Man Enu

ES Designer
Version 7
User Manual
Copyright 1992-2001 by WILCOM 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 Pty. Ltd. (A.C.N. 001 971 919)

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 0021163
Japanese Patent Nº 2029491
TrueView™ and Point & Stitch™ are trademarks of WILCOM Pty. Ltd.
WILCOM 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 Pty. Ltd. reserves the right to revise this publication and to make
changes in it from time to time without obligation of WILCOM 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 Pty. Ltd. specifically does not warrant that the
software will meet the purchaser’s requirements or operate without interruption or error.
P/N 8100707 Rev 1 1 Mar 2001

Contents
Chapter 1 Introduction 1
ES Designer product levels 2
ES documentation 3
Conventions used in the manual 4
PART I BASICS
Chapter 2 Embroidery Digitizing Process 9
Planning the design 9
Manual digitizing 14
Automatic digitizing 21
Improving design quality 26
Modifying designs 34
Embroidery lettering 36
Checking designs 37
Outputting designs 39
Chapter 3 Basic Procedures 41
Starting ES Designer 41
Using commands 43
Opening designs 46
Creating new designs 47
Displaying the grid 49
Measuring distances on screen 50
Selecting machine formats 51
Saving designs 51
Entering security codes 53
Viewing information online 56
Chapter 4 Viewing Designs 59
Design viewing modes 60
Design viewing settings 64
Viewing colorways 70
Viewing design information 71
V7 ES Designer User Manual iii

Chapter 5 Checking Designs and Selecting Objects 79
Checking the stitching sequence 79
Selecting all objects in a design 84
Selecting objects with Select Object 85
Selecting a range of objects 89
Selecting objects with Polygon Select/Line Select 90
Selecting related objects 91
Deselecting objects 93
Selecting and manipulating objects with the Object List 94
Selecting and manipulating color blocks 95
PART II DIGITIZING ESSENTIALS

Chapter 6 Manual Digitizing 101
Using input methods 101
Digitizing individual stitches 104
Digitizing lines 105
Digitizing columns of fixed width 110
Digitizing columns of varying width 115
Digitizing asymmetrical columns of turning stitches 116
Digitizing complex shapes with fixed stitch angles 118
Chapter 7 Fill Stitches 123
Selecting fill stitches 123
Creating fills with Satin stitch 124
Creating fills with Tatami stitch 131
Creating fills with Zigzag stitch 135
Creating fills with E Stitch 136
Chapter 8 Object Properties, Styles and Templates 139
Applying and managing object properties 140
Applying and managing styles 144
Managing design templates 151
Chapter 9 Colorways and Thread Charts 157
Changing thread colors 158
Using multiple colorways 160
Matching thread colors 168
Changing backgrounds and display settings 171
Creating your own thread charts 175
Modifying thread charts 179
Chapter 10 Connecting Embroidery Objects 185
Types of connectors 185
iv Contents V7
Using automatic connectors 186
Adding connectors manually 193
Adjusting travel run stitch length 197
PART III DIGITIZING WITH ARTWORK

Chapter 11 Digitizing with Backdrops 201
Choosing artwork for digitizing 202
Scanning artwork into ES 205
Digitizing with bitmap images 209
Digitizing with vector drawings 213
Viewing and hiding backdrops 219
Chapter 12 Processing Images for Automatic Digitizing 223
Preparing images for automatic digitizing 223
Cropping images for digitizing 229
Preparing non-outlined images 231
Preparing outlined images 234
Editing images in a graphics package 237
Chapter 13 Semi-Automatic Digitizing 239
Creating drawings in ES 240
Digitizing open, closed and complex shapes 244
Digitizing shapes automatically with Point & Stitch™ 250
Chapter 14 Automatic Digitizing 257
Automatic digitizing with Smart Design 257
Creating embroidery designs from grayscale images 265
PART IV MODIFYING DESIGNS

Chapter 15 Combining and Resequencing Objects 271
Combining objects and designs 271
Splitting objects 276
Resequencing embroidery objects 277
Automatic branching 281
Chapter 16 Arranging and Transforming Objects 289
Positioning objects 289
Locking and grouping objects 291
Aligning and spacing objects 293
Scaling objects 294
V7 ES Designer User Manual v

Rotating objects 299
Skewing objects 303
Mirroring objects 304
Chapter 17 Reshaping and Editing Objects 309
Reshaping objects 309
Reshaping circle, star and ring objects 314
Converting between object types 316
Adjusting stitch angles 320
Changing entry and exit points 324
Keeping or omitting the last stitch 325
Chapter 18 Editing Stitches and Machine Functions 327
Selecting stitches 327
Editing stitches 330
Converting selected stitches to objects 333
Editing machine functions 334
Editing stitches and functions with Stitch List 340
PART V ADVANCED DIGITIZING

Chapter 19 Improving Stitch Quality 349
Strengthening and stabilizing with automatic underlays 349
Compensating for fabric stretch 357
Reversing stitch direction 359
Reducing stitch bunching with stitch shortening 360
Reducing stitch bunching with fractional spacing 364
Adjusting stitch density 366
Removing small stitches automatically 371
Controlling corner stitching 372
Splitting long stitches with Auto Split 376
Preserving long stitches with Auto Jump 378
Setting automatic start and end points 381
Chapter 20 Specialized Digitizing Techniques 383
Reinforcing outlines 383
Digitizing circles, stars and rings 384
Creating smooth joins 388
Creating outlines and filling holes 390
Digitizing for appliqué 393
Digitizing sequins and boring holes 400
Chapter 21 Artistic Stitch Effects 405
Creating jagged edges 405
Creating accordion spacing effects 408
vi Contents V7
Creating Trapunto stitching effects 411
Creating contoured stitch effects 413
Creating curved fills with Florentine Effect 419
Creating curved fills with Liquid Effect 423
Chapter 22 Textured Fills 427
Creating textures with Tatami offsets 427
Creating textures with Program Split 433
Creating textures with Flexi Split 448
Creating textures with User Defined Split 451
Chapter 23 Motif Runs and Fills 457
Selecting and inserting motifs 457
Rotating, mirroring and scaling motifs 459
Managing motifs 461
Creating motif runs 466
Creating motif fills 472
Creating 3D effects with motif fills 481
PART VI EMBROIDERY LETTERING

Chapter 24 Lettering Essentials 489
Adding lettering to embroidery designs 489
Editing lettering objects 493
Formatting lettering 495
Scaling lettering 498
Adjusting letter spacing 502
Chapter 25 Adjusting Lettering Layout 507
Transforming lettering objects 507
Adjusting individual letters 510
Applying lettering baselines 515
Adjusting baselines 522
Chapter 26 Adjusting Lettering Stitch Settings 531
Applying different stitch types to lettering objects 531
Applying Smart Corners to lettering objects 535
Adjusting lettering stitch angles 537
Adjusting lettering stitching sequence 538
Chapter 27 Special Lettering Features 543
Adding special characters and symbols 543
Creating special effects with envelopes 545
Creating borders around lettering 549
V7 ES Designer User Manual vii

Creating designs with multiple names 550
Chapter 28 Custom Alphabets 561
Creating custom alphabets 561
Modifying custom alphabets 569
Converting TrueType fonts to embroidery fonts 573
Merging alphabets 580
PART VII DESIGN PROCESSING & ENCODING

Chapter 29 Processing Design Files 585
Embroidery design formats 585
Opening stitch files in ES 589
Processing Melco CND outline files 602
Color merging Melco CND files 607
Reassigning colors to stitch files 610
Chapter 30 Changing Machine Formats 615
Selecting machine formats 615
Outputting to different machine formats 616
Creating custom machine formats 617
Modifying standard machine formats 619
Checking control commands 620
Removing custom machine formats 621
Adjusting standard machine format settings 621
Adjusting advanced machine format settings 626
Chapter 31 Outputting Designs 633
Creating production worksheets 634
Sending designs as email attachments 642
Outputting designs as drawings and images 642
Cutting appliqué shapes 645
Stitching designs with Stitch Manager 647
Chapter 32 Embroidery Disks and Paper Tapes 649
Storing designs on embroidery disk 649
Storing designs on paper tape 656
PART VIII DESIGN MANAGEMENT

Chapter 33 ES Design Explorer 663
Starting and setting up ES Design Explorer 663
viii Contents V7
Viewing designs 668
Renaming, adding and deleting folders 671
Selecting designs 672
Limiting file types displayed 674
Sorting files 675
Converting design file types 677
Opening designs from Design Explorer 678
Cutting, copying, pasting, and deleting designs 680
Stitching from Design Explorer 682
Punching from Design Explorer 682
Printing, publishing and exporting 683
Reconnecting Design Explorer to ES 690
PART IX HARDWARE & SOFTWARE SETUP

Chapter 34 Setting up Hardware 693
Peripheral device connection settings 693
Setting up digitizing tablets 697
Setting up embroidery machines 701
Setting up paper tape readers and punches 704
Setting up scanners 707
Calibrating the monitor 708
Chapter 35 Using Digitizing Tablets 711
Registering the menu chart 711
Preparing an enlargement drawing 713
Registering an enlargement drawing 714
Changing the drawing scale 716
Shifting an enlargement drawing 716
Using a digitizing puck 718
Selecting preset spacing values 719
Chapter 36 Changing System Settings 721
Setting design element view options 721
Setting TrueView™ options 722
Setting grid options 724
Setting Auto Scroll options 726
Setting automatic save and backup options 727
Setting the pointer position display 727
Setting paste position options 729
Setting other general options 731
V7 ES Designer User Manual ix

PART X APPENDICES & INDEX
Appendix A Product Differentiation Table 735
ES V7 Product Differentiation Table 736
Appendix B Quick Reference Guide 751
ES Quick Reference Guide 753
Appendix C Menu Chart 755
Menu Chart Key 759
Appendix D Supported File and Disk Formats 765
Supported embroidery file formats 765
Comparison of outline and stitch format information 767
Melco CND format 768
Wilcom INP format 773
Gunold PCH format 775
Supported embroidery disk formats 777
Supported paper tape formats 778
Supported Schiffli formats 778
Supported drawing and image formats 779
Appendix E Standard Alphabets 781
Appendix F Motif Samples 795
Single motifs 795
Two-part motifs 804
Appendix G Program Split Samples 807
Appendix H Troubleshooting 813
Solving problems in ES 813
Reverting to factory settings 813
Testing embroidery disks 814
Checking digitizing tablet connections 816
Recommended PC specifications 818
Unrecoverable errors 820
Security device messages 821
General problems 826
Index 831
x Contents V7
Chapter 1
Introduction
Welcome to ES, the leading software application for embroidery industry design
and manufacture. ES software is a Windows-based product incorporating many
of the conventions with which most PC users are already familiar.
First-time users
If you are new to ES, you’ll be pleased with its flexible digitizing capabilities, the
ease with which you can create and edit designs, and how simple it is to add or
create your own lettering. However, before you begin working with the product,
read the Embroidery Digitizing Process on page 9. This chapter presents an
overview of the basic concepts of digitizing with ES and provides you with
important guidelines on how to use this software to achieve the best results.
You should also familiarize yourself with Basic Procedures on page 41. Here you
will learn how to start the application, create or open a design, print production
worksheets, and how to use some of the essential tools and features that ES
provides. The chapter Viewing Designs on page 59 also provides an overview of
the many design viewing modes in ES.
Upgrade users
ES is a greatly-enhanced version of our earlier products. It has many new and
expanded features which make digitizing easier and more efficient. This manual
contains revised step-by-step instructions that show you how these features are
incorporated. As many of the digitizing methods are more advanced, read the
chapter Embroider y Digitizing Process on page 9 to familiarize yourself quickly
with the scope of these improvements.
Access to the ES software is controlled by a security device installed in or
connected to the computer. See the separate Installation Instructions for more
details. Upgrades can be made easily by entering new access codes or replacing
the external security device (‘dongle’). See Entering security codes on page 53 for
details. The software now provides improved security protection with new
dongles and HASP drivers.
V7 ES Designer User Manual 1

ES Designer product levels
There are several product models of the software, some of which have optional
extra capabilities. The ES product levels are described in the following table. For
further details, see Product Differentiation Table on page 735.
Warning The product levels and optional extra capabilities are controlled by the
security device. This device is the most important and valuable part of your
system and should be treated with care.
Product Overview
ES21L ES21L is a professional lettering system which can be used to create

and edit lettering in any design. Choose from a large range of standard
and optional alphabets which include full character sets and European
letters. You can produce monograms or use the advanced Envelope
option to distort letters. You can also scale designs and edit individual
stitches to fine-tune your designs to a perfect finish.
ES21E ES21E has all the versatility of ES21L, but adds the functionality of
editing. You can modify a design or combine different designs in whole
or part. Design elements can be reshaped and transformed
interactively on-screen. You can change stitch types between Satin,
Zigzag and Tatami as well as stitch density of parts of the design. You
can also resequence design elements.
ES21D ES21D professional digitizing system has all the editing and lettering
features provided in ES21E plus powerful digitizing features. You can
create embroidery shapes with turning or parallel stitching using the
same tools which professional designers use. You can use scanned or
imported artwork to digitize designs on-screen, or use a digitizing
tablet.
ES21D provides a number of powerful automatic and semi-automatic
digitizing features. Convert True Type Font lets you change any
Windows TrueType Font to an embroidery alphabet. You can create
your own alphabets with ease using User Defined Alphabets.
Auto Trace lets you convert scanned artwork to drawing objects. You
can then convert them to embroidery objects using one of the input
methods. The Point & Stitch™ tools provide everything necessary to
digitize shapes in bitmap images automatically without using manual
input methods. Smart Design takes an existing bitmap image and
generates stitches in three simple steps. With Photo Flash, you can
create automatic line stitching from photographs.
Applique is made easy with Automatic Applique.
2 Chapter 1 Introduction V7
Product Overview
ES45 ES45 is a popular and powerful production digitizing system.

It has a wide range of digitizing tools and stitch types along with extra
features such as Florentine Effect, Trapunto and the ability to save
your favorite settings. With ES45 you can digitize almost anything. You
can use scanned or imported artwork to digitize designs on-screen, or
use a digitizing tablet.
ES65 ES65 is the top level product for digitizing and editing. It has all the
features of ES45 and more. It has specialized digitizing tools for circles,
rings and stars, plus a wide range of artistic, decorative fill patterns that
only come with ES65.
ES documentation
ES documentation includes:
! User Manual
! Online Help
! Installation Instructions
! Quick Reference Guide
! Digitizer Menu Chart
User Manual
The User Manual is produced in both printed and online form. The online
version is accessed from the Help menu. The printed manual is complete with
hundreds of step-by-step instructions as well as illustrations and screen dumps to
guide you through the digitizing process.
Because you can pick from a range of ES product levels, as well as add options
and upgrades as your business grows, everything you need to know about your
system is contained in a single User Manual.
The first four chapters in this manual (including this one) contain general
information that should be of interest to all readers. To help you identify the
information specific to your ES model and any options you may have selected,
see Product Differentiation Table on page 735.
Online Help
Online Help is accessed from the Help menu in ES.

Installation Instructions
The Installation Instructions explain how to set up ES on your system.
Quick Reference Guide

The Quick Reference Guide lists all keyboard shortcuts available in ES. This
guide can be kept near your computer as a convenient reference. You can also
find these keyboard shortcuts listed in Quick Reference Guide on page 751.
Digitizer Menu Chart

The menu chart needs to be placed on your digitizer tablet if you are using a
digitizer. The menu chart contains command icons which you select by clicking
the appropriate box with the digitizer puck. A copy of the menu chart is included
in Quick Reference Guide on page 751.
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 Embroider y 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 ES. The screen images provided are
intended to be representations, not exact duplicates of the layouts generated by
the software.
Keyboard conventions
Instruction Symbol Action
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.
Instruction Symbol Action
Click OK [ or j Click OK with the mouse or press the Enter key

on the keyboard to complete the action.
Shortcut Description
C+S While holding down the Control key (Ctrl),

press the lowercase letter S key.
C+V+H While holding down the Control key (Ctrl),

press Shift and the H key.
For a complete list of keyboard shortcuts, refer to the Quick Reference Guide.

PART I
BASICS

8 V7
Chapter 2
Embroidery Digitizing Process
ES provides embroiderers with a fast, flexible way for creating 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. ES lets you modify designs at any stage, or
adapt existing designs to different fabrics, and different machines.
The ES embroidery digitizing process will consist of some or all of the following
stages:
1 Planning the design
2 Automatic digitizing
3 Manual digitizing
4 Improving design quality
5 Modifying the design
6 Checking and outputting the design
Planning the design

Traditional digitizing is a ‘linear’ process — you plan the design, then ‘digitize’ it
from start to end in one sequence. This is still and always will be the most efficient
way of creating a design. Plan your design thoroughly, go through each stage in
the design process thinking carefully about how it will affect the final design.
Characteristics of good embroidery design

Good embroidery quality starts with the design. You then need a good quality
machine to stitch it out. But even that is not enough if you do not use the correct
fabric, threads, backings, tensions, and so on. Keep the following points in mind
when planning your design.

design looks good — details are clearly
shapes, colors, balance defined
stitches are angled to

match shapes stitches are neat,
smooth and even
shapes are filled with
correct fill and outline shapes are stitched
stitches correctly — no
unwanted gaps
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.
! The fabric has not puckered around the stitched areas.
! The design is free of loose ends.
TipWhen you start on a new design, save it straight away with a meaningful
name. See Saving designs on page 51 for details.
Choosing artwork for embroidery

Artwork in both bitmap and vector formats can be inserted, pasted or scanned
into ES for use as a digitizing backdrop. To create good quality embroidery, you
need to choose suitable artwork. For both manual and automatic digitizing
purposes, ‘clean’ images with a limited number of solid colors and well-defined
outlines — such as clipart — work best. See Preparing images for automatic
digitizing on page 223 for details.
clipart — clean image with clean image with well-defined color scanned artwork from a book
well-defined outlines blocks
10 Chapter 2 Embroidery Digitizing Process V7

Unless you are an experienced digitizer, do not use artwork which is complicated,
has lots of fine detail and small shapes, or relies on shading. Possible sources for
good embroidery design artwork include:
! books of embroidery patterns and children’s story books
! printed table cloths or tea towels
! business cards, post cards and wrapping paper.
! clip art libraries of your word processing or graphics program
! internet or CD clipart libraries
! samples in the ES Designs folder
! original artwork — e.g. children’s drawings
Note Be sure to check the copyright for any images you do not create yourself. If
unsure, contact the company and seek permission to use.
Scanning and editing artwork

Artwork that is not in digital format needs to be scanned correctly to produce
good quality images. See Scanning artwork into ES on page 205 for details.
scanned image —
needs editing to
remove background
and improve outlines
You may also need to clean up complex images in a graphics program before
inserting them into ES — e.g. to eliminate backgrounds, flood-fill solid areas with
solid color, add or reinforce outlines, or close gaps. See Editing images in a
graphics package on page 237 for details.

section cut and areas recolored
background and outlines
removed — ready improved — ready
for manual for automatic
digitizing digitizing
Preparing to digitize
Before you start digitizing, you need to analyze and plan design shapes and
stitching sequence carefully.
Design shapes
Design shapes need to be clearly defined to make them easy to embroider and
compensate for pull/push effects on the fabric, gaps and stitch bunching when
stitching out. The easiest shapes to embroider have a relatively constant width,
with smooth edges, no sharp turns and no small, protruding details.
Close gaps in artwork

before or during
digitizing
Design sequence
The design sequence is the order in which objects are created and therefore the
order in which they are stitched out. You can change the sequence of objects in
the design to improve sewing — for example, to minimize color changes. Details
should be stitched out last.

1
2 6
details last
3 4
Stitch types
Decide which stitch types you will use for each design shape. While you normally
set stitch type, length, spacing and effects before digitizing each shape, ES lets
you change them at any stage. See Stitch types on page 17 for details.
Run outlines
Tatami large
shapes
Satin narrow
shapes
Enlargement drawing
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 on page 711
for details.

Design size
Decide on the design size. If you are using a backdrop to digitize on screen, insert
it, then scale it to the required size. It is best, however, to scan images at
approximately the right size before loading them into ES. Scaling, rotating or
skewing them electronically can cause them to break up or ‘pixelate’.
If you are using a digitizer tablet, enter the drawing scale when you register the
enlargement drawing. See Registering an enlargement drawing on page 714 for
details.
Manual digitizing
Manual digitizing allows you to build designs from basic shapes or ‘embroidery
objects’. Different tools are suited to creating different shapes or design elements.
Once you have selected a tool, you ‘digitize’ by marking reference points along an
outline. See Manual Digitizing on page 101 for details.
Embroidery objects
Designs created in ES are composed of embroidery ‘objects’ which have their
own unique sets of ‘properties’, including shape, stitch settings and color. These
properties are stored with each object and can be modified at any time. The most
important property of an embroidery object is its stitch type.
Stitches can be modified at the object level — e.g. by changing the stitch type.
Additionally, individual stitch edits can be made, although these should be
restricted to fine-tuning.
Generating stitches
With ES designs, stitches are automatically generated from design outlines and
properties. You can choose to generate stitches as you digitize or after you have
defined the outlines. If stitch settings or design outlines are changed, stitches are

automatically re-generated. This means you can scale, transform and reshape ES
designs without affecting stitch density or quality. The modified design has the
same stitch quality as the original, no matter how many changes are made.
Templates
When you start a new design, ES uses the default settings or ‘values’ stored in the
template. Most designs use the ‘Normal’ template, but you can create and use
your own. You can store custom object properties in a template, such as favorite
stitch or lettering settings. See Creating new designs on page 47 for details.
Input methods
Depending on the shape and stitching you require, you use different ‘input
methods’ or ‘tools’ to enter ‘reference points’. Input methods determine whether
stitching is an outline, a fill of parallel stitches, or a column of curving stitches that
follow the shape. Tools include Manual, Run, Input A, Input B, Input C, and
Complex Fill.
large irregular area digitized with Input B
narrow columns digitized with Input A
outline digitized with Run
narrow columns digitized with Input A
large area digitized with Complex Fill
irregular column digitized with Input A
Manual
Digitize individual stitches with the Manual input method. You can digitize 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. See
Digitizing individual stitches on page 104 for details.

Note Manual stitches are not well suited to scaling and transforming actions as
the stitch count is not recalculated automatically. Use them sparingly, for example
to add a few stitches to a finished design.
Run
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 three (or more) times for a thicker line. See Digitizing lines on
page 105 for details.
Input A
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. See Digitizing columns of var ying width on page 115
for details.
Input A — use evenly spaced

angles for a smooth turning fill
Input B
Use the Input B tool to digitize shapes where one side is different from the other,
especially where one side needs more reference points than the other. Stitches
turn evenly throughout the entire shape. See Digitizing asymmetrical columns of
turning stitches on page 116 for details.
Input B — create shapes with

turning stitches

Input C
Use Input C to digitize columns of constant 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. See
Digitizing columns of fixed width on page 110 for details.
V
Input C — create columns

of constant width
Complex Fill
Use the Complex Fill tool to digitize large and irregular shapes. Most shapes can
be digitized with this tool. By digitizing boundaries within Complex Fill objects,
you can create filled objects with holes. You can also create new objects from
boundaries in Complex Fill objects. See Digitizing complex shapes with fixed
stitch angles on page 118 for details.
Complex Fill — create

large irregular shapes
Stitch types
The most important property of an embroidery object is its stitch type. Different
stitch types are suited to different shapes. There are three basic types available for
lockstitch embroidery machines — Run, Satin and Tatami. Other stitch types are
variants of these. See Fill Stitches on page 123 for details.
Run stitch Tatami stitch Satin stitch

The stitch type you use depends on the object shape, size and the effect you want
to achieve.
Run is both an input tool and a stitch type. Use Run and Triple Run to digitize
lines of single or triple run stitching. See Digitizing lines on page 105 for details.
Satin stitch is well suited to stitching narrow columns
and shapes, where the length of each stitch forms the
width of the column. Satin stitch creates a glossy,
high-quality effect. Triple Satin is often used for folk
designs to mimic handmade embroidery that uses
thicker thread. See Creating fills with Satin stitch on
page 124 for details. Triple Satin
Tatami stitch is suitable for filling large, irregular

design shapes to give the appearance of a solid field of stitching. See Creating fills
with Tatami stitch on page 131 for details. With Tatami fills you can specify how
each row is offset in order to create patterns formed by needle penetrations. See
Creating textures with Tatami offsets on page 427 for details.
Zigzag stitch is similar to Satin but is generally
used where fewer stitches are required. See
Creating fills with Zigzag stitch on page 135 for
details. Zigzag stitch
E Stitch is used to create long, narrow columns

with a ‘comb’ effect. It is often used to stitch
borders around appliqués. Usually, E stitches are
more open than Satin or Zigzag stitches. See E Stitch
Creating fills with E Stitch on page 136 for
details.
Thread colors
You need to decide how many different thread colors to use and the sequence in
which they will be stitched. When you digitize, you select thread colors from the
color palette. The color scheme or ‘colorway’ you use represents the actual thread
colors in which the design will be stitched. See Colorways and Thread Charts on
Each color change slows the machine and requires stops and thread trims. This
in turn affects production time and cost. Wherever possible, simplify the design
to reduce the number of color changes. Also try to place objects of the same color
together in the stitching sequence.

First color
Second color
Third color
Fourth color
Digitizing objects
When you digitize objects, consider the following:
! Should large, irregular shapes be divided into smaller regular shapes?
! Which shapes are at the back? These should be digitized first.
! Does the stitching sequence optimize the number and length of connectors?
Digitizing irregular shapes

Digitize large, irregular shapes by dividing them into several smaller, regular
shapes. These are easier to fill with stitches with different colors or stitch angles.
hat digitized in two parts

using different colors
and stitch angles
Some shapes which are drawn separately on the artwork can be digitized as one
object if the stitch angle remains the same. This saves time, ensures uniform
stitching and prevents unwanted gaps.
body and cape digitized

as one object for uniform
stitching

Tip Even where different or turning stitch angles are required, you can still treat
combined shapes as a single embroidery object. With Complex Fill, Input A and
Input B objects you can add multiple stitch angles with the Stitch Angles and
adjust stitch angles with the Reshape Object tool. See Adjusting stitch angles on
Setting stitching sequence

When digitizing shapes in a design, you are not only describing the shapes but
also giving stitching instructions to the machine. The machine will stitch the
shapes in the order you digitize them. The stitching sequence affects the
production speed as well as the number and length of connecting stitches. Plan
the stitching sequence you require, and digitize objects in that order. A design may
have several layers. Always start with the shapes at the back and work your way
forward, layer by layer.
First layer
Second layer
Although it is more efficient to digitize objects in the correct sequence, you can
resequence at any stage by cutting and pasting, by color, or by object. You can
also combine objects and designs using copying and pasting, duplicating, and
inserting techniques. See Combining and Resequencing Objects on page 271 for
details.
Connectors
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. Connectors automatically adjust every time
an object is moved, scaled or transformed in any way.
Within a color layer, always aim to digitize shapes in a
sequence which minimizes connecting stitches.
You can also change entry and exit points to minimize
connectors. See Changing entr y and exit points on
dashed lines show
connectors

You can ‘nest’ an object in the middle of another object to prevent long
connectors being generated. Nesting lets you create or insert an object at an exact
point of the stitching sequence. See Nesting objects on page 274 for details.
If you use the automatic features as much as possible, you will maximize the
productivity and flexibility of ES during editing and scaling of designs. For
example, if the design is scaled up, connectors may become long enough to
trigger an automatic trim, tie in and tie off. See Connecting Embroider y Objects on
Viewing designs
You can 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. When doing
detailed work, you can pan across the whole design instead of scrolling, or quickly
change between the current and previous views.
Show or hide various design elements with the available display settings. You can
show or hide object outlines, needle penetration points, connectors, stitch angles,
machine function symbols and the stitches themselves.
connectors and machine

function symbols
displayed
needle points
displayed
Automatic digitizing
With your artwork inserted into the design window as a backdrop, you can use
ES’ automatic digitizing features, if available in your product level, in any one of
the following ways:
! Creating ‘drawing objects’ from scanned images with Auto Trace and convert
them to embroidery objects using manual input methods.
See Digitizing open, closed and complex shapes on page 244 for details.
! Digitize shapes automatically with Point & Stitch™.
See Digitizing shapes automatically with Point & Stitch™ on page 250 for
details.

! Digitize complete images automatically with Smart Design.
See Automatic digitiz ing with Smart Design on page 257 for details.
! Digitize photographs with Photo Flash.
See Creating embroidery designs from grayscale images on page 265 for details.
Preparing for automatic digitizing

Before using artwork for automatic digitizing, you must prepare it using the ES
artwork preparation tools. These tools allow you to:
! Reduce the number of colors and convert colored areas to single color blocks.
! Add or emphasize outlines.
! Eliminate unnecessary detail.
! Crop sections and eliminate backgrounds.
See Preparing images for automatic digitizing on page 223 for details.
image before image after

preparation preparation
Digitizing shapes automatically with Auto Trace

The Auto Trace feature lets you convert scanned artwork to drawing objects. You
can then convert them to embroidery objects using manual input methods, Input
A, Input C, and Complex Fill. See Digitizing open, closed and complex shapes on

vector drawing
converted to embroidery
design
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. See Digitizing
shapes automatically with Point & Stitch™ on page 250 for details.
digitized with Point &

Stitch™ tools
Matching palette colors to an image

Use the Match to Palette tool to find the nearest match between a selected image
color block and a palette color. See Matching palette colors to an image on

original image matched to palette default colors used
Digitizing complete images automatically with Smart

Design
In essence, creating an embroidery design with Smart Design is simply a matter
of selecting the image you want to convert, and clicking the Smart Design tool.
There are, however, many settings you can adjust to optimize the conversion
process for a particular image.
Color and fill settings

You can choose which colors to digitize and which to omit.
original image background color omitted all colors omitted except black
You can adjust object recognition settings for any color in the design you identify
as a ‘detail’. A detail may be an outline, a pickout, or a small area of the design you
want to be stitched out last.

detail color
red
detail color
black
Smart Design also lets you adjust object recognition settings for fill colors, giving
you control over stitch types, stitch angles, and sequencing settings. See
Automatic Digitizing on page 257 for details.
Automatic digitizing with Photo Flash

Use the Photo Flash feature to create embroidery from photographs and other
grayscale images. Grayscale images are made up of different shades of gray pixels.
You can usually select grayscale as an option when you scan or save a bitmap
image.
Photo Flash designs consist of rows of Satin or Contour stitches with varied
spacing settings. The effect resembles the output of a line printer. See Creating
embroider y designs from grayscale images on page 265 for details.

