering object using the Reshape
Object tool.
To reposition letters on-screen

Click diamond control

point

Tip To select multiple letters, hold down Ctrl as you select.
4 Click-and-drag the letter to the new position:
! To move the letter horizontally, drag it along the baseline.
! To move the letter vertically, hold down Shift as you drag.
! To move the letter freely, hold down Ctrl as you drag.
5 Release the mouse button to complete.
Transforming letters on screen
Use Reshape Object (Pointer toolbar) to transform individual letters

on-screen.
You can transform individual letters by manipulating control points

on-screen with the Reshape Object tool.
To transform letters on screen


Select diamond
control point
Change letter height Scale letter proportionately
Skew letter
Change letter width
Rotate letter
4 Click-and-drag the special control points to transform individual letters.
5 Press Esc or click outside the object to finish.
Reshaping letters on-screen
Use Reshape Object (Pointer toolbar) to transform individual letters

on-screen.
Create special lettering effects by reshaping letter outlines with the

To reshape letters on-screen

3 Click the diamond control point in the middle of the letter, then click the
letter outline.

Click diamond control point, then
click outline
Additional control points appear around the outline.

4 Reshape the letter by dragging the control points. See Reshaping
objects using control points for details.
5 Press Esc or click outside the object to finish.
Recoloring letters on-screen
Use Lettering (Input toolbar) to edit lettering 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 the Lettering dialog 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 highlighting it.

I-beam highlighted letter
3 Click a color on the color palette.

4 Press Enter.
Applying 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.
Selecting baselines
Right-click Lettering (Input toolbar) to select baselines and adjust

baseline settings.

You can select different baselines through both the Object Properties –
Lettering and Layout dialogs. You can also adjust baseline settings. You
can apply baselines to new or selected objects.
Tip Create identical baselines by duplicating or copying them in your

design.
To select a baseline
1 Double-click a selected lettering object or right-click the Lettering icon.
2 Select a baseline from the list.
Select a
baseline
The baseline you choose depends on the effect you want to achieve. You
need to digitize different reference points depending on the type of
baseline you select. Options include:
! 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.
! Custom (Any Shape). See Applying custom baselines for details.
3 Adjust baseline settings in the Layout dialog. See Adjusting baselines
for details.
4 Click OK.

Applying horizontal baselines
Free Line and Fixed Line baselines are straight, horizontal baselines. Free
Line does not have a fixed or pre-determined length; the 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.
Free Line
baseline
Fixed Line
baseline
To apply horizontal baselines

! For variable-length horizontal lines, select Free Line from the Object
Properties - Lettering dialog and simply click on-screen to mark the
start point of the baseline.
Free Line — click on-screen to

mark start point
Fixed Line — click on-screen to

mark start and end points
! For fixed-length horizontal lines, select Fixed Line from the Object
Properties - Lettering dialog and click to mark the start and end points
of the baseline.
Note You can define any angle. Depending on the order in which you
mark the reference points, the text will be placed left to right, or right
to left.

Applying vertical baselines
Vertical baselines are effective for embroidering on sleeves, as a
decorative effect, and for Asian text. There are two types — Free
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.
To apply a vertical baseline

! For variable-length vertical lines, enter your text in the Object
Properties - Lettering dialog and select Free Line Vertical. Click the
screen to establish the mid-point of the baseline.
Free Line Vertical — Fixed Line Vertical — click

click the screen to the screen to mark start and
mark mid-point end points
! For fixed-length vertical lines, enter you text and select Fixed Line
Vertical from the Object Properties - Lettering dialog. Click the
screen to establish the baseline start and end points.

Note You can define any angle. Depending on the order in which you
mark the reference points, the text will be placed left to right, or right
to left.
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
default, letters are positioned above the Arc CW and below the Arc CCW
baseline. They are also centered by default.
Arc Clockwise (CW) Arc Counter-Clockwise (CCW)
To apply arc baselines

1 In the Object Properties – Lettering dialog, select Arc CW or Arc
CCW as a baseline and click OK.
2 Mark the start point of the arc on-screen.
3 Mark the end point 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.
1 2 arc clockwise
arc
1 2 counter-clockwise

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.
Applying circular baselines

Use Circle Clockwise (Circle CW) or Circle Counter-Clockwise (Circle
CCW) baseline to place letters around a full circle.
Circle Clockwise Circle Counter

(CCW) Clockwise (CW)
For a circle you need to mark two reference points, while for an oval you
need to mark three. The position of the second reference point determines
the justification point of the text. The text is centered around this point.
To apply circular baselines

1 In the Object Properties – Lettering dialog, select Circle CW or Circle
CCW as a baseline and click OK.
2 Mark the center of the circle.
3 Mark a point on the circumference to define the radius and the
justification point.
1 2 justification
1 angle 90º
justification angle 0º
Note Depending on the justification setting you select, the left, center
or right side of the lettering object lines up with the radius reference
point. See Setting letter justification for details.

4 Press Enter for a perfect circle, or click again to form an ellipse.
As soon as the last point is marked, the letters of your text are
positioned around the circle.
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 In the Object Properties – Lettering dialog, select Any Shape as a
baseline and click OK.
2 Mark the baseline reference points.
! Mark curve points with the right mouse button.
! Mark corner points with the left mouse button.
1 2 4
3 Press Enter to complete and press G to generate stitches.

Applying 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 apply predefined baselines

Enter two or
three lines of
text
Select
options
Select
Predefined
baseline
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.
3 Select the alphabet and 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 Use the Ctrl key to constrain the curve.

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.
The lines of text are generated and dispersed around the baseline you
have defined. Each line of text becomes a separate lettering object.
Adjusting baselines
Baselines can be modified after placement either directly on-screen or via
the Object Properties - Lettering dialog. With the exception of Free Line,
baselines allow you to set the final length of the finished 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
- Lettering dialog or Lettering Box.
Reshaping baselines on-screen
Use Reshape Object (Pointer toolbar) to reshape lettering baselines.
Baselines can be adjusted on-screen after they have been placed in your
design with the Reshape Object tool. Depending on the baseline type you
are working with, you can adjust baseline angles, lengths, and lettering
width. You can change curve radii and justification points. You can
completely reshape Any Shape baselines by moving, changing, adding or
deleting control points along the baseline.
To reshape a baseline on-screen

Different control points display for different types of baseline.
baseline control
points

Tip The large diamond and cross represent stitching start and end
points. You may need to move them to access baseline control points.
They will reposition themselves in the new entry and exit points based
on the changes you make to the baseline.
3 To change the angle of a straight baseline, click-and-drag one of the
large solid squares.
Drag up or down to change

baseline angle
4 To lengthen or shorten a fixed-length baseline, click-and-drag the open

triangle control point. The letter spacing adjusts to fit the new length.
Drag triangle to change spacing

evenly along baseline
5 To reshape lettering with a curved baseline, drag the control point in the
center of the circle to increase the radius.
Drag up or down to
change radius of curve
6 On a circular baseline, there are actually two control points at the

bottom of the circle, one on top of the other. Drag them apart to create
an arc baseline.

Drag left or right to
change circle baseline
to arc
7 To change letter spacing around a curved baseline, click-and-drag the

control point on the circumference of the circle.
Drag triangle to change

spacing evenly along
baseline
Tip The exact letter positions depend on the justification — left, center,
right or justified. If the baseline becomes too short, letter spacing is
reduced, and letters may overlap.
! To resize from a fixed radius point, click the control point in the
center and drag until the baseline is the right size.
Move up or
down to
change radius
Drag along circumference to Move up or down to

change baseline length change radius
! To adjust Any Shape baselines, add, delete, change or move

reference points like any embroidery object. See Reshaping objects
using control points for details.

! To reshape Any Shape baselines, click the point on the baseline
where you want it to bend (change direction). Left-click to bend the
line at an angle; right-click to bend the line into a curve.
Click baseline where you Drag any control point

want it to bend up or down
! To re-position, drag any one of the baseline control points up or

down.
Drag to change curvature
! 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.
Adjusting straight baseline settings
Use Lettering (Input toolbar) to adjust 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
that extends beyond the baseline. See also Applying horizontal baselines
and Applying vertical baselines.

To adjust straight baseline settings
2 Click Layout to open the Layout dialog.
Adjust length and

angle values
Select auto
frame style
3 Select a horizontal or vertical baseline, free or fixed, from the list.

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 name 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.
! Line Angle: Enter the exact angle of the baseline to the horizontal
axis.
6 Select a baseline position.
baseline baseline baseline

below centered above
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 letter, word and line spacings for details.
8 Select the letter orientation.
See Changing lettering orientation for details.
9 Click OK to return to Object Properties – Lettering and click OK again.

Adjusting curved baseline settings
Use Lettering (Input toolbar) to adjust baseline settings.
You can adjust circle and arc baselines to use your own radius, angle and
justification settings. See also Applying arc baselines and Applying circular
baselines.
To adjust curved baseline settings

Adjust Tilt, Radius X, Radius

Y, Justification and Arc Angle
values
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:
! Tilt: Enter the absolute angle of the baseline to the horizontal axis.

tilt angle 0°
tilt angle 45°
! Radius X: Enter the default radius of the baseline arc (X-axis).

! Radius Y: Enter the default radius of the baseline arc (Y-axis).
radius X: 50 radius X: 80
radius Y: 50 radius Y: 40
! Justification Angle: Enter the angle of the text reference point,

relative to the horizontal axis. For example, for Center justification,
enter the point you want to center the lettering over.
justification
angle 0°
justification
angle 45°
! Arc Angle: Enter the default arc. This constrains baseline so the text
falls within an arc of the specified number of degrees.

arc angle 250° arc angle 100°
5 Select a baseline position.
baseline baseline baseline

below centered above
When digitizing lettering for a badge, for example:

! 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 lettering orientation for details.
Changing lettering 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’.
Baseline angle: 0º Baseline angle: 0º

Orientation: 90º to Orientation: 90º to
design baseline
To change lettering orientation


3 Select an Orientation setting.
Select orientation Set orientation

relative to baseline angle
or design
! Baseline: orients letters relative to the lettering baseline.

! Design: orients letters relative to the horizontal.
4 Enter an orientation angle.
Baseline angle: 0º Baseline angle: 0º

Orientation: 10º to Orientation: 60º to
baseline design

Chapter 25
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.
Applying different stitch types to lettering objects

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.

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
Right-click Satin (Stitch Types toolbar) to adjust Satin values 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 Right-click the Satin icon or double-click a selected lettering object.
3 Select Satin stitch from the Stitch Type list.
Select Satin
Adjust stitch
spacing
4 Select the type of stitch spacing you want for your lettering.
V9 Chapter 25 Adjusting Lettering Stitch Settings 554

! For Fixed Spacing, clear the Auto Spacing checkbox and select a
value (in millimeters) in the Stitch Spacing field. To increase the
density for more open stitching, select a smaller value. 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.
Auto Spacing ON Auto Spacing OFF
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 OK.
Adjusting Tatami stitch settings for lettering objects
Right-click Tatami (Stitch Types toolbar) to adjust Tatami values 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 Right-click the Tatami icon or double-click a selected lettering object.
3 Select Tatami stitch from the Stitch Type list.

Select Tatami
Adjust stitch
spacing
Adjust stitch
length
Set offset
fractions
Select a
backstitch type
Set Partition
Lines
Enter a random
factor
4 Adjust stitch spacing to increase or decrease density.

See Adjusting Tatami stitch spacing for details.
5 Adjust stitch length to increase or decrease needle penetrations.
See Adjusting Tatami stitch length for details.
6 Choose a backstitch type — Standard, 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 OK.
Adjusting Zigzag stitch settings for lettering objects
Right-click Zigzag (Stitch Types toolbar) to adjust Zigzag values 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 Right-click the Zigzag icon or double-click a selected lettering object.
3 Select Zigzag stitch from the Stitch Type list.
Select Zigzag
Adjust stitch
spacing
4 Enter a spacing value in the Stitch Spacing field.
stitch spacing: 1.0mm stitch spacing: 1.5mm
5 Click OK.
Adjusting lettering stitch angles

The Stitch Angle and Reshape Object tools let you adjust lettering stitch
angles as well as delete individual stitch angles in lettering objects.
Adjusting stitch angles of individual letters
Use Stitch Angles (Pointer toolbar) to set different stitch angles for
selected letters.

Set different stitch angles within letters with the Stitch Angle tool. Each
segment of the letter can have a different stitch angle.
To adjust stitch angles of individual letters

1 Select a lettering object.
2 Click the Stitch Angles icon.
You are prompted to enter angle point 1.
3 Digitize stitch angles so that they intersect two sides of the object.
Digitize stitch
angles
Note Make sure that the stitch angles do not intersect each other.
4 Press Enter.
Stitches are regenerated with the new angles.
Deleting lettering stitch angles
Use Reshape Object (Pointer toolbar) to delete individual stitch angles in

lettering objects.
Delete individual stitch angles in lettering objects with the Reshape Object
tool.
To delete lettering stitch angles

3 Click the diamond shape control point in the middle of the letter to select
it, then click anywhere on the outline.
4 Select and delete control points as required.

Note Lettering outlines are preserved after any angle deletion.
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
Use Lettering (Input toolbar) to adjust the lettering stitching sequence.
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

2 Click Sequence.
The Sequence dialog opens.

Adjust single line
stitching sequence
Adjust multiple line

stitching sequence
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.
stitched right-to-left stitched left-to-right
! 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.
right side stitched first left side stitched first
! 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.

stitched
top-to-bottom
stitched
bottom-to-top
Note You can combine both In Line and Line by Line sequencing
options.
4 Click OK to return to the Lettering tab.
5 Click OK to close.
Tip Travel through your design to check the stitching sequence. See
Traveling by stitches for details.
Changing lettering join method
Use Lettering (Input toolbar) to change the lettering join stitch 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 types — e.g. Satin with
Run, or Tatami, or Motifs.
To adjust lettering join method

2 Click Sequence.
The Sequence dialog opens.

Select join method
Select Original Stitch
Values
3 Select a join method from the list:

! Bottom Join: Letters are joined along the baseline. Use it if you for
stitching on towelling as the joins 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.
Bottom Join Closest Join As Digitized
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.
Closest Join selected As Digitized but Original As Digitized and Original

Stitch Values not selected Stitch Values selected
Tip For the recommended stitch and join methods, see Standard
Alphabets.
5 Click OK to return to the Lettering tab.

Chapter 26
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

In ES Designer, you can add special characters and symbols directly through
the Select Symbols dialog or by means of the Windows Character Map.
Selecting symbols
Use Lettering (Input toolbar) to add special characters and symbols.

Right-click to select lettering options.
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 Lettering tab.
To select symbols
Click Insert
Symbol
2 Click Insert Symbol.

The Symbol Selection dialog opens.
Show characters
Show pictures and
Show pictures characters
Select alphabet
or symbol set
Select
symbols
3 Select an alphabet or symbol set from the Symbol Set list.

4 Select the symbols you want to use.
5 Click OK.
The selected symbols are displayed in the text entry panel of the
Lettering tab.
6 Click OK in the Object Properties - Lettering dialog.
V9 Chapter 26 Special Lettering Features 564

You are returned to the design window. Continue creating the lettering
object in the normal way.
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 >
Character Map.
2 Double-click a character, or select it and press Select.

The character appears in the Characters to copy box.
3 Click Copy to copy the character to the clipboard.
4 Paste it into the text entry panel of the Lettering tab.
To do this, 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 characters for details.
Creating special effects with envelopes

Apply Envelope effects to lettering objects to make them bulge or arch,
stretch or compress.

Distorting lettering objects
Use Envelope (Edit menu) to create special effects with envelopes.
Four types of Envelope effect are available — Bridge, 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.
Bridge reshape
handles
4 Drag one or more handles up or down to distort the object.

Drag
! To move two handles in opposite directions, hold the Shift key down
while dragging a handle.
Shift + drag
! To move the handles in the same direction, hold down the Ctrl key
while dragging a handle.
Ctrl + drag
Editing lettering in envelopes
Use Lettering (Input toolbar) to edit letters in envelopes on-screen.
You can edit lettering 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 lettering in envelopes

1 Click the Lettering icon then click inside the lettering object.
Duplicate letters appear below the selected shape in their original form.
The cursor changes to an I-beam and appears after the last letter.
2 Edit the text as required.

Add letters at
I-beam cursor

The lettering in the envelope is updated.
Removing envelopes
Use Envelope > Delete (Edit menu) return an object to its original shape by removing
the envelope.
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.
envelope removed
Adding borders to lettering

You can create borders such as rectangles, ovals, and shields for lettering
objects using the Crests symbol set. When you add a border, you may resize
and center it to fit around the lettering objects.

To add borders to lettering
2 Click Insert Symbol.
The Symbol Selection dialog opens.
Select
border
Click to use
selected border
3 Select Crests from the Symbol Set.

4 Select a border.
Tip When you click a symbol, a letter appears in the Selection field.
This letter indicates the key combination required to type that border
directly on-screen. For example, ‘b’ means press the b key while ‘B’
means press Shift + B.
The selected border is displayed in the text entry panel of the Lettering
tab.
6 Click OK and continue creating the lettering object in the normal way.

Adjust the border, resize or center around the lettering object as
required. See Team lettering for details.
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,
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
Use Team Names (Generate toolbar) to create 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
installation’s ...\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.

Add new
group
2 Click Add in the Group panel.

The Group Name dialog opens.
Enter group
name
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.
new group
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
Use Team Names (Generate toolbar) to add individual members to a

group.
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


Select group
Add new
member
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 dialog opens.
Add first name
Add second name
Add third name
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.
The name is added to the Group Members list.

name added
Adding multiple members to name groups
Use Team Names (Generate toolbar) to add multiple members to a group.
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

Select group
Select Quick
Names
2 Select a group from the Group list, or create a new one.

See Creating name groups for details.
3 Click Quick Names.
The Quick Names dialog opens.

Enter names
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.
names added
Add/edit/delete
names
Tip Edit the list by using Add, Delete and Edit.
Creating team name designs
Use Team Names (Generate toolbar) to associate multiple names with a

design.
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.
To create a team name design

1 Open the design you want to use.

Select group
Add all or
selected names
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.
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 required — e.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.
Set naming
order options
Sort names
alphabetically
Remove all or
selected names
Adjust lettering
format
8 To adjust lettering format settings, click Show Properties.

The Object Properties - Lettering dialog opens. The text entry panel
is grayed out, indicating that you are entering lettering by a different
method to normal.

text entry
panel grayed
out
Tip You have the opportunity to change lettering 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 lettering settings as required.
See Creating lettering with the Lettering dialog for details.
10 Click OK.
Depending on your baseline selection, you may be prompted to enter
reference points. See Applying lettering baselines for details.
ES Designer generates stitches for all names in the Team Members list.
The associated Team List dialog opens automatically, the first Team
Member name in the list is selected and is visible in the design window.
Select names to
view on-screen
11 Select names one-by-one from the Team List to view them together
with the design.

Viewing and editing individual team names
Use Team List (Standard toolbar) to view and edit 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.
To view and edit 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 List dialog opens. By default all member names are selected.
Click to select
column
Select name to
view on-screen
Click to sort
selected names
alphabetically
View properties of
selected names
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 the column, then click the Sort button.
4 To view and/or edit a selected team member’s object properties, click
Show Properties.
Edit text for

individual
names
Adjust settings
for individual
names
Adjust lettering settings as required, then click OK. See Creating

lettering with the Lettering dialog for details.
5 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 Adjusting Lettering Layout for details.
6 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 baselines 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.
10 Click X in the top corner of the dialog to close.

All Team Member
names visible and
selected
Note When the Team List dialog is closed, all Team Member names
become visible and selected in the design window.
Editing team names by column
You can easily set properties, such as size or color for an entire column of
names. For example, make the given name a different color, format or size.
To edit team names by column


Click to select
column
Click to sort
selected names
alphabetically
3 Click the tab at the top of a column to select a column.

4 Click the Lettering Box icon.
The Lettering Box dialog opens.
Change lettering
settings
5 Change lettering settings as required.

6 Press Enter.
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

Select names
to use
Click to create
individual designs
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.
6 Enter a new name for the design and click Save.

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.
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.
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 names —
i.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 combination —
e.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.
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:
Justification Auto Start / End Point
Align Left Bottom Left
Center Bottom Middle
Align Right Bottom Right
Justify Bottom Left
5 Click OK to return to the Save As dialog.

6 Click Save.

Chapter 27
Custom Alphabets
Turn any TrueType font installed on your system into an embroidery

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. It
also describes how to create and modify your own custom alphabets and
letters. Alphabet merging is also explained.
Converting TrueType fonts to embroidery fonts

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
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
Use Lettering (Input toolbar) to add TrueType lettering directly on-screen.

Right-click to set the formatting values for new or selected lettering
objects.
You can convert individual TrueType letters ‘on the fly’ and add them directly
to a design through the Lettering tab of the Object Properties - Lettering
dialog.
To convert individual TrueType letters

Enter letters
Select a TT Select Values

font
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 Conversion Values.
V9 Chapter 27 Custom Alphabets 586

The Conversion Values dialog opens.
Select lettering
style
Select Turning
Strokes for variable
stitch angle
Select Complex Fill

for fixed stitch angle
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 list —
Regular, Bold, Bold Italic or Italic.
6 If you want the stitching to follow the contours of the letters, select
Turning Strokes. Otherwise select Complex Fill.
The Turning Strokes option has preset values adjusted for the
particular alphabet style. The Complex Fill option lets you adjust the
stitch angle.
Turning Strokes Complex Fill Complex Fill

stitch angle 0º stitch angle 30º
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.
Match Ends OFF Match Ends ON —

stitches parallel to
baseline
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 Corners — if the stroke bends sharply, like
the letter A, it will be split or capped.
Break Angle Break Angle 87º

OFF — no split
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.
Create Overlaps Create Overlaps

OFF ON
10 Select the Separate Serifs checkbox if you are converting a serif font.

Separate Serifs Separate Serifs
OFF ON
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.
! 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.
Corner Detection Angle 150º Corner Detection Angle 30º

Corner Fraction 0.6 mm Corner Fraction 1.0 mm
12 Click OK to return to the Object Properties - Lettering dialog.

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.

Converting complete TrueType alphabets
Use Convert TrueType Font (Special menu) to convert a TrueType font into an
embroidery alphabet.
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.
Arial with Regular font style Arial with Bold font style Arial with Italic font style
Note The conversion usually only takes a few minutes, although Asian fonts
may take longer.
To convert complete TrueType alphabets

1 Select Special > Alphabet > Convert TrueType Font.
The Convert TrueType Font dialog opens.
Select font
Select font style
Set values
Enter font
name Choose standard or
extended character
set
2 Select the font to be converted and font style.

Arial Regular Arial Bold Arial Italic

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 override 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.
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 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
Right-click Lettering (Input toolbar) to convert 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.
Complex Fill with

stitch angle of 0º

TrueType font Select

appears in Conversion
Alphabet list Values

The Conversion Values dialog opens.
Choose between
Complex Fill and
Turning Strokes
conversion method
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 - Lettering dialog.
The lettering object fill method will change as required.

letters converted to
Turning Strokes
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 characters.
Note You can also create new alphabets by converting TrueType fonts. See
also Converting TrueType fonts to embroidery fonts.
Choosing artwork to create custom alphabets

You can use artwork to create alphabet characters 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.
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.
differences in column
width too great
serifs too long and fine corners too sharp

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.
letter height
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.
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.
letter width letter width
spacing
increased
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 characters
You can digitize letters from backdrop images, convert drawing 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 don’t
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.
To digitize custom characters

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
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.

underlaps
! 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.
overlap / underlap
! 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 character. See
also Saving custom characters.
Saving custom characters
Use Alphabet > Make Letter (Special menu) to create a new character.
When you create a new character, 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 characters

1 Digitize the objects that make up the new letter, and select them.
Select whole
character
2 Select Special > Alphabet > Make Letter.

The Make Letter dialog opens.
Select alphabet
Enter character name
Enter reference height
Select to set height on-screen
Deselect to include functions
3 Select an alphabet from the Alphabet Name list.

See also Saving custom alphabets.
4 Enter a name for the character or symbol in the Letter field.
For example, if you digitized the letter H, enter H in the Letter field.
Tip You can create names of multiple characters to identify symbols or

accented letters, for example Star for a star symbol, or e-acute for é.
See also Selecting custom alphabets.
5 In the Reference Height field, enter a character height.

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 preserve any machine
functions deliberately inserted into the letter.
The letter may, for example, include deliberate color changes or other
machine functions. Deselect Remove Functions for alphabets that use
As Digitized as the join type. See also Changing lettering join method.
7 Click OK.
Follow any instructions in the Prompt Line.
8 Mark two reference points to set letter spacing.
Standard spacing means that the distance between reference points is
the character width. You can increase this as required.
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.
10 Click OK.
A message confirms that the character has been created.
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.

Select whole
character

Click to create
new alphabet
3 Click New.
The New Alphabet dialog opens.
Enter alphabet name
Enter default spacing
Select join method
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 characters for details.
9 Click OK.
Selecting custom alphabets
Right-click Lettering (Input toolbar) to select a custom alphabet.
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

Select custom
alphabet
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 name was a single letter — for example A — type that letter.
! If the name was more than one letter — for example Star — type a
tilde (~), type the letter name, then type two tildes. For example
~Star~~.
Tip You can combine characters that use single or multiple letters in
their name, for example ~Star~~ABC~Star~~.

4 Set the formatting values as you would for other lettering objects.
See Formatting lettering for details.
5 Click OK.
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
Use Alphabet > Modify Alphabet (Special menu) to modify custom 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.
Select Click to rename

alphabet alphabet
2 Select an alphabet from the Alphabet > Name list.

! To rename the alphabet, click Rename. Enter a new name in the
Rename Alphabet dialog and click OK.

Enter new
name
! 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 letter, word and line
spacings.
! 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.
Renaming and deleting custom letters
Use Modify Alphabet (Special menu) to rename, delete or reshape letters within
custom alphabets.
Rename, delete or reshape letters within custom alphabets.
To rename or delete custom letters

1 Select Special > Alphabet > Modify Alphabet.
The Modify Alphabet dialog opens.
Select
alphabet
Select letter
2 Select an alphabet from the Alphabet > Name list.

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.
Enter new
name
Tip You can use names with more than one character.
4 Click OK.
Reshaping custom letters
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.
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.
To reshape custom letters

1 Select a letter.
2 Select Arrange > Ungroup.

The letter is ungrouped into its component objects.
ungrouped into
component objects
3 Click the Reshape Object icon and reshape the objects as required.
Reshape
objects
4 When you have finished reshaping, select the objects.

Select alphabet
Select letter name
6 Select the alphabet to which the letter belongs from the Alphabet
Name list.
7 Select the letter name from the Name list.
Note To save the letter under a different name, enter a new name.
8 Click OK.
9 Confirm you want to replace the old character with the new.
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.

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
machine’s specific requirements. See Changing Machine Formats for details.

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 appliqué 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.

Chapter 28
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 formats — ‘outline’ format or
‘stitch’ format.
Note For details of specific formats supported by ES Designer, see

Supported embroidery file formats. See also Comparison of outline and
stitch format information.
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 Designer, corresponding stitch types, input methods and effects are
applied.

Complex
Fill object
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, 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
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 also
Embroidery Disks and Paper Tapes.
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 functions — e.g. color changes or trims — are detected
in the design. They have only General and Connector properties. Manual
objects, in turn, consist of individual stitches, called Manual stitches.

Manual
object
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
should not scale stitch designs by more than ±5% or some areas may be
too thickly or too thinly covered.
V9 Chapter 28 Processing Design Files 610

original stitch scaled stitch
design design opened
without
object/outline
recognition
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 types – Native Design, Imported Outlines, Processed Stitches, or
Imported Stitches.
File source Description
Native Design Designs created in ES Designer (or equivalent).
Imported Outlines Designs read from non-EMB outline – CND or PCH –

where 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.
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 design – e.g.
add a lettering object – the status changes to Processed
Stitches even though the imported stitches may not have
been regenerated.

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
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
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
decoding options to determine how to convert the design. Options vary with
the type of stitch file you select.
Note Decoding 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.

Select format
2 Select a stitch format from the Files of Type list and select the file to
open.
3 Click Options.
The Decoding Options dialog opens.
Select
Objects/Outlines
4 Select the Objects/Outlines checkbox.
Note Depending on the file type selected, different options are

available.
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.

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 Check the status of your embroidery machine as required, then select
the correct setting — Speed1 or Speed2 — from 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.
9 Click Advanced to set advanced recognition options.
See Adjusting advanced recognition settings for details.
10 Click OK.
11 Click Open.
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.
Manual
object
Input A
object

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

disk.
2 Select a stitch format from the Files of Type list and select the file to
open.
3 Click Options.
Deselect
Objects/Outlines
4 Deselect the Objects/Outlines checkbox.

5 Set other decoding 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.
Manual
object
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.
! 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
Use Process (Generate toolbar) to adjust stitch density of the whole or

selected parts of a design.
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

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.
Manual
object

Enter target
stitch count
Adjust advanced
recognition
settings
Adjust stitch
densities
Adjust Pull
Compensation
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.
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.
manual object
converted to
Input A and Run
objects, or left as
Manual
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 styles — Tatami and Satin — their properties — stitch
length and spacing — and edge effects, such as stitch shortening. Default
settings, however, cannot always guarantee the best results as the variety
of embroidery designs is virtually unlimited.

original design
opened without stitch
recognition
opened with stitch

recognition -
pattern splits recognized
as Tatami
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 Decoding Options dialog.
See Opening stitch files with object/outline recognition for details.
2 Click Advanced.
The Recognition - Advanced Options dialog opens.
Select to recognize
Tatami stitches
Select to recognize
random needle Select to
penetrations recognize
Jagged Edges
Select to recognize
Satin stitches
Select to
recognize Splits
Select to recognize
Run stitches
Set Space and Select Segments

Stitch Length Resolution and
Rounding Merging Factors
3 In the Tatami panel, set conversion options for Tatami.

! In the Stitch Spacing fields, enter the range of acceptable stitch
spacing for Tatami fills. If the row spacing falls out side this range
it will not be converted to Tatami.
! To allow random needle penetrations, select the Random Factor
checkbox. Deselect the Recognize Splits checkbox to detect
Random Factor more accurately.
! If you do not want to convert any fills to Tatami, deselect the
Recognize Tatami checkbox.
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
4 In the Satin panel, set conversion options for Satin.

! In the Stitch Spacing fields, enter the spacing range to recognize.
! If you do not want to recognize Satin in the design, deselect the
Recognize Satin checkbox. Segments will be identified as Manual.
Satin Spacing range 0.5 mm

to 5.0 mm
Satin Spacing range 0.1 mm

to 2.0 mm
5 In the Run panel, set conversion options for Run.

! In Max Stitch Length field, enter the maximum stitch length to
recognize.
! In the Length Variation field, enter the percentage the stitch length
can vary in Run objects.
! If you do not want to recognize Run in the design, deselect the
Recognize Run checkbox. Segments will be identified as Manual.

Run Max Stitch length 4 mm.
Length Variation 10%
Run Max Stitch length 4 mm.

Length Variation 90%
6 In the Parameter Consistency panel, set options for Complex Fill

segment recognition.
! Spacing Rounding: has the same ‘snap’ effect as Stitch Length
Rounding and is applied to Tatami and Satin fill styles.
! Stitch Length Rounding: sets the variation for Tatami stitch
lengths.
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.
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
7 In the Effects panel, indicate whether to recognize the Jagged Edge

effect.
You can specify a minimum value in millimeters; anything greater than
this will be recognized as Jagged Edge. Deselect this option to
guarantee that outlines are not corrupted by the set Jagged Edge effect
in the regenerated design.
Jagged NOT selected, border

object recognized as Manual
Jagged selected, border

object recognized as jagged
edge

8 In the Splits panel, select Recognize Splits to recognize splits in the
design.
! Recognize Splits: If not selected, any splits in the design will be
interpreted as Tatami. If selected, the following options become
available.
Program Split object

recognized
Program Split objects

partially recognized
! Program Splits as User Defined Splits: this provides greater

reliability in preserving split patterns in complex designs.
User-defined splits, however, have limited scalability.
! Recognize Auto Splits: select to recognize Satin stitches with Auto
Split applied. Otherwise, patterns created with Auto Split will be
recognized as Tatami.
! Recognition Level: increase percentage value to restrict
recognition of Program Splits. Decrease value to increase
recognition. A low percentage number will detect more areas as
Satin with User Defined Split than Tatami.
Note 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.
User Defined Split
Auto Split
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 blocks — e.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 old 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
segments/objects. In practice there is always a compromise between
design recognition quality and the minimum number of correctly
identified segments/objects.
Spacing: 0.5 mm,

Height: 2 mm
Spacing: 3 mm,
Height: 4 mm
recognized objects in
different color
10 Click OK.
Tip To revert to the original conversion settings, click Reset.
Processing 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.
Opening Melco CND outline files

When you open Melco CND files, the Melco stitch types used in the design
are converted to ES Designer stitch types — Satin, Run, Tatami, etc. You
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.
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

disk.

Select CND
format
2 Select Melco (CND) from the Files of Type list and select the file to
open.
3 Click Options.
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.

Scale Factor Scale Factor
X: 1.00 X: 0.50
Y: 1.00 Y: 1.00
5 In the Adjust panel, enter the spacing 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.
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.
Saving designs in Melco CND format

You can save files to Melco CND format from ES Designer. Designs originally
created in ES Designer generally give the best results. Other file types may
not have all the data necessary for successful conversion.
If you intend to save a file in CND format, you should only use input
methods, stitch types and effects that are compatible with Melco EDS-III
software. Some stitch quality features, stitch types, and decorative fills and
effects do not convert well to CND format.
ES Designer has two save as CND output options — Superstar Compatible
and Output Tatami as Complex Fill. Superstar-compatible machines do
not have trimmers. The Output Tatami as Complex Fill option is for
controlling Turning Tatami fills.
Trim functions
If you want to stitch a design to a machine without trimmers, then set
machine values to not output Trim codes. Then digitize the design for
manual trimming. Early versions of CND do not support Melco Trim codes.
In this case, set the machine format values to output Trims as Jumps. See
also Modifying standard machine formats and Adding connectors manually.
Turning Tatami fills

When you save to CND format, you need to specify how to convert turning
Tatami stitches. Objects with curving Tatami stitches — e.g. Input A objects
— are not supported by early versions of CND format. For
Superstar-compatible machines, turning Tatami stitches are simply
converted to Walk stitches, the EDS equivalent of Manual. For earlier
machines, Turning Tatami fills need to be converted to normal Tatami — i.e.
with a single stitch angle — then to Normal Fill, the EDS equivalent of normal
Tatami.
To save designs in Melco CND format

2 Select Melco (CND) from the Files of Type list.

3 In the File name field, enter a name for the design.
4 Click Options.
The Save Options dialog opens.
5 Select the required option for converting Turning Tatami fills.

! Superstar Compatible: converts Turning Tatami to Walk (EDS
equivalent of Manual). Complex Fill Tatami is output as Normal
Fill (EDS equivalent of Tatami).
! Output Tatami as Complex Fill: converts Turning Tatami fills to
normal Tatami — i.e. with a single stitch angle — then to EDS
Normal Fill.
Note These functions are also available when you send a CND design
for stitching.
6 Click OK.
7 Click Save.
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
such as MS Notepad. The text file must have the same file name as the CND
file — e.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:
Fish
Uses curve effects
File: Fish
55.9mmW X 74.5mmH
ST: 6,780
Colors: 8
1. Tropical Sunset
2. Saffron
3. Pale powder Blue
4. Tropical Sunset
5. Pale powder Blue
Curve effect
6. Tropical White
7. Tropical Sunset
8. Pale powder Blue
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 Fish

in File > Information > Design
Properties > Subject.
Comments Lines inserted here appear under File > Uses curve effects
Information > Design Properties >
Comments.
File name This is the file name of the CND design file. File: Fish
!
The file extension should not be included.
Design size Enter the expected design size for the 55.9mmW X
design. The actual design size is derived 74.5mmH
from the software.
Stitch count Enter the expected stitch count for the ST: 6,780
design. The actual stitch count is derived
from the software.
Number of colors States the total number of colors in the Colors: 8

!
design.

Text file element Mandatory Description Example
Thread name 1 Enter the first thread name. The name of 1. Tropical Sunset
the thread is searched against the Thread
! Chart. The thread name is shown in the File
> Design Properties > Stop Sequence
tab.
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 Place comments below the relevant thread Curve effect

comments number.
Thread name 6 ! 6. Tropical White
Thread name 7 ! 7. Tropical Sunset
Thread name 8 ! 8. Pale Powder Blue
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

2 Select a CND design.
3 Click Options.
The Condensed File Input Values dialog opens.

Select thread
chart
Assign colors
manually
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 are using Auto Color Merge from an associated text file, select
a thread chart from the dropdown list.
Note The thread colors nominated in the text file will correspond to the
selected thread chart. If the color name does not correspond, it will
default to black.
6 Click OK.
no chart selected — default colors one color not correctly matched — original colors correctly assigned
assigned defaults to black from text file
The design opens, the stitches appear in the correct thread colors, and
the color palette displays the selected thread chart.

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 you can
color code stitch file designs which do not contain needle addressing
information before opening the file.
without color code with color code

assignment assignment
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 Check the production worksheet for the stitch file.
number of Stop
changes in design
(e.g.4)
thread chart for
selected file
number of color
changes in design
(e.g. 4)


3 Select a stitch file or CND design.
4 Click Options.
Select Define Stop

Select
Sequence
Custom
5 Select Custom and click Define Stop Sequence.

The Define Stop Sequence dialog opens. Initially the Building Stop
Sequence grid is empty.
Select thread
chart
Select color
6 Select a thread chart and first color.
Click Assign
Color
7 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.
8 Click Assign Stop to enter an explicit Stop code.
Stop is entered in the Description field.

Click Assign
Stop
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.
9 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 you’ve only selected two in the
Building Stop Sequence list, colors 3 & 4 will be the same as
original colors 1 & 2.
Select how extra

stops are to be
interpreted
10 Repeat the operation as many times as indicated in the production

worksheet.
11 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.

Chapter 29
Changing Machine Formats
Different embroidery machines speak different languages. They have their

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
machine’s specific requirements.
Selecting machine formats
Use Select Machine Format (Machine menu) to change the machine format.
When you create a design, you need to select an embroidery machine

format for it. You can change the machine format for a design at any time.
Note You do not need to change the design’s native machine format in
order to output to a different machine type. See Outputting to different
machine formats for details.
To select machine formats

1 Select Machine > Select Machine Format.
The Select Machine Format dialog opens.

Select a machine
format
2 From the Available Machine Formats list, select the required machine
format.
3 To check the settings for the selected format, click Values.
See also Adjusting standard machine format settings.
4 Click OK.
Note If a selected machine format does not support a particular

function in the design — either automatically or manually inserted — it
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 design — either
automatically or manually inserted — it is simply ignored.
Note To change the original format, see Selecting machine formats.
To output to different machine formats

! Select File > Stitch to Stitch Manager, then select a different format
from the Output as Machine Format list.
! Select File > Embroidery Disk > Save As, then select a different
machine format from the dropdown list.
! Select File > Paper Tape > Punch, then select a different machine
format from the dropdown list.

Select machine
format
Creating custom machine formats

ES Designer provides standard formats for most machines. However, if your
machine is different, you may need to customize the machine format
settings. For example, if you have different models of the same type of
embroidery machine, different functions may require different values. There
are two ways to customize machine formats:
! Create a new format, based on the original, and make it available to all
designs. See Creating custom machine formats for details.
! Modify the format for a specific design, creating a custom format to use
only with that design. See Customizing machine formats for specific
designs for details.
Note If necessary, you can update the standard machine format itself.
However, you should only do this if the original values are no longer used.
See Modifying standard machine formats for details.
Creating custom machine formats

You can create a new machine format based on a standard machine format,
and make it available to all designs.
To create custom machine formats

1 From the Select Machine Format dialog, select a machine format on
which to base the new format. See Selecting machine formats for
details.
2 Click Create.
The Machine Format Values > Standard tab opens.
V9 Chapter 29 Changing Machine Formats 638

Enter format
name
Adjust settings
3 In the Format Name field, enter a name for the new format.
The name of the format you based it on and a number appear as the
default — e.g. Melco - 1.
4 In the Comment field, enter any information that will help you identify
the machine format — e.g. No Trim.
5 Adjust the machine format settings as required.
See Adjusting standard machine format settings for details.
6 Click the Advanced tab and adjust the settings as required.
See Adjusting advanced machine format settings for details.
7 Click Save.
The new format appears in the Available Machine Formats list.
8 Click OK.
Customizing machine formats for specific designs
Use Select Machine Format (Machine menu) to customize machine formats for
specific designs.
You can create a custom machine format for use with the current design.
Use this feature if you need to modify machine format values for a design
without changing the original format. The custom format appears in the
selection list.
Note The custom format is based on the selected machine format for the
design. If you want to base it on a different machine format, select it from
the Select Machine Format dialog. See Selecting machine formats for
details.

To customize machine formats for specific designs
1 Select Machine > Machine Format Values.
Adjust
settings

Note You cannot change the Name or Comment fields. The custom
machine format is automatically named using the original machine
format and design name — e.g. Melco - Design1.
4 Click OK.
A new machine format is created for the design. It appears in the Select
Machine Format dialog and is saved with the design.
Modifying standard machine formats

If the standard machine values are incorrect for your particular machine,
you can change them.
Note You should only modify the standard formats if you no longer require
the original values. Otherwise see Creating custom machine formats.
To modify standard machine formats

1 From the Select Machine Format dialog, select a machine format to
modify.
See Selecting machine formats for details.

Select a format
Click Values
2 Click Values.
5 Click Save.
6 Click OK.
Checking control commands

If you change the machine format of a design that contains manual machine
functions, you may need to check whether the functions are compatible with
the new format. Generally, functions that cannot be performed by the new
machine type are simply ignored. If an ignored function was inserted on an
empty stitch or empty jump, the stitch or jump is automatically removed.
Sometimes, however, functions may not be correctly translated. For
example, trim commands may be misinterpreted, as some machines use
trim codes, and others a sequence of jumps.
Note If a function is not available in the new machine format, the word
Ignored appears in brackets after the function name.
To check control commands

! Travel to the position of the machine function. See Traveling by machine

! Alternatively, use the Stitch List to identify and select a given machine
function. See Editing stitches and functions with Stitch List for details.
The machine function name appears in the Prompt line. Extra
information may appear in brackets after the function name — e.g.
needle number.
Removing custom machine formats

You can remove custom machine formats from your system when they are
no longer required.
To remove custom machine formats

1 Access the Select Machine Format dialog and select a machine format
to remove.
See Selecting machine formats for details.
Note You cannot remove machine formats that come with the software.
You can only remove a custom format which you created.
2 Click Remove.
A confirmation box appears.
3 Click Yes to confirm the deletion, then click OK.
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.
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, or automatic jump length.

To set machine stitch and jump values
1 Access the Machine Format Values dialog.
! See Creating custom machine formats for details.
! See Modifying standard machine formats for details.
Note Only fields relevant to the selected machine format will appear.
Enter maximum stitch length

Enter minimum stitch length
Enter maximum jump length
2 In the Standard tab, enter the Maximum Stitch value. The value you
enter depends on the tape code used by your machine:
! Binary coding system: 12.7 mm (e.g. Barudan machines)
! Ternary coding system: 12.1 mm (e.g. Tajima machines)
3 In the Minimum Stitch field, enter the smallest stitch to allow when
outputting to the selected machine format.
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 length of jumps.
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.
6 Click OK.
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

Select to output
trim functions
2 In the Standard tab, 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.
! Code: for machines that use specific trim codes.
4 Click Save.
5 Click OK.
Setting color change functions

Machines interpret the Color Change function differently — either as a
Needle Number or Stop command.
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

Convert color change

functions to needle
number commands
Return needle to start

of design
2 In the Standard tab, select the method to use to interpret color change
functions.
! Needle No: converts color change functions to needle number
commands.
! Stops: converts Color Change functions to Stop commands.
! Stops and Jumps: converts Color Change functions to Stop and
Jump commands.

! Needle Numbers and Jumps: converts Color Change functions to
Needle Number and Jump commands.
3 For needle-addressing machines, enter the number of needles on the
machine in the Number of Needles field.
4 Select the Use Group Addressing checkbox as required.
Some machines can group two heads together so you can stitch a design
using needles from both heads. For example, if a machine has two heads
and nine needles per head, the machine moves the hoop from the first
head under the second head, which allows you to stitch 18 colors
without a manual change.
Note If this is the case, enter the combined number of needles on the
machine in the Number of Needles field.
5 Select the First CC required checkbox as required.
Some machines require a First CC code to initialize the machine and
bring the head back to the first color change needle position.
6 Select the Return to Start checkbox as required.
This returns the needle to the start of the design, preparing the machine
for the next run of the same design.
7 Click Save.
8 Click OK.
Setting borer functions

Some embroidery machines are equipped with a borer. The borer often
replaces one of the needles. You need to specify the needle position of the
borer and its offset value.
Borers are often ‘knife’ attachments where the cutting position is offset
12 mm from the main needle. Before the machine starts, the frame moves
so that the borer is in the correct position. This extra frame movement
compensates for the borer offset. Some machines automatically adjust for
this offset when a Borer In function is encountered. These machines should
have an offset value of 0. Similarly, if you are using a boring needle (instead
of a knife), you do not need an offset value. See your embroidery machine’s
manual for details.
To set borer functions


Enter borer offset

Enter needle number of
borer
2 In the Standard tab, enter the required borer offset in the Offset field.
! If your machine automatically inserts an offset when a Borer In
function is encountered, enter an offset of 0 mm.
! If your machine requires an offset value, enter an offset of 12.0 mm.
3 In the Needle Number field, enter the needle number to which the
borer is attached.
4 Click Save.
5 Click OK.
Setting end-of-design functions

Some machines require an explicit End of Design function code in order to
recognize when the end of the design has been reached. Some machines do
not understand the End of Design function code, requiring a Stop code
instead. For example, Tajima machines recognize the explicit End of Design
function code while Happy machines require a simple Stop. See also Setting
the Start of Design / End of Design sequence.
To set end-of-design functions

Select relevant
code
2 In the Standard tab, select the appropriate option in the End of Design
panel for your machine:

! End of Design: some machines require an explicit End of Design
function code — e.g. some Tajima machines.
! Stop: some machines require a Stop code instead — e.g. Happy
machines.
3 Click Save.
4 Click OK.
Adjusting advanced machine format settings

The Advanced tab lets you set additional machine format options. Again,
the available settings depend on the selected machine format. You can set
the color change sequence, insert special codes for the start or end of a
design, and enter speed settings. There are also miscellaneous settings,
including whether to change the fabric tension during boring, and whether
to rewind tape when stitching is complete.
Warning Only change Advanced values if you are familiar with the codes
used by your embroidery machine.
Setting the color change sequence

Some machines cannot interpret Color Change commands unless they
form part of a ‘color change sequence’ made up of empty stitches and empty
jumps before and after each Color Change command. Check the
requirements of your machine to determine whether you need to enter color
change sequence values.
In the Advanced tab, the Color Change Sequence panel reads from top
to bottom, in the order the codes appear in the sequence. The first two fields
show the number of Empty Stitches and Empty Jumps to insert before
the Color Change command. The other fields show the Empty Jumps and
Empty Stitches to insert after the command.

Color Change Sequence in Stitch List
corresponds to sequence defined in
Machine Format Values Advanced tab
To set the color change sequence

Enter number of Empty

Stitches and Jumps to insert
before Color Change

Jumps and Stitches to insert
after Color Change
2 Click the Advanced tab and enter the Color Change sequence.
! In the first 0:0 field, enter the number of empty stitches to insert
before the Color Change.
! In the first 0:0 Jump field, enter the number of empty jumps to
insert before the Color Change.
! In the second 0:0 Jump field, enter the number of empty jumps to
insert after the Color Change.
! In the second 0:0 field, enter the number of empty stitches to insert
after the Color Change.
3 Click Save.

4 Click OK.
Setting the Start of Design / End of Design sequence

In addition to any End of Design function, some machines require extra
more empty stitches and empty jumps in order to stitch the start and end
of a design. Other machines require a Stop function. Depending on the
machine type, you may also require commands to initialize the machine or
trigger the frame-out command after stitching.
Note Remember that these fields show the number of extra codes you
want to insert in addition to the default settings.
To set the Start of Design/End of Design sequence


Jumps and Stitches to insert
at end of design

Stitches and Jumps to insert
at start of design
2 Click the Advanced tab and enter the Start of Design sequence.
! In the 0:0 Jump field, enter the number of empty jumps to insert
at the start of the design.
! In the 0:0 field, enter the number of empty stitches to insert at the
start of the design.
3 In the End of Design panel, enter the end of design sequence.
! In the second 0:0 Jump field, enter the number of empty jumps to
insert at the end of the design.
! In the 0:0 field, enter the number of empty stitches to insert at the
end of the design.
4 Select the Set Needle Number checkbox as required.

This option initializes the machine and brings the head back to the first
color change needle position.
Initialize machine
and bring head back
to first needle
position
5 Select the Frame Out checkbox as required.