Improving design quality
When you have digitized your design you can select any of the filled objects and
add one or more of the artistic stitch effects to create textured and patterned fill
stitching.
Improving stitch quality

Before you start to digitize, think about the fabrics and shapes within the design.
You may need to compensate for pull to make the shapes stitch correctly or the
fabric may need stabilizing using underlay stitching. Use automatic underlay, pull
compensation, stitch shortening, fractional spacing and Smart Corners to achieve
smooth, even placement of stitches, and eliminate gaps in your design.
Using automatic underlays

Underlay stitches are laid down before the fill stitching to stabilize the fabric or
to stop the threads sinking into the fabric. The best type of underlay depends on
the fabric, the size of the shape, and the type of fill stitch used. Larger areas and
stretchy fabrics such as knits and pique need more underlay than smaller areas
and firm fabrics such as drill or leather. See Strengthening and stabilizing with
automatic underlays on page 349 for details.
with underlay without underlay
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. Automatic pull
compensation counters this effect by ‘overstitching’ outlines of filled shapes on
the sides where the needle penetrates. See Compensating for fabric stretch on

Pull Compensation OFF Pull Compensation ON
Experienced digitizers can also manually compensate for pull by overlapping

objects as they digitize.
scarf digitized to overlap face and body
Reducing stitch bunching on curves and corners

You can also reduce stitch bunching with fractional spacing or stitch shortening.
Sharp outside curves may cause bunching along the inside edge. This may cause
thread breakage when stitching out. The longer the stitches, the worse the
problem.
Fractional shortening ON
Spacing OFF
Fractional
Spacing ON shortening OFF
Apply fractional spacing to curved shapes to even out the stitch density along the
outside and inside edges. Apply stitch shortening to curved objects to decrease
stitch density on the inside edge. See Reducing stitch bunching with stitch
shortening on page 360 and Reducing stitch bunching with fractional spacing on
Reducing stitch bunching at sharp points

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. See Controlling
corner stitching on page 372 for details.
Smart Corners OFF Cap Corner Mitre Corner
Adjusting stitch density

Use the Stitch Processor to adjust stitch density with or without scaling. This
allows you to reduce the number of stitches in a design when using different
fabrics or threads, or to make production cheaper. See Adjusting stitch density on
100%: 5195 stitches 20%: 987 stitches
Splitting or preserving long stitches

You can apply Auto Split to break long stitches into shorter ones and distribute
the needle penetrations randomly so that they do not form a line in the middle of
the shape.
without Auto Split with Auto Split
You can preserve long stitches in an object by splitting them into a series of jumps
with Auto Jump. If a stitch exceeds the machine’s maximum frame movement,

and Auto Jump is not selected, the stitch is broken into smaller stitches. This can
affect the appearance of the embroidery, especially Satin fills.
without Auto Jump with Auto Jump
See Splitting long stitches with Auto Split on page 376 and Splitting long stitches
with Auto Split on page 376 for details.
Specialized digitizing techniques

ES 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. There are also special methods for adding
outlines, filling holes, and reinforcing outlines. If your machine supports boring
or sequining, you can use ES to digitize these effects as well. You can also extract
appliqué shapes from a design to output to a cutter or to a separate file. You can
also use Cross Stitch to fill large areas with low stitch counts.
Digitizing circles, stars and rings

ES 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 circle effects. You can use any fill stitch type with circles and ovals although
Contour stitch only looks effective with long, narrow ovals. See Digitizing circles,
stars and rings on page 384 for details.
Circle with Program Split Oval with Contour

Star
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.

Digitizing outlines and filling holes
ES provides tools for quickly creating outlines and filled areas based on existing
boundaries. Use Offset Object to create outlines based on the boundaries of a
selected object. Use Filled Holes to create new objects from boundaries in
Complex Fill objects. See Creating outlines and filling holes on page 390 for
details.
Motif Run outline filled hole
Reinforcing outlines
Use Backtrack and Repeat to reinforce outlines. Backtrack stitches in the reverse
direction and is 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. See Reinforcing outlines on page 383 for
details.
Digitizing sequins and boring holes

Some 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. You need to plan the stitching sequence carefully in order to
minimize unnecessary stitches.
Adding appliqué
You can extract appliqué shapes from a design to
output to a cutter or to a separate file. Up to three
layers of stitching — guide run, tack and cover — are
generated for the appliqué object, depending on the
current Auto Appliqué settings. See Digitizing for
appliqué on page 393 and Cutting appliqué shapes on

Adding cross stitch
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. Cross stitch is sometimes combined with
appliqué.
Artistic stitch effects and textured fills

ES provides special tools to create textured effects from needle penetrations.
Jagged Edge, Trapunto and Accordion Spacing

You can create jagged edge effects or use Trapunto or Accordion Spacing to create
open stitch or shaded effects. Use Jag ged Edge to create rough edges on objects,
to create shading effects, or to imitate fur or other fluffy textures in your design.
See Creating jag ged edges on page 405 and Creating accordion spacing effects on
Complex
ComplexFill
Fillwith
withTrapunto
Trapunto circles with Accordion Jagged Edge with Tatami
effect
effect Spacing backstitch
Contour stitch
Contour is a curved fill stitch type — stitches follow the contours of a shape,
creating a curved, light and shade effect. There are two types — Standard and
Spiral. See Creating contoured stitch effects on page 413 for details.

Contour spiral
Curved fills
With Florentine Effect you can curve Complex Fill
along a digitized line to create flowing or curved stitch
effects. See Creating curved fills with Florentine Effect
on page 419 for details.
Tatami offsets
The Tatami offset default settings are designed to
create a needle penetration pattern or texture in the Florentine Effect
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. See Creating textures with
Tatami offsets on page 427 for details.
Tatami Offset Partition Lines Random Factor
Program Split
Program Split is a decorative fill stitch in which the needle penetrations form a
tiled pattern. Select an existing pattern or create your own. See Creating textures
with Program Split on page 433 for details.

Flexi Split and User Defined Splits
Flexi Split is a decorative effect where one or more lines of a Program Split
pattern is used in the object fill. The pattern follows the stitch angle and may be
scaled to fit the width of the object. User Defined Split lets you add detail to filled
objects by digitizing lines of needle penetrations called ‘split lines’. See Creating
textures with Flexi Split on page 448 and Creating textures with User Defined
Split on page 451 for details.
User Defined
Split
Flexi Split
Motif runs and fills

You can use motifs such as hearts, leaves or border patterns to create ornamental
runs and textured fills. You can 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. See Motif Runs and Fills on page 457 for details.

Modifying designs
When you have digitized your design you can modify it as a whole, edit individual
objects within the design and even individual or blocks of stitches as well as
machine functions.
Editing designs
ES lets you add to designs quickly by duplicating and copying existing objects. It
also lets you combine designs by inserting one file into another.
Stitching sequence usually occurs in the order in which the design was digitized.
However, you can change this by a variety of methods. See Combining and
Resequencing Objects on page 271 for details.
Use Colorways to preview a design in different colors on different fabrics, define
multiple color schemes and switch between them. For each colorway you define,
you can use pre-defined colors from commercial thread charts or define your
own. See Colorways and Thread Charts on page 157 for details.
Editing objects
You can change the position, size and orientation of objects in a design by
moving, scaling and transforming them. You can align selected objects to the left,
right, top, bottom or center and set spacing to be consistent between selected
objects. Group objects together to apply a change to them all at once, or lock

them to avoid unintentional modification. See Arranging and Transforming
Objects on page 289 for details.
You can split embroidery objects that were created with the Input A, Input B, and
Input C tools, if Satin or Tatami, or Program Split is the selected stitch type. Run
objects may also be split but Complex Fill objects cannot. See Splitting objects on
ES lets you reshape objects with control points, reshape circle, star and ring
objects, convert object types, adjust stitch angles — including set multiple stitch
angles — as well as change entry and exit points. See Reshaping and Editing
Objects on page 309 for details.
After digitizing, you can convert objects digitized with Run and Triple Run into
Input C and back again, convert objects from Complex Fill to Input A or B and
back. See Converting between object types on page 316 for details.
With Complex Fill, Input A and Input B objects you can set a stitch angle for the
entire object or you can add multiple stitch angles with the Stitch Angles tool. You
cannot change the stitch angle of Input C objects as the stitches automatically
turn to follow the shape. See Adjusting stitch angles on page 320 for details.
Complex Fill with 0°

stitch angle

stitch angle

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.
Editing stitches
You can use the Stitch Edit tool to select single
stitches, or range of stitches. You can move
individual and multiple stitches. You can add
stitches to fill gaps and delete individual stitches.
Inserted stitches will be lost if the object’s stitches
are regenerated. Wherever possible, always edit
object properties rather than individual stitches.
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 Removing small stitches automatically on
You can use the Stitch List to help locate and select stitches for editing. When
you select a stitch in the list, that stitch is also selected in your design for editing.
Using the Stitch List, you can edit the coordinates, and therefore position, of
individual stitches. See Editing Stitches and Machine Functions on page 327 for
details.
Embroidery lettering
You can add lettering to designs quickly and easily then edit directly on-screen.
You can apply formatting to lettering objects in the same way as a word
processor, including italics, bolding, and right/left justification. See Lettering
Essentials on page 489 and Adjusting Lettering Layout on page 507 for details.

You can apply horizontal, vertical, and curved baselines to your lettering objects.
Using ‘envelopes’ you can also distort lettering shapes. See Special Lettering
Features on page 543 for details.
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.
See Creating designs with multiple names on page 550 for details.
You can create custom alphabets made up of letters, numbers or symbols and you
can create new alphabets by converting TrueType fonts. See Custom Alphabets
Checking designs
You can check a design’s stitching sequence in ES by ‘traveling’ through it by
stitches, segments, colors, machine functions or objects. You can also check the
stitching sequence by slowly redrawing your design on screen. As you check the
sequence, ES simulates stitching out, changing stitches from black to their
allocated thread color as they are ‘stitched’. See Checking the stitching sequence on

half-stitched
design
The Object List is a sequential list providing an easy way to select objects in
designs and access their properties. You can use it to group and ungroup, lock and
unlock, and show and hide objects. Use it also to cut, copy and paste, and
resequence selected objects. See Selecting and manipulating objects with the Object
List on page 94 for details.
blue border
appears around
selected object
The Color List provides a sequential list of objects grouped by color. Consecutive
objects of the same color form a single ‘color block’. Use the Color List in the
same way as the Object List. See Selecting and manipulating color blocks on

blue border
appears around
selected color
block
Outputting designs
When you have finished creating your design, you can output it in various ways
— saving to embroidery disk, punching to paper tape, sending appliqué shapes
to a cutter, or sending directly to machine for stitching.
Outputting to machine
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.
Once a design is complete, you can stitch it out to any supported embroidery
machine without changing the original design format. When you select a machine
format, ES translates the commands that were applied during digitizing into
machine functions that can be understood by the particular machine. If a selected
machine format does not support a particular function in the design — either
automatically or manually inserted — it is simply ignored.
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. See Selecting
machine formats on page 51 for details.
Saving designs to disk

By default ES saves to its native file format, EMB. This format contains all
information necessary both for stitching a design and for later modification.
Saving a design records its file name, location and format, and updates it with any
changes you make. EMB format files are automatically compressed to reduce

storage, making it possible to save large files. The files automatically decompress
when you open them.
Embroidery design formats

Embroidery designs are saved in one of two formats — ‘outline’ format or ‘stitch’
format.
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,
corresponding stitch types, input methods and effects are applied. Outline files
can be scaled, transformed and reshaped without affecting stitch density or
quality.
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 or outputting to
embroidery disk or paper tape.
ES native EMB format combines the advantages of outline files and stitch files.
It contains all design information including object outlines and properties, actual
stitches and machine functions, thread colors, a picture icon and user notes. See
Processing Design Files on page 585 and Supported File and Disk Formats on
page 765.

Chapter 3
Basic Procedures
To start using ES, you need to know basic procedures, such as starting up,
opening and creating designs, and saving. Other basic procedures include
showing and hiding the grid, displaying and using toolbars, switching to
TrueView™, and accessing the popup menu. You can zoom and pan the design,
open an Overview Window, and display or hide objects or design guides such as
needle points, outlines and stitches.
Security access codes control your access to special options in the software. You
need to be able to identify your system’s identity codes, and enter new access
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
Point & Stitch toolbar
Styles toolbar
Generate toolbar
Chenille toolbar
Drawing toolbar
Pointer toolbar
Travel toolbar
Input Methods toolbar
design window
Color palette
Colorways list
Status bar
Prompt line
stitch count or active XY co-ordinates, length, stitch type, values zoom

stitch angle 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 on page 49 and Showing or hiding toolbars on page 43
for details.
42 Chapter 3 Basic Procedures V7

Using commands
Once you start ES, you use commands or tools, and dialogs to complete your
tasks. You select commands in ES 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 on page 751
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 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 on page 751.
To show or hide toolbars

1 Select View > Toolbars.
The Toolbars dialog opens.

2 Select the toolbars you want to display.
3 Click OK.
Tip Use the buttons on the Show Vertical toolbar to display the Pointer,
Input, Travel, and Drawing toolbars on the side of the design window.
Tip ES 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 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 change the options for the command 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 remembers the last few commands you used.
To undo and redo commands

! To undo a command, click the Undo icon.
When ES 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 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 Embroider y design formats on page 585 and Embroider y Disks and Paper
Tapes on page 649.
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 as you select.
! 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 on page 71 for details.
6 For file types other than EMB or ESD, click Options and change the
recognition options. See Processing Design Files on page 585 for details.
7 Click Open.
Creating new designs

When you start ES, 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, defaults 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).

Tip When you create a new design, save it with a new name. See Saving designs
Creating new designs with the NORMAL template

Use New (Standard toolbar) to start a new design with the NORMAL
template.
You can create a new design with the NORMAL template.
To create new designs with the NORMAL template

! Click the New icon.
A blank design opens in the design window.
Creating new designs with custom templates

You can select a custom template to base your new design on. See also Managing
design templates on page 151.
To create new designs with a custom template

1 Select File > New.
The New dialog opens.
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.

Generating stitches
Use Generate Stitches (Generate toolbar) to generate stitches for new
or selected objects.
properties. This means you can scale, transform and reshape ES designs without
affecting stitch density or quality.
You can either generate stitches as you digitize, or wait until you have defined the
outlines before generating. With Generate Stitches on, stitches are calculated for
new objects when you press Enter. They are also updated whenever you scale,
transform or move the object. You can also digitize objects with Generate Stitches
off, or select objects and remove generated stitches. Only object outlines display
for these objects.
To generate stitches
! To generate stitches for new or selected objects, click the Generate Stitches
icon.
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.
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.
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 on page 724
for details.
Tip You can also change the color of the grid lines. See Changing display
colors on page 173 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.
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 Line:
! Position coordinates of the end point (X=, Y=).
! Length of the measured line (L=).
! Angle of the line relative to the horizontal (A=).
4 Press Esc to finish.

Selecting machine formats
Select 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 on page 617
or Modifying standard machine formats on page 619 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 lets you save designs in native 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 Embroider y design formats on page 585 and
Embroidery Disks and Paper Tapes on page 649.
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 to save automatically while you work. See Setting automatic save
and backup options on page 727 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 embroider y file formats on page 765 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 are controlled by a security device installed in the computer,

and security access codes entered in the software. Each security device has a
unique serial number and identity code, so your system can be automatically
recognized.
New options can be added, or products upgraded, by changing the security device
options. To do this you need to enter new security access codes. These will be sent
by fax or email. You can enter codes in ES manually, or import them from a text
file. See also Security device messages on page 821.
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.
To identify your security device

! Select Special > Security to open the Security Device dialog.
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.
Entering access codes manually

You can enter security access codes manually to upgrade to new options or
software releases.
TipYou can also enter access codes by importing them from a text file. See
Importing access codes on page 55 for details.
To enter access codes manually

1 Select Special > Security to open the Security Device dialog.
The Security Device dialog opens.
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 the spaces.

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.
6 Click OK.
7 Restart ES.
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 text file into your ES 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.
2 In ES, select Special > Security to open the Security Device dialog.

Option 1
Option 2
Option 3
Option 4 Click to import codes
Option 5
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.
Viewing information online
Select Help Topics (Help menu) to view online help.
Select Online Manual (Help menu) to view the online manual.
Select Wilcom Web Page (Help menu) to view the Wilcom Web Page.
User documentation is provided in the form of a printed manual, an online

manual and online help.
Using online help

Online help provides quick access to general information on ES features and
step-by-step instructions.
To use online help

1 Select Help > Help Topics to open the main ES Help window.

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

You can read this manual online, using Adobe Acrobat™ Reader. This
application is supplied with your ES software. Using the online manual you can
quickly search for the information you need, using standard Adobe Acrobat™
Reader features.
To view the online manual

! Select Help > Online Manual.
Note If ES 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.

Chapter 4
Viewing Designs
ES provides many viewing features to make it easier to work with your design.
Zoom in on an area to see more detail, view the design at actual size, or view a
thumbnail of the whole design in a separate Overview window. Pan 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 object outlines, needle penetration points, connectors, stitch angles,
machine function symbols and the stitches themselves.
In ES, you can preview an existing design in different colors on different fabrics
by selecting from among any number of pre-defined ‘colorways’.
ES also provides information about designs in a variety of ways and formats.
Before even opening ES or your design, you can check the software version
number and other design information for EMB files directly from Windows
Explorer. You can view stitching details about a design in the Design Properties
dialog. The production worksheet too 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 as well as the
various design viewing settings. Colorway viewing is also described. It also
explains how to obtain and customize information about your designs.

Design viewing modes
ES provides many viewing modes to make it easier to work with your design.
Zoom in on an area to see more detail, view the design at actual size, or view a
thumbnail of the whole design in a separate Overview window. Pan across the
design instead of scrolling, and quickly change between one view and the last.
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 on page 708 for
details.
To zoom in and out

! To display a design at twice its current size, select View > Zoom In 2X.
! To display a design at half its current size, select View > Zoom Out 2X.
! To display a design at actual size, select View > Zoom 1:1.
! To display stitches at a particular scale, select View > Zoom Factor.
Alternatively, press F on the keyboard. When the Zoom Factor dialog appears,
enter a scale as a percentage of the actual size, and click OK.
! 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.
60 Chapter 4 Viewing Designs V7

Viewing the whole design
Click Show Whole Design (Standard toolbar) to display the whole design
in the design window.
ES 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 on page 64.
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 on page 60.
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.

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

ES 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 on page 64 for details.

To view a design in the overview window
! Click the Overview Window icon.
The overview window displays.
! 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 on page 83 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.

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. 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 on page 62.
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 on page 49.
Note Show Outlines will not work with ‘stitch’ files that have been read without
stitch recognition. See Opening stitch files in ES on page 589 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

TipRight-clicking these tools opens the Options > View Design tab. See
Viewing selected parts of a design on page 67 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 on page 722 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 on page 171 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, connector and
function markers in your design. For example, view needle points to select
stitches for editing, functions to check color changes or trims, and connectors to
help position stitch entry and exit points. See also Connecting Embroider y Objects
on page 185 and Editing Stitches and Machine Functions on page 327.
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.

For information about connectors, see Types of connectors on page 185.
! To show or hide machine functions, click the Show Functions icon.
For information about machine functions, see Machine function types on
page 334.
Tip Right-clicking these tools opens the Options > View Design tab. See
Viewing selected parts of a design on page 67 and Setting design element view

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 on page 60 and Previewing production
worksheets on page 76.
Tip The Object List provides another way to view design objects. See Selecting
and manipulating objects with the Object List on page 94 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 on page 61.
! 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 on
page 721 and Setting TrueView™ options on page 722 for details.
4 Click OK.
Viewing design objects by color
Select View By Color (View menu) to isolate 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
on page 279.

Tip The Color List provides another way to view design objects. See Selecting and
manipulating color blocks on page 95 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.

4 Click OK.

The design appears with only those colors you selected in view.
Viewing colorways
Use Colorways (Colorways toolbar) to select a new color

scheme for your design.
A ‘colorway’ is a palette of thread colors in which a design can be stitched out,

together with the background color. 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.
Note In ES, you can define multiple color schemes, or colorways, for the one
design. You can print multiple colorways, icons of color blocks, and design
backgrounds with the production worksheet. See Using multiple colorways on
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

ES provides information about designs in a variety of ways and formats. Before
even opening ES or your design, you can check the software version number and
other design information for EMB files directly from Windows Explorer. You
can view stitching details in the Design Properties dialog. The production
worksheet too provides essential production information, including a design
preview, the size of the design, color sequence and any special instructions.
Viewing design information in Windows Explorer

Before opening EMB files, you can check 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. See
also Opening designs on page 46.
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. See Viewing design information in
ES on page 73 for details.
4 Click OK.

Viewing design information in ES
Use Design Properties (File menu) to view stitching details about a
design.
You can check software version number and other design information through
the Design Properties dialog. This also provides important information about the
file source – Native Design, Imported Outlines, Processed Stitches, or Imported
Stitches. See also Embroider y design formats on page 585.
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’ is a block of sequential, same-color objects. You can enter

names for them. The operator generally uses these to make sure colors are correct
when stitching. See Assigning element names on page 76 for details.
To view design information in ES

1 Select File > Design Properties.
The Design Properties > Information tab opens.
This tab contains information about the design source – Native Design,
Imported Outlines, Processed Stitches, or Imported Stitches — as well as height
and width and stitch count and colors. The data is extracted from the design
and, except for stitch count, cannot be modified.
2 Click Length Calculation to revise stitch counts according to target fabric
thickness.
See Estimating total thread usage on page 75 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 on page 76.
Tip Note that 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 general options on page 731 for details.
4 Select the Summar y 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 on page 71 and Previewing production
worksheets on page 76 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

The Design Properties > Information tab opens
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

The Design Properties > Information tab opens.
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 on page 637 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 on page 634.
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 on page 635.
! 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 5
Checking Designs and Selecting
Objects
When working with embroidery designs, you need to understand the stitching
sequence. You can check a design’s stitching sequence in ES by ‘traveling’ through
it stitch-by-stitch. You can also check the stitching sequence by slowly redrawing
it on-screen.
ES provides various ways to select the objects that comprise an embroidery
design. You can select all objects to modify the design as a whole, or individual
objects for more precise modification.
This section describes how check designs by traveling through them. It describes
how to select objects using the selection tools and keyboard. It also shows how
to select while traveling through the design, or by using the Object List. You also
see how to select objects of a specific color.
Checking 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 simulates stitching out by changing
stitches from black to their allocated thread color as they are ‘stitched’.
Tip You can change the display color of unsewn stitches. See Changing display

Traveling by stitches
Click Travel 1 Stitch (Travel toolbar) to travel 1 stitch at a time.
Click Travel 10 Stitches (Travel toolbar) to travel 10 stitches at a time.
Click Travel 100 Stitches (Travel toolbar) to travel 100 stitches at a time.
Click Travel 1000 Stitches (Travel toolbar) to travel 1000 stitches at a
time.
Use the stitch travel tools or shortcut keys to travel through the design one or
more stitches at a time. See also ES Quick Reference Guide on page 753.
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 on page 83 for
details.
80 Chapter 5 Checking Designs and Selecting Objects V7

Traveling by segment
Click Travel by Segment (Travel toolbar) to travel to previous and next
segments.
Use the segment travel tool or keyboard shortcuts to travel through the design by
object segment. See also ES Quick Reference Guide on page 753.
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 travel tool or keyboard shortcuts to travel quickly to the start
or end of the stitching sequence. See also ES Quick Reference Guide on page 753.
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 object travel tool or keyboard shortcuts to travel through the design by
object. See also ES Quick Reference Guide on page 753.
This technique is useful if you need to locate a specific object in order to insert
another object or delete it from the stitching sequence. Use it in conjunction with
the stitch travel tools if you want to ‘nest’ an object. See also Nesting objects on
page 274.
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.
Traveling by color
Use Travel by Color (Travel toolbar) to travel to the previous or next color
change function.
Use the color travel tool or keyboard shortcuts 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 ES Quick Reference
Guide on page 753.
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 machine function travel tool to travel through the design by machine
function. This is useful, for example, if you are looking for extra trim that should
not be there. Note, however, that the needle point will stop at every jump, trim,
and color change. See also ES Quick Reference Guide on page 753.
NoteBoth manually and automatically inserted functions are recognized. See also
Changing Machine Formats on page 615.
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

Select 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. See also Checking the stitching sequence on page 79.

half-stitched
design
Note You can adjust the display color of unsewn stitches. See Changing display
To redraw the stitching sequence slowly

1 Select View > Slow Redraw.
The Redraw Controller dialog opens.
2 Use the slider bar to set the redraw speed.

3 Click Go.
The design is redrawn on screen according to the stitching sequence.
4 Click Cancel to stop.
The remainder of the design is redrawn at normal speed.
Note Slow Redraw cannot be used with TrueView.
Selecting all objects in a design

Select all objects to apply changes to a whole design. See also ES Quick Reference
Guide on page 753.

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.
Selecting objects with Select Object

The Select Object tool provides various means for selecting objects including
point and click, bounding box selection, and — in conjunction with Shift + Tab
keys — first/last and next/previous object selection. See also ES Quick
Reference Guide on page 753.
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 click
anywhere within these extents to click and drag the object.

Ctrl +
Click an object Hold down Ctrl and click
another object

Tip To select an object which is behind another object, 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 objects on page 291.
Selecting first and last objects

Click Select Object (Pointer toolbar) with no objects selected, and press
Tab or Shift + Tab to select the first or last object.
With the Select Object tool activated, you can select the first or last object in the
design sequence using the Tab key.
To select first and last objects

1 Make sure that no objects are selected.
See To deselect objects on page 93 for details.
3 Do one of the following:
! Press Tab to select the first object in the stitching sequence.
! Press Shift + Tab to select the last object in the stitching sequence.
Selecting next or previous object

Click Select Object (Pointer toolbar) with an object selected, and press
Tab or Shift + Tab to select the next or previous object.
If an object is 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.
To select next or previous object

2 Click an object to select it.
! Press Tab to select the next object in the stitching sequence.
! Press Shift + Tab to select the previous object in the stitching sequence.

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. See Traveling
by object on page 81 for details.
To select objects while traveling through a design

2 Travel through the design, stopping just before the object to select.
See Traveling by object on page 81 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 a range of objects
You can select a range of objects by traveling with Selects On, or by using Shift
and clicking the first and last objects in the range.
Selecting a range of 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 a range of 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 on page 81 for details.
As you travel, objects are added to the selection.
Tip Alternatively, hold down Ctrl, then press Tab or Shift + Tab to add the
next or previous objects to the selection.
Selecting a range of objects by point and click

Click Select Object (Pointer toolbar) together with the Shift key to select
a range of objects.
You can select a range of objects by holding down Shift while you click the first
and last objects in the range.
To select a range of objects by point and click

2 Click the first object in the range and hold down Shift.
3 Click the last object in the range.

All objects in the stitching sequence between first and last selected objects are
selected.
Click first object Hold down Shift and click last object
Tip It helps to know the design stitching sequence for this method. See
Traveling by object on page 81 for details.
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.
Selecting objects with Polygon Select

Click Polygon Select (Pointer toolbar) to select objects with a bounding
box.
Use Polygon Select to select objects with a bounding box.
To select objects with Polygon Select

1 Click the Polygon 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 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 on page 68.
To select objects by color

1 Select Edit > Select By > Color.
The Select By Color dialog opens.
2 Select the thread colors to select from the list.
! To select a range of colors, hold down Shift as you select.

! To select multiple colors, hold down Ctrl as you select.
3 Click OK.
Note Any objects with manual color changes are selected based on 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.

3 Click OK.
Objects with the selected stitch types are selected in the design.
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 and manipulating objects with the Object List
Click Object List (Standard toolbar) to select and manipulate objects in a
design.
The Object List provides a sequential list of objects. It provides an easy way to
select objects in designs and access their properties. You can use it to group and
ungroup, lock and unlock, and show and hide objects. Use it also to cut, copy and
paste, and resequence selected objects.
TipThe Object List is synchronized with the design window. It dynamically

updates whenever you select, modify or delete objects, or create new ones.
To select and manipulate objects with the Object List

1 Click the Object List icon.
The Object List opens.
blue border
appears around
selected object
The Object List shows an icon for each object in the design in order of
stitching sequence. Each object’s stitch count is shown, together with the
input method and stitch type used in its creation.
2 Click an icon to select the object.
A blue border appears around selected objects.
3 Manipulate the color blocks as required.

You can quickly access popup menu commands for viewing objects’
properties and manipulating them by right-clicking their icons.
! Group and ungroup selected objects with the popup menu. Lock and
unlock them in the same way.
locked objects
grouped objects
!Show and hide objects in the same way.
hidden object
!You can also cut, copy and paste selected objects with the Object List. See
Combining objects and designs on page 271 for details.
!You can also resequence objects with the Object List. See Resequencing
objects with the Object List on page 279 for details.
Selecting and manipulating color blocks

Click Color List (Standard toolbar) to select and manipulate color blocks
in a design.

The Color List provides a sequential list of objects grouped by color. Consecutive
objects of the same color form a single ‘color block’. Like the Object List, the
Color List provides an easy way to select, lock and unlock, and show and hide
objects in color blocks. You can also use it to cut, copy and paste, and resequence
selected color blocks.
Tip Like the Object List, the Color List is synchronized with the design window.
It dynamically updates whenever you select, modify or delete objects, or create
new ones. The two lists themselves are also synchronized.
To select and manipulate objects with the Color List

1 Click the Color List icon.
The Color List opens.
blue border
appears around
selected color
block
The Color List shows an icon for each color block in the design in order of
stitching sequence. The number of stitches for each color block are shown
together with the objects comprising it.
Note Manual color functions are ignored.

2 Click an icon to select the color block.
!To select a range of items, hold down Shift as you select.
!To select multiple items, hold down Ctrl as you select.
A blue border appears around selected color blocks.
Note Only color blocks can be selected in the Color List, not individual
objects. See Selecting and manipulating objects with the Object List on page 94
for details.

3 Manipulate the color blocks as required.
You can quickly access popup menu commands for manipulating color
blocks by right-clicking their icons.
!Lock and unlock selected color blocks with the popup menu.
locked color
block
!Show and hide color blocks in the same way.
hidden color
block
!You can also cut, copy and paste selected color blocks with the Color
List.
!You can also resequence color blocks in the same way as you resequence
objects with the Object List. See Resequencing objects with the Object
List on page 279 for details.

PART II
DIGITIZING ESSENTIALS

100 V7
Chapter 6
Manual Digitizing
In ES, you build designs from basic

shapes or ‘embroidery objects’. Like
drawing objects, embroidery objects
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.
Properties for the objects you create
are defined as you digitize, but they can
be modified at any stage. You can also
modify the settings of some input tools
to set certain object properties prior to creation. You can also define ‘current’
properties to influence all the objects you create. See Object Properties, Styles and
Templates on page 139 for details.
Note The most important property for an embroidery object is its stitch type.
Different stitch types are suited to different shapes. See Fill Stitches on page 123
for details.
This section describes how to digitize shapes with the main input methods. It also
explains how to adjust input settings to obtain the best results.
Using input methods

The process of creating embroidery objects on-screen is called ‘digitizing’. Like
creating designs in graphics applications, this involves the use of different
drawing or ‘input’ tools. Input tools in ES are similar to drawing tools except that
the end result is an embroidery object rather than a drawing object.

Tip Drawing objects themselves can be converted to embroidery objects using
ES Point & Stitch™ tools. See Semi-Automatic Digitizing on page 239 for
details.
Selecting input 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 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.
Different input methods or ‘tools’ are suited to creating different shapes or

design elements. Input methods divide broadly into two categories — outline and
fill. Run and Manual input 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, the most commonly used input tool, can be used to
create almost any filled shape. You can adjust the settings of most of the input
methods by right-clicking the tools and selecting options in the dialog.
Note Run stitch is considered both an input method and stitch type. Fill input
methods may use different fill stitch types depending on the particular
application. See also Fill Stitches on page 123.
Reference points and control points in ES

Once you have selected an input method, you digitize shapes in the same way by
marking ‘reference points’ along an outline. In general, you mark a reference
point where:
! a curved outline changes curvature
102 Chapter 6 Manual Digitizing V7

! the outline has corners
! the outline changes from a straight line to curve.
2 2
4 4
3
3
1 6 1 5
5 6
object is closed object is closed
automatically automatically
You always use the left mouse button to mark a corner point, and the right mouse
button to mark a curve point. Two points marked with the left mouse button are
always connected with a straight line. Two points marked with the right mouse
button are always connected with a curved line.
The reference points you mark when digitzing the shape become the ‘control
points’ of the selected object. Control points appear on object outlines and are
used to edit or ‘transform’ objects. Such actions may include reshaping, scaling
(resizing), letter spacing, changing entry and exit points.
entry point
Key to control points
= entry point
= exit point
= corner point
= curve point
corner point exit point
= stitch angle point
Most control points can be added, deleted, moved or changed to either corner or
curve points. Some control points have a specific function and cannot be deleted
— for example, the entry point marker.
Switching between fill and outline input methods

You can quickly switch from a fill stitch input method to Run or Manual input
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 on page 316 for details.
To switch between fill and outline input methods

! Press Enter to switch between a fill stitch input method and Manual input
method.
! Press Spacebar to switch between a fill stitch input method and Run input
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 input 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.
Manual stitches are not well suited to scaling and transforming actions as the
stitch count is not recalculated automatically. Use them sparingly, for example to
add a few stitches to a finished design. See Editing Stitches and Machine
Functions on page 327 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 You can create jumps manually by right-clicking as you digitize. See Using
jumps as connectors on page 187 for details.
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 three (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
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 Setting current object properties on page 140 for details.

Run Length 2.5 mm Run Length 1.6 mm Variable Run Length 2.5 mm
TipES lets you convert between Run, Triple Run and Input C objects. See
Converting between Run, Triple Run and Input C objects on page 317 for details.
Creating stitch runs

Use Run (Input toolbar) to place a row of single run stitches along a
digitized line. Right-click to adjust settings.
Use Triple Run (Input toolbar) to place a triple row of run stitches along a
Digitize lines of single or triple run

stitching with the Run and Triple Run
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 the Run or Triple Run icon.
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
2 4 6 corner points
13 9
Right-click for
12 curve points
10
11
! To constrain the line to 15° increments, hold down Ctrl as you digitize.
! 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
270°
Hold down Ctrl
Tip If you make a mistake, press Backspace to delete the last reference point,
then continue digitizing.
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 input
methods. They do not affect travel runs, or underlay stitching.

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 Run
length length
not enough stitches to stitches follow the

follow tight curve curve more closely
If a line has tight, sharp curves, reduce the length, for example to 1.8mm, so
that the stitches follow the line.
Tip Mimic hand-made embroidery by setting the Triple Run length to

4.0mm.
4 Click OK.
Setting variable stitch lengths
Right-click Run (Input toolbar) to set variable stitch length.
Right-click Triple Run (Input toolbar) to set variable stitch length.
ES can automatically calculate the best length for each stitch with the Variable
Run Length option.

To set variable stitch lengths
1 Right-click the Run or Triple Run icon.
Select Variable Run Length

Enter Minimum Stitch Length
Enter Chord 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: not Variable Run Length: Variable Run Length: increase
enough stitches to using default values Chord Gap from.07 mm
follow tight curve (default) to 2 mm
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 Run (Input toolbar) to set triple run stitch count.

By default, Triple Run repeats each stitch three times. You can change the
number of repetitions used for Triple Run by changing the value in the Object
Properties dialog.
To set Triple Run stitch count

1 Right-click the Triple Run icon.
Select Triple Run

Stitch Type
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.
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
TipES lets you convert between Run, Triple Run and Input C objects. See
Converting between Run, Triple Run and Input C objects on page 317 for details.

Creating columns and borders
Digitize columns and borders of fixed width with the Input C tool. Create objects
using left and right mouse clicks to mark 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 Click the Input C icon.
2 Digitize the shape of the column by marking reference points.
4
2
5 7
3
6
1
3 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.
4 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.
8
Digitize column width
anywhere in design
window 9
Tip You can digitize the column width anywhere on the screen, at any angle.
To offset the stitches from the center of the line, right-click to mark these
points exactly where you want to position the stitches.
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 on page 111.
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 the offsets in either the Side 1 or Side 2 fields.
You can enter the offset value as either an exact measurement or a
percentage. If you enter a measurement, the total of the Side 1 and Side 2
fields is the width of the object. If you enter a percentage, the total equals
100%.
Input C offset: 25% Input C offset: 75%
Tip Use the example diagrams as a guide to which side is which. You only
need to enter the value for one side, as ES automatically calculates the other.
4 Click OK.
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 default 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 on page 310 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 Shar p Corners is also available for Input C objects to give you the
option of sharp or round points. See Rounding shar p corners on page 375 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

you with a simple and efficient way of Input A — create columns of varying
digitizing a single Input A object width — use evenly spaced angles for
comprised of separately stitched sections. a smooth turning fill
See Creating smooth joins on page 388 for
details.
Note ES lets you convert between Complex Fill and Input A or B objects. See
Converting Input A or B to Complex Fill on page 319 for details.
To digitize columns of varying width

1 Click the Input A icon.
2 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
NoteThe 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.

3 When you have finished digitizing the line, either:
! Press Enter to keep the last stitch and place the exit point at the last
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
TipES lets you convert between Complex Fill and Input A or B objects. See
Converting Input A or B to Complex Fill on page 319 for details.

To digitize asymmetrical columns of turning stitches
1 Click the Input B icon.
2 Digitize the first side of the shape (i.e. top or left) by marking reference
points.
2 6
5
3
1
4 7
3 Press Enter.
An elastic line attaches to the pointer, ready for you to digitize the second side
of the shape.
4 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
5 When you have finished digitizing the shape, either:

! Press Enter to keep the last stitch and place the exit point at the last
reference point you digitized, or

Digitizing complex shapes with fixed stitch angles

Use Complex Fill (Input toolbar) to digitize filled shapes. Right-click to
adjust Complex Fill settings for new or selected objects.
Use the Complex Fill tool to digitize large and complex shapes. Most shapes can
be digitized with this tool. By digitizing boundaries within Complex Fill objects,
you can create filled objects with holes. You can also create new objects from
boundaries in Complex Fill objects.
Boundaries in Complex Fill 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, for example, cannot be successfully digitized
with Complex Fill:
boundaries overlap boundary overlaps itself hole within a hole
Where they occur, overlapping boundaries in Complex Fill shapes are ignored
and stitches are generated in the largest area defined by the boundaries.
TipES lets you convert between Complex Fill and Input A or B objects. See
Converting Complex Fill to Input A or B on page 318 for details.
Creating Complex Fill objects
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.
To create Complex Fill objects

1 Click the Complex Fill icon.
2 Digitize the boundary of the shape, by marking reference points around the
outline of the shape.
Tip Follow the prompts in the status bar to help you digitize. If you make a
mistake, press Backspace to delete the last reference point, then continue
digitizing.
3 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.
4 8 9
4 8 9
5 5 7
7 6
6 10 3 10
3
ht
ig 11
11 2 ra
2 e 12 st line 12
rv
cu 1
1 object is closed 13 last point is marked on top of
automatically first with left button
4 Digitize any additional boundaries in the same way.
Note Boundaries must not overlap.

5 Press Enter.

6 Mark the position of the first and last stitch by clicking the outline.
7 Define the stitch angle by digitizing two points.
13
14 15
12
stitch angle 1 stitch angle
1 14 direction 13 direction
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 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.
Adding overlapping rows

Right-click Complex Fill (Input toolbar) to adjust number of overlapping
rows.
Where segments within the shape meet, push and pull on the fabric may cause
gaps. By adding overlapping rows, these gaps can be prevented.
To add overlapping rows

1 Right-click the Complex Fill icon.
The Object Properties > Complex Fill tab opens.
Enter required
number of rows
2 In the Overlapping Rows field, enter the number of rows to overlap where
segments join.

overlapping rows
3 Click OK.
Adding boundaries
Use Complex Fill (Input toolbar) to add boundaries to selected objects.
With ES you can add boundaries to existing Complex Fill objects.
Tip You can also create new objects from existing boundaries in Complex Fill
objects using the Filled Holes feature. See Filling holes in Complex Fill objects on
To add boundaries
1 Select the Complex Fill object to modify.
Reference points display around the object outline.
TipFollow the instructions in the prompt bar to help digitize additional

boundaries.
3 Digitize additional boundaries for the object, making sure the boundaries do
not overlap. Press Enter after each boundary.
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 boundaries from a Complex Fill object, click the Reshape
Object icon to display the object’s control points. Select the control points on
the unwanted boundary, and press Delete.

Chapter 7
Fill Stitches
All embroidery objects in ES 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 for an
object. Whenever you reshape, transform or scale it, stitches are regenerated
according to its stitch properties.
Stitch properties are defined as you digitize, but they can be changed at any stage.
When you create an embroidery object, you can accept the default settings for the
particular input method, 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 on page 139 for details.
This section explains how to select a stitch type for an object, as well as change
stitch settings to obtain the best results.
Selecting fill stitches
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 Setting current object properties on
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 on page 44 and Switching between
fill and outline input methods on page 103 for details.
To select a fill stitch

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 or Triple Run stitch types from the Stitch Types
toolbar. To use these stitch types you need to change the input method to
Run or Triple Run. See Digitizing lines on page 105 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.
124 Chapter 7 Fill Stitches V7

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 on page 376 and Preserving long stitches
with Auto Jump on page 378 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 on page 366.
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.
Tip If you are using a digitizing tablet, you can quickly switch between preset style
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 on page 127 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 on page 376 and Preserving long
stitches with Auto Jump on page 378 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 on page 366.
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%.
adjust: larger than adjust:100%, no adjust: smaller than

100% (e.g. 115%), adjustment 100% (e.g. 85%),
fewer stitches more stitches

Tip75% 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.
NoteFor even more precise results, you can adjust Auto Spacing settings. See
Adjusting Auto Spacing settings on page 128 for details.
Adjusting 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.
spacing 2
spacing 1
length 2
length 1
Fixed spacing Auto spacing
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 on page 177 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.
Note Using a value higher than 10 may cause thread breaks, depending on the
design, fabric, or thread tension.
3 Click OK.

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.
These can be parallel or slightly turning. 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 on page 427 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 on page 366.
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 stitch length and the minimum stitch 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.
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 Creating Trapunto stitching effects on page 411 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 Jag ged Edge.
See Creating jagged edges on page 405 for details.

To select a Tatami backstitch
Select backstitch
type
2 Select a backstitch type in the Backstitch panel.

3 Click OK.
Creating fills 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 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. All stitches are slanted so half as many stitches are
generated as with Satin. The density is determined by the stitch spacing setting.
straight column
turning column
Note The settings for Zigzag fill stitches are stored separately from Zigzag and
Double Zigzag underlay settings. However, they are set in the same way. See
Adjusting Center Run and Edge Run underlay settings on page 351 for details.
To adjust Zigzag stitch spacing

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 fills 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 is used to create 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
You can change the spacing between each perpendicular E Stitch stitch by adding
extra runs between them. Runs are distributed evenly between E Stitch stitches.
Their length is calculated by dividing the E Stitch spacing by the number of runs.

E Stitch spacing
E Stitch spacing
The number of runs is the same between each pair of E Stitch stitches, except in
tight curves where the stitch lengths would be too small.
To adjust E Stitch spacing

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 8
Object Properties, Styles and
Templates
The properties of embroidery objects define general characteristics such as size

and position, as well as embroidery-specific characteristics such as stitch type and
density. The particular stitch settings determine how stitches will be regenerated
when you reshape, transform or scale an object.
When you create an embroidery object, you can accept default settings for the
particular input method, 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.
A style is a set of object properties stored under a unique name. You can save any
combination of settings in your styles to quickly apply to embroidery and lettering
objects.
Styles are stored as part of a design template. You can store all styles in a single
template or several templates. Each template may contain specific styles for
different types of embroidery. The NORMAL template provides a selection of
preset styles for you to use. You can modify these as required.
This section explains how to change the object properties in your design, as well
as how to apply, create and maintain styles and templates in ES.

Applying and managing object properties
ES stores three sets of object properties — default, current and existing.
Note Some object 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, are modified in the Object Properties
dialog.
Default object properties

Default object properties are the properties stored in a design template and
become the starting settings used when creating a new design based on that
template.
Current object properties

Current object properties are the settings used to create new objects. Unless you
change these settings, they remain the same as the template defaults. You
generally change them to save time when digitizing. For example, you may preset
the Tatami stitch spacing setting to use a specific density for all new Tatami
objects you create.
Note The change affects new objects in the design, not the template itself. To
apply changes to all new designs based on the current template, you need to
change the default — not the current — properties.
Properties of existing objects

Properties of existing objects are the settings stored with each object in the
design. You can make the properties of a selected object into new current
properties or new defaults. You can also apply current properties to existing
objects.
Setting current object properties

Use Properties (Generate toolbar) to set properties for the current
design.
When you change current object properties, the new settings automatically apply
to any new objects created in the current design. You can also apply current
140 Chapter 8 Object Properties, Styles and Templates V7

properties to existing objects. Before starting, you can adjust the current object
properties to new settings.
Tip You can also set some object properties by selecting the relevant toolbar
button. When a button is selected, that tool’s settings are current.
To set current object properties

1 Make sure no objects are selected.
2 Click the Properties icon.
The Object Properties dialog opens.
Select tab
Change
settings as
required
Tabs display at the top of the Object Properties dialog. These provide access
to all the possible object properties settings.
3 Click a tab to view the current settings and change as required.
4 Click OK.
Applying current properties to existing objects

Use Apply Current Properties (Styles toolbar) to apply current
properties to selected objects.
When you change current properties, the new settings will automatically apply to
any new objects you create. You can also apply them to existing objects.
To apply current properties 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 applied to all selected objects.

Changing properties of selected objects
You can change the properties of a selected object or objects. If you select more
than one object, the Object Properties dialog will only display tabs that include
relevant settings for all selected objects. For example, if you select a Complex Fill
object and an Input C object, neither Complex Fill nor Input C tabs will display
as these settings do not apply to both objects.
If selected objects have different current values for the same setting, the field will
be blank. If you enter a new value, it will apply to both objects.
Note Changing the properties of existing objects does not affect the current or
default settings, nor the properties of any objects not currently selected.
To change properties of selected 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.
Note You can apply some object properties by selecting the object and
clicking the relevant toolbar icon. When the tool is selected, the effect is
applied directly to the selected object.
Making 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 the current ones for all newly
created objects.
Note Only the settings applicable to the selected object change. Other properties
retain their current values. For example, if you make the properties of a selected
Input C object current, the current Complex Fill values will not change.
To make 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 values or apply them to existing objects.
TipTo check that the now current values are as you intended, open the Object
Properties dialog.
Changing default object properties

You can change default object properties at any time by saving the properties of
the object you are working with to the current template. Only the settings for that
object are saved. Other properties retain their current settings. For example, if
you make the properties of a selected Input C object the default, the default
Complex Fill settings will not change.
Note The change affects all 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 Setting current object properties below for
details.
To change default object properties

1 Select the object (or objects) on which you want to base the defaults.
2 Double-click to open the Object Properties dialog.

Change settings
as required
Click Save
3 Select the tab you want and change the settings as required.
4 Click Save.
The object properties are saved to the current template and will apply to any
new objects in any design based on this template.
Note You can also create a new template using modified object properties as
defaults. See Using design templates on page 153 for details.
Applying and managing styles

When you apply a style to an object, the style settings replace the current object
properties. Any properties not specified as part of the style, retain their current
settings.
Note Styles are saved in the current template and are used by all designs using
that template.
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 Styles
toolbar.
Applying styles
Click Apply Style (Styles toolbar) to apply a style from the template to new
Use the Styles toolbar to apply favorite styles to new or selected objects.
When you select a style, the settings overwrite the current object properties. You
can apply a style to current object properties before you digitize, or to a selected
object. See also Applying and managing object properties on page 140.
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 object
properties, and apply to any new objects you create.
Any settings that are not specified in the style will remain unchanged.
Tip To apply a favorite style, click the Favorite Style icon assigned to it. See
also Assigning favorite styles on page 147.

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 object properties. See also Applying current
properties to existing objects on page 141.
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.
At some stage, you may want to revert to the original style settings in the
Tip
NORMAL template. See The NORMAL template on page 152 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.
Tip
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.
Tip
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.
Managing 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 properties 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 properties. Or it may have special density,
pull compensation or underlay settings set up to suit different fabrics.

The NORMAL template
The NORMAL template is the default template supplied with ES. It contains
current object properties as well as a selection of preset styles. These styles
include variations on the current object properties.
For example, <PRESET_SATIN_1> contains stitch spacing settings for Satin
stitches. <PRESET_SATIN_2> uses different spacing settings.
You can view and modify the settings for these styles at any time. See Modifying
styles on page 149 for details.
If necessary, you can revert to the original NORMAL template after modifying it.
See Reverting to the NORMAL template on page 155 for details.
Creating design templates

You create templates from designs containing the required objects and object
properties. 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 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 object properties, styles, and effects as required.
3 Add the objects and lettering you want to appear in the template.
TipYou can enter lettering baselines on their own but it helps to include
sample text. You can overtype the sample text when using the template.
4 Select File > Save As.
The Save As dialog opens.

Enter template
name
Select Design
Templates (EMT)
5 Select Design Templates (EMT) from Save as type dropdown list.

ES 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 custom templates on
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 object properties, 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 object properties to the current template. See also
Applying and managing object properties on page 140.
To save current properties to a template

1 Access the Object Properties dialog.
! To use the current object properties, 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 object properties settings as required.
3 Click Save.
A confirmation message appears.
Note Only the current object properties — 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 object properties in a template, save the
object properties as a style rather than a template.
Reverting to the NORMAL template

If you modify the NORMAL template supplied with ES, 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.
2 Click the Windows Start button and select Programs > Wilcom ES > Revert.
The Revert to Factor y 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 9
Colorways and Thread Charts
When you digitize, you select thread colors for each object you create from the
color palette in the design window. The color palette contains a selection of
thread colors tailored for each design. This color scheme, or ‘colorway’,
represents the actual thread colors in which a design will be stitched.
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. This has important implications for sales presentations as well as
production. You can also print multiple colorways, design backgrounds, and icons
of color blocks with the production worksheet.
For each colorway you define, you can select colors from commercial thread
charts containing a range of colors from different thread manufacturers, or define
your own. To save time when setting up new colorways, you can create your own
thread charts, using the most frequently used colors. You can add, edit and delete
threads from a thread chart, or rename or delete the chart itself.
In ES you can search for particular threads by various criteria. Automatic thread
color matching lets 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 an
imported graphic — vector (either a single or grouped) 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 on page 162 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 on page 43 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.
158 Chapter 9 Colorways and Thread Charts V7

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.
red
red
green
Using multiple colorways

In ES 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 on page 70 for details.
Note Included as part of the colorway definition are the following properties —
background color or fabric, 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 then 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 on
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.
2 Select a colorway from the Colorways toolbar.
Select a colorway
3 Select View > Redraw to refresh your screen.
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 palette.

The Design Properties > Colorways tab opens.
Enter total
colors required
Select color to
change
Select thread
chart
Tip Right-click the Colorway dropdown list or the palette to open the
Colorways tab.
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
1 Right-click the color palette.
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 system default colors. If you want to base your new
colorway on the system defaults, 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
You can choose different display modes in the Colorways tab.

Tip
! 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.
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

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 original default template.

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 you can search for particular threads manually by various criteria.
Automatic thread color matching lets 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 to match
listed from
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 thread 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.
In ES, you can 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 for the template 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. See Changing the default colorway on page 166 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.
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
background color for the particular colorway.
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.
black outline blue 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 on page 177 for details.
6 Click Copy From to add colors from an existing chart.
See Copying colors between charts on page 176 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 on page 175 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 on page 127.
5 Mix the thread display color.
See Mixing your own thread colors on page 178 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 on page 177 for details.
! See Modifying thread details on page 180 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 on page 177 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
Select color to from chart
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
chart Click to rename
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 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 10
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.
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.
Note You can set separate connector settings for

Auto Start and End. See Setting automatic start
and end points on page 381 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 is for jumps.
Jumps
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.
Note The default connector jump length is the same as that set for Auto Jump.
You can also digitize jumps manually using the Needles Out function. See Adding
jumps with needles out on page 196 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 on page 197.
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 unravelling. 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
Using automatic connectors

You can 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.
186 Chapter 10 Connecting Embroidery Objects V7

Tip If you prefer to add tie-offs and trims as you digitize, you can turn off these
features from this tab to prevent them from generating automatically.
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 on page 281 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 Needles Out function. See Adding
jumps with needles out on page 196 for details.
To use jumps as connectors

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 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 on page 197.
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 on page 190 for details.
6 In the Trim After Object panel, enter the trim values.
See Adjusting automatic trim settings on page 192 for details.
7 In the Tie Off After Object panel, enter the tie-off values.
See Adjusting automatic tie-off settings on page 191 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 connectors
connectors OFF
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
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 on page 190 for details.
6 Click OK.

Adjusting automatic tie-in settings
Tie-in stitches are inserted at the start
of objects to prevent stitches from
Tie-in with two
unraveling. They are inserted inside stitches
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 unravelling. 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 on page 194 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 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 on page 186 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. Tie-offs are usually
added at the end of an object, before a trim.
TipYou can also insert machine functions manually using the Insert Machine
Function dialog. See Inserting machine functions manually on page 336 for details.
To add a tie-off
1 Travel to the needle position where you want to tie-off.
See Traveling by stitches on page 80 for details.
2 Click the Tie-off icon.
A Tie-off function is inserted. The default number of tie-off stitches is two.
This means the needle backtracks twice and returns at the insertion point.
Adjust this value in the Object Properties > Connectors tab. See Adjusting
automatic tie-off settings on page 191 for details.
Tie-off function
start
Tie-off function
end
Tie-off function
inserted — needle
backtracks stitches
and returns
Note Generally you will follow a tie-off with a trim. See Adding trims below
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.
2 Click the Trim icon.
A trim function is inserted at the current needle position.
trim symbol
Tip You can also insert machine functions manually using the Insert Machine
Function dialog. See Inserting machine functions manually on page 336 for
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 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.
TipYou can also insert machine functions manually using the Insert Machine
Function dialog. See Inserting machine functions manually on page 336 for 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 needles out
Deselect Needles In (Generate toolbar) to create jumps with needles out.
You can create jump connectors manually in a design by digitizing needles out.
The Needles Out function prevents the needle from penetrating the fabric,
forcing the machine to move across the design in a series of jumps. You can use
Needles Out with any input method.
To add a jump with needles out

1 Select an input method.
2 Deselect Needles In.
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 of filled objects. They are
usually covered by fill stitches when an object is stitched out. You can change the
stitch length of travel runs to ensure they do not protrude from the cover
stitching. You may also adjust the travel run length to reduce the stitch count.
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.

! Increase stitch length to reduce the stitch count.
! Decrease stitch length to ensure travel run stitches stay inside the shape
in tight curves.
Travel Run length: Travel Run length:

1mm 3mm
4 Click OK.

PART III
DIGITIZING WITH
ARTWORK

200 V7
Chapter 11
Digitizing with Backdrops
Artwork in both bitmap and vector formats can be

inserted, pasted or scanned into ES for use as
digitizing templates or ‘backdrops’. 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.
Backdrops can be used as a guide to manual
digitizing. Alternatively, ES semi-automatic and
automatic digitizing can convert both formats to embroidery designs. In
summary, backdrops can help you to:
! Digitize objects 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
Manual Digitizing on page 101 for details.
! Digitize shapes automatically with Point & Stitch™.
You select a shape and Point & Stitch™ automatically determines the
required stitches. See Semi-Automatic Digitizing on page 239 for details.
! Digitize complete images automatically with Smart Design.
You select the image and Smart Design automatically determines the shapes
and stitches needed to digitize the design. See Automatic Digitizing on
! Digitize photographs with Photo Flash.
Again you select the image and Photo Flash automatically determines the
shapes and stitches needed to digitize the design. See Creating embroidery
designs from grayscale images on page 265 for details.
This section describes how to choose suitable artwork for digitizing purposes as
well as how to scan it into ES. It also describes how to digitize with bitmap images
and vector drawings as backdrops, as well as how to show and hide them as you
digitize.

Choosing artwork for digitizing
There are two broad categories of artwork file:
! Vector drawings: These consist of outlines which may be colored and may
have colored fills. Vector outlines remain thin and clear even at large zoom
factors, so you can digitize them accurately. Vector drawings can also be
converted directly into embroidery objects.
! Bitmap images: These consist of colored dots or pixels. When you zoom in on
a small area, the outlines become jagged and are displayed as a series of
colored squares or pixels. Bitmap images can be ‘recognized’ as vector
drawings with some success, depending on the quality and suitability of the
source image.
Artwork can be imported into ES in both vector and bitmap (raster) formats. See
Supported drawing and image formats on page 779 for details.
To create good quality embroidery, you need to choose suitable artwork of either
format. For both manual and automatic digitizing purposes, ‘clean’ artwork with
a limited number of solid colors and well-defined outlines work best. Once in ES,
you can set general properties such as size and position. You can also arrange and
transform artwork in the same way as embroidery designs.
Vector drawings have the advantage over bitmap images that you can convert
them directly into embroidery objects by applying different input methods. With
Auto Trace, however, you can convert bitmap images to vector drawings. See
Converting vector drawings to embroider y objects on page 245 and Digitizing
Vector drawings
Vector drawings can be inserted or pasted into ES for use as digitizing backdrops.
You can scale and transform them in the same way as embroidery objects. You
can also select colors for drawing object outlines and fills.
An increasing number of users create artwork using drawing software. This can
be inserted into ES in the original, native vector format without having to convert
to an intermediate format. It is also possible to paste these drawings directly into
ES through the Windows Clipboard. See Supported drawing and image formats on
ES drawing tools let you ‘draft’ shapes and outlines on-screen. Drawing objects
can be easily converted to embroidery objects by applying input methods and
stitch types to them. See Converting vector drawings to embroider y objects on
202 Chapter 11 Digitizing with Backdrops V7

vector drawing objects
created in CorelDRAW™
embroidery design digitized

with Point & Stitch™ tools
ES Point & Stitch™ and Smart Design features work with vector drawings
created either in graphics packages, or with the ES drawing tools. The software
stitches a vector drawing as is; every shape in the original data is handled
separately, independently of other shapes. The stitching sequence is determined
by the software. See Digitiz ing shapes automatically with Point & Stitch™ on
page 250 and Automatic digitizing with Smart Design on page 257 for details.
Bitmap images
Bitmap images can be inserted, pasted or scanned into ES for use as digitizing
backdrops. 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.)
clean image with well-defined clean image with well-defined complex image, needs editing to
outlines color blocks remove background and improve
outlines

Tip You can scale and transform bitmap images once they are loaded into ES.
However, if an image needs to be resized or rotated, it is best to do so during
scanning. Scaling afterwards may distort the image.
ES 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 greater or lesser amounts of preparation.
This is because most commonly available images are not made 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 fall into this category.
Noisy images typically need to be prepared by
reducing the color count and sharpening the
outlines. See Preparing images for automatic
image containing a lot of
digitizing on page 223 for details. scanner ‘noise’
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 excellent at processing dithered colors
within a defined outline, it does not work so well with non-outlined images. See
Preparing images for automatic digitizing on page 223 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 Preparing images for
automatic digitizing on page 223 for details. anti-aliased outlines
Scanning artwork into ES

If you have existing artwork, you can scan it with a TWAIN-compatible scanner
using the ES 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. The higher
the value, the clearer the image but larger the file. For digitizing purposes, use a
maximum resolution of 300 dpi (dots per inch). A resolution of 72dpi (screen
resolution) will usually be sufficient. 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 — usually Black/white drawing 2

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

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

photograph Grayscale 256
Color Many colors Color RGB 16 million

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

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 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 mode as this is only used for images that
will be printed and the colors may be different from RGB colors.
! If the image needs to be resized, scale it when you scan it. Scaling 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.
You can scan images directly into ES for use as digitizing backdrops. You can also
scan in your own textured backgrounds 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 on page 171.