This option triggers the frame to exit after stitching the design.
Trigger frame to exit

after stitch out
6 Click Save.
7 Click OK.
Setting speed options

Some machines can stitch at different speeds. Depending on your machine,
you may then be able to select different speeds to use when you start
stitching or for when the borer is engaged. You need to first assign the
speeds as Speed 1 and Speed 2 in the Machine Format Values dialog.
To set speed options

Select speed
options
2 Click the Advanced tab.

3 Select the Boring Auto Speed Changes checkbox as required.

This option slows the machine automatically whenever the borer is
engaged.
4 From the Start list, select the preferred starting speed — Fast or Slow.
5 From the Fast list, select the faster setting on your machine — Speed
1 or Speed 2. Check your machine manual for details.
6 Click Save.
7 Click OK.
Setting miscellaneous advanced options

Depending on the selected machine format, you may also be able to select
whether to reduce the tension on the fabric while boring, and indicate
whether to rewind the tape when stitching is complete.
To set miscellaneous advanced options

Set miscellaneous
options
2 Click the Advanced tab.

3 Select the Tension Control for Boring checkbox as required.
This option reduces the fabric tension when the borer is engaged.
4 Select the Stop before rewind at end checkbox as required.
This option stops the machine at the end of the design and rewinds the
tape.
5 Select the Rewind with Jump at end checkbox as required.
This option inserts a jump at the end of the design and rewinds the tape.
6 Click Save.
7 Click OK.

Chapter 30
Outputting Designs
You can output embroidery designs in a variety of ways — saving to

embroidery disk, punching to paper tape, sending appliqué shapes to a
cutter, or sending directly to machine for stitching.
Note Wilcom ES provides alternative means for sending designs directly to

embroidery machine for stitching. Depending on your software options, you
can send the design to a machine using either Stitch Manager or ES Machine
Manager. Stitch Manager is described in this section. ES Machine Manager
is described in a separate ES Machine Manager Supplement.
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.
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 appliqué shapes is also covered, as well as
stitching designs with Stitch Manager.

Note For details of reading from and writing to embroidery disk and paper
tape, see Embroidery Disks and Paper Tapes.
Creating production worksheets

The production worksheet is the link between the designer and the
embroidery machine operator. It contains a design preview as well as
essential production information, including the design size, the color
sequence and any special instructions. You can customize production
worksheets before printing. You can also print multiple colorways, icons of
color blocks, and backgrounds.
Note If certain thread colors are not available on your printer, they may be
mapped to a different color, including white. If a color is mapped to white,
it will be invisible on the worksheet. Print the design in TrueView™ color, or
black and white, or turn off color mapping. See your printer manual for more
information.
Printing or plotting production worksheets
Use Print (Standard toolbar) to print a production worksheet for the

current design using the current settings.
Create a hard copy of the production worksheet using a printer or plotter.

Set worksheet and printer options before you print, or use the current
options.
Tip Preview the production worksheet before you print to check whether it
is correct. See Previewing production worksheets for details.
To print or plot a production worksheet

1 Select File > Print.
The Print dialog opens.
2 Select the printer or plotter you want to use, and enter the number of
copies of the worksheet you require.
V9 Chapter 30 Outputting Designs 654

Note To customize the worksheet, click Options, and change the
settings as required. See Setting production worksheet print options for
details.
3 If you are using a plotter, click Properties, and set the pen colors to
correspond with the thread colors in the design.
Refer to your plotter’s manual for information on setting up pen colors.
4 Click OK.
Setting production worksheet print options

Set production worksheet options to show the information you want in the
format you require. You can specify the data to print, graphics to include,
zoom factor, and general options such as company name. You can use a
color printer or a plotter to produce production worksheets. If you are using
a color printer, you can print in TrueView™.
To set worksheet print options

1 Access the Print dialog. Either:
! Select File > Print.
! Select File > Print Preview.
2 Click Options.
The Print Options dialog opens.
Select worksheet
or appliqué
Set zoom factor

Select for design
information type preview
to include
Select graphical Select other

features to ‘general’ options
include

3 Select the option to print a production worksheet or appliqué patterns.
4 In the Information to Print panel, select the information type to
include.
! Full information: shows details specified in the Customize
Worksheet dialog. See Customizing production worksheet
information for details.
! Short information: shows summary information about the design.
This and the previous option include information provided in the
Summary tab of the Design Properties dialog. See Viewing design
information in ES Designer for details.
! Stop sequence: lists all stops in the design together with the stitch
number at which they occur, color number, and thread color name
and brand. See also Printing multiple colorways.
! None: shows the design preview only.
! Current Colorway: prints the design in the current colorway only.
! Selected Colorways: prints multiple colorways. See Printing
multiple colorways for details.
5 In the Zoom panel, set the zoom factor for the design preview. This
controls the size of the preview on the worksheet.
! 1.0: shows the design at its actual size.
! Show All: scales the design to fill the available space on the
worksheet.
! Custom: lets you set a specific zoom factor.
6 In the Graphics panel, select the graphical features to include.
If you select TrueView™, the Draft Quality checkbox becomes
available. Select this checkbox for quicker printing at lower resolution.
Tip Click Standard to reset the printing options to the original values.
7 Click Display Repeats to set display options for Schiffli repeats.
This is only available with the Schiffli Option. See the Schiffli Option
Supplement for details.
8 In the General panel, select the other options you require.
! Print in English: deselecting this checkbox prints worksheets in the
same language as the Windows operating system. This feature is
useful when printing to plotters where the device driver does not
support the character set you require.
! Extents Box Around Design: places an outline around the design.

! Company Name: prints a specified company name on the
worksheet. Select a company name from the list, or enter a new one.
! Color Film: prints color blocks in the design as they appear in the
Color List. Consecutive objects of the same color form a single
‘color block’. See also Selecting and viewing objects with the
Color-Object List.
9 Click OK.
Customizing production worksheet information

You can fine-tune production worksheet information when Full Information
is the selected text option.
To customize production worksheet information

2 Click Options.
3 In the Text to Print panel, select the Full Information checkbox.
4 Click Customize.
The Customize Worksheet dialog opens.

5 In the Blocks to Print panel, select the design statistics to include on
the worksheet.
! Left/Right/Up/Down: the margins between the edges of the design
and the edges of the design area.
! End X/Y: the coordinates of the last stitch.
! Max/Min Stitch: the maximum and minimum stitch lengths in the
design.
! Thread Chart Type: the thread chart name used in the design.
! Thread Usage: thread usage statistics by color.
! Total Bobbin: total bobbin thread length.
6 In the Columns in Stop Sequence panel, select the statistics for each
color block.
! Stitch Count: number of stitches per color.
! Needle Number: the needle number stitching each color block.
! Brand: name of the color (may vary from name of thread chart).
! Element Name: user-defined name to identify each color block. See
Assigning element names for details.
! Show Colors in Summary: includes actual color samples in the
colorways summary table/s. See also Printing multiple colorways.
7 By default, text prints on the right of the page. Select the Use Left Side
checkbox to print on the left side.
8 Click OK.
Printing multiple colorways
Use Print (File menu) to print your design in multiple colorways.
You can print your design in the current or multiple colorways. See also
Using multiple colorways.

To print multiple colorways
2 Click Options.
Select Current
Colorway or Selected
Colorways
3 Select Selected Colorways to print multiple colorways.
Tip Select Current Colorway to print the design in the current

colorway only.
4 Click Colorways.
The Colorway Options dialog opens.
Select one or more

colorways from the
list
5 Select Selected Colorways and then select one or more colorways from
the list.
Alternatively, select All Colorways to print out all the colorways in the
design.

Each colorway is printed on a separate sheet.
6 Click OK to return to the Print Options dialog.
7 In the Graphics panel, select Background if you want to include the
background color or fabric with the colorway.
Select Background
to include on
worksheet
Tip Select Crop to Design to crop the space around the design.
8 Click OK.
A colorway summary sheet is also printed. To print colors in the colorway

summary table/s, make sure the Show Colors in Summary is selected
in the Customize Worksheet dialog. See Customizing production
worksheet information for details.
Printing color film

The Color Film option lets you print color blocks in the design as they
appear in the Color-Object List. Consecutive objects of the same color form
a single ‘color block’. See also Selecting and viewing objects with the
Color-Object List.
To print color film


2 Click Options.
Select Color
Film
3 Select the Color Film checkbox.

4 Click OK to return to the Print Options dialog.
5 Click OK.
A separate color film prints for selected colorways. See also Printing
multiple colorways.

Printing appliqué patterns
Print a copy of appliqué patterns to use in cutting out fabric pieces. Each
appliqué pattern piece is numbered according to the stitching sequence.
One copy of the placement outlines is printed to show how their positions
relate to each other. This copy is printed to fit one page. A second copy of
the placement outlines is printed at 100% scaling, with each outline
separated for use in cutting the fabric.
Note Automatically create all the stitching you need for appliqué using the
Auto Appliqué input method. See Digitizing for appliqué for details.
To print an appliqué pattern

1 Select File > Print Preview.
2 Click Options icon.
Print Options dialog opens.
Select Appliqué
Patterns
3 Select the Appliqué Patterns option.

Each appliqué pattern piece is numbered according to the stitching
sequence.

4 Click Print.
Sending designs as email attachments
Use Send (File menu) to send your design as an email attachment.
You can attach designs to emails from the design window or the Open
dialog.
To send designs as email attachments

1 Do one of the following:
! With the design open in the design window, select File > Send, or
! Click the Open icon to display the Open dialog. Select the file to
send, then right-click it. The popup menu appears. Select Send To
> Mail Recipient.

The email application for your system is launched, and a new email is
created with the design file attached.
2 Enter mailing details, and send as normal.
Outputting designs as drawings and images

Once a design is digitized in ES Designer, you can output object outlines as
a vector file. This can then be downloaded to a laser cutter through a
program such as CorelDRAW®. This can serve various purposes such as
appliqué cutting, multimedia, screen printing, and so on.
Designers frequently want to distribute their designs for viewing in real
colors, in TrueView™ or otherwise, with or without fabric backgrounds. This
might be for stock design sales purposes, for approval of digitized designs,
or for presentation on the web or in catalogs. ES Designer lets you save both
design images and production worksheets to disk or email them direct.
Saving designs as vector drawings

You can copy embroidery outlines directly to the Windows clipboard. Using
the Microsoft Clipboard Viewer, you can then save them to CLP format. This
file can then be opened in a program such as CorelDRAW®.
Note You may need to install Microsoft Clipboard Viewer from your
Windows operating system installation CD.
To save designs as vector drawings

1 Select the object/s whose outlines you want to copy.

2 Press Ctrl + C to copy them to the clipboard.
3 Open Microsoft Clipboard Viewer.
The copied outlines will appear in the Clipboard Viewer window.
4 Save the outlines to CLP file format.
This file can now be opened in a program such as CorelDRAW®.
Capturing designs as bitmap images
Use Capture Design Bitmap (File menu) to save a design as a bitmap image.
You can save design images to disk or email them direct. This might be for
stock design sales purposes, for approval of digitized designs, or for
presentation on the web or in catalogs. The image can be captured as a
bitmap with or without background color or fabric. It can be captured in
TrueView™ or otherwise, and can include connectors, outlines and any other
display options provided in ES Designer.

To capture a design as a bitmap image
1 Open the embroidery design.
2 Select File > Capture Design Bitmap.
The Capture Design Bitmap dialog opens.
Select image
selection option Select Output
option
Select to include
background color or Select Output
fabric format
3 Select a Selection option:

! Whole Design (1:1): captures the screen image in a ratio of 1:1.
! Current Design Window: captures the screen image at the
currently selected zoom factor.
! Custom: lets you specify a capture area. After clicking OK, you are
prompted to enter a ‘rectangle origin’ and ‘rectangle corner’ to
define it.
4 Select an Output option:
! Save to Disk: lets you save the screen capture to hard disk. After
clicking OK, the Save Capture Screen dialog opens, allowing you
to select a location, name and format for the design image.
! Send via Email: lets you send the screen capture as email. After
clicking OK, a new email message opens with the image attached.
! Both Save and Send: lets you both save to hard disk and send as
an email attachment.
image captured as
Whole Design (1:1)

5 Select an output format for the screen image from the dropdown list —
BMP, JPG, etc.
6 Select Include Background/Fabric to include the background color or
fabric with the screen capture.
7 Click OK.
Cutting appliqué shapes
Use Cut Appliqué (File menu) to send appliqué shapes from a design file to a laser
cutter.
Use the Cut Appliqué feature to send appliqué shapes from a design file to
a laser cutter. ES Designer extracts drawing outlines from the design and
sends them to the cutter. Only closed outlines are extracted. You can also
send drawing objects directly to the cutter using this feature.
Tip ES Designer also lets you output object outlines as a vector file. This
can then be downloaded to a laser cutter through a program such as
CorelDRAW®. See To save designs as vector drawings for details.
Note Before you send appliqué shapes to a cutter, make sure it is set up
on your system with the correct Windows (printer) driver. Some cutters —
e.g. Ioline — use a standard driver for HP-7475 plotters. Once the driver is
installed in Windows, there is no need for a separate hardware setup in ES
Designer.
To output appliqué shapes

1 Create your appliqué object and duplicate it.
See Creating appliqué objects for details.
2 Select the duplicated object and click the Complex Fill icon.
3 Enter stitch angles or press Enter to accept the default.
This will create a Complex Fill object.
4 Select and ungroup the Complex Fill object.
This will convert the embroidery object into a drawing object.
5 Repeat these steps for all applique objects in the design.
6 Select all the drawing objects and cut them to the clipboard.
7 Start a new design and paste them into it.

Tip If you need more than one copy of the appliqué shape, create
multiple copies of the shape, and arrange them so you get the most
efficient use from the appliqué fabric.
8 Select File > Cut Appliqué.
9 From the Name list, select the appliqué cutter.
10 Click OK.
appliqué object converted to Complex converted to drawing

Fill object object
Tip If you intend to reuse the design, save the appliqué shapes file
under a similar name.
Stitching designs with Stitch Manager
Use Stitch to Machine (Standard toolbar) to send a design to a machine

for stitching.
You can send designs directly to connected embroidery machines for

stitching using Stitch Manager. When you send several designs in a row,
they are automatically queued and stitched out one at a time.
Note You can also use ES Machine Manager to send designs to machine
from within ES Designer, ES Design Explorer or Design Workflow™. ES
Machine Manager lets you view and manage job queues. See the ES
Machine Manager Supplement for details.
To stitch designs with Stitch Manager

1 Open the design.
2 Click the Stitch to Stitch Manager icon.

The Stitch to Stitch Manager dialog opens.
Select embroidery
machine
Select machine
format
3 From the Machine Identification list, select an embroidery machine.

If required, click Setup to modify the machine’s settings. See Setting up
embroidery machines for Stitch Manager for details.
4 From the Output as Machine format list, select the correct machine
format.
If required, click Values to modify the machine format settings. See
Adjusting standard machine format settings for details.
Note This field is automatically updated if the target machine format is

different to the current format.
5 Select the Prompt Changing Machine Format checkbox if you want to
be prompted when the Output as Machine Format field is updating to
match the selected machine’s format.
6 If the design includes a Team Names object, click Options and specify
the stitching details for it. See Outputting team name designs for details.
7 Click OK.
The Initialize Machine dialog opens. If you selected Team Names
values, you are required to confirm them.
8 Click OK.
9 The Stitch Manager window opens, listing the files to stitch.
Tip To delete a design from a queue, select it in the list and click Cancel.

Chapter 31
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.
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.
This section describes how to read from and write embroidery design files
to embroidery disk and paper tape.

Storing designs on embroidery disk
Embroidery disks are specially formatted floppy disks used to store designs.
They are primarily used to transfer designs from computer to embroidery
machine. Designs are generally stored in stitch data format, although Melco
CND, for example, is a ‘condensed’ file format. You can open designs from
embroidery disks of various formats directly into ES Designer. Once it 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 optionally convert it into objects.
After conversion, the design can be scaled and changed. See Opening stitch
files in ES Designer for details.
Tip You can save to embroidery disk in any machine format without
changing the format of the original design.
Embroidery floppy disks

Most embroidery machines are equipped with the same floppy disk drives
as those used in PCs. So that you can transfer your designs, make sure your
PC floppy disk drive can read, write and format floppy disks that your
embroidery machine uses. For example, if your machine requires a Double
Density (DD) disk, you must use this format even if your computer has a
High Density (HD) floppy disk drive.
Floppy disk types

Different floppy disks store different amounts of data:
Capacity Density Code
360 Kb Single-Sided Single-Density SS/SD
720 Kb Double-Sided Double-Density DS/DD
1.44 Mb Double-Sided High-Density DS/HD
2.88 Mb also called Double-Sided High-Density DS/HD
Disk drives and floppy disks

Different floppy disk drives read and write floppy disks of different capacity:
Computer Disk Drive 360 Kb 720 Kb 1.44 Mb 2.88 Mb
Single Density !

Computer Disk Drive 360 Kb 720 Kb 1.44 Mb 2.88 Mb
Double Density † !
High Density (1.44) † ! !
High Density (2.88) † ! ! !
† Can only be formatted with correct controller installed.
Currently most computer models have one 3.5" floppy disk drive. The
capacity of a floppy disk drive depends on its controller. Most computers
have a High Density 1.44 Mb drive which can read both Double Density 720
Kb and High Density 1.44 Mb floppy disks. Most embroidery machines use
Double Density or High Density disks so there is usually no problem
transferring designs. See also Supported embroidery disk formats.
Controller cards for Melco embroidery disks

Old floppy disk drives were designed to format, read and write 3.5" Double
Sided Single Density (DS/SD) disks which could store 360 Kb of
information. This is the format that Melco uses.
Only a few floppy disk controllers support single density floppy disks. If you
want to format and use Melco 3.5" disks, you need to disable the onboard
floppy disk controller through the PC BIOS and install a floppy disk controller
card which supports IMB 3740 single density format (FM). The following
floppy disk controller cards have been tested and proved suitable for Melco
embroidery disks.
Floppy Disk Controller Capacity
Western Digital WD37C65 single/double density
NEC Electronics Inc. µPD765A/7265 single/double density
Intel 8272A single/double density
POWER I/O 5000AT/5100AT high density 2.88 Mb

(with SMC type chip numbered FDC37C664QF) (requires DOS 6.0 or later)
Currently there are no floppy disk controller cards available for laptop
computers which are suitable for formatting, reading and writing Melco
embroidery disks.
If you want to stitch designs on Melco Star or Superstar machines but your
disk drive cannot produce a Melco format disk, you can connect from ES
V9 Chapter 31 Embroidery Disks and Paper Tapes 672

Designer using a Wilcom DCi unit to send designs directly to machine
(Windows 9x only).
Testing embroidery disks

Some newer PC hardware and operating systems do not support some of
the older embroidery disk formats. Check that your PC can read, write and
format embroidery machine formats using Wilcom’s Test Disk utility. If the
utility returns errors associated with any embroidery formats, your PC will
not support the reading, writing or formatting of these disks. See also
Supported embroidery disk formats.
Newer PCs cannot usually handle Melco format. To enable formatting in
Melco, a multiple input/output card capable of formatting single density
disks is needed. See Controller cards for Melco embroidery disks for details.
Note Wilcom Test Disk does not currently work under Win2000, NT or XP.
To test embroidery disks

1 On the Windows taskbar, click the Start button and select Programs >
Wilcom ES > Test Disk.
The Test Disk window opens.
2 Select Test Disk > All.

The Disk Format Test Selection dialog opens.

Select disk drive to
test
Select embroidery
formats to check
3 In the Floppy Disk Drive panel, select a disk drive from the list.
4 In the Disk Format Type panel, select the embroidery formats to
check.
5 Insert a DS/DD disk in the floppy drive.
Warning Don’t use a floppy disk containing data that you want to keep
as the Test Disk utility erases all data contained on it.
6 Click OK.
When testing finishes, the Test Results dialog will display. Your PC will
not support the reading, writing or formatting of specified diskettes.
Tip The MelCheck feature in the Test Disk menu is identical to the
Melco feature in the Disk Format Test Selection dialog.
Reading designs from embroidery disk
Use Embroidery Disk > Open (File menu) to open a design from an embroidery disk.
You can open designs of other formats from specially formatted embroidery
disks. See also Supported embroidery disk formats.
To read designs from embroidery disk

1 Insert the embroidery disk in your computer’s floppy disk drive.
2 Select File > Embroidery Disk > Open.

The Open Embroidery Disk dialog opens.
Select drive
Select format
3 From the Look In list, select the floppy disk drive.

4 Select the disk format. Either:
! Select the format from the Diskette Format list.
! Select the Auto Detect checkbox and let ES Designer automatically
determine the format. This generally takes longer.
5 Click OK.
The Open From Embroidery Disk dialog opens.
Select design
type
6 From the Designs of Type list, select a design type.

Any designs saved on disk are listed in the panel. If no designs are listed,
make sure that the correct drive and disk format are selected.
Note If the Options button is available, you can set recognition options
for the design. See Processing Melco CND outline files, Opening stitch
files with object/outline recognition and Opening stitch files without
object/outline recognition for details.
7 Click Open.

Note If you have problems with embroidery disks, see Testing
embroidery disks for details.
Formatting embroidery disks
Use Embroidery Disk > Format (File menu) to format an embroidery disk.
Embroidery disks must be formatted to suit the embroidery machine you

intend to use or the machine will not be able to read the design. Most
computers have a High Density 1.44 Mb drive which can read both Double
Density 720 Kb and High Density 1.44 Mb floppy disks. Most embroidery
machines use Double Density or High Density disks so there is usually no
problem with transferring designs. See your embroidery machine’s manual
for details of the appropriate disk type.
Warning Use the disk type required by the embroidery machine, not the
computer. For example, if a machine requires DD disks, you must use DD
disks even though your computer may have an HD drive. If your machine
can only read single density disks you may need to install a special floppy
disk controller card in your computer. See also Supported embroidery disk
formats.
To format embroidery disks

1 Insert a 3.5" floppy disk of the correct density in your computer’s floppy
disk drive.
Note Use the disk type required by the embroidery machine, not the
computer. For example, if a machine requires DD disks, you must use
DD disks even though your computer may have an HD drive. If your
machine can only read single density disks you may need to install a
special floppy disk controller card in your computer. See Embroidery
floppy disks for details.
2 Select File > Embroidery Disk > Format.
The Format Embroidery Disk dialog opens.
Select floppy disk

drive
Select disk
format

3 From the Drive list, select the floppy disk drive.
4 From the Diskette Format list, select the required disk format.
5 Click OK.
6 Click OK to confirm.
The Format dialog opens.
Select disk
format
Select format
option
Enter disk
label
7 From the Capacity list, select the disk storage capacity.

8 In the Format Type panel, select the format option you require.
! Full: formats a blank disk or changes the disk format.
! Quick: erases all data from the disk but does not reformat it.
! Copy System Files only: copies system files without formatting the
disk.
9 In the Other Options panel, select the options you require.
! To label the disk, deselect the No Label checkbox and enter the label
name.
! Select the Display Summary when Finished to view a summary
dialog after formatting.
! Select the Copy system files checkbox to copy system files to the
disk. This makes the disk ‘bootable’ in DOS. See your Windows
manual for details.
10 Click Start.
A progress bar appears. You are prompted when formatting is complete.
11 Click OK to format another disk or Cancel to finish.
Note If you have trouble with formatting a Melco embroidery disk,

check if your floppy disk drive can read and write single density floppy
disks. See Testing embroidery disks for details.

Saving designs to embroidery disk
Use Embroidery Disk > Save As (File menu) to save a design to stitch out on a
specific machine.
Save designs to embroidery disk to stitch out on a specific machine. When

you save to a new format, the design is converted to encode the machine
functions and commands supported by the particular machine.
Note Embroidery disks must be correctly formatted before you save

designs to them. See Formatting embroidery disks for details.
To save designs to embroidery disk

1 Insert the embroidery disk in your computer’s floppy disk drive.
2 Select File > Embroidery Disk > Save As.
The Save to Embroidery Disk dialog opens.
Select drive
Select format
3 From the Look In list, select the floppy disk drive.

4 Select the disk format. Either:
! Select the format from the Diskette Format list.
! Select the Auto Detect checkbox and let ES Designer automatically
determine the format.
Any designs already saved on disk are listed in the panel.
Note If the disk is not formatted, or its format is not correct, click
Format. See Formatting embroidery disks for details.
5 In the Filename field, enter a name for the design.

Enter file number
if required
6 If the Number field is enabled, enter the file number.

Not all machine formats require this information. This option is greyed
out if the file naming mechanism is not supported by the particular
embroidery disk type. Tajima uses a free-form file name, so both a
numbering system and a text file name system are supported, as seen
in the dialog.
7 Select a design format from the Machine Format list.
Some machines can read different formats. For example, some Tajima
machines can read Barudan as well as Tajima.
Tip To view or modify machine format settings, click Values. See

Adjusting standard machine format settings for details.
8 From the Design Type list, select the file type to save to embroidery
disk.
Only one file type is generally available.
9 If available, select the Save Icon checkbox to include a thumbnail
image of the design with the design file.
This icon appears in the machine control panel during stitch-out.
10 Click Save.
Warning Wait until the light on the floppy disk drive stops flashing
before removing the disk.
Storing designs on paper tape

format. Now largely replaced by floppy disk, they are still used by older
machines. More specifically, stitch data paper tapes are eight-channel paper
tapes which, in effect, are hard copies of 8 bit binary data. Paper tapes are
normally punched by the designer and read into the embroidery machine at
a later time.
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 optionally convert
the design into objects. After conversion, the design can be scaled and
changed. See Opening stitch files in ES Designer for details.
You can also punch designs to paper tape from ES Designer. You can select
the output format type and include labels with the design. You can also
choose to rewind the tape after punching, or punch in the reverse stitching
sequence.
Reading designs from paper tape
Use Paper Tape > Read (File menu) to read a paper tape design.
You can read paper tape designs of various formats into ES Designer. Once
a design is read, you can save it as an EMB file. See also Supported paper
tape formats.
Tip Create backups of your paper tape designs by reading them into ES
Designer, then saving them to hard disk or embroidery disk in the same
machine format. This does not change the design in any way.
To read designs from paper tape

1 Make sure the tape reader is connected and configured correctly and
that a tape is loaded.
Warning Do not read the optional label which is at the beginning of the
tape as it is not part of the stitch data.
2 Select File > Paper Tape > Read.
The Choose Read Tape Type dialog opens.
Select tape
format
3 Select a tape format from the list.
Note Make sure you select the correct format as it cannot be detected
automatically by ES Designer.
4 Click OK.

Punching designs to paper tape
Use Paper Tape > Punch (File menu) to read a paper tape design.
You can punch designs to paper tape from ES Designer. You can select the
output format type and include labels with the design. You can also choose
to rewind the tape after punching, or punch in the reverse stitching
sequence.
To punch designs to paper tape

1 Make sure the tape reader is connected and configured correctly and
that a tape is loaded.
2 Select File > Paper Tape > Punch.
The Choose Write Tape Type dialog opens.
Select tape
format
3 Select a tape format from the list.
Note Make sure you choose the correct format as it cannot be detected
automatically by ES Designer.
4 Click OK.
The Tape Manager dialog opens.

Select tape punch
Select to label tape

Select to automatically
rewind tape before stitching
Select to punch in
reverse direction
5 Deselect the Confirm Setup checkbox if you don’t want to confirm the
setup of the tape punch before punching.
6 From the Punch Name list, select the required tape punch.
Note The list contains a number of default entries. If the reader you
want is not available, you can add a new one. See Setting up paper tape
readers for details.
7 Click Setup to modify the serial port settings. See Serial port settings for
details.
8 To label the tape, select the With Label checkbox and enter the label
name.
The machine format and date are also included.
9 Select the AutoRewind at Start checkbox to automatically rewind the
tape before stitching.
Note If the machine format does not support this option, the checkbox
is disabled.
10 Select the Reverse Direction checkbox to punch in the reverse
direction to the current stitching sequence.
This lets you punch directly from tapes that were stored on take-up rolls
without rewinding.
11 Click Punch.

If the Confirm Setup checkbox is selected, the Punch to Tape dialog
opens displaying technical details of the punch connection. Click OK to
continue.

PART VIII
DESIGN MANAGEMENT
ES Design Explorer provides an efficient way for viewing and managing
embroidery designs. With this design management tool, you can browse
design files stored on your computer hard disk, CD-ROM, or floppy disk. It
recognizes all design file formats used by ES Designer.
ES Design Explorer basics

This section describes how to use ES Design Explorer to access and view
designs in folders. It also covers cutting, copying, pasting, and deleting
designs in folders. See ES Design Explorer Basics for details.
ES Design Explorer advanced functions

This section describes the more advanced workings of ES Design Explorer
from sorting files to stitching, punching, and converting designs. It also
describes how to print and publish catalogs of designs, as well as how to
archive dormant or unused designs. See ES Design Explorer Advanced
Functions for details.

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 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.
V9 686
Chapter 32
ES Design Explorer Basics
ES Design Explorer provides an efficient way for viewing and managing

embroidery designs. With this design management tool, 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 also Supported File and Disk Types.

multi-user database for company-wide design management. For this type of
requirement, refer to the Design Workflow™ User Manual.
This section describes how to use ES Design Explorer to access and view
designs in folders. It also covers cutting, copying, pasting, and deleting
designs in folders.
Opening ES Design Explorer and setting defaults

ES Design Explorer does not require a separate installation. It works as an
integral part of Wilcom ES and is easy to set up and get started.
Opening ES Design Explorer
Click ES Design Explorer (Windows Desktop) to start ES Design

Explorer.
ES Design Explorer may be opened from the desktop or from the Windows
Start button.
Note If you start ES Design Explorer from the desktop or from the Windows
Start button, ES Designer will also open. If your computer is slow or you
have many applications running, ES Design Explorer may not open.

Tip Close ES Design Explorer in View by Details mode so that it opens
more quickly next time.
To open ES Design Explorer

! Double-click the ES Design Explorer icon on the Windows desktop.
ES Design Explorer and ES Designer open in separate windows. ES
Design Explorer defaults to the Design folder, showing all of your EMB
designs as thumbnails.
Note You can switch to ES Design Explorer if it is already running. See

Opening designs in ES Designer for details.
thumbnails plus details

thumbnails details
menu bar
tool bar
folders
design
thumbnails
split bar
status bar
Tip If ES Designer is hiding ES Design Explorer from view, switch

between them using the Windows Alt + Tab function.
Changing folders
ES Design Explorer lets you view any supported design file type residing in
design folders. (See also Supported File and Disk Types.) Your access to
design folders on your network is only limited by network access rights
determined by your System Administrator. Navigating to design folders with
ES Design Explorer is very similar to browsing with Windows Explorer.
V9 Chapter 32 ES Design Explorer Basics 688

Tip The thumbnail image generation process can be very slow on older
machines or if there are a lot of designs in the selected folder. Holding down
the Alt key will abort the redraw. The thumbnail will be drawn using a default
yellow exclamation mark. This does not mean that the design is missing.
See also Locating missing files.
To change folders
1 Open ES Design Explorer.
See Opening ES Design Explorer for details.
files dropdown
My
Computer
designs in
selected
folder
directory
tree
2 To find a design which is not in the current folder — e.g. C:\Designs —

use the directory tree to locate the required folder.
Tip If not all drives or folders are displayed, click the + to the left of My
Computer to show all local and network drives available to your PC.
3 Click a folder in the directory tree to display its contents in the display
window.
You can list the folder contents in different ways. See Viewing designs in
folders for details.
Tip Drag the split bar between the folders and thumbnails to the left or
to the right to resize the window sections.

Adjusting design view settings
Select User Preferences (View menu) to set design view user preferences.
You can change several default settings in ES Design Explorer:

! the way selected designs are highlighted
! what happens when you double-click designs.
To adjust design view settings

2 Select View > User Preferences.
The User Preferences dialog opens.
3 Select Highlight in Full to fully highlight each thumbnail as it is

selected.
If you only require selected thumbnail borders to be highlighted, clear
Highlight in Full.
Tip The color and intensity of highlights can be changed in the Windows
Control Panel to suit each user. See Windows Help for details about
‘Display Settings’.
4 Select either:
! Double Click Opens Designs if you want the normal Windows
action when you double-click a design name or thumbnail, or
! Double Click Shows Properties if you want to open the Properties
dialog for designs that you double-click.
5 Click OK to save the settings.
Tip If you need more space in the display window for viewing
thumbnails, click the Hide/Show Directory Tree button.

Changing locale
During installation of the ES Design Explorer software, optional languages
(locales) can be selected for dialogs and messages — e.g. English, French,
German, etc. You can switch between these locales at any time after
installation.
Warning If the default locale is not the same as the language of the
Operating System, then this option will not work properly. See also ‘locale’
in Windows Help for information about changing Windows to suit different
locales.
To change locale
2 Select View > Change Locale to open the locale required.
The Choose Locale dialog opens.
Note Only those locales selected when ES Design Explorer was

installed will be listed.
3 Select the locale required, and click OK to make the change.
Tip See also ‘locale’ in Windows Help for information about changing
keyboards, fonts and so on to suit different locales.
Viewing designs in folders

ES Design Explorer displays thumbnails and limited design information
whenever a design folder or database is accessed. You can filter the contents
of the display window to show only certain file types. You can also rename
folders, add sub-folders and delete folders without leaving ES Design
Explorer.

Browsing for designs
Click Hide Directory Tree to hide the directory tree.
When running ES Design Explorer in full-screen mode, it is sometimes useful

to browse for designs using the Browse Location option.
To browse for designs

1 Run ES Design Explorer with the directory tree hidden.
Click to run in
full-screen
mode
2 Select View > Browse Location.

3 Search the directory tree for the folder or database you require and click
OK.
The display area updates accordingly.
Displaying design thumbnails and summary information
Click Thumbnails to display designs as thumbnails only.
Click Thumbnails and Summary to display designs as thumbnails with

stitching details.
Click Details to view information about a selected design.
The designs in ES Design Explorer can be listed as thumbnails only (the

default), thumbnails and summary information, or design information only.
Tip Designs can also be displayed full screen using ES Designer. See
Opening designs in ES Designer for details.
To display design thumbnails and summary information

1 Open ES Design Explorer and select a folder.
See Viewing designs in folders for details.
2 Use the viewing options to view the designs in the database in the
display format you require:
! To display the designs as thumbnails only, click the Thumbnails icon
on the toolbar. Or, select View > Thumbnails.
thumbnail view
! To display the designs as thumbnails with stitching details, click the

Thumbnails and Summary icon on the toolbar. Or, select View >
Thumbnails and Summary.

thumbnail and
summary view
! To display the designs in a detailed list, click the Details icon on the
toolbar. Or, select View > Details.
The designs are listed showing name, date when last modified,
description, customer, number of stitches in design, and type of
work. Note that these headings are different from those displayed
when viewing designs in folders.
details view
Note The number of selected designs is displayed in the status bar at

the bottom of the ES Design Explorer window.
Viewing design information
Click Design Properties to view information about selected designs.
Information about designs in folders can be viewed in the Properties dialog.

The data is extracted directly from design files created in ES Designer. You
cannot add, delete and edit these fields.
Tip Designs in folders can be browsed using navigation buttons and slide
show buttons on the Properties dialog. See Browsing designs in folders for
details.

To view design information
1 Open ES Design Explorer and select a design folder.
2 Right-click a design and select Properties from the popup menu.
The Properties dialog opens.
Tip If not all text is visible in a field, select the field and use the Arrow,
Home and End keys to scroll. Alternatively, resize the dialog.
Viewing zipped designs in folders

ES Design Explorer lets you archive and view design files in folders which
have been archived by means of the popular WinZip utility. This is a software
program which bundles files into a single compressed file with the extension
*.ZIP. This can be useful for sending or receiving multiple files via email. See
also Archiving design files.
To view zipped designs in folders

1 Open ES Design Explorer and browse to the folder containing the zipped
design files.
! If the folder contains individually zipped designs, these will appear
directly in the display window. The file name will appear in italics.

! If the folder contains zipped files containing multiple designs, these
will appear in the directory tree.
Zipped design
file appears in zipped design —
directory tree name appears in
italics
2 Select the zipped file to view its contents.
Select zipped Contents of

design file zipped file
appears in
display window
Limiting file types displayed

With ES Design Explorer you can filter the contents of any design folder to
show only certain types of file — e.g. only EMB files.
To limit file types displayed


2 Click the Files dropdown on the toolbar.
3 Select:
! All Files to show every file type in the folder.
! Artwork Files to display only BMP and PNG files.
! Any other option to display only files of that type — e.g. templates
(EMT). See also Supported File and Disk Types.
Refreshing the display

Occasionally, your screen will not show changes you have made until you
refresh the display. Changes to folders may not display either until you
refresh the directory tree. If graphics and thumbnails still do not appear
correctly, or if you have updated your Wilcom ES software, you may need to
‘validate and refresh’.
To refresh the display

! To refresh the display window, select View > Refresh, or press F5.
! To refresh folders in the directory tree, select View > Refresh Tree
Node. Alternatively, select the node you want to refresh, right-click and
select Refresh from the popup menu.
! To validate and refresh a folder, select View > Validate and Refresh.
Tip Occasionally, ES Design Explorer displays red, blue or green

question marks and a short description instead of a graphic thumbnail.
See Locating missing files for details.

Accessing designs in folders
ES Design Explorer lets you select designs residing in folders. Once selected,
you can manipulate them in a variety of ways — e.g. cutting, copying,
pasting, editing the record, and converting designs to other formats. You
can also open designs in ES Designer directly from ES Design Explorer for
viewing or editing.
Tip With the file selected, right-click to open a popup menu which includes
the commands Open, Print, Convert, Punch to Tape, Stitch to Machine, and
Delete.
Selecting designs in folders

Designs must be selected before an action can be performed — e.g. view,
open or copy a design. A group of designs, a range, or all the designs in a
database can be selected. A group is made up of any selected designs. A
range is a series of consecutive designs.
To select designs in a folder

2 Display designs as thumbnails or as a details list.
See Displaying design thumbnails and summary information for details.
Tip The thumbnail image generation process can be very slow on older
machines or if there are a lot of designs in the database. Holding down
the Alt key will abort the redraw. The thumbnail will be drawn using a
default yellow exclamation mark.
3 Sort designs by required category — e.g. sort by customer to list each
customer’s designs consecutively. See Sorting files for details.
! To select all designs in the current folder, select Edit > Select All.
5 To deselect all selected designs, select Edit > Deselect All, or click any
unselected design.

Tip To deselect a single design amongst a group of selected designs,
click it again while holding down the Ctrl key.
Opening designs in ES Designer

Any designs selected in the ES Design Explorer display window can be
opened in ES Designer for viewing or editing.
To open designs in ES Designer

Tip If you want to open several designs at once, select the details list
view. See Displaying design thumbnails and summary information for
details.
All selected files are opened.
4 Alternatively, if displaying designs as thumbnails, double-click a single
design thumbnail.
Make sure Double Click Opens Designs is selected in the User
Preferences dialog. See Adjusting design view settings for details.
The selected design or designs are displayed in the ES Designer window
ready for editing.
Tip To switch between ES Designer and ES Design Explorer:
! Hold down the Alt key, then tap the Tab key until the ES Designer
icon is highlighted. Release the Alt key.
! Alternatively, click the ES Designer icon on the Windows taskbar.

Creating new designs with custom templates
You can open a new design template in ES Designer from within ES Design
Explorer.
To create new designs with a custom template

1 Select File > New.
ES Designer opens and the New dialog appears.
Note If there is no template other than default, the New dialog may
not appear.
2 Select a template from the list.
3 Click OK.
Reconnecting ES Design Explorer to ES Designer

Occasionally ES Design Explorer may encounter a problem preventing it
from connecting with ES Designer. Follow the instructions below (in the
same order as they are listed) to find the solution.
To reconnect ES Design Explorer with ES Designer

! Check that your dongle security device is connected.
! Open ES Design Explorer and check that it runs correctly on its own —
close ES Design Explorer, then open ES Designer by clicking its icon on
the Windows Desktop.
! If none of the above correct the problem, re-install ES Designer.
! Check that the version of ES Designer you are running is the same as
that registered in ES Design Explorer’s Shortcut Properties:
! Right-click the ES Design Explorer icon on your Windows Desktop,
then select Properties.

shortcut
! Click the Shortcut tab, and read the last text in the Target field —
e.g. ...version=9.0A
This version should be identical to the version of ES Designer you are
running. If it is not, change it to the correct version and click OK.
! Finally, for very advanced computer users only, run Windows
regedit.exe and delete the sub-tree under:
\Software\Wilcom\Wilcom ES\9.0\DesignLib\...
! Install ES Designer again.
Locating missing files

If users incorrectly move files, the normal design thumbnail is usually
replaced by a ‘missing design’ thumbnail when ES Design Explorer is next
opened. Each color indicates the likely cause:
Icon Description
This means that ES Design Explorer cannot find the design file.
Replace missing files from backup or another source. If this is not
possible, delete the record or refresh the directory. See also
Refreshing the display.
This means that ES Design Explorer has found an up-to-date

thumbnail but doesn’t recognize the format. Use Validate and
Refresh to update the display. ES Design Explorer will try to make
a replacement next time the folder is opened or refreshed. See
also Refreshing the display.

Icon Description
ES Design Explorer recognizes a pre-determined set of file types

as per the file type dropdown list. If it sees a design that has the
required file suffix — EMB, BMP, etc — but it is unable to read the
file, it will display the green question mark. Locate the file and
delete it.
Renaming, adding and deleting folders

You can rename folders, add sub-folders and delete folders without leaving
ES Design Explorer.
To rename, add or delete folders

2 Browse to the folders you want to rename, delete or add sub-folders to.
3 Add, rename, or delete folders as required:
! To add a sub-folder to another, select the folder and right-click.
Select Add Sub-directory and type in the name when the new
sub-folder appears.
! To rename a folder, select it and right-click. Select Rename from the
popup menu, and type in the new name.
! To delete a folder, select it and right-click. Select Delete from the
popup menu. You will be prompted to confirm the deletion.
Cutting, copying, pasting, and deleting designs

A design can be cut, or copied, and then pasted within the same folder or to
another folder using ES Design Explorer. A design can also be deleted from
the folder.
Copying and pasting designs

Once a selected design is copied, it can then be pasted to another location
using Paste. A copied design can be pasted any number of times.

To copy and paste a design
2 Select any number of designs.
See Selecting designs in folders for details.
3 Select Edit > Copy.
4 Change to another folder using the directory if required.
A design can be pasted to the same folder as the original design.
5 Select Edit > Paste.
If the selected design — e.g. Bear.EMB — is pasted into the current
folder, and the current folder contains the original design, or a file of the
same name, the new design is automatically named Copy of Bear.EMB.
You can then change the name of the new file by right-clicking its name,
selecting Rename and typing the new name. Press Enter to complete
the name change.
Note If you rename the file, ensure that the three letter extension —
e.g. EMB — is not altered.
Cutting and pasting designs

When a selected design is cut, the design is removed from the current folder.
The design can then be pasted at another location using the Paste
command.
To cut and paste designs

3 Select Edit > Cut.
A confirmation dialog opens.
4 Click Yes to cut the design.
5 Browse to the folder where you want to paste the file or files.
6 Select Edit > Paste to paste the selected design into the new folder.

If a design of the same name already exists, each pasted copy is
renamed.
Deleting designs
Delete designs to remove them permanently from your PC.
To delete designs from ES Design Explorer

3 Select Edit > Delete.
A confirmation dialog opens.
4 Click Yes to delete the design.
Warning The file is removed permanently from the folder.

Chapter 33
ES Design Explorer Advanced
Functions
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
Create design catalogs containing thumbnail images and/or summary
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.
This section describes the more advanced workings of ES Design Explorer
from sorting files to stitching, punching, and converting designs. It also
describes how to print and publish catalogs of designs, as well as how to
archive dormant or unused designs.
Browsing designs in folders

Designs in folders can be browsed using navigation buttons and slide show
buttons on the Properties dialog. You can do this to both the whole folder
or to designs selected using Search or Sort. You can also filter the contents
of any design folder to show only certain types of file — e.g. only EMB files.
See Sorting files and Limiting file types displayed for details.
Browsing through designs in folders

Navigation buttons on the Properties dialog allow you to move forwards,
backwards, as well as to the start and end of all designs in the selected

folder. Similarly, you can move forward and back through selected designs.
As you browse, the Properties dialog displays a thumbnail together with
relevant design information.
Tip When you find the design you want, right-click the name or thumbnail
and select File > Open with ES Designer to open it in ES Designer. Or
choose File > Open to open bitmaps images in a third-party graphics
program.
To browse through designs in a folder

2 Select or sort the designs as required.
See also Sorting files.
3 Open the Properties dialog.
See Viewing design information for details.
navigation buttons
4 Browse through the entire folder or a selection of designs as required.

folder navigation selection navigation
start end start end
! If you want to browse the entire folder, use the red navigation
buttons.
These allow you to move to the first design, last design, previous
design and next design in the folder.
! Use the Selected field to select or deselect designs as you browse.
! If you want to browse through selected designs, use the blue
navigation buttons.
These too allow you to move to the first design, last design, previous
design and next design in the folder.
V9 Chapter 33 ES Design Explorer Advanced Functions 706

5 Click OK.
Browsing designs using slide show buttons

All designs in folder can be displayed as a slide show. The slide show is run
from the Properties dialog which displays each design’s thumbnail together
with relevant information. You can control the speed and direction of the
slide show.
To browse designs using slide show buttons

2 Select or sort the designs as required.
See also Sorting files.
3 Open the Properties dialog.
See Viewing design information for details.
slide show buttons
stop fast/slow
backwards forwards
4 Click the Forwards or Backwards button to start the slide show.

The slide show automatically scrolls through every design in the folder,
looping back to the beginning when it reaches the end.
5 Click + or - to increase or decrease the speed.
6 Click the Stop button to stop.
Sorting files
Designs in ES Design Explorer folders can be sorted in the following ways:
! As simple sorts using View > Sort by (Name, Type, Size, or Date).
The designs are arranged according to the sort selection. The designs
can be sorted whether they are displayed as thumbnails or as a details
list.

! As simple sorts using details list headings: by File Name, Size, File
Type, Version, Date, Stitches, or Description. Designs are arranged
according to the heading selected, and repeating the sort reverses the
order. Designs must be displayed as a details list.
! As a complex sort in up to two levels in ascending or descending order:
by Colors, Date Designed, Design Name, File Type, Height,
Stitches, Version, Width or None. Designs can be displayed as
thumbnails, thumbnails with stitching details, or details lists.
Running a simple sort using the View menu

You can sort your thumbnails or details lists by any of four types.
To run a simple sort using the View menu

2 List the designs as either thumbnails or as a details list.
3 Select View > Sort by Name, Sort by Type, Sort by Size, or Sort by
Date.
The designs will be sorted according to the option selected.
Running a simple sort using details lists

You can sort details lists by clicking the column headings.
To run a simple sort using details lists

2 List the designs as a details list.

Click column
heading to sort
3 Click the heading at a column to be sorted — e.g. Name.

The designs will be sorted in the order of the selection.
4 Click the heading again to reverse the order.
Running a complex sort using Sort
Use Sort to run a complex sort using the Sort dialog.
You can sort designs by various criteria such as Colors, Design Date, Design
Name, File Type, etc. ES Design Explorer lets you sort them by up to two
levels, in ascending or descending order.
To run a complex sort using Sort

2 List the designs as a details list.
3 Select View > Sort.
The Sort dialog opens.

Select Level 1
criterion
Select Level 2
criterion
4 Select the first sort criterion:

! Select the main category you want from the Sort By list — e.g.
Date.
! Select Ascending to sort letters from A to Z and numbers from
lowest to highest, or Descending to sort in the reverse order.
5 Select the second level sort criterion:
! Select a different category from the And Then By dropdown — e.g.
Stitches.
! Select Ascending or Descending.
6 Click OK.
In the above example, the details list will display all designs by date,
together with number of stitches used.
Stitching and punching designs

Once a design is selected in a folder, you can:
! send it direct to any embroidery machine connected to the ES Designer
system.
! send it direct to any punching machine and punch the tape.
Tip When a file is selected, right-click to open a popup menu which includes
the commands Open, Print, Convert, Punch to Tape, Stitch to Machine, and
Delete.

Stitching directly from ES Design Explorer
Use Stitch Selected Designs to stitch a design directly to machine.
Select one or more designs in a folder using ES Design Explorer. You can
then stitch to any embroidery machine connected to your ES Designer
system.
To stitch directly from ES Design Explorer

2 Select and sort the design(s) to be stitched using Sort or Search.
See Sorting files and Selecting designs in folders for details.
3 Click the Stitch Selected Designs icon.
The Stitch Options dialog opens.
Select machine type

and format
4 Select a machine type and format from the dropdown lists.