The scanning feature in ES 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 on page 707 for details.
2 Prepare the artwork for scanning.
See Preparing artwork for scanning on page 206 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 on page 206 and Color mode on page 206 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 Designs
folder.
9 Scan the artwork.
Note Scanned drawings are bitmaps and must be saved separately from the
design file or they will be lost when you close the design. See Saving bitmap
images as separate files on page 213 for details.
Digitizing with bitmap images

Bitmap images can be inserted, pasted or scanned into ES for use as digitizing
backdrops. You can scale and transform them once they are loaded into ES.
However, if an image needs to be resized or rotated, it is best to do so during
scanning. Scaling afterwards may distort the image. See also Arranging and
Transforming Objects on page 289.

partially digitized
bitmap
original bitmap
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 Preparing images for automatic digitizing on page 223.
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 on page 779 for details.
Note You can also insert vector drawing files. See Inserting vector drawings on
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 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.
3 Create a new file in ES or open the design file into which you want to insert
the drawing.
4 Select Edit > Paste Drawing > As Bitmap.
The drawing is pasted into the design.

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 a drawing before
and after scaling and transforming, you can preserve its quality, making it easy to
digitize.
To smooth bitmap images

1 Select the drawing to smooth, then double-click it to open the Object
Properties dialog.
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): lines on the drawing are smoothed.
! Smoothing (light lines): lines on the drawing 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.
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 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.
Digitizing with vector drawings

Vector drawings can be inserted into ES for use as digitizing backdrops. You can
scale and transform them in the same way as embroidery objects. See also
Arranging and Transforming Objects on page 289.

digitized vector
drawing
original vector
drawing
Vector drawings generally consist of grouped vector drawing objects. You can
ungroup these objects and work with them individually. You can scale and
transform them individually.
Vector drawings have the advantage over bitmap images that you can convert
them directly into embroidery objects by applying different input methods. See
Converting vector drawings to embroider y objects on page 245 and Digitizing
Unlike bitmap images, any changes you make to vector drawing objects are
updated and saved with the design file.
Note You can create your own vector drawing objects from within ES using the
drawing tools. See Creating drawings in ES on page 240 for details.
Inserting vector drawings

Use Insert Drawing File (Image menu) to insert a vector drawing for use
as a backdrop.
You can insert vector drawings of various formats for use as backdrops for your
designs. See Supported drawing and image formats on page 779 for details.
To insert vector drawings

the drawing.
2 Select Image > Insert Drawing File.

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.
Note No previews are available for vector drawing files.

5 Click Options.
The DXF File Options dialog opens.
6 Select Inches or Millimeters as required from the Units of Measurement list.

If this information is not specified, the drawing may not display at the
required size.
7 Click OK.
8 Click Open to insert the drawing.
Note To work with individual vector objects in the drawing, you need to
ungroup them first. See Ungrouping objects on page 292 for details.
Pasting vector drawings

Use Paste Drawing As Vector (Edit menu) to paste a vector drawing for
use as a backdrop.

You can insert a vector drawing into ES by copying it from another embroidery
design or graphics application, and pasting it into your design.
To paste vector drawings

1 Select the drawing you want to copy and paste.
2 Copy it to the Windows clipboard.
the drawing.
4 Select Edit > Paste drawing > As Vector.
The drawing is pasted into the design.
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.
without smoothing with smoothing
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.
Normally vector drawing objects are composed of black outlines only. ES,
however, lets you select colors for selected drawing object outlines and fills. These
can be different to the corresponding embroidery objects. 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.
Colored drawing outlines are also important for appliqué cutting. If appliqué
objects are digitized in ES, they can be ungrouped, duplicated, and sent to the
laser or other type of cutter. Some cutters can cut several layers of fabric. The
cutting depth is controlled by object colors. These can be set within ES without
having to export the shapes to a graphics package. See also Cutting appliqué
shapes on page 645.

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 and/or fill style from the Style list.

9 Select an outline width from the Width field.
10 Click Color and select a color for outline or fill from the Color dialog.

11 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.
Viewing and hiding backdrops

You can display a backdrop, both bitmap and vector, while you digitize, or hide it
temporarily. Hiding backdrops does not delete them from the design.
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 drawings are visible.
! To hide the drawing, click Show Drawing again.
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.
Viewing and hiding vector drawings

Right-click Showing 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

1 Right-click the Show Drawing icon.
The Options > View Drawing tab opens.
Select View
Drawing Vectors
2 Select the View Drawing Vectors checkbox. Clear the checkbox to hide them.
3 Click OK.
vector drawing
and bitmap image
Note If a design includes both bitmap images and vector drawings, both will
display when Show Drawing is selected.

Chapter 12
Processing Images for Automatic
Digitizing
ES 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 also 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. Editing images in external graphics packages is also
covered.
Preparing images for automatic digitizing

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. 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 artwork for digitizing on page 202.
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 Shar pen Edges tool.
224 Chapter 12 Processing Images for Automatic Digitizing V7

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 on page 205 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
Shar pen Edges tool is excellent at processing dithered colors as it averages all
pixels within a defined outline. See also Bitmap images on page 203.

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 image preparation tools or a graphics package.
See Editing images in a graphics package on page 237 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 — for remove noise from an image.
editing an image outside ES.
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 Shar pen 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 Shar pen 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

area not closed
If you need to add outlines, close gaps, or reinforce an outline, you may need to
draw it by hand before scanning the image. Or you may add it after scanning in a
graphics package. See Editing images in a graphics package on page 237 for
details.
Tip Try darkening the outlines using the outline appearance slider.

Sharpen Edges
used
image outline completed in outlines sharpened

graphics package
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 tool Sharpen outlines and - -

in ES remove noise
Use Reduce Colors - Reduce colors and -

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

• Point & Stitch™ • Point & Stitch™
• Smart Design • Smart Design
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 applying image processing, crop your image 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 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
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. You would normally do this in order to
eliminate backgrounds, flood-fill solid areas with color, or add outlines, close
gaps, or reinforce outlines. See Editing images in a graphics package on page 237
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
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 recognised 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 Shar pen 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. You would normally do this in order to
eliminate backgrounds, flood-fill solid areas with color, or add borders, close
gaps, or reinforce borders. See Editing images in a graphics package on page 237
for details.
To sharpen image outlines

2 Select the image.

zoomed
area
3 Click the Shar pen Edges icon.

The Shar pen 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
Editing images in a graphics package

Use Edit Image Using (Image menu) to edit images in a graphics
package.
Sometimes you need to edit images directly in a graphics package. You would
normally do this in order to eliminate backgrounds, flood-fill solid areas with
color, or add outlines, close gaps, or reinforce outlines. From within ES you can
open images directly in Paint, Corel PhotoPaint, or Paint Shop Pro. Images
updated in this way are automatically re-imported into ES.
There are many graphics packages which can help you improve your scanned
images. At one end of the spectrum there is the simple 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 PhotoPaint. 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 graphics package

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
5 Select File > Update <Filename>.

The image displays in ES overlaid with stripes. This means that it is still open
in the graphics package.
file still open in the

graphics package
Tip Select File > Exit & Return <Filename> to exit the graphics package
and show the updated image in ES. The stripes will disappear.

Chapter 13
Semi-Automatic Digitizing
ES provides a set of drawing tools which let you ‘draft’ shapes and outlines on
screen. Drawing objects can then be converted to embroidery objects by applying
input methods and stitch types to them. This means you can concentrate on
design shapes without having to think about stitch properties and sequence.
In addition to the drawing tools, you can automatically generate vector outlines
from bitmap images. Auto Trace traces areas of the same color in bitmaps to
create ‘drawing objects’. You can then convert these to embroidery objects.
The Point & Stitch™ suite of tools provides everything necessary to create
embroidery 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.
This section describes how to create drawing objects using the drawing tools or
generate them from bitmap images. It also explains how to quickly convert
drawing objects to embroidery objects. Digitizing shapes automatically with Point
& Stitch™ tools is also covered.

Creating drawings in ES
ES drawing tools let you ‘draft’ shapes and outlines on screen. Drawing objects
can then be converted to embroidery objects by applying input methods and
stitch types to them. See Converting vector drawings to embroider y objects on
Tip ES lets you select colors for drawing object outlines and fills. These can be
different to the corresponding embroidery objects. See Coloring drawing objects
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 object lines

to embroidery objects using an outline input
method — e.g. Run, Triple Run, or Motif Run
— or Input C. See Converting vector drawings to
embroider y objects on page 245 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.
240 Chapter 13 Semi-Automatic Digitizing V7

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
embroider y objects on page 245 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 lets you select colors for drawing object outlines and fills. These can
be different to the corresponding embroidery objects. See Coloring drawing
objects on page 217 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 embroider y objects on

To draw polygons
1 Click the Polygon icon.
2 Digitize the shape by marking reference points on screen.
! Click to a enter corner point.
! 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 embroider y objects on page 245 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 on page 245 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
Digitizing open, closed and complex shapes

The Auto Trace feature lets you convert scanned artwork to drawing objects. You
can then convert them to embroidery objects using Complex Fill, Input C, or an
outline input method — e.g. Run, Triple Run, or Motif Run. Auto Trace can find
holes in shapes — both inside and outside boundaries are detected.
The Make Complex Shape feature lets you combine any number of drawing
curves into a complex shape. The shape defines a single area that can be
converted to an embroidery object.
Converting artwork to vector drawing with Auto Trace

Use Auto Trace (Drawing toolbar) to convert artwork to vector drawing for
conversion to embroidery objects.
Use Auto Trace to convert scanned artwork to vector drawings. Auto Trace finds
holes in shapes — both inside and outside boundaries are detected. You can click
a line segment in bitmap and have it auto-traced as an open line. See also
Converting vector drawings to embroider y objects on page 245.

See Processing Images for Automatic Digitizing on page 223 for details.
To convert artwork to vector drawing with Auto Trace

1 Scan or load an image.
2 Select the image and process it.
3 Click the Auto Trace icon.
ES 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 generated and selected.
Click object Press Enter Select input method
At this point you can convert the generated drawing object directly into an
embroidery object. See Converting vector drawings to embroidery objects below
for details.
Converting vector drawings to embroidery objects

You can convert drawing objects to embroidery objects using Complex Fill, Input
C, or an outline input method — e.g. Run, Triple Run, or Motif Run. The
resulting object takes the current stitch type, color and object properties set for
that input method. You can also convert drawing objects to appliqué with Auto
Appliqué.

Tip You can send drawing objects directly to a laser cutter using the Cut Appliqué
feature. See Cutting appliqué shapes on page 645 for details.
Note To create objects with turning stitches, use Complex Fill to convert the
object, then add stitch angles to it. See Setting multiple stitch angles on page 322
for details.
To convert drawing objects to embroidery objects

1 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.
2 Select a thread color from the color palette.
vector drawing converted to Input C
converted to
Complex Fill
digitized with
Complex Fill
3 Select an input method from the Input Method toolbar.

! 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 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.
4 Depending on the selected input method, ES 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 on page 393 for details.
Tip Press Enter to accept the defaults. You can edit the results as any stage.
Note The 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.
Creating complex shape drawing objects

The Make Complex Shape feature lets you combine any number of drawing
curves into a complex shape. The shape defines a single area that can be
converted to an embroidery object.
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 on
page 252.
To create complex shape drawing objects

1 Insert a vector drawing or create one using the drawing tools.
2 Select the objects you want to combine.

TipUngroup 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 on page 390 for details.
complex shape object

Input C applied Run applied Motif Run applied
created and colored
Tip The Make Complex Shape feature enables you to select any number of
curves. Different selections can create different drawing objects.

Tip By copying the original drawing objects, you can also create borders and
filled holes. See also Creating outlines and filling holes on page 390.
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.
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.
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
include Turning Satin, Tatami Fill, Tatami Fill without Holes, Pickout Run,
Outline Run, and Match to Palette. Various forms of artwork can be used as input
— both bitmap and vector.

bitmap image
embroidery design digitized

with Point & Stitch™ tools
Digitizing shapes with Turning Satin

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

3 Select a thread color from the color toolbar.
4 Click the Turning Satin icon.
ES 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. You
may have jumps if the stitch length exceeds the default setting.
Digitizing shapes with Tatami Fill

Use Tatami Fill (Point & Stitch™ toolbar) to digitize large areas in your
artwork with Tatami stitch
Use Tatami Fill to digitize shapes, preserving any holes within them.
Note If you are using a vector drawing, you first need to define the shape as a
‘complex shape drawing object’. See Creating complex shape drawing objects on
To digitize shapes with Tatami Fill

4 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 while ignoring any holes.
Use Tatami Fill without Holes to digitize objects, ignoring any holes within the
shape.
To digitize shapes with Tatami Fill without Holes

4 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 in your
artwork with run stitch.
Use Pickout Run to digitize centerlines in your artwork with run stitches.
To digitize shapes with Pickout Run

4 Click the Pickout Run icon.
5 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 object boundaries
in artwork with run stitch.
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.
Tip Outline Run can be applied to thin intricate shapes where Pickout Run may
not find the correct shape centerline. Alternatively use it to outline large shapes
where you might want to change the stitch type later.
To digitize shapes with Outline Run

4 Click the Outline Run icon.
5 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.

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 on page 170 for details.
To match palette colors to an image

2 Click the Match to Palette icon.
4 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.

Chapter 14
Automatic Digitizing
ES Smart Design automatic digitizing is intended for people working at all levels
of the embroidery industry. Smart Design automatically converts artwork to fully
digitized embroidery with little or no intervention. Various forms of artwork can
be used as input — both bitmap and vector — and various levels of user ‘assists’
applied to the process.
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.
ES Photo Flash feature provides a technique for creating embroidery designs
directly from photographs and other grayscale bitmap images. Photo Flash
designs consist of rows of Satin or Contour stitches with varied spacing values.
The effect resembles the output of a line printer.
This section describes how to automatically convert bitmap images to
embroidery designs, and create embroidery from grayscale images.
Automatic digitizing with Smart Design

An extension of Point & Stitch™ technology, Smart Design recognizes shapes
in artwork — bitmap or vector — 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
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 Manual Digitizing on page 101.
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

258 Chapter 14 Automatic Digitizing V7

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 on page 262 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 details colors. See Adjusting detail
colors settings on page 261 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. As far
as the software is concerned, details may be lines, thicker lines, or thick lines or
small shapes of varying width.
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 embroider y designs with Smart Design on page 258 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.
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 embroider y designs with Smart Design on page 258 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’ and filled with Satin stitches.
The example shows narrow linear parts of the shapes being stitched as
Input C objects as opposed to 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 on page 264 for details.
9 Click OK.
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 on page 262 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 Stitch under objects below Stitch under objects below
width 1.5 mm 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 on page 371 for details.
5 Click OK.
stitches.
Creating embroidery designs from grayscale images

Use Photo Flash (Insert menu) to create embroidery designs directly from
grayscale images.
Use Photo Flash to create embroidery from photographs and other grayscale
images. Grayscale images are made up of different shades of gray pixels. You can
usually select grayscale as an option when you scan or save a bitmap image.

Photo Flash designs consist of rows of Satin or Contour stitches with varied
spacing settings. The effect resembles the output of a line printer.
Tip For best results, use images with well-defined subjects or constantly varying
shades.
To create embroidery designs from grayscale images

1 Insert the grayscale bitmap file in your design, and scale it to the required size.
See Inserting bitmap images on page 210 for details.
2 With the bitmap still selected, select Insert > Photo Flash.
The Object Properties > Photo Flash tab opens.
Enter max width

for each row Enter Skew angle
Enter gap between for Satin stitches
each row
Select a
Background option
3 In the Max Width field, enter the maximum width of each row of stitching.

Row spacing
Maximum width
4 In the Row spacing field, enter the size of the gap between each row of
stitching.
5 In the Fill Stitch panel, enter the Skew angle. This sets the angle of Satin
stitches.
Note If Contour is the selected stitch type, this field is disabled.
skew angle
6 In the Background panel, select a Background option.

! Light: applies the Max Width value to the lightest part of the image.
! Dark: applies the Max Width to the darkest part of the image.
Tip Usually the option you select depends on whether the fabric is light or
dark. The Dark option produces a negative of the image.
7 Click OK.
8 Crop the image to select the part you want to convert.
To do this, mark two points at diagonal corners to create a cropping rectangle
around the part of the image you require. ES generates stitches for the area
inside the cropping rectangle. This process may take some time.
Tip Use TrueView™ to get a more accurate representation of the stitching.

PART IV
MODIFYING DESIGNS

270 V7
Chapter 15
Combining and Resequencing Objects
ES lets you add to designs quickly by

duplicating and copying existing
objects. It also lets you combine
designs by inserting the contents of
one file into another.
Stitching sequence usually occurs in
the order in which the design was
digitized. However, you can change
this by a variety of methods.
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.
Apply Branching to join selected objects to form a single ‘branched object’. All
component objects are then selectable as one. You can 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 Object List, and by number. It also
explains how to sequence objects with Branching.
Combining objects and designs

A design or design objects can be copied or cut and placed on the Windows
clipboard for temporary storage. It can then be pasted any number of times,
within either 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.
petals copied and

pasted
Note You can also remove objects from a design using the Cut command and
paste them back in again. Cut and Paste changes the stitching sequence in the
design. See Resequencing objects with cut and paste on page 277 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 Checking the stitching sequence on page 79 for details.
You can paste between other objects in the sequence, or ‘nest’ the copied
object within an object. See Nesting objects on page 274 for details.
4 Click the Paste icon.
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.
Tip If required, change the current paste options. See Setting paste position
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.
272 Chapter 15 Combining and Resequencing Objects V7

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.
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
You can place the duplicate between other objects in the sequence, or ‘nest’
it within an object. See Nesting objects on page 274 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.
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
You can ‘nest’ an object in the middle of another object’s stitching sequence to
prevent long connectors being generated. Nesting lets you create or insert an
object at an exact point of the stitching sequence.
objects not nested —

long connectors
objects nested — short

connectors
This feature is particularly useful with motifs, and other designs where long
connectors may be generated.
Note The stitching sequence of nested objects is maintained when stitches are
regenerated for either object. However, if you resquence a design containing
nested objects it will stitch objects in the original object sequence.
To nest objects
1 Travel through the first object until the needle position marker is in the place
you want to insert the second object. See Traveling by stitches on page 80 for
details.
2 Insert the second object. To do this, either digitize the object, or copy and
paste or cut and paste it into position.
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 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 on
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 Checking the stitching sequence on page 79 for details.
You can insert a design between objects in the sequence, or ‘nest’ the design
within an object. See Nesting objects on page 274 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 using click and drag on page 290 for details.

Tip To ensure that all the objects in the inserted design stay together, group
the design while working with it. See Grouping objects on page 291 for details.
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.
You can split embroidery objects that were created with the Input A, Input B, and
Input C tools, if Satin or Tatami, or Program Split is the selected stitch type. Run
objects may also be split but Complex Fill objects cannot.
To split objects
1 Select an object to split.
2 Travel to the stitch where you want it to be split.
You can travel to a stitch inside a Satin, Tatami, Run or Manual object. See
Traveling by stitches on page 80 for details.
Note You cannot split an object at the first stitch.

3 Select Edit > Split Object.
The object is split into two objects at the needle position marker.
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 on page 594 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 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.
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 design with the Select and cut object to be

center stitched first changed

3 Travel to the position in the stitching sequence where you want to paste the
You can paste between other objects in the sequence, or ‘nest’ the cut object
within another object. See Nesting objects on page 274 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.
needle position
marker
Travel to the end of the design Paste the object
The object is pasted back in the design according to the current paste options.
See also Setting paste position options on page 729.
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.
You can resequence objects by color. This reduces the number of color changes
in a design.
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 objects with the Object List

Click Object List (Standard toolbar) to open the Object List.
Resequence by dragging and dropping objects in the list.
You can resequence objects by changing their position in the Object List. See also
Selecting and manipulating objects with the Object List on page 94.

Tip You can also resequence objects in color blocks with the Color List. See
Selecting and manipulating color blocks on page 95 for details.
To resequence objects with the Object List

2 In the Object List, select the objects to resequence.
Click and drag

object to new
position in the list
3 Drag and drop selected objects to reposition them in the Object List.
Drop object at new

position
Note You may need to select all and regenerate stitches — Ctrl + A then press
G— to view sequence changes.

Resequencing objects by number
Click Object List (Standard toolbar) to open the Object List.
Right-click the object and select Resequence By Number from the popup
menu.
You can resequence objects numerically in the Object List. See also Selecting and
manipulating objects with the Object List on page 94.
To resequence objects by number

1 In the Object List, select the object you want to resequence.
2 Right-click the object and select Resequence By Number from the popup
menu.
Enter number of
target object
3 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.
4 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 which are
made up of objects that mainly overlap, like a complicated letter or Asian
character. Apply Branching to join selected objects to form a single ‘branched

object’. All component objects are grouped and selectable as one object. You can
apply a single underlay to all.
When dissimilar objects are selected and branched, any objects which cannot be
branched are omitted. Objects with Motif Run and Motif Fill stitch types may
not be branched. In addition, only one each out of the selected object’s fill stitch
and outline stitch types will be applied to the branched object.
Properties of branched objects

Branching works with embroidery objects consisting of one or a combination of
the following input types — Input A, Input B, Input C, Run, and Complex Fill.
The stitch type becomes that of the first object selected. 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 selected object.
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 on page 563.
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 Locking and grouping
objects on page 291.
Editing branched objects

Branched objects are still editable after applying Branching. 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 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 Checking the stitching sequence on page 79 for details.
Applying branching with the Object List

Use Object List (Standard toolbar) to select the objects you want to
auto-sequence.
Click Branching (Standard toolbar) to automatically sequence selected
t
objects.
You can apply Branching to selected objects with the Object List.
To apply branching with the Object List

1 Open your design.
long connectors
between separate
objects

3 Select objects in the Object List.
4 Right-click and select Branching from the popup menu.

Select Branching from
popup menu
Note The function is only available if more than one object of any suitable
type is selected.
5 Digitize entry and exit points, or press Enter twice to accept the defaults.
Stitches are regenerated. Component objects are grouped and take the stitch
type and color of the first object selected.
objects resequenced,
connectors minimized
The component objects are also grouped in the Object List.
component objects
grouped
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.

2 Right-click the Auto Underlay icon.
The Effects > Auto Underlay tab opens.
Select Underlay select an

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
Warning Complex Fill objects must not overlap as this will cause stitches to
disappear altogether.
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 on page 282 for details.
Stitches are regenerated. Component objects are grouped and connector
stitches 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 Checking the stitching sequence on page 79 for details.
Tip When 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 16
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 a
change to them all at once, or lock them to avoid unintentional modification. You
can modify objects directly on-screen, or in the Object Properties dialog. You can
also access most of these functions using the Object List and popup menu.
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 native EMB designs contain the complete set of design
information required for 100% perfect scaling and transformation. See also
Embroidery design formats on page 585.
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 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.

Positioning objects using click and drag
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.
To position objects using click and drag

1 Select the object/s to move.
2 Click and drag the object to a new position.
Cross Hair cursor

centers objects
3 For more accurate positioning, press the arrow keys to ‘nudge’ the object into
the required position.
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.
Positioning objects using object properties

You can position selected objects relative to the center of a design by entering its
X:Y coordinates in the Object Properties dialog.
To position objects using object properties

1 Select the object/s to move.
2 Double-click the object to open the Object Properties dialog, and select the
General tab.
Enter new
coordinates
3 In the Position fields, enter the new coordinates for the object.
290 Chapter 16 Arranging and Transforming Objects V7

4 Click OK.
The object is centered over the coordinates you set.
Locking and grouping objects

When you lock or group objects, you can apply a change to all objects at once,
saving time, and ensuring that the change is consistent across all.
Locking 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 vector 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 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 objects
Click Group (Standard toolbar) to group selected objects.
You can group selected objects or the whole design to keep them together for
moving, scaling and transforming actions.
To group objects
1 Select the objects to group.

2 Click the Group icon.
Select, move, resized,

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.
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 on page 86.
Ungrouping objects
Click Ungroup (Standard toolbar) to ungroup selected objects.
When you have finished making changes to a group, you can ungroup it and work
with the objects individually.
Note You need to ungroup before you can set embroidery properties for any
individual object in the group.
To ungroup objects
1 Select the grouped object.
2 Click the Ungroup icon.
ungrouped objects are

all selected
The object is ungrouped, and the component objects selected.

Aligning and spacing objects
ES lets you align objects to position them relative to each other, or distribute
them evenly in your design.
Aligning objects
You can align selected objects in a design. ES 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.
Spacing objects evenly

Select Space Evenly (Arrange menu) to space objects evenly across or
down.
You can set spacing to be consistent between selected objects. ES lets you set
vertical or horizontal spacing.

To space objects evenly
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.
Scaling objects
You can scale objects by dragging the selection handles with the mouse,
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 native 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
the 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.
Scale proportionally Drag Scale proportionally Shift + drag

about center
! 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 around a center anchor, hold down Shift while you resize. Ctrl
+ Shift resizes height and width simultaneously around a center anchor.

Scale vertically in
both directions
Scale horizontally in Shift + drag

both directions
Shift + drag
Scaling objects using object properties

You can scale selected objects or a whole design using object properties. This
allows stitches to be regenerated and the original stitch density preserved.
Tip You can also adjust stitch density at the same time. See also Adjusting stitch
density on page 366.
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 on page 585.
To scale objects using object properties

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 object selected object scaled
Width:140% Height: 120%
selected object 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
Make Same Size Height

2
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 of the object and an anchor point
displays at the object’s center.

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

selection handles rotation handles
Note If you click too quickly, the Object Properties dialog opens.
3 If required, drag the rotation anchor from the center to a new position.
4 Click a rotation handle, and drag it clockwise or anti-clockwise. An outline
and cross-hairs display as you rotate.
Drag a corner to rotate Drag the anchor point Drag a corner to rotate
about the anchor point about the anchor point
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

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 objects and vector
graphics.
TipThis technique is particularly useful to duplicate and rotate objects around an

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

1 Select the object/s to transform.
2 Select Edit > Transform Special.
3 Click to mark the anchor point for the transformation.
4 Click to mark the second reference point at the point where the object will
be rotated relative to the anchor point.
Move the pointer
An outline attaches to the pointer.

5 Drag the pointer to the required rotation position.

6 Click and hold down the mouse button, and press Enter.
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.
Tip This technique is particularly useful when you want to align objects precisely
with a common reference line — e.g. aligning scanned images with the horizontal
axis.
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 Object
Properties dialog.
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. An outline and cross-hairs show
the change to the object’s shape.

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.
General tab.
3 In the Skew By field, enter the skew angle you require.
Enter skew
angle
4 Click OK.
Mirroring objects
You can mirror objects horizontally or vertically using the Object Properties
dialog. You can also mirror around a custom axis using a reference line.
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.

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 custom 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.
Mirroring objects using reference points

Select Transform Special (Edit menu) to mirror objects using reference
points.
The Transform Special function provides another method for mirroring selected
objects about a specified axis. It can be used both with embroidery objects and
vector graphics.

To mirror objects using reference points
1 Select the object/s to transform.
2 Select Edit > Transform Special.
3 Click to mark the anchor point for the transformation.
4 Click to mark the second reference point at the point where the object will
be mirrored relative to the anchor point.
An outline attaches to the pointer.

5 Move the pointer until the outline is in the required mirror position.
6 Right-click and hold down the mouse button, and press Enter.

Chapter 17
Reshaping and Editing Objects
ES lets you modify object shapes, stitch angles and entry and exit points by means
of control points. Stitch angle lines and entry and exit markers all appear around
selected objects. Control points vary slightly with the object type.
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, convert object types, adjust stitch angles (including set
multiple stitch angles), change entry and exit points, as well as keep or omit the
last stitch.
Reshaping objects
Use Reshape Object (Pointer toolbar) to adjust the control points of
selected objects.
You can change the shape of an object by selecting it with the Reshape Object tool
and moving, adding or deleting control points on the outline. For some objects,
you can also change control points from corner points to curves.
Note The Reshape tool lets you modify shapes without affecting the stitch angles.

Reshaping objects using control points
Click Reshape Object (Pointer toolbar) to display the control points of
selected objects.
Change object shapes by selecting them with the Reshape Object tool and
modifying the available control points.
To reshape objects using control points

1 Select the object to reshape.
2 Select the Reshape Object icon.
Control points appear around the object.
entry point
corner control
point
curve control
point
exit point
3 Modify the outline by adding, deleting, changing or moving the control

points, depending on the object type and the required change.
4 Change entry and exit points, and stitch angle as required.
5 Press Enter to apply the changes.
Selecting control points

Control points can be selected individually or together, for repositioning or
modification.
To select control points

! Click to select a single control point.
310 Chapter 17 Reshaping and Editing Objects V7

! Holding down Ctrl, click to select multiple control points.
! Click and drag a bounding box around a group of control points to select.
Moving control points

You can move control points to change an outline shape.
To move control points

! Click and drag a single control point to a new position.
! Similarly, click and drag multiple control points to a new position.

Adding control points
Use Reshape Object (Pointer toolbar) to reshape selected objects.
You can add control points to object outlines by clicking or right-clicking with the
Reshape Object tool selected.
Note You cannot add control points to objects created with the Circle/Star or
Ring tools. See also Reshaping circle, star and ring objects on page 314.
To add control points

1 Position the pointer where you want to add the control point.
2 Click to add a control point.
! Left-click to add a corner point.
! Right-click to add a curve point.
Left-click
Right-click
Note For Input A objects, each click adds a pair of control points connected
by a stitch angle line.
3 Adjust the position of the control point by dragging it along the outline as
required.
Changing control points

Reshape object outlines by changing corner control points to curves, or vice
versa.

Note You cannot change 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 on page 314.
To change control points

1 Select the control point.
2 Press Spacebar.
Deleting control points

Delete unwanted control points to change an outline or to remove unwanted
boundaries from Complex Fill objects.
Note You cannot delete the end points of Input B objects, or any control points
from objects created with the Circle/Star or Ring tools. See also Reshaping circle,
star and ring objects on page 314.
To delete control points

1 Select the control point or points.
2 Press Delete.
Note 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.

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 a
stitch 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, using 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 used to change the radius and orientation of the boundary.
Each boundary also has a center point used to move the boundary. The object
has a single stitch 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
Converting between object types

ES lets you convert between Run, Triple Run and Input C objects. This is useful
for creating thicker or thinner columns or borders when scaling designs. You can
also convert between Complex Fill and Input A or B objects. This too is useful
for editing when scaling.
Tip You can quickly switch from a fill stitch input method to Run or Manual
input methods using keyboard shortcuts. See Switching between fill and outline
input methods on page 103 for details.

Converting between Run, Triple Run and Input C objects
Use Run (Input toolbar) to digitize and then convert to Triple Run or Input
C objects.
Use Triple Run (Input toolbar) to digitize and convert to Run or Input C
objects.
Use Input C (Input toolbar) to digitize and convert to Run or Triple Run.
After digitizing, you can quickly convert objects digitized with Run and Triple
Run or Input C. This is useful for creating thicker or thinner columns or borders
when scaling designs.
To convert between Run, Triple Run and Input C objects

1 Select a Run object to change to Triple Run or Input C.
Run object
2 Click the Triple Run or Input C icons.

Follow the instruction in the prompt bar:
! Enter the entry point for Triple Run or press Enter to accept the default.
! Enter width point1 and width point2 for Input C.
3 Press Enter.
The object is converted to Triple Run or Input C.
Enter width point1 and point2 Press Enter to convert to Input C object
Note You can change an Input C or Triple Run object to Run object in the
same way.

Converting Complex Fill to Input A or B
Use Stitch Angles (Pointer toolbar) to convert objects from Complex Fill
to Inputs A or B.
You can convert objects from Complex Fill to Input A or B with the Stitch
Angles tool. By adding stitch angles, the object is converted to an Input A or
Input B object. The technique works with simple Complex Fill objects but the
shape must have only one boundary and one segment. See also Setting multiple
stitch angles on page 322.
Note Complex Fill objects with holes will not be converted — the Stitch Angles
tool is disabled.
To convert Complex Fill to Input A or B

1 Select the Complex Fill object.
2 Click the Stitch Angles icon.

You are prompted to enter stitch angles.
3 To have a turning fill effect, enter angle points 1 and 2 as many times as you
like.
Enter stitch angles
4 Press Enter.

Most of the time you get Input B, but you can adjust and delete control points
to make an Input A object.
converted to Input B
object
Converting Input A or B to Complex Fill

Use Complex Fill (Input toolbar) to convert objects from Input A or B to
Complex Fill. Right-click to adjust the conversion settings.
You can convert objects from Input A or B to Complex Fill with the Complex
Fill tool. 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, Tatami
or some other fill stitch type can be used.
To convert Input A or B to Complex Fill

1 Select an Input A or Input B object.
Input B object

3 Enter angle points 1 and 2.
Stitch angles change and a Complex Fill object instantly created.

Enter angle converted to
points Complex Fill
Tip You may adjust control points and add some effects.
control points adjusted —

motif fill applied
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.
Adjusting stitch angles

Stitch angle adjustments depend on the type of object you are working with. With
Complex Fill objects you can set a stitch angle for the entire object. Alternatively,
you can add multiple stitch angles with the Stitch Angles tool. You can do the
same with Input A and Input B objects. You can also adjust the stitch angle in
Input A and Complex Fill objects using 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 stitch entry point.
Adjusting Complex Fill stitch angles using object properties
Use Complex Fill (Input toolbar) to set stitch angles.
You can change the stitch angle of Complex Fill objects using object properties.

stitch angle

stitch angle
To adjust Complex Fill stitch angles using object properties

1 Select a Complex Fill object.
2 Right-click the Complex Fill icon.
The Object Properties > Complex Fill tab opens.
Enter required
stitch angle
3 In the Angle field, enter the required stitch angle.
Angle: 90° Angle: 0°
4 Click OK.
Adjusting Complex Fill stitch angles interactively

Click Reshape Object (Pointer toolbar) to display control points and
stitch angle lines in selected objects.
You can change the stitch angle of Complex Fill objects using the Reshape Object
tool.

To adjust Complex Fill stitch angles interactively
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.
Setting multiple stitch angles

Use Stitch Angles (Pointer toolbar) to set multiple stitch angles for new
The stitch angles of Input A, Input B and Complex Fill objects are all modified
in the same way. Multiple angles can be added with the Stitch Angles tool. Adding
stitch angles converts Complex Fill to Input B or Input A objects. Similarly,
adding stitch angles converts Input A objects to Input B. Vice versa, modifying
Input B objects converts them to Input A. See also Converting Complex Fill to
Input A or B on page 318.
Note Multiple stitch angles cannot be added to Complex Fill objects with holes
— the Stitch Angles tool is disabled.
Input A with multiple

stitch angles
Input B with multiple

stitch angles

Tip With the Reshape tool, you can add individual control points on either side
of Input A and B objects, modifying the shape without affecting the stitch angles.
See Reshaping objects on page 309 for details.
To set multiple stitch angles

1 Select the Input A, Input B or Complex Fill object to modify.
Input A object
Input B object

3 Digitize stitch angles so that they intersect two sides of the object. Make sure
that they do not intersect each other.
Enter stitch angles
Warning New stitch lines should not intersect existing stitch lines or an error
message displays. Press Backspace to delete.
4 Enter angle points 1 and 2 as many times as required to create a turning fill
effect.
5 Press Enter.

6 Select and adjust control points to reshape the object as required.
control points
adjusted
The object is re-stitched with the new angles.
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.
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 stitch 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

Chapter 18
Editing Stitches and Machine Functions
properties. This means you can scale, transform and reshape ES designs without
affecting stitch density or quality.
However, ES 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 particularly when working
with ‘stitch’ files which do not contain design
outline data. See Embroider y design formats on
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 also lets you manually insert machine functions and modify them.
This flexibility allows you to adapt designs to almost any machine requirement.
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.
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.
Selecting 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. 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.
You can quickly select all stitches in a group by dragging a bounding box around
them.
328 Chapter 18 Editing Stitches and Machine Functions V7

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 on page 340.
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.

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 Inserting machine functions with Stitch List on
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 on page 104 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.
functions are lost. Where possible, reshape the object rather than move individual
stitches. See Reshaping and Editing Objects on page 309 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.
functions are lost. Where possible, edit the object properties rather than
individual stitches. See Adjusting Satin stitch spacing on page 125, Adjusting
Tatami stitch spacing on page 131 and Adjusting stitch density on page 366 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.
You can recognize new or revised object outlines 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 on page 594.
To convert selected stitches to objects

1 Select the individual stitches you want to process.
See Selecting stitches on page 327 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 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 lets you manually insert color changes, thread trims, jumps, machine stops,
needle in and out commands, and boring commands.

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 on page 158 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 on page 334 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 on page 192
and Adding trims on page 195 for details.
If you need additional trims, you can insert the functions manually. See Editing
machine functions on page 334 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 on page 623 for details.
Stop functions
If you want the embroidery machine to stop for any special reason while stitching
a design, you need to insert a Stop function in the stitching sequence. To indicate
a stop in your design, you must insert a Stop function manually. See Editing
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 on page 378 for details.
! Digitize individual jumps by right-clicking the Manual icon. See Digitizing
individual stitches on page 104 for details.

! Select jumps as connectors. See Using jumps as connectors on page 187 for
details.
! Create jump connectors manually by digitizing Needle Out. See Adding jumps
with needles out on page 196 for details.
If you need additional jumps, you can insert the functions manually. See Editing
Needle In and Needle Out functions

The Needle In and Needle Out functions instruct the machine whether or not to
use needle penetrations. You can enter these functions automatically using the
Needle In tool. See Adding jumps with needles out on page 196 for details.
If you need additional Needle In or Needle Out functions, you can insert them
manually. See Editing machine functions on page 334 for details.
NoteRemember to insert a Needle In function to instruct the machine to resume

normal stitching.
Borer In and Borer Out functions

Borer In and Borer 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 can insert these functions automatically using the
Borer In tool. See Digitizing boring holes on page 402 for details.
If you need additional Borer In or Borer Out functions, you can insert them
Sequin On and Sequin Off functions

Sequin On and Sequin Off functions are available for embroidery machines that
are equipped with a sequin dispenser. They instruct the machine when to drop a
sequin on the fabric for stitching. You can insert these functions automatically
using the Sequin Mode command. See Digitizing with sequins on page 401 for
details.
If you need additional Sequin On or Sequin Off functions, you can insert them
Inserting machine functions manually

You can insert machine functions manually using 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.
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 on page 80 for details.
2 Select Machine > Insert Function.
The Insert Function dialog opens.
Select from among

functions listed for
selected machine
format
3 From the Available Functions list, select the function you want to insert.
For some functions you can choose whether to insert the function on the
current stitch, or on an Empty Stitch.
Note The available functions and their options depend on the selected
machine format. See Selecting machine formats on page 615 for details.
4 If available, choose the insertion method:
! Insert on Empty Stitch: inserts the function on an empty stitch.
! Add to Current stitch: inserts the function at the current stitch.
Depending on your machine format, you may need to insert Empty Stitches
or Empty Jumps before or after the function. See your machine manual for
details.
5 To insert an Empty Stitch or Empty Jump, select one or other in the
Component field.
! To insert it before the function, select Insert Before.
! To insert it after the function, select Insert After.

Tip To insert additional Empty Stitches or Empty Jumps, click Add.
The function and any Empty Stitches or Empty Jumps display in the Sequence
panel.
6 Click OK.
The name of the inserted function appears in the Prompt line.
Tip The Stitch List provides an alternative means for inserting machine
functions manually. See Inserting machine functions with Stitch List on
Editing machine functions

Select Edit Function (Machine menu) to insert machine functions
manually in your design.
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 are automatically updated if the machine format changes.
To edit machine functions

1 Travel to the function you want to edit. See Traveling by machine function on
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.
! To insert an Empty Stitch or Empty Jump, select one in the Component
field, and click Insert Before or Insert After, as required.
To insert additional Empty Stitches or Empty Jumps before the function,
click Add.
! To delete an Empty Stitch or Empty Jump from the sequence, select it,
then click Remove.
3 Click OK.
Tip The Stitch List provides an alternative means for editing machine
functions manually. See Editing machine functions with Stitch List on
Clearing machine functions

Manually inserted machine functions are not automatically removed or updated
when an object is modified. If a function is no longer required, it must be
manually cleared from the design. Both automatic and manually-inserted
functions can be removed.
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 function
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 on
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 on page 329 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 on page 336 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 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 on page 334 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 on page 371.
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 on page 379 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

348 V7
Chapter 19
Improving Stitch Quality
Use automatic underlay, pull compensation, stitch shortening, fractional spacing

and Smart Corners to achieve smooth, even placement of stitches, and eliminate
gaps in your design. These features are object properties, and can be applied,
removed or modified at any time.
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
also described. You will also find details of setting automatic start and end points.
Strengthening and stabilizing with automatic underlays

Use Auto Underlay (Stitch Types toolbar) to strengthen and stabilize
embroidery designs with automatic underlays. Right-click to adjust
underlay settings.
Underlay stitching helps stabilize fabric as you stitch by reducing distortion due
to the pull effect. It also raises stitches to prevent them from sinking into thick or
soft fabrics. 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. They are regenerated whenever
the object is scaled or transformed.
Applying automatic underlays

Click Auto Underlay (Stitch Types toolbar) to apply the effect to new or
selected objects.
You can generate automatic underlay stitching for new or selected objects.
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 provides a selection of underlay types to choose from. Use a single layer of

underlay, or for more support, combine two underlay types.
Center Run and Double Zigzag Edge Run and Zigzag

underlays underlays
350 Chapter 19 Improving Stitch Quality V7

To select underlays
stitch types
stitch spacing
and length underlay margins
backstitch type
underlay angles
2 Select the Underlay checkbox.

3 From the First and Second fields, select an underlay type for each level of
underlay. The second underlay type is optional.
4 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.
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.
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 stitch lengths on
page 108.
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 Auto
Underlay Select Center Run
or Edge Run
Enter fixed or
variable stitch
length
2 Select the Auto Underlay checkbox and select Center Run or Edge Run as the
First or Second underlay type.
3 In the Run Stitch Values panel, do one of the following:
! Enter a specific stitch length in the Length field.
! Select the Vary Run Length checkbox and enter the Chord Gap value.
See also Setting variable stitch lengths on page 108.
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.
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 Underlay
Select Zigzag or
Double Zigzag
Enter Zigzag
stitch values
2 Select the Underlay checkbox and select Zigzag or Double Zigzag as the First
or Second underlay type.
3 In the Zigzag Values panel enter the required stitch values:
! Spacing: the required distance between two needle penetrations on the
same side of the column.
! Length: the length of each zigzag stitch.

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.
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 Underlay Select Tatami
Enter Tatami
stitch values
2 Select the Underlay checkbox and select Tatami as the First or Second
underlay type.
3 In the Tatami Values panel enter the required stitch values:
! Spacing: the distance between each row of stitching.
! Length: the length of each stitch.
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 on page 133 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 Underlay checkbox, and select the underlays you require from the
First: and Second: dropdown lists.
Select Underlay
Select underlays
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, Mgn 3: 0.4 mm All margins: 0.1 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.
Compensating for fabric stretch

Use Pull Compensation (Stitch Types toolbar) to automatically
compensate for fabric stretch. Right-click to adjust pull compensation
settings.
Embroidery stitches pull the fabric inwards where the needle penetrates. This can
cause the fabric to pucker, and gaps to appear in the embroidery. Automatic pull
compensation counters this effect by ‘overstitching’ outlines of filled shapes on
the sides where the needle penetrates. See also Adjusting stitch density on
page 366.
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.

TipApplying underlay stitching, and using appropriate backing and topping
when stitching out can also reduce pull effect.
Applying automatic pull compensation

Click Pull Compensation (Stitch Types toolbar) to apply the effect to new
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 0.17
T-shirt 0.25

Fabric Pull compensation (mm)
fleece, jumper 0.25 - 0.4
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.
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 pull/push effect.
This is especially visible with Input C objects. Reverse Curve lets you control the
pull/push effect by reversing the stitch direction. This in turn affects the stitching
direction of Jag ged Edge, Contour Stitch and E Stitch objects. It can also affect
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

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.
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
Shortening reduces the length of some stitches in sharp turns so that the needle
penetrations are distributed evenly, creating smoother stitching.
TipFractional Spacing provides another way of reducing stitch bunching. See

Reducing stitch bunching with fractional spacing on page 364 for details.

Applying stitch shortening
Click Shortening (Stitch Types toolbar) to apply the effect to new or
selected objects.
Apply stitch shortening to curved objects to decrease stitch density on the inside
edge.
shortening ON shortening OFF
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 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

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.
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 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 Shortening provides another way of reducing stitch bunching. See Reducing
stitch bunching with stitch shortening on page 360 for details.

Applying fractional spacing
Click Fractional Spacing (Stitch Types toolbar) to apply the effect to new
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 below 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 Auto Spacing settings on page 128
and Removing small stitches automatically on page 371.

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, or was converted into objects, the
changes you make through the Process dialog will change the properties of the
selected objects. You can check any changes via the Object Properties dialog.
To adjust overall stitch density

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

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, 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 on page 357.
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 also Scaling objects using object properties on
page 296.
6 Click OK.
Stitches for Tatami, Satin, Run, and Program Split objects are regenerated
using the new settings.

Note Like the Object Properties dialog, the Process dialog lets you specify
design dimensions precisely.
Adjusting stitch density of certain stitch types

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 on page 127.
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, 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 on page 357.
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 on page 343.
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 general options on page 731 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
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 Smart
Corners settings.
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 Cap Corner Mitre Corner
Applying Smart Corners

Click Smart Corners (Stitch Types toolbar) to apply the effect to new or
selected objects.
Apply Smart Corners to reduce the number of stitches and the risk of bunched,
distorted embroidery, in sharp corners.
Cap Corner Mitre Corner

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 below for details.
Note You can also apply Smart Corners in Input C objects in conjunction
with sharp corner rounding. See Rounding shar p corners on page 375 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 Corner and Cap Corner 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 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 angle: 75° mitre below angle: 45°
For example, set ES 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: 0.5 mm mitre overlap: 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 angle: 45° cap below angle: 75°
If Mitre Corners are also selected, this value is usually smaller than the
mitre angle.

! Capping overlap: the number of overlapping rows to allow where the
sections of the cap join.
capping overlap: 3 capping overlap: 1
! 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 applies rounding to sharp corners by default. Round Shar p 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 on page 372.
rounded corners
sharp corners

To round sharp corners
Select Round
Sharp Corners
2 Select the Round Shar p Corners checkbox.

This checkbox is only enabled when Smart Corners is turned on in the Effects
dialog. See Controlling corner stitching on page 372 for details.
3 Click OK.
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. Long Satin stitches need to be
divided into smaller frame movements, with or without needle penetrations. If a
column is too wide, you can apply Auto Split. ES breaks any long stitches into
shorter ones and distributes the needle penetrations in a random pattern, so that
they do not form a line in the middle of the shape.
Tip While Auto Split is provided primarily to prevent long stitches in wide
columns, it can also be used as an alternative to Tatami fill.
Auto Split ON Auto Split OFF

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 on
Auto Jump Auto Jump ON

OFF or OFF
Auto Split OFF Auto Split ON
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.
Tip As an alternative, change the stitch type to Tatami or Program Split for better
results. Or, use User Defined Split to manage split lines in Satin fills. You could
also divide the shape and digitize it as two objects. If using a Satin stitch column
only a few millimeters wider than the maximum stitch, reshape the column.
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.
Preserving long stitches with Auto Jump

Use Auto Jump (Stitch Types toolbar) to preserve long stitches in new
and selected objects. Right-click to adjust Auto Jump settings.
You can preserve long stitches in an object by splitting them into a series of jumps
with Auto Jump. Embroidery machines have a maximum possible frame
movement which is determined by the machine itself. If a stitch exceeds this
maximum frame movement, and Auto Jump is not selected, the stitch is broken
into smaller stitches. This can affect the appearance of the embroidery, especially
Satin fills.
Auto Jump inserts jumps between the needle penetrations of a long stitch. This
prevents the machine from inserting unwanted needle penetrations when the
maximum frame movement is exceeded.

Note The maximum frame movement is defined in the software by the machine
format values. See Adjusting standard machine format settings on page 621 for
details.
Applying Auto Jump

Click Auto Jump (Stitch Types toolbar) to apply the effect to new or
selected objects.
You can apply Auto Jump to objects in a design either before or after you digitize.
Apply Auto Jump to objects with stitches that exceed the maximum stitch length.
Auto Jump OFF Auto Jump ON
Note Auto Jump is applied by default to connectors.
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 on page 621 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 preset
Select a centering end-point
method
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 Center Point: creates connecting stitches from the start and end
points to a point you digitize. If you select this, you are prompted to select
the point after you click OK.
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 on page 185 for details.
7 Click OK.
Connecting stitches will be inserted as required before the first and after the
last stitch of the design.

Chapter 20
Specialized Digitizing Techniques
ES 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
filling holes, creating repeated or ‘backtracked’
duplicates, and adding borders. If your machine type
supports boring or sequining, you can use ES 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 out about
specialist digitizing for appliqué, sequins and boring.
Reinforcing outlines
Use Backtrack / Repeat (Pointer toolbar) to reinforce an outline, stitching it
t
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 Use Repeat for closed

shapes 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 on page 83
for details.
! Travel through the stitches. See Checking the stitching sequence on
Digitizing circles, stars and rings

ES 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 circle effects. You can use any fill stitch type with circles and ovals although
Contour stitch only looks effective with long, narrow ovals.
oval with Contour

circle with Program Split star
Digitizing circles and ovals

t
Use Circle/Star (Input toolbar) to digitize filled circles and ovals.
384 Chapter 20 Specialized Digitizing Techniques V7

Digitize filled circles and ovals with a few clicks. 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 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 stitch 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.
! To create an oval, click again to mark a second radius point, and press
Enter.
reference point
2
90°
1 center
reference point
3

Digitizing stars
Use Circle/Star (Input toolbar) to digitize star shapes filled with Zigzag
t
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 stitch 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
t
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 Tatami ring with Contour
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 stitch 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 var ying width on
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 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.
The Offset Object feature creates new outlines from the outlines of selected
objects. Any closed object can be used as input, 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 offset
objects over the original outline, or offset them to the inside or outside. 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 outline over the object’s boundary, accept the default value
of 0.00.
! To position the outline on the outside of the object, enter a positive offset
(e.g. 1.00).
! To position the outline on the inside the 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 Complex Fill objects

Use Filled Holes (Insert menu) to create new objects from boundaries in
Complex Fill objects using the Filled Holes feature.

Create new objects from boundaries in Complex 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 Complex Fill objects

1 Select the Complex Fill object for which you want to fill the holes.
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
same way as other Complex Fill objects.
Note If you do not want to fill all the holes, select the unwanted new objects,
and press Delete.
Digitizing for appliqué

Use Auto Appliqué (Input toolbar) to digitize appliqué objects.
Right-click to adjust Auto Appliqué settings.
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 on
Tip Apply Smart Corners to appliqué objects if required. See Controlling corner
stitching on page 372 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 on page 396.
! 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 on
page 395 or Adjusting tacking settings on page 396 for details.

6 Press Enter.
Up to three layers of stitching — guide run, 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 appliqué shapes on the
background material. You can adjust the stitch length, offset and frame out
setting of guide runs.
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 objects on
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 the 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 objects on
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.
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 Click OK.
Tip Ungroup the auto-appliqué object, then Select All and generate the
stitches. You now have a guide stitch, tack down and cover stitch that are
three 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

Right-click Auto Appliqué (Input toolbar) 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

To create partial cover appliqué objects
2 Select the Partial Cover checkbox and click OK.
Select Partial
Cover checkbox
3 Digitize the appliqué shape in the same way you digitize shapes with Complex
Fill.
4 Digitize the entry and exit points to define the position of the first and last
stitch of the object.
5 Digitize the start and end points of the cover fill.
frame out position
start point end point
end point start point
6 If required, digitize the frame out position, or press Enter to accept the
default X, Y coordinates.
The cover stitches are generated in a clockwise direction between the
specified 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 provides support for both.

Digitizing with sequins
Use Manual (Input toolbar) together with Sequins On to digitize sequined
designs.
Use Sequin Mode (Machine menu) to digitize sequined designs.
You can digitize sequined designs for compatible

machines using Sequins On together with the
Manual input method. Be aware, however, that you
need to plan the stitching sequence carefully in order
to minimize unnecessary stitches. To add sequins,
you right-click to drop it on the design, then secure it
with Manual stitches.
Note Sequin mode is currently only supported in

Tajima, ZSK1 and ZSK2 embroidery machine
formats. Before you can use Sequins On, you must
select a machine format that supports Sequin Mode.
See Selecting machine formats on page 615 for details.
To digitize with sequins

1 Click the Manual icon.
2 Select Machine > Sequin Mode.
3 Right-click to add a sequin to the design, and press Enter.
A circle representing the sequin appears in the design.
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 to hold sequins in
place.
Note The needle points of each stitch must be placed precisely to ensure the
sequins are not pierced by the needle when stitching out. Zoom in for more
accurate digitizing.

Digitizing boring holes
Use Run (Input toolbar) to digitize an outline around the shape you want
to bore.
Use Borers In (Generate toolbar) to digitize boring holes.
If your embroidery machine is equipped with a boring

knife or needle, you can use Borers In to cut holes in the
fabric, producing an effect similar to lace. Borer holes
are generally stabilized with Zigzag (to prevent fraying
and movement), and bordered with Satin stitches. To
digitize for boring, you need to specify where to bore
the holes, and create the stabilizing and border stitches
around each hole.
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 Borers In selected, each needle penetration point becomes a borer hole,
regardless of the stitch type. Borers In 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 borers is for a ‘knife’ attachment, where the cutting
position is offset 12 mm from the main needle line. If you are using a boring
needle, you need to change the offset value to 0. See Setting borer functions on
To digitize boring holes

1 Click the Run icon and digitize an outline around the shape you want to bore.
This helps prevent the fabric from tearing.
2 Click the Borers In icon.
A machine function is inserted to indicate the change from stitching to
boring.
3 Click Run again and digitize one or two lines where you want a boring hole
to appear. See Digitizing lines on page 105 for details.
! For a round hole, digitize two intersecting lines.

! For an oval hole, digitize one line.
The borer penetration points appear as diamonds, connected by dotted lines.

These lines do not appear in TrueView™.
Tip Reduce the Run stitch length — e.g. 1.0-1.5 mm — to place the borer
penetrations closer together, ensuring the fabric will be cut right through. See
Setting run stitch length on page 107 for details.
4 Click Borers In again to deselect it.
This returns you to normal stitching. You need to stabilize the fabric and
create borders by stitching around them with Zigzag and Satin stitches.
5 Digitize around the hole using Input A with Zigzag stitch. See Digitizing
columns of varying width on page 115 for details.
Place the inside edge of the object close to the center of the hole so it ‘wraps’
the fabric.
6 Digitize border stitching using the Input A tool with Satin as the stitch type.
Place the inside edge of the object close to the center of the hole, and ensure
the Zigzag stitches are covered.
Note You cannot use Satin with a Zigzag Auto Underlay because a run stitch
is also generated (to return to the Satin entry point). This can cause thread
breakage.

Chapter 21
Artistic Stitch Effects
ES provides many artistic effects and

stitch types to create textured and
patterned fill stitching.
You can create jagged edge effects or
use Trapunto or Accordion Spacing
to create open stitch or shaded
effects. Using Contour stitch, you can
set stitches to follow the shape of the
curve or give spiral effects. You can
also create special curved stitching
effects along digitized lines.
This section describes how to apply
these artistic stitch types and effects
to embroidery objects, and how to
adjust their settings to get the results
you want.
Tip ES also provides special tools to create patterns from needle penetrations.
These include Program Split, User Defined Split and Flexi Split. See Textured
Fills on page 427 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 Jag ged Edge to create rough edges, to create shading effects, or to imitate fur
or other fluffy textures in your design.

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 Jag ged Edge to create a rough edge along one or more sides of an object.
Jagged Edge is applied using the current Jag ged Edge settings in the Effects dialog.
Change these settings before or after applying the effect. See Adjusting Jag ged
Edge settings on page 407 for details.
To apply Jagged Edge

! Click the Jag ged Edge icon.
The effect is applied to new or selected objects, based on the current Jagged
Edge settings.
side 2 jagged side 1 jagged with Tatami both sides jagged

backstitch
Tip For objects filled with Tatami, use Diagonal backstitch for the best
results. See Selecting a Tatami backstitch on page 133 for details.
406 Chapter 21 Artistic Stitch Effects V7

Adjusting Jagged Edge settings
Right-click Jagged Edge (Stitch Types toolbar) to adjust Jagged Edge
settings.
Adjust the Jag ged Edge settings to change the amount of jaggedness, the side of
the object to which the effect is applied and the margin in which the stitches
should fall.
range
To adjust Jagged Edge settings

1 Right-click the Jag ged Edge icon.
The Effects > Jag ged Edge tab opens.
Select Jagged
Select values
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 do manually. There are
eight different Accordion Spacing effects available.

Circle with Accordion
spacing
Ring with Accordion

spacing
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 Use Accordion Spacing to blend colors. To do this, duplicate the object, then
select opposite Accordion Spacing effects — e.g. Exponential Increasing and
Exponential Decreasing — and place them one over the other. Increase the stitch
spacing of the top layer so that both colors are visible. You can also use Accordion
Spacing over standard Tatami to create interesting shading effects.
Applying Accordion Spacing

Click Accordion Spacing (Stitch Types toolbar) to apply the effect to new
Use Accordion Spacing to create color blends, 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.
Note You cannot use Accordion Spacing with Contour stitch or Motif Fill.

To apply Accordion Spacing
! Click the Accordion Spacing icon.
The effect is applied to new or selected objects, based on the current
Accordion Spacing settings.
Adjusting Accordion Spacing settings

Right-click Accordion Spacing (Stitch Types toolbar) to adjust the
settings.
Select which type of Accordion Spacing to use, and set the maximum and
minimum spacing settings in the Effects dialog.
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 Spacing checkbox.

3 In the Profile panel, click an Accordion Spacing icon.

4 In the Values panel, enter new spacing values as required.
! Maximum Spacing: the largest spacing value to allow.
! 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 To prevent underlay stitching from showing through, click the Auto
Underlay tab, and deselect the Underlay checkbox. See also Strengthening and
stabilizing with automatic underlays on page 349.
5 Click OK.
Creating Trapunto stitching effects

Use Trapunto (Stitch Types toolbar) to apply open fill stitching to new or
selected objects. Right-click to adjust Trapunto settings.
Trapunto is a general term for very open fill stitching, often used as a background
or for filling large shapes.

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 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
objects. It also applies consistent row spacing, and prevents segments from
overlapping, regardless of the Overlapping Rows setting in the Complex 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 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.
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. There are two types — Standard and
Spiral — both of which can be used with Input A, Input B, and Input C.
Note You cannot apply Contour stitch to Complex Fill or Star objects. Nor can
you apply Spiral Contour to Circle objects, or objects which are not closed.
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 on page 417 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 on page 417 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 length
Adjust offset 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 on page 132 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 on page 131 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 stitch lengths on page 108 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
With Florentine Effect you can curve Complex Fill along a digitized line to create
flowing stitch effects. The stitches follow the digitized line but maintain uniform
density and needle penetration patterns.
Note Florentine Effect is only available for Complex Fill objects. For all other
object types, use Standard Contour to achieve curved stitching.
The method for applying Florentine Effect varies, depending whether you are
applying the effect to new or existing objects.
Tip You can also curve stitching using two lines with Liquid Effect. See Creating
curved fills with Liquid Effect on page 423 for details.
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 Use smaller stitch lengths — e.g. 4.00 mm or less — for best results.