To define or modify the machine’s settings. See Setting up embroidery
machines for Stitch Manager for details.
5 Click OK and wait.
The ES Machine Manager window opens. See the ES Machine
Manager Supplement for details.
Punching directly from ES Design Explorer
Use Punch Selected Designs to punch a design directly to a punching

machine.
Select one or more designs in a folder using ES Design Explorer. You can
then punch to any paper tape punching machine connected to your ES
Designer system.
To punch directly from ES Design Explorer


2 Select and sort the design(s) to be punched using Sort or Search.
See Sorting files and Selecting designs in folders for details.
3 Click the Punch Selected Designs icon.
The Punch Options dialog opens.
Select machine type
4 Select a machine type from the dropdown list and click OK.
The Tape Manager dialog opens. See Punching designs to paper tape
for details.
Select tape punch
Select to label tape

Select to automatically
rewind tape before stitching
Select to punch in
reverse direction
Printing and publishing designs

Catalogs of designs in a folder contain thumbnails and/or summary
Tip Before printing, publishing or exporting, sort the designs into useful
groups. For example, sort by Type or search by Customer. See Sorting files
for details.
Printing production worksheets
Use Print to print production worksheets for selected design(s).

You can print production worksheets for selected groups of designs in
folders, and include thumbnails of each design in the worksheet.
Note Unlike Print Designs, this option can provide all of the design and
sewing information available, but it uses far more paper to do so. See also
Printing design catalogs.
To print a production worksheet

2 Select and sort the designs to be printed using Sort.
See Sorting files for details.
3 Click the Print icon.
4 Select the printer you want to use, and enter the number of copies of
the worksheet you require.
5 To customize the worksheet, click Options.
6 Set production worksheet options to show the information you want in

the format you require.
See Setting production worksheet print options for details.
7 Click OK when finished, then ensure that your printer settings are
correct in the Windows Print Setup dialog.

Note The dialog and the settings available will vary from printer to
printer. See your printer manual for details.
8 Click OK.
Printing design catalogs

Printed catalogs of your designs are a handy sales and marketing tool. They
contain thumbnails of the designs plus limited text details. You can prepare
catalogs of all your designs, and others to suit specific markets, types of
design, and individual customers.
To print a design catalog

2 Select and sort the designs to be printed in the catalog using Sort.
3 Select File > Print Designs.
The Print Designs Options dialog opens.
4 Change the Scale (%) amount if you want your thumbnails bigger or
smaller.
5 Select Summary if you want design details to be printed.
6 Click Preview as required.

7 Click Printer to select a printer, paper size and other options in the
Windows Print dialog for the printer attached to your PC.
8 Click OK to print the catalog.
Tip If the catalog requires more than one page, you can select which
page to print in the Windows Print dialog.
Publishing design catalogs for browser viewing

You can convert your designs to the HTML and PNG formats suitable for
viewing by any browser, such as Microsoft Internet Explorer. This allows you
to publish designs throughout the company via an intranet, or throughout
the world via the internet. You can also attach catalogs to emails and send
them as design samples.
To publish a design catalog for browser viewing

2 Select and sort the designs to be published in the catalog using Sort.
3 Select File > Publish Designs.
The Publish Options dialog opens.

4 Change the Scale (%) amount if you want your thumbnails bigger or
smaller.
5 Select the number of rows and number of columns for the final output,
which will appear as a table.
6 De-select Detailed if you don’t want design details to appear.
7 Enter a filename and location in the Catalog Name field — e.g.
C:\Designs\Catalogs\Crests.htm — or accept the default settings.
Tip Make a separate folder for each catalog — the catalog conversion
will generate a PNG file for a thumbnail of each design, another PNG file
for a TrueView™ of each design, and an HTML file for each page.
8 Click OK to start converting the designs.
Your browser — e.g. Windows Internet Explorer — will open
automatically at the first page of designs when the conversion is
finished.
If your browser does not open automatically:

! Open your browser — e.g. Windows Internet Explorer — via the
Windows Start button.
! Click the Address field, browse to the selected folder, and
double-click the first HTM file containing thumbnails — e.g.
Crests1.htm.
There will be at least two HTM files with similar names — e.g.
Crests.htm, Crests1.htm, etc. The filename without a number is the
index to all of the HTM files.
Your browser will display one or more design thumbnails in the window.
9 Examine the contents of the page.
Click Next Page to view the next screen of thumbnails.
Tip Double-click a thumbnail to view its TrueView™ image in real size.

10 Repeat the procedure to adjust thumbnail size and table layout as
required.
Exporting design catalogs

Design details can be converted to the Tab and CSV (Comma Separated
Value files) formats suitable for use by most spreadsheets. See your
spreadsheet program for details.
To export a design catalog

2 Select and sort the designs to be published in the catalog using Sort.
3 Select File > Export Designs.
The Export to File Options dialog opens.
4 Click either Tabs or Commas, depending on your spreadsheet program’s

recommended format.

5 Select a folder and filename to store the CSV or TXT file.
6 Click Save.
The designs will be generated and saved in the selected format.
Converting design files in folders
Use Convert to convert from one design file type to another.
You can convert your EMB and other design files to and from other file
Tip You can use this capability in conjunction with the Auto Color Merge
feature. 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. See Color merging Melco
CND files for details.
To convert design files in folders

2 Select the file(s) to be converted.
3 Click the Convert icon.
The Convert Options dialog opens.

Enter location for
converted designs
Select file types to

convert to
4 Select the file types you want to convert to.

5 Browse to the folder where you want to store the converted designs,
using the ... button and the Browse for Folder dialog.
6 Click OK to start the conversion.

The converted designs will be stored in the nominated folder.
Note Embroidery disks must be formatted to suit the embroidery

machine you intend to use or the machine will not be able to read the
design. Select File > Format Embroidery Disk to format a disk to
required format. See Formatting embroidery disks for details.

Archiving design files
ES Design Explorer lets you archive and view design files in folders which
have been archived by means of the popular WinZip utility. This is a software
program which bundles files into a single compressed file with the extension
*.ZIP. This can be useful for sending or receiving multiple files via email.
Saving design files to a single compressed file
Use WinZip to archive selected designs to a single compressed file.
ES Design Explorer provides a shortcut to the WinZip utility via the toolbar.
To save design files to a single compressed file

2 Select a folder and select the design or designs you want to archive.
3 Click the WinZip icon or right-click and select Create Zip Archive from
the popup menu.
! If you have selected one design file, the system will create a ZIP file
taking the design’s name as its own.
! If you have selected more than one design file, the Create Zip
Archive dialog opens.
4 Choose whether to archive the selected files individually or as a single

file.
! If you click Individuals, the system will create a ZIP file for every
design, taking the design’s name as its own.
! If click One, the Save As dialog opens.

Choose a
location
Enter a file
name
5 Enter a file name for your zipped file and click Save.
The selected designs are copied to the zip file. You can view them in the
specified folder. See Viewing zipped designs in folders for details.
Extracting design files from a zipped archive

ES Design Explorer allows you to extract design files from a zipped archive
directly to a database. This is useful, for example, if you are receiving zipped
designs via email.
To extract design files from a zipped archive

2 Select the folder which contains the design or designs you want to
extract.

Zipped design zipped design —
file appears in name appears in
directory tree italics
3 Select the individual design to extract in the display window or the

zipped file in the directory tree.
4 Within the zipped file, select the design(s) you want.
5 Select File > Extract.
The Save As dialog opens prompting you to specify the location of the
extracted file.
Choose a
location
6 Choose a location and click Save.

The designs are extracted to the selected location. If you have saved
them to a location referenced by ES Design Explorer, you can now view
them. See Changing folders for details.

PART IX
HARDWARE & SOFTWARE
SETUP
Setting up hardware
This section describes how to set up digitizing tablets, embroidery
machines, paper tape readers and punches, and scanners. It also describes
how to calibrate the monitor. See Setting up Hardware for details.
Using digitizing tablets

This section describes how to register both the menu chart and enlargement
drawing on the digitizing tablet so that ES Designer can interpret the
commands you select as well as the outlines you digitize. It also explains
how to change the drawing scale, shift an enlargement drawing, and how to
select preset spacing values using the menu chart. See Using Digitizing
Tablets for details.
Changing system settings

This section describes how to change TrueView™ display, grid spacing and
positioning, and design window scrolling options. It also describes how to
save designs automatically as you work. There is also information about how
to adjust the pointer position display, paste position options, and other
general options. See Changing System Settings for details.

Chapter 34
Setting up Hardware
You will need to connect peripheral devices for use with ES Designer. These
may include digitizing tablets, plotters, printers, paper tape readers and
punches, appliqué cutters, scanners and embroidery machines. Different
devices are set up in different ways — some in Windows, via the Control
Panel, others within ES Designer itself.
This section describes how to set up digitizing tablets, embroidery
machines, paper tape readers and punches, and scanners. It also describes
how to calibrate the monitor.
Note For instructions on connecting devices to your computer and setting

up in Windows, see the documentation for the device as well as your
Microsoft Windows documentation.
Peripheral device connection settings

Peripheral devices can be connected to your computer via serial ports,
parallel ports, a specialized network card or an ethernet network.
Note Local area networks (LANs) commonly use ethernet networks for
machine connection.
Serial port settings
Use Hardware Setup (Special menu) to enter serial port settings.
PC serial COM ports are male connectors, and can be either 9-pin or 25-pin.
They are named COM1, COM2, COM3, etc. When you set up a digitizer or
machine that is connected via a serial port, you need to enter the serial port
settings in ES Designer as part of the setup procedure. See Setting up
digitizing tablets or Setting up embroidery machines for Stitch Manager.

The number of available ports limits the number of devices you can connect.
If additional ports are required, you can add them. Multi-port serial cards
can also be used. See a PC technician about your requirements.
The following table provides standard settings for various devices. They are
a guide only. Settings for the same device may vary according to
manufacturer. Check the documentation supplied with the device before
setting up.
Hand - Data Stop

Device Port Baud Parity
shaking bits bits
Digitizer * COM1 9600 None 8 1 None
Plotter COM2 9600 XOn/XOff 8 1 None
Tape Punch COM2 4800 XOn/XOff 8 1 None
Tape Reader COM2 4800 XOn/XOff 8 1 None
Embroidery COM2 9600 Hardware 8 1 None

Machine
* The digitizer applies only to 21D, 45, 65
Note You must be able to identify the ports on your computer. If in doubt,
consult a PC technician.
To enter serial port settings

1 Select Special > Hardware Setup.
The Hardware Setup dialog opens.
Select device
Click Values
2 Select a device from the Type list and click Values.

The <Device> Setup dialog opens.
V9 Chapter 34 Setting up Hardware 726

Select serial Click Setup
port
3 Select a serial port from the Port list.

4 Click Setup.
The Serial Port Setup dialog opens.
Enter port settings for

embroidery machine or
selected device
5 Enter the Baud rate, Data Bits, Stop Bits and Parity and Handshaking
settings for the device.
Note The port settings must match those of the embroidery machine
or selected device. The type of handshaking must match the type of
cable you are using. Check the communications setup section of the
documentation that came with the device.
6 Click OK.
Parallel port settings

Parallel ports are used to connect some embroidery machines. They are
named LPT1, LPT2, etc. When you set up the machine, select the parallel
port and the required protocol, and complete the machine setup procedure.
See Setting up embroidery machines for Stitch Manager for details.
Network settings
If an embroidery machine connection uses a Melco StarLAN network with a
Melco StarLAN card, enter the network settings. You do this as part of the
procedure for setting up or modifying machines in ES Designer. See Setting
up embroidery machines for Stitch Manager for details.

See the document Connecting Melco Embroidery Machines to Wilcom
ES Designer Embroidery software for more information. This document is
available on the Wilcom website (http://www.wilcom.com.au).
Ethernet settings
Use Stitch to Stitch Manager (File menu) to enter ethernet connection settings.
Enter the following information when setting up embroidery machines that

are connected using an ethernet network. See also Setting up embroidery
machines for Stitch Manager.
To enter ethernet connection settings

1 Select File > Stitch to Stitch Manager.
The Stitch to Stitch Manager dialog opens.
Select a Click Setup

machine
2 Select a machine from the Machine Identification list and click Setup.
Select Ethernet
Select embroidery Click Find

machine
3 Select Ethernet from the Port list.

An additional field, Peripheral Name, and two checkboxes appear in
the Connected To panel.
4 From the Peripheral Name list, select the embroidery machine you are
setting up.

If the machine you require is not in the list, click Find. The system
searches for all machines connected on the ethernet and adds them to
the list.
5 Select Auto Delete to automatically delete files from machine memory
after stitching is complete.
6 Select Auto Queue to automatically queue the design as the next one
to stitch.
Deselect it to send the design to the end of the existing queue.
7 Complete the machine setup as normal.
See Setting up embroidery machines for Stitch Manager for details.
Setting up digitizing tablets

Digitizing tablets generally connect to COM1 but can connect to any
available serial COM port. They must be set up in ES Designer to specify the
format and the preferred pointer display mode. ES Designer can only
support one tablet at a time. You can select from standard digitizer formats
or, if the format you need is not available, define a new one. See Defining
and modifying digitizing tablet formats for details.
Digitizing tablet limitations

ES Designer V6.0 and V6.1 cannot use the Windows-compatible drivers of
some tablets — e.g. GTCO and Calcomp tablets.
Earlier versions of WinTab do not free the COM port, even when it is not in
use. This means ES Designer is unable to communicate with the digitizing
tablet. Check with the tablet manufacturer to obtain a version of tablet
software which will free the port when not in use. Alternatively, the software
may disable or uninstall WinTab, or use another COM port when working
with ES Designer.
Setting up digitizing tablets
Use Hardware Setup (Special menu) to setup digitizing tablets.
You can set up your digitizing tablet in ES Designer to define the required
format and pointer display mode. The pointer display mode can be set to
Point or Stream. If you change this setting on the digitizing tablet itself,
you must also change it in ES Designer.

Point mode
In Point mode, the pointer on the screen does not move when you move
the digitizer puck on the tablet. The pointer position on the design area of
the design window is only updated when you click a button on the digitizer
puck.
Stream mode
In Stream mode, the pointer position is continually updated. When you
move the digitizer puck on the tablet, the pointer moves on the screen.
Note If you use Stream mode, you need to set the digitizer to transmit at
20 data packets per second or less. The baud rate for the digitizing tablet
and serial port must both be set to 9600 baud. See Serial port settings for
details.
To avoid loss of data at high speed, it is important to set up the digitizer
correctly. If it can only transmit at greater than 20 data packets per second,
reduce the baud rate of the digitizer from 9600 baud to 2400 baud.
To set up digitizing tablets

1 Connect the digitizing tablet and puck using the accompanying
instructions, and run ES Designer.
Select Digitizer
Click Values
3 From the Type list, select Digitizer.

To change the settings of an existing tablet, select it, then click Values.
The Digitizer Setup dialog opens.

Enter a name
Select digitizer
format
Select Point or
Stream input mode
Select COM port Enter serial port

settings
4 In the Name field, enter a name for the digitizing tablet.

5 In the Comment field, enter a comment as required.
6 From the List of Formats list, select the required digitizer format.
Alternatively, select Auto Detect to automatically match the format to
the connected digitizer.
Note Not all digitizers can be automatically detected by ES Designer.

For these tablets, you can define a new format or modify existing format
settings. See Defining and modifying digitizing tablet formats for details.
7 From the Input Mode list, select Point or Stream.
Note This setting must be the same as the one you specified on the
digitizing tablet.
8 From the Port list, select the COM port to which the digitizer is
connected.
9 Click Setup to enter the serial port settings.
These settings must be the same as those set on the digitizing tablet,
or ES Designer will not be able to communicate with it. See Serial port
settings for details.
Note If you selected Stream mode, set the Baud value to 9600.
10 Click OK to close the Digitizer Setup dialog.
11 Click Close.

Defining and modifying digitizing tablet formats
If the digitizing tablet format you require is not set up in ES Designer, you
can create a new format, or modify an existing format to match the output
of your tablet. Before you start, review the documentation provided with the
digitizing tablet, and select a supported format. Use the specified settings
to create the new format in ES Designer.
Note This functionality is provided for advanced users with knowledge of

the data protocols supported by their digitizing tablet. Only use it if your
digitizing tablet does not work with any existing formats.
To define or modify digitizing tablet formats

1 Access the Digitizer Setup dialog.
See Setting up digitizing tablets for details.
Select digitizer Modify an existing

format format
Create a new
format
2 In the Format panel:

! To modify an existing format, select the format and click Modify.
! To define a new format, click New.
The Digitizer User-Defined Format Setup dialog opens.

Enter a format
name
Enter format string
for tablet
Enter digitizing
scale
3 In the Format Name field, enter a name for the new or modified format.
4 In the Format String field, enter the format string your digitizing tablet
outputs.
Obtain this information from the digitizing tablet documentation.
5 In the Scale field, enter the scale at which you are digitizing.
For example, a scale of 3.0 means your on-screen design will be one
third of the size you digitized.
6 Click OK.
Note To set up the digitizing tablet with the new or modified format,
complete the standard setup procedure. See To set up digitizing tablets
for details.
Setting up embroidery machines

Before you can send designs for stitching, you must configure the machine
in ES Designer. You can add machines, change settings for machines
already set up, or delete machines that are no longer required.
ES Designer provides alternative means for sending designs directly to
embroidery machine for stitching. Depending on your software options, you
can stitch to machine using either Stitch Manager or ES Machine Manager.
For details about Stitch Manager, see Stitching designs with Stitch
Manager. ES Machine Manager is described in a separate ES Machine
Manager Supplement.

Note Your machine must be set up through Stitch Manager if you are
sending to Stitch Manager, or ES Machine Manager if sending to ES
Machine Manager.
Setting up embroidery machines for Stitch Manager
Use Hardware Setup (Special menu) to setup embroidery machines for Stitch
Manager.
To set up a machine you need to define a name, the port it is attached to,
and the protocol it uses. You can select whether to download directly to the
selected machine or to receive a confirmation message each time. For every
machine, you need to select the machine formats it supports. You can select
from among standard formats, or create new formats if necessary. See
Changing Machine Formats for details.
Tip Machines that support serial feedback need to be set up in ES Machine

Manager. See the ES Machine Manager Supplement for details.
To set up embroidery machines for Stitch Manager

1 Connect the embroidery machine using the accompanying instructions,
and run ES Designer.
The identical port settings must now also be entered in ES Designer
Hardware Setup.
Select Direct Click New to add a

Machine machine
Connection
Click Values to
change existing
machine settings
3 From the Type list, select Direct Machine Connection.

! To change the settings of an existing machine, select it, then click
Values.

! To add a new machine, click New. If no machines are set up, you are
automatically prompted to add a new one.
The Embroidery Machine Connection dialog opens.
Enter machine
name
Select COM port Enter serial port

and connection settings
protocol
4 In the Name field, enter a name for the machine.

5 In the Comment field, enter a comment if desired.
6 From the Port list, select the COM port to which the machine is
connected.
See also Ethernet settings.
Tip See Connecting Melco Embroidery Machines to Wilcom ES

Designer Embroidery software for more information. This document is
available on the Wilcom website http://www.wilcom.com.au.
7 From the Protocol list, select the protocol for the connection between
the computer and embroidery machine.
The connection type on the computer will be either standard serial,
parallel, serial to parallel converted (DCi serial), or an interface card
such as Melco Starlan or Ethernet card.
See the documentation supplied with the embroidery machine to
determine the appropriate connection.
These settings must be the same as those set on the embroidery
machine, or ES Designer will not be able to communicate with it. See
Serial port settings for details.
9 In the Connected To panel, select Auto Download to directly download
designs to the assigned machine. Deselect it to confirm before sending.
10 In the Machine Type panel, select the compatible machine formats.
To do this, select compatible machine types in the Available list, and
click > to move them to the For this machine list.

machine types
Select a supported by your
machine type machine
Click > arrow to place in For

this machine list
Note Machine format values can be added or changed if required. See

Changing Machine Formats for details.
11 Click OK to return to the Hardware Setup dialog.
12 Click Close.
Deleting embroidery machines from Stitch Manager
Use Hardware Setup (Special menu) to delete embroidery machines from Stitch
Manager.
Delete embroidery machines from your system setup if they are no longer
required.
To delete embroidery machines from Stitch Manager

Select Direct Machine

Connection
Click Delete to
Select machine to remove the
delete machine
2 From the Type list, select Direct Machine Connection.

3 Select a machine and click Delete.
4 Click OK.

Tip To delete from Stitch Manager, click the Delete machine unit
icon.
Setting up paper tape readers and punches
Use Paper Tape Read (File menu) to setup paper tape readers and punches.
Set up paper tape readers and punches from within ES Designer. The values
you enter here are the default values when reading and punching tapes.
Paper tape formats supported in ES Designer include Tajima, Barudan,
Zangs, ZSK and Pfaff.
Setting up paper tape readers

To set up a paper tape reader, you need to connect it, select a machine
format and enter the serial port settings for it.
To set up paper tape readers

1 Connect the tape reader using the accompanying instructions, and run
ES Designer.
2 Select File > Paper Tape > Read.
The Choose Read Tape Type dialog opens.
Select required
machine format for
reading designs
3 From the Choose input machine list, select the required machine
format.
4 Click OK.

Select to confirm
tape reader setup
before reading
Select required
reader Enter serial port
settings
5 Select the Confirm Setup checkbox if you want to confirm the setup of
the tape reader before reading.
6 In the Reader Setup panel, select the required reader from the Reader
Name list.
These settings must be the same as those set on the tape reader, or ES
Designer will not be able to communicate with it. See Serial port settings
for details.
8 Click Exit.
Setting up paper tape punches
Use Paper Tape Punch (File menu) to setup paper tape punches.
Set up paper tape punches in ES Designer to select the machine format, and
specify options such as labels, rewinding and punching in the reverse
sequence.
To set up paper tape punches

1 Connect the tape punch using the accompanying instructions, and run
ES Designer.
2 Select File > Paper Tape > Punch.
The Choose Write Tape Type dialog opens.

Select required
machine format for
punching designs
3 From the Choose output machine list, select the required machine
format.
4 Click OK.
Select to confirm
punch setup before
punching
Select required
tape punch Enter serial port
settings
Select to include a
label with the
design
5 Select the Confirm Setup checkbox if you want to confirm the setup of
the tape punch before punching.
6 From the Punch Name list, select the required tape punch.
These settings must be the same as those set on the tape punch, or ES
Designer will not be able to communicate with it. See Serial port settings
for details.
8 Select the With Label checkbox to include a label with the design. Type
the label text in the field. The machine format and date are also
included.
9 Select the AutoRewind at Start checkbox, if supported by the machine
format, to automatically rewind the tape before stitching.
10 Click the Reverse Direction checkbox to punch in the reverse direction
to the current stitching sequence.

This lets you punch directly from tapes that were stored on take-up rolls
without rewinding.
11 Click Exit.
Setting up scanners
Use Scanner Setup (File menu) to setup scanners.
ES Designer supports TWAIN-compatible scanners.
To set up scanners
1 Connect the scanner using the accompanying instructions.
2 Set it up in Windows using the accompanying instructions and/or the
Microsoft Windows documentation.
3 Start ES Designer.
4 Select File > Scanner Setup.
The Select Source dialog opens displaying a list of scanner drivers
loaded on your computer.
Select a scanning
driver
5 Select the scanning driver to use, then click Select.
Note If you have trouble with scanning after re-starting ES Designer,

there may be a conflict with previously installed scanner drivers.
Re-install ES Designer and test the scanner. If the selected scanner
driver does not work in ES Designer, select another scanner driver from
the list. There are usually two installed for each scanner.

Calibrating the monitor
Use Hardware Setup (Special menu) to calibrate the monitor.
You need to calibrate your monitor so that designs at 1:1 scale appear at
real size. Do this when you first install ES Designer or whenever you change
your monitor.
To calibrate the monitor

Select Display
Monitor
Click Values
2 From the Type list, select Display Monitor.

3 Click Values.
The Screen Calibration dialog opens.
Measure
height
Measure width
4 Measure the height and width of the dialog box.

5 Enter the measurement in the Width and Height fields.
6 Click OK to return to the Hardware Setup dialog.
7 Click Close.

Chapter 35
Using Digitizing Tablets
You can use a digitizing tablet and puck with ES Designer as an alternative
to digitizing directly on-screen. To use a tablet, you place an enlargement
drawing on the active area, and use the puck to mark reference points. You
can also select commands with the puck and menu chart provided with the
software.
This section describes how to register both the menu chart and enlargement
drawing on the digitizing tablet so that ES Designer can interpret the
commands you select as well as the outlines you digitize. It also explains
how to change the drawing scale, shift an enlargement drawing, and how to
select preset spacing values using the menu chart.
Note Before you start, you need to set up your digitizing tablet. See Setting
up digitizing tablets for details.
Registering the menu chart
Use Tablet (Special menu) to register the menu chart.
The menu chart provided with the software lets you select commands
directly on the digitizing tablet. Before you can use it, you need to register
it. A copy of the menu chart is provided in this manual together with a key
to the menu chart icons. See Quick Reference Guide for details.
Tip If you prefer to use a bigger or smaller menu chart, scale it — e.g. on
a photocopier — and register the scaled version.
To register the menu chart

1 Select Special > Tablet.
The Tablet Setup dialog opens.

Select Register
Menu
2 In the Menu Chart panel, select the Register Menu checkbox.

3 Deselect all other checkboxes and click OK.
4 Place the menu chart on the digitizing tablet, leaving room for the
enlargement drawing.
5 Click the three menu chart reference points with Button 1 of the digitizing
puck.
Menu Chart Ref

Point 1
Menu Chart Ref

Point 2
Menu Chart Ref

Point 3
Menu Chart
Digitizing Puck
Button 1
V9 Chapter 35 Using Digitizing Tablets 744

Note Unless you move the menu chart, you do not need to register it
again.
Preparing an enlargement drawing

When you digitize with a tablet, you use an enlargement drawing to trace
the shapes and outlines of the design in the same way you use backdrops
on-screen. Before you start, you need to prepare the enlargement drawing.
To prepare an enlargement drawing

1 Convert the artwork to a technical drawing.
Generally the drawing will be three times larger than the final
embroidery.
Tip If the drawing is in hard copy, scale it using a transparency projector

or photocopier. If you used a graphics application to create the artwork,
scale it before you print it out.
2 Modify the drawing to make it suitable for embroidery:
! Define shapes that can be easily filled with stitches.
! Overlap and distort shapes to compensate for push-pull.
! Draw digitizing guidelines — e.g. stitch angle lines.
3 Draw origin and rotation reference points.
These points set the position and orientation of the enlargement drawing
on the digitizing tablet.
Tip If the drawing is bigger than the digitizing tablet, enter additional
points to help you shift the drawing as you digitize. See also Shifting an
enlargement drawing.
4 Write the name and scale of the enlargement drawing for future
reference.

rotation reference
point
name
flower
origin
scale 3:1
Registering an enlargement drawing
Use Tablet (Special menu) to register an enlargement drawing.
When you place an enlargement drawing on the digitizing tablet, you need
to register it so ES Designer can interpret the design. To register an
enlargement drawing, enter the scale, and digitize the origin and rotation
points on the tablet. The origin and rotation points should be marked on the
enlargement drawing. If they are not, you need to draw them in.
Note The menu chart and enlargement drawing should not overlap. If they
do, you may need to shift the design as you digitize, or move and re-register
the menu chart. See Shifting an enlargement drawing and Registering the
menu chart.
To register an enlargement drawing


Enter drawing
scale
Select Register
Drawing
Deselect Register
Chart
Select Save as
defaults
2 In the Drawing Scale panel, enter the scale of the enlargement

drawing.
Tip To calculate the scale, divide the height of the enlargement drawing
by the required height of the final embroidery. Enlargement drawings
are generally prepared at a scale of 3.00.
3 Select the Register Drawing checkbox.
4 Deselect the Register Menu checkbox.
5 Select the Save as defaults checkbox.
This saves the registration information for this drawing so you do not
have to re-register each time you resume digitizing.
6 Click OK.
7 Place the enlargement drawing on the digitizing tablet.
8 Click the origin and rotation points of the drawing with Button 1 of the
digitizing puck.
This completes the registration.

rotation reference
point
flower
origin
3:1
Changing the drawing scale
Use Tablet (Special menu) to change the drawing scale.
You can change drawing scale during digitizing. When you change the scale,
ES Designer automatically resizes the object outlines and regenerates the
stitches.
To change the drawing scale

Enter new
drawing scale
Select
Select
2 In the Drawing Scale panel, enter the new drawing scale.
Tip To calculate the scale, divide the height the enlargement drawing
by the required height of the final embroidery. Enlargement drawings
are generally prepared at a scale of 3.00.
3 Select the Resize Design to Match Drawing checkbox.
4 In the Drawing Position panel, select the Register Drawing checkbox.
5 Click OK.

6 Digitize the origin and the rotation reference points to re-register at the
new size.
The design is resized to the new scale.
Shifting an enlargement drawing
Use Tablet (Special menu) to shift an enlargement drawing.
If the drawing is bigger than the digitizing tablet, you can move it across the
tablet and continue digitizing. To move a drawing you need to draw, and
digitize, two additional reference points. These points must be over the
active part of the digitizing tablet, both before and after the move.
Note If the enlargement drawing overlaps the menu chart when you shift
it, move the chart and register it again. See also Registering the menu chart.
To shift an enlargement drawing

1 Draw additional reference points on the enlargement drawing.
Position the points so that they will be on the active part of the digitizing
tablet both before and after the move.
Tip If you are shifting the drawing up or down, draw the additional
reference points horizontally. If you are shifting the drawing left or right,
draw the reference points vertically.
Deselect
Select
Deselect
3 In the Drawing Position panel, select the Shift Drawing checkbox.

4 Deselect the Register Drawing and Register Menu checkboxes, and
click OK.
5 Click the additional reference points with Button 1 on the digitizing puck.

6 Move the drawing so that the part you want to digitize next is over the
active area of the digitizing tablet, and click the additional reference
points again.
The drawing is re-registered in the new position.
Using a digitizing puck

With a digitizing tablet, you generally use a puck instead of a mouse to mark
reference points and select commands from the menu chart.
To use a digitizing puck

Position the cross-hairs of the puck over a point on the enlargement drawing
or menu square, then press one of the four buttons.

Mouse or keyb’d
Function Button Description
equivalent
Digitize corner 1 [ Digitize corner reference point when

point digitizing outlines.
Digitize curve 2 ] Digitize curve reference point when digitizing

point outlines.
Terminate with 3 M • Terminate input omitting last stitch — i.e.

last stitch the fill is terminated on the opposite side
as the last input point.
• Toggle between selected fill stitch type and
input method, and the Run input tool.
Terminate 4 R • Terminate input including last stitch — i.e.

without last the fill is terminated on the same side as
stitch the last input point.
• Toggle between selected fill stitch type and
input method, and the Manual input tool.
Selecting preset spacing values

Use the menu chart to select preset spacing values for Satin and Zigzag
stitch types as well as preset stitch lengths for Run and Triple Run objects.
To select preset spacing values

1 Select the stitch type you want to use.
Note For Satin stitch, turn off Auto Spacing.

2 Move the puck over the Spacing 1/2/3/4 menu chart icon and click the
button that corresponds to the preset value you require.
Each button on the puck accesses the next preset style with different
spacing values. For example, if the stitch type is Satin, clicking Button
1 accesses <PRESET_SATIN_1>. Button 2 accesses
<PRESET_SATIN_2>, and so on.
Tip The spacing value displays in the Status Line next to the stitch
type.

Chapter 36
Changing System Settings
ES Designer lets you adjust various system settings controlling the

appearance of designs on screen, display of design information, the
behavior of the design window, and other settings.
This section describes how to change TrueView™ display, grid spacing and
positioning, and design window scrolling options. It also describes how to
save designs automatically as you work. There is also information about how
to adjust the pointer position display, paste position options, and other
general options.
Note With the implementation of multiple colorways, the concept of the

‘background’ changed. Background colors and fabrics are now considered
design properties rather than system settings. In addition, display colors for
borer, unsewn, selected, object outline and grid are also part of the colorway
definition. See Using multiple colorways for details.
Setting design element view options

You can set options to show or hide design elements such as needle points,
connector and function markers in your design. For example, view needle
points to select stitches for editing, functions to check color changes or
stops, and connectors to help position stitch entry and exit points.
Note You can display or hide design guides in any combination. No design
guides display while in TrueView™.
To set design element view options

2 Select the View Design tab.

Select design
elements to display
3 Select the options to display.

! TrueView™: shows what the embroidery will look like. See also
Viewing designs in TrueView™.
! Stitches: all stitches in the design are visible.
! Outlines: all outlines in the design are visible.
See also Viewing stitches and outlines.
! Needle Points: all needle points in the design are visible.
! Connectors: all connectors in the design are visible.
! Function Symbols: all function symbols in the design are visible.
See also Viewing needle points, connectors and functions.
Setting TrueView™ options
Right-click to set TrueView™ (General toolbar) options.
Change TrueView™ settings for different effects. You can:

! change the thickness of the pictured thread
! change the direction of the light source
! set the maximum number of colors to use.
To set TrueView™ options

1 Right-click the TrueView™ icon.

Select Click TrueView™
TrueView™ Options
2 Select the TrueView™ checkbox and click TrueView™ Options.

The TrueView™ Options dialog opens.
Select thread thickness
Select light source
Select maximum number of colors
3 Select a thread thickness from the Thread Thickness list.

If you display a design at a zoom factor larger than actual size, select
thick thread for good coverage. This only affects the TrueView™ display,
not the actual thread values. To change thread thickness settings, see
Adding your own colors to thread charts.
4 Select the lighting direction from the Light Source list.
TrueView™ — thick thread, light above TrueView™ — thin thread, corner light
5 Enter the maximum number of colors to display in TrueView™ from the

Max Number of Colors list.
6 Click OK.
V9 Chapter 36 Changing System Settings 754

Setting grid options
You can change the grid spacing, select a reference point and turn Snap to
Grid on or off in the Options dialog.
Setting grid reference point and spacing
Right-click Show Grid (Standard toolbar) to set grid reference point and
spacing.
Align the grid to a reference point in the design — for example, when you
want a grid line to intersect the center of the design, or to sit under a
particular object. See also Changing display colors.
To set grid reference point and spacing

1 Right-click the Grid icon.
2 Select the Show Grid checkbox to display the grid.
Select to
display grid
Select to align grid
to a point
Enter horizontal and

vertical spacing
3 Select the Set Reference Point checkbox to align a significant point of

the design with a grid line or grid point.
For example, you can set the grid reference point to the design center.
This is easier and faster than moving the whole design.
4 Enter Grid Spacing values for horizontal and vertical grid lines.
Tip To use these settings as defaults for the current template, click
Save.
5 Click OK.

If you selected Set Reference Point, mark the reference point on your
design. The grid aligns so that horizontal and vertical grid lines intersect
at this point.
Setting Snap to Grid
Right-click Show Grid (Standard toolbar) to set the Snap to Grid option.
Use Snap to Grid to align objects in your design to the nearest grid lines.
You can align objects to the horizontal (X) or vertical (Y) axis, or both. New
reference points will ‘snap’ to the nearest grid line as you digitize. Existing
objects will snap to grid when you select and move them.
To set Snap to Grid

1 Right-click the Grid icon.
2 Select the Snap to Grid checkbox.
Select snap to
grid
3 Select an axis setting from the Method list.

! Horizontal: snaps objects to the nearest horizontal grid line.
! Vertical: snaps objects to the nearest vertical grid line.
! Both: snaps objects to the nearest horizontal and vertical grid line
intersection.
Tip To use these settings as defaults for the current template, click
Save.
4 Click OK.
Tip To temporarily disable Snap to Grid as you digitize, hold down Alt.
Setting Auto Scroll options
Select Options (Special menu) to set Auto Scroll options.

Use Auto Scroll to scroll the design automatically while you are digitizing.
This can be more convenient than using panning or the scroll bars.
To set Auto Scroll options

2 Select the Auto Scroll tab.
Select Auto Scroll
Adjust auto-scroll speed

and pointer position
3 Select the Auto Scroll checkbox to apply Auto Scroll.

4 Select the Move Pointer After Scroll checkbox to move the position of
the pointer after each scroll.
5 Adjust the Autoscroll Response field as required.
Enter smaller values to increase scrolling speed.
6 Select the pointer position after scrolling from the Move Input Point To
list.
! Center: center of the window. Use this setting for large movements.
! Midway: halfway between the original pointer position and the
center of the window. Use this setting for smaller movements — for
example, when zooming into a small area of the design.
! Corner: the edge of the screen. Use this setting for slow scrolling.
7 Click OK.
The effect of this setting will only become apparent when you start to
digitize. The design window will automatically scroll to follow the current
cursor position.
Tip Hold down the Shift key to temporarily deactivate Auto Scroll.

Setting automatic save and backup options
Select Options (Special menu) to set automatic save and backup options.
Save your work automatically at regular intervals using Auto Save to

protect you from losing work in the event of hardware or software failure.
You can also create backup files for emergency use.
Tip Backup files should be kept in a separate location to the original files,
preferably off-site.
To set automatic save and backup options

2 Select the General tab.
Select to auto-save designs

Select to auto-backup designs
3 Select the Auto Save Design Every checkbox.

4 Enter the auto-save frequency in the Minutes field.
5 To create a backup every time you save a design, select the Always
Create Backup Copy checkbox.
The design will be saved in the BACKUP folder of your Wilcom ES
installation. It will have the same name as the original file with the
extension BAK.
Warning Backup files remain in the BACKUP folder until you delete
them. To prevent the folder from using too much hard disk space, delete
unwanted files regularly.
6 Click OK.
Setting the pointer position display

When you move the mouse or digitizer puck, the pointer position is
displayed in the Status Bar at the bottom of the screen. You can optionally

display the pointer position relative to the last digitized point or stitch point,
or as an absolute value from the first needle point of the design.
Interpreting pointer position values

The X and Y values show the horizontal and vertical distance of the pointer
from the relative or absolute point. The L value is the length of the line
connecting the pointer with the previous point, while A is the angle of that
line, relative to the horizontal.
2 1
length = 37.2 mm length = 37.2 mm
Y = 18.6 mm Y = -18.6 mm
X = 32.2 mm X = -32.2 mm
1 2
X: horizontal Y: vertical L: length A: angle
Status Bar
A negative X value indicates that the second point was placed to the left of
the first point, while a negative Y value displays when the second point is
below the first. Negative angles indicate angles of more than 180º — for
example, an angle of -60º is equal to 300º.
90º
2 135º 45º
180º 0º
A = 30º
1 -135º -45º
-90º
Tip You can measure on-screen distances using the values in the Status
Bar. See Measuring distances on-screen for details.
Setting pointer position display options
Select Options (Special menu) to set pointer position display options.

You can optionally display the pointer position relative to the last digitized
point or stitch point, or as an absolute value from the first needle point of
the design.
To set pointer position display options

Select relative or
absolute pointer
position
3 Select a Relative or Absolute setting for the pointer.

! Relative: shows pointer position relative to the last digitized point
or stitch point. Useful while digitizing or editing stitches.
! Absolute: shows pointer position as an absolute value from the first
needle point of the design. Useful for checking that the design fits a
given area.
4 Click OK.
Tip You can change the appearance of the pointer, so it displays as a

cross-hair. See Setting other options for details.
Setting paste position options
Select Options (Special menu) to set paste position options.
You can control where an object is positioned when pasted into a design. The
default is to paste objects at the position set by the coordinates in the
Object Properties dialog. If you are pasting within the same design, this is
the same position from which the object was copied or cut. Other paste
position options are available.
Note Paste options control the physical position of the object in the design,
not its position in the stitching sequence.
To set paste position options


Select paste
position setting
3 Select a Paste position setting:

! Object Property Position: Objects are pasted according to the
coordinates in the Object Properties dialog.
! Shift Pasted Objects: Objects are pasted slightly offset from their
original position.
! Center at Current Stitch: Objects are centered at the current
needle position marker.
! Start at Current Stitch: Objects are positioned after the current
needle position marker.
pasted object offset

from original
4 Click OK.
Showing or hiding the Measure tooltip
Select Options (Settings menu) to display or hide the Show Measure tooltip.
The Measure tool displays the coordinates, distance and angle of the mouse
pointer from a point corresponding to the center of a hoop in an empty
design. You can show or hide these measurements using the Show
Measure Tooltip checkbox.

To hide the Measure tooltip
1 Select Special > Options > General tab.
Select CrossHair
Cursor
Select Show
Measure Tooltip
2 Select the Show Measure Tooltip checkbox to turn on the measure

tooltip.
Tip Use the tooltip with the CrossHair Cursor on for a more accurate
measurement.
Show Measure Tooltip ON Measure Tooltip Show Measure Tooltip ON

Crosshair OFF Crosshair ON

Setting other options
Select Options (Special menu) to set stitch count display, small stitch filter, cursor
type and integrity of the design.
Use the Options > General tab to:

! Set stitch counts to display as cumulative totals
! Turn the small stitch filter on and off
! Change cursor type
! Check design integrity.
To set general options

Select other
general options
3 Select one or more of these options.

! Cumulative Stitch Count: displays stitch count as a cumulative
total in the Stop Sequence tab of the Information dialog. See also
Viewing design information in ES Designer.
! Run Small Stitch Filter on Output: automatically removes small
stitches when the file is output to disk or machine. See also
Removing small stitches automatically.
! Cross Hair Cursor: changes the default cursor pointer to
cross-hairs for more precise positioning. It is best used together with
the grid.
! Always Check Design Integrity: checks design integrity when
opening a design and during digitizing.
! Show Design Source: issues a warning dialog when opening
designs that may not scale well — i.e. where the design is a
converted stitch or non-EMB outline format.

! Show Measure Tooltip: shows length and angle in a tooltip when
measuring distances on screen. See Measuring distances on-screen
for details.
4 Click OK.

PART X
APPENDICES & INDEX

Appendix A
Product Differentiation Table

V9
Capabilities DW 21L 21E 21D 45 65 Reference
Basics Basic Procedures
Dockable toolbars ! ! ! ! ! Showing or hiding toolbars
Context-sensitive popup menus ! ! ! ! ! Using popup menus
Multiple undos ! ! ! ! ! ! Undoing and redoing commands
Open designs (EMB) ! ! ! ! ! ! Opening designs
Create new designs (normal, custom ! ! ! ! ! Creating new designs
templates)
Generate stitches ! ! ! ! ! ! Generating stitches
Wilcom ES Online Manual
Display grid ! ! ! ! ! ! Displaying the grid

Display measurements "! "! "! "! "! "! Measuring distances on-screen
Select machine format ! ! ! ! ! ! Selecting machine formats
Save designs ! ! ! ! ! ! Saving designs
Design Viewing Viewing Designs
Zoom in / out ! ! ! ! ! ! Zooming in and out
Show whole design ! ! ! ! ! ! Viewing the whole design
Pan across design ! ! ! ! ! ! Panning across designs
Show design in Overview window ! ! ! ! ! Viewing designs in the overview window
Restore previous view / redraw designs ! ! ! ! ! ! Restoring the previous view and redrawing
designs
Show design outlines and stitches ! ! ! ! ! ! Viewing stitches and outlines
Show design in TrueView™ ! ! ! ! ! ! Viewing designs in TrueView™
Show design needle points, connectors and ! ! ! ! ! ! Viewing needle points, connectors and
functions functions
View selected parts of a design ! ! ! ! ! ! Viewing selected parts of a design
Show objects by color ! ! ! ! Viewing design objects by color
Travel through design by stitches, color, ! ! ! ! ! ! Viewing the stitching sequence
function
Show stitch sequence (Slow Redraw) ! ! ! ! ! ! Redrawing the stitching sequence slowly
767
! Included as standard # Cost option " New/improved feature/option L For lettering only LG For lettering and grouped objects only
V9
Show multiple colorways ! ! ! ! ! ! Viewing colorways
Show design information in Windows Explorer ! ! ! ! ! Viewing design information in Windows
Explorer
Show design properties ! ! ! ! ! Viewing design information in ES Designer
Estimate total thread usage ! ! ! ! ! Estimating total thread usage
Preview production worksheet ! ! ! ! ! ! Previewing production worksheets
Object Selection Selecting Design Objects
Select all objects in a design ! ! ! ! ! ! Selecting all objects in a design
Select individual objects ! ! ! ! ! Selecting objects with Select Object
Select objects while traveling through a design ! ! ! ! ! Selecting objects ‘on the fly’
Select groups of objects ! ! ! ! Selecting objects with Polygon Select/Line

Select
Select objects by color ! ! ! ! Selecting objects by color
Select objects by stitch type ! ! ! ! Selecting objects by stitch type
Select and view objects with the Color-Object ! ! ! ! Selecting and viewing objects with the
List Color-Object List
Input Methods Input Methods
Digitize individual stitches (Manual) ! ! ! ! ! ! Digitizing individual stitches
Digitize individual stitches (Triple Manual) ! ! ! Digitizing individual stitches
Digitize lines (Run and/or Triple Run) ! ! ! ! Digitizing lines
Digitize lines (Backstitch) "! "! "! Digitizing lines
Digitize lines (Stemstitch) "! "! "! Digitizing lines
Digitize columns and borders (Input C) # ! ! Digitizing columns of fixed width
Digitize columns of varying width (Input A) ! ! ! Digitizing columns of varying width
Digitize shapes with turning stitches (Input B) ! ! ! Digitizing asymmetrical columns of turning
stitches
Digitize complex shapes with fixed angle ! ! ! Creating complex shapes with fixed stitch
(Complex Fill without holes) angles
Digitize complex shapes with turning angles "# "! Creating complex shapes with turning stitches
(Fusion Fill™)
Digitize objects with holes (Complex Fill with ! ! ! Adding boundaries
holes)
768
V9
Outline and Fill Stitch Types Fill Stitches
Single stitch (Run) ! ! ! ! Digitizing lines (Input Methods)
Triple stitch (Triple Run) ! ! ! Digitizing lines (Input Methods)
Satin stitch L ! ! ! ! Creating fills with Satin stitch
Satin Auto Spacing L ! ! ! ! Applying Auto Spacing to Satin stitch
Triple Satin L ! ! ! ! Adjusting the Satin stitch count
Tatami stitch L ! ! ! ! Creating fills with Tatami stitch
Tatami backstitch L ! ! ! ! Selecting a Tatami backstitch
Zigzag stitch L ! ! ! ! Creating outlines with Zigzag stitch
E stitch ! ! ! Creating outlines with E Stitch
Colorways and Thread Charts Colorways and Thread Charts
Change thread colors ! ! ! ! ! ! Changing thread colors

Multiple colorways ! ! ! ! ! ! Using multiple colorways
Search for thread types ! ! ! ! ! ! Searching for thread types
Match threads from different charts ! ! ! ! ! ! Matching threads from different charts
Match image colors to threads ! ! ! ! ! Matching image colors to threads
Change background ! ! ! ! ! ! Changing background colors and fabrics
Change display colors ! ! ! ! ! ! Changing display colors
Create thread charts ! ! ! ! ! ! Creating your own thread charts
Connect Embroidery Objects Connecting Embroidery Objects
Apply automatic connectors L ! ! ! ! Using automatic connectors
Add tie-offs and trims manually L ! ! ! ! Adding connectors manually
Add empty stitches and empty jumps manually ! ! ! ! ! Adding empty stitches and empty jumps
Add jumps with penetrations off manually L ! ! ! ! Adding jumps with penetrations off
Adjust travel run stitch length ! ! ! ! Adjusting travel run stitch length
Hiding travel runs with Trapunto stitching ! ! Hiding travel runs with Trapunto
Stitch Quality Improving Stitch Quality
Apply automatic underlay L ! ! "! "! Strengthening and stabilizing with automatic
underlays
Apply pull compensation L ! ! ! ! Compensating for fabric stretch
769
V9
Adjust column width L ! ! ! ! Adjusting column width
Reverse stitch direction ! ! ! Reversing stitch direction
Reduce stitch bunching (stitch shortening) L ! ! ! ! Reducing stitch bunching with stitch shortening
Reduce stitch bunching (fractional spacing) L ! ! ! ! Reducing stitch bunching with fractional
spacing
Adjust stitch density LG LG ! ! ! ! Adjusting stitch density
Remove small stitches automatically ! ! ! ! ! Removing small stitches automatically
Control corner stitching (Smart Corners) ! ! ! ! Controlling corner stitching
Split long stitches (Auto Split) L ! ! ! ! Splitting long stitches with Auto Split
Preserve long stitches (Auto Jump) L ! ! ! ! Preserving long stitches with Auto Jump
Set automatic start and end points "! "! "! "! "! "! Setting automatic start and end points
Support for Vector Drawings Digitizing with Vector Drawings

Draw straight lines # # ! Drawing straight lines
Draw open shapes # # ! Drawing open shapes
Draw polygons # # ! Drawing polygons
Draw rectangles and squares # # ! Drawing rectangles and squares
Draw circles and ellipses # # ! Drawing circles and ellipses
Import/export vector drawings "! ! ! Importing and exporting vector drawings
Insert / paste vector drawings ! ! ! Importing and exporting vector drawings
Smooth vector drawing curves ! ! ! Smoothing vector drawing curves
Color drawing objects ! ! ! Coloring drawing objects
View/hide vector drawings ! ! ! Viewing and hiding vector drawings
Combine drawing curves into complex shapes # ! Shaping drawing and embroidery objects
(Shaping)
Support for Bitmap Images Digitizing with Bitmap Images
Scan bitmap images (using Win95 Twain) ! ! ! Scanning artwork into ES Designer
Crop images ! ! ! Cropping images for digitizing
Edit image using a graphics package ! ! ! Editing images in third-party applications
Insert/paste bitmap images ! ! ! ! ! Inserting and saving bitmap images
Save bitmap images as separate files ! ! ! ! ! Saving bitmap images as separate files
Smooth bitmap images ! ! ! Smoothing bitmap images
770
V9
Show / hide backdrops (bitmaps / vectors) ! ! ! ! ! Viewing and hiding bitmap images
Dim bitmap images ! ! ! ! ! Dimming backdrops
Image Processing Processing Images for Automatic Digitizing
Reduce colors ! ! ! Preparing non-outlined images
Sharpen outlines ! ! ! Preparing outlined images
Automatic Digitizing Automatic Digitizing
Convert artwork to vector drawing (Auto Trace) # # ! Converting bitmaps to outlines with Auto Trace
Convert artwork to embroidery objects (Point & # # ! Digitizing shapes automatically with Point &
Stitch™) Stitch™
Match palette colors to an image (Match to # # ! Matching palette colors to an image
Palette)
Automatic digitizing (Smart Design) ! ! ! Automatic digitizing with Smart Design

Create embroidery designs from photographs "! "! "! "! "! Creating embroidery designs from
(Photo Flash) photographs
Combine and Resequence Objects Combining and Resequencing Objects
Cut, copy, paste, delete and duplicate objects / LG ! ! ! ! Combining objects and designs
designs
Split objects ! ! ! ! Splitting objects
Resequence selected objects ! ! ! ! Resequencing selected objects
Resequence objects by color ! ! ! ! Resequencing objects by color
Resequence objects with the Color-Object List ! ! ! ! Resequencing colors and objects with the
Color-Object List
Resequence objects by number ! ! ! ! Resequencing objects by number
Automatic object sequencing (Branching) ! ! Automatic branching
Arrange and Transform Objects Arranging and Transforming Objects
Position objects LG LG ! ! ! ! Positioning, aligning and distributing objects
Group / ungroup objects ! ! ! ! Grouping and ungrouping objects
Lock / unlock objects LG ! ! ! ! Locking and unlocking objects
Align and distribute objects LG LG ! ! ! ! Aligning objects and Distributing objects
Scale objects LG LG ! ! ! ! Scaling objects
Make objects same size LG ! ! ! ! Making objects the same size
771
V9
Rotate objects LG LG ! ! ! ! Rotating objects
Skew objects LG LG ! ! ! ! Skewing objects
Mirror objects LG LG ! ! ! ! Duplicating and mirroring objects
Mirror-merge objects "# "! Mirroring designs with Mirror-Merge
Create wreath objects "# "! Creating wreaths with Mirror-Merge
Convert, Reshape and Adjust Objects Converting, Reshaping and Editing Objects
Convert between vector drawings and # # ! Converting vector drawings to embroidery
embroidery objects objects
Convert between Run and Triple or Input C ! ! ! ! Converting between Run, Triple Run,
objects Motif Run and Input C objects
Convert Input A or B to Complex Fill or Fusion "! "! "! Converting Input A or B to Complex Fill or
Fill™ Fusion Fill™

Convert Complex Fill to Auto Appliqué # ! ! Converting Complex Fill to Auto Appliqué
Reshape objects using control points L ! ! ! ! Reshaping objects using control points
Reshape circle, star and ring objects ! ! ! ! Reshaping circle, star and ring objects
Adjust stitch angles of Complex Fill objects ! ! ! ! ! Adjusting stitch angles
Add stitch angles to Input A, Input B and ! ! ! Adjusting stitch angles
Complex Fill objects
Change entry / exit points L ! ! ! ! Changing entry and exit points
Keep / omit last stitch ! ! ! Keeping or omitting the last stitch
Stitches and Machine Functions Editing Stitches and Machine Functions
Select and deselect stitches ! ! ! ! ! Selecting and deselecting stitches
Insert, move or delete individual stitches ! ! ! ! ! Editing stitches
Convert selected stitches to objects ! ! ! ! Converting selected stitches to objects
Insert/edit/clear machine functions ! ! ! ! ! ! Editing machine functions
Edit stitches and functions with Stitch List ! ! ! ! Editing stitches and functions with Stitch List
Filter stitches by function/stitch length ! ! ! ! Editing stitches and functions with Stitch List
Object Properties, Styles and Templates Object Properties, Styles and Templates
Set current object properties ! ! ! Modifying current property settings
Apply current properties to objects ! ! ! ! Applying current settings to existing objects
Change properties of selected objects LG ! ! ! ! Changing properties of existing objects
772
V9
Make object properties current ! ! Making selected object properties current
Change default properties L ! ! ! ! Changing default property settings
Define styles ! ! Defining new styles
Assign favorite styles ! ! Assigning favorite styles
Merge styles ! ! Merging styles
Create design templates ! ! ! ! ! Creating design templates
Save current properties to a template L ! ! ! ! Saving current properties to a template
Revert to NORMAL template ! ! ! ! ! ! Reverting to the NORMAL template
Specialized Digitizing Techniques Specialized Digitizing Techniques
Duplicate objects (Backtrack/Repeat) ! ! Reinforcing outlines
Create circles, stars and rings # # ! Digitizing circles, stars and rings
Create smooth joins ! ! ! Creating smooth joins

Create offset outlines (Offset Object) ! ! Creating outlines with offset objects
Create filled holes in Complex Fill objects ! ! Filling holes in objects
Remove overlapping objects "# "! Removing underlying stitching
Create appliqué designs # ! ! Digitizing for appliqué
Create partial appliqué shapes "# "! "! Creating partial cover appliqué objects
Create sequined designs ! ! ! ! Digitizing with sequins
Create boring holes ! ! ! ! Digitizing boring holes
Textured Fills Textured Fills
Create Tatami offset and partition line effects L ! ! ! ! Creating textures with Tatami offsets
Create Program Split and Combination Split ! ! ! Creating textures with Program Split
effects (Satin-in-Tatami, etc)
Create Flexi Split effects ! ! Creating textures with Flexi Split
Create User Defined Split effects ! Adding details with User Defined Split
Create alternate split lines ! Splitting alternate lines
Artistic Stitch Effects Artistic Stitch Effects
Create Jagged Edges "! ! ! Creating jagged edges
Create Accordion Spacing # ! Creating accordion spacing effects
Create Color Blending "# "! Creating color blending effects
773
V9
Contour Stitch and Spiral Stitch ! ! Creating contoured stitch effects
Create curved fills with Florentine Effect ! ! Creating curved fills with Florentine Effect
Create curved fills with Liquid Effect ! ! Creating curved fills with Liquid Effect
Motif Runs and Fills Motif Runs and Fills
Insert motifs # ! ! Selecting and inserting motifs
Rotate, mirror and scale motifs # ! ! Rotating, mirroring and scaling motifs
Create motif sets # ! ! Creating motif sets
Create motifs # ! ! Saving motifs
Create motif runs # ! ! Creating motif runs
Create motif fills # ! ! Creating motif fills
Create 3D effects with motif fills ! ! Creating 3D effects with motif fills
Embroidery Lettering Embroidery Lettering
Add lettering to designs ! ! ! ! ! Adding lettering to embroidery designs
Edit lettering text ! ! ! ! ! Editing lettering objects
Lettering toolbox ! ! ! ! ! Editing with the lettering toolbox
Format lettering ! ! ! ! ! Formatting lettering
Scale lettering ! ! ! ! ! Scaling lettering
Adjust letter spacing ! ! ! ! ! Adjusting letter spacing
Skew and rotate lettering objects ! ! ! ! ! Transforming lettering objects
Reposition, transform, reshape, recolor ! ! ! ! ! Adjusting individual letters
individual letters
Create baselines (horizontal, vertical, arc, ! ! ! ! ! Applying lettering baselines
circle, custom)
Adjust and reshape baselines "! "! "! "! "! Adjusting baselines
Apply different stitch types to lettering objects ! ! ! ! ! Applying different stitch types to lettering
objects
Adjust lettering stitch angles ! ! ! ! ! Adjusting lettering stitch angles
Adjust lettering stitching sequence ! ! ! ! ! Adjusting letter sequencing
Change lettering join method ! ! ! ! ! Changing lettering join method
Add special characters and symbols ! ! ! ! ! Adding special characters and symbols
Distorted lettering with envelopes ! ! ! ! ! Creating special effects with envelopes
774
V9
Create borders around lettering ! ! ! ! ! Adding borders to lettering
Add multiple names to designs (Team Names) ! ! ! ! ! Team lettering
View and edit individual team names "! "! "! "! "! Viewing and editing individual team names
Create individual designs with team names ! ! ! ! ! Creating individual designs with team names
Custom Alphabets Custom Alphabets
Convert TrueType font to embroidery alphabet # # # ! ! Converting TrueType fonts to embroidery fonts
Convert TrueType letters to Complex # # # ! ! Converting between Complex Fill and Turning
Fill/Turning Stroke letters Strokes
Create custom alphabets # # ! Creating custom alphabets
Reshape custom letters # # ! Reshaping custom letters
Merge alphabets ! ! ! ! ! Merging alphabets
Design Formats Processing Design Files

Convert stitch files to EMB format ! ! ! ! ! ! Opening stitch files in ES Designer
Open/save designs in Melco CND format ! ! ! ! ! ! Processing Melco CND outline files
Color merge Melco CND files ! ! ! ! ! ! Color merging Melco CND files
Reassign colors to stitch/CND files ! ! ! ! ! Reassigning colors to stitch and Melco CND
files
Read/Save Happy TAP format "! "! "! "! "! "! Supported embroidery file formats
Machine Formats Changing Machine Formats
Output to different machine formats ! ! ! ! ! ! Outputting to different machine formats
Create custom machine formats ! ! ! ! ! ! Creating custom machine formats
Modify standard machine formats ! ! ! ! ! ! Modifying standard machine formats
Adjust standard machine format settings ! ! ! ! ! ! Adjusting standard machine format settings
(stitch/jump length, trim, color change, boring)
Adjust advanced machine format settings ! ! ! ! ! ! Adjusting advanced machine format settings
(color change sequence, start/end design,
speed)
Design Output Outputting Designs
Print / plot production worksheets ! ! ! ! ! ! Printing or plotting production worksheets
Customize production worksheet information ! ! ! ! ! ! Customizing production worksheet information
Print backgrounds on production worksheets ! ! ! ! ! ! Customizing production worksheet information
775
V9
Print multiple colorways ! ! ! ! ! ! Printing multiple colorways
Print color blocks ! ! ! ! ! ! Printing color film
Send designs as email attachments ! ! ! ! ! ! Sending designs as email attachments
Save designs as vector drawings ! ! Saving designs as vector drawings
Save designs as bitmap images ! ! ! ! ! ! Capturing designs as bitmap images
Cut appliqué shapes ! ! ! Cutting appliqué shapes
Stitch designs to machine with Stitch Manager ! ! ! ! ! ! Stitching designs with Stitch Manager
Stitch designs to machine with ES Machine ! ! ! ! ! ! ES Machine Manager Supplement
Manager (1-4 machines only)
Embroidery Disks and Paper Tapes Embroidery Disks and Paper Tapes
Read designs from embroidery disk ! ! ! ! ! ! Reading designs from embroidery disk
Format embroidery disks ! ! ! ! ! ! Formatting embroidery disks
Save designs to embroidery disk ! ! ! ! ! ! Saving designs to embroidery disk
Read designs from paper tape ! ! ! ! ! ! Reading designs from paper tape
Punch designs to paper tape ! ! ! ! ! ! Punching designs to paper tape
Design Management (ES Design Explorer) ES Design Explorer
Show designs as thumbnails ! ! ! ! ! ! Displaying design thumbnails and summary
information
Show designs as thumbnails plus summary ! ! ! ! ! ! Displaying design thumbnails and summary
information
Show designs as details lists ! ! ! ! ! ! Displaying design thumbnails and summary
information
Rename, add and delete folders ! ! ! ! ! ! Renaming, adding and deleting folders
Select designs ! ! ! ! ! ! Selecting designs in folders
Limit file types displayed ! ! ! ! ! ! Limiting file types displayed
Run simple sort using the View menu ! ! ! ! ! ! Running a simple sort using the View menu
Run simple sort using details lists ! ! ! ! ! ! Running a simple sort using details lists
Run complex sort ! ! ! ! ! ! Running a complex sort using Sort
Convert design file types ! ! ! ! ! ! Converting design files in folders
Open designs from ES Design Explorer ! ! ! ! ! ! Opening designs in ES Designer
Cut, copy, paste, and delete designs ! ! ! ! ! ! Cutting, copying, pasting, and deleting designs
776
V9
Print production worksheets ! ! ! ! ! ! Printing production worksheets
Print catalogs of designs ! ! ! ! ! ! Printing design catalogs
Publish catalogs for browser viewing ! ! ! ! ! ! Publishing design catalogs for browser viewing
Peripheral Device Support Setting up Hardware
Serial / parallel ports support ! ! ! ! ! ! Peripheral device connection settings
Network support ! ! ! ! ! ! Peripheral device connection settings
Ethernet support ! ! ! ! ! ! Peripheral device connection settings
Digitizer tablet support ! ! ! Setting up digitizing tablets
Embroidery machine support ! ! ! ! ! ! Setting up embroidery machines
Paper tape reader and punch support ! ! ! ! ! ! Setting up paper tape readers and punches
Scanner support ! ! ! Setting up scanners
Calibrate monitor ! ! ! ! ! ! Calibrating the monitor

Digitizing Tablets Using Digitizing Tablets
Register menu chart ! ! ! Registering the menu chart
Register enlargement drawing ! ! ! Preparing an enlargement drawing
Change drawing scales ! ! ! Changing the drawing scale
System Settings Adjusting System Settings
Set grid options ! ! ! ! ! ! Setting grid options
Set Auto Scroll options ! ! ! ! ! Setting Auto Scroll options
Set automatic save and backup options ! ! ! ! ! ! Setting automatic save and backup options
Set cursor options (cross hair on/off) ! ! ! ! ! ! Setting the pointer position display
Set paste options LG ! ! ! ! Setting paste position options
Set general options ! ! ! ! ! ! Setting other options
777
Appendix B
Quick Reference Guide

Introduction
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 Command Reference lets you see
at a glance which method best suits you. It will also help DG/ML and
Punchant Designer users who have converted to ES Designer to identify
where equivalent commands are located.
Note While the Graphical User Interface (GUI) elements in ES Designer are
organized somewhat differently to DG/ML and Punchant, they provide
exactly the same functionality, and more.
ES Designer main window

This image shows the main Graphical User Interface (GUI) elements for ES
Designer.
Title and Menu bars

Standard toolbar
Stitch Types toolbar
Show Vertical toolbar
Pointer toolbar
Input Method toolbar
Travel toolbar
Drawing toolbar
Design window
Color palette
Colorways list
Status bar
Prompt line
Stitch count or XY co-ordinates, length, Stitch type, values Current Zoom
active stitch angle color factor

Equivalent Feature Names
This table lists equivalent feature names for the three products, Wilcom ES,
DG/ML, and Punchant. For more information about these features, refer to
the Command Reference Table below.
Wilcom ES DG/ML Punchant
3D Warp 3D Effect 3D Effect
Branching Smart Connect Branching
Coil Swirl Swirl
Convert True Type Font Smart Font Quick Font
Cut Appliqué Cut Appliqué Print Drawing Objects
Filled Holes Fill Holes Auto Fill Holes
Flexi Split Elastic Split Stream Split
Florentine Effect Curve Line Fill Wave Effect
Island Coil Island Swirl Contour Swirl
Liquid Effect Two Curve Fill Double Wave Effect
Offset Object Parallel Offset Parallel Offset
Paste Drawing Paste Special Paste Special
Perpendicular Fill Lattice Lattice
Photo Flash Image Shot Picture Stitch
Point & Stitch™ Point & Stitch™ Auto Convert
Slow Redraw Slow Redraw Redraw Controller
Smart Design Smart Design Quick Stitch
Team Names Name Merge Name Drop
V9 Equivalent Feature Names 780

Command Reference Table
This table lists all the commands available in ES Designer and details of how
to access them. Note that, in the case of popup menus, the table shows the
context in which a given menu displays; this may include the ‘design
window’, ‘stitch list’, etc. For details of toolbar names, check also the ES
Designer main window.
The listing is grouped according to the chapters of the User Manual. For
further information about each command, refer to the relevant chapter. For
details about the Chenille and Schiffli commands, refer to the relevant User
Manual Supplements. For details of how to use the tablet icons, refer to the
Menu Chart appendix in the User Manual.
Dropdown Popup
Command Toolbar Tablet Shortcut
Menu Menu
Basics
About ES Help
Cancel Pointer E
Close File A+F+C
Cross Stitch Insert
Exit File A+4
Generate Stitches Stitch Generate g
Help Topics Help 1
Measure View m
New File Standard C+N
Online Manual Help
Online Manual Update Help

A+F+O or
Open File Standard
C+O
Quick Reference Guide Help
Redo Edit Standard C+Y
Release Notes Help

] Right-click toolbar icon to access associated settings. = Use left/right buttons with toolbar icon to toggle these functions.
Popup menus: DW = Design Window SL = Stitch List COL = Color-Object List

Dropdown Popup
Menu Menu
Request Form Help
A+f+S or
Save File Standard
C+S
A+f+A or
Save as File
C+S
Security Special
Show Drawing Toolbar Show Vertical
Show Grid ] View Standard V+G
Show Input Toolbar Show Vertical
Show Pointer Toolbar Show Vertical
Show Travel Toolbar Show Vertical
Toolbars View
Undo Edit Standard C+Z
Wilcom Web page Help

Viewing Designs
Center Current Stitch View 6 or C
Design Properties File
Overview Window View Standard V+v
Pan View 7 or P
Previous View View 5 or V
Redraw View 4 or R
2 or 0
Show All > Design View DW Standard
(zero)
Show All > Selected Objects View DW V+0
Show Connectors Standard V+C
Show Functions SL Standard V+F
Show Needle Points Standard . (period)
V9 Command Reference Table 782

Dropdown Popup
Menu Menu
Show Outlines Standard L
Show Selected Object Only V+S
Show Stitches Standard S
Show Whole Design E+V+S
TrueView™ ] Standard T
View By Color View
Zoom 1:1 View 1
Zoom Box View DW 8 or B
Zoom Box in Overview Window V+B
Zoom Factor View 3 or F
Zoom In 2X View 9 or z
Zoom Out 2X View 0 or V+z

Checking Designs and Selecting Objects
Add Next Object to Selection C+Ta
Add Previous Object to C+V+
Selection Ta
Deselect All Edit DW or COL E/X
Color-Object List View Standard V+l
Polygon Select Pointer C+l
Polygon Select / Line Select = Pointer
Select All Edit DW C+A

Select at Current Needle
V+O
Position
Select By > Color Edit
Select By > Stitch Type Edit
Select Multiple Objects C+[


Dropdown Popup
Menu Menu
Select Next Object T
Select Object Below 2+[
Select Previous Object V+T
Select Range of Objects V+[
Select Object Tool DW Pointer O
Selects On / Off = Edit Standard Q
Slow Redraw View V+R
Start / End Design = Travel h/e
Travel 1 Stitch Travel l/r
Travel 10 Stitches Travel t/b
Travel 100 Stitches Travel -/+
Travel 1000 Stitches Travel
Travel by Color Travel z/x
Travel by Function Travel

V+T /
Travel by Object Travel
C+T
Travel by Segment Travel C+l / r
Manual Digitizing
Change between Fill Stitch and
R
Manual
Change between Fill Stitch and
s
Run
Embroidery Object > Input A Insert Input Method
Embroidery Object > Input B Insert Input Method
Embroidery Object > Input C ] Insert Input Method
Embroidery Object > Fusion Fill ] Insert Input Method

Dropdown Popup
Menu Menu
Embroidery Object > Complex
] Insert Input Method
Fill
Embroidery Object > Manual Insert Input Method
Embroidery Object > Run ] Insert Input Method V+N

Embroidery Object > Triple
Insert Input Method
Manual
Embroidery Object > Triple Run ] Insert Input Method
Embroidery Object > BackStitch ] Insert Input Method
Embroidery Object > StemStitch ] Insert Input Method

Finish Digitizing a
R
Complex/Fusion Fill Boundary
Finish Digitizing an Object -
R
Keep Last Stitch
Fill Stitches
Stitch Effects Stitch
Stitch Type > E Stitch ] Stitch Stitch Type
Stitch Type > Satin ] Stitch Stitch Type V+I
Stitch Type > Tatami ] Stitch Stitch Type V+M
Stitch Type > Zigzag ] Stitch Stitch Type
Object Properties, Styles and Templates
Apply Current Properties Stitch DW Styles
Apply Style Stitch Styles
Define Style Stitch
Make Properties Current DW Styles
Object Properties Stitch DW or COL Generate
Use Style Favorite 1 ] DW Styles
Colorways and Thread Charts

Colorways ] Edit Colorways

Dropdown Popup
Menu Menu
Match Drawing Color DW
Next Color / Select Color = Pointer
Set Color Machine

Connecting Embroidery Objects
Empty Stitch / Empty Jump = Pointer
Penetrations Machine Generate

v
Tie-off Pointer
Trim Pointer
Trapunto Stitch Type
Digitizing with Backdrops

Insert Drawing File Image
Paste Drawing > As Bitmap Edit
Paste Drawing > As Vector Edit
Save Bitmap As File
Scan File
Show Drawing ] Standard D
Smooth Drawing Curves Image

Processing Images for Automatic Digitizing
Crop Image Image
Crop Image with Polygon Image

Edit Image Using > Corel
Image
PHOTO-PAINT
Edit Image Using > Paint Image
Edit Image Using > Paint Shop
Image
Pro
Reduce Colors Image DW Drawing

Dropdown Popup
Menu Menu
Sharpen Edges Image DW Drawing
Drawing / Vectors
Insert Drawing Object > Ellipse Image Drawing
Insert Drawing Object > Line Image Drawing
Insert Drawing Object > Polygon Image Drawing
Insert Drawing Object > Polyline Image Drawing

Insert Drawing Object >
Image Drawing
Rectangle
Make Complex Shape Image V+H
Shaping > Weld Arrange Shaping
Shaping > Intersect Arrange Shaping
Shaping > Exclude Arrange Shaping
Shaping > Front-Back Arrange Shaping
Shaping > Back-Front Arrange Shaping
Shaping > Flatten Arrange Shaping
Shaping > Divide Arrange Shaping
Shaping > Combine Arrange Shaping
Automatic Digitizing
Auto Trace Drawing C

U +m
Convert > Complex Fill DW
Convert > Input C DW
Convert > Auto Applique DW
Convert > Run DW
Convert > Triple Run DW

Dropdown Popup
Menu Menu
Convert > Motif Run DW
Convert > Drawing DW
Point & Stitch™ (Toolbar) View C+I

Point &
Match to Palette
Stitch™
Point &
Outline Run
Stitch™
Point &
Pickout Run
Stitch™
Point &
Tatami Fill
Stitch™
Point &
Tatami Fill without Holes
Stitch™
Point &
Turning Satin
Stitch™
Photo Flash Insert
Smart Design Insert Drawing
Combining and Resequencing Objects
Branching COL Standard I
Copy Edit DW Standard UC+C
Cut Edit DW Standard UC+X
Delete Edit DW X
Duplicate Edit DW C+d
Paste Edit Standard C+v
Resequence > By Selects Edit
Resequence > By Color Edit
Resequence By Number COL
Split Object Edit

Arranging and Transforming Objects
Align Bottom Arrange

Dropdown Popup
Menu Menu
Align Center Arrange
Align Horizontal Center Arrange
Align Left Arrange
Align Right Arrange
Align Top Arrange
Align Vertical Center Arrange
Group Arrange COL Standard C+g
Hide COL
Hide Others COL
Unhide All COL
Lock Arrange COL k
Unlock All COL
Make Same Size > Both Arrange
Make Same Size > Height Arrange
Make Same Size > Width Arrange
Mirror In X DW
Mirror In Y DW
Array Mirror-Merge
Reflect Mirror-Merge
Wreath Mirror-Merge
Kaleidoscope Mirror-Merge
Show (Objects) COL
Space Evenly > Across Arrange
Space Evenly > Down Arrange


Dropdown Popup
Menu Menu
Transform Edit
Transform Special Edit
Ungroup Arrange COL Standard C+U
Unlock Arrange COL V+K

Reshaping and Editing Objects
Change Reshape Control Point [+s
Type
Keep Last Stitch / Omit Last
= Pointer
Stitch
Maintain proportions while
V+;
resizing
Move Object horizontal or
C+;
vertical
Nudge selected object [+r
Reshape Object Pointer H
Stitch Angles Special Pointer C+H
Editing Stitches and Machine Functions

Black text Stitch List
Clear Function Machine Stitch List
Edit Function Machine Stitch List
Insert Function Machine Stitch List
Move Stitch Stitch List
MultiColored text Stitch List
Select / Deselect Stitches T
Show All (Stitches) Stitch List
Show Stitches (dialog) Stitch List
Stitch Edit Pointer E
Stitch List View Standard V+J

Dropdown Popup
Menu Menu
Stop Machine
Improving Stitch Quality
Auto Jump ] Stitch Types
Auto Spacing These options can only be

accessed via the Object
Auto Split Properties > Fill Stitch tab.
Auto Start and End Stitch
Auto Underlay ] Stitch Types U
Fractional Spacing ] Stitch Types
Pull Compensation ] Stitch Types
Reverse Curve Image
Shortening ] Stitch Types
Small Stitches Stitch
Smart Corners ] Stitch Types
Specialized Digitizing Techniques
Backtrack / Repeat = Pointer
Borers in Machine Generate

Embroidery Object > Auto
] Insert Input Method
Applique
Partial Applique ] Stitch
Embroidery Object > Circle Insert Input Method
Embroidery Object > Ring Insert Input Method
Embroidery Object > Star Insert Input Method
Filled Holes Insert
Offset Object Insert
Remove Overlaps Arrange


Dropdown Popup
Menu Menu
Sequin Mode Machine Generate
Artistic Stitch Effects
Accordion Spacing ] Stitch Types
Color Blending ] Generate
Jagged Edge ] S Stitch Types

Make Line(s) for > Florentine
] Special Stitch Types
Effect
Make Line(s) for > Liquid Effect ] Special Stitch Types
Stitch Type > Contour ] Stitch Stitch Types
Flexi Split ] Stitch Types

Make Line(s) for > User Defined
] Special Stitch Type
Split
Make Program Split Special
Stitch Type > Program Split ] Stitch Stitch Types
Motif Runs and Fills
3D Warp ] Stitch Types
Embroidery Object > Motif Run ] Insert Input Method
Motif > Make Special
Motif > Select Special
Motif > Use Special
Stitch Type > Motif Fill ] Stitch Stitch Types
Lettering Essentials
Embroidery Object > Lettering ] Insert Input Method a
Lettering Box View Standard
Special Lettering Features

Envelope > Bridge Edit

Dropdown Popup
Menu Menu
Envelope > Delete Edit
Envelope > Diamond Edit
Envelope > Pennant Edit
Envelope > Perspective Edit
Team Names Insert Generate
Team List View Standard

Custom Alphabets
Alphabet > Convert True Type
Special
Font
Alphabet > Make Letter Special
Alphabet > Modify Alphabet Special

Processing Design Files
Process Edit Generate
Recognize Object Outlines Edit

Changing Machine Formats
Insert Fast
Insert Slow
Machine Format Values Machine
Select Machine Format Machine

Outputting Designs
Capture Design Bitmap File
Cut Appliqué File
Export As... File

A+f+p
Print File Standard
or C+p
Print Preview File Standard
Record in Database File


Dropdown Popup
Menu Menu
Send File
Stitch to Machine Manager File
Stitch to Stitch Manager File Standard
Embroidery Disks and Paper Tapes

Embroidery Disk > Format File
Embroidery Disk > Open File
Embroidery Disk > Save As File
Embroidery File > DOS Disk Insert

Embroidery File > Embroidery
Insert
Disk
Paper Tape > Punch File
Paper Tape > Read File

Setting up Hardware
Hardware Setup Special
Scanner Setup File

Using Digitizing Tablets
Backspace
Enter
Information
Insert Auto Frame
Menu Chart Help
No
Preset Spacing
Shift Drawing
Shift Menu
Space

Dropdown Popup
Menu Menu
Tab
Tablet (Setup) Special V+D
Yes R
Changing System Settings
Design Options View
Options Special
Paste > Center at Current Stitch DW

Paste > Object Property
DW
Position
Paste > Shift Pasted Objects DW
Paste > Start at Current Stitch DW

V (hold
Turn off automatic scroll
down)
Chenille Option
Chenille
Chain
Option
Chenille Manual Supplement Help
Chenille
Compound Chenille ]
Option
Chenille
Moss
Option
Chenille
Needle Height
Option
Chenille
Stitch Type > Coil ] Stitch
Option
Chenille
Stitch Type > Island Coil ] Stitch
Option
Chenille
Stitch Type > Perpendicular Fill ] Stitch
Option
Chenille
Stitch Type > Straight ] Stitch
Option
View by Machine Function
View
> Chain / Moss
Schiffli Option
Design Repeat Special V+W

Dropdown Popup
Menu Menu
Insert Blatt Function [
Insert Stepp Function ]
Show Repeats (Schiffli) Standard W

ES Designer Keyboard Shortcuts
General functions Digitizing functions (not all models) (cont)
To Press To Press
start new design C+N make Complex Shape drawing V+ H
open design C+O object
save design C+S check design integrity !
print design C+P
show/hide Point & Stitch™ toolbar C+I Schiffli functions
show/hide grid V+G
To Press
show Overview window V+V
insert Stepp/Blatt function ][
show Color-Object List V+L
insert Fadenleiter Plus/Minus <>
show Stitch List V+J
insert Boring Tension Start/End /\
open Lettering dialog A
insert RPM Plus/Minus :"
open digitizing tablet setup V+D
change Schiffli borer depth ;
measure distance on-screen M
show Schiffli repeats W
undo command C+Z
redo command C+Y Selecting objects
cancel command E
open online help 1 To Press
exit application A+4 select all objects C+A
deselect all objects E or X
Digitizing functions (not all models) activate Select Object tool o
To Press select object at current needle V+ O
position
finish digitizing object (keep last R
select multiple objects * C+[
stitch)
select range of objects * V+ [
finish digitizing object (omit last s
stitch) select next object * T
finish digitizing Complex Fill R select previous object * V+T
boundary select object beneath * 2+[
delete last input point B add next object to selection * C+T
generate stitches G add previous object to selection * C+V+
apply Satin stitch V+I T
apply Tatami stitch V+M activate Polygon Select tool C+L
apply Run stitch V+N toggle Selects On/Off Q
switch between fill and Run stitch s group selected objects * C+ G
switch between fill and Manual stitch R ungroup selected objects *C+ U
switch between Continuous and V+A lock selected object K
Normal Input A unlock selected object V+K
toggle Auto Underlay on/off u * Click Select Object tool first.
activate Auto Trace C+M
activate Branching I
V9 ES Designer Keyboard Shortcuts 798

Viewing designs Traveling through designs
To Press or To travel Press or +
toggle TrueView™ on/off T 1 stitch forward r 6
show/hide stitches S 1 stitch backward l 4
show/hide outlines L while selecting/deselecting *T
show/hide needle points . stitches
show/hide connectors V+C * Click Stitch Edit tool + Keypad with Num Lock OFF
show/hide function symbols V+F
show whole design * E, V + s Cutting & pasting objects
fit design to window 0 (zero) 2
To Press or
fit selected objects to window V + 0 (zero)
show selected objects only * V+s cut object C+ X V+D
show/hide image D copy object C+ C C+Z
zoom in 2X Z 9 paste object C+ V V+Z
zoom out 2X V+Z 0 duplicate object C+ D
zoom to 1:1 scale (100%) 1 delete selected objects or last D
object
specify zoom factor F 3
zoom box B 8 Modifying objects & stitches
zoom box in Overview window V+B
activate panning P 7 To Press or click
deactivate Auto Scroll V (hold down) move selected object horizontally or * C + :
center current stitch in design C 6 vertically
window nudge selected object tb lr
return to previous view V 5 maintain proportions while resizing + V + :
redraw screen r 4 activate Reshape tool H
activate Slow Redraw * V+R change reshape control point type ^ [ + M
* Turn TrueView™ off activate Stitch Angles tool C+H
activate Stitch Edit tool E
Traveling through designs * drag object + drag handle ^ select control point
+
To travel Press or
to start of design h 7
to end of design e 1
to next color d 3
to previous color u 9
to next segment * C+r C+6
to previous segment *C+l C+4
to next object C+T
to previous object V+T
100 stitches forward +
100 stitches backward -
10 stitches forward b 2
10 stitches backward t 8
* Click Stitch Edit tool + Keypad with Num Lock OFF

Appendix C
Menu Chart

WILCOM ES V9
i
1
X
1 ? + –
3D
STOP
A 1000
100
1
10 4 2
7 8 9
3
1 4 5 6
1 2 3
0 .• -
–
2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 3
not in all models; no en todos los modelos; nao em P/N W2959 Rev 1 Jan 04
todos os modelos; non in tutti i modelli; pas dans tous © Copyright 1990-2004
les modèles; nicht verfügbar für alle Modelle Wilcom International Pty. Ltd.
Menu Chart Key
Pressing a different button on your digitizing puck can affect a command on
your Menu Chart in different ways:
! Generally, a command will simply be executed — e.g. Save file, Undo
command, Generate stitches, etc.
! Some commands toggle a function on or off — e.g. Auto Jump On/Off,
TrueView™ On/Off, etc. The same or different puck buttons may toggle
the command.
! Other commands affect sequence — e.g. Travel to Start/End of Design,
Travel to Next/Previous Function. Different buttons generally control
direction — i.e. forward / backward.
! Some commands let you select options or adjust values which affect the
command — e.g. Program Split display options, Fractional Spacing
values.
The key at the bottom of the table explains the action that a particular
button press performs in combination with a given command icon.
Icon Command 1 2 3 4 Icon Command 1 2 3 4
Save !
i Information !
Undo ! Redo !
Select All ! Deselect All !
Remove Small
Auto Start / End ! !
Stitches
Exit ! Show All !
Previous View ! Pan !
⌧ toggle on/off ! activate % deactivate & change values ' view options ( backward ) forward
V9 Menu Chart Key 802

Center Current
! Redraw Screen !
Stitch
1
Zoom Box ! Zoom 1:1 !
? Zoom Factor ! + Zoom In 2X !
– Zoom Out 2X !
TrueView™ ! ' % Show Stitches ! ' %
Show Needle
Show Outline ! ' % ! ' %
Points
Show Show Function

! ' % ! ' %
Connectors Symbols
Show Grid ! & % Show Repeat ⌧ &
Show
1. Chain/Moss
Show Drawing ! & % ⌧ ⌧ ⌧
2. Stepp/Blatt
3. Needle In/Out
Satin ! & & Tatami ! & &
Zigzag ! & & E-Stitch ! & &
Program Split ! & & Motif Fill ! & &

Contour ! & & Flexi Split ! & %
Florentine Effect ! & ! Liquid Effect ! & !
Auto Jump ! & % Stitch Shortening ! & %
Pull Fractional
! & % ! & %
Compensation Spacing
Automatic
! & % Jagged Edge ! & %
Underlay
1/4. User
Defined Split
Trapunto ! & % ! ! % %
2/3. Split
Alternate
Accordion
Spacing
! & % 3D 3D Warp ! & %
Coil ! & & Straight ! & &
Perpendicular
! & & Island Coil ! & &
Fill
Compound
! & % Needle Height ⌧
Chenille
Chain ⌧ Moss ⌧
Select Object ⌧ Polygon Select ⌧

Reshape Object ⌧ Stitch Edit ⌧
1. Keep Last
Stitch
! ! ! Tie Off ⌧
2/4. Omit Last
Stitch
1. Empty Stitch
Trim ⌧ ! ! !
2/4. Empty Jump
Add Stitch 1. Backtrack

⌧ ! ! !
Angles 2/4. Repeat
Next Color ⌧ & &

Â
Input A ! Input B !
Complex Fill ! & & Fusion Fill ! & &
Auto Appliqué !
A Lettering ! & &
Input C ! & & Run ! & &
Triple Run ! & & Motif Run ! & &
Back Stitch ! & & Stem Stitch ! & &
Travel to Start /
( ) ) Travel by Object ( ) )
End

Travel by
( ) ) Travel by Color ( ) )
Segment
Travel by
( ) )
Function
1000 Travel by 1000

( ) ) 100 Travel by 100
( ) )
Stitches Stitches
10 Travel by 10 1
( ) ) Travel by 1 Stitch ( ) )
Stitches
Circle ! Ring !
Star ! Manual !
Triple Manual ! Make Motif !
Select Motif ! Use Motif !
1
Preset Spacing
Smart Corners ! & % ! ! ! !
4 2 1/2/3/4
3
Auto Spacing ! & % Auto Split ! & %
Cut ! Copy !
Paste Options † ! ! ! ! Move !

1/2/3/4

1. Penetrations
on 1. Borers in
! ! ! & !
4. Penetrations 4. Borers out
off
1. Insert Fast 1. Insert Slow

! ! ! ! ! !
2/4. Add Fast ‡ 2/4. Add Slow ‡
1. Insert Stepp 1. Insert Blatt

! ! ! ! ! !
2/4. Add Stepp ‡ 2/4. Add Blatt ‡
1. Insert Auto
Frame
2/4. Add Auto ! ! ! Drop Sequin !
Frame ‡
1. Insert Stop 1. Insert Function

STOP ! ! ! 2/4. Clear ! ! !
2/4. Add Stop ‡ Function
Shift Drawing ! Shift Menu !
Tab ! Delete !
Backspace ! Cancel !
No ! Yes !
Spacebar ! Enter !
† Paste Options: 1. Paste - Object Property Position, 2. Paste - Shift Pasted Objects,
3. Paste - Center at Current Stitch, 4. Paste - Start at Current Stitch.
‡Add / Insert functions: See Machine function types for details.

Appendix D
Supported File and Disk Types
This section provides details of the file and disk types supported by Wilcom
ES. Details are also provided about the conversion of Melco CND, Wilcom
INP, and Gunold PCH design formats to EMB. The section also provides
details of supported paper tape formats, as well as vector and bitmap
(raster) formats.
Note There are many additional Schiffli file formats to suit specific Schiffli
machines. Wilcom ES supports the most important of these. See the ES
Schiffli User Manual Supplement for details.
Supported embroidery file formats

There are two types of embroidery file formats:
! Outline files: Outline or ‘condensed’ files usually contain digitized
shapes and lines, selected stitch types and stitch values and effects.
! Stitch files: Stitch files contain only stitches and machine functions and
are suited to specific embroidery machines.
See Processing Design Files for details.
Supported outline file formats

Wilcom ES supports the following outline file (condensed) formats:
Extension Format Read Write
CND Melco Condensed ! !
EMB Design File (up to V8.0) ! !
ESD Wilcom DOS format !
INP Wilcom Condensed !
PCH Gunold APS !

Supported stitch file formats
Wilcom ES supports the following stitch file (expanded) formats:
10O Toyota ! !
BRO Bits & Volts !
CSD POEM/Singer/Huskygram ! !
DSB † Barudan ! !
DST Tajima ! !
DSZ ZSK ! !
EMX º Wilcom Cross Stitch !
EXP Melco ! !
KSM Pfaff ! !
MON Happy ! !
PMU Proel !
PUM Proel DOS !
STC Gunold !
STX Datastitch !
TAP Happy ! !
¤
T01 Tajima ! !
T03 ‡ Barudan ! !
T04 Zangs ! !
T05 § ZSK ! !
ƒ
T09 Pfaff ! !
U?? Barudan ! !
XXX Compucon ! !
† includes needle addressing data ‡ Wilcom equivalent of DSB format ƒ Wilcom equivalent of KSM
format ¤ Wilcom equivalent of DST format § Wilcom equivalent of DSZ format º Can only be written
by ES Cross Stitch application

Zxx ZSK ! !
† includes needle addressing data ‡ Wilcom equivalent of DSB format ƒ Wilcom equivalent of KSM
format ¤ Wilcom equivalent of DST format § Wilcom equivalent of DSZ format º Can only be written
by ES Cross Stitch application
Comparison of outline and stitch format information

The following table lists the type of information that is included in outline
(condensed) and stitch (expanded) files. Wilcom ES uses the embroidery file
format EMB which combines the advantages of outline files and stitch files.
Included in file Stitch files † Outline files ‡ EMB files
Object functions No Yes Yes
Object properties No Yes Yes
Object outlines No Yes Yes
Machine functions Yes Yes Yes
Stitch data No Yes Yes
Stitch types No Yes Yes
Stitch coordinates Yes Yes Yes
Thread colors No Yes Yes
Icon picture No No Yes
Comments No No Yes
Stitch blocks (saved as Manual Yes No Yes

objects)
Pull compensation settings No No Yes
Auto spacing settings No No Yes
Can be transformed/scaled No Yes, but with Yes

without affecting stitch density ±5% max limitations
† e.g. Tajima DST, Melco EXP, Barudan ‡ e.g. Melco CND
V9 Appendix D Supported File and Disk Types 810

Included in file Stitch files † Outline files ‡ EMB files
Can be transformed/scaled No Yes, but with Yes

without affecting stitch quality ±5% max limitations
Opens in ES Designer Manual Yes Yes

objects — can
be converted
to outline file
† e.g. Tajima DST, Melco EXP, Barudan ‡ e.g. Melco CND
Melco CND format

Melco Condensed (CND) is the native file format of the Melco embroidery
digitizing software. CND files store only digitized outlines and stitch values.
See also Processing Melco CND outline files.
Conversion of Melco CND format to Wilcom EMB

When you open CND designs in ES Designer, 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. This table details how Melco
features are converted.
Melco CND EMB Notes
Stitch Types
Column Stitches Input A, Satin stitch
Simple Fill Complex Fill, Tatami The stitch angle is determined by

the longest stitchline.

Melco CND EMB Notes
Complex Fill Complex Fill Melco EDS Complex Fill are

recognized and converted to
Wilcom ES Complex Fill.
Column Fill Input A, Tatami fill
Walk Run
Bean Stitch Triple Run
Singleline Column Input C

Input, Centerline
Singleline Column Input C

Input, Left Line / Side 1 / Side 2
Right Line
Partition Lines Tatami partition lines
Underlays
Complex Underlay Tatami underlay in

Complex Fill object
Edge Walk Edge Run
Center Walk Center Run Column Stitches only.
Narrow Column Zigzag
Machine functions
Needle Up Jump, Begin Jump
Reset Stitch End Jump
Manual Lock Stitch Added in Tie Off.
Automatic Lock Tie In, Tie Off If Automatic Lock Stitch is set for
Stitch every Color Change, and at the
start and end of the design, tie off
and tie in stitches are inserted in
the EMB design.
Chain Chain
Moss Moss
Needle Height Needle Height
Slow Slow

Melco CND EMB Notes
Fast Fast
Borer In/Out Borer In/Out
Sequin On/Off Sequin On/Off
Conversion of Wilcom EMB format to Melco CND

You can save files to Melco CND format from ES Designer. Designs originally
created in ES Designer generally give the best results. Other file types may
not have all the data necessary for successful conversion. This table details
how Wilcom ES stitch types and effects are converted to CND format.
Tip When you convert to CND, many Wilcom ES effects will be lost. If it is
important to preserve the effects, save in Melco EXP stitch format instead.
Alternatively, turn off all effects before saving to CND format. See also Best
Wilcom ES input methods for Melco CND output.
EMB Melco CND Notes
Stitch types
Manual Walk
Run Walk
Triple Run Bean Stitch Only if the design is an original

Wilcom EMB design.
Triple Run Bean Stitch Reverts to Triple Run (run count = 3).
(run count > 3)
Satin stitch Column Fill
Tatami - standard Fill Stitch Use Complex Fill to make sure that
the stitch lines are parallel.
Tatami - with random Walk

factor applied
Tatami - with sharply Walk or Complex Fill Changes to Walk if Superstar

turning stitches compatible, otherwise Complex Fill
with a fixed angle.

EMB Melco CND Notes
Tatami - with slightly Fill Stitch, several The shape is divided into several
turning stitches sections sections, filled with parallel Fill Stitch.
There may be small gaps between
these sections.
Zigzag Walk Density is not preserved when the

design is scaled.
E Stitch (Inputs A, B Column Stitches

& C)
E Stitch (Complex Walk

Fill)
Stitch settings
Run length Set length CND Walk stitch length is the same
as EMB Run stitch length.
Tatami length and Fill or Complex Fill The length and density of Fill
spacing settings Stitches will be the same as EMB
Tatami length and spacing.
Underlays
Center Run
Edge Run
Walk Uses CND Auto Underlay.
Zigzag
Double Zigzag
Zigzag (for objects Narrow Column

with Satin cover only)
Effects
Accordion Spacing Not preserved The effect is lost.
Motif Fill Not preserved The effect is lost.
Contour Stitch Not preserved The effect is lost.
Flexi Split Not preserved The effect is lost.
Auto Split Not preserved The effect is lost.
Jagged Edge Not preserved The effect is lost.
Trapunto style Not preserved The effect is lost.

EMB Melco CND Notes
Program Split Not preserved The effect is lost.
User Defined Split Not preserved The effect is lost.
Photo Flash Walk Density is not preserved when the

design is scaled.
Quality features
Pull Compensation Not preserved The original shape is preserved. The

effect is lost.
Fractional Spacing Not preserved In ES Designer, turn on Fractional

Spacing and set it to 0.5 mm.
Although there is no direct equivalent
in CND, effectively it uses a fixed
fractional spacing with a value equal
to 0.5.
Stitch Shortening Not preserved Outlines are more accurately

recognized if Stitch Shortening is
turned off.
Auto Spacing Not preserved Auto Spacing is converted to fixed

spacing, based on the average
space value. It is best to turn off Auto
Spacing when digitizing a design for
CND.
Smart Corners Not preserved Avoid digitizing pointed ends.
Machine functions
Color Change / Stop Color Change / Stop Functions inserted on stitches inside
functions objects are not converted.
Empty Walk Two MK1 points are repeated at the

current position.
Jump Needle Up
Needle Up Needle Up
Tie In (Lettering) Walk
Tie Off Walk
End Jump Reset Stitch
Begin Jump Needle Up

EMB Melco CND Notes
Needle Height Needle Height
Moss Moss
Chain Chain
Trim Trim The ability to output without Trim

function does not apply to this
version.
Best Wilcom ES input methods for Melco CND output

This table details which input methods give the best results when digitizing
a design for Melco EDS-III CND output.
Input method Compatibility Notes
Input A, B, C OK Use with Satin only.
Complex Fill OK Only use with Tatami fill. Do not digitize

pointed ends as they will be ‘squared off’
during conversion. Cut off pointed ends with
a straight line, parallel to the stitch angle, to
avoid conversion problems.
Fusion Fill™ Not Fusion Fill™ objects are separated into a

recommended single object per segment. Conversions may
produce undesired results.
Circle OK
Ring Not The exit point will be on the wrong side of the
recommended shape.
Star Not The stitches are output as Walk.

recommended
End - Keep Last OK The exit point should always be on the

Stitch opposite side to the entry point.
End - Omit Last Do not use Start digitizing the next shape on the
Stitch opposite side instead.

Wilcom INP format
Wilcom INP is the native file format of Wilcom Computer Embroidery Design
software. Wilcom INP designs can be directly converted to EMB files
although ES Designer interprets some of the stitch types differently.
Conversion of Wilcom INP format to Wilcom EMB

This table details how Wilcom INP features are converted to EMB format.
Wilcom INP EMB Notes
Auto Spacing Auto Spacing Values are different. Can be

changed before stitching.
Backtrack/Repeat Separate objects are Functions are supported

section/marked added. correctly.
Backup Lock Satin tie off
Borderline Tatami Borderline Tatami
Borer In/Out Borer In/Out
CED Block lettering Block2 alphabet Font can be changed after

conversion.
CED Block, Jump out Block2 alphabet Manual edits and trimming.
Circle Circle
ES Cross Stitch Paths imported as Change the stitch type to Motif

Run objects only. Run to generate cross stitch.
Delete Stitch Manual only, ignored Can be edited.

for other stitch types.
Family of Curves Split Satin, single curve as Noticeably different from Satin.
split line. You can copy imported curve to
get multiple curves.
Alternating number is ignored.
Geflecht Standard Tatami Can be edited.
Matching Tatami Non-matching Tatami Complex Fill will have matching

Tatami.
Motifs Patches Normal objects.
Needle In/Out End/Begin Jump

Wilcom INP EMB Notes
Other Multihead Stop (with info label) For example, Insert Appliqué is
Machine Functions converted to Stop.
Program Stitch Manual stitch
Ring Ring
Scattered Tatami Tatami with random Will look slightly different.

factor applied
Schiffli Functions Stepp/Blatt only,

others are ignored
Slow/Fast Slow/Fast
Split Alternate Tatami
Split Stitch Standard Tatami Looks different but can be edited.
Tajima style Lock Tajima tie off OK most of the time.
Tourenblat E Stitch Looks different, so that it is easy

to locate and edit.
Trim/Tie In/Tie Off Connector properties
Turn fill (spacing Wilcom ES turn fill Will look different but can be
measured along (generally fewer re-digitized in smaller sections.
shape boundary) stitches)
Underlays — slant Zigzag underlay Can be added manually.
Underlays, 3 or 4 Two underlays only Can be edited.

layers
Gunold PCH format

PCH ‘Punch and Stitch’ is the native file format of the Gunold Embroidery
Design software. Gunold PCH designs can be directly converted to EMB files
although ES Designer interprets some of the stitch types differently.
Conversion of Gunold PCH format to Wilcom EMB

This table details how Gunold PCH features are converted to EMB format.