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, entry and exit points and stitch angle of the Complex
Fill object following the prompts.
Note The stitch angle you enter will be ignored.

4 Digitize the line you want the stitches to follow.
The line 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.
Tip To use the same curve for several objects, digitize the line so it extends
beyond the boundary of the object. Later you can digitize a second Complex
Fill object over the top of the digitized curve. To apply the curve to the new
object, select both objects then click the Florentine Effect icon.
5 Press Enter.
Tip To modify the curve, select the object and then the Reshape Object icon.
Click and drag the curve into the required shape, and press Enter.

Applying Florentine Effect to existing objects
Use Florentine Effect (Stitch Types toolbar) to curve stitching in existing
objects.
Use Reshape Object (Pointer toolbar) to adjust control points of selected
objects.
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 the Complex Fill object to which you want to apply the effect.
Note The icon is only available if the object uses a suitable stitch type.
2 Right-click the Florentine Effect icon.
The Effects > Curve Fill tab opens.
Select Florentine
Effect
3 Select the Florentine Effect checkbox.

4 Click OK in the Effects box.
5 With the object still selected, click the Reshape Object icon.
A default line with three corner control points appears.

6 Reshape the line by moving, adding, changing or deleting reference points.
7 Press Enter.
ES regenerates the stitches along the new curve.
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 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.

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 curve line you want the stitches to follow.
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.
5 Press Enter.
Curve line 1
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 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.

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
Textured Fills
ES provides special tools to create textured

effects from needle penetrations. These
include Program Split, User Defined Split
and Flexi Split. In addition, you can apply
offset fractions and partition lines to
Tatami fills to create split-line patterns.
This section describes how to apply
textures to fills, and how to adjust their
settings to get the results you want.
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 on page 376 for details.
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
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

428 Chapter 22 Textured Fills V7

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.
! 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, knot 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 on page 430 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 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 an existing pattern or create your own.
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 on page 807.

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 fewest 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 on page 478.

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 factor y settings on page 813 for details. Alternatively, enter the
values manually in the Object Properties > Fill Stitch > Program Split tab
and click Save. See Program Split Samples on page 807 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 vector 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 on page 442.
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 on page 289 for details.
! See Reshaping and Editing Objects on page 309 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.
You can use an existing pattern for Flexi Split or
create your own. See 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.
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 Flexi Split

Split
pattern preview
Select 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 on page 450 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.
Creating textures with User Defined Split

Use User Defined Split (Stitch Types toolbar) to create your own split
line effects. Right-click to adjust settings.
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
Click User Defined Split (Stitch Types toolbar) to apply the effect to new
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.

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 become softer.
split lines
applied

Chapter 23
Motif Runs and Fills
Motifs are pre-defined design elements, such as hearts, leaves or border patterns,
that can be quickly inserted into a design. Motifs generally consist of one or more
simple objects, and are stored in a special motif set.
You can create your own motifs or use the ones provided with the software.
Motifs can be scaled, rotated and mirrored as you insert them, or afterwards in
the same way as other objects. You can use motifs on their own, or link them
together along a digitized line, using Motif Run. You can also fill shapes with rows
of repeated motifs, and apply special effects, using Motif Fill. Using 3D War p
with Motif Fill objects, you can also create three dimensional effects.
This section describes how to insert motifs into your design, and how to adjust
their settings to get the results you want. It also explains how to create your own
motifs and motif sets.
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.
458 Chapter 23 Motif Runs and Fills V7

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 on page 459 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 on page 457 for details.

2 Move the pointer to the position you want to add the motif, and click to mark
the anchor point.
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

scaled
Hold down Ctrl to constrain
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 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 on
page 461.
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
1
rotation direction
left reference point
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 on page 457. 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 on page 795.
To change motifs for Motif Run

1 Select the 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 on page 457 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
default values adjusted
4 Click OK.
TipYou can also scale motifs as you digitize Motif Run objects. See Using
Motif Run on page 466 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 on
default 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 adjust 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 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 on page 471 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 on page 543.
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.
two motifs, offset, in

two directions, using
different colors
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 on
page 478 and Adjusting Motif Fill spacing and offset settings on page 474 for
details.
To use Motif Fill

2 Digitize the Complex Fill object as you would normally.
See Digitiz ing complex shapes with fixed stitch angles on page 118 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 on page 795.
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 on page 476 for details.
4 Click OK.
Adjusting Motif Fill spacing and offset settings

Right-click Motif Fill (Standard 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

Enter column
spacing
Enter row spacing
and offset
Scale and clip

motifs to fit shape
2 Enter column spacing in column 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 (Standard 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.

default values values adjusted values adjusted
To scale motifs to an exact size

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 (Standard 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 (Standard 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
on page 478.
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 factor y settings on page 813 for details. Alternatively, enter the
values manually in the Object Properties > Fill Stitch > Motif Fill tab and
click Save. See Motif Samples on page 795 for details.
Creating 3D effects with motif fills
Right-click Motif Fill (Standard toolbar) to apply 3D effects to motif fills.
Using 3D War p with Motif Fill objects, you can create three dimensional effects.
You can make shapes appear concave or convex using Globe In or Globe Out.
You can also create the effect of distance using Perspective. You can apply 3D
War p as you digitize, or apply it to existing Complex Fill objects.
Without 3D Warp Globe In Globe Out Perspective

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.
Tip Small stitches may be generated along the edge of objects using 3D War p.
You can remove these automatically. See Removing small stitches automatically on
Applying 3D Warp with Globe In/Globe Out

Right-click Motif Fill (Standard toolbar) to apply Globe In / Globe Out
3D effects to motif fills.
Using Globe In with 3D War p 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 need to digitize guidelines to specify where you want the effect to appear.
You can apply Globe In and Globe Out to an entire object, or to a specified part
of the fill.
To apply 3D Warp with Globe In/Globe Out


Click Effects
2 Click Effects.
3 Select the Effects > Others tab.
Select 3D Warp
Select Globe In
or Globe Out
4 Select the 3D War p checkbox, and select Globe In or Globe Out from the list.
5 Click OK in the Effects dialog.
6 Click OK again.
7 Select the object and click the Reshape icon.
A guide circle frame appears around the object.
8 Adjust the control points to modify the effect as required.
digitized with Motif Globe Out selected 3D Warp control points Globe Out adjusted
Fill reshaped
9 Press Enter.
Applying 3D Warp with Perspective

Right-click Motif Fill (Standard toolbar) to apply Perspective 3D effects
to motif fills.

Use Perspective with 3D War p to create a perspective effect by exaggerating
relative sizes.
Note You need to adjust the guide frame for Perspective 3D War p to specify the
direction in which to make motifs larger and smaller.
To apply 3D Warp with Perspective

2 Click Effects.
3 Select the Effects > Others tab.
4 Select the 3D War p checkbox, and select Perspective from the list.
5 Click OK in the Effects dialog.
6 Click OK again.
7 Select the object and click the Reshape icon.
A guide frame appears around the object.
Select object
and click
Reshape
8 Adjust the frame to move the guidelines closer together or further apart.

Adjust frame and
Press Enter
Warning The Perspective frame must not cross the outer boundary of the
shape, and cannot be inside the shape.
9 Press Enter.

PART VI
EMBROIDERY LETTERING

488 V7
Chapter 24
Lettering Essentials
Add lettering to designs quickly and easily, either on-screen using the current
settings, or via the Object Properties - Lettering dialog. Lettering can be edited
directly on-screen, with the dialog, or with the aid of the lettering toolbox or
toolbar. You can apply formatting to lettering objects in the same way as a word
processor, including italics, bolding, and right/left justification. Both interactive
and numeric techniques are available for scaling and spacing lettering.
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 on page 507 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.
490 Chapter 24 Lettering Essentials V7

Enter text
Team Names
Select
options
Select text
justification
Select a
baseline
2 Enter the text you want to embroider in the text entry panel.
To start a new line of lettering, press Enter.
TipYou 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 on page 492 and Formatting lettering on page 495 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 on page 515 for details.
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 on page 531
for details.

Selecting alphabets
Right-click Lettering (Input toolbar) to select an alphabet for new or
selected lettering objects.
ES provides an alphabet range suitable for many applications. Select from the
supplied alphabets, create your own, or convert TrueType fonts. See also Custom
Alphabets on page 561.
To select an alphabet
Select an
alphabet
2 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 on page 781.
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 on page 500.
3 Click OK.
The lettering alphabet is set.
Tip The same options are available in the floating Lettering Toolbox. See
Editing with the lettering toolbox on page 493 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.
The easiest way to edit lettering is to change it 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 on page 495 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 8 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
Team Names
Adjust
settings
3 Edit the text in the text entry panel as required.

4 Make any other adjustments you require. See Formatting lettering on page 495
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 on page 531
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 by increasing the pull compensation
settings for selected lettering objects.
To make bold lettering

2 Select the Fill Stitch tab.
3 Click Effects.
The Effects dialog opens.

Increase pull
compensation
4 Increase the value in the Pull Compensation field.

Pull Compensation Pull Compensation
Off 0.3 mm
5 Click OK to return to the Fill Stitch tab.

6 Click OK again.
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.
Note You cannot use full justification for a Free Line or Free Line Vertical
baseline because they do not have a fixed length.
To set letter justification

2 Select a justification setting — Left, Right, Center, or Justified.
left centered right 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 on
page 507.
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.
You can scale your lettering objects vertically, horizontally and proportionally
with the Reshape Object tool. See also Rotating lettering with Reshape Object on
page 509.
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.
You can scale your lettering objects vertically, horizontally and 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
height in mm
Select width
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 on page 781.
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 140% width 100% width 70%
4 Click OK.
Adjusting lettering dimensions

You can scale your lettering objects vertically, horizontally and 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 120% height 120% width and height 120%

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 on page 497.
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 on page 510.
To adjust individual letter spacing on-screen

3 Click the diamond control point in the middle of the letter.
Click diamond control
point
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 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 25
Adjusting Lettering Layout
ES gives you both interactive and precise numeric control over many attributes
affecting lettering objects. You can adjust lettering objects as a group as well as
the individual letters comprising a lettering object.
You can apply horizontal, vertical, and curved baselines to your lettering objects.
You can 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.
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 on page 498.
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 on
page 498.
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 on
2 Click the lettering object again.
Another set of control points appears. These let you rotate and skew the
lettering object.
Skew object Rotate object
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.
508 Chapter 25 Adjusting Lettering Layout V7

Rotation point
Drag
A shadow outline shows the rotated lettering object as you drag.
Tip Click and drag the rotation point itself to a new position before rotating.
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 on page 498.
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

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 Reshape Object
tool.
To reshape letters on-screen


3 Click the diamond control point in the middle of the letter, then click the
letter outline.

point, then click outline
Additional control points appear around the outline.

4 Reshape the letter by dragging the control points. See Reshaping objects on
5 Release the mouse button to complete.
Recoloring letters on-screen
Use Lettering (Input toolbar) to edit lettering on-screen.
ES 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 on page 490 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 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 baselines
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 Creating horizontal baselines
! Vertical (Free Line Vertical and Fixed Line Vertical). See Creating
vertical baselines on page 518 for details.
! Arc (Arc CW and Arc CCW). See Creating arc baselines on page 519 for
details.
! Circle (Circle CW and Circle CCW). See Creating circular baselines on
! Custom (Any Shape). See Creating custom baselines on page 521 for
details.
3 Adjust baseline settings in the Layout dialog. See Adjusting baselines on
4 Click OK.
Creating 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 create 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.

Creating vertical baselines
Free Line Vertical and Fixed Line Vertical baselines are straight,
vertical baselines. 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.
Vertical baselines are effective for embroidering on sleeves, as a
decorative effect, and for Asian text.
Tip Vertical lettering best suited to uppercase for Western languages

because descenders in lowercase letters are not accommodated in the
letter spacing.
To create a vertical baseline

! For variable-length vertical lines, select Free Line Vertical from the Object
Properties - Lettering dialog and simply click to mark the start point of the
baseline.
Free Line Vertical: Fixed Line Vertical: click

click on-screen to on-screen to mark start and
mark start point end points

! For fixed-length vertical lines, select Fixed Line Vertical 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.
Creating 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 create 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.

3
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.
Creating circular baselines

Use Circle Clockwise (Circle CW) or Circle Counter-Clockwise (Circle CCW)
baseline to place letters around a full circle.
Circle Clockwise Circle

(CW) Counter-Clockwise
(CCW)
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 create 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.

2
1 2
1
justification 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 on page 497 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.
Creating 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 create 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.

4
2
1 3
3 Press Enter to complete and press G to generate stitches.
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 attempts to fit all the letters without altering the baseline length. As
the baseline is filled with letters, the letter spacing decreases. Eventually, letters
may overlap. If so, you can adjust the baseline so that it will accommodate them,
or change the width of the letters themselves.
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. Reshape straight baselines to place them on an
angle. For Fixed Line and Fixed Line Vertical baselines, you can also change
baseline length and letter spacing. Reshape Circle and Arc baselines to change
curve depth, justification point and baseline length. 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 the

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 on page 309 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

want it to bend
Drag any baseline control

point 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.
You can adjust horizontal and vertical baselines to use your own length, spacing
and angle settings. See also Creating horizontal baselines on page 516 and
Creating vertical baselines on page 518.

To adjust straight baseline settings
2 Click Layout to open the Layout dialog.
Adjust Length
and Line Angle
values
3 Select a horizontal or vertical baseline from the list.

The Length and Line Angle fields are activated.
4 Adjust the Length and Line Angle values as required.
! Length: Enter the default length of fixed line baselines. This value is
ignored for Free Line and Free Line Vertical baselines.
! Line Angle: Enter the default angle of the baseline to the horizontal axis.
5 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.
6 Specify the letter, word and line spacing as required. See Adjusting letter
spacing on page 502 for details.
7 Select the letter orientation. See Changing lettering orientation on page 529
for details.
8 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 Creating arc baselines on page 519 and Creating
circular baselines on page 520.
To adjust curved baseline settings

Adjust Radius X, Radius Y,

Justification, Tilt and Arc
Angle values
3 Select a circle or arc baseline type from the list.

The Radius X, Radius Y, Justification, Tilt and Arc Angle fields are
activated.
4 Adjust the Radius X, Radius Y, Justification, Tilt and Arc Angle values as
required.

! 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 Y: 50 Radius X: 40
Radius Y: 80
! 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
Justification angle 90°
angle 0°
! Tilt: Enter the absolute angle of the baseline to the horizontal axis.
Tilt angle 0° Tilt 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 180° arc angle 90°

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
7 Select the letter orientation. See Changing lettering orientation on page 529
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
relative to baseline Set orientation
or design angle
! 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 26
Adjusting Lettering Stitch Settings
Like all embroidery objects, each lettering object has its own properties. Before
you create a lettering object, you may want to adjust the values for the stitch type
you are going to use. Alternatively you may want to change the stitch values and
effects of existing lettering objects. ES 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, applying
Smart Corners to lettering objects, adjusting lettering stitch angles, as well as
adjusting the lettering stitching sequence.
For information about adjusting travel run length in lettering objects, see
For information about adjusting lettering connector values, see Using automatic
connectors on page 186.
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 fill stitches on page 123 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 Applying and managing styles on page 144 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 on
page 124.
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.
532 Chapter 26 Adjusting Lettering Stitch Settings V7

! 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 Automatic 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 on page 127 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 on page 376 and Preserving
long stitches with Auto Jump on page 378 for details.
6 Click OK.
Adjusting Tatami stitch settings for lettering objects

You can fill lettering shapes with Tatami stitching. It is suitable for filling large,
irregular lettering shapes. See also Creating fills with Tatami stitch on page 131.
To adjust Tatami stitch settings for lettering objects

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 on page 131 for details.
5 Adjust stitch length to increase or decrease needle penetrations.
See Adjusting Tatami stitch length on page 132 for details.
6 Choose a backstitch type: Standard, Borderline, or Diagonal.
See Selecting a Tatami backstitch on page 133 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 on page 428 for details.
8 Select the Partition Lines option as an alternative method for offsetting
needle penetrations in Tatami fills.
See Applying Tatami partition lines on page 430 for details.
9 Specify a random factor to eliminate the split line patterns formed by regular
needle penetrations.
See Applying random factors on page 432 for details.
10 Click OK.
Adjusting Zigzag stitch settings for lettering objects

Zigzag stitch is similar to Satin but is generally used where fewer stitches are
required. The density is determined by the stitch spacing setting. See also Creating
fills with Zigzag stitch on page 135.

To adjust Zigzag stitch settings for lettering objects
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: 1.5 mm stitch spacing: 2.5 mm
5 Click OK.
Applying Smart Corners to lettering objects

Right-click Smart Corners (Stitch Types toolbar) to adjust Smart
Corners settings.
You may want to control how corners are stitched for some lettering objects —
such as the Crests alphabet — using the Smart Corners feature. There are two
types — Mitre Corners and Cap Corners. Specify the corner angle at which either
will be automatically invoked. See also Controlling corner stitching on page 372.

Cap Corner Mitre Corner
To apply Smart Corners to lettering objects

1 Right-click the Smart Corners icon with or without objects selected.
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 Specify whether you want a Mitre or Cap corner, and at what degree of
corner angle these effects are activated.
For example, you may want a corner of less than 75° to be mitred, but if it is
very sharp — say, less than 45° — to be capped. See Adjusting Smart Corners
settings on page 373 for details.
Mitre below angle: 75° Cap below angle: 45°
4 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.
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 lettering stitching sequence

You can specify the sequence in which letters are stitched to minimize registration
problems such as on caps or difficult fabrics. Sometimes you may want to return
to the default or factory settings.
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.
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.
left-to-right stitched right-to-left stitched
! 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 left side stitched
first 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.
top-to-bottom
stitched
bottom-to-top
stitched
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 on page 80 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 on page 781 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 want to
trim connectors manually.
! 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
on page 781.
5 Click OK to return to the Lettering tab.

Chapter 27
Special Lettering Features
ES lets you add symbols to your lettering, as

well as distort lettering shapes using
envelopes. 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.
This section shows you how to use the
features which give you more flexibility with
your lettering designs.
Adding special characters and symbols

In ES, 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
2 Click Select.
The Select Symbols 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 list.

4 Select the symbols you want to use.
Tip When you click a symbol, a letter or number appears in the Selection field.
This letter or number indicates the key combination required to type that
symbol directly on-screen. For example, ‘m’ means press the m key while ‘M’
means press Shift + M.
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.
You are returned to the design window. Continue creating the lettering object
in the normal way.
544 Chapter 27 Special Lettering Features V7

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 on page 563 for details.
Creating special effects with envelopes

Apply Envelope effects to lettering objects to make them bulge or arch, stretch or
compress.

Bridge Pennant Perspective Diamond
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 objects on page 291 for details.
2 Select Edit>Envelope.
3 Select an envelope type from among the following alternatives:
Bridge Pennant Perspective Diamond
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
pointer 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

Creating borders around 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 create borders around lettering

2 Click Select.
The Symbol Selection dialog opens.
Select a 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, ‘m’ means press the m key while ‘M’ means press Shift + M.
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
also Creating designs with multiple names on page 550.

Creating designs with multiple names
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 from them 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.
Associating names with designs
Use Lettering (Input toolbar) to associate multiple names with a design.
To associate multiple names with a design, you need to create a variable Team
Names object. Names are stored together in groups. You can select names from
an existing group or create a new group of names.

To associate names with designs
Text entry
panel grayed
out
Select Team Team Names

Click Setup
Names
2 Select the Team Names checkbox.

The text entry panel is grayed out, indicating that you enter the lettering using
a different method from normal.
3 Click Setup.
The Team Names dialog opens.
name
Select group stitching
options
Add all or
selected names
Remove
names
Change
name order
4 Select a group from the Groups list.

The names display in the Members list.
Note You can create a new group. See Creating new name groups on page 553
for details.
5 Select names to associate with the design from the Members list, then click
Selected.

Tip To associate all the names in the group, click All.
6 In the Members Selected list, edit the list of members as required.
! 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 > Selected.
Tip Remove > All deletes all names from the Members Selected list.
7 Select a name stitching option:
! Use Full Name: inserts Name 1 and Name 2 in the Team Names object.
Select the order of the names by selecting or deselecting the Use Name 1
first checkbox.
! Use Name 1 only: inserts Name 1 in the Team Names object.
! Use Name 2 only: inserts Name 2 in the Team Names object.
8 Click OK to return to the Object Properties - Lettering dialog.
9 Set formatting values as you would for other lettering objects.
10 Click OK.
11 Add the lettering to your design. See Adding lettering to embroider y designs
The first member name displays in the design. Lettering outlines are dotted
to show it is a Team Names object.
first member name

displays
You can scale and transform Team Names objects in the same way as other
lettering objects. Any changes will apply to all member names.
Note You cannot reshape or edit letters in individual names unless you save
them as separate designs. See Saving names in separate files on page 557 for
details.

Creating new name groups
Use Lettering (Input toolbar) to create new name groups.
Create a new group of names to associate with Team Names objects. Once you
create a group, the names in it are available to all designs.
To create new name groups

3 Click Setup.
Add new group
4 Click Add.
The Group Entr y/Edit dialog opens.
Enter group name
5 Enter a name for the group and click OK.

The new group name appears in the list. The Members panel is empty until
you to add names to it.
6 Add members to the group.
! See Adding individual members to a group on page 553 for details.
! See Adding multiple members to a group on page 555 for details.
7 Click OK to complete.
Adding 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 a group on page 555.

To add individual members to a group
3 Click Setup.
Select group
Add new member

5 Click Add in the Members panel.
The Member Entr y/Edit dialog opens.
Add first name
Add second name
6 Enter the first name of the member in the Name 1 box and the last name in
Name 2 box. (Name 2 is optional.)

Tip To enter a middle name or initial, type it in the Name 1 box, separated
with a space — e.g. John<space>D.<space>.
7 Click OK.
Adding 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 a group on page 553.
To add multiple members to a group

3 Click Setup.
Select Quick
Entry/Edit
5 Click Quick Entry/Edit.

The Quick Entr y/Edit dialog opens.
Enter names
6 Enter the names in the format Name 1, Name 2.

You can type the names, or paste them in from a text file. Each name must
be on a new line. If you are typing, use Enter to start a new line.
Tip To enter a middle name or initial, separate it with a space.

John<space>D.<space>,Smith. It will appear in the Name 1 box.
7 Click OK.
The new names are displayed in the Members list.

Tip You can edit the list using Delete and Edit.
Previewing individual names

Select Team Names > Preview (Insert menu) to preview an individual
name from the list.
Preview an individual name from the list on the design window.
Note This feature does not work if there is more than one Team Names object in
the design.
To preview individual names

1 Select Insert > Team Names > Preview.
The Preview dialog opens.
Select name
2 Select a name and click OK.

The selected name appears on-screen.
Tip 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
Tip To modify the name — e.g. adjust spacing between individual letters —
save it as a separate design (EMB) file. See Saving names in separate files on

Saving names in separate files
Select Team Names > Create Designs (Insert menu) to preview an
individual name from the list.
You can save a name from a Team Names object as a separate design if you need
to make changes to individual letters. The name will still be included in the
original Team Names design.
To save names in separate files

1 Select Insert > Team Names > Create Designs.
The Create Designs dialog opens.
Select name
2 Select a name and click OK.

A new design is created with the selected name. The name is now a normal
lettering object. You can select it and generate stitches for it.
3 Click the Save icon to open the Save As dialog.
4 Enter a new name for the design.
5 Click Save.
Saving Team Names 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 name in individual files.
You set these options whenever you save the file in a stitch format, or output it
to machine.

To save Team Names 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 to show the Team Names in the Save Options dialog.
Note Options is also available when you output designs. See also Stitching
designs with Stitch Manager on page 647.
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 Name1 Stop Name2 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 + Name1 Stop Design + Name2 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 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 the frame and insert a new one with the design part already
embroidered.

5 If you have selected Team Names only with stops, select the Create
auto-start/end for every Name checkbox to set Auto Start and End for each
name.
As with normal designs, when a name has finished stitching and before you
change the frame, the needle should return to a known position. This ensures
that the next name is stitched in the correct position. See also Setting
automatic start and end points on page 381.
6 Click OK to return to the Save As dialog.
7 Click Save.

Chapter 28
Custom Alphabets
In ES you can create custom alphabets to use in your lettering objects. Custom
alphabets are made up of letters, numbers or symbols you digitize. You can also
create new alphabets by converting TrueType fonts.
This section describes how to create and change custom alphabets and letters,
create new alphabets from TrueType fonts, and merge alphabets.
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 on page 573.
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 on page 567.
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.
562 Chapter 28 Custom Alphabets V7

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 drawings, 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 on
page 545.
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 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
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 on
page 567.
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 on page 540.
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 Complex Fill objects.
2 Select the stitch type.
Tip Most letters use Satin or Tatami.

3 Digitize each section of the letter.
! Where one stroke butts up against the side or end of another, create an
‘underlap’ to bind the two strokes together. Underlaps should be about a
third of the stroke width or less, but may be half for thin strokes.
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 Saving
custom characters on page 565 for details.
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 on page 568 for details.
To save custom characters

1 Digitize the objects that make up the new letter, and select them.
See Digitizing custom characters on page 563 for details.
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 on page 567.
4 Enter a name for the character or symbol in the Letter field.
For example, if you digitized the letter H, type 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 on page 568.
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

on page 781.
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 on
page 540.
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.
See Digitizing custom characters on page 563 for details.
Select whole
character

Click to create
new alphabet
3 Click New.
The New Alphabet dialog opens.
Enter alphabet name
Enter default spacing
Select joining method
Select alphabet file type

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 on page 540.
7 Select an alphabet file type from the List Alphabets of Type list.
Note ES alphabets are stored as ESA files. If you are creating the alphabet to
use with a different embroidery application, select the appropriate type.
8 Click OK.
9 Enter additional values for the selected letter in the Make Letter dialog.
See Saving custom characters on page 565 for details.
10 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~~.
TipYou 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 on page 495 for details.
5 Click OK.
6 Add the lettering to your design.
See Adding lettering to embroider y designs on page 489 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.
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.
! 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.
! To change the default join type, select a new one from the Default Join
Type list.
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.
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.

Converting TrueType fonts to embroidery fonts
The Convert True Type 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 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.
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, stitch angle 0º Complex Fill, 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 45º

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 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

14 Click the cursor 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 True Type Font feature lets you convert any suitable TrueType font
installed on your system into an embroidery alphabet. Converted letters can be
filled with parallel or turning stitches.
Note The conversion usually only takes a few minutes, although Asian fonts may
take longer.
To convert complete TrueType alphabets

1 Select Special > Alphabet > Convert TrueType Font.
The Convert True Type 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 with Regular font style Arial with Bold font style

The Conversion Values dialog opens. See Converting individual TrueType
letters on page 573 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 Import 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 True Type 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 True Type Font.
See To convert individual TrueType letters on page 573 for details.
Complex Fill with

stitch angle of 0º

True Type 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 on page 573 for details.
The lettering object fill method will change as required.
letters converted to
Turning Strokes
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 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
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

584 V7
Chapter 29
Processing Design Files
By default ES 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 converts the design
internally to EMB format. You can then modify it using the full range of ES
features. Depending on the file type, you may need to provide additional
information to assist ES in the conversion process.
This section describes how to select conversion options for opening and saving
different stitch and outline design formats.
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, see Supported embroider y
file formats on page 765. See also Comparison of outline and stitch format
information on page 767.
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,
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 the
native 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. See Opening stitch files in ES on page 589 for
details.
Stitch files
Different embroidery machines speak different languages. Each has its own
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 on page 649.
When they are read into ES, 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.
586 Chapter 29 Processing Design Files V7

Manual
object
Stitch designs are generally not suited to modification because stitches are not
regenerated. However, ES 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. 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.

original stitch design scaled stitch 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.
NoteWith or without object/outline recognition, stitch files can be saved in

EMB format once they are opened in ES.
File sources
While embroidery files are broadly classified as ‘outline’ (condensed) or ‘stitch’
(expanded), ES 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 (or equivalent).
Imported Outlines Designs read from non-EMB outline – CND or PCH –

where stitches have been generated in ES (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 on page 73 for details.
Opening stitch files in ES

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 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 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.
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 Stitch Processor is intended primarily to enable the re-use of stitch format
designs, but it also provides a convenient method for changing the object
properties of EMB designs. You can change stitch density as a percentage without
having to select objects individually. See Adjusting stitch density on page 366 for
details.
Recognition limitations
ES 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 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 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 files on page 610 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 on page 596 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.
Input A
object
Manual
object
Note Stitch Processor adds the missing information to the file, but does not
change the stitches. See also Adjusting stitch density on page 366.

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 on page 594.
To open stitch files without object/outline recognition

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 on page 590 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 Jag ged 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 on page 327 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 on page 276 and
Converting selected stitches to objects on page 333.
Tip You can also use the Process feature to change stitch count and density for
the whole design, or for objects of a particular stitch type only. See Adjusting
stitch density on page 366 for details.

To recognize object/outlines after editing
1 Open a stitch file without object/outline recognition.
See Opening stitch files without object/outline recognition on page 593 for
details.
2 Edit parts of the design as required.
See Editing Stitches and Machine Functions on page 327 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 on page 369.
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 on page 596 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 on page 366.
Adjusting advanced recognition settings

You can fine-tune how ES converts stitch files using the advanced recognition
settings. By default, ES 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 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 on page 590 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 Jag ged 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 Jag ged 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: select to recognize 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 artisitic 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, these outlines are scaled and stitches recalculated to
preserve density.
ES 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. 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 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.
TipBefore 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. See Opening stitch files in ES on page 589 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 stitch types — Satin, Run, Tatami, etc. You can change
conversion settings to adjust the spacing, stitch length, effects and defaults
applied to ES 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 ES EMB on page 768.
To open a Melco CND outline file

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: 0.50
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 on page 607 and Reassigning
colors to stitch files on page 610 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 on page 127.
! Short Stitches: see Reducing stitch bunching with stitch shortening on
page 360.
! Fractional Spacing: see Reducing stitch bunching with fractional spacing on
page 364.
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 on page 269 for details.
Saving designs in Melco CND format

You can save files to Melco CND format from ES. Designs originally created in
ES 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 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 on page 619 and Adding connectors manually on page 193.