Gunold PCH EMB
Outline types
Parallel Input A
Serial Input C
Block Outline Complex Fill
Run Run
Incline Run
Manual Manual
Stitch types
Satin Satin
Ceding Tatami
Random Ceding Tatami with random factor applied
Step Tatami
Piping Contour
OBI Tatami
Zigzag Zigzag
Cross not supported
Photo not supported
Satin underlays
none none
Single Center Run
Edge Edge Run
Zigzag Zigzag
Cross Zigzag
Edge Zigzag Edge Run + Zigzag
Edge Cross Edge Run + Zigzag
Netting Double Zigzag

Gunold PCH EMB
Double Zigzag Double Zigzag
Triple Zigzag Double Zigzag
Step / block fill levels
Complex Fill Holes in Complex Fill
Form Fill User Defined Split in Complex Fill
Vector Fill User Defined Split in Complex Fill
Block Fill Program Split in Complex Fill
Miscellaneous
Branches Grouped object (uses lettering

sequence algorithm)
Random - side 1 / Jagged Edge effect

side 2
Pitch Stitch Spacing
Length Stitch length
Stitch angle Complex Fill stitch angle
U turn Backtrack
Compensation Pull Compensation
Corner mode Smart Corners
Short / Long Stitch Shortening
Square backstitch
Satin Straight stitch
Step Trapunto
Styles Motifs
Patterns none

Supported embroidery disk formats
You can write a design to a disk which is formatted for a specific embroidery
machine. The disk can then be read through the machines’s Floppy Disk
Reader. The following disk formats are supported:
Format Density Read Write
Barudan 2HD DS/HD ! !
Barudan FDR DS/DD ! !
Barudan FMC DS/HD ! !
Barudan S-FMC DS/HD ! !
DOS DS/HD ! !
Happy DS/HD ! !
Melco † DS/SD ! !
Tajima DS/HD ! !
Toyota DS/HD ! !
ZSK DS/DD ! !
Note † To format Melco disks, newer PCs require a disk controller card that
supports IMB 3740 Single Density Format (FM). Use the TestDisk utility to
check your PC’s capability. See Testing embroidery disks for details.
Supported paper tape formats

Wilcom ES supports the following paper tape formats:
Format Read Write
Tajima ! !
Barudan ! !
Zangs ! !
ZSK ! !

Format Read Write
Pfaff ! !
Supported drawing and image formats

Artwork can be imported into ES Designer in both vector and bitmap (raster)
formats. See Digitizing with Bitmap Images for details.
Supported vector drawing formats

Wilcom ES supports the following vector drawing formats:
DXF AutoCAD !
EMF Enhanced Metafile ! !
EPS Encapsulated Postscript ! !
PS Postscript !
WMF Windows Metafile !
Supported bitmap image formats

Wilcom ES supports the following bitmap image formats:
BMP Windows Bitmap ! !
JPG JPEG File Interchange ! !
PNG Portable Network Graphics !
PCX PC Paintbrush ! !

Appendix E
Stitch Types, Input Methods and
Effects
This table describes the relationship between stitch types, input methods,
and effects supported by Wilcom ES. Note that, in some cases, stitch type
and input method are one and the same — e.g. Run stitch.
Multihead Effects Chenille Effects

Auto Jump
Shortening
Pull Compensation
Fractional Spacing
Auto Underlay
Smart Corners
Jagged Edge
Trapunto
User Defined Split
Accordion Spacing
3D Warp
Flexi-Split
Florentine Effect
Liquid Effect
Coil
Straight Stitch
Perpendicular Fill
Island Coil
Compound Chenille
Input Method
Satin
Input A ! ! ! ! ! ! ! ! ! ! ! !
Input B ! ! ! ! ! ! ! ! ! ! ! !
Input C ! ! ! ! ! ! ! ! ! ! ! !
Complex Fill ! ! ! ! ! ! ! ! ! !
Fusion Fill™ ! ! ! ! ! ! !
Auto Appliqué ! ! ! ! ! ! !
Circle ! ! ! ! ! ! ! ! !
Ring ! ! ! ! ! ! ! ! ! ! !
Tatami
Input A ! ! ! ! ! ! ! ! ! ! ! !
Input B ! ! ! ! ! ! ! ! ! ! ! !

Auto Jump
Shortening
Pull Compensation
Fractional Spacing
Auto Underlay
Smart Corners
Jagged Edge
Trapunto
User Defined Split
Accordion Spacing
3D Warp
Flexi-Split
Florentine Effect
Liquid Effect
Coil
Straight Stitch
Perpendicular Fill
Island Coil
Compound Chenille
Input Method
Input C ! ! ! ! ! ! ! ! ! ! ! !
Complex Fill ! ! ! ! ! ! ! ! ! ! ! ! !
Fusion Fill™ ! ! ! ! ! ! !
Circle ! ! ! ! ! ! ! ! !
Ring ! ! ! ! ! ! ! ! ! ! !
Zigzag
Input A ! ! ! ! ! ! ! ! ! ! ! !
Input B ! ! ! ! ! ! ! ! ! ! ! !
Input C ! ! ! ! ! ! ! ! ! ! ! !
Complex Fill ! ! ! ! ! ! ! ! ! !
Auto Appliqué ! ! ! ! ! ! !
Circle ! ! ! ! ! ! ! ! !
Star ! ! ! ! ! ! ! !
Ring ! ! ! ! ! ! ! ! ! ! !
E Stitch
Input A ! ! ! ! ! ! !
Input B ! ! ! ! ! ! !
Input C ! ! ! ! ! ! !
Complex Fill ! ! ! ! ! ! !
Auto Appliqué ! ! ! !
Circle ! ! ! ! ! !
V9 Appendix E Stitch Types, Input Methods and Effects 824

Auto Jump
Shortening
Pull Compensation
Fractional Spacing
Auto Underlay
Smart Corners
Jagged Edge
Trapunto
User Defined Split
Accordion Spacing
3D Warp
Flexi-Split
Florentine Effect
Liquid Effect
Coil
Straight Stitch
Perpendicular Fill
Island Coil
Compound Chenille
Input Method
Ring ! ! ! ! ! ! !
Program Split
Input A ! ! ! ! ! ! ! ! ! ! ! !
Input B ! ! ! ! ! ! ! ! ! ! ! !
Input C ! ! ! ! ! ! ! ! ! ! ! !
Complex Fill ! ! ! ! ! ! ! ! ! ! ! !
Fusion Fill™ ! ! ! ! ! ! !
Circle ! ! ! ! ! ! ! ! !
Ring ! ! ! ! ! ! ! ! ! ! !
Motif Fill
Complex Fill ! ! ! ! ! ! !
Contour
Input A ! ! ! !
Input B ! ! ! !
Input C ! ! ! !
Circle ! ! !
Ring ! ! ! !
Run
Run !
Triple Run
Triple Run !

826
Compound Chenille
Chenille Effects
Island Coil
Perpendicular Fill
Straight Stitch
Coil
Liquid Effect
Stitch Types, Input Methods and Effects

Florentine Effect
Flexi-Split
3D Warp
Accordion Spacing
User Defined Split
Trapunto
Jagged Edge
Smart Corners
Multihead Effects
Auto Underlay
Fractional Spacing
Pull Compensation
Shortening
Appendix E
Auto Jump
!
Input Method
Motif Run
Motif Run
V9
Appendix F
Standard Alphabets
The table below includes all alphabets that are standard with your Wilcom
ES software. The recommended stitch method for each alphabet is
indicated. This setting defines how letters in a sequence are to be joined —
i.e. Closest Join (CJ), Bottom Join (BJ), As Digitized (AD). Some As
Digitized alphabets also need to be applied with with Original Values —
e.g. all appliqué alphabets, where values are important, and others like
Kidnap, where open stitching is used. See Changing lettering join method
for details.
For best results when stitching, do not exceed the recommended maximum
or minimum sizes. Note, however, that recommended maximum and
minimum heights refer to UPPER CASE letters. Most embroidery fonts are
digitized from an original TrueType Font (TTF), some of which have
lower-case letters — e.g. a and c — which are about 70% the height of a
capital letter. As a result, these letters may be too small to embroider neatly.
You may need to increase the size of the lower-case characters to suit the
embroidery.
TrueType Font
Embroidery Letters
Small, narrow letters may not require automatic underlay depending on size
and fabric. If applied, the underlay may show outside the stitched columns.
See also Applying automatic underlays.
You can create special characters in each alphabet by holding down the Alt
key on your keyboard and typing 0 (zero), its code, using the numbers on
the keypad. For example, to type ê with the code 234, type Alt + 0234. The
accented letter will appear when you release the Alt key. See also Using the
Character Map.

Note Not all characters are available in all alphabets. See the Embroidery
Alphabets samples booklet for details.
Recommended Sizes Stitch

Alphabet Sample Min Max Method
in. mm in. mm
2 Color Plain
0.5 13 2.0 50 AD
Script
Agatha 0.3 8 2.0 50 CJ
Algerian 0.3 8 1.2 30 CJ
Anaconda 0.3 8 2.0 50 CJ
Angle Block 0.4 10 4.0 100 CJ
Architect 0.4 10 2.0 50 CJ
Arial Rounded 0.3 7 1.8 45 CJ
V9 Appendix F Standard Alphabets 828

in. mm in. mm
Arnold 0.4 10 2.0 50 CJ
Art Block 0.4 10 3.0 75 CJ
Avant Garde 0.2 5 2.4 60 CJ
Bauhaus 0.4 10 2.0 50 CJ
Blacklight 0.25 6 2.4 60 CJ
Block1 0.25 6 2.4 60 CJ
Block2 0.25 6 2.4 60 CJ

in. mm in. mm
Block Caps 0.2 5 2.0 50 CJ
Bodoni 0.3 7 2.0 50 CJ
Book Script 1.0 25 2.2 55 CJ
Border
0.5 13 1.6 40 AD
Block 2
Borders CJ
Carla 0.4 10 2.0 50 CJ
Castle 0.25 6 2.0 50 CJ

in. mm in. mm
Casual Serif 0.5 13 2.2 55 CJ
Cayman 0.4 10 2.0 50 CJ
Centurion 0.5 13 2.4 60 CJ
Chancery 0.3 8 2.4 60 CJ
Cheltenham
0.3 7 2.0 50 CJ
Tall
Cheshire 0.4 10 2.0 50 CJ
City Script 0.3 8 2.4 60 CJ

in. mm in. mm
City Medium 0.25 6 3.0 75 CJ
Civic 0.3 8 2.0 50 CJ
College 0.25 6 1.4 35 CJ
College
1.0 25 3.2 80 AD
Appliqué
Columbo 0.3 8 1.2 30 CJ
Copperplate 0.25 6 1.6 40 CJ
Crests 0.70 18 6.0 150 CJ
Crests
1.20 30 6.0 150 AD
Applique

in. mm in. mm
Croissant 0.25 6 2.0 50 CJ
Dauphin 0.3 8 2.4 60 CJ
Dextor
0.4 9 2.0 50 CJ
Normal
Easy Applique 1.2 30 4.0 100 CJ
Easy Script 0.3 7 2.4 60 CJ
Enchantment 0.4 10 1.6 40 CJ
Energy 0.3 8 2.4 60 CJ

in. mm in. mm
Enviro 0.5 13 3.0 75 CJ
Fancy
1.0 25 5.0 125 CJ
Monogram
Flares 0.3 7 1.6 40 CJ
Flair Script 0.75 10 3.2 80 CJ
Flash 0.25 6 2.4 60 CJ
Folio
0.3 7 2.0 50 CJ
Condensed
Formal Script 0.3 7 1.4 35 CJ
Futura 0.25 6 2.4 60 CJ

in. mm in. mm
Futura Border
0.65 16 2.0 50 AD
2 Color
Futura Outline 0.6 16 2.0 50 CJ
Gaelic 0.44 11 2.0 50 CJ
Garamond 0.3 7 2.0 50 CJ
Glory
1.2 30 4.0 100 AD
Appliqué
Goudy Sans 0.25 6 1.6 40 CJ
Greek 0.3 8 2.0 50 CJ
Greek Script 0.48 12 4.0 100 CJ

in. mm in. mm
Greek Spionic 0.4 10 2.4 60 CJ
Handel Gothic 0.3 8 2.0 50 CJ
Hana 0.5 13 2.0 50 CJ
Handel Gothic 0.3 8 2.0 50 CJ
Handy Script 0.5 13 3.0 75 CJ
Handicraft 0.3 8 2.5 65 CJ
Hebrew
0.3 8 1.6 40 CJ
Chaya
Helvetica 0.25 6 2.4 60 CJ

in. mm in. mm
Helvetica
0.2 4 0.3 7 CJ
Small
Hobo 0.25 6 1.6 40 CJ
Impress 0.3 7 1.6 40 CJ
Informal 0.25 6 1.2 30 CJ
Italian Script 0.4 10 4.0 100 CJ
Kabel 0.25 6 2.4 60 CJ
Karin Script CJ
Kids 0.5 12 1.2 30 CJ

in. mm in. mm
Kindergarten
0.4 10 3.6 90 CJ
Block
Krone 0.3 8 1.6 40 CJ
Lariat 0.48 12 1.2 30 CJ
Legal Block 0.24 6 2.0 50 CJ
Lydian 0.3 7 2.0 50 CJ
Mandarin 0.3 8 2.0 50 CJ
Matisse 0.4 10 1.6 40 CJ
Memo Script 0.24 6 1.0 25 CJ

in. mm in. mm
Matrix 0.4 10 1.6 40 CJ
Micro Block 0.2 4 0.3 8 CJ
Microgramma 0.25 6 2.4 60 CJ
Microscan 0.3 7 1.6 40 CJ
Minature
0.2 4 0.25 6 CJ
Block
Narrow Block 0.6 15 4.0 100 CJ
News Outline 1.2 30 3.0 75 CJ
Octagon
0.7 18 6.0 150 CJ
Monogram

in. mm in. mm
Old English 0.4 10 2.0 50 CJ
Olivia 0.3 7 1.6 40 CJ
Outline Block 0.75 18 4.0 100 CJ
Pixie 0.5 13 1.2 30 CJ
Point
0.7 18 6.0 150 CJ
Monogram
Round Block 0.8 20 1.4 35 CJ
Royale 0.5 13 2.4 60 CJ
Schoolbook 0.3 8 2.0 50 CJ

in. mm in. mm
Script1 0.5 12 3.0 75 CJ
Script2 0.3 8 2.0 50 CJ
Script3 0.5 12 4.0 100 CJ
Seagull 0.3 7 1.8 45 CJ
Seal
0.7 18 6.0 150 CJ
Monogram
Serif1 0.25 6 1.2 30 CJ
Serif2 0.3 8 1.2 30 CJ
Serif3 0.25 6 2.4 60 CJ

in. mm in. mm
Slim Block 0.8 20 8.0 200 CJ
Small Block1 0.2 4 0.25 6 CJ
Small Block2 0.2 4 0.25 6 CJ
Souvenir 0.25 6 1.6 40 CJ
Speedy 0.3 8 1.2 30 CJ
Super Block 0.4 10 2.0 50 CJ
Swiss 0.4 10 2.0 50 CJ
Swiss Run
0.6 15 4.0 100 AD
Hollow

in. mm in. mm
Swiss Run
1.0 25 3.0 75 AD
Satin
Tahoma 0.25 6 1.6 40 CJ
Text Block 0.3 7 1.8 45 CJ
Times Roman 0.25 6 1.6 40 CJ
Times Small 0.2 4 0.25 6 CJ
Typewriter 0.5 13 2.0 50 CJ
Upright Script 0.5 13 2.0 50 CJ
Urbane 0.25 6 1.6 40 CJ

in. mm in. mm
Utility Block 0.3 7 4.0 100 CJ
Verdana 0.25 6 2.4 60 CJ
Victorian 0.3 7 1.0 25 CJ
Viking 0.35 9 2.0 50 CJ
Wesern Serif 0.3 7 2.0 50 CJ
Westminster 0.25 6 2.4 60 CJ

Appendix G
Motif Samples
Motifs available in Wilcom ES can be one of two types — single or two-part.

Single motifs can be used on their own in a Motif Run or Motif Fill. Two-part
motifs consist of two separate motifs combined to form a single pattern for
Motif Fills.
This section contains samples of the motifs available in Wilcom ES. Use
these tables to see what a particular motif looks like. The table also includes
recommended size and layout specifications. If they have changed for any
reason, revert to the settings using the values in these tables. See Creating
motif runs and Creating motif fills for details.
Single motifs
The following table shows single motifs available in Wilcom ES together with
their size values. It also shows the spacing values for Motif Runs, and
column, row and offset recommended values for Motif Fills.
Size in mm Motif Motif Fill

Motif Name Motif Run
X Y Spacing Column Row Offset
Arrow01 3.9 3.1 3.9 3.9 3.1 0.0
Arrow02 4.4 3.3 4.4 4.4 3.3 0.0
Arrow03 4.0 3.0 4.0 4.0 3.0 0.0
Arrow04 4.0 3.0 4.0 4.0 3.0 0.0

Arrow05 4.0 2.5 4.0 4.0 3.5 0.0
Arrow06 10.1 10.0 10.6 10.1 10.0 0.0
Arrow07 5.0 4.0 5.2 5.0 4.0 0.0
Arrow08 5.0 4.0 5.0 5.0 4.0 0.0
Blocks01 3.0 5.0 2.0 2.0 5.0 1.0
Blocks02 3.2 5.0 2.3 2.3 6.0 0.0
Blocsk03 2.0 3.0 2.0 2.0 3.0 0.0
Blocks04 2.0 3.0 2.0 2.0 3.0 0.0
Blocks05 4.0 5.5 3.0 3.0 6.0 0.0
Blocks06 2.6 2.4 2.4 2.4 1.8 1.2
Blocks07 6.0 4.0 6.0 6.0 4.0 0.0
V9 Appendix G Motif Samples 846

Blocks08 6.0 4.0 6.0 6.0 4.0 0.0
Blocks09 6.0 6.0 6.0 6.0 6.0 0.0
Blocks10 6.0 6.0 6.0 6.0 6.0 0.0
Blocks11 8.0 8.0 8.0 8.0 8.0 0.0
Blocks12 8.0 8.0 8.0 8.0 8.0 0.0
Blocks13 5.6 5.6 5.6 5.6 5.6 5.6
Blocks14 8.0 8.0 8.0 8.0 8.0 0.0
Blocks15 3.8 5.0 3.8 3.8 5.0 0.0
Blocks16 3.0 4.0 3.0 3.0 4.0 0.0
Blocks17 10.1 10.0 10.2 10.1 10.0 0.0

Blocks18 10.0 10.0 10.0 10.0 10.0 0.0
Blocks19 12.0 3.0 12.1 12.0 3.0 0.0
Blocks20 3.0 6.0 3.0 3.0 6.0 0.0
Blocks21 8.9 3.6 9.0 8.9 3.6 0.0
Blocks22 6.0 5.0 6.0 6.0 5.0 0.0
Blocks23 4.0 6.5 4.0 4.0 6.5 0.0
Blocks24 6.0 6.0 6.1 6.0 6.0 0.0
Blocks25 6.8 8.9 6.8 6.8 8.9 0.0
Blocks26 7.5 8.5 7.5 7.5 8.5 0.0
Blocks27 4.0 8.0 4.0 4.0 8.0 0.0
Blocks28 6.0 8.0 6.0 6.0 8.0 0.0

Blocks29 8.0 8.0 8.0 8.0 8.0 0.0
Blocks30 8.0 10.0 8.0 8.0 10.0 0.0
Blocks31 9.0 8.0 9.0 9.0 8.0 0.0
Blocks32 8.0 8.0 8.0 8.0 8.0 0.0
Bow01 10.0 3.1 10.0 10.0 3.1 0.0
Bow02 8.0 4.0 8.0 8.0 4.0 0.0
Circle01 4.2 4.0 5.0 5.0 4.0 2.5
Circle02 9.6 13.1 9.1 9.6 13.1 0.0
Circle03 10.7 9.1 10.7 10.7 9.1 0.0
Cloud01 7.2 6.1 7.2 7.2 6.1 0.0
Cloud02 8.3 5.7 8.2 8.3 5.7 0.0

Cross01 4.0 4.0 4.0 4.0 4.0 0.0
Cross02 5.7 5.7 5.8 5.7 5.7 0.0
Cross03 4.0 4.0 4.0 5.0 5.0 0.0
Cross04 8.0 8.0 8.0 10.0 8.0.0 5.0
Cross05 6.0 8.0 6.0 6.0 8.0 0.0
Cross06 10.0 10.0 10.0 10.0 10.0 0.0
Cross07 6.0 6.0 6.0 6.0 6.0 0.0
Cross08 8.0 8.0 8.1 8.0 8.0 0.0
Cross09 6.0 6.0 6.1 6.0 6.0 0.0
Cross10 6.7 6.7 6.7 6.7 6.7 0.0

Cross11 8.0 8.0 8.0 8.0 8.0 0.0
Cross12 8.0 8.0 8.0 8.0 8.0 0.0
Cross13 8.0 8.0 8.0 8.0 8.0 0.0
Cross14 8.0 8.0 8.0 8.0 8.0 0.0
Cross15 8.0 7.0 8.0 8.0 7.0 0.0
Curve01 8.0 4.0 8.0 8.0 5.0 4.0
Curve02 15.0 6.9 15.0 15.0 6.8 0.0
Curve03 7.5 5.0 3.9 3.9 5.0 0.0
Curve04 7.5 3.8 7.5 7.5 4.1 2.5
Curve05 14.0 10.0 14.7 14.0 10.0 0.0
Curve06 19.1 20.5 19.4 19.1 20.5 0.0

Curve07 10.0 5.0 10mm 10.0 5.0 0.0
Curve08 9.1 5.1 9.1 9.1 5.1 0.0
Curve09 3.4 6.6 2.9 3.4 6.6 0.0
Curve10 10.3 10.0 10.2 10.3 10.0 0.0
Curve11 10.0 5.6 9.9 10.0 5.6 0.0
Curve12 5.3 4.0 5.3 5.3 4.0 0.0
Curve13 8.2 5.9 7.8 8.2 5.9 0.0
Curve14 9.0 7.0 9.0 9.0 7.0 0.0
Curve15 10.0 9.0 10.0 10.0 9.0 0.0
Curve16 8.0 28.0 8.0 8.0 28.0 0.0

Curve17 8.0 6.0 8.0 8.0 6.0 0.0
Curve18 9.0 10.0 9.0 9.0 10.0 0.0
Curve19 10.0 10.0 10.0 10.0 10.0 0.0
Heart01 6.0 6.0 6.0 6.0 6.0 0.0
Kite01 4.0 4.0 4.0 4.0 4.0 0.0
Kite02 4.0 4.0 4.0 4.0 4.0 0.0
Kite03 4.0 4.0 4.0 4.0 4.0 0.0
Kite04 4.0 4.0 4.0 4.0 4.0 0.0
Kite05 4.0 4.0 4.0 4.0 4.0 0.0
Kite06 4.0 4.0 4.0 4.0 4.0 0.0

Kite07 4.0 4.0 4.0 4.0 4.0 0.0
Kite08 4.0 4.0 4.0 4.0 4.0 0.0
Kite09 4.0 4.0 4.0 4.0 4.0 0.0
Kite10 4.0 4.0 4.0 4.0 4.0 2.0
Kite11 8.0 10.0 8.0 8.0 8.0 4.0
Kite12 10.0 10.0 10.1 10.0 10.0 0.0
Kite13 4.7 5.0 4.8 4.7 5.0 0.0
Kite14 9.0 10.0 9.0 9.0 10.0 0.0
Kite15 8.0 8.0 8.0 8.0 8.0 0.0
Kite16 7.0 7.0 7.0 7.0 7.0 0.0

Leaf01 8.6 6.8 6.0 6.0 6.7 1.8
Leaf02 8.7 7.2 6.2 6.2 7.3 0.0
Leaf03 6.5 3.0 6.6 6.5 3.0 0.0
Lines01 3.8 5.6 2.8 2.8 6.5 0.0
Lines02 2.2 3.6 1.3 1.2 3.6 0.0
Lines03 6.8 2.0 6.8 6.8 2.0 3.4
Lines04 6.0 5.0 6.0 6.0 5.0 0.0
Lines05 19.9 20.3 20.0 19.9 20.3 0.0
Lines06 20.3 20.5 21.0 20.3 20.5 0.0
Lines07 5.0 4.0 5.1 5.0 4.0 0.0
Lines08 10.0 8.0 9.9 10.0 8.0 0.0
Lines09 6.0 1.4 6.0 6.0 1.4 0.0

Lines10 8.6 7.7 8.6 8.6 7.7 0.0
Lines11 10.0 12.0 10.0 10.0 12.0 0.0
Lines12 9.0 10.0 9.0 10.0 10.0 0.0
Lines13 8.0 9.0 8.0 8.0 9.0 0.0
Lines14 10.0 12.5 10.0 12.5 12.5 0.0
Lines15 8.0 9.0 8.0 8.0 9.0 0.0
Lines16 4.0 10.0 4.0 10.0 10.0 0.0
Music01 6.1 9.8 3.9 6.1 9.8 0.0
Scroll01 6.0 4.8 6.0 6.0 6.0 0.0
Scroll02 6.5 5.6 6.5 6.5 4.3 2.8

Scroll03 10.0 5.0 10.0 10.0 6.3 0.0
Scroll04 10.0 5.0 10.0 10.0 6.3 0.0
Scroll05 9.5 9.0 9.5 9.5 9.0 0.0
Scroll06 9.0 9.0 9.0 9.0 9.0 0.0
Shapes01 9.5 9.0 9.5 9.5 9.0 0.0
Shapes02 10.0 9.0 10.0 10.0 9.0 0.0
Shapes03 10.0 10.0 10.0 10.0 10.0 0.0
Shapes04 9.0 9.0 9.0 9.0 9.0 0.0
Shapes05 10.0 9.0 10.0 10.0 9.0 0.0
Shapes06 8.0 9.0 8.0 8.0 9.0 0.0

Shapes07 8.5 8.0 8.5 8.5 8.0 0.0
Shapes08 9.0 8.5 9.0 9.0 8.5 0.0
Shapes09 7.0 8.0 7.0 7.0 8.0 0.0
Shapes10 7.0 9.0 7.0 7.0 9.0 0.0
Shapes11 8.0 8.0 8.0 8.0 8.0 0.0
Shapes12 10.0 8.5 10.0 10.0 8.5 0.0
Shapes13 9.0 9.0 9.0 9.0 9.0 0.0
Shapes14 9.0 10.0 9.0 9.0 10.0 0.0
Shapes15 7.5 9.0 7.5 7.5 9.0 0.0

Shapes16 10.0 10.0 10.0 10.0 10.0 0.0
Shapes17 10.4 9.5 10.4 10.4 9.5 0.0
Shapes18 10.0 10.0 10.0 10.0 10.0 0.0
Shapes19 10.0 12.0 10.0 10.0 12.0 0.0
Shapes20 9.0 9.5 9.0 9.0 9.5 0.0
Shapes21 8.0 8.0 8.0 8.0 8.0 0.0
Shapes22 9.0 9.0 9.0 9.0 9.0 0.0
Shapes23 9.5 9.0 9.5 9.5 9.0 0.0
Shapes24 9.0 9.0 9.0 9.0 9.0 0.0

Shapes25 12.0 10.0 12.0 12.0 10.0 0.0
Shapes26 8.0 9.0 8.0 9.0 9.0 0.0
Shapes27 9.0 8.0 9.0 9.0 8.0 0.0
Shapes28 10.0 12.0 10.0 10.0 12.0 0.0
Shapes29 8.5 9.0 8.5 8.5 9.0 0.0
Shapes30 10.0 12.0 10.0 10.0 12.0 0.0
Shapes31 12.0 10.0 12.0 12.0 10.0 0.0
Shapes32 8.5 9.0 8.5 8.5 9.0 0.0
Shapes33 8.0 9.0 8.0 9.0 9.0 0.0

Shapes34 9.0 10.5 9.0 9.0 10.5 0.0
Shapes35 4.0 7.5 4.0 4.0 7.5 0.0
Shapes36 8.0 8.5 8.0 8.0 8.5 0.0
Shapes37 9.0 9.0 9.0 9.0 9.0 0.0
Shapes38 7.0 4.0 7.0 7.0 4.0 0.0
Shapes39 8.0 9.5 8.0 8.0 9.5 0.0
Shapes40 9.0 8.0 9.0 9.0 8.0 0.0
Shapes41 12.0 12.0 12.0 12.0 12.0 0.0
Shapes42 7.5 7.0 7.5 7.5 7.0 0.0

Shapes43 10.0 9.0 10.0 10.0 9.0 0.0
Shapes44 9.0 10.0 9.0 9.0 10.0 0.0
Square01 4.0 4.0 4.0 4.0 4.0 0.0
Square02 4.0 4.0 4.0 4.0 4.0 0.0
Square03 4.0 4.0 4.0 4.0 4.0 0.0
Square04 4.0 4.0 4.0 4.0 4.0 0.0
Square05 4.0 4.1 4.0 4.0 4.1 0.0
Square06 4.0 4.0 8.0 8.0 4.0 4.0
Star01 4.0 4.0 4.0 4.0 4.0 0.0
Star02 4.0 4.0 4.0 4.0 4.0 0.0

Star03 6.0 4.0 7.0 7.0 4.0 3.5
Star04 6.0 6.0 6.0 6.0 6.0 0.0
Star05 6mm 8.0 6.0 6.0 8.0 3.0
Star06 6.0 8.0 6.0 6.0 6.0 0.0
Star07 5.0 4.4 5.3 5.0 4.4 0.0
Star08 10.0 10.0 10.1 10.0 10.0 0.0
Star09 20.1 20.6 20.6 20.1 20.6 0.0
Star10 8.7 10.0 8.7 8.7 10.0 0.0
Star11 6.0 6.0 6.0 6.0 6.0 0.0
Star12 8.0 7.8 8.0 8.0 7.8 0.0

Star13 8.0 9.0 8.0 8.0 9.0 0.0
Star14 9.6 9.0 9.6 9.6 9.0 0.0
Star15 8.0 8.0 8.0 8.0 8.0 0.0
Star16 10.0 9.0 10.0 10.0 9.0 0.0
Star17 8.0 9.0 8.0 8.0 9.0 0.0
Star18 10.0 9.0 10.0 10.0 9.0 0.0
Star19 10.0 10.0 10.0 10.0 10.0 0.0
Star20 8.0 9.0 8.0 8.0 9.0 0.0
Star21 9.5 9.0 9.5 9.5 9.0 0.0
Star22 8.0 9.5 8.0 8.0 9.5 0.0

Star23 8.0 11.0 8.0 8.0 11.0 0.0
Star24 9.0 10.0 9.0 9.0 10.0 0.0
Wave01 10.0 7.0 8.0 8.7 7.0 0.0
Wave02 15.0 10.0 15.8 15.0 10.0 0.0
Wave03 10.9 7.8 10.9 10.9 7.8 0.0
Wave04 8.0 8.0 8.0 8.0 8.0 0.0
Xmas01 7.3 8.8 7.4 7.3 8.8 0.0
ZigZag01 4.0 4.0 4.0 4.0 4.0 0.0
ZigZag02 8.0 4.0 8.0 8.0 5.0 0.0
ZigZag03 4.6 4 4.6 4.6 5.0 0.0
ZigZag04 7.0 4.0 7.0 7.6 3.0 0.0

ZigZag05 4.0 4.0 4.0 2.0 5.0 1.0
ZigZag06 4.0 4.1 4.2 4.0 4.1 0.0
ZigZag07 10.0 10.0 10.2 10.0 10.0 0.0
ZigZag08 10.0 10.0 10.7 10.0 10.0 0.0
ZigZag09 12.0 12.0 12.3 12.0 12.0 0.0
ZigZag10 9.9 10.0 10.3 9.9 10.0 0.0
ZigZag11 18.5 19.1 19.2 18.5 19.1 0.0
ZigZag12 20.2 20.1 20.4 20.2 20.1 0.0
ZigZag13 19.5 8.1 19.8 19.5 8.1 0.0
ZigZag14 18.0 9.1 18.4 18.0 9.1 0.0

ZigZag15 12.1 11.1 12.4 12.1 11.1 0.0
ZigZag17 8.0 8.0 8.0 8.0 8.0 0.0
ZigZag18 14.0 7.0 14.0 14.0 7.0 0.0
ZigZag19 9.0 9.0 9.0 9.0 9.0 0.0
ZigZag20 8.0 8.0 8.0 8.0 8.0 0.0
ZigZag21 8.0 8.0 8.0 8.0 8.0 0.0
ZigZag22 8.0 8.0 8.0 8.0 8.0 0.0
ZigZag23 9.0 10.0 9.0 9.0 10.0 0.0
ZigZag24 8.0 9.0 8.0 8.0 9.0 0.0
ZigZag25 10.0 7.5 10.0 10.0 7.5 0.0

ZigZag26 8.0 8.0 8.0 8.0 8.0 0.0
ZigZag27 12.0 8.0 12.0 12.0 8.0 0.0
ZigZag28 8.0 9.0 8.0 8.0 9.0 0.0
ZigZag29 12.0 12.0 12.0 12.0 12.0 0.0
Two-part motifs
The following table lists the two-part motifs that are available in Wilcom ES,
and the resulting pattern. It also shows the size, column, row and offset
values for Motif Fills.
.
Size in mm Motif Fill

Motif A Motif B Fill Pattern
X Y Col Row Offset
Duet01a Duet01b a=7.0 a=5.0 7.0 3.5 0.0

b=7.0 b=3.0
Duet02a Duet02b a=12.0 a=6.0 12.0 6.0 0.0

b=12.0 b=9.0

X Y Col Row Offset
Duet03a Duet03b a=12.0 a=6.0 12.0 6.0 0.0

b=12.0 b=9.0
Duet04a Duet04b a=9.0 a=8.0 9.0 4.5 0.0

b=9.0 b=3.0
Duet05a Duet05b a=6.4 a=4.8 6.4 3.2 0.0

b=6.4 b=3.2
Duet06a Duet06b a=4.4 a=2.2 4.4 1.9 1.1

b=4.4 b=2.4
Duet07a Duet07b a=4.8 a=4.4 4.8 2.2 1.3

b=4.8 b=4.2
Duet08a Duet08b a=11.6 a=4.4 11.2 2.9 0.0

b=11.6 b=4.4

X Y Col Row Offset
Duet09a Duet09b a=6.5 a=5.0 6.5 3.4 3.3

b=6.5 b=5.0
Duet10a Duet10b a=8.0 a=4.0 8.0 4.0 0.0

b=8.0 b=4.0
Duet11a Duet11b a=5.2 a=3.8 5.2 3.8 0.0

b=12.0 b=9.0
Duet12a Duet12b a=15.0 a=8.4 13.5 3.9 0.0

b=13.5 b=7.8

Appendix H
Program Split Samples
This section contains samples of the program split patterns available in

Wilcom ES. Use the table to see what a particular program split looks like.
The table also includes the recommended size, column, row and offset
settings. If they have changed for any reason, revert to the settings using
the values in this table. See Adjusting Program Split stitch settings for
details.
Size in mm Column Row

Pattern
Pattern
Name
X Y Spacing Offset Spacing Offset
Arrowhd 6.0 6.0 4.5 0.0 6.0 0.0
Balloon 6.4 9.2 7.9 1.2 8.3 3.4
Bars 8.0 8.0 8.0 0.0 8.0 0.0
Basket 9.0 7.5 9.0 0.0 4.5 4.5
Basket2 9.0 9.0 6.0 0.0 6.0 0.0
Bird 6.0 4.9 6.0 0.0 4.9 0.0
Blocks1 12.0 12.0 12.0 0.0 8.0 8.0
Blocks2 12.0 12.0 8.0 0.0 8.0 8.0

Pattern
Pattern
Name
Bow 9.4 8.5 17.9 5.8 6.5 7.4
Breaker 10.0 6.0 10.0 0.0 6.0 0.0
Brick 6.0 3.0 6.0 0.0 3.0 3.0
Brick2 6.0 6.0 4.0 0.0 4.0 4.0
Certificate 10.3 10.7 10.0 0.0 10.2 1.1
Chain 10.0 6.0 6.7 0.0 7.0 3.3
Chevron 6.0 3.0 6.0 0.0 6.0 3.0
Chevron2 2.5 6.0 2.5 0.0 6.0 0.0
Chevron3 7.0 3.0 7.0 0.0 3.0 0.0
Circle 6.0 6.0 8.0 0.0 6.0 4.0
Crosstile 7.0 7.0 5.5 -5.5 5.5 5.5
Cube 6.0 6.0 6.0 1.5 6.0 1.4
Curvelg 7.1 7.5 7.1 0.0 7.5 0.0
Diadem 10.0 6.7 10.0 0.0 6.7 5.0
V9 Appendix H Program Split Samples 872

Pattern
Pattern
Name
Diamnd2 4.0 8.0 4.0 4.0 8.0 0.0
Diamond 6.0 6.0 6.0 0.0 6.0 0.0
Driver 8.0 4.0 8.0 0.0 4.0 1.5
Ellipse 4.0 6.0 4.6 0.0 5.0 2.3
Feather 7.9 8.2 8.6 0.4 7.2 0.6
Flame 6.0 3.7 6.0 0.0 3.6 3.0
Flower 10.7 9.3 19.5 -1.0 5.9 -9.6
Greekey 6.0 4.0 6.0 0.0 6.0 2.0
Heart 6.0 6.5 6.0 0.0 6.4 3.0
Herringbone 8.0 4.0 8.0 0.0 4.0 0.0
Hexagon 6.0 7.0 6.0 0.0 5.2 3.0
Hexagon2 7.0 6.0 7.0 0.0 6.0 0.0
Jem 10.0 10.0 10.0 0.0 9.5 5.0
Keyhole 4.0 2.7 5.3 0.0 2.7 2.7

Pattern
Pattern
Name
Leaf 10.0 5.0 10.0 0.0 5.0 5.0
Lollipop 7.3 10.2 9.0 -0.2 6.4 4.2
Man 8.8 11.0 17.7 0.5 5.4 -8.9
Melody 10.0 6.0 10.0 0.0 5.0 5.0
Metal 5.0 9.4 5.0 0.0 8.5 2.5
Passage 10.0 10.0 10.0 0.0 10.0 0.0
Piccolo 8.0 8.0 8.0 0.0 8.0 0.0
Roma 10.0 5.5 10.0 0.0 6.0 5.0
Rope 7.5 5.0 3.8 0.0 5.5 1.9
Scale 6.4 3.5 6.4 0.0 3.5 3.2
Scale2 3.5 6.4 3.5 3.2 6.4 0.0
Seville 6.7 5.6 6.7 0.0 4.5 4.5
Star5 6.0 5.7 6.0 0.0 5.7 3.0

Pattern
Pattern
Name
Steps 8.0 8.0 6.0 -6.0 6.0 6.0
Sun 7.6 8.3 7.6 0.0 8.3 0.0
Suncros 10.0 10.0 4.0 -6.0 4.0 6.0
Suncross2 11.0 11.0 6.8 -1.3 6.8 1.3
Swing 6.0 8.2 4.5 0.0 8.2 0.0
Tick 6.8 7.9 6.8 0.1 6.0 6.0
Tile1 8.0 8.0 8.0 0.0 8.0 0.0
Tile2 12.0 12.0 12.0 0.0 12.0 0.0
Tile3 10.1 10.0 10.0 0.0 10.0 0.0
Tile4 6.0 6.0 6.0 0.0 6.0 0.0
Triangl 6.0 5.2 6.0 0.0 5.2 3.0
Triangle3 7.5 6.5 7.5 0.0 6.5 0.0
Vine 8.5 2.8 8.5 0.0 3.5 2.0

Pattern
Pattern
Name
Wave 6.0 1.3 6.0 0.0 4.0 3.0
Wave2 9.9 3.2 9.9 2.9 3.2 0.0
Wave3 10.0 4.5 10.0 0.0 4.5 0.0
Whirl 7.5 7.5 7.5 0.0 7.5 0.0
Wild 8.5 8.0 8.5 0.0 7.5 4.5
xmasivy 9.8 10.0 9.8 0.0 10.0 0.0
Xmastre 16.0 16.0 13.3 8.0 16.0 0.0
Ziggy 5.0 8.0 4.0 0.0 8.0 0.0

Appendix I
Troubleshooting
This section provides advice for solving problems in ES Designer. If you

encounter a problem, refer in the first instance to the following references:
! Wilcom ES User Manual — select Help > Online Manual (or printed
version)
! Wilcom ES Online Help — select Help > Help Topics
! Windows Online Help — select Start > Help
! Windows manual
! Documentation supplied with your hardware, if the problem is
hardware-related.
For information about other Wilcom products, check the relevant
Supplement or Online Help. For the most up-to-date support information
about ES Designer and other Wilcom products, visit the Wilcom Support
Center at www.wilcom.com.au/support. You will need to register in order
obtain access.
Note Before seeking help, check that your PC meets the system
requirements. See Checking system requirements for details.
Checking system requirements

You need to ensure that the following pre-requisite system requirements are
met in order to run the Wilcom program suite.
Supported operating systems

! ES Designer, ES Design Explorer and ES Machine Manager will operate
under Windows 98SE or higher.
! ES Designer and ES Design Explorer requires IE 6.0 or higher — IE 6.0
is included with the Wilcom ES installation and is also available from the
Microsoft website.

PC specifications
Check that your PC meets the system requirements. Check CPU/RAM as well
as hard disk space. The table below provides minimum and recommended
system requirements.
Hardware Item Minimum Requirements Recommended
CPU Pentium III (500 MHz) or higher Pentium IV or higher
Operating System Windows 98SE Windows 2000 / XP
Internet For access to Wilcom website for

Connection regular product information and updates
Browser IE 6.0 IE 6.x
Memory 128 Mb (more if running multiple 256 Mb (for running multiple

applications) applications)
Hard Disk Size 8 Gb 20 Gb or more, especially for database

users
Free Hard Disk 1 Gb after installation (non More than 1.5 Gb after installation if
space † double-spaced) running multiple applications
Graphics Card Support for High Color (16-bit) and high Support for High Color (16-bit) and high
resolution — at least 1024 x 768. resolution — at least 1024 x 768.
Monitor 15" at 1024 x 768 resolution 17" at 1024 x 768 or larger
Scanner Windows compatible Windows 2000/XP compatible
Printer and/or Windows compatible Windows 2000/XP compatible

Plotter
Serial Ports Standard COM port if connecting to an

embroidery machine via direct serial
connection or Wilcom DCi.
Note: To connect multiple machines,
consult your local Wilcom Support.
Parallel Ports Dedicated parallel port if using parallel Dedicated parallel port if using parallel
port dongle port dongle
USB Port Dedicated USB port if using USB Dedicated USB port if using USB
dongle dongle
V9 Appendix I Troubleshooting 878

Hardware Item Minimum Requirements Recommended
Mouse Pointing device — e.g. mouse, Pointing device — e.g. mouse,

trackpad, trackball. trackpad, trackball.
CD-ROMs and CD-ROM drive for software installation Backup device — e.g. CD burner, tape
other drives backup, removable hard drive.
Sound cards Required for PET and other multimedia Required for PET and other multimedia
training products. training products.
Note † Wilcom ES V9.0 occupies approximately 155 Mb of hard disk space,

depending on the options installed.
Check CPU/RAM specifications

Check your CPU and RAM specifications, and the version of Windows you are
running to ensure they meet Wilcom ES requirements.
To check CPU/RAM specifications

1 On the Windows desktop, right-click the My Computer icon and select
Properties.
The System Properties > General tab opens.
2 Check the Windows version, the CPU and the amount of RAM.
Check your hard disk space

Check that your hard disk has enough space to run ES Designer effectively.
To check your hard disk space

1 Double-click the My Computer icon on your Windows Desktop.
The My Computer window opens.
2 Right-click the hard-disk drive icon (usually C:) and select Properties.
The Properties > General tab opens.
This tab shows the hard-disk capacity as well as any free space. This
must be greater than 100 MB or 10% of your total hard drive space,
whichever is the greater amount.

Security device messages
This section describes the messages related to the Wilcom security device.
Most security device messages are caused by incorrect connection, access
codes, interference or conflict with other hardware devices.
To prevent security device errors, enter all access codes as soon as you
receive them. If you skip any access codes, features may become
unavailable, or ES Designer may stop working altogether. See Entering
security codes for details.
Tip If you need to provide security device information to Wilcom Support

or your reseller, send a screengrab of the Security Device dialog. This
saves you transcribing the information and ensures that accurate details are
sent. See Identifying your security device for details.
Invalid Access Code
Message Invalid Access Code
Cause • The access codes you are trying to enter are incorrect for your
security device.
• You are missing a set of codes.
Suggestion Check the Identity Code provided against the Identity Code in the
Security Device dialog of ES Designer. If they don’t match, note
the security device Serial Number and current Identity Code and
contact your distributor. See Identifying your security device for
details.

Security Device Not Found (-3) - Parallel port dongle
Message Security Device Not Found (-3)
Cause The software is unable to detect the parallel port dongle or there
is a conflict with another device.
Suggestion Devices attached to the same parallel port will often cause
conflicts. The most reliable method of resolving these is to install
another port. The dongle can then be attached to any working
parallel port — i.e. LPT1, LPT2, LPT3, etc. See also Resolving
parallel port dongle conflicts.
Change the BIOS parallel port setting to 'Standard Bi-Directional
Mode', 'Normal' or 'SPP'. If you are unfamiliar with making
changes in the PC BIOS, consult your PC's documentation; or
get a PC Technician to change it for you. If you have a Toshiba
laptop you can use Control Panel > HW Setup > Parallel and
Printer.
Security Device Not Found (-3) - USB port dongle
Message Security Device Not Found (-3)
Cause The software is unable to detect the dongle. The LED on the
dongle may not light up.
Suggestion Try attaching the dongle to a different USB port. If the LED
doesn't come on, go to Control Panel > System > Hardware >
Device Manager. Click 'Universal Serial Bus Controllers' and
look for 'Aladdin USB Key' OR 'Unknown USB Device'.
Right-click the device, select 'Uninstall' and uninstall the device.
Go to Control Panel and double-click 'Add New Hardware'. If
Windows does not detect the dongle, or the dongle LED doesn't
come on, the dongle is faulty and needs replacement. Contact
your reseller for a replacement security device.
Security Device Not Found (-100)
Message Security Device Not Found (-100), or HASP Device Driver not
installed (-100)
Cause The dongle driver is not installed, or an incorrect driver is

installed.
Suggestion Install the dongle driver. See Installing or reinstalling the dongle
driver for details.
Visit www.wilcom.com.au/support, and download the latest
dongle drivers.

HASP Device Driver Not Installed (-12)
Message HASP device driver not installed -12
Cause Faulty USB Dongle security device.
Suggestion Please contact your reseller for a replacement Dongle.
Error Code (-31) and HASP key is not HASP 4 (-3)
Message ‘Security: Error Code (-31)’ followed by ‘Security: HASP key is

not HASP 4 (-3)’.
Cause The software cannot communicate with the dongle.
Suggestion Restart Windows. Install the latest Dongle driver from the Wilcom
Support Center at www.wilcom.com.au/support. If the problem
continues, contact your Reseller.
Invalid Product when starting ES Designer
Message ‘Invalid Product’ displays when starting ES Designer.
Cause The dongle is faulty or incorrect access codes have been

entered.
Suggestion Note your security device numbers — Serial Number and Identity
Code — and contact your distributor or reseller. See Identifying
your security device for details.
If codes have been entered incorrectly, new codes can normally
be provided to re-enable your dongle. If the dongle is faulty, you
will need a replacement.

Invalid Product when printing
Message ‘Invalid Product’ displays when printing.
Cause Parallel Port Dongle is attached to the same parallel port as the
printer.
Suggestion Devices attached to the same parallel port will often cause
conflicts. The most reliable method of resolving these is to install
another port. The dongle can then be attached to any working
parallel port — i.e. LPT1, LPT2, LPT3, etc. See also Resolving
parallel port dongle conflicts.
Change the BIOS parallel port setting to 'Standard Bi-Directional
Mode', 'Normal' or 'SPP'. If you are unfamiliar with making
changes in the PC BIOS, consult your PC's documentation; or
get a PC Technician to change it for you. If you have a Toshiba
laptop you can use Control Panel > HW Setup > Parallel and
Printer.
Timeout warning
Message Your Security Device will time out in xx days.
Cause New access codes are required or sent codes have not been
entered.
Suggestion If you have not received new access codes within 5 days of
receiving your first message, note your security device numbers
— Serial Number and Identity Code — and contact your
distributor or reseller. See Identifying your security device for
details.
Unable to Run Software
Message ‘Unable to Run Software’ displays on some WinXP PCs with

parallel port dongles.
Cause ES Designer runs normally most of the time, but intermittently

(once per week to many times per day) receives the error. The
Wilcom Security dialog box appears, but with incorrect security
device details. You can save designs in ES Designer, but most of
the buttons are greyed-out. ES Designer needs to be restarted in
order to get around the problem.
Suggestion Contact your reseller for a possible replacement dongle.