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 Design Explorer. Use it to batch process multiple CND designs
using Auto Color Merge. See Converting design file types on page 677 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 74.5mmH
design. The actual design size is derived
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.
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
files on page 610.
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 files on page 610 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
palette displays the selected thread chart.
Reassigning colors to stitch 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 assignment with color code 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 stitch files

1 Check the production worksheet for the stitch file.

thread chart for
selected file
number of color
changes in design
(e.g. 8)

3 Select a stitch file or CND design.
4 Click Options.
Select Custom Select Define
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 Assigning a redundant Color function will cause the following error.
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 30
Changing Machine Formats
Different embroidery machines speak different languages. They have their own
design, it must be in a format which can be understood by the embroidery
machine. When you select a machine format, ES translates the commands that
were applied during digitizing into machine functions that can be understood by
the particular machine.
This section describes how to select a machine format for a design, output it in
other formats, and customize machine formats to meet your machine’s
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 machine format in order to output
to a different machine type. See Outputting to different machine formats on
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 on page 621.
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 on page 615.
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.
616 Chapter 30 Changing Machine Formats V7

Select machine
format
Creating custom machine formats

ES 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 below 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 on
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 on page 619 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 on page 615 for details.
2 Click Create.
The Machine Format Values > Standard tab opens.

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 on page 621 for details.
6 Click the Advanced tab and adjust the settings as required.
See Adjusting advanced machine format settings on page 626 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 on page 615 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 machine, you can change
them by modifying the machine format.
Note You should only modify the standard formats if you no longer require the
original values. Otherwise see Creating custom machine formats on page 617.
To modify standard machine formats

1 From the Select Machine Format dialog, select a machine format to modify.

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
function on page 83 for details.

! Alternatively, use the Stitch List to identify and select a given machine
function. See Editing stitches and functions with Stitch List on page 340 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 From the Select Machine Format dialog, select a machine format to remove.
Note You cannot remove machine formats that came 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

Depending on your machine, different machine format values are required. When
you select a machine format, you are only able to modify values relevant to that
machine. Typical values to change are stitch and jump length, trim functions and
color change functions.
Note Because different machines require different settings, not all values
described here are available for all machine formats. Use these instructions to
enter the values that apply to the selected format. See your embroidery machine
manual for more information about machine formats.

Setting stitch and jump length values
For 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 on page 617 for details.
! See Modifying standard machine formats on page 619 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:
! Binar y System: 12.7 mm
! Ternary System: 12.1 mm.
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 on page 371 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 on
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
For some machine formats you can specify how to format and interpret trim
commands by changing the trim settings. 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.
NoteIf 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
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 Enter number of needles on
start of design machine
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 enters 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.
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 various miscellaneous settings, including whether
to change the fabric tension during boring, and whether to rewind tape when
stitching is complete. The Advanced tab only shows control commands that are
manually inserted. This means you cannot accidently delete essential codes that
are entered automatically.
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 Jumps and Empty Stitches 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

Stitches and Jumps 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

Some machines require extra Empty Stitches and Empty Jumps to recognize 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 exit after stitching.
Note Remember that these fields show the number of extra codes you want to
insert in addition to the default values.
To set the Start of Design/End of Design sequence


Jumps and Stitches to insert
at start of design

Jumps and Stitches to insert
at end 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 31
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 ES 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 Machine Manager. Stitch Manager is
described in this section. Machine Manager is described in a separate 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
you can save both design images and production worksheets to disk or email
them direct.
This section describes how to check and print desgn information, and how to
generate different outputs from your designs.

Note For details of reading from and writing to embroidery disk and paper tape,
see Embroider y Disks and Paper Tapes on page 649.
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 on page 76 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.
Note To customize the worksheet, click Options, and change the settings as
required. See Setting production worksheet print options on page 635 for
details.
634 Chapter 31 Outputting Designs V7

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.
3 In the Text to Print panel, select the information group to include.

! Full information: shows details specified in the Customize Worksheet
dialog. See Customizing production worksheet information on page 637 for
details.

! Short information: shows summary information about the design.
This and the previous option include information provided in the
Summar y tab of the Design Properties dialog. See Viewing design
information in ES on page 73 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 on page 638.
! 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 on page 638 for details.
4 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.
5 In the Graphics panel, select the graphical features to show.
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.
6 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.
7 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 manipulating color blocks on page 95.

8 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 on page 76 for details.
! Show Colors in Summar y: includes actual color samples in the colorways
summary table/s. See also Printing multiple colorways on page 638.
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 on page 160.
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 Summar y is selected in the
Customize Worksheet dialog. See Customizing production worksheet
information on page 637 for details.
Printing color film
The Color Film option lets you print 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 manipulating color blocks on page 95.
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 on page 638.

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

! 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, 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 lets you save both design images and production
worksheets to disk or email them direct.
Outputting 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 output 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.
Saving 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.
To save designs as bitmap images

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 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 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
output designs as vector drawings on page 643 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.
To output appliqué shapes

1 Create your appliqué object and duplicate it.
See Creating appliqué objects on page 393 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.
The Print dialog opens.
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 a separate feature, Machine Manager, to send designs to
machines from within ES Designer, Design Explorer or Design Warehouse.
Machine Manager lets you view and manage job queues. See the Machine Manager
Supplement for details.
To stitch designs with Stitch Manager

1 Open the design.
2 Click the Stitch to Machine 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
embroider y machines for Stitch Manager on page 701 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 on page 621 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 Saving Team Names designs on page 557 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 32
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. The format you use will depend on the
selected embroidery machine. You can also open designs from embroidery disk
directly into ES.
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 in
stitch data format. They are primarily used to transfer designs from computer to
embroidery machine.
You can open designs from embroidery disks of various formats directly into ES.
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 on page 589 for details.
You can also format embroidery disks and save designs to them from ES. The
format you use will depend on the selected embroidery machine.
Tip You can save to embroidery disk in any machine format without changing
the format of the original design.
Choosing floppy disks

Most embroidery machines are equipped with the same floppy disk drives as
those used in PCs. So that you can transfer your embroidery designs, make sure
that the floppy disk drive in your computer can read, write and format floppy
disks that you can use with your embroidery machine.
If you want to stitch out a design, you must write it to a disk that is formatted for
your embroidery machine. When formatting an embroidery disk on your
computer, make sure you use the correct density of disk. For example, if your
machine requires a Double Density (DD) disk, you must use a it even if your
computer has a High Density (HD) floppy disk drive.
Floppy disk types

Different types of floppy disk can store different amounts of data:
Capacity Density Code
360Kb Single-Sided Single-Density SS/SD
720Kb Double-Sided Double-Density DS/DD
1.44Mb Double-Sided High-Density DS/HD
2.88Mb also called Double-Sided High-Density DS/HD
Disk drives and floppy disks

Different types of floppy disk drive can read and write only certain capacity
floppy disks:
Computer Disk Drive SS/SD DS/DD DS/HD DS/HD
Single Density !
650 Chapter 32 Embroidery Disks and Paper Tapes V7

Computer Disk Drive SS/SD DS/DD DS/HD DS/HD
Double Density !
High Density 1.44 Mb ! !
High Density 2.88 Mb ! ! !
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.
Note If your embroidery machine can only read Single Density disks, you need
to install a special floppy disk controller card in your computer. Only a few special
floppy disk controller cards can read Single Density disks. See also Supported
embroider y disk formats on page 777.
Reading designs from embroidery disk

Use Open Embroidery Disk (File menu) to open a design of another
format.
You can open designs of other formats from specially formatted embroidery
disks. See also Supported embroider y disk formats on page 777.
To read designs from embroidery disk

1 Insert the embroidery disk in your computer’s floppy disk drive.
2 Select File > Embroider y Disk > Open.
The Open Embroider y 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 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 on page 602, Opening
stitch files with object/outline recognition on page 590 and Opening stitch files
without object/outline recognition on page 593 for details.
7 Click Open.
Note If you have problems with embroidery disks, see Testing embroider y
disks for details.
Formatting embroidery disks
Use Format Embroidery Disk (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 on page 777.
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 Choosing floppy disks on page 650 for
details.
2 Select File > Embroider y Disk > Format.
The Format Embroider y 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 Summar y 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 (SS/SD) floppy disks.
See Testing embroidery disks on page 814 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 on page 652 for details.
To save designs to embroidery disk

1 Insert the embroidery disk in your computer’s floppy disk drive.
2 Select File > Embroider y 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 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 embroider y disks on page 652 for details.

5 If the File Number field is enabled, enter the file number.
Not all machine formats require this information.
6 In the File Name field, enter a name for the design.
7 From the Machine Format list, select the format for the design.
Some machines can read different formats. For example, some Tajima
machines can read Barudan as well as Tajima formats.
Tip To view or modify machine format settings, click Values. See Adjusting
standard machine format settings on page 621 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

Paper tape is the traditional medium for storing designs in stitch data 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. 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 on page 589 for details.
You can also punch designs to paper tape from ES. 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. Once a design is
read, you can save it as an EMB file. See also Supported paper tape formats on
page 778.
Tip Create backups of your paper tape designs by reading them into ES, 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.
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. 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.
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 on
7 Click Setup to modify the serial port settings. See Serial port settings on
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

662 V7
Chapter 33
ES Design Explorer
ES Design Explorer provides an efficient way for managing embroidery designs.

This design management tool can access design files stored on your computer
hard disk, CD-ROM, or floppy disk. It recognizes all design file formats used by
ES. See Converting design file types on page 677 for details.
This section describes the complete workings of ES Design Explorer from start
up to viewing, sorting, and converting designs. It also explains how to use ES
Design Explorer to publish design catalogs.
Starting and setting up ES Design Explorer

ES Design Explorer works as an integral part of ES and is easy to set up and get
started.
Starting ES Design Explorer
Click Design Explorer (Windows Desktop) to start Sirius Design Explorer.
Design Explorer may be started in a number of ways — from the desktop or from
the Windows Start button.
Note If you start Design Explorer from the desktop or from the Windows Start
button, ES should also be open. If your computer is slow or you have many
applications running, Design Explorer may not open. If this happens, open
Design Explorer from within ES. Close Design Explorer in View by Details
mode so that it opens more quickly.
To start ES Design Explorer

! Double-click the ES Design Explorer icon on the Windows desktop.

The Design Explorer and the ES design windows appear. Design Explorer
opens your Designs folder automatically, showing all of your EMB designs as
thumbnails.
Note You can switch to Design Explorer if it is already running. See Opening
designs from Design Explorer on page 678 for details.
thumbnails plus details
thumbnails details
menu bar
tool bar
folders
design
thumbnails
split bar
status bar
Tip If ES is hiding Design Explorer from view, switch between them using
the Windows Alt + Tab function.
Exiting Design Explorer

You can close Design Explorer at any time using standard Windows commands.
To exit Design Explorer

! Select File > Exit.
! Or click the X at the top right corner of the Design Explorer window.
664 Chapter 33 ES Design Explorer V7

Setting design view user preferences
Select User Preferences (View menu) to set design view user

preferences.
You can change several default settings in Design Explorer, including the size of
the design thumbnails. You can also change the way that selected designs are
highlighted, and choose whether to create offline files.
Tip If you need more space on your desktop for displaying thumbnails, click Hide
Director y Tree on the toolbar.
To set design view user preferences

1 Start Design Explorer.
See Starting ES Design Explorer on page 663 for details.
2 Select View > User Preferences.
The User Preferences dialog opens.
3 Select Cache Thumbnail Files to make viewing thumbnails faster. Design

Explorer will make and save low resolution bitmaps and text files, and display
them faster next time you access the designs.
4 Select Highlight in Full to fully highlight each thumbnail as it is selected; or
clear it if you only require selected thumbnails’ borders to be highlighted.
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 ‘Selected
Items’.
5 Select Show Missing Designs to display missing design files.
6 Select Use your TEMP director y for cached files to use your C:\Temp
directory as a temporary storage area for files.
7 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.
8 Click OK.
The settings are saved.
Missing thumbnails
Occasionally, Design Explorer displays red, blue or green question marks and a
short description instead of a graphic thumbnail.
Icon Description
Missing Design
Design Explorer can’t find the design file.
This can affect designs in folders if someone deletes the files
outside of Design Explorer and then Design Explorer tries to
redraw the thumbnail.
Replace the file from backup or another source. If this is not
possible, delete the record or refresh the directory.
Invalid Thumbnail
Design Explorer has found an up-to-date thumbnail, but doesn’t
recognize its format.
Locate the file and delete it, or use Validate and Refresh. Design
Explorer will try to make a replacement next time the folder is
opened or refreshed.
Unknown Format
Design Explorer passed the design to ES to get its thumbnail, but
ES doesn’t recognize it.
The design may have been last saved by a later version of ES
than that installed on this PC; or the version of ES installed on this
PC doesn’t have the correct options enabled.
Try opening the design by right-clicking the thumbnail and
selecting Open with ES. If this doesn’t work, try opening from
within ES.
Changing locale
During installation of the Design Explorer software, optional languages (locales)
can be selected for dialogs and messages — e.g. English, French and German.
You can switch between these locales at any time after installation.

To change locale
2 Select View > Change Locale to open the locale required.
The Choose Locale dialog opens.
Note Only those locales selected when Design Explorer was installed will be
listed.
3 Select the locale required, and click OK to make the change. (Select Use
Default Locale to select English.)
Tip See also ‘locale’ in Windows Help for information about changing
keyboards, etc., to suit different locales.
Viewing information about selected designs
Click to display Properties dialog for selected designs.
Designs stored in Design Explorer have additional information stored with them
in the Properties dialog. Information for some of these fields is extracted from the
design files when the design is recorded. You can add, delete and edit information
in these fields.
Note If a design has been created by ES, some of the information is extracted
automatically from the design file.
Tip If not all of text is visible in a field, you can view it easily by clicking in the
field and using the Arrow, Home and End keys. Or, you can resize the window by
dragging.

To view information about a selected design
1 Open Design Explorer and select the design’s folder.
2 Select a design.
See Selecting designs on page 672 for details.
3 Right-click the design to select Properties from the dropdown.
The Properties dialog opens.
Viewing designs
You can show your EMB designs as thumbnails, as thumbnails plus a summary,
or as a details list (including name, file type, size and date). Other design file types
can be displayed only as a list.
Navigating to designs
Navigating to designs in folders using Design Explorer is very similar to the
methods used in Windows Explorer.

To display designs
2 To find a design which is not in your Wilcom Designs folder, use the
directory tree in the left part of the window to locate the appropriate folder.
Tip If not all folders and drives are displayed, click the + to the left of My
Computer to show all of the local and network drives available to this PC.
3 Click on a folder in the directory to display its files on the right side of the
screen. You can list your designs in different ways. See Viewing designs on
Tip Drag the split bar between the folders and thumbnails to the left or to
the right to resize the window sections.
Viewing designs as thumbnails
Click to view designs as thumbnails.
Viewing as Thumbnails allows you to see miniature copies of the designs without
opening the files. Each design’s file name is shown under its thumbnail.
To view designs as thumbnails

2 Click the Thumbnails icon.
Tip Drag the split bar between the folders and the thumbnails to the left or
right to resize the partitions of the window.
Viewing designs as thumbnails plus summary
Click to view designs as thumbnails and design details.

The Thumbnails and Summar y view provides a miniature view of each EMB
design plus summarized details of size, stitches, color and date saved.
To view designs as thumbnails plus summary

2 Click the Thumbnails and Summar y icon.
Alternatively, select View > Thumbnails and Summar y.
Tip Drag the split bar between the folders and the thumbnails to the left or
right to resize the partitions of the window.
Viewing designs as details lists
Click to view design details in a list.
The details list is the fastest way to display designs, it will fit more designs in the
window, and it displays all supported file types.
To view designs as a list

2 Click the Details icon.
All files in the current folder are listed, showing the file name, the size of the
file (in kilobytes), the file type and the date when the file was last saved.
Refreshing the display

Occasionally, your screen will not properly show changes you have made until you
refresh the display.
To refresh the display

! Select View > Refresh. Alternatively, press F5.

Refreshing the file tree
After you make changes to folders in the file tree, the change may not show until
you use Refresh Tree Node to correct this.
To refresh the file tree

! Select View > Refresh Tree Node.
Validating and refreshing folders

Use Design Explorer’s View > Validate and Refresh option if graphics and
thumbnails do not appear correctly after you have tried Refreshing the display and
Refreshing the file tree. This may be needed after you have updated your ES
software.
To validate and refresh folders

! Click the folder containing the files and select View > Validate and Refresh.
Renaming, adding and deleting folders

You can rename folders, add sub-folders and delete folders without leaving
Design Explorer.
To rename, add or delete folders

1 Open Design Explorer.
2 Browse to the folders you want to rename, delete or add sub-folders to.
See Viewing designs on page 668 for details.
3 To rename a folder:
! Select it and right-click.
! Select Rename from the dropdown.
! Type in the new name.
4 To delete a folder:
! Select it and press Delete.

5 To add a sub-folder to another:
! Select the folder and right-click.
! Select Add Sub-director y from the popup.
! When New Folder appears, type in the name of the new sub-folder.
Selecting designs
A design must be selected before it can be opened, copied, etc. Design Explorer
provides a number of ways to select designs, either as individual designs or a
group.
Selecting individual designs

Individual designs can be selected as thumbnails, thumbnails plus a summary, and
as details lists.
To select a design
2 Display the designs as either thumbnails or as a details list.
3 Click the icon in the thumbnail view, or the file name in the details list.
Tip If you want to see only one type of design format — e.g. only your EMB
files — refer to Limiting file types displayed on page 674.
Selecting all designs

You can select all designs in a folder. The selected designs can then be opened,
copied, etc.
To select and deselect all designs


files — follow the directions in Limiting file types displayed on page 674.
3 Select Edit > Select All to select all designs in the current folder. Or press
Ctrl + A.
Note If the designs are shown as thumbnails, only EMB design files are
selected. If the designs are shown as a details list, every file of the type chosen
is selected.
4 Select Edit > Deselect All to cancel all selected designs.
Selecting several designs

You can select groups of particular designs in a folder. The selected designs can
then be opened, copied, etc.
To select and deselect several designs

3 Select the first design. See Selecting individual designs on page 672 for details.
4 Hold down the Ctrl key and click another design. Both designs are selected.
Select more designs by clicking them while holding down the Ctrl key.
Note If an already selected design is clicked, it will be deselected.

5 Cancel the selection by choosing Edit > Deselect All, or by clicking a file
without holding down the Ctrl key.
Selecting a range of designs

You can select a range (a series of consecutive designs) in a folder. The selected
designs can then be opened, copied, etc.

To select and deselect a range of designs
files — follow the directions in Limiting file types displayed on page 674.
3 Select the first design.
4 Hold down the Shift key and click the last design in the range.
All designs in the range are selected.
5 Cancel the selection by choosing Edit > Deselect All, or by clicking a file
without holding down the Shift key.
Limiting file types displayed
Design Explorer will display thumbnails and limited design information when a
folder containing designs is accessed using Design Explorer. You can mask (or
filter) the contents of any design folder to show only certain types of file — e.g.
only EMB files.
To limit the file types displayed

2 Browse to the folder holding the designs.
3 Click the Files pulldown on the Design Explorer toolbar.
4 Select:
! All Design Files to show every design file type in the folder.

! Any other option to display only files of that type — e.g. Templates
(EMT).
5 The selected file types will be displayed.
Sorting files
Designs in Design Explorer folders can be sorted in three main 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 selecting any of four types of sort
from the View menu.
To run a simple sort using the View menu

2 Select the folder holding the designs.
See Navigating to designs on page 668 for details.
3 List the designs as either thumbnails or as a details list.
4 Select View > Sort by Name (or 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 the contents of details lists by clicking the column headings above
the list.
To run a simple sort using details lists

3 List the designs as a details list.
See Viewing designs as details lists on page 670 for details.
4 Click the heading at e column to be sorted — e.g. File Name.
The designs will be sorted in the order of the selection — e.g. by file name
from A to Z.
5 Click the heading again to reverse the order — e.g. from Z to A.
Running a complex sort using the Sort dialog
Use Sort to run a complex sort using the Sort dialog.
You can sort eight categories by up to two levels, in ascending or descending

order, using the Sort dialog.
To run a complex sort using the Sort dialog

3 List the designs as a details list.
4 Select View > Sort.
The Sort dialog opens.

5 Select the first sort criterion:
! Select the main category you want from the Sort By dropdown — e.g.
File Type.
! Select Ascending (to sort letters from A to Z, and numbers from lowest
to highest), or Descending (to sort letters from Z to A, and numbers from
highest to lowest).
6 Select the second level sort criterion:
! Select a different category from the And Then By dropdown — e.g.
Design Name.
! Select Ascending or Descending.
7 Click OK.
In the above example, the details list will display all of the EMB files
alphabetically, then all of the BMP files alphabetically, etc.
Converting design file types
Use Convert to convert from one design file type to another.
Your EMB and other design files can be converted to and from other file formats.
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 on page 607 for
details.

To convert from one design file type to another
2 Browse to the folders containing the files to be converted.
3 Select the file(s) to be converted.
4 Select File > Convert.
The Convert Options dialog opens.
5 Type the name and path of the folder where you want to store the converted
designs or browse to it using the ... button.
6 Select the file types you want to convert to.
7 Click OK.
Opening designs from Design Explorer

Any design files that can be opened by ES can be opened from within Design
Explorer. This opens ES for editing.

Note A blank thumbnail is displayed for design files that are either empty, invalid,
or corrupted.
To open designs from Design Explorer

2 Select the folder holding the design or designs.
3 If you want to open several designs at once, select the details list view.
4 Select the design or designs to open.
All of the selected files are opened.
6 Alternatively, if displaying designs as thumbnails, double-click a single design
thumbnail.
The clicked design is displayed in the ES window ready for editing.
Tip To switch between ES and Design Explorer:
! Hold down the Alt key, then tap the Tab key until the Design Explorer
icon is highlighted. Release the Alt key to open Design Explorer.
! Alternatively, click the Design Explorer taskbar button on the Windows

taskbar.

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 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.
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. A copied
design can be pasted any number of times.

To cut and paste designs
3 Select Edit > Cut.
A confirmation dialog opens.
! Click Yes to delete the design plus any design information.
! Click No to delete only the design.
4 Browse to the folder where you want to paste the file or files.
5 Select Edit > Paste to paste the selected design into the new folder.
If a design of the same name already exists in the folder, each pasted copy is
renamed. For example, if the original is called Bear.EMB , the first copy is
called Copy (2) of Bear.EMB , the second Copy (3) of Bear.EMB, and so on.
Deleting designs
Delete designs to remove them permanently from your PC.
To delete designs from Design Explorer

3 Select Edit > Delete.
A confirmation dialog opens.
! Click Yes to delete the design plus any design information.
! Click No to delete only the design.
Warning The file is removed permanently from the folder.

Stitching from Design Explorer
Use Stitch Selected Designs to stitch a design from within Design
Explorer.
Select one or more designs in a folder using Design Explorer, and you can then
stitch to any embroidery machine connected to your ES system.
To stitch from within Design Explorer

4 Click the Stitch Selected Designs icon.
The Stitch Options dialog opens.
5 Click OK and wait.

The Machine Manager window opens. See the Machine Manager Supplement
for details.
Punching from Design Explorer

Use Punch Selected Designs to punch a design from within Design
Explorer.
Select one or more designs in a folder using Design Explorer, and you can then
punch to any paper tape punching machine connected to your ES system.

To punch from within Design Explorer
4 Click the Punch Selected Designs icon.
The Punch Options dialog opens.
5 Select a machine type from the dropdown list and click OK.
The Tape Manager dialog opens. See Punching designs to paper tape on
Select tape punch
Select to label tape

Select to automatically
rewind tape before stitching
Select to punch in
reverse direction
Printing, publishing and exporting

Catalogs of designs in a folder contain thumbnails and/or summary information.
They can be sent to a printer, published on your website or intranet, and exported
in formats suitable for spreadsheet and database programs.
Tip Before printing, publishing or exporting, sort the designs into useful groups.
For example, sort by Design Name (see Sorting files on page 675).

Printing production worksheets
Use Print to print production worksheets.
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.
To print production worksheets

3 Select and sort the designs to be printed, using Sort.
See Sorting files on page 675 for details.
4 Select File > Print.
5 Select the Text tab.

! Select to print Full Information, Short Information, or Stop Sequence.
! Select whether or not to Print in English.
! If the printed report is intended for a particular company, enter the
company name.
6 Select the Graphics tab.

! If you want only the graphic view printed, click Standard Graphics, or
! If you want more graphic details, click Custom Graphics and then select
which options you want — e.g. to appear as TrueView.
7 Select the Zoom tab.
! If you want to print graphics at actual size, click 1.0, or

! If you want to print graphics to fit the page, click Show All, or
! If you want a custom size, click Custom, then select a percentage size.
Tip Select a small Custom percentage size to fit more information on each
page.
8 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.

9 Click OK.
Printing catalogs of designs

Printed catalogs of your designs are a handy reference tool. They contain
thumbnails of the designs plus limited text details. You can prepare catalogs of all
your designs, and others to suit specific types of design.
To print catalogs of designs

3 Select and sort the designs to be printed in the catalog using Sort.
4 Select File > Print Designs.
The Print Designs Options dialog opens.
5 Change the Scale (%) amount if you want your thumbnails bigger or smaller;
and de-select Detailed if you don’t want design details to be printed.

6 Click OK.
The Windows Print dialog opens.
7 Select the printer, number of copies, paper size, etc, as you would normally
do for any print job.
Tip If the catalog requires more than one page, select the page or pages to
print in the Windows Print dialog.
Publishing catalogs for browser viewing

You can convert your designs to the HTML and PNG formats suitable for
viewing by any web browser, such as Microsoft Internet Explorer. The converted
graphic files are many times smaller than the original design files, but still show
the design’s detail. If you have access to a website, you can use catalogs to publish
your designs throughout the world via the internet. You can also attach catalogs
to emails and send them as design samples.
To publish a catalog for browser viewing

3 Select and sort the designs to be published in the catalog using Sort.
4 Select File > Publish Designs.
The Publish Options dialog opens.
5 Change the Scale (%) amount if you want your thumbnails bigger or smaller.
6 Select the number of rows and number of columns for the final output (it will
appear as a table).
7 De-select Detailed if you don’t want design details to appear.

8 Type 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
True View of each design, and an HTML file for each page.
9 Click OK.
The Publish Designs dialog opens.
Your browser should open, showing the new catalog’s first file in the Address
pulldown and the first design thumbnails in the main window.
If your browser does not open automatically:

! Open your browser — e.g. Windows Internet Explorer — via the
Windows Start button.
! Click the Address pulldown, browse to the folder selected in Step 8, 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 — e.g.
Crest.htm — has no thumbnails. It is the index to all of the HTM files.
Your browser will display one or more design thumbnails in the window.
10 Examine the contents of the page.
Click Next Page to view the next screen of thumbnails.
11 Click an icon to view the True View image in real size.
12 Repeat from Step 4 to adjust the thumbnail size and table layout.
Exporting catalogs of designs

Design details can be converted to the Tab and CSV (Comma Separated Value)
formats suitable for use by most spreadsheets. See your spreadsheet program
documentation for details.
To export catalogs of designs

3 Select and sort the designs to be published in the catalog using Sort.
4 Select File > Export Designs.
The Export to File Options dialog opens.
5 Click either Tabs or Commas, depending on your spreadsheet program’s

recommended format.
6 Select a folder and filename to store the CSV or TXT file.
7 Click Save.
The catalog will be generated and saved in the format selected.

Reconnecting Design Explorer to ES
Occasionally Design Explorer will encounter a problem that needs to be fixed
before you can continue working. A problem is preventing Design Explorer from
connecting with the ES program. Follow the instructions below (in the same
order as they are listed) until you find a solution.
To reconnect Design Explorer with ES

! Check that your dongle security device is connected.
! Check that ES runs correctly on its own — close Design Explorer, then
open ES by clicking its icon on the Windows Desktop.
! Open ES, then open Design Explorer.
! If none of the above correct the problem, re-install ES.
! Check that the version of ES you are running is the same as as that registered
in Design Explorer’s Shortcut Properties:
! Right-click the 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=7.0A
This version should be identical to the version of ES 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\7.0\DesignLib\...

PART IX
HARDWARE &
SOFTWARE SETUP

692 V7
Chapter 34
Setting up Hardware
You will need to connect peripheral devices for use with ES. 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
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 as part of the setup procedure. See Setting up digitizing tablets on
page 697 or Setting up embroidery machines for Stitch Manager on page 701.

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 COM2 4800 XOn/XOff None

8 1
Reader
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.
694 Chapter 34 Setting up Hardware V7

Select serial port Click Setup
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
embroider y machines for Stitch Manager on page 701 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. See Setting up embroider y
machines for Stitch Manager on page 701 for details.

See the document Connecting Melco Embroider y Machines to Wilcom ES
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 on page 701.
To enter ethernet connection settings

1 Select File > Stitch to Stitch Manager.
The Stitch to Stitch Manager dialog opens.
Select a machine Click Setup
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 embroider y machines for Stitch Manager on page 701 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 to specify the format and the
preferred pointer display mode. ES 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 on
Digitizing tablet limitations

ES 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 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.
Setting up digitizing tablets
Use Hardware Setup (Special menu) to setup digitizing tablets.
You can set up your digitizing tablet in ES 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.

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 on page 693 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.
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. For these tablets,
you can define a new format or modify existing format settings. See Defining
and modifying digitizing tablet formats on page 700 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
will not be able to communicate with it. See Serial port settings on page 693
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, 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.
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 on page 697 for details.
Modify an existing
Select digitizer 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 on
Setting up embroidery machines

Before you can send designs for stitching, you must configure the machine in ES.
You can add machines, change settings for machines already set up, or delete
machines that are no longer required.
ES 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 Machine Manager. For details about
Stitch Manager, see Stitching designs with Stitch Manager on page 647. Machine
Manager is described in a separate Machine Manager Supplement.
Note Your machine must be set up through Stitch Manager if you are sending to
Stitch Manager, or Machine Manager if sending to 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 on page 615 for details.
Tip Machines that support serial feedback need to be set up in Machine Manager.
See the 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.
The identical port settings must now also be entered in ES 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 Embroider y 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 on page 696.