Missing Files
Message Some files may be missing.
Cause Corrupted hard disk, virus attack or security violation.
Suggestion Re-install the software. If the problem persists, further diagnose

the problem. For example, run a virus checking program and
scan the disk to check that the hard disk is not corrupted.
Unrecoverable errors
The system may generate unrecoverable errors when opening designs or ES
Designer itself.
Unrecoverable error when opening design
Problem When opening a design, the message ‘unrecoverable error,

shutting down’ displays.
Cause The design is corrupt.
Solution Not really any solution.
Unrecoverable error when starting ES Designer
Problem When starting ES Designer the message ‘unrecoverable error,

shutting down’ displays.
Cause A design in the recover folder is corrupt.
Solution Delete any files in the C:\ESWin\Recover folder using the Purge
Recovery utility. Alternatively, delete them manually using
Windows Explorer. See Deleting files with Purge Recovery for
details.
ES Design Explorer problems

The following section relates to any ES Design Explorer connection problems
you may experience.

Timeout warning when starting ES Design Explorer
Message The connection to ES Designer has timed out.
Cause ES Design Explorer requires ES Designer to be running in order

to verify security. If ES Design Explorer is started without ES
Designer already running and ES Designer takes longer to load
than ES Design Explorer expects, the error message will appear.
This can happen on a slow PC, or a PC that is low on resources.
Suggestion Start ES Designer before starting ES Design Explorer.
Unknown Format in ES Design Explorer (1)
Message Unknown Format (in place of design thumbnails)
Cause A Microsoft Windows component, ‘msxml3.msi':, which ES

Design Explorer requires to display thumbnails, is missing.
Note: 'msxml3.msi' is required by both ES Design Explorer and
Design Workflow™.
Suggestion If you have Win95 or Win98, you need to install IE 6.x in order to
install 'msxml3.msi'. Download the current version from the
Microsoft Internet Explorer website. If you have Win98 Second
Edition, Win2000 or WinXP, you can install ‘msxml3.msi' on its
own. Download ‘msxml3.msi': from the Wilcom Support Center
website at www.wilcom.com.au/support. After downloading
double-click it and follow the on-screen instructions.
In ES Design Explorer, select the 'Unknown Format' thumbnails
and select View >Validate & Refresh to regenerate the
thumbnails.
Unknown Format in ES Design Explorer (2)
Message Unknown Format (in place of design thumbnails)
Cause Your ES Design Explorer program shortcut has the wrong ES

Designer version specified in the Target Path field of the shortcut.
Suggestion Change the statement to match the version you are running with
ES Design Explorer — e.g.
‘C:\eswin\Design Explorer\WilcomDesignExplorer.exe’ might
become:
‘C:\eswin\Design Explorer\WilcomDesignExplorer.exe
version=9.0’
Select the 'Unknown Format' thumbnails and select View
>Validate & Refresh to regenerate the thumbnails.

Thumbnails slow to generate in ES Design Explorer
Problem Thumbnails are slow to generate in ES Design Explorer.
Cause The first time ES Design Explorer accesses a folder containing

design files, it has to generate each design's thumbnail image. If
the folder contains many files, it can take time to generate the
thumbnails.
Suggestion Note: Thumbnails only have to be generated once, after which

accessing folders is significantly faster.
Design files not showing up in ES Design Explorer
Problem Design files not showing up in ES Design Explorer.
Cause You have chosen to display only non-embroidery files.
Suggestion Check which file types you have chosen to display in ES Design
Explorer. Select 'All Files' to display all available files or select
only the embroidery file types you use.
Device connection problems

The following section relates to any embroidery machine and digitizing
tablet connection problems you may experience in ES Designer.
Problem connecting to Melco embroidery machine
Problem Problem connecting to Melco embroidery machine from ES

Designer
Cause Various
Suggestion View the document Melco Connect Support Notes.pdf either at

C:\ESWin\Support Notes\Melco Connect Support Notes.pdf or at
the Wilcom Support site at www.wilcom.com.au/support in the
Wilcom Library section.

Machine/digitizer connection suddenly stops working
Problem The machine connection suddenly stops working. Nothing has

changed on the PC or the embroidery machine, and no machine
connection settings have changed in ES Designer.
Cause The physical connection from the PC to the embroidery machine

has been broken, or there is a conflict with another device.
Suggestion Check that the cable connections are all sound. Check that the
cable has not been damaged. For digitizing tablets, run the
connection test. See Testing digitizing tablet connections for
details.
If you have recently installed new hardware — e.g. a soundcard
— disable or remove the device. If that resolves the problem,
consult a PC technician to determine how to assign Windows
resources so that they don’t conflict with the machine connection
setup.
Machine/digitizer connection stops working after

reinstallation of ES Designer
Problem Machine and/or digitizer connection has stopped working. ES

Designer recently reinstalled.
Cause Reinstallation of ES Designer over an existing installation using

the 'Quick Install' method will overwrite existing machine and
digitizer connection settings with the default settings.
Suggestion To ensure settings from the existing installation are merged into
the new installation, select the 'Custom Install' option. You will be
prompted to merge existing settings into the new installation.
Tip: Always keep a note of any custom settings — machine or
digitizer connection, user-defined split settings, etc — for use in
case of emergency. For instance, your hard drive may crash and
you may need to install ES Designer on a different PC.
Missing connection settings
Problem You don’t have a record of the connection settings required to set
up your embroidery machine or digitizing tablet.
Suggestion See Setting up Hardware for details of how to set up the device.
Visit the Wilcom Support Centre www.wilcom.com.au/support.
This lists connection information for most popular devices. If not
already a member of the WSC, you will need to register as a
licensed user of Wilcom software.

Digitizing tablet is not listed
Problem The digitizing tablet is not listed in the list of formats in ES

Designer, and 'Auto Detect' is not detecting the tablet.
Cause If your connection settings are correct, you may need to set up a
custom 'format string'. This is a string of letters or characters
which tells the software how to interpret the format of the data
coming from the digitizing tablet.
Suggestion Use the DigiTest utility to determine the digitizing tablet’s format
string. See Testing digitizing tablet connections for details.
Enter the string in the The Digitizer User-Defined Format Setup
dialog. See Defining and modifying digitizing tablet formats for
details.
Windows-compatible digitizing tablet not recognized
Problem A Windows-compatible digitizing tablet is installed but ES

Designer doesn't recognize it.
Cause ES Designer is not capable of utilizing Windows drivers for

digitizing tablets.
Suggestion You need to set up the tablet in ES Designer. See Setting up

digitizing tablets for details.
Note: Some Windows-compatible tablets install software that
runs in the background, constantly checking the serial ports for
the presence of the tablet. Sometimes this software takes control
of the port, making it unavailable to any other applications such
as ES Designer that need to use it.
If you have a Windows-compatible tablet, check the software
(usually running in the Windows taskbar) for 'auto detect'
settings. You may need to disable auto detect when using the
tablet within ES Designer. Note: Some tablet software does not
have a disable option and must be uninstalled to free up the
serial port.
General problems
The following section relates to general problems you may experience in ES
Designer.

Units of measurement in ES Designer
Problem Units of measurement in ES Designer are not what you want —

e.g. measurements are in inches instead of millimeters, or vice
versa.
Cause The units of measurement are set in Windows Regional options.
Suggestion Change the units of measurement in Windows.

Select Start > Settings > Control Panel > Regional Options.
In the Number tab change the measurement system from
Inches to Metric, or vice versa as required.
Formatting embroidery disks in ES Designer
Problem After formatting a 720kb DSDD DOS disk in ES Designer using

the ‘full format’ option, any attempt to write a file or design to the
disk causes a Windows 9x ‘blue screen’ error message to
appear.
Cause This problem affects disks formatted under Windows 98,

Windows 98SE, and Windows ME. In the case of Windows ME,
all files on the floppy disk are corrupted. The problem does not
exist on Windows NT or Windows 2000 platforms.
Any of the embroidery disks which use DOS media will have this
problem, including Tajima, Toyota, S32 (S-FMC), and Happy.
The problem does not occur with non-DOS media such as FMC
or FDR.
Suggestion • When the Windows Format dialog indicates that formatting is

complete, you are prompted to click Close. Before doing so,
remove the disk from the drive, re-insert it immediately, then
click Close.
• Use the ‘quick format’ format option.
Notes:
• Melco format is not supported by ES Designer under WinXP,
2000 or NT.
• A floppy disk controller that can handle Single Density Format
is required for Melco format. For more information visit
www.wilcom.com.au/support or contact your PC technician.

Unable to read, write or format Melco format embroidery
disks
Problem ES Designer cannot read, write or format Melco format

embroidery disks.
Cause The disk format required for the Melco Star, Starlet and Superstar
Series of embroidery machines is Single Sided / Single Density
(SS/SD) format which is supported by very few new floppy disk
controllers. If you require this format for your own embroidery
machines or to supply this format to your customers, the floppy
disk controllers inside your PC must support SS/SD.
Suggestion To help you determine whether your PC supports the SS/SD

format, run the TestDisk utility. See Testing embroidery disks for
details. Note: TestDisk does not work under WinXP, 2000 or NT.
Install a floppy disk controller which supports IBM 3740 Single
Density Format (FM).
Inconsistent output results
Problem There are problems when reading and punching paper tapes, or
sending designs to embroidery machines for stitching.
Cause These are caused by serial communications problems.

Inconsistent reading and writing may be caused by wrong port
settings in the operating system or by incorrect settings In ES in
the connection setup for the device.
Suggestion Change the port settings in ES Designer and/or the device. See
Setting up paper tape readers and punches for details.
Stitches not displaying
Problem No stitches are displayed in a design even though there is a

stitch count in the status bar. Only the shape outlines are shown
for the whole design, or for some objects.
Cause The View option Show Stitches is turned off, or stitches were not
generated for the design or for some objects during digitizing, or
the stitches were removed subsequently from selected objects.
Suggestion Select the Show Stitches tool. See Setting TrueView™ options
for details.
If some objects still don’t have stitches, select them and
re-generate the stitches using the keyboard shortcut G.

TrueView™ always turned on or off
Problem TrueView™ is always turned on or off.
Cause The TrueView™ display setting is saved when closing ES

Designer in the mode you are currently using.
Suggestion Open any design and click the TrueView™ button on or off as
required and exit (File > Exit) with the design still open. When you
restart ES Designer, all designs will open in the mode you
selected when you closed ES Designer.
Missing toolbars
Problem Some toolbars are missing.
Cause The toolbars have been closed or set not to display.
Suggestion Select View > Toolbars and select the toolbar you want to
display.
For the Point and Stitch toolbar, select View > Point and Stitch.
Missing toolbar buttons
Problem Buttons are missing from toolbars.
Cause The screen resolution is set too low.
Suggestion Change the screen resolution to 1024x768 or higher.
Control points missing
Problem The control points on selected objects are missing.
Cause This problem is related to the display adapter.
Suggestion Check the display adapter manufacturer's website or a software

driver download site for the latest display adapter driver for your
display adapter. If there is a more recent driver available,
download and install it. These are normally free. For a listing of
popular display adapter websites, see Locate the latest display
adapters.

Unwanted trims
Problem Unwanted trims sometimes appear in embroidery objects.
Cause You may be using the 'Connectors Outside Object' and

'Connectors Inside Object' settings incorrectly.
Suggestion Check the connector settings. See Using automatic connectors

for details.
Design integrity errors
Problem Some designs generate ‘Design Integrity’ errors.
Cause In most cases the problem is caused by a resequencing error in

the design, caused when stitches become 'unsequenced' from
their objects. This normally happens only when grouped objects
are resequenced.
Suggestion Avoid resequencing grouped objects. Leave the Design Integrity

checker on when digitizing designs. Whenever you receive a
Design Integrity error message, click Undo and work around the
problem. Even if a design does generate errors, ES Designer will
continue to work normally in most cases.
Exception access violation when starting ES Designer
Problem An ‘Exception Access Violation’ error message appears when

starting ES Designer.
Cause A corrupt design file i the Recover folder or a corrupt

c:\eswin\res\defaults.dfl file.
Suggestion Delete any files in the c:\eswin\recover folder. If ES Designer still

will not start, use Windows Explorer to copy the default
c:\eswin\bin\defaults.dfl file to the c:\eswin\res folder, overriding
the corrupt defaults.dfl file.
Other exception access violations
Problem An ‘Exception Access Violation’ error message appears when

zooming, using lettering, printing or scanning, saving designs, or
viewing the Color-Object List.
Cause This problem generally relates to the display adapter driver

and/or the display adapter itself.
Suggestion Try each of the listed solutions in sequence. See Resolving

Exception Access Violation errors for details.

Beeping sound when digitizing
Problem ES Designer generates a beeping sound when digitizing.
Cause This is normal behavior and is a feature of ES Designer.
Suggestion To disable, overwrite the c:\eswin\res\button1.wav and

c:\eswin\res\button2.wav files with blank wav files. Use the
Windows Sound Recorder utility as follows:
• Select Start > Programs > Accessories > \....\Sound Recorder.
• Click File > New.
• Click File > Save As.
• Browse to the c:\eswin\res folder and save the file as
button1.wav.
• Repeat the process for button2.wav.
Note: Just deleting or renaming the c:\eswin\res\button*.wav files
will not stop the beeps.
Problem recovering design files from backup folder
Problem You can’t see the backup design — e.g. DesignName.BAK — in

the backup folder.
Cause If you have the ES Designer 'Auto Save' option enabled, backups
of EMB design files will be saved to the c:\eswin\backup folder.
This is a basic way of backing up your files.
Suggestion Start Windows Explorer and browse to the c:\eswin\backup

folder. Select the file and select File > Rename. Change the file
extension to EMB — e.g. DesignName.EMB. Move the EMB file
to your c:\design folder. You can now open the file normally in ES
Designer.
Note: If you cannot see the file extension BAK, you need to
change your view settings in Windows Explorer. Refer to
Windows Help for more details.
Embroidery lettering problems

The following section relates to embroidery lettering problems you may
experience in ES Designer.

Problem embroidery letters
Problem Some embroidery letters display or stitch badly.
Cause You may be using the particular alphabet incorrectly.
Suggestion Ensure you are using the alphabet within Wilcom's recommend
sizes and sequence settings as specified in Standard Alphabets.
Incorrect number of lettering connectors
Problem There are too many/too few connectors in my lettering.
Cause The connector settings and/or stitch method are incorrectly set.
Suggestion Check you are using 'Connectors Inside Object' for the
Connector properties within your lettering object. Also check you
are using the recommended stitch method for your lettering. See
Adjusting stitching sequence and join method for details.
Installed optional alphabets not available I
Problem Some installed optional alphabets don’t show in the alphabet

dropdown list.
Cause This occurs when there is more than one copy of the alphabet in
one of the subfolders of the Wilcom ES installation folder
c:\eswin. For example, there is a copy of the alphabet S324.esa
in both the c:\eswin\wletter and c:\eswin\userletw folders.
Suggestion • Search the hard drive for multiple copies of the alphabet file in
question.
• Search the C: drive for *.ESA files.
• If there is more than one copy of any file, delete the extra copy
from the hard drive.
• Ensure the remaining copy of the file is in the c:\eswin\wletter
folder.
• Restart ES Designer.

Installed optional alphabets not available II
Problem An optional alphabet which is present in c:\eswin\wletter or

c:\eswin\monogram folder does not appear in alphabet
dropdown list.
Cause You are using an incorrect security device for the installed
alphabets.
Suggestion If you have changed security device (without a brain transplant)

since you received your optional alphabets — e.g. gone from a
Trysoft or Blue dongle to a Yellow or Black dongle — they will
need to be re-created for your new security device. Contact your
reseller to order a replacement alphabet disk. Note: Dongles
which have had a brain transplant will not cause this problem.
Problem selecting alphabet installation folder
Problem The alphabet installation program does not allow you to select a
folder other than c:\eswin.
Cause The alphabet installation program is not capable of installing

alphabets into any folder other than c:\eswin.
Suggestion Install the alphabets to the default folder, then copy the ESA files
to their respective \monogram or \wletter folders within the
correct installation folder — e.g. c:\eswin\monogram and
c:\eswin\wletter. Move m*.esa files to the c:\eswin\monogram
folder. Move s*.esa files to the c:\eswin\wletter folder.
Installing or reinstalling the dongle driver

If your dongle driver was not installed correctly or you have an updated
version of the driver, you will need to reinstall it.
Installing the dongle driver

Use the following procedure to install or reinstall your dongle driver. Adding
extra switches to the command line may help. See also Additional switches.
Note To install the dongle driver under WinXP, 2000 or NT, you need to be
logged into Windows with Administrator privileges. If not, you will receive
an error message ‘User has no access to the registry’.

To install the dongle driver
1 Close all Wilcom applications.
2 From the Windows taskbar, select Start > Run.
The Run dialog opens.
3 In the Open field, enter

! For a parallel port dongle driver
c:\eswin\bin\hinstall.exe -i -kp -portmode=auto
! For a USB port dongle driver
c:\eswin\bin\hinstall.exe -i -kp
If you installed ES Designer to a different folder than c:\eswin, modify
the command line accordingly.
Note A space before each ‘-’ is required or the installation will not
succeed.
4 Click OK.
If the installation is successful, the message ‘The operation was
completed successfully’ or ‘HASP driver successfully installed’ appears.
5 Restart your PC, if prompted.
6 Start ES Designer.
Additional switches
Sometimes, when installing or reinstalling the dongle driver, adding an extra
switch to the command line can help resolve particular problems.
NEC & IBM brand computers

If you have an NEC or IBM brand computer, use:
IBM: c:\eswin\bin\hinstall -i -kp -computertype=IBM
-portmode=auto

NEC: c:\eswin\bin\hinstall -i -kp -computertype=NEC
-portmode=auto
Port-delay switch
Some PCs have a slow parallel port which can prevent ES Designer receiving
the correct responses from the dongle. Sometimes adding an extra
-portdelay=3000 switch to the command line can help:
c:\eswin\bin\hinstall.exe -i -kp -portmode=auto -portdelay=3000
If the dongle still doesn’t work, or the system continues to crash or freeze,
increase the port-delay value until it reaches 4294967295.
Contention switch
The -contention=yes switch enables better port sharing between printers
and dongles on the same parallel port. For example:
c:\eswin\bin\hinstall -i -kp -portmode=auto -contention=yes
If using both port-delay and contention switches, enter the following
command line:
c:\eswin\bin\hinstall -i -kp -portmode=auto -contention=yes
-portdelay=3000
Note You must specify all switches you want to use each time you run
hinstall; previous settings will be removed if you run hinstall again without
the required switch.
Resolving parallel port dongle conflicts

Devices attached to the same parallel port will often cause conflicts. The
most reliable method for resolving conflicts between the parallel port dongle
and other devices, is to install another parallel port. The parallel port dongle
can be then attached to any working parallel port — i.e. LPT1, LPT2, LPT3,
etc. If you want to try resolving the problem without installing another
parallel port, try the following methods in order.
Change parallel port mode in the BIOS

Change the parallel port mode in the BIOS to ‘SPP’, ‘Normal’, or a setting
that includes SPP, e.g. ECP+SPP, EPP+SPP.

To change parallel port mode in the BIOS
1 Go into the BIOS as the PC is first being booted up.
Usually this is done by pressing the Del key and on some PCs may be
F10.
Note If a message telling you which key to press does not appear when
the PC boots up, consult your PC documentation.
2 In the BIOS setup menu, go to Integrated Peripherals or similar and
look for Parallel Port Mode.
3 Select this setting and change it to ‘Normal’, ‘SPP’, ‘SPP+EPP’ or
‘SPP+ECP’.
4 Exit the BIOS, answering Yes to ‘Do you want to save settings?’
The PC will then reboot with the new BIOS settings.
Note If you change a setting by mistake, simply exit the BIOS setup
and select ‘no’ to the prompt ‘do you want to save changes?’.
Check the printer driver

If changing parallel port modes in the BIOS fails to work, check that the
printer is using the latest driver.
To check the printer driver

1 Log on to the manufacturer’s website.
2 Download the latest printer driver and note the installation instructions
on the website.
3 If that doesn’t work, try using the relevant printer driver supplied with
Windows.
The Windows drivers are sometimes less intensive than the
manufacturer-supplied drivers and may not conflict with the dongle.
Note If none of the above work, you will need to install another port.
The dongle can be connected to any parallel port — LPT1, LPT2, etc.

Reverting to factory settings
If you have made changes to the default settings or they have become
corrupted, use the Revert utility to revert to factory settings.
Warning Reverting to the original settings removes any changes you have
made to styles, templates and hardware settings. Note down any settings
you want to preserve — e.g. machine connection settings — before running
the utility.
To revert to factory settings

Wilcom ES > Revert.
The Revert to Factory Settings dialog opens.
Select items to be
restored
3 Select the items you want restored to factory defaults.

4 Click OK.
The selected items are restored to factory settings.
Note There is no confirmation message.
Deleting files with Purge Recovery

Delete corrupt files from the C:\ESWin\Recover and C:\ESWin\Backup
folders using the Purge Recovery utility.
To use Purge Recovery


Wilcom ES > Purge Recovery.
The Purge Recovery and Backup Directories dialog opens.
Tip To delete backup files as well, select Delete Backup files.

3 Click OK.
If some files cannot be deleted, a message will display. Using Windows
Explorer, delete any remaining files from the C:\ESWin\Recover and
C:\ESWin\Backup folders.
Tip If the errors persist, try reverting to factory settings. See Reverting
to factory settings for details.
Testing digitizing tablet connections

If you experience difficulties with your digitizing tablet, first check that it is
correctly connected, and that the hardware settings are correctly configured
in ES Designer. See Serial port settings for details.
If you are still experiencing problems, you can confirm that the tablet is
communicating correctly with the PC using the DigiTest utility.
Note This utility will not recognize mulitport serial cards, e.g. COM1 or
COM2. Always connect your digitizing tablet to a standard PC COM port for
testing purposes. Once you have confirmed that communications are
correct, replace the connection to your multiport serial card and configure
the port settings as described.
To test digitizing tablet connections

1 On the Windows taskbar, click the Start button, and select Run.
The Run dialog opens.
2 In the Open field, enter C:\ESWin\bin\digitest.exe where ‘C’ is the
drive where Wilcom ES was installed.
3 Click OK.

The DigiData - DigiTest window opens.
4 Select Digitizer > Setup.
The Digitizer Setup dialog opens.
Select digitizing
tablet
Select Point or
Stream
Show tablet data as
recognized by
software
Enter connection
settings
5 From the Digitizer Format field, select a digitizing tablet to check.

If it is not in the list, select Auto Detect.
6 From the Input Mode list, select Point or Stream.
This setting must match the one on the digitizing tablet.
7 Select Interpret Digitizer Data to display digitizing tablet data as
recognized by ES Designer.
During the test, this shows which puck button is pressed and the X, Y
coordinates at the point clicked.
8 Enter required information in the Connected To panel fields.
See Peripheral device connection settings for details.
9 Click OK.
10 Click the Start/Stop Digitizer icon.
11 Place the digitizing tablet puck on the tablet and press each of the
buttons on the puck.
Data appears on screen representing the X, Y coordinates and
corresponding button number. If the test is not successful, or you get
unformatted ‘garbage’ data, click the Start/Stop Digitizer icon to stop
the digitizing tablet.

12 Check the settings.
! If the data is not mostly numeric, the port is in a corrupt state. Close
all applications, shutdown your PC and repeat the test.
! If the data appears to be correct, switch to ES Designer and
configure the port with the settings you used successfully in
DigiTest. See Setting up digitizing tablets for details.
Resolving Exception Access Violation errors

The error message ‘Exception Access Violation’ can appear when zooming,
using lettering, printing or scanning, saving designs, or viewing the
Color-Object List. This problem generally relates to the display adapter
driver and/or the display adapter itself. Try each of the following solutions
in sequence.
Check the display adapter
Use the System utility in the Control Panel to check your display adapter
and drivers.
Use the following procedure to determine which display adapter make and
model you have, and what drivers are installed for the display adapter.
To check the display adapter

1 From the Windows taskbar, select Start > Settings > Control Panel.
2 Double-click the System icon.
3 Select the Device Manager option.
! Windows 95/98: Select the Device Manager tab.

! Windows 2000/NT/XP: Select the Hardware tab and click Device
Manager.
4 Click to open the Display Adapters node.
Note display
adapter
5 Note down the display adapter listed.

6 Right-click the adapter and select Properties.
7 Select the Driver tab and note the date of the driver.
8 Click Driver Details.
9 Note down Provider and File Version details.
Note provider and

file version
10 Cancel out of the dialogs and close the Control Panel window.
11 Check the display adapter manufacturer’s website for a more recent
version of the driver. See Locate the latest display adapters for details.
Locate the latest display adapters

Some common problems are related to your PC’s display adapter. These
occur more frequently with the newer and 3D display adapters. Check the
display adapter manufacturer’s website or a software driver download site

for the latest display adapter driver. If there is a more recent driver
available, download and install it. These are normally free from the provider.
Some popular display adapter websites are:
! www.ati.com
! www.nvidia.com
! www.matrox.com
! www.diamondmm.com
! www.download.com
! www.intel.com
! www.helpdrivers.com
! www.matrox.com
! www.neomagic.com
! www.oaktech.com
! www.s3graphics.com
! www.sis.com
! www.tridentmicro.com
! www.tucows.com
! www.windrivers.com
If your video card is integrated to your system board, please check the
system board manufacturers website.
Reduce graphics acceleration

If you already have the latest driver installed, or if installing a newer driver
does not solve the problem, you can reduce the Windows graphics
acceleration.
To reduce graphics acceleration

1 Access the Hardware Acceleration option in your system settings.
! Win 95/98: Select the System icon in the Windows Control Panel,
select the Performance tab and click Graphics.
! Win 2000/XP: Right-click the Desktop and select Properties. Select
the Settings tab and click Advanced. Select the Troubleshooting
tab.

Reduce hardware
acceleration
2 Reduce the hardware acceleration a ‘notch’.

3 Click OK.
You will be prompted to restart your computer.
4 When Windows has restarted, see how the software runs. If it has not
improved, try dropping the acceleration another notch.
Usually you should not need to reduce the acceleration by more than two
notches to correct the problem. However, in extreme cases, you may
need to reduce it to ‘None’.
Install a different model display adapter

In a very few cases updating the display adapter driver and/or reducing
graphics acceleration will not solve the problem. The only solution is to
install a different brand/model of display adapter. Wilcom can advise on the
type of display adapter to use. If you have another computer with a different
display adapter, we recommended swapping the two. Often a ‘problem’
display adapter will work fine in another computer.

Glossary
10O: Stitch file format native to Toyota occupies a significant amount of the design,
machines. thereby lowering stitch count.
3D Warp: 3D Warp is used with Motif Fill to Artwork: Bitmap image or vector drawing
create three dimensional effects. You can make used as a backdrop for digitizing. See also
shapes appear concave or convex using Globe Bitmap image and Vector drawing.
In or Globe Out. You can also create distance
effects using Perspective. Auto Appliqué: Auto Appliqué is an
embroidery object associated with an appliqué
Accordion Spacing: Accordion Spacing which provides automatic stitching to place it,
varies the stitch spacing between dense and tack it down, and cover its edges.
open fill, producing shading and color effects
which are difficult to do manually. Auto Center: Auto Center automatically
centers the start and end points of a design.
Active window: The active window is one to
which the next command or action will apply. If Auto Jump: Auto Jump preserves long
a window is ‘active’, its title bar changes color to stitches in an object by splitting them into a
differentiate it visually from other open series of jumps. This prevents the machine from
windows. inserting unwanted needle penetrations when
the maximum frame movement is exceeded.
Alphabet: A set of characters of the same
design or style including letters, numbers and Auto Scroll: The Auto Scroll feature
typographical symbols. automatically scrolls the screen while you are
digitizing.
Anchor point: A fixed point used when
rotating, scaling, skewing or mirroring a design. Auto Spacing: Auto Spacing only affects
Satin stitch. It adjusts stitch spacing according
Anti-aliasing: A software technique similar to column width.
to dithering which is used to soften hard outlines
where color blocks intersect. It produces Auto Split: Auto Split only affects Satin
smoother outlines by ‘blurring’ the pixels where stitch. When applied, it breaks any long Satin
colors join. stitches into shorter ones. It also distributes
needle penetrations in a random pattern so that
Appliqué: Appliqué is a decoration or they do not form a line in the middle of the
trimming cut from one piece of fabric and shape. Used primarily to prevent long stitches in
stitched to another to add dimension and wide columns, it can also be used as an
texture. Designs with appliqué can be more alternative to Tatami fill. Auto Split looks more
economical than embroidery alone, if appliqué Satin-like and works well with turning stitches,
creating soft lines and a little more depth.

Auto Start and End: Before stitching, Backtrack: Use Backtrack and Repeat to
some embroidery machines require you to reinforce outlines while specifying the direction
position the starting needle exactly above the of the stitching. Backtrack stitches in reverse
first needle penetration point. Use Auto Start direction to the original. It is typically used to
and End to connect the first and last stitches in make run stitch outlines thicker without creating
the design. This makes it easy to position the unwanted connecting stitches. Repeat
needle before stitching, and reduces the chance duplicates the original stitch direction and is
of the needle hitting the side of the frame. typically used with closed shapes.
Automatic stitch shortening: Reduces Backup: The copying of files onto floppy disk
stitch bunching at sharp corners. See also Stitch or other media so that the data is secure.
shortening. Usually two copies are made and kept
separately.
Auto Trace: Auto Trace is used to convert
bitmap images to vector drawings. Baseline: The baseline is the digitized line on
which the letters of an alphabet sit. Only
Backdrop: A backdrop is an electronic descenders extend below it. Baselines
drawing which you can use to digitize designs determine the shape of lettering objects in a
on-screen. Two types can be used — vector or design. You can place lettering on a straight
bitmap. You can insert them from various file horizontal or vertical line, curve lettering around
sources, or you can copy and paste them via the a circle or arc, or digitize your own baseline.
Windows clipboard. Different reference points are needed
depending on the baseline you use.
Background: ES Designer lets you change
the background color of the design window to Bitmap image: A ‘bitmap’ is an electronic
match the color of your fabric. Or you can select image made up of dots or ‘pixels’, in contrast to
a background fabric for more realistic previews vector ‘outlines’. Typically created in paint
and presentations. The background is saved programs, bitmaps have file extensions such as
with the colorway. BMP, JPG, GIF, TIF and PCX. See also Pixels.
Backing: The backing is the woven or BMP: Windows bitmap image format.
non-woven material used beneath an item or
fabric being embroidered to provide support and Borderline backstitch: The rows are
stability. It can be hooped with the item or approximately parallel. With lower density fills,
placed between the machine throat plate and borderline backstitch creates a smooth,
hooped garment. It is available in various well-defined edge. Borderline backstitch is also
weights and types such as cutaway, tearaway called Trapunto style. See also Backstitch.
and soluble.
Borer depth: You can choose the numbering
Backstitch: Backstitch is an input method system for specifying the Borer depth: Plauen
which can be used for delicate outlines. This where one is the base and seven (7) the normal
stitch follows intricate curves well. It is also is middle position and Saurer where the base is
the term used for every second row of stitches zero and the normal middle position is six (6).
in a Tatami fill. See also Standard backstitch,
Borderline backstitch, and Diagonal backstitch. Bounding box: The dotted rectangle that
appears when you select a range of items.

Branching: The Branching feature lets you effects by blending colored layers. Two colors
digitize like objects — e.g. the fingers of a hand are merged smoothly from one to another using
— without having to think about the most a mixture of dense and open fill.
efficient stitching sequence and joins.
Color depth: Color depth, also called ‘pixel
BRO: Bits & Volts file format. depth’, refers to the amount of color information
available to each pixel in an image. An image
Cap Corner: A type of Smart Corner. Cap with a color depth of 1-bit can display only two
corners are used for very sharp corners as they colors. As the color depth increases, more colors
produce fewer stitches. are available – 16 Colors (4 bit), 256 Colors (8
bit), High Color (16 bit), True Color (24 bit).
CED: A data condensed file format.
Color palette: The color palette contains a
Center at Current Stitch: The object will selection of thread colors tailored for each
be placed with its center at the needle position design. This color scheme, or ‘colorway’,
marker. represents the actual thread colors in which a
design will be stitched.
Center Run underlay: Center Run
underlay places a row of stitches along the
Colorways: The Colorways feature is used to
center of a column. It is used to stabilize narrow preview a design in different colors on different
columns (e.g. 2-3 mm wide). fabrics by selecting from among pre-defined
color schemes for that design.
Checkbox: A small square box that appears
in a dialog box and that can be selected or
COM1/COM2: Standard serial ports used as
cleared. When selected, a tick or a cross a connection point for peripherals. Other ports
appears. A checkbox represents an option that may be present if the appropriate internal cards
you can set. have been installed.
Click: Press and release the left mouse Combination Split: Use of different
button. combinations of Satin and Tatami stitches in
Program Split to create various effects with the
same pattern. There are three Combination
Click-and-drag: Click to select, hold down Split options — Satin in Satin, Satin in Tatami
the left mouse button, move the cursor and
and Tatami in Tatami.
release.
Command: An instruction issued to the
Clipboard: A temporary storage area in PC
software in order to carry out an action. It may
memory for what was last cut or copied. Images
be as simple as ‘paste an object’ or as complex
on the clipboard can be pasted into designs any
as ‘regenerate stitches’. It is usually activated
number of times.
via a menu item, toolbar icon, or command
button in a dialog.
CND: Melco Condensed (CND) is the native file
format of the Melco embroidery digitizing Command button: A button in a dialog
software. CND files store only digitized outlines
which executes or cancels the selected action.
and stitch values.
Two common command buttons are Cancel and
OK.
Color blending: TColor Blending creates
interesting perspective, shading and color
V9 Glossary 908
Complex Fill: Complex Fill is an input change the width of the cover stitch, and offset
method, used to digitize large and complex it to the inside or outside of the digitized outline.
shapes. Objects so created are known as
Complex Fill objects. Crest: An embroidered motif like an emblem,
an insignia or a Coat of Arms.
Condensed file: See Outline file.
Cross Stitch: Stitches that cross at the
Confirmation message: A message center to form an X.
displayed by the software asking you if you are
sure you want to proceed. For example, when CSD: POEM/Singer/Huskygram file format
you want to delete a design.
Current property settings: Current
Connector stitches: Connector stitches property settings override the template
link objects in a design. They can be run stitches defaults. Unless you deliberately change them,
or jumps. You can use automatic settings to these take the default values. You generally
generate connectors, trims and tie-offs, or add change them to save time when digitizing. For
them manually. example, you may preset Tatami stitch spacing
to use a specific density for all new Tatami
Contour stitch: Contour is a curved fill objects you create. See also Object properties.
stitch type — stitches follow the contours of a
shape, creating a curved, light and shade effect. Custom alphabets: Custom alphabets are
It only works on columnar shapes. There are made up of letters, numbers or symbols you
two types — Standard and Spiral — both of digitize.
which can be applied to Input A, Input B,
Input C or Ring objects. Standard Contour can Custom designs: Designs created by
also be applied to Circle objects. digitizing artwork or manipulating existing
patterns.
Control points: Control points are used to
modify object shapes, stitch angles and entry Cut: An editing function. To remove a selection
and exit points. You can change the shape of an from a design. The cut selection is stored in
object by moving, adding or deleting control memory (on the ‘clipboard’) and can be pasted
points on the outline. For most objects, you can into the same or different design.
also change control points from corner points to
curves.
DAT: Hiraoka, Laesser data file type.
Copy: To place a copy of a selection onto the Default property settings: Default or
clipboard. See also Duplicate.
starting property settings are the ones stored
with the design template. These are
Copyright: A right granted by the automatically applied to any newly created
government or by international agreement objects in the design. See also Object
giving the owner the exclusive privilege to properties.
publish and sell artistic work during the life of
the creator plus 50 years. Default values: Default values are
pre-defined settings which determine object
Cover stitch: The cover stitch is the Satin properties such as stitch spacing, as well as
border around an appliqué shape. You can certain system settings. These are stored in the
design template. They remain ‘current’ unless

you override them with new settings. See also Destination folder: The folder (directory)
Current property settings and Default property where you intend to copy or move one or more
settings. files.
Density: See Stitch density or Thread Detail: An outline, a border, a pickout run, or
density. a small area of the design you want to be
stitched out last when using Smart Design.
Design card: Disk containing computerized
embroidery designs read by the embroidery Diagonal backstitch: The backward rows
machine’s computer. are diagonal, directly connecting the forward
rows. Diagonal backstitch is suitable for turning
Design file: See File. shapes, and gives good results with Jagged
Edge. See also Backstitch.
Design object: See Objects.
Dialog: An on-screen box that either requests
Design properties: Designs themselves or provides information. Many dialogs present
have properties, some of which can be modified, options to choose among before a command is
others not. The most important design property carried out. Some dialogs present warnings or
is its source — Native Design, Imported explain why a command cannot be completed.
Outlines, Processed Stitches, or Imported
Stitches. Other properties include the software Digitize: Also known as ‘punching’, it is the
version number, stitch count, and so on. current term for programming a design. Artwork
Colorways too are properties of the whole is converted into a series of ‘embroidery objects’
design. to be read and manipulated by a specialist
CAD/CAM application. Before outputting to
Design segment: See Segments. embroidery machine, it is converted into ‘stitch
data’.
Design sequence: See Stitching sequence.
Digitizer: Usually refers to the person
Design source: While embroidery files are punching or digitizing the design. Digitizer can
broadly classified as ‘outline’ (condensed) or also refer to the digitizing tablet used by the
‘stitch’ (expanded), ES Designer internally tags digitizer. See also Digitizing tablet.
files as belonging to one of four types – Native
Design, Imported Outlines, Processed Stitches, Digitizing puck: With a digitizing tablet,
or Imported Stitches. you generally use a puck instead of a mouse to
mark reference points and select commands
Design template: See Template. from the menu chart.
Design window: The design window is Digitizing tablet: Digitizing tablets are
where designs are displayed for viewing and sometimes used as an alternative to digitizing
modification. directly on-screen. To use a tablet, you place an
enlargement drawing on the active area, and
use a ‘puck’ to mark reference points.
Desktop: MS Windows terminology for the
screen background on which program icons are
displayed. Digitizing tool: Digitizing tools, sometimes
referred to as ‘input methods’, are similar to
drawing tools except that the end result is an
V9 Glossary 910
embroidery object rather than a drawing object. Drag: Hold down the (left) mouse button and
Different digitizing tools are suited to creating move the mouse. Typically used for moving
different shapes or design elements. something on-screen.
Disk: Unit inserted into computer containing Drawing object: Drawing objects are
punched embroidery design (stitch file) — e.g. derived from vector drawings and can be
HD/DD 3.5" floppy disk. created in ES Designer or imported. In ES
Designer they can be converted to and from
Disk drive: Computers usually have three embroidery objects. You can set general
types of disk drive: a hard disk (or fixed disk) properties such as size and position, and
which usually supports the mass storage of arrange and transform them in the same way as
information and applications, a floppy disk other objects. See also Vector drawing.
drive, and a CD drive.
Drawing package: Software application
Display: A screen used to display the output that creates or allows you to edit vector
of a computer. Also known as the monitor. drawings made up of separate individual
drawing objects. Vector drawings can be scaled
Dithering: Dithering is a software technique with no loss of sharpness. Examples of vector
which combines existing colors in a editing programs are Adobe Illustrator,
checkerboard arrangement of pixels. It is MacroMedia Freehand and Corel Draw. See also
typically used to simulate colors that are Graphics application.
missing from an image palette. A type of optical
illusion created by placing two pixels of different DSB: Barudan file format. Basically the same
color next to each other. The human eye as the T03 tape file but wit a ‘header’ in front so
automatically combines the two colors into a that it can be written to floppy disk – i.e. it is the
third color. floppy disk version of the T03 file.
Dongle: A security hardware device required DST: Stitch file format native to Tajima
to run protected software. Some are attached to machines.
a parallel port, others to a USB port.
DSZ: ZSK stitch or ‘expanded’ file format.
Dots Per Inch (DPI): A measurement of
screen or printer resolution; the number of dots Duplicate: When an object is duplicated, it is
in a line one inch long. not copied to the clipboard. This leaves the
clipboard free for you to cut or copy other
Double Split Alternate: A variant of objects.
Tatami split. See User Defined Split.
DXF: AutoCAD vector drawing format.
Double-click: Click the left mouse button
twice without moving the mouse. E Stitch: E Stitch is widely used for tacking
Double-clicking carries out actions such as appliqués as a column around the border. The
opening a program from an icon. stitches form a comb pattern.
Download: The process of transferring a Edge Run underlay: Edge Run underlay
copy of a file from a remote computer or the places stitches around the edge of an object.
internet to a computer or other device such as Use Edge Run together with the Zigzag or
an embroidery machine. Tatami underlays when digitizing large shapes.

Editing: Software capability that allows you Empty jump: You create empty jumps (0,0)
to manipulate elements of a design, combine manually in ES Designer by digitizing with
designs and lettering, designs, move points and Penetrations Out. This prevents the needle from
stitches. penetrating the fabric, forcing the machine to
move across the design in a series of jumps.
Element: An element, in software terms, is a Also, use empty stitches or empty jumps when
color block consisting of sequential, same-color required by the selected machine format. See
objects. You can assign names to elements also Empty stitch.
which then appear on the production worksheet.
The operator generally uses these to make sure Empty stitch: Empty stitch is a tight (zero
colors are correct during production. See also length) lockstitch, used together with, or as an
Production worksheet. alternative to, tie-in and tie-off stitches. Use
empty stitches instead of tie-ins or tie-offs for
EMB: EMB is the outline file format native to objects filled with light density stitching where
ES Designer. EMB designs contain a complete standard tie-ins and tie-offs may be visible.
set of design information in a single ‘all-in-one’ Also, use empty stitches or empty jumps when
file – object outlines and properties, actual required by the selected machine format. See
stitches and machine functions, thread colors, a also Empty jump.
picture icon and comments. Even the original
design bitmap image can be included in EMB EMX: Wilcom Cross Stitch file format.
format. Only native EMB files provide 100%
perfect scaling and transformation. End X/Y: The coordinates of the last stitch.
Emblem: Embroidered design with a finished Enlargement drawing: The technical

edge, applied to a garment after stitching, drawing, usually six times larger than the
commonly an insignia of identification. Also original design, indicating the stitches to be
known as a ‘crest’ or ‘patch’. digitized. When you digitize with a tablet, you
use an enlargement drawing to trace the shapes
Embroidery: Decorative stitching on fabric. and outlines of the design in the same way you
use backdrops on-screen. Before you start, you
Embroidery disk: Embroidery disks are need to prepare the enlargement drawing. See
specially formatted floppy disks used to transfer also Digitizing tablet.
designs from computer to embroidery machine.
You can format embroidery disks and save Entry point: The entry point is the point
designs to them from within ES Designer. The where the thread enters the embroidery object.
format you use will depend on the selected This should coincide with the exit point of the
embroidery machine. You can also open designs preceeding object.
from embroidery disk directly into ES Designer.
Envelope: Apply Envelope special effects to
Embroidery object: See Object. lettering objects to make them bulge or arch,
stretch or compress. Envelopes are typically
Embroidery thread: See Thread. applied to lettering objects, but they can also be
applied to other types of embroidery object.
EMF: Enhanced Metafile vector drawing
format. EPS: Encapsulated Postscript vector drawing
format.
V9 Glossary 912
ESD: Native DOS format of Wilcom DOS ES — Fill stitch: Series of running stitches
contains stitch data, like stitch types and commonly used to cover large areas. Different
densities, which permits better processing. ESD fill patterns can be created by altering the angle,
in later versions contains lettering objects with length and repeat sequence of the stitches.
outlines.
Filled Holes: This feature creates filled
Exit point: The exit point is the point where objects from the outlines of selected Complex
thread leaves the embroidery object. This Fill objects.
should coincide with the entry point of the next
object. Finishing : Processes done after the
embroidery is completed, including trimming
EXP: Stitch or ‘expanded’ file format native to loose threads, removing excess facing or
Melco machines. backing, and pressing or steaming to remove
puckers and hoop marks.
Expanded file format: See Stitch file.
Fixed Line baseline: A Fixed Line baseline
Expanded tape: An expanded tape which has a fixed length which you can digitize or
has every stitch of the design punched. specify numerically. If the text is longer, the
letter spacing is decreased and the letters may
Extension: See File extension. overlap. The letter width is not changed. With
Fixed Line, you need to mark two points to
define the base. See also Baseline.
Fabric stretch: Embroidery stitches pull the
fabric inwards where the needle penetrates.
This can cause the fabric to pucker, and gaps to Flexi Split: Flexi Split is a decorative effect
appear in the embroidery. Use automatic pull where one or more lines of a Program Split
compensation to counter this effect by pattern are used in the object fill. The pattern
‘overstitching’ outlines of filled shapes. follows the stitch angle and may be scaled to fit
the width of the object. There are four different
Flexi Split effects. You can use an existing
Facing: See Topping.
pattern for Flexi Split or create your own.
FDR: An embroidery disk format native to
Florentine Effect: With Florentine Effect
Barudan machines.
you can curve Complex Fill along a digitized line
to create flowing stitch effects. The stitches
File: A named collection of specifically related follow the digitized line but maintain uniform
information stored on a disk. Designs that have density and needle penetration patterns.
been saved are stored as files.
FMC: An embroidery disk format native to
File extension: The dot and three letters at Barudan machines.
the end of a filename such as ‘.BMP’. The
extension identifies the file as a certain type,
Folder: A collection of files and sub-folders
readable by certain applications.
that are stored together on a disk. Part of
structure for organizing files on a disk.
Filename: The name of a file, including the
extension, e.g. Cat.BMP.
Font: A set of characters, including letters,
numbers and other typographic symbols, of the

same design and style. Also called Alphabet, Grayscale: A grayscale picture is made up of
even if it includes non-letter characters. 254 different shades of gray, plus solid black
and solid white for a total of 256 different tones.
Fractional spacing: Fractional spacing is Black and white photographs are grayscale.
used to place stitches more evenly in curved
shapes, producing better quality embroidery Grid: Grid lines provide visual cues to help you
with fewer stitches. Fractional spacing is accurately place a design. When you start the
particularly useful for columns of Satin stitches software for the first time, the grid lines appear
with sharp turns. by default.
Frame: Holding device to secure fabric under Guide run: The guide run is a layer of run
an embroidery head for stitching. May employ a stitches around the outline of an appliqué
number of means to maintain stability during object. It is the first appliqué layer stitched and
the embroidery process, including clamps, is used to position the appliqué fabric on the
vacuum devices, magnets, or springs. See also background material. See also Appliqué.
Hoop.
Handle: See Selection Handle.
Frame-out position: When you stitch out
appliqué objects, you can set a frame-out Hard disk: A device for mass information
position. This shifts the hoop out from under the storage. Usually the disk is fixed inside the
needle, making it easier to place and trim the system unit, and a second hard disk can be
appliqué shapes. The frame out settings added. When you store information on the hard
determine the distance and direction of the disk it will remain there until you delete it. As it
hoop movement. has a finite capacity, file management is
required.
Free Line baseline: Free Line is the only
type of baseline which does not have a fixed or Hardware: Computer componentry,
pre-determined length. When you choose Free including monitor, keyboard, digitizing tablet,
Line, the baseline will extend as long as you etc.
keep adding letters. You only need to mark its
start point. See also Baseline. Hoop: Wood, plastic or steel device used to
tightly grip the fabric and stabilizer between an
Function: See Machine Function. inner and outer ring. Attaches to machine’s
frame. Designed to hold fabric taut against the
Fusion Fill: Fusion Fill™ is an input method machine bed for embroidery.
used to digitize complex shapes with turning
stitches. Many shapes can be digitized with this I-beam: One shape taken by the PC pointer,
tool. Create objects using left and right clicks to it indicates that text can be input at the point
mark reference points to form the boundary selected. The shape is like the capital letter ‘I’.
outlines. By digitizing boundaries within shapes,
you can create filled objects with holes.
Icons: Miniature pictures used in the screen
display instead of, or as well as, text. The file list
Graphics application: Software can be displayed as icons with the filenames
application that creates or allows you to edit underneath; the toolboxes which appear in the
bitmap images and/or vector drawings. See also left of the screen are composed of icons.
Paint package and Drawing package.
V9 Glossary 914
Image editing program: See Graphics JPG: JPEG file interchange bitmap image
application. format.
Imported outlines: Designs read from Jumps: A frame movement without a needle
non-EMB outline – CND or PCH – where stitches penetration, commonly used to get from one
have been generated in ES Designer (or point in a design to another. Jumps slow down
equivalent) from original outlines and stitching the embroidery machine. Furthermore, very
data. long stitches do not cover the fabric properly.
See also Auto Jump.
Imported stitches: Designs read from
stitch or ‘expanded’ files, with or without outline Jump function: Jump(M) functions cause
recognition, but stitches have not been frame movements without needle penetrations
regenerated through stitch processing. Note and are used to move smoothly from one part of
that if you change a stitch design – e.g. add a a design to another. See also Jumps.
lettering object – the status changes to
‘Processed Stitches’ even though the imported Lockstitch machines: Both Schiffli and
stitches may not have been regenerated. Multihead machines are lockstitch machines,
forming stitches in the same way as a home
INP: Wilcom condensed file format. sewing machine. Lockstitch operations involve
two threads — top and bottom. The top thread
Input A: Input A is an input method used to is driven by a needle, the bottom by a shuttle.
digitize columns of varying width and stitch The bottom thread ‘locks’ the top thread in
angle. Digitized pairs of reference points define place, hence the name ‘lockstitch’. See also
the outline, while lines connecting the pairs Multihead lockstitch machine.
define the stitch angles.
Machine format: Different embroidery
Input B: Input B is an input method used to machines understand different languages. They
digitize shapes where one side is different to the have their own control commands for the
other, especially where one side requires more various machine functions. Before you can stitch
reference points than the other. Stitches turn a design, it must be in a format which can be
evenly throughout the entire shape. You can use understood by the target machine.
any fill stitch type except Motif Fill.
Machine function: Machine functions are
Input C: Input C is an input method used to commands for a specific embroidery machine.
digitize columns of fixed width. It is typically These include color changes, thread trims,
used for digitizing borders and outlines of larger jumps, machine stops, needles in/out, and
shapes. You can digitize columns to create thick boring begin/end commands.
lines or borders. Input C is typically used with
Satin stitch. Machine setup: Before you can send
designs for stitching, you must configure the
Input method: See Digitizing tool. machine in ES Designer. You can add machines,
change settings for machines already set up, or
Jagged Edge: Technique for creating rough delete machines that are no longer required.
edges, to create shading effects, or to imitate
fur or other fluffy textures in your design. Manual objects: When you open a stitch
format file without outline recognition, it
becomes a single ‘manual’ object. This object

consists of a series of individual needle Mitre Corner: A type of Smart Corner. Mitre
penetration points and has only general and Corners create a sharp line at the intersection of
connector properties. When you transform the two columns. They are designed primarily
(scale, rotate, mirror) a manual object, the for corners between 75° and 90°. See also
original stitch density does not change. Smart Corners.
Max/Min stitch: The minimum and Modem: Unit to telegraphically send

maximum stitch lengths allowable in the design computer information from one computer to
determine the outside limits as measured another.
between needle penetration points. They are
governed by the minimum and maximum frame Monitor: The screen on which punching or
movements that the machine can make. stitching progress can be followed, stitch by
stitch.
Memory: The place in the computer’s system
unit that stores information while you are Monogram: Embroidered design composed
working with it. If you exit without saving of one or more letters, usually the initials of a
information in memory, it will be lost. name.
Menu bar: The menu bar contains dropdown Motif: Pre-defined design elements, such as
menus of commands. Some of the same hearts, leaves or border patterns, that can be
commands are available on the toolbar. quickly inserted into a design. Motifs generally
consist of one or more simple objects, and are
Menu chart: The menu chart provided with stored in a special motif set.
the software lets you select commands directly
from the digitizing tablet using the puck. You Motif Fill: Motif Fill is a decorative fill stitch
need to ‘register’ it before use. with which you can fill Complex Fill objects. You
can also create special or three dimensional
Minimum stitch length: See Max/Min effects.
stitch.
Motif Run: Motifs which are linked together
Mirror-merge: Mirror-Merge Array can along a digitized line. You can create decorative
create multiple copies of designs, such as outlines using any motif from the list.
badges, spaced in rows and columns for faster
stitchouts. Mirror-Merge Reflect can duplicate Mouse: A device, equipped with control
and mirror designs simultaneously. You can use buttons and designed to roll about on the table
it to quickly create borders or merge duplicates next to the keyboard. As the mouse moves, its
into a symmetrical object such as a heart. circuits relay signals that move a pointer on the
Mirror-Merge Wreath can duplicate objects screen.
around a center point. The Kaleidoscope tool
works like Wreath but mirrors objects as well.
Multihead lockstitch machine:
Mirror: Duplication of an object in the Y Multihead lockstitch machines have a horizontal
and/or X axis. The location and orientation of frame. The needles are vertical, and are
the mirrored stitches are determined by location grouped in heads. They are mainly used for
and angle of the axis of reflection relative to the stitching individual items — e.g. badges,
position of the original stitches. garments, which are stretched in separate
hoops attached to the frame under each head.
A multihead machine can have up to 24 heads,
V9 Glossary 916
and each head can have up to 20 or more NORMAL template: Default template. See
needles. Thread change and trims can be done also Template.
automatically. See also Lockstitch machine.
Object: In embroidery design terms, an
Nap: A fuzzy or downy surface of fabric object is an individual ‘element’ of a design. An
covering either one side or both, produced by object has many properties, such as its size,
brushing loosely twisted yarns. color, sequence in the design, stitch type and
values, including the rules for stitching. See also
Native file format: A design saved in the Vector drawing, Drawing object.
original format of the application you are
working with is said to be the ‘native’ file format. Object outline: See Outline file.
It can also refer to the stitch file format required
by a specific embroidery machine. When saved Object properties: All ‘objects’ in ES
to another format, it is known as a non-native Designer contain defining settings or ‘values’.
format. The values stored with an object become its
‘properties’. All objects have certain properties
Needle In/needle Out function: The in common such as size and position. There are
Needle In and Needle Out functions instruct the other, more specific properties of objects which
machine whether or not to use needle depend on the object type.
penetrations. You can enter these functions
automatically using the Penetrations tool. Object recognition: See Outline
recognition.
Needle points: You can view needle points
in a design to check density or, for instance, to Offset Object: This feature creates new
select stitches for editing. outlines from the outlines of selected objects.
Nesting: Nesting lets you create or insert an Option: Options provide software with extra
object at an exact point of the stitching functionality that can be purchased by
sequence. You can ‘nest’ an object in the middle registered owners of the product.
of another object’s stitching sequence to
prevent long connectors being generated. Outline file: Outline or ‘condensed’ files are
high-level formats which contain object
Network: Links computer, digitizer and outlines, object properties and stitch data.
embroidery machine together, usually via a When you open an outline file in ES Designer,
modem or network card. corresponding stitch types, input methods and
effects are applied. Outline files can be scaled,
Noise filtering: Noise filtering means transformed and reshaped without affecting
restoring the solid color blocks of original stitch density or quality.
artwork in scanned images. This is achieved by
merging different shades into one solid color. Outline recognition: When you convert a
Noise filtering is important for automatic stitch file to outline format, ES Designer reads
digitizing because it makes it easier for the the data stitch-by-stitch according to the needle
software to identify solid color blocks which penetration points. The software then
become embroidery objects in the resulting ‘recognizes’ stitch types, spacing and length
design. It also cleans up blurred or mottled values, stitch effects, and can determine object
areas of color. outlines.

Overall embroidery: Overall embroidery is Partition Lines: Partition Lines is a method
embroidery which covers the entire fabric. This for offsetting needle penetrations in Tatami fills,
includes lacework where the backing fabric is used, like Tatami Offset Fractions, to create
actually removed after manufacture. Overall needle penetration patterns or textures in
embroidery is typical of Schiffli manufacture, stitched embroidery.
less common with Multihead.
Paper tape: The traditional recording media
Overview window: Use the Overview used in the embroidery industry is the paper
window to view a thumbnail of the design. The tape. The tape coding process produces the final
window is updated whenever you make a design in stitch format (a stitch-by-stitch
change, and can be used to zoom in or pan interpretation of the design) exactly as the
across the design window. embroidery machine will read it.
Paint package: Software application that Paste: To insert an object, which has
creates or allows you to edit image files. You can previously been placed on the clipboard by
create lines and filled areas as well as edit the cutting or copying selected objects, into a
image pixel-by-pixel using paintbrushes, design. You can paste from the clipboard as
erasers and spraypaint tools. Examples of many times as you like.
image editing programs are Adobe Photoshop,
Jasc PaintShop Pro and Corel Photo-Paint. See Pattern: The design, card, punching, tape,
also Graphics application. disc, or enlargement.
Pan: Use Pan to view parts of a design which PCH: Gunold Outline Design or ‘condensed’
are not currently visible in the design window. file format.
Paper tape: Paper tape is the traditional PCX: PC Paintbrush bitmap image format.
medium for storing designs in stitch data
format. Now largely replaced by floppy disk, PDF: Portable Document Format. Used to view
they are still used by older machines. More the Online Manual in Acrobat Reader.
specifically, stitch data paper tapes are
eight-channel paper tapes which, in effect, are
Peripheral: Any device connected to a
hard copies of 8 bit binary code.
computer which is to some degree controlled by
the computer, e.g. an embroidery machine or
Parallel port: A connection on a computer, printer.
usually LPT1, where you plug in the cable for a
parallel printer and/or a dongle. Parallel ports
Photo Flash: Technique for creating
are used to connect some embroidery
embroidery designs directly from photographs
machines. They are named LPT1, LPT2, etc.
and other grayscale bitmap images. Photo Flash
When you set up a parallel machine connection,
designs consist of rows of Satin or Contour
select the parallel port and the required
(made up of runs) stitches of varying spacing
protocol, and complete the machine setup
values. The effect resembles the output of a line
procedure.
printer.
Partial appliqué: Technique to create
Pixels: Pixels are the dots of light that make
appliqué objects with partial cover stitching to
up the picture on a computer screen. The more
create an overlapping effect without
pixels there are in a given area — that is, the
doubling-up borders.
V9 Glossary 918
smaller and closer together they are — the Processed stitches: Designs read from
higher the resolution. stitch or ‘expanded’ files where stitches have
been regenerated by processing.
PMU: PMU is a Proel stitch or ‘expanded’ file
format. Production worksheet: The production
worksheet is the link between the designer and
PNG: Portable Network Graphics vector the embroidery machine operator. It contains a
drawing format. design preview as well as essential production
information, including the design size, the color
Point & Stitch™: The Point & Stitch™ tools sequence and any special instructions.
provide everything necessary to digitize shapes
in bitmap images and vector drawings Program: A computer program or
automatically without using manual input ‘application’ is generally used for a particular
methods. Create an embroidery design quickly kind of work, such as word processing or
and easily by automatically digitizing blocks of database management.
color in a picture, or converting vector outlines
to embroidery objects. See also Smart Design. Program Split: Program Split is a decorative
fill stitch in which the needle penetrations form
Pointer: A part of the screen display, the a tiled pattern. You can select different patterns
pointer can take various shapes. It is moved by to use. You can apply Program Split to Input A,
moving the mouse and can be used to point to Input B, Input C, Complex Fill and Circle/Ring
anything on the screen to make selections and objects.
indicate points for input.
Properties: See Object properties.
Port: A connection on a computer where you
plug in the cable that carries data to another Protocol: The communications protocol
device. Ports which are used to attach depends on the connection type between the
peripherals have names like COM1 or LPT1 so computer and the embroidery machine. This will
that you can specify where the peripherals are be one of: standard serial, parallel, serial to
attached. parallel converted (DCi), or interface card.
Position: The Position indicator shows PS: Postscript vector drawing format.
position of the design (X, Y) in the design
window. Puck: See Digitizing puck.
Process: The Process feature lets you adjust Pull compensation: Embroidery stitches
the density of one or more stitch types across pull the fabric inwards where the needle
the whole or selected parts of a design. Change penetrates. This can cause the fabric to pucker,
stitch density in order to stitch on a different and gaps to appear in the embroidery.
fabric or with a different thread. Alternatively, Automatic pull compensation counters this
you may want to make production cheaper by effect by ‘overstitching’ outlines of filled shapes
reducing the overall stitch count. Processing a on the sides where the needle penetrates. This
stitch file is similar to converting it to an outline means the design can be optimized for different
file when opening except that you can process fabrics.
only selected objects or stitches.
Punching: Also known as ‘digitizing’,
punching refers to the conversion of artwork

into a series of commands to be read by an design colors to an exact number of thread
embroidery machine’s computer or controller. colors.
The term refers to an earlier method of machine
embroidery whereby designs are ‘punched’ to Reference point: A point that can be
paper tape. aligned with the grid. For example, you can set
the grid reference point to the design center.
Push-Pull: When any stitch is sewn into This is easier and faster than moving the whole
fabric, the tension in the thread between needle design.
penetrations can build up and result in a
‘push-pull’ effect. This can cause distortions in Refresh: See Redraw.
your sewn designs, poor stitch registration and
even the bunching of the fabric. The degree of Registration: Correct registration is
distortion can be affected by the following achieved when all stitches and design elements
factors: stitch density, fabric type, underlay, line up correctly.
backing type, thread type and garment
orientation. See also Pull compensation.
Relative Pointer Setting: This setting
shows the pointer position as an absolute value
RAM: Random Access Memory, computer chip from the first needle point of the design. Useful
maintaining memory. for checking that the design fits a given area.
Random factor: You can eliminate Relative: The distance the pointer is from a
unwanted patterns and distribute stitches previously marked point, or from the previous
evenly within a shape using a random factor. stitch point.
Apply random factors to Tatami Partition lines or
Program Splits. You can use this effect to imitate
Repeat: See Backtrack.
different textures such as fur, grass, leaves, etc.
Resequence: You can change the position of
Raster image: See Bitmap image.
a selected object by cutting it, then pasting it
somewhere else in the stitching sequence, or by
Read: To open a design which has been using the Resequence command. You can also
written on a design card or to an embroidery resequence objects by color or using the
machine. Color-Object List.
Recognition: See Outline recognition. Resizing: See Scaling.
Redraw: The screen display is refreshed. This Resolution: Resolution determines the
is useful when parts of the display have become number of dots per inch (dpi) used to create an
obscured in the course of editing. See also Slow image. The higher the value, the clearer the
Redraw. image, but the more storage space required. A
resolution of 75 dpi generally produces good
Reduce Colors: The Reduce Colors feature results.
automatically reduces color blocks in bitmap
images to a single color, removing anti-aliasing RGB: RGB stands for red, green, and blue. It
and noise. You can let the software reduce the is the system used by computer monitors to
color count automatically or specify a precise create color.
number. The latter is useful if you want to match
V9 Glossary 920
Right-click: To press and release the right of dots per inch (dpi) used to create a drawing.
mouse button. The higher the value, the clearer the image but
larger the file. For digitizing purposes, use a
Rotation handles: When you select an maximum resolution of 300 dpi (dots per inch).
object, selection handles display at its A resolution of 72 dpi (screen resolution) will
extremities. If you click the object again, usually be sufficient. Generally speaking, the
rotation and skew handles appear around the smaller the source image and/or more detail it
object. Rotation handles appear at the corners contains, the higher the resolution needs to be.
of the object and an anchor point displays at the
object’s center. Skew handles are Screen calibration: You need to calibrate
diamond-shaped and appear at the center-top your monitor so that designs at 1:1 scale appear
and bottom of the object. See also Selection at real size. Do this when you first install ES
handles. Designer, whenever you change your monitor,
or adjust your monitor’s horizontal or vertical
Run stitch: Run stitch (also called Walk controls.
stitch) places a single row of stitches along a
digitized line. The needle penetrations are Screen resolution: See Pixels.
placed in consecutive order. Run is generally
used for stitching outlines and connector Security code: Options in ES Designer are
stitches. Run stitch length can be set to controlled by a security device installed on the
automatically vary in order to follow tight computer. Security access codes entered into
curves. the software are sent to this security device.
Each security device has a unique serial number
Satin stitch: Satin stitch is well-suited to and identity code.
stitching narrow columns where the length of
each stitch forms the width of the column. Security Device: See Dongle.
Because there are generally no needle
penetrations breaking up the fill, Satin stitch Selection handles: Selection handles are
creates a glossy effect. As the stitches are the eight small squares that appear
almost parallel, Satin provides good coverage. symmetrically at the corners and edges of a
selected object. Use them to position and resize
Scaling: Scaling is the ability to enlarge or objects. See also Rotation handles.
reduce a design. In stitch or ‘expanded’ format,
most scaling is limited to ±5% because the Sequence: See Stitching Sequence.
stitch count remains constant despite final
design size. In outline or ‘condensed’ formats Sequin mode: Sequin mode enables quick
scale changes may be more dramatic because digitizing of Drop Sequin functions.
stitch count and density are recalculated. See
also EMB.
Serial port: A connection point on a
computer where you plug a serial
Scanner: A device that converts physical communications device such as a modem. PC
images into digital form so that they can be serial COM ports are male connectors, and can
stored and manipulated by computer. be either 9-pin or 25-pin. They are named
COM1, COM2, COM3, etc. The number of
Scanning resolution: Most scanners available ports limits the number of devices you
require you to enter scanning resolution can connect. If additional ports are required,
information. Resolution determines the number

you can add them. Multi-port serial cards can Software: Programs, such as MS Windows
also be used. and Wilcom ES, which run your computer.
Sharpen Edges: Use the Sharpen Edges Specialty threads: Threads designed for
tool to prepare outlined images for automatic effects such as shine, glitter, iridescence or
digitizing. Sharpen Edges automatically thickness. The threads often are made from
sharpens outlines and reduces noise. Areas synthetic materials including rayon, mercerized
enclosed by a black outline are reduced to a cotton, metallics and textured nylon.
single color. Outline sharpening makes it easier
for the software to recognize distinct areas in Spiral Contour: Spiral Contour creates a
the artwork. These areas then become the single, continuous line of stitching that spirals
embroidery objects of the finished design. Use it around to fill the shape. Typically, it is used for
particularly if the outlines are blurry, fuzzy or rings and borders, but it is also suitable for
indistinct. other closed shapes. See also Contour stitch.
Shortcut key: A key stroke or a series of Split object: You can split embroidery
keystrokes you can use to perform a task objects that were created with the Input A,
instead of using the mouse. For example, Ctrl+C Input B, and Input C tools, if Satin or Tatami, or
actions the Copy command. Program Split is the selected stitch type.
Sizing handles: See Selection handles. SPM: Stitches per minute; system for
measuring the running speed of an embroidery
Skew handles: See Rotation handles. machine.
Slow Redraw: Use to redraw your design SR/SD: Melco Star format. ‘Star’ and
slowly. Slow Redraw lets you view the stitching ‘Superstar’ are types of Melco machine (quite
and color sequence of a design in slow motion. old now).
Small stitches: Use the Small Stitch Filter Standard backstitch: The rows are
to remove unwanted small stitches from a approximately parallel, with every backstitch
design automatically. row slightly shorter than the forward row.
Because the rows are different lengths, there
Smart Corners: Sharp points in a shape are fewer small stitches at the edge of the
may cause a bunching of stitches and needle shape, reducing possible damage to the fabric.
penetrations which can create a hard spot in the Standard backstitch is suitable for high density
embroidery and may damage the fabric or fills. See also Backstitch.
needle. Smart Corners helps you control sharp
corners in Input A and Input C objects. See also Standard Contour: Standard Contour
Mitre Corner and Cap Corner. creates rows of stitches across the shape,
perpendicular to the digitized stitch angle. The
Smart Design: Digitize complete bitmap number of stitch lines is constant, so the
images automatically with Smart Design. Smart stitching is denser where the shape is narrower,
Design automatically converts bitmap images to and more open where the shape is wider. See
fully digitized embroidery with little or no also Contour stitch.
intervention. See also Point & Stitch™.
Status bar: Provides information about the
whole design: number of stitches, position of
V9 Glossary 922
the design (X, Y), number of colors (C), number Stitch length: Stitch length is the distance
of stops (S), etc. between two needle penetration points. For
maximum stitch length, the length is measured
STC: Gunold stitch or ‘expanded’ file format. according to the X and Y co-ordinates,
whichever is greater. Run stitch length can be
Stemstitch: Stemstitch is an input method set to automatically vary in order to follow tight
which gives a thicker outline than backstitch and curves. See also Max/Min stitch.
can be used to mimic hand-sewn embroidery. It
is used for stems and vines with other Stitch List: The Stitch List displays stitch
decorative stitches, or as an outline for Satin or number, stitch coordinates, stitch length, stitch
Motif fills. function, stitch color. When you select a stitch in
the list, it is simultaneously selected in your
Stitch: A stitch is one needle penetration; design.
also used to refer to the thread laid down from
one needle penetration to the next. Stitch processing: The calculation of stitch
information by means of specialized software,
Stitch angle: The stitch angle is the angle allowing scaling of expanded format designs
the overall stitching follows within a shape. The with density compensation.
shape may have a fixed stitch angle — e.g. 45°
to the horizontal — or multiple stitch angles. Stitch Processor: A patented software
feature developed by Wilcom International P/L.
Stitch bunching: Standard stitch spacing is Stitch Processor is a function of the software
calculated at the outside edge of a shape. With which interprets ‘raw’ stitch data and converts it
sharp curves, spacing which provides adequate into objects that the software can recognize.
coverage on the outside edge may cause
bunching along the inside edge. This may cause Stitch pull: See Push-Pull.
thread breakage when stitching out.
Stitch shortening: When a shape takes a
Stitch count: This is the total number of sharp turn, the spacing of stitches on the inside
stitches in the whole design. See also Design of the shape decreases rapidly. This results in
properties. bunching on the inside and gaps on the outside
of the shape; the longer the stitch, the worse
Stitch density: The number of stitches per the problem. Automatic Stitch Shortening
given area (or stitch lines per distance in a fill). solves this problem by eliminating thread
bunching. The embroidery has smooth, even,
Stitch editing: Digitizing feature that allows stitch spacing throughout. It also reduces
thread breakages during production.
one or more stitches in a pattern to be deleted
or altered.
Stitch spacing: Stitch Spacing is the
spacing between two consecutive needle
Stitch file: Stitch or ‘expanded’ designs are
penetrations on the same side of a column. The
low-level formats for direct use by embroidery
smaller the value, the greater the stitch density.
machines. They contain only stitch coordinates
For more open stitching, use larger values.
and machine functions. Stitch designs are
generally not suited to scaling because stitches
are not regenerated during rescaling. See also Stitching direction: Stitching direction can
Outline file. affect embroidery quality because of the

Push-Pull effect. Only closed embroidery objects Tape: See Paper tape.
such as Input C can be reversed.
Tatami: Tatami stitch consists of rows of run
Stitching sequence: The embroidery stitches and is suitable for filling large, irregular
objects in a design form a stitching sequence. shapes. Stitches are laid in rows going back and
Initially, objects are stitched in the order in forth across the shape. These can be parallel or
which they were created. You can change the slightly turning.
position of a selected object by cutting it, then
pasting it somewhere else in the sequence, or Tatami offset fractions: With Tatami fills
by using the Resequence command. You can you can specify how each row is offset in order
also resequence objects by color or with the to create patterns formed by needle
Color-Object List. penetrations. You do this by adjusting either
offset fractions or partition lines. By adjusting
Stock designs: These are standard designs offset fractions, you can create textured fills
produced by an embroidery company for sale to where the stitch penetrations are more clearly
the public. Stock designs are not assigned to visible.
any particular customer.
Tatami partition lines: With Tatami fills
Stop function: If you want the embroidery you can specify how each row is offset in order
machine to stop for any special reason while to create patterns formed by needle
stitching a design, you need to insert a Stop penetrations. Partition lines, with up to eight
function in the stitching sequence. To indicate a offsets, can create more patterns.
stop in your design, you must insert a Stop
function manually. Tatami underlay: Tatami underlay is used
to stabilize large, filled shapes. It resembles an
Stop code: Stop codes are interpreted as extremely open Tatami fill stitch, where rows of
‘explicit stops’. The machine stops stitching. stitches are placed across the object to create
the underlay.
STX: Datastitch stitch or ‘expanded’ file
format. Team Names: The Team Names feature lets
you create designs with multiple names. For
Style: A style is a group of property settings example, you can use the same logo with
stored under a unique name. You can save any different names for sports teams or corporate
combination of settings to a style. This makes it uniforms without having to create multiple
easy to apply these settings to selected copies of the same design.
embroidery and lettering objects. When you
apply a style to an object, the style settings Template: Templates are special files used to
replace its current properties. Any properties store styles and default property settings. Use
not specified in the style, retain their current templates when digitizing frequently-used
settings. design types to save time re-adjusting the
current property settings.
Tablet: See Digitizing tablet.
Tension: Tautness of thread when forming
Tacking : Tacking is used to fix appliqué stitches. Top thread tension, as well as bobbin
shapes to a background fabric before cover thread tension, need to be correctly set. Proper
stitching is applied. thread tension is achieved when about one third
V9 Glossary 924
of the thread showing on the underside of the Title bar: The horizontal bar located at the
fabric on a column stitch is bobbin thread. top of a window and containing the title of the
window. On many windows, the title bar also
Thread: Fine cord or natural or synthetic contains the Control menu box and Maximize
material made from two or more filaments and Minimize buttons.
twisted together and used for stitching. Machine
embroidery threads come in rayon (high sheen), Toolbar: Toolbars provide quick and easy
cotton (duller finish), polyester (strong and access to ES Designer commands. Click a
colorfast), metallics (synthetic core wrapped toolbar button to activate a command or, where
with metal foil or thin slivers of metal foil) and applicable, right-click to view and adjust its
acrylic (sheen similar to rayon). settings.
Thread chart: Thread charts are lists of Topping: Material hooped or placed on top of
pre-defined thread colors. They may be based fabrics that have definable nap or surface
on commercially available thread charts, or texture, such as corduroy and terry cloth, prior
charts you define yourself. You can copy colors to embroidery. The topping compacts the wale
between different thread charts to create your or nap and holds the stitches above it. Includes
own charts from existing colors. a variety of substances, such as plastic wrap,
water-soluble plastic ‘foil’ and open-weave
Thread code: Code is the identification fabric that has been chemically treated to
number of a thread color in a brand. disintegrate with the application of heat. Also
known as ‘facing’.
Thread density: Different thread density
systems are used by different thread Trapunto: Trapunto is a general term for
manufacturers. Density A is normal embroidery very open fill stitching, often used as a
thread (density 120/2, or 40). Density B is background or for filling large shapes. In ES
thicker, Density C is finer, and Density D is very Designer, Trapunto effect forces travel runs to
fine. the edges of objects so they do not show
through open or loose stitching.
Thread thickness: See Thread density.
Travel run: Travel runs are typically used to
Thread type: Embroidery thread varies in connect segments of filled objects. They are
thickness. Types are A, B, C and D. Stitch usually covered by fill stitches when an object is
density should be set according to the thread stitched out. You can change the stitch length of
type. See also Thread thickness. travel runs to ensure they do not protrude from
the cover stitching. You may also adjust the
Tie In: Tie-in stitches are inserted at the start travel run length to reduce the stitch count.
of objects to prevent stitches from unraveling.
They are inserted inside the shape on the Traveling: You can check a design’s stitching
second stitch. You generally use them when the sequence by ‘traveling’ through it by stitches,
previous connector is trimmed. segments, functions or objects.
Tie Off: Tie-offs are generally placed before Trim code: Trim codes are machine functions
trims to prevent stitches from unraveling. You that instruct machines with trimmers to cut
can adjust connector settings to automatically connecting threads before moving to the next
add tie-offs under certain conditions, or add object. You can insert trims automatically by
them manually.

setting connector values or by inserting them fabrics. The stitching action that will attach the
manually. backing to the fabric being embroidered. It also
supports the top embroidery for a more lofty,
Trimming: The action of cutting loose dimensional look. Underlay stitches are made
thread, removing backing, etc, from the final up of a series of single run stitches, usually with
embroidered product. a very short stitch length, and are placed
automatically, or can be digitized manually,
Triple Run stitch: Triple Run repeats each beneath the cover stitching of your embroidery
Run stitch three (or more) times for a thick line. design.
Typically used to add borders and pickout runs
to designs. User Defined Split: User Defined Split lets
you add detail to filled objects by digitizing lines
Triple Satin: Triple Satin is often used for of needle penetrations called ‘split lines’. Split
folk designs to mimic handmade embroidery lines are stored as object properties. They are
that uses thicker thread. If you require thicker preserved when stitches are regenerated even if
stitches, set the Satin stitch to repeat itself you apply a different stitch type.
multiple times.
Values: Values are the actual settings (letters
TrueType font: TrueType is a digital font and numbers) that you enter into dialog boxes.
technology designed by Apple Computer, now See also Object Properties.
used by both Apple and Microsoft in their
operating systems. Fonts in your Windows Variable stitch length: The software can
‘Fonts’ folder are usually TrueType fonts. automatically calculate the best length for each
stitch with the Variable Run Length option. A
TrueView™: TrueView™ provides you with a chord gap value controls how closely the
preview of how your embroidery will look when stitches follow the digitized lines.
stitched out. It gives the screen image a three
dimensional look. Vector drawing: Unlike raster images,
vector drawings contain vector data. This is a
Twain: An industry standard which allows collection of geometric shapes and lines that
devices (such as scanners) to communicate combine to make an image. Rather than pixels,
directly with design and layout programs. Both such data is recorded as a set of mathematical
device and program must be TWAIN-compliant. formulas. Vector drawings are scalable without
This lets you use any TWAIN-compliant scanner distortion, and are small files. Vector drawings
with your software. have the advantage over bitmap images that
they can be converted directly into embroidery
objects. See also Bitmap image.
U?? Stitch file format native to Barudan
machines.
Weight: When referring to T-shirts, the three
standard weight divisions are mid-weight/value,
Underlay margin: The distance between an
heavyweight/premium, and super heavyweight.
object outline and the edge of the underlay.
Increase this margin to prevent underlay
stitches from extending outside the cover WMF: Windows Metafile vector drawing
stitches. format.
Underlay stitching: Stitches laid down X And Y coordinates: The X and Y values
before other design elements to help stabilize are the horizontal (X) and vertical (Y) distances
V9 Glossary 926
on a graph or computer screen. Use X values to
measure width, and Y values to measure height.
XXX: Compucon stitch or ‘expanded’ file

format in the professional market.
Zigzag stitch: Zigzag stitch is similar to

Satin but is generally used where fewer stitches
are required. The needle penetrates each side of
the column, laying the thread across in an open
zigzag pattern. The density is determined by the
stitch spacing setting. The settings for Zigzag fill
stitches are stored separately from Zigzag and
Double Zigzag underlay settings.
Zigzag underlay: Zigzag and Double

Zigzag underlay stitching is used to support
wide columns.
ZSK: ZSK1 format is for older ZSK machines,

generally those older than 1991. ZSK2 is for
newer ZSK machines, those characterized by a
single top thread trimmer. The trim is the most
significant differentiating factor between the
two types.

Index
Numerics rotating by exact angle 324

rounding sharp corners,
preparing for scanning 244
scanned images 243
3D Warp tool 502, 504 Input C 205 scanning 244
setting for partition lines 430 vector drawings 216
skewing by exact angle 328 Auto Appliqué 22, 413
Tatami underlay stitch Auto Appliqué tool 338–344, 413
A angle 182 converting to Complex Fill 344
See also stitch angle cover stitch values 419
access codes anti-aliasing 244
entering 42 guide run values 415
Any Shape baselines, tacking values 417
entering manually 43 reshaping 543
importing 44 Auto Center 212
any shape, drawing lines 217 Auto Jump
accessing designs, databases and
appliqué applying 209
folders 698
adding appliqué 22 Auto Jump tool 208
Accordion Spacing
cover stitch values 419 connectors 209
Accordion Spacing tool 457
guide run values 415 overview 208
applying 458
offsetting cover stitches 419 setting values 210
overview 457
outputting shapes 667 Auto Scroll 756
selecting types 459
partial cover 420, 421 Auto Spacing
setting values 459
smart corners 413 dialog 126
spacing values 459
tacking values 417 setting values 124
Add Thread dialog 155
using Input C Offset 102 spacing offset 126
Add To Favorites dialog 391 See also Auto Appliqué
adding stitch length 126
Apply Current Properties tool 386
Empty Stitch/Empty Jump 171 stitch spacing 126
Apply Style tool 388 Auto Split 206
folders 702 archived design files,
tie-offs 170 Auto Start and End dialog 212
handling 720
trims 171 Auto Trace tool 273
Arrange menu
adding stitch angles Auto Underlay
Align 314
Complex/Fusion Fill 354 applying 177
Lock 317
adjusting Satin stitch spacing 122 Auto Underlay tab 177
Remove Overlaps 410
adjusting stitch angles 351 Auto Underlay tool 177, 310
Remove Overlay Stitching 410
Align command 314 Center Run 178
Space Evenly 315
Double Zigzag 180
aligning objects 314 Unlock 317
Edge Run 178
alphabets 561 arranging objects
selecting a type 177
converting TrueType 590 grouping 316
setting margins 183
converting TrueType fonts 585 locking 316
Tatami 181
converting TrueType to Array tool 330
Zigzag and Double Zigzag 180
embroidery fonts 585 artwork automatic
creating new 598 anti-aliased images 244 backup 758
digitizing from artwork 593 bitmap images 242 borders 568
merging files 604 converting bitmaps to branching 306
modifying 601 vectors 223–274
color matching 146
modifying custom letter 603 converting to vector
connectors, See connectors
preparing drawings 595 drawings 273
digitizing 272
See also lettering dithered images 243 jumps, See Auto Jump
anchor point, definition 906 enlargement drawings 745 pull compensation 187
anchor points, rotation 323 preparing for automatic save 758
angles digitizing 258 spacing, See Auto Spacing

split, See Auto Split Standard 131, 131–132 applying two-layer outline
trims 168 types 131 stitching 311
underlay 176 Backtrack/Repeat tool 400 Branching tool 306
borders, See also lettering backtracking objects 400 using auto underlay 310
automatic digitizing using Color-Object List 308
backup
Auto Trace 272 brands, thread 156
definition 907
cleaning up images 259 baselines Browse for Folder dialog 692, 718
color reduction 259 any shape 540 browsing
converting grayscale designs, slide show 707
arc 538
images 288 for designs 692
changing 534
cropping images 248 bunching
circular 539
image preparation tools 262 reducing with fractional
custom 540
noise filtering 262 spacing 194
horizontal 536
outline sharpening 261 reducing with stitch
moving letters along 523
Photo Flash 272 shortening 190
reshaping 543
Point & Stitch™ 272
vertical 537
preparing images 258
baselines, definition 907
Smart Design 272
automatic stitching 280 baud rate, setting 729
BIOS, change parallel port
C
adjusting shape tracing
options 285 mode 897 cap corners 202
adjusting values 287 bitmap images Capture Design Bitmap
creating embroidery anti-aliasing 244 command 665
designs 281 automatic digitizing 242 dialog 666
object sequencing 287 converting to vectors 274 catalogs
Automatic Stitching Values dimming 256 exporting in CSV format 717
dialog 285 displaying 255 exporting in Tab delimited
dithered 243 format 717
inserting 252 printing 714
outputting designs as 665 publishing 715
B pasting 253 Center Out, letter sequencing 559
saving separately 253 Center Run underlay 178
backdrops 10 centering object, with cross-hair
scanned 243
digitizing with backdrops 241 scanning 247 cursor 314
dimming 256 smoothing 254 changing
displaying 255 supported file types 252 folders 688
inserting bitmap images 252 using as backdrops 251 changing locale (language) 691
inserting vector drawings 221 Borderline backstitch 131, 132
locking and unlocking 317 Character Map dialog 565
borders charts, See thread charts
pasting bitmap images 253
creating for existing objects 407 checking sequence 56
pasting vector drawings 224
digitizing with Input C 100 Choose Locale dialog 691
saving as separate files 253
offset objects 407 Choose Read Tape Type
scanning 247
offsetting Input C stitches 102
smoothing bitmap images 254 dialog 680, 737
setting width 103
smoothing vector drawings 225 Choose Write Tape Type
boring
using bitmap images 251 dialog 637, 681, 738
Borers tool 423
Back-Front tool 237 changing borer display chord gap 94
backgrounds color 151 circle objects
changing colors and fabrics 149 digitizing boring holes 423 changing entry point 355
definition 906, 911 oval holes 424 moving 348
printing on production round holes 424 reshaping 348
worksheets 658 boundaries Circle/Star tool 402
scanning 247 Complex Fill 113 circles
Backstitch digitizing for appliqué 413 Circle/Star tool 403
adjusting settings 96 digitizing for rings 404 digitizing 402
backstitch digitizing with Complex Fill 108 drawing 220
Borderline 131, 132 bounding outline, selecting in circles (Ring) 404
Diagonal 131, 132 objects 74 in ovals (Ring) 404
selecting for Contour fill 465 clearing, machine functions 374
branching 306
selecting for Tatami 131
applying 307 clipping motifs to fit shapes 495
V9 Index 929
closed shapes, drawing 218 selecting objects by color 78 Complex Fill 109
CND selecting the current color 137 adding boundaries 113
CND files, color merging 629 setting for consecutive adding stitch angles 354
compatible input methods 816 objects 138 changing stitch angle
conversion options 625 thread colors 136 on-screen 351
conversion tables 811 traveling by 60 Complex Fill tool 108
saving to 813 Colorway Options dialog 659 converting to Auto Appliqué 344
codes colorways 139 creating borders 407
entering security codes 42 Add Colors to Palette 281 digitizing objects 109, 111
thread 156 basing on existing 142 digitizing the stitch angle 110 ,
color changing backgrounds 149 112
change functions 644 changing display colors 151 entry and exit points 110, 112
Color Blending changing display settings 149 filling holes 409
adjusting settings 463 Colorways tool 63 Motif Fill 492
applying 461 Colorways toolbar 63 offset objects 407
color blocks, printing 660 creating 142 open stitching 173
Color dialog 151, 156 default settings 140 overlapping rows 116
deleting 145 removing boundaries 113
color film, printing 660
different stitch densities 140 stitch angle 114
color matching 146
Match Colors to Palette 281 Trapunto 173
automatic 146 Complex Fill tool 87, 108, 342,
Color Merge utility 629 modifying 140
multiple 139 469 –474, 492
color palette, selecting thread complex shape drawing
printing 658
colors 138 objects 229
renaming 143
color reduction selecting 140 Condensed File Input Values
automatic digitizing 259 viewing 63 dialog 625–631
images 284, 285 column spacing, Program
Color-Object List condensed files 624
Split 436 See also outline files
dialog 80, 304, 318 column width
displaying hidden objects 80 conflicts, parallel ports 897
adjusting 188 connection settings
grouping/locking objects 318
Pull Compensation tool 188 ethernet 728
printing color film 660 columns
resequencing objects 304–305 Melco StarLAN 727
digitizing with Input A 105 network 727
resequencing objects by
digitizing with Input C 100 parallel ports 727
number 305
offsetting Input C 102 peripheral devices 725
selecting objects 80
setting width 103 serial ports 725
tool 80, 304–308, 318
colors combination splits connectors
Satin in Satin 435 add Empty Stitch/Empty
adding to thread charts 155
Satin in Tatami 436 Jump 171
changing background 149
selecting 435 adding tie-offs and trims 169
changing borer display 151
Tatami in Tatami 436 Auto Jump 209
changing for an object 137
types 435 automatic 163
changing grid display 151
Combine tool 235 digitizing with Needles Out 172
changing object outlines 151
changing stitch display 151 combining displaying 52
Color palette 136 designs 299 hiding 52
copying across thread objects (branching) 295 inside objects 164
charts 154 objects (nesting) 298 jumps 161
creating thread charts 152 objects and designs 295 jumps (automatic) 163
deleting thread charts 160 styles 392 minimizing with nesting 298
display colors 151 Comma Separated Value files, See Runs 162
matching images to threads 148 CSV files runs (automatic) 164
merging Melco CND files 629 commands setting automatic tie-in
modifying colorways 140 popup menus 33 values 166
modifying thread charts 157 registering the menu chart 743 setting automatic tie-off
modifying thread values 157 undo/redo 34 values 167
removing from thread using 31 setting automatic trim
charts 158 using toolbars 33 values 168
resequencing by 303 compensating for stretch, See pull show/hide 752
selecting for an object 136 compensation tie-ins 162

tie-offs 162 CND conversion tables 811 current object properties
travel runs 173 PCH conversion table 818 applying 386
trims 162 converting outline designs changing 385
types 161 EMB conversion limitations 628 make current 384
consecutive objects EMB to CND 628 curve points 88
selecting 73 converting stitch designs curved fills
setting colors 138 recognize Jumps as Trim 614 adjusting settings 473–476
Continuous Input 405 recognize Objects/Outlines 613 applying to existing objects 470
Contour coordinates applying to multiple objects 471
applying 465 length 38 Contour 463
contour stitch in rings 404 setting for objects 314 creating 468
Contour stitch overview 463 Copy From dialog 154 creating fills with two
Contour tool 463 copy, definition 909 curves 474
offset fraction 467 copying creating new objects 469–474
selecting a backstitch 465 and pasting designs 702 custom alphabets
selecting a type 465 colors across thread charts 154 saving 598
setting stitch values 467 Copy tool 296 selecting 600
Spiral 464 designs 702 custom letters
Standard 464 duplicating objects 297 deleting 602
control commands, checking 641 motifs 484 renaming 602
control points 88 object properties 384 reshaping 603
changing 345 objects 296 saving 596
reshape objects 345 corner fraction value 104 custom templates, selecting 36,
conversion tables corner points 88 700
digitizing for CND format 816 corners Customize Worksheet dialog 657
opening CND files 811 appliqué 413 cut and paste
opening Gunold PCH files 818 cap 202 Cut tool 301
saving to CND format 813 corner fractions, Input C 104 objects 296
supported stitch file mitre 202 resequencing 301
formats 808 rounding, Input C 205 Cut Appliqué command 667
Conversion Values dialog 586–592 smart corners 202 cut, definition 909
Convert corrupt files, deleting 899 cutting
Auto Appliqué 338 cover stitches designs 703
Complex Fill 338 offsetting 419 threads 171
Drawing 340 setting values 419
Input C 338 CPU/RAM specifications 879
Motif Run 339 Create a Zip Archive dialog 720
Run 338 create lettering D
Triple Run 338
letter height 594 Decoding Options dialog 613–616,
Convert Options dialog 718
letter shapes 593 633
Convert tool 718 letter width 594 defaults
Convert True Type Font creating baselines default values (definition) 909
command 590 any shape 540 design view 690
Convert TrueType Font arc 538 Define Stop Sequence dialog 633
dialog 590 circular 539
converting Define Style command 389–392
horizontal 536 Delete command 298
between objects 337 vertical 537
bitmaps to vectors 274 deleting
Crop Image command 248
designs 705 colors from thread charts 158
Crop Image with Polygon
drawing objects to designs 704
command 248
embroidery 338 folders 702
embroidery objects to drawing cross stitch, adding 22 motifs 486
objects 340 cross-hair cursor 314 objects 298
file types 718 CSV files styles 394
photos to designs 288 Comma Separated Value templates 399
See also conversion tables files 717 thread charts 160
See also converting file formats exporting catalogs as 717 density, applying fractional
converting file formats current color, changing 137 spacing 194
CND conversion options 625 current needle position marker 57 deselecting
V9 Index 931
objects 71, 72 devices, security messages 880 Effects > Smart Corners 203
stitches 363 Diagonal backstitch 131, 132 Embroidery Machine
Design Explorer dialogs Connection 728–734
opening 687 Add Thread 155 Export As 224
Design Explorer icon 687, 692 Add To Favorites 391 Format 676
design formats Auto Spacing 126 Format Embroidery Disk 676
Gunold PCH 609 Auto Start and End 212 Functions 377
old format ESD 609 Automatic Stitching Values 285 Group Members Add 571
Wilcom INP 609 Browse for Folder 692, 718 Group Name 570
design management 29 Capture Design Bitmap 666 Hardware Setup 726–741
Design Properties dialog Character Map 565 Holes 409
Colorways 141–153 Choose Locale 691 Insert Function 370
Information 65 Choose Read Tape Type 680, Layout 525, 547–551
Stop Sequence 68 737 Length Calculation 67
Summary 65 Choose Write Tape Type 637, Lettering Box 514
Design Properties tool 694 681, 738 Machine Format Values 643–652
Color 151, 156 Machine Format Values >
design templates, See templates
Color-Object List 80, 304, 318 Standard 638–640
designs
Colorway Options 659 Make Letter 597–598, 603
accessing 698 Make Motif 482–483
archiving 720 Condensed File Input
Values 625–631 Make Program Split 444
Auto Start and End 212 Match Drawing Color 148
browsing 692 Conversion Values 586–592
Convert Options 718 Merge With Style 392
browsing with slide show
Convert TrueType Font 590 Modify Alphabet 601–602
buttons 707
Copy From 154 Modify Thread Chart 153–154,
checking 65
Create a Zip Archive 720 157–160
combining 299
Customize Worksheet 657 Move Stitch 375
converting 705
Decoding Options 613–616, 633 New 37, 700
converting formats 608
Define Stop Sequence 633 New Alphabet 598
converting formats (tables) 808
converting to other file Design Properties > New Colorway 142
types 718 Colorways 141–153 New Motif Set 482
creating new 36 Design Properties > New Object Style 390
managing 687 Information 65 New Thread Chart 153
opening 35, 698, 699 Design Properties > Stop Object Properties 385–387
opening multiple 35 Sequence 68 Object Properties -
Design Properties > Lettering 510–517, 520, 535,
opening stitch designs 613
Summary 65 564, 578–586 , 592–600
outputting 653, 705
Device Manager 902 Object Properties - Lettering >
planning a design 10 Fill Stitch 517, 554–557
Digi Test 900
redrawing slowly 61 Object Properties > Auto
Digitizer Setup 726–732, 900
resequencing 301 Digitizer User-Defined Format Appliqué 415–421
saving 40 Setup 732 Object Properties > Complex
selecting 698 Disk Format Test Selection 673 Fill 115, 116, 118
sorting 705 Display 149, 151 Object Properties >
sorting using Navigation buttons DXF File Options 222 Connectors 163–169
and Slide Show buttons 705 Edit Function 373, 376 Object Properties > Drawing
starting 36 Edit Thread 157 Object 227
stitching and punching 710 Effects 517 Object Properties >
viewing 705 Effects > Accordion 459
Embroidery 173
viewing in databases 705 Object Properties > Fill
Effects > Accordion Spacing 463 Stitch 123–134, 174, 207,
viewing records 694 Effects > Auto Jump 210
desktop, definition 910 428–441, 445 , 467, 494–502
Effects > Auto Object Properties > Fusion
details lists, sorting 708 Underlay 178–185, 310
device connections, Fill 115, 116
Effects > Color Blending 461 Object Properties >
troubleshooting 886 Effects > Curve Fill 470–476 General 314, 321–329
device drivers Effects > Flexi Split 446–448 Object Properties > Image 254
checking printers 898 Effects > Jagged Edge 455, 456 Object Properties > Input
installing/reinstalling dongle Effects > Others 188–189, 195, C 102–104, 206
drivers 895 452, 502–504 Object Properties > Outline
Device Manager dialog 902 Effects > Shortening 191 Stitch 94–96, 98, 488–491

Object Properties > Photo Show Stitches 378 input methods 86
Flash 289 Slow Redraw 62 lines with Run/Triple Run 90
Object Property - Lettering > Small Stitches 201 Motif Run 486
Others 522 Smart Design 281–287 new motifs 482
Offset Object 407 Smooth Drawing Curves 226 ring boundaries 404
Open 35, 222, 252, 613, 625, Sort 709 rings 404
663 Stitch List 360, 377 shapes with Auto Trace 273
Open Embroidery Disk 674 Stitch Manager 668 shapes with Complex Fill 108
Open From Embroidery Stitch Options 711 shapes with Input B 107
Disk 674
Stitch to Stitch Manager 668, split lines 449
Options 54 728 turning stitches 469–474
Options > Auto Scroll 757 Symbol Selection 564, 569 using a digitizer tablet 750
Options > General 405, Tablet Setup 743 –748, 749 with backdrops 241
758–763 Tape Manager 681, 711, with manual input methods 241
Options > Grid 755–756 737–738 with Needles Out 172
Options > View Design 752, 753 Team Members 574, 578, 580, with Photo Flash 241
Options > View Drawing 227, 582 with Point & Stitch™ 241
232, 256 Team Names 570–574 with Smart Design 241
Organize Favorites 391 Test Disk 673 with User Defined Split 450
Organize Styles 390–395 Tie In Values 166 digitizing artwork
Print Designs Options 714 Tie Off Values 167 Outline Run 279
Print Options 655–660, 713 Toolbars 32 Pickout Run 278
Process 197–199, 618 Transform 322–330 Tatami Fill 276
Properties 695, 706 TrueView Options 753 Tatami Fill without Holes 277
Properties (Windows Use Object Style 389
Explorer) 64 Turning Satin 275
User Preferences 690 digitizing tablets, testing
Publish Options 715 Windows Properties 700
Punch Options 711 connections 900
Zoom Factor 47 dimming backdrops 256
Purge Recover and Backup Digi Test dialog 900
Directories 899 Disk Format Test Selection
Digitizer Setup dialog 726–732, dialog 673
Quick Names 573
Recognition - Advanced 900 display
Options 620 digitizer tablets 12 changing display colors 151
Reduce Colors 265 baud rate 729 changing display settings 149
Rename Alphabet 601 changing drawing scale 748 definition 911
Rename Colorway 144 defining and modifying grid 38
Rename Letter 602 formats 732 setting display options 53
Rename Object Style 394 overview 743 display adapters
Rename Thread Chart 159 Point mode 730 checking 902
Resequence By Number 305 puck actions 750 locating drivers 903
Revert to Factory Settings 399, registering enlargement Display dialog 149–151
899 drawings 745
distances, measuring
Save As 41, 144, 396, 664, 717, registering the menu chart 743
on-screen 38
720 setting up 729
shifting the drawing 749 dithering 243
Save Options 583, 628
Save to Embroidery Disk 678 Stream mode 730 Divide tool 239
Screen Calibration 741 user-defined formats 732 dongle drivers
Security Device 42, 43, 44 using 750 additional switches 896
Select By Color 55, 78 using preset spacing 751 installing/reinstalling 895
Select By Stitch Type 79 Digitizer User-Defined Format dongles, entering security
Select Machine Format 40, 636, Setup dialog 732 codes 42
640 digitizers, See digitizer tablets DOS disks, opening designs 674
Select Motif 479–486 digitizing Double Zigzag, setting values 180
Select Source 740 appliqué 413 drawing objects
Sequence 559–561 boring holes 423 apply input method 338
Sequence By Color 303 circles and ovals 402 apply stitch type 338
Serial Port Setup 726 columns and borders 100 circles 220
Set Color 138 columns with Input A 105 closed shapes 218
Set Security Device Options 43 columns with Input C 100 coloring 226
Sharpen Edges 268 individual stitches 89 coloring fills 226
V9 Index 933
coloring outlines 226 Paste Drawing As Bitmap 253 formats 676
converting bitmaps to Resequence > By Color 303 formatting 676
vectors 274 Resequence > By Selects 302 opening designs 674
converting to embroidery 338 Split Object 300 saving designs 671
creating 216 Transform 321, 326 testing 673
creating complex shapes 229, Transform Special 325 Embroidery Machine Connection
233 Edit Thread dialog 157 dialog 728–734
ellipses 220 editing lettering embroidery machines
open shapes 217 on-screen 513 automatic download 734
ovals 220 with Lettering dialog 514 connections 733
polygons 218 with toolbox 513 feedback 734
rectangles 219 editing objects 337 setting up 733
squares 219 See also machine formats
reshaping 345
straight lines 217 embroidery objects
editing stitches 365
using 216 creating complex shapes 233
deleting stitches 366
drawing scale, changing 748 Empty Stitch/Empty Jump
inserting stitches 364
Drawing toolbar tool 171
moving stitches 365
Auto Trace 273 EMT files 396
removing small stitches 201
Ellipse 220 End of Design functions 647
using Stitch List 378
Line 217 enlargement drawings
editing, machine functions 367
Polygon 218
EDS-III changing scale 748
Polyline 217
conversion table 811 creating 745
Rectangle 219
digitizing for 816 preparing 745
Reduce Colors 265
saving to CND format 813 registering 746
Sharpen Edges 268
effects shifting 749
Smart Design 281 entry and exit points,
drawings Accordion Spacing 457
Auto Jump 208 changing 355
creating enlargement
drawing 745 Auto Underlay 176 envelopes
creating in ES Designer 216 Color Blending 460 Delete command 568
enlargement drawings 745 fractional spacing 194 distorting lettering objects 566
inserting vector drawings 221 Jagged Edge 455 Envelope command 566
pasting vector drawings 224 pull compensation 186 types 566
smoothing vectors 225 smart corners 202 ES Design Explorer problems
See also backdrops stitch shortening 190 troubleshooting 884
duplicating Trapunto 173 ES Designer, starting 30
Duplicate command 297 Effects dialog 517 ethernet connection settings 728
objects 297 Accordion 459 Exception Access Violation,
DXF File Options dialog 222 Accordion Spacing 463 resolving errors 902
Auto Jump 210 Exclude tool 237
Auto Underlay 178–185, 310 Export As dialog 224
Color Blending 461 exporting
E Curve Fill 470–476
catalogs as CSV files 717
Flexi Split 446–448 catalogs as Tab delimited
E Stitch Jagged Edge 455, 456
appliqué 417 files 717
Others 188–195, 452, 502–504 exporting vectors 223
E Stitch tool 87, 91, 121, 134 Shortening 191
Edge Run Smart Corners 203
setting values 179 Ellipse tool 220
underlay 178
edges, applying Jagged Edge 455
ellipses
digitizing 402
F
Edit Function dialog 373 drawing 220 fabric stretch, See pull
Edit Image Using command 250 email attachments 663 compensation
Edit menu embroidery disks fabrics
Delete 298 Embroidery Disk Format changing background 149
Duplicate 297 command 676 pull compensation
Envelope 566 Embroidery Disk Open guidelines 187
Envelope > Delete 568 command 674 facing, definition 925
Make Same Size 322 Embroidery Disk Save As fancy fill stitches
Paste Drawing > As Vector 224 command 678 Motif Fill 492

Program Split 432 renaming 702 Team Names 570, 571, 573, 574
favorites, assigning favorite searching 707 generating stitches 37
styles 391 viewing zipped designs 695 graphics acceleration,
File menu fonts reducing 904
Capture Design Bitmap 665 definition 914 graphics packages, linking 250
Cut Appliqué 667 see also alphabets and grayscale images, converting to
Design Properties 65, 67 lettering
designs 288
Embroidery Disk > Format 676 Format dialog 676
grid
Embroidery Disk > Open 674 Format Embroidery Disk
dialog 676 changing display color 151
Embroidery Disk > Save As 678 display 38
New 36 formats, digitizer tablet
setting options 755
Paper Tape > Punch 681, 738 formats 732
snap to 756
Paper Tape > Read 680, 737 formatting, embroidery disks 676 Group Members Add dialog 571
Save Bitmap As 253 fractional spacing Group Name dialog 570
Scan 247 applying 194
Scanner Setup 740 group name, creating 570
offset fraction 195
Send 663 overview 194 Group tool 316
Stitch to Stitch Manager 728 Fractional Spacing tool 194 grouping objects 316
file tree, refresh 697 frame movement, Auto Jump 208 with the Color-Object List 318
file types guide patterns
French dots, digitizing 403
EMT 396 Motif Fill 498
Front-Back tool 237
stitch files 808 Program Split 441
functions guide runs
filename, definition 913
displaying 52 offsetting 415
files, combining designs 299 End of Design 647
fill stitches setting values 415
hiding 52 Gunold, opening PCH files 818
changing between fill and show/hide 752
outline 338 Stop 647
switching between fill and traveling by 60
outline 89
types 120, 121
Functions dialog 377
Fusion Fill
H
filling holes, Complex Fill 409 handles, See selection handles
adding stitch angles 354
fills hard disk space, checking 879
nominal stitch angle 114
adjust curved fill settings 476 hard disk, definition 914
overlapping rows 116
adjusting curved fill hardware
settings 473 Fusion Fill tool 108, 111, 342
adjusting textured fill peripheral device settings 725
settings 448 setting up digitizer tablets 729
applying curved fills 470, 471 setting up display monitor 741
creating curved fills 468–469 G setting up embroidery
creating fills with two machines 733
gaps, offsetting filled holes 409 setting up paper tape
curves 474 General tab punches 738
selecting textured patterns 447 dimensions 320
filtering stitches setting up paper tape
mirroring objects 328 readers 737
by function 377 positioning using setting up scanner 740
by stitch length 378 coordinates 314 hardware acceleration,
finding rotating objects 324 reducing 904
threads 146 skewing objects 328 Hardware Setup
Flatten tool 239 General toolbar command 725
Flexi Split tool 447–448 TrueView 753 dialog 726–741
Florentine Effect Generate Stitches tool 37 height, make objects same
adjusting settings 473 Generate toolbar size 322
Florentine Effect tool 468–473 Borers 423 help
folder, definition 913 Generate Stitches 37 viewing the online manual 6
folders Penetrations 172, 422 See also troubleshooting
adding 702 Penetrations with Borers on 423 help, accessing 5
changing 688 Process 197, 617 hidden objects
deleting 702 Properties 163, 173, 226, 385, display in Color-Object List 80
masking file types 696 387 hiding
refreshing/validating 697 Sequin Mode 422 backdrops 255
V9 Index 935
bitmap images 255 Input A tool 87, 105 Filled Holes 409
outlines 51 offset objects 407 Offset Object 407
stitches 51 tool 423 Photo Flash 288
vector drawings 232 with Continuous Input 405 inserting
holes Input B bitmap images 252
creating in Complex Fill 113 adding stitch angles 352 one design into another 299
digitizing boring holes 423 creating borders 407 one object inside another 298
digitizing rings 404 digitizing columns 107 stitches 364
digitizing with Complex Fill 108 Input B tool 87, 107 vector drawings 221
filling holes 409 offset objects 407 Intersect tool 237
Holes dialog 409 Input C
hoops, frame out (Auto column width 103
Appliqué) 416 corner fractions 104
creating offset objects 407 J
digitizing columns and
borders 101 Jagged Edge
I Fusion Fill tool 87
Input C tab 102
applying 455
Jagged Edge tab 456
icons, definition 914 Input C tool 87, 100, 205, 341 Jagged Edge tool 455
icons, menu chart 802 input side 102 setting values 456
identity code 42 offsetting stitches 102 Jagged Edge tool 455
image colors, matching reversing stitch direction 189 joining
threads 148 round sharp corners 205 columns with underlay 184, 185
input methods 86 objects, See connectors
Image menu
joins, creating smooth joins 405
Crop Image 248 applying to drawing objects 338
Circle/Star 403 jumps
Crop Image with Polygon 248
Complex Fill 108 adding 172
Edit Image Using 250
Input A 105 adding Empty Jumps Empty
Insert Drawing File 221–223, Stitches 171
252 Input B 107
Auto Jump 208
Reverse Curve 189 Input C 100
automatic connectors 163
image preparation 258 Motif Run 486
digitizing with Needles Out 172
cropping 248 Ring 404
overview 161
non-outlined images 265 Run and Triple Run 90
using 369
outlined images 268 input methods, selecting 87
using tools 263 Input toolbar
image sharpening, scanning 247 Auto Appliqué 344
images
bitmaps 251
Circle/Star 402, 403
Complex Fill 87, 108–109, 342,
K
cleaning up 259 469–474, 492 kaleidoscope
color reduction 259 Fusion Fill 87, 108–111, 342 using with wreath 334
cropping 248 Input A 87, 105, 423 Kaleidoscope tool 334
dimming bitmaps 256 Input B 87, 107 keep/omit last stitch
displaying bitmaps 255 Input C 87, 100, 205, 341 Input A 105
editing 250 Lettering 509, 534, 563–567, Input B 107
inserting bitmaps 252 586, 591, 600 Keep Last Stitch tool 356
noise filtering 262 Manual 87, 89, 423 keep/omit motif (Motif Run) 490
non-outlined 265 Manual with Sequins On 422,
outline sharpening 261 423
outlined vs non-outlined 259 Motif Run 341
outputting designs as 664 Ring 404 L
pasting bitmap images 253 Run 87, 91, 341, 423
Triple Manual 87, 89 last stitch, keep or omit 105, 107
preparation tools 262
Triple Run 87, 91, 341 layers
saving bitmaps separately 253
Inputs A and B, converting to removing extra stitching
scanning bitmaps 247
Complex Fill 338–340, 342–344 layers 410
smoothing bitmaps 254 layout
Input A Insert Drawing File command 221,
Motif Fills 498
adding stitch angles 352 252
Program Split patterns 441
creating borders 407 Insert Function dialog 370
Layout dialog 525, 547 –551
digitizing columns 105 Insert menu
length

automatic split 206 reshaping baseline 543 modifying values 640–646
calculation methods 210 reshaping curved baselines 543 removing 642
Contour stitch 467 reshaping on-screen 532 selecting 39, 636
Edge Run and Center Run rotating with Reshape tool 529 start of design/end of
stitches 179 scaling with Select Object design 650
nominal 473, 476 tool 528 machine functions
preserving long stitches 208 selecting symbols 563 borers in/out 367
Program Split stitch length 437 special characters and boring 369
Run and Triple Run 94 symbols 563 checking control commands 641
Tatami 130 stitching sequence 559 clearing 374
Tatami stitches (underlay) 182 Tilt angle 549 color change 367, 368
travel runs 173 transforming with Reshape displaying 52
variable (Run and Triple Run) 94 Object tool 531 editing 374
Zigzag and Double Zigzag transforming with Select Object hiding 52
stitches 180 tool 528 inserting manually 370
Length Calculation dialog 67 troubleshooting 893 Jumps 369
letter spacing, changing 525 word spacing 525 jumps 367
lettering See also alphabets sequins 370
See also baselines
2-color alphabets 561 sequins on/off 367
lettering art, applying 566
adding to designs 24 show/hide 752
Lettering Box 513, 514 speed 651
adjusting individual letters 530
adjusting Satin stitch Lettering tool 509, 534, 563–567, Stops 368
settings 554 591–600 stops 367
adjusting stitch angles 557 Line Select tool 77 thread trim 368
adjusting Tatami stitch line spacing, changing 525 trims 367
settings 555 Line tool 217 types 368
adjusting Zigzag stitch lines using 370
settings 556 digitizing with Run and Triple Machine menu
applying lettering art 566 Run 90 Select Machine Format 39, 636
Arc angle 549 drawing 217 Set Color 138
As Digitized join method 562 split lines 449 machines, See embroidery
automatic borders 568 Liquid Effect tool 474, 476 machines
Bottom Join method 562 list box, definition 919 Make Letter
changing line spacing 524 command 596, 603
locale, changing languages 691
Closest Join method 562 dialog 597–598, 603
color changes between locate missing files 701
Make Motif 482
letters 510 Lock command 317
copying motifs between
coloring 533 locking objects 316 sets 484
coloring on-screen 533 locking objects, with the dialog 482–483
converting TrueType letters 586 Color-Object List 318 make objects same size 322
creating embroidery fonts from lockstitches, See Empty Stitch Make Program Split dialog 444
TrueType 585
deleting stitch angles 558 Make Properties Current tool 384
edit envelopes 567 Make Same Size command 322
entering on-screen 509
entering via dialog 510
M managing designs 687
manual digitizing for sequins 422
generating stitches 37 machine connections, testing manual objects
I-beam 533 tablets 900 splitting 300
join methods 561 Machine Format Values Manual tool 87, 89, 423
keeping original stitch dialog 643–652 Manual tool with Sequins On 422
values 561 Standard 638–640 Manual, right-clicking 90
letter justification 517 machine formats margins
letter spacing 525 advanced values 648 Jagged Edge 456
line spacing 525 changing 637 setting for underlays 183
making bold 516 checking 641 masking files in folders 696
making italic 516 color change sequence 648
moving letters along Match Drawing Color dialog 148
creating custom 638
baseline 523 creating custom format 638 Match to Palette tool 274
names, See names customizing for specific maximum stitch length 473–476
removing envelopes 568 designs 639 Measure command 38
V9 Index 937
measuring reshaping Circle objects 348 rotating 480
calculating stitch length 210 reshaping circles 348 rotating patterns on-screen 500
distances on-screen 38 reshaping circles to ovals 348 saving 483
status line 38 reshaping Ring objects 349 scaling 480
Melco reshaping Star objects 348 scaling (Motif Fill) 496
CND conversion tables 811 rotating 323 scaling (Motif Run) 488
CND files, color merging 629 scaling 319 scaling patterns on-screen 499
digitizing for CND (tables) 816 skewing select 488
StarLAN network settings 727 spacing evenly 315 selecting 478
memory using envelopes 566 selecting (Motif Fills) 493
definition 916 viewing by color 55 selecting (Motif Run) 487
menu chart modifying, designs 19 single 845
icons 802 monitor, setting up 741 skewing patterns on-screen 500
registering 743 Motif Fill spacing (Motif Run) 489
Merge With Style dialog 392 applying 492 two-part 868
merging styles 392 filling shapes with 492 See also Motif Fill
minimum stitch, Tatami 130 layout motifs 498 See also Motif Run
modifying layouts mouse
mirroring
on-screen 498 definition 916
with kaleidoscope 334
Motif Fill tool 478, 492 Move Stitch dialog 375
mirroring motifs 480
motif size 496 moving circles 348
mirroring objects
motifs 1 & 2 497 moving objects
around a specified axis 329
offsets 495 nudging 314
around X or Y axis 328
rotating 498 positioning with X:Y
creating wreaths 334
selecting motifs 493 coordinates 314
using Object Properties
spacing 495 with click-and-drag 314
dialog 328
Mirror-Merge toolbar values 495 moving stitches 365
Array 330 Motif Run multiple colorways, See colorways
Kaleidoscope 334 creating offset objects 407 multiple stitch angles
Reflect 332 keep/omit motifs 490 Input A 352
Wreath 334 Motif Run tool 341, 486 Input B 352
missing files, locating 701 overview 486
reshaping 491
mitre corners 202
scaling 488
Modify Alphabet
command 601
selecting motifs 487 N
spacing 489 name groups
dialog 601–602
tool 486 adding individual members 571
Modify Thread Chart
using 486 adding multiple members 573
dialog 153–154, 157–160
values 489 creating 570
modifying designs motif sets
moving objects 313 names
copy motifs between sets 484 adding to design 574
with the Color-Object List 80 Make command 482, 483
modifying objects creating groups of 570
making 482
aligning 314 editing 578
Select command 484, 486
changing entry point in outputting designs 583
motifs
Circle 355 viewing 578
adjusting spacing on-screen 500 needle penetrations
changing entry point in Star 355
clipping to fit shape 495
changing entry point of applying partition lines 429
creating new 482
Circle 355 decorative (Program Split) 432
deleting 486
changing radius of Circle 348 digitizing split lines 449
inserting 478
changing size of Ring 349 digitizing with Needles Out 173
laying out on-screen (Motif
grouping 316 Fill) 498 offsetting (Tatami) 427
locking 316 mirroring 480 random factor 431
mirroring 328 random factor, Program
modifying 480
moving Ring object Split 440
Motif Fill 492
boundary 350 needle points 50
offsetting patterns
resequencing objects by displaying 52
on-screen 501
number 305 hiding 52
resequencing with Color-Object overview 478
reference points 483 offsetting for Contour 467
List 305 show/hide 752
remove functions 483

needle position marker 57, 301 Complex Fill/Fusion Fill 115, 116 creating offset objects 407
nesting objects 298 Connectors 163–169 filled holes (Complex Fill) 409
network settings 727 Drawing Object 227 fractional spacing 195
ethernet 728 Embroidery 173 Motif Fill patterns 495
New Alphabet dialog 598 Fill Stitch 123–134, 174, 207, objects 407
428–445, 467, 494–502 offset fractions (Tatami) 427
New Colorway dialog 142
General 314, 321–329 offsets setting for Input C
new designs objects 102
Image 254
creating 36 patterns on-screen 501
Input C 102, 103 , 104, 206
New command 36 Program Split columns and
Outline Stitch 94–96, 98,
New tool 36 rows 438
488–491
starting 10 Program Split patterns
Photo Flash 289
new designs, creating 700 object sequencing, automatic on-screen 443
New dialog 37, 700 stitching 287 Program Split stitches 438
New Motif Set dialog 482 objects random factor (Tatami) 431
New Object Style dialog 390 appliqué 413 using partition lines 429
New Thread Chart dialog 153 omit/keep last stitch
applying underlay 177
noise filtering, automatic backtracking 400 Input A 105
digitizing 262 changing colors 137 Input B 107
changing the object omit/keep motifs (Motif Run) 490
nominal stitch length 473–476
properties 384 online help 5
non-outlined images 265
circles 401 online manual 5
NORMAL template
overview 395 connecting 161 Open dialog 35, 222, 252, 613,
reverting 399 converting 337 625 , 663
using 36 converting drawing objects 338 Open Embroidery Disk dialog 674
nudging objects into position 314 copying and pasting 296 Open From Embroidery Disk
creating duplicates 400 dialog 674
deleting 298 open shapes, drawing 217
deselecting 71, 72
open stitching, See color blending
O drawing 216
duplicating 297
open stitching, See Trapunto
object outlines Open tool 35
editing 337
changing display color 151 French dots 401 opening
object properties mirroring 328 Design Explorer 687
apply current properties 386 moving 313 designs 698
changing defaults 387 nesting 298 opening designs 699
changing for an object 384 ovals 401 converting stitch designs 613
changing stitch type 121 positioning 313 from DOS disk 674
connectors 161 repeating 400 from paper tape 680
current 382, 383 resequencing 301 Open tool 35
default 383 reshaping 337 other formats 674
defaults 382 rings 401–404 preview window 35
existing 383 rotating 323 opening files
make current 384 selecting 71 object/outline recognition 612
overview 120 selecting colors 136 recognition limitations 613
presetting 385 shaping 233 scaling 612
saving current 385 skewing 327 operating systems, supported 877
saving new defaults 387 splitting 300 Options
saving to a template 398 traveling by 59 Auto Scroll dialog 757
styles 388 See also modifying objects command 756
templates 395 Offset Object View Drawing 256
Object Properties - Lettering command 407 Options dialog 54
dialog 510–520, 535, 564, dialog 407 Auto Scroll 757
578–580, 586–600 offsetting General 405, 758–763
Fill Stitch 517, 554–557 appliqué cover stitches 419 Grid 755–756
Others 522 appliqué guide runs 415 View Design 752, 753
Object Properties dialog 385–387 appliqué tacking 417 View Drawing 227, 232
Auto Spacing (Satin) 126 Organize Favorites dialog 391
Auto Appliqué 415–421
Contour needle points 467 Organize Styles dialog 390–395
Complex Fill 118
V9 Index 939
outline files 608, 624 opening designs 680 tool 278
Outline Run Punch command 681, 738 pictures, See backdrops
digitizing artwork 279 punching 681 pixels, definition 918
Outline Run tool 279 Read command 680, 737 planning
outline sharpening setting up punches 738 design shapes 11
automatic digitizing 261 setting up readers 737 stitching sequence 11
outline stitches, Motif Run 486 storing designs 679 Point & Stitch™ toolbar
outlined images, sharpening 268 parallel ports Match to Palette 274
outlines 50 change mode in the BIOS 897 Outline Run 279
changing between fill and connection settings 727 Pickout Run 278
outline 338 resolving conflicts 897 Tatami Fill 276
changing display color 151 partial cover appliqué 420 Tatami Fill without Holes 277
creating borders for existing partition lines 429 Turning Satin 275
objects 407 angle 430 Point mode, digitizer tablets 730
displaying 51 sequence 429 pointer position display 759
reference points 88 Paste Drawing As Bitmap Pointer toolbar
selecting objects with 74 command 253 Backtrack/Repeat 400
stitch types 121 Paste Drawing As Vector Empty Stitch/Empty Jump 171
switching between fill and command 224 Keep Last Stitch 356
outline 89 paste options Line Select 77
outputting designs 705 Center at Current Stitch 760 Polygon Select/Line Select 77
as bitmap images 665 Object Property Position 760 Reshape Object 225, 345, 351,
as images 664 Start at Current Stitch 760 352, 355, 470 , 471, 491, 531,
as vector drawings 664 pasting 603
punching paper tape 681 bitmap images 253 Select Object 73, 74
to different formats 637 designs 702 Stitch Angles 354, 557
ovals motifs 484 Stitch Edit 359, 361, 362
boring oval holes 424 objects 296 Tie Off 170
digitizing 402 Paste tool 296, 301 Trim 171
drawing objects 220 vector drawings 224 pointers, definition 919
in circles (Ring) 404 patterns Polygon Select/Line Select tool 77
in ovals (Ring) 404 creating patterns 444 Polygon tool 218
reshaping circles to ovals 348 editing 445 Polyline tool 217
overlap stitching laying out on-screen (Motif popup menu
removing 410 Fill) 498 Convert Auto Appliqué 338
overlap taper angle 116 laying out on-screen (Program Convert Complex Fill 338
overlapping Split) 441
Convert Drawing 340
cap corners 203 Program Split 432
Convert Input C 338
color blending 460 scaling (Program Split) 434
Convert Motif Run 339
Complex Fill and Fusion Fill scaling for Motif Fill 496
Convert Run 338
segments 116 selecting (Program Split) 433
Convert Triple Run 338
mitre corners 203 selecting for Motif Fills 493
using 33
Trapunto 173 See also motifs ports
overstitching, pull Penetrations tool 172
parallel 727
compensation 186 Penetrations tool with Sequin
serial 725
Overview Window tool 49 Mode 422
ports, definition 919
peripheral devices
position coordinates 38
connection settings 725
preparing, enlargement
setting up 725
P See also hardware drawings 745
preserving long stitches 208
perspective effects, Accordion
palette Spacing 458 preset spacing values 751
Add Colors to Palette 281 perspective effects, Color preset styles, NORMAL
Match Colors to Palette 281 template 395
Blending 461
See also color palette
palette colors, match to Photo Flash command 288 previous view, restoring 50
drawing 274 photos, converting to Print Designs Options dialog 714
panning designs 48 embroidery 288 Print Options dialog 655–660, 713
paper tape Pickout Run Print tool 654, 712
digitizing artwork 278 printer drivers, checking 898

printing reversing stitch direction 189 enlargement drawings 746
backgrounds 658 Punch Options dialog 711 the menu chart 743
catalogs 714 Punch tool 711 Remove Overlaps command 410
multiple colorways 658 punching Remove Overlay Stitching
production worksheets 712 designs 710 command 410
Process from ES Explorer 711 Rename
dialog 197–199, 618 paper tape 681 Alphabet dialog 601
tool 197, 199, 617 See also paper tape punches Colorway dialog 144
Product Differentiation Table 766 Purge Recover and Backup Letter dialog 602
production information 69 Directories dialog 899 Object Style dialog 394
production worksheets push-pull effect, compensating Thread Chart dialog 159
customizing 657 for 116 renaming
print options 655 folders 702
printing 654 styles 394
printing backgrounds 658 thread charts 159
Text to Print 657 Q repeating
viewing 69 motifs (Motif Run) 486
production worksheets, Quick Names dialog 573
objects 400
printing 712 Quick Reference Guide 778 , 800 Resequence
Program Split By Color command 303
adjusting spacing on-screen 443 By Number dialog 305
By Selects command 302
applying 433
applying random factors 440 R resequencing
combination splits 435 random factor 431 by color 303
creating patterns 444 Program Split 440 by selection 302
editing patterns 445 readers, See paper tape readers objects 301
filling shapes with 433 reassigning colors, to stitch objects by Color-Object List 305
layout patterns 441 files 633 objects by number 305
modifying layouts Recognition - Advanced Options objects, branching 295
on-screen 441 using cut and paste 301
dialog 620
offsetting 438 using the Color-Object List 304
offsetting patterns recoloring objects 137
Reshape Object tool 225,
on-screen 443 records, viewing 694
345 –471, 491, 531, 603
pattern size 434 Rectangle tool 219 reshaping objects 337, 345
Program Split tool 432 rectangles, drawing 219 circles 348
random factor 440 Redo tool 34 lettering 543
rotating patterns on-screen 442 redoing commands 34 Motif Run 491
scaling patterns on-screen 442 redraw, definition 920 Ring 349
selecting patterns 433 redrawing designs 50 Star 348
skewing patterns on-screen 442 Reverse Curve 189
slowly 61
stitch values 437
Reduce Colors Reverse Curve command 189
program, definition 919
dialog 265 reverse stitch direction 189
properties
tool 265 reverse stitching
Properties tool 163, 173, 226, reference lines
385, 387 Backtrack and Repeat 400
mirroring objects 329 Revert to Factory Settings
See also object properties
Properties dialog 706 rotating by specified angle 326 dialog 399, 899
rotating relative to 325 revert, to NORMAL template 399
ES Explorer 695
reference points 88 Ring objects
Windows Explorer 64
properties, viewing 694 motifs 483 changing entry point 355
origin 745, 746 changing size 349
Publish Options dialog 715 rotating using 325
publishing catalogs 715 digitizing 404
rotating using (exact angle) 326 moving boundary 349
puck, digitizer 750 rotation point 745–746 reshaping objects 349
pull compensation scaling objects with 321 Ring tool 404
applying 187 See also control points Ring tool 404
overstitching amount 188 Reflect tool 332
rotating
overview 186 refreshing display/folders/tree
motifs 480
Pull Compensation tool 187 node 697
motifs in Motif Fills 498
recommended values 187 registering
V9 Index 941
objects 323 Save Bitmap As command 253 By Stitch Type dialog 79
patterns on-screen 500 Save Options dialog 583, 628 Machine Format command 39,
Program Split patterns Save to Embroidery Disk 636
on-screen 442 dialog 678 Machine Format dialog 40, 636,
See also rotating objects 640
rotating objects Save tool 40
Motif dialog 479–486
by an exact amount 324 saving Object tool 73
by click-and-drag 323 bitmap images as separate Source dialog 740
from the Object Properties files 253 selecting
dialog 324 designs 40
alphabets 511
on-screen 323 designs to embroidery
disk 671–679 Tatami backstitch 131
using a reference line 325 selecting designs 698
object properties to a
using a reference line and selecting objects
template 398
angle 326 bounding outline 74
roughness, Jagged Edge Save tool 40
scaling by color 78
values 456 by stitch type 79
enlargement drawing scale 748
rounding corners, Input C 205 motifs 480 cancelling a selection 72
row spacing, Program Split 436 motifs (Motif Fill) 496 current object 75
Run motifs (Motif Run) 488 grouping 316
Backtrack and Repeat 400 objects 319 resequencing by selection 302
chord gap 94 Program Split patterns 434 Select Object tool 72
creating offset objects 407 Program Split patterns selecting a range 74
setting stitch length 94 on-screen 442, 499 selecting all 71
stitch length 94 scaling objects selecting consecutive objects 73
tool 87, 91, 341, 423 by click-and-drag 319 selecting first and last 76
underlays 178 make same size 322 selecting multiple objects 73
values 93 on-screen 319 selecting the next or previous
variable stitch length 94 to an exact size 320 object 76
Run and Center Run values 179 using Object Properties 320 using Line Select 77
runs using reference points 321 using point and click 73
appliqué guide runs 415 Scanner Setup command 740 using Selects On 74
automatic connectors 164 scanning 244–247 using SHIFT to select a range 73
overview 162 artwork 244, 247 while traveling 75
setting Center Run and Edge bitmap images 247 with Polygon Select 77
Run values 179 color mode 245 with the Color-Object List 80
travel runs 173 preparing artwork 244 selecting stitches 359
resolution 244 by needle point 359
Scan command 247 cancelling a selection 363
selecting a range 361
S setting up scanners 740
sharpening 247 several stitches 359
tips 246 single stitch 359
same size, objects 322
Screen Calibration dialog 741 using outline 360
sample motifs, Motif Fill 498
searching using Selects On 361–362
sample patterns, Program while traveling through a
Split 441 for threads 146 design 362
Satin security
with a bounding box 360
appliqué cover stitch 419 codes, entering 42 with the Stitch List 360
applying Auto Split 206 device messages 880 selection handles
automatic spacing 124 entering access codes 43 rotating 323
digitizing with Input C 100 Security command 42 scaling 314
overview 121 security device
selection tools
Satin tool 121, 206 identifying 42 Polygon Select/Line Select 77
setting stitch count 127 serial number 42 Select Object/Select Current 73
spacing 123 Security Device dialog 42, 43, 44 Selects On 74, 361–362
splitting long stitches 206 segments Selects On tool 74, 361–362
Triple Satin 127 Complex Fill objects 109, 111 Selects On, selecting a range of
Satin tool 121, 554 traveling by 58 stitches 362
Save As dialog 41, 144, 396, 664, segments, adjusting overlap 116
Send command 663
717, 720 Select
sequence
By Color dialog 55, 78

checking 56 shortening, See stitch shortening dialog 226
partition lines (Tatami) 429 show smooth joins, creating 405
resequencing 301 designs 48 snap to grid 756
traveling 56 needle penetration points 50 software, definition 922
Sequence By Color dialog 303 outlines 50 Sort
Sequence dialog 559–561 Show Connectors 752 dialog 709
sequencing objects, automatic Show Drawing tool 255 tool 709
stitching 287 Show Functions 752 sorting
Sequin Mode tool 422 Show Needle Points 752 designs 705
sequins, digitizing 422 stitches 50 using details lists 708
Show Drawing tool 232–233, using Sort 709
serial devices, recommended
settings 725 255–256 using View menu 708
serial number Show Drawing Toolbar tool 32 Space Evenly command 315
identifying 42 Show Grid tool 38, 755 spacing
security device 42 Show Input Toolbar tool 32 Accordion Spacing 457
Serial Port Setup dialog 726 Show Needle Points tool 52 fractional spacing 194
serial ports, connection Show Outlines tool 51 objects evenly 315
settings 725 Show Pointer Toolbar tool 32 offset, Auto Spacing 126
Set Color Show Stitches dialog 378 open spacing (color
command 138 blending) 460
Show Stitches tool 51
dialog 138 open spacing (Trapunto) 173
Show Travel Toolbar tool 32 preset 751
Set Security Device Options Show True Colors command 226
dialog 43 Program Split stitches 437
Show Vertical toolbar Tatami underlay 182
setting Show Input toolbar 32 using Auto Spacing 124
Always Check Design Show Pointer toolbar 32 Zigzag and Double Zigzag
Integrity 763
Show Travel toolbar 32 stitches 180
Cross Hair Cursor 763 Special menu
Show Whole Design tool 48
Cumulative Stitch Count 763 Alphabet > Make
skewing objects
design view defaults 690 Letter 596–603
other options 763 by click-and-drag 327
by exact angle 328 Alphabet > Modify Alphabet 601
pointer position display 758 Convert TrueType Font 590
Run Small Stitch Filter on patterns on-screen 500
Program Split patterns Hardware Setup 725
Output 763 Motif > Make 482–483
Show Design Source 763 on-screen 442
using Object Properties Motif > Select 484–486
user preferences 690 Options 226, 756
dialog 328
setting options
with rotation handles 327 Options command 53
pointer position display 759 slide show Security 42
settings, changing display 149 Tablet 743, 746
browsing designs 707
shading effects, Accordion running 705 Spiral Contour 464
Spacing 458 thumbnails and properties 705 in circles 402
shading effects, Color viewing designs 705 Split Object command 300
Blending 461 Slow Redraw splitting
Shaping toolbar command 61 combination splits 435
Back-Front 237 dialog 62 lines 449
Combine 235 Small Stitches dialog 201 objects 300
Divide 239 small stitches, removing 201 Split Object command 300
Exclude 237 smart corners using Auto Split 206
Flatten 239 appliqué 413 using split lines 449
Front-Back 237 applying 202 squares, drawing 219
Intersect 237 cap 202 stabilizing, with auto underlay 176
Weld 235 mitre 202
Sharpen Edges Standard backstitch 131
round corners, Input C 205 Standard Contour 464
tool 268 setting values 203
Sharpen Edges dialog 268 Standard toolbar
Smart Corners tool 202 Branching 306
sharpening outlines 268 Smart Design
Shortcut to Windows Properties Color-Object List 80, 304–308,
dialog 281–287 318
dialog 700 tool 281 Copy 296
Shortening tool 191 Smooth Drawing Curves Cut 301
V9 Index 943
Group 316 stitch recognition 613 Jagged Edge 455
Lettering Box 513 stitch direction, reversing 189 Liquid Effect 474, 476
New 36 Stitch Edit tool 359, 361, 362 Motif Fill 478, 492
Open 35 stitch files Program Split 432
Overview Window 49 overview 609 Pull Compensation 187, 188
Paste 296, 301 reassigning colors 633 Satin 121, 206, 554
Print 654 supported formats 808 Shortening 191
Print Preview 69 Stitch List Smart Corners 202
Redo 34 dialog 360, 377 Tatami 121, 128, 131, 426, 431,
Save 40 editing stitch coordinates 375 , 555
Selects On 74, 362 376 Trapunto 173
Show Connectors 52 filtering by function 377 User Defined Split 450
Show Drawing 232–233, Stitch List tool 360, 375 Zigzag 121, 132, 556
255–256 using 378 stitch usage, estimating total 67
Show Functions 52 Stitch Manager stitch values
Show Grid 38, 755 deleting embroidery Auto Spacing (Satin) 124
Show Needle Points 52 machines 736 backstitch 131
Show Outlines 51 dialog 668 cover appliqué 419
Show Stitches 51 setting up embroidery guide runs (appliqué) 415
Show Whole Design 48 machines 733 length (Tatami) 130
Stitch List 360, 375 using 668 setting Tatami offsets 426
Stitch to Machine 668 Stitch menu setting Tatami values 128
Team List 578, 580 , 581 Define Style 389, 392 stitch type 121
TrueView™ 52 Stitch Options dialog 711 tacking (appliqué) 417
Undo 34 stitch recognition 613 stitches 50
Ungroup 316, 603 advanced options 619 adjusting density 199
Star objects Stitch Selected Designs tool 711 appliqué cover stitches 419
changing entry point 355 stitch shortening appliqué tacking 417
digitizing 403 applying 191 calculating stitch length 210
reshaping 348 customizing 191 changing display color 151
StarLAN network settings 727 overview 190 Contour stitch values 467
Start/End Design tool 59 setting values 191 deselecting 363
starting, new designs 36 Stitch to Machine tool 668 digitizing Run stitches 90
Stemstitch Stitch to Stitch Manager displaying 51
adjusting settings 98 command 728 Edge Run and Center Run
stitch dialog 668, 728 length 179
count (definition) 923 stitch types editing 365
definition 923 Backstitch 96 generating 37
stitch angles changing 121 keep/omit last stitch 105–107
adding to Complex/Fusion Contour 463 Manual 89
Fill 354 fill 121 multiple stitch counts (Triple
adding to Input A 352 Run) 95
Motif Fill 492
adding to Input B 352 preserving with Auto Jump 208
Motif Run 486
Complex Fill/Fusion Fill 114 selecting 359
overview 120
defining for Complex Fill 110, selecting a stitch type 121
Program Split 432
112 shortening 190
Satin 121
lettering, adjusting 557 stitch types 121
selecting 121
lettering, deleting 558 Tatami underlay 182
Stemstitch 98
Stitch Angles tool 354–355, 557 travel runs 173
Triple Satin 127
turning stitches, Input A 105 Stitch Types toolbar traveling by 57
stitch density Triple Manual 89
3D Warp 502, 504
adjusting 197 Zigzag and Double Zigzag
Accordion Spacing 457
adjusting for certain stitch length 180
Auto Jump 209 See also editing stitches
types 199 Auto Underlay 177, 310
with colorways 140 See also selecting stitches
Contour 463 stitching
stitch designs E Stitch 87, 91, 121, 134 removing layers 410
conversion options 613 Flexi Split 446–448 stitching designs
opening 613 Florentine Effect 468–473 selecting machine and
processing into objects 613 Fractional Spacing 194 options 711

using Stitch Manager 668 Tatami deleting 160
See also Stitch Manager backstitch 131 modifying 157
stitching sequence 56 Borderline backstitch 132 modifying thread values 157
See also sequence Diagonal backstitch 132 removing thread colors 158
storing designs offset fractions 427 renaming 159
embroidery disks 671 offsets 426 thread colors 136
paper tape 679 partition lines 429 adding to thread charts 155
Stream mode, digitizer random factor 431 copying across thread
tablets 730 setting underlay stitch charts 154
strengthening angles 182 creating thread charts 152
auto underlays 176 setting underlay values 182 matching 146
styles Standard backstitch 131 matching to image 148
applying 388 stitch length 130 mixing your own 156
applying favorites 388 Tatami tool 121 modifying thread values 157
assigning favorites 391 values 128 removing from thread
creating new style 389 Tatami Fill tool 276 charts 158
deleting 394 Tatami Fill without Holes tool 277 See also colors
make object properties Tatami tool 121, 128, 131, 426, threads
current 384 431, 555 brands 156
merging 392 code 156
Team List 578, 580, 581
modifying 393 color matching 146
Team Members dialog 574, 578, density 156
overview 388
renaming 394 580, 582 finding 146
See also templates Team Names 570, 571, 573, 574 searching for 146
toolbar 388 dialog 570–574 type 156
Styles toolbar See also names Tie In Values dialog 166
Apply Current Properties 386 team names Tie Off tool 170
Apply Style 388 creating 574 Tie Off Values dialog 167
favorite styles 388 creating separate designs 581 tie-ins
Make Properties Current 384 editing 578
overview 162
switching, between fill and outputting designs 583 setting automatic tie-ins
outline 89 viewing 578 values 166
Symbol Selection dialog 564, 569 templates tie-offs
system preferences creating 396 adding 169
automatic backup 758 deleting 399 methods 167
automatic save 758 modifying 397 overview 162
enabling 43 NORMAL 395 setting automatic tie-off
setting 752 overview 395 values 167
viewing options 753 reverting to original 399 setting automatic trim
system requirements 877 saving object properties 398 values 168
system security, See security using 397 Tie Off tool 170
using custom templates 36 title bar, definition 925
using the NORMAL template 36 toolbars
See also styles selecting commands 33
T templates, using custom
templates 700
showing 32
Styles toolbar 388
Tab delimited files, exporting Test Disk dialog 673 Toolbars dialog 32
catalogs 717 textured fills total stitch count, estimating 67
Tablet command 743, 746 adjusting settings 448 Transform dialog 322–330
Tablet Setup dialog 743–748, 749 creating 446 transforming letters,
tablets, See digitizing tablets selecting patterns and
on-screen 531
tacking options 447
third-party applications 250 transforming objects
offsetting 417
thread mirroring (reference line) 329
setting values 417 rotating (reference line and
Tape Manager dialog 681, 711, thickness 126 angle) 326
737–738 types 126 rotating (reference line) 325
tape, See paper tape thread charts
scaling (reference points) 321
taper angle, overlapping adding colors 155 Transform command 321, 326
segments 116 copying colors 154 Transform Special
creating 152
V9 Index 945
command 325 embroidery disks 889 digitizing with Input A 105
Trapunto embroidery lettering 893 digitizing with Input B 107
applying (Complex Fill) 174 error code (-31) 882 Input C 104
overview 173 ES Design Explorer turning-off
Trapunto tool 173 problems 884 automatic tie-ins 166
Travel exception access violations 892 automatic tie-offs 167
by Color tool 60 formatting Melco disks 890 automatic trims 168
by Function tool 60 general problems 888 fractional spacing 194
by Object tool 59 HASP device driver not installed pull compensation 187
travel runs 173 (-12) 882 TWAIN 740
Travel toolbar HASP key is not HASP 4 two-color alphabets 561
Start/End Design 59 (-3) 882
Travel 1 Stitch 57 invalid access code 880
Travel 10 Stitches 57 invalid product 882
Travel 1000 Stitches 57
Invalid product (when
printing) 883 U
Travel by Color 60
Missing files 884 underlays
Travel by Function 60
missing toolbars 891 Center Run 178
Travel by Object 59
output 890 choosing suitable underlays 178
Travel by Segment 58
recovering backups 893 Edge Run 178
traveling
reverting to factory settings 899 setting Auto Underlay
by 1 stitch 57
security device messages 880 margins 183
by 10 stitches 57 security device not found See also Auto Underlay
by 100 stitches 57 (-100) 881 Undo tool 34
by 1000 stitches 57 security device not found undoing commands 34
by color 60 (-3) 881 Ungroup tool 316, 603
by function 60 stitch display 890
by segment 58 ungrouping objects 316
testing embroidery disks 673
by stitches 57 Unlock command 317
Timeout warning 883
overview 56 Timeout warning when starting unlocking objects 317
selecting objects while ES Design Explorer 885 unrecoverable errors,
traveling 75 TrueView™ 891 troubleshooting 884
selecting stitches 362 Unable to run software 883 Use Object Style dialog 389
traveling tools units of measurement 889 User Defined Split
Start/End Design 59 Unrecoverable error when applying 451
Travel by Color 60 opening design 884 digitizing objects with 450
Travel by Function 60 Unrecoverable error when tool 450
Travel by Object 59 opening ES Designer 884 User Preferences
travel by stitches tools 57 unrecoverable errors 884 command 690
tree node, refresh 697 unwanted trims 892 dialog 690
Trim tool 171 TrueType fonts 585 user preferences, setting 690
trims conversion stitch methods 591
adding 169 converting complete
overview 162 alphabets 590
trim functions 643 converting to embroidery
fonts 585
V
Trim tool 171
Triple Manual tool 87–91 TrueView Options dialog 753 validating folders 697
Triple Run TrueView™ 50 values
creating offset objects 407 selecting options 753 Auto Jump 210
repeating stitches 95 thread thickness 753 automatic connectors 163
Triple Run tool 87, 341 TrueView tool 753 pull compensation 187
variable stitch length 94 viewing in 52 Run and Triple Run 93
Triple Satin 127 Turning Satin selecting stitch types 121
troubleshooting 877 digitizing artwork 275 Tatami underlay 182
Turning Satin tool 275 travel runs 173
beeping sound 893 See also object properties
deleting files with purge turning stitches
applying fractional spacing 194 variable stitch length (Run and
recovery 899
applying stitch shortening 191 Triple Run) 94
design integrity 892
Contour 463 vector drawings
device connections 886
digitizer connections 900 corner fractions 104 automatic digitizing 216

converting artwork 273
digitizing 338
W
displaying 232 Weld tool 235
importing and exporting 221 width, make objects same 322
inserting 221 WinZip tool 720
outputting designs as 664 word spacing, changing 525
pasting 224 worksheets, See production
reshaping 225 worksheets
smoothing 225 Wreath tool 334
vector objects, converting to wreaths
embroidery 338 kaleidoscope effect 334
View Design tab objects as wreaths 334
setting display options 53
View menu
Measure 38
Pan command 48
Previous View command 50
X
Redraw command 50 X and Y coordinates, setting 314
Slow Redraw 61 X co-ordinates
User Preferences 690 definition 926
View By Color command 55 see width
Zoom 1-1 47
Zoom Box 47
Zoom Factor 47
Zoom In 2X 47 Y
Zoom Out 2X 47 Y co-ordinates
viewing definition 926
backdrops 255 see height
colorways 63
design properties 694
designs 47
information online 5 Z
objects by color 55
Zigzag
options, See user preferences
slide show 707 underlay, setting 180
viewing design options using with boring holes 423
connectors 752 Zigzag tool 121, 132, 556
functions 752 zipped designs
needle points 752 extracting 721
viewing designs viewing in folders 695
connectors 52 Zoom
display options 50 Zoom 1-1 command 47
displaying hidden objects 80 Zoom Box command 47
functions 52 Zoom Factor command 47
needle points 52 Zoom In 2X command 47
outlines and stitches 51 Zoom Out 2X command 47
panning 48 Zoom Factor dialog 47
redrawing 50
redrawing slowly 61
restoring previous view 50
setting display options 53
setting options 753
show all 48
TrueView™ 52
TrueView™ options 753
zooming 47
V9 Index 947

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Wilcom ES

P/N W2954 Rev 1 Jan 2004

Welcome to Wilcom ES V9, the leading software application for embroidery

V9 Wilcom ES Online Manual 1

Wilcom ES product models

ES45 Creative Digitizing

V9 Wilcom ES Online Manual 3

Digitizer Menu Chart

Using online help

To use online help

V9 Wilcom ES Online Manual 5

Viewing the online manual

To view the online manual

Linking to the Wilcom website

To link to the Wilcom website

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

Shift-click V+[ Hold down Shift and click a mouse button.

Click OK [ or j Click OK with the mouse or press the Enter key

C+S While holding down the Control key (Ctrl), press

C+V+H While holding down the Control key (Ctrl), press

For a complete list of keyboard shortcuts, see Quick Reference Guide.

V9 Wilcom ES Online Manual 7

V9 Wilcom ES Online Manual 8

V9 Wilcom ES Online Manual 9

Embroidery digitizing consists of turning the basic shapes of a design into

V9 Wilcom ES Online Manual 10

design looks good — details are clearly

shapes are filled with stitches are angled to

lettering is clear and

The stitched-out design should also have the following characteristics:

V9 Wilcom ES Online Manual 11

V9 Chapter 1 Introduction to Embroidery Digitizing 12

Selecting design objects

V9 Wilcom ES Online Manual 13

large irregular shape line (Run)

narrow column (Input C)

column of varying width (Input A)

turning stitches (Input B)

Different tools are suited to creating different shapes or design elements.

Fill and outline stitches

Run for lines

Tatami for large

Satin for narrow

V9 Chapter 1 Introduction to Embroidery Digitizing 14

The particular ‘colorway’ represents the actual thread colors in which a

Connecting embroidery objects

V9 Wilcom ES Online Manual 15

Improving stitch quality

with underlay without underlay

Compensate for fabric stretch with pull compensation. Reduce stitch

with no effects with Auto Split with Auto Jump

Digitizing with artwork

V9 Chapter 1 Introduction to Embroidery Digitizing 16

Digitizing with vector drawings

Digitizing with bitmap images

V9 Wilcom ES Online Manual 17

Preparing images for automatic digitizing

all colors omitted background color

V9 Chapter 1 Introduction to Embroidery Digitizing 18

Combining and resequencing objects