Tip See Connecting Melco Embroider y Machines to Wilcom ES Embroider y
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 will not be able to communicate with it. See Serial port settings on
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 on page 615 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

1 Select Setup > Hardware.
Select Direct Machine

Connection
Click Delete to
Select machine to remove the machine
delete
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. The values you enter here
are the default values when reading and punching tapes. Paper tape formats
supported in ES 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.
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 will
not be able to communicate with it. See Serial port settings on page 693 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 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.
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 will
not be able to communicate with it. See Serial port settings on page 693 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 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.
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, there may be a
conflict with previously installed scanner drivers. Re-install ES and test the
scanner. If the selected scanner driver does not work in ES, 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 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 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 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 on page 697 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 on page 751 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 3
Menu Chart Ref

Point 2
Menu Chart Ref Menu Chart

Point 1
Digitizing Puck
Button 1
712 Chapter 35 Using Digitizing Tablets V7

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 pull and push.
! 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 on page 716.
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 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 on page 716 and Registering the menu
chart on page 711.
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 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
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 on page 711.
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.
The Setup Tablet dialog opens.
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
Button Description
equivalent
Enters corner reference points when digitizing

1
outlines.
Enters curve reference points when digitizing

2
outlines.
Indicates the end of input and omits the last stitch —

i.e. fill is terminated on the opposite side to the last
3 M input point.
Changes between the selected fill stitch type and
input method and the Run input tool.
Indicates the end of input with the last stitch included

— i.e. fill is terminated on the same side as the last
4 R input point.
Changes between the 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 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 Colorways, the concept of the ‘background’

changed. With multiple colorways, background colors and fabrics are 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 on page 160 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™ on page 65.
! Stitches: all stitches in the design are visible.
! Outlines: all outlines in the design are visible.
See also Viewing stitches and outlines on page 64.
! 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 on page 65.
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.
722 Chapter 36 Changing System Settings V7

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 on page 177.
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.

In 256 color mode, you can display up to 36 colors before the display quality
starts to deteriorate. If you use High Color mode, all colors will be properly
displayed.
6 Click OK.
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 with 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 on page 173.
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.
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 while you are digitizing. If Auto Scroll is not
selected, you need to use 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.

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 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
TipYou can measure on-screen distances using the values in the Status Bar. See
Measuring distances on screen on page 50 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 general options on page 731 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.

Setting other general 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 the cursor type
! check the integrity of the design.
To set other 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 on page 73.
! 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 on page 371.
! 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.
4 Click OK.

PART X
APPENDICES & INDEX

734 V7
Appendix A
Product Differentiation Table

ES V7 Product Differentiation Table
736
Capabilities 10 21L 21E 21D 45 65 Reference
Basics V7 User Manual: Basic Procedures
Dockable toolbars ! ! ! ! ! Showing or hiding toolbars
Context-sensitive popup menus ! ! ! ! ! Using popup menus
Multiple undos ! ! ! ! ! ! Undoing and redoing commands
Create new designs (normal, custom ! ! ! ! ! Creating new designs
templates)
Generate stitches ! ! ! ! ! ! Generating stitches
Display grid ! ! ! ! ! ! Displaying the grid
Display on-screen distance ! ! ! ! ! ! Measuring distances on-screen

Select machine format ! ! ! ! ! ! Selecting machine formats
Save designs ! ! ! ! ! ! Saving designs
Display online help and online manual ! ! ! ! ! ! Viewing information online
Link to web page "! "! "! "! "! "! Linking to the Wilcom website
Design Viewing V7 User Manual: 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 selected parts of a design
functions
View selected parts of a design ! ! ! ! ! ! Viewing selected parts of a design
Legend: ! Included in product # Optional extra charge item #+ Available only with a related feature / option (e.g. 3D Warp, Motif Fill) " Feature/option
which is completely new in V7.0, and only available to V6.x users with full update to V7.0 $ Existing feature which is new Standard or Option for this product level in
V7.0, & only available with full update to V7.0 L For lettering only LG For lettering and grouped objects only TrueView is a trademark of Wilcom Pty Ltd. Stitch
Processor in this product is patented.
V7
V7
Show objects by color ! ! ! ! ! Viewing design objects by color
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
Estimate total thread usage "! "! "! "! "! "! Estimating total thread usage
Preview production worksheet ! ! ! ! ! ! Previewing production worksheets
V7 User Manual: Checking Designs and
Check Designs and Select Objects
Selecting Objects
Travel through design by stitches, color, ! ! ! ! ! ! Checking the stitching sequence
function
Show stitch sequence (Slow Redraw) ! ! ! ! ! ! Redrawing the stitching sequence slowly
Select all objects in a design ! ! ! ! ! ! Selecting all objects in a design
ES Designer User Manual
Select individual objects LG ! ! ! ! Selecting objects with Select Object

Select objects while traveling through a design ! ! ! ! ! Selecting objects while traveling through a
design
Select a range of objects ! ! ! ! ! Selecting a range of objects
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 manipulate objects with the Object ! ! ! ! Selecting and manipulating objects with the
List Object List
Select and manipulate color blocks (Color List) "! "! "! "! Selecting and manipulating color blocks
Manual Digitizing V7 User Manual: Manual Digitizing
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 columns and borders (Input C) # ! ! Digitizing columns of fixed width
737
738
Digitize columns of varying width (Input A) ! ! ! Digitizing columns of varying width
Digitize shapes with turning stitiches (Input B) ! ! Digitizing asymmetrical columns of turning
stitches
Digitize complex shapes (Complex Fill without ! ! ! Digitizing complex shapes with fixed stitch
holes) angles
Digitize objects with holes (Complex Fill with ! ! ! Adding boundaries
holes)
Switch between fill and outline input methods ! ! ! ! Switching between fill and outline input
methods
Outline and Fill Stitch Types V7 User Manual: Fill Stitches
Single stitch (Run) "! ! ! ! Digitizing lines (Manual Digitizing)
Triple stitch (Triple Run) ! ! ! Digitizing lines (Manual Digitizing)

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 fills with Zigzag stitch
E stitch ! ! ! Creating fills with E Stitch
V7 User Manual: Object Properties, Styles
Object Properties, Styles and Templates
and Templates
Set current object properties ! ! ! Setting current object properties
Apply current properties to objects "! ! ! Applying current properties to existing objects
Change properties of selected objects LG LG ! ! ! ! Changing properties of selected objects
Make object properties current ! ! Making object properties current
Change default properties L ! ! ! ! Changing default object properties
Define styles ! ! Defining new styles
Assign favorite styles ! ! Assigning favorite styles
Merge styles ! ! Merging styles
V7
V7
Apply styles ! ! Applying styles
Modify styles ! ! Modifying styles
Create design templates ! ! ! ! ! Creating design templates
Modify design templates ! ! ! ! ! Modifying design templates
Save current properties to a template L ! ! ! ! Saving current properties to a template
Revert to NORMAL template ! ! ! ! ! Reverting to the NORMAL template
V7 User Manual: Colorways and Thread
Colorways and Thread Charts
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
Modify thread charts ! ! ! ! ! ! Modifying thread charts
V7 User Manual: Connecting Embroidery
Connect Embroidery Objects
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 needles out manually L ! ! ! ! Adding jumps with needles out
Adjust travel run stitch length ! ! ! ! Adjusting travel run stitch length
Graphics V7 User Manual: Digitizing with Backdrops
Scan bitmap images (using Win95 Twain) ! ! ! Scanning artwork into ES
Insert bitmap images ! ! ! ! ! ! Inserting bitmap images
Paste bitmap images ! ! ! ! ! ! Pasting bitmap images
739

740
Smooth bitmap images "! "! "! Smoothing bitmap images
Save bitmap images as separate files ! ! ! ! ! ! Saving bitmap images as separate files
Insert / paste vector drawings ! ! ! ! ! ! Digitizing with vector drawings
Smooth vector drawing curves ! ! ! Smoothing vector drawing curves
Color drawing objects "! "! "! Coloring drawing objects
Show / hide backdrops (bitmaps / vectors) ! ! ! ! ! ! Viewing and hiding backdrops
Dim bitmap images ! ! ! Dimming backdrops
V7 User Manual: Processing Images for
Image Processing
Automatic Digitizing
Crop images "! "! "! Cropping images for digitizing
Reduce colors "! "! "! Preparing non-outlined images
Sharpen outlines "! "! "! Preparing outlined images

Edit image using a graphics package "! "! "! Editing images in a graphics package
Drawing Tools V7 User Manual: Semi-Automatic Digitizing
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
Automatic Digitizing V7 User Manual: Automatic Digitizing
Convert artwork to vector drawing (Auto Trace) # # ! Converting artwork to vector drawing with Auto
Trace
Convert vector drawings to embroidery objects # # ! Converting vector drawings to embroidery
objects
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)
V7
V7
Automatic digitizing (Smart Design) "# "# "! Automatic digitizing with Smart Design
(Automatic Digitizing)
Create embroidery designs from grayscale # # # # ! Creating embroidery designs from grayscale
images (Photo Flash) images (Automatic Digitizing)
V7 User Manual: Combining and Rese-
Combine and Resequence Objects
quencing 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 Object List ! ! ! ! Resequencing objects with the Object List
Resequence objects with the Color List "! "! "! "! Selecting and manipulating color blocks
(Checking Designs and Selecting Objects)

Resequence objects by number "! "! "! "! Resequencing objects by number
Automatic object sequencing (Branching) "# "! Automatic branching
V7 User Manual: Arranging and Transform-

Arrange and Transform Objects
ing Objects
Move objects LG LG ! ! ! ! Positioning objects
Lock / unlock objects LG ! ! ! ! Locking and grouping objects
Group / ungroup objects ! ! ! ! Locking and grouping objects
Align and distribute objects LG ! ! ! ! Aligning and spacing objects
Scale objects using click and drag LG LG ! ! ! ! Scaling objects using click and drag
Scale objects using object properties G LG ! ! ! ! Scaling objects using object properties
Scale objects using reference points LG ! ! ! ! Scaling objects using reference points
(Transform)
Make objects same size LG ! ! ! ! Making objects the same size
Rotate objects using click and drag LG LG ! ! ! ! Rotating objects using click and drag
741
742
Rotate objects using object properties G LG ! ! ! ! Rotating objects using object properties
Rotate objects by reference line (Transform LG ! ! ! ! Rotating objects by reference line
Special)
Rotate objects by reference line and specified LG ! ! ! ! Rotating objects by reference line and
angle (Transform) specified angle
Skew objects using click and drag LG LG ! ! ! ! Skewing objects using click and drag
Skew objects using object properties G LG ! ! ! ! Skewing objects using object properties
Mirror objects using object properties G LG ! ! ! ! Mirroring objects using object properties
Mirror objects about a specified axis LG ! ! ! ! Mirroring objects about a specified axis
(Transform)
Mirroring objects using reference points LG ! ! ! ! Mirroring objects using reference points
(Transform Special)
V7 User Manual: Reshaping and Editing

Reshape and Adjust Objects
Objects
Reshape objects using control points L ! ! ! ! Reshaping objects using control points
Reshape circle, star and ring objects ! ! ! ! Reshaping circle, star and ring objects
Convert between Run and Triple or Input C ! ! ! ! Converting between Run, Triple Run and Input
objects C objects
Convert Input A or B to Complex Fill "! "! "! Converting Input A or B to Complex Fill
Adjust stitch angles of Complex Fill objects ! ! ! Adjusting the stitch angles of Complex Fill
objects
Set multiple stitch angles in Input A, Input B "! "! Setting multiple stitch angles
and Complex Fill objects
Change entry / exit points L ! ! ! ! Changing entry and exit points
Keep / omit last stitch ! ! ! Keeping or omitting the last stitch
V7 User Manual: Editing Stitches and
Stitches and Machine Functions
Machine Functions
Select stitches by needle point ! ! ! ! ! Selecting stitches by needle point
Select stitches with a bounding outline ! ! ! ! Selecting stitches with a bounding outline
Select stitches with the Stitch List ! ! ! ! Selecting stitches with the Stitch List
V7
V7
Insert, move or delete individual stitches ! ! ! ! ! Editing stitches
Convert selected stitches to objects ! ! ! ! Converting selected stitches to objects
Insert machine functions manually ! ! ! ! ! ! Inserting machine functions manually
Edit machine functions ! ! ! ! ! ! Editing machine functions
Clear machine functions ! ! ! ! ! ! Clearing machine functions
Edit stitch coordinates with Stitch List "! "! "! "! Editing stitch coordinates with Stitch List
Inserting machine functions with Stitch List "! "! "! "! Inserting machine functions with Stitch List
Editing machine functions with Stitch List "! "! "! "! Editing machine functions with Stitch List
Filter stitches by function "! "! "! "! Filtering stitches by function
Filter stitches by stitch length "! "! "! "! Filtering stitches by stitch length
V7 User Manual: Improving Embroidery
Embroidery Quality
Quality
Apply automatic underlay L ! ! ! ! Strengthening and stabilizing with automatic

underlays
Apply pull compensation L ! ! ! ! Compensating for fabric stretch
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 overall stitch density LG LG ! ! ! ! Adjusting overall stitch density
Adjust stitch density of certain stitch types ! ! ! ! ! ! Adjusting stitch density of certain stitch types
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
V7 User Manual: Specialized Digitizing
Specialized Digitizing Techniques
Techniques
Duplicate objects (Backtrack/Repeat) ! ! Reinforcing outlines
743

744
Create circles, stars and rings ! ! Digitizing circles, stars and rings
Create smooth joins "! "! "! Creating smooth joins
Create offset borders (Offset Object) ! ! Creating borders with offset objects
Create filled holes in Complex Fill objects ! ! Filling holes in Complex Fill objects
Create appliqué designs #+ ! ! Creating appliqué objects
Create partial appliqué shapes "#+ "! "! Creating partial cover appliqué objects
Create sequined designs ! ! ! ! Digitizing with sequins
Create boring holes ! ! ! ! Digitizing boring holes
Artistic Stitch Effects V7 User Manual: Artistic Stitch Effects
Create Jagged Edges "# ! ! Creating jagged edges
Create Accordion Spacing # ! Creating accordion spacing effects
Create Trapunto stitching ! ! Creating Trapunto stitching effects

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
Textured Fills V7 User Manual: 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 # ! Creating textures with User Defined Split
Create alternate split lines "# "! Splitting alternate lines
Motif Runs and Fills V7 User Manual: 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
V7
V7
Create motif fills # ! Creating motif fills
Create 3D effects with motif fills #+ ! Creating 3D effects with motif fills
Embroidery Lettering V7 User Manual: 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 individual letters ! ! ! ! ! Repositioning letters on-screen
Scale, rotate, skew individual letters "! "! "! "! "! Transforming letters on-screen
Reshape individual letters ! ! ! ! ! Reshaping letters on-screen

Recolor individual letters ! ! ! ! ! Recoloring letters on-screen
Create baselines (horizontal, vertical, arc, ! ! ! ! ! Applying lettering baselines
circle, custom)
Adjust and reshape baselines ! ! ! ! ! Adjusting baselines
Change lettering orientation ! ! ! ! ! Changing lettering orientation
Apply different stitch types to lettering objects ! ! ! ! Applying different stitch types to lettering
objects
Apply Smart Corners to lettering objects ! ! ! ! Applying Smart Corners to lettering objects
Adjust lettering stitch angles ! ! ! ! ! Adjusting lettering stitch angles
Adjust lettering stitching sequence ! ! ! ! ! Adjusting lettering stitching sequence
Change lettering join method ! ! ! Changing lettering join method
Add special characters and symbols # # ! Adding special characters and symbols
Create lettering with envelopes ! ! ! ! ! Creating special effects with envelopes
Create borders around lettering "! "! "! "! "! Creating borders around lettering
Add multiple names to designs (Team Names) ! ! ! ! ! Creating designs with multiple names
745
746
Custom Alphabets V7 User Manual: Custom Alphabets
Create custom alphabets # # ! Creating custom alphabets
Digitize custom characters # # ! Digitizing custom characters
Rename / delete custom letters # # ! Renaming and deleting custom letters
Reshape custom letters # # ! Reshaping custom letters
Convert TrueType font to embroidery alphabet "# "# # ! ! Converting TrueType fonts to embroidery
alphabets
Convert TrueType letters to Complex Fill letters # ! ! Converting TrueType fonts to embroidery
alphabets
Convert TrueType letters to Turning Stroke "# "! "! Converting TrueType fonts to embroidery
letters alphabets
Convert between Complex Fill and Turning "# "! "! Converting between Complex Fill and Turning
Strokes Strokes
Merge alphabets ! ! ! ! ! Merging alphabets
Design Formats V7 User Manual: Processing Design Files
Convert stitch files to EMB format ! ! ! ! ! ! Opening stitch files in ES
Open Melco CND Outline files ! ! ! ! ! ! Opening Melco CND outline files
Save designs in Melco CND format ! ! ! ! ! ! Saving designs in Melco CND format
Color merge Melco CND files "! "! "! "! "! "! Color merging Melco CND files
Reassign colors to stitch files "! "! "! "! "! "! Reassigning colors to stitch files
V7 User Manual: Changing Machine For-
Machine Formats
mats
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 (stitch ! ! ! ! ! ! Adjusting standard machine format settings
and jump length, trim functions, color change
functions, Boring functions)
V7
V7
Adjust advanced machine format settings ! ! ! ! ! ! Adjusting advanced machine format settings
(color change sequence, start and end of
design, speed)
Design Output V7 User Manual: 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
Print multiple colorways "! "! "! "! "! "! Printing multiple colorways
Send designs as email attachments ! ! ! ! ! ! Sending designs as email attachments
Save designs as bitmap images "! "! "! "! "! "! Saving designs as bitmap images
Cut appliqué shapes ! ! ! Cutting appliqué shapes
Stitch designs to machine (Stitch Manager) ! ! ! ! ! ! Stitching designs with Stitch Manager
Machine Management V7 User Manual: Machine Manager

Views: Queue View ! ! ! ! ! ! Machine Manager views
Views: Machine View ! ! ! ! ! ! Machine Manager views
Views: Design Details "# "# "# "# "# "# Machine Manager views
Views: Statistics "# "# "# "# "# "# Machine Manager views
Stitch designs to machine (Machine Manager) ! ! ! ! ! ! Stitching designs using Machine Manager
Set up machines in Machine Manager ! ! ! ! ! ! Setting up machines in Machine Manager
Modify and delete machine in Machine ! ! ! ! ! ! Modifying and deleting machines
Manager
Set up MMG Reporter ! ! ! ! ! ! Setting up MMG Reporter
Generate reports ! ! ! ! ! ! Producing reports
Print reports ! ! ! ! ! ! Producing reports
Export reports ! ! ! ! ! ! Producing reports
V7 User Manual: Embroidery Disks and
Embroidery Disks and Paper Tapes
Paper Tapes
Read designs from embroidery disk ! ! ! ! ! ! Reading designs from embroidery disk
747
748
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 (Design Explorer) V7 User Manual: ES Design Explorer
Show designs as thumbnails ! ! ! ! ! Viewing designs as thumbnails
Show designs as thumbnails plus summary ! ! ! ! ! Viewing designs as thumbnails plus summary
Show designs as details lists ! ! ! ! ! Viewing designs as details lists
Rename, add and delete folders "! "! "! "! "! Renaming, adding and deleting folders
Select designs ! ! ! ! ! Selecting designs
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 the Sort dialog
Convert design file types ! ! ! ! ! Converting design file types
Open designs from Design Explorer ! ! ! ! ! Opening designs from Design Explorer
Cut, copy, paste, and delete designs ! ! ! ! ! Cutting, copying, pasting, and deleting designs
Print production worksheets ! ! ! ! ! Printing production worksheets
Print catalogs of designs "! "! "! "! "! Printing catalogs of designs
Publish catalogs for browser viewing "! "! "! "! "! Publishing catalogs for browser viewing
Export catalogs of designs "! "! "! "! "! Exporting catalogs of designs
Peripheral Device Support V7 User Manual: 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
Embroidry machine support ! ! ! ! ! ! Setting up embroidery machines
Paper tape reader and punch support ! ! ! ! ! ! Setting up paper tape readers
V7
V7
Scanner support ! ! ! Setting up scanners
Calibrate monitor ! ! ! ! ! Calibrating the monitor
Digitizing Tablets V7 User Manual: Using Digitizing Tablets
Register menu chart ! ! ! Registering the menu chart
Register enlargement drawing ! ! ! Registering an enlargement drawing
Change drawing scales ! ! ! Changing the drawing scale
Select preset spacing values ! ! ! Selecting preset spacing values
System Settings V7 User Manual: Adjusting System Settings
Set TrueView™ options ! ! ! ! ! ! Setting TrueView™ options
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 pointer display options
Set paste options LG ! ! ! ! Setting paste options
Set general options ! ! ! ! ! ! Setting other general options
749
750 ES V7 Product Differentiation Table V7
Appendix B
Quick Reference Guide

752 Appendix B Quick Reference Guide V7
ES Quick Reference Guide Digitizing functions (not all models) (cont)
To Press
P/N 8100706 Rev 1 01 Mar 2001 V7 activate Branching I
make Complex Shape drawing V+ H
General functions object
To Press check design integrity !
start new design C+N
open design C+O Schiffli functions
save design C+S To Press
print design C+P insert Blatt function [
show/hide Point & Stitch™ C+I insert Stepp function ]
toolbar
insert Borer function ;
show/hide grid V+G
change Schiffli borer depth ;
show Overview window V+V
show Schiffli repeats W
show Object List V+L
show Stitch List V+J Selecting objects
open Lettering dialog A
To Press
open digitizing tablet setup V+D
measure distance on-screen M select all objects C+A
undo command C+Z deselect all objects E or X
redo command C+Y select object o
cancel command E select object at current needle V+ O
position
open online help 1
select multiple objects *C+[
exit application A+4
select range of objects *V+[
Digitizing functions (not all models) select next object *T
select previous object *V+T
To Press
select object beneath *2 +[
finish digitizing object (keep last R add next object to selection *C+T
stitch)
add previous object to selection *C+V+T
finish digitizing object (omit last s
stitch) activate Polygon Select C+L
finish digitizing Complex Fill R activate Selects On/Off Q
boundary group selected objects *C+G
delete last input point B ungroup selected objects *C+U
generate stitches G lock selected object K
apply Satin stitch V+I unlock selected object V+K
apply Tatami stitch V+M * Click Select Object tool first.
apply Run stitch V+N
switch between fill and Run stitch s Viewing designs
switch between fill and Manual R To Press or
stitch
turn TrueView™ on/off T
switch between Continuous Input V+A
A and normal Input A show/hide stitches S
turn underlay on/off u show/hide outlines L
activate Auto Trace C+M * Turn TrueView™ off

Viewing designs (cont) Traveling through designs
To Press or To travel Press or +
show/hide needle points . 1 stitch backward l 4
show/hide connectors V+C selecting/deselecting *T
show/hide function symbols V+F stitches
show whole design * E, V + s * Click Stitch Edit tool + Keypad with Num Lock OFF
fit design to window 0 (zero) 2
fit selected objects to window V + 0 (zero)
Cutting & pasting objects
show selected objects only * V+s
show unselected objects only V+u To Press or
show/hide image D cut object C+ X V+D
zoom in 2X Z 9 copy object C+ C C+Z
zoom out 2X V+Z 0 paste object C+ V V+Z
zoom to 1:1 scale (100%) 1 duplicate object C+ D
specify zoom factor F 3 delete selected objects or D
zoom in on selected area B 8 last object
zoom in on selected area in V+B
Overview window Modifying objects & stitches
activate panning P 7 To Press or click
turn off automatic scroll V (hold down) move selected object horizontally C+:
center current stitch in design C 6 or vertically (drag object)
window nudge selected object t bl r
return to previous view V 5 maintain proportions while V+:
redraw screen R 4 resizing (drag handle)
activate Slow Redraw * V+R activate Reshape tool H
* Turn TrueView™ off change reshape control point [+M
type (click control
point)
Traveling through designs
activate Stitch Edit tool E
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
1 stitch forward r 6
* Click Stitch Edit tool + Keypad with Num Lock OFF
754 Quick Reference Guide V7

Appendix C
Menu Chart

756 Appendix C Menu Chart V7
WILCOM ES V7
1
i 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
todos os modelos; non in tutti i modelli; pas dans tous P/N 8100705 Rev 1. 22 Aug 00
les modèles; nicht verfügbar für alle Modelle © Copyright 1990-2001 Wilcom 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

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 Function
Show Connectors ! ) ' ! ) '
Symbols
Show Grid ! ( ' Show Repeat ⌧ (
Show
1. Chain/Moss
Show Drawing ! ( ' ⌧ ⌧ ⌧
2. Stepp/Blatt
3. Needles In/Out
Satin ! ( ( Tatami ! ( (
Zigzag ! ( ( E-Stitch ! ( (
Program Split ! ( ( Motif Fill ! ( (
760 Menu Chart Key V7

Contour ! ( ( Flexi Split ! ( '
Florentine Effect ! ( ! Liquid Effect ! ( !
Auto Jump ! ( ' Stitch Shortening ! ( '
Pull Fractional
! ( ' ! ( '
Compensation Spacing
Automatic
! ( ' Jagged Edge ! ( '
Underlay
1/4. User Defined

Trapunto ! ( ' Split ! ! ' '
2/3. Split Alternate
Accordion
Spacing
! ( ' 3D 3D Warp ! ( '
Coil ! ( ( Straight ! ( (
Perpendicular Fill ! ( ( Island Coil ! ( (
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
1. Backtrack
Add Stitch Angles ⌧ ! ! !
2/4. Repeat
Next Color ⌧ ( (
Â
Input A ! Input B !
Complex Fill ! ( ( Auto Applique !
A Lettering ! ( ( Input C ! ( (
Run ! ( ( Triple Run ! ( (
Motif Run ! ( ( Manual !
Triple Manual !

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 ! 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. Needles In 1. Borers In
! ! ! ( !
4. Needles Out 4. Borers Out
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
! ! ! Drop Sequin !
2/4. Add Auto
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 Cur-
rent Stitch, 4. Paste - Start at Current Stitch
\ Add / Insert functions: See Machine function types on page 334 for details.

Appendix D
Supported File and Disk Formats
The following tables show how various features are converted when the file type
is changed. Use this section when converting designs to different formats, or
digitizing for a specific format other than EMB.
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 on page 585 for details.
Supported outline file formats

ES supports the following outline file (condensed) formats:
Extension Format Read Write
CND Melco Condensed ! !
EMB Design File V6.0 ! !
ESD Wilcom DOS format !
INP Wilcom Condensed !
PCH Gunold APS !

Supported stitch file formats
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 ! !
PMU Proel !
PUM Proel DOS !
STC Gunold !
STX Datastitch !
¤
T01 Tajima ! !
T03 ‡ Barudan ! !
T04 Zangs ! !
T05 § ZSK ! !
T09
ƒ 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
766 Appendix D Supported File and Disk Formats V7

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. 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
Can be transformed/scaled No Yes, but with Yes

without affecting stitch quality ±5% max limitations
Opens in ES 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 on page 602.
Conversion of Melco CND format to ES EMB

When you open CND designs in ES, outlines are scaled and stitches recalculated
to preserve density. ES 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.
Complex Fill Complex Fill Melco EDS Complex Fill are

recognized and converted to 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

Melco CND EMB Notes
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, Needle Out
Reset Stitch Needle In
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
Fast Fast
Borer In/Out Borer In/Out
Sequin On/Off Sequin On/Off
Conversion of ES EMB format to Melco CND

You can save files to Melco CND format from ES. Designs originally created in
ES generally give the best results. Other file types may not have all the data
necessary for successful conversion. This table details how ES stitch types and
effects are converted to CND format.

Tip When you convert to CND, many 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 ES input methods for
Melco CND output on page 772.
EMB Melco CND Notes
Stitch types
Manual Walk
Run Walk
Triple Run Bean Stitch Only if the design is an original ES

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.
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.

EMB Melco CND Notes
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.
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, turn on Fractional Spacing

and set it to 0.5 mm. Fractional
Spacing is ignored and spacing
measured at the center of the
column.

EMB Melco CND Notes
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
Empty Walk Two MK1 points are repeated at the

current position.
Jump Needle Up
Needles Up Needles Up
Tie In (Lettering) Walk
Tie Off Walk
Needle In Reset Stitch
Needle Out Needle Up
Needle Height Needle Height
Moss Moss
Chain Chain
Trim Trim The ability to output without Trim

function does not apply to this
version.
Best 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.
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

INP is a native file format of the Wilcom Computer Embroidery Design
software. Wilcom INP designs can be directly converted to EMB files. However,
EMB interprets some of the stitch types differently from the INP designs.
Conversion of Wilcom INP format to ES 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
Borers In/Out Borers 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
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.
Needles In/Out Needles In/Out
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 ES turn fill (generally Will look different but can be
measured along fewer stitches) re-digitized in smaller sections.
shape boundary)
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.
However, EMB interprets some of the stitch types differently from the PCH
designs.
Conversion of Gunold PCH format to ES 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

Gunold PCH EMB
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
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

Gunold PCH EMB
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/DD ! !
Barudan S-FMC DS/DD ! !
DOS DS/DD ! !
Happy DS/HD ! !
Melco DS/DD ! !
Tajima DS/HD ! !
Toyota DS/HD ! !
ZSK DS/DD ! !

Note Newer PCs need an MIO16 card to format Melco disks. Use the TestDisk
utility to check your PC’s capability. See Testing embroider y disks on page 814 for
details.
Supported paper tape formats

ES supports the following paper tape formats:
Format Read Write
Tajima ! !
Barudan ! !
Zangs ! !
ZSK ! !
Pfaff ! !
Supported Schiffli formats

Schiffli machines are typically used to manufacture lace and emblems. They have
extra machine functions which only apply to Schiffli designs. Schiffli is a cost
option in ES.
Supported Schiffli file formats

There are multiple Schiffli file formats to suit specific Schiffli machines. Machine
functions may differ between various machines. ES supports the following
Schiffli file formats:
DAT Laesser ! !
DAT † Wilcom ! !
DAT Hiraoka ! !
ESL Wilcom Schiffli ! !
† CED data condensed file

T04 Zangs ! !
T10 Plauen ! !
T15 Saurer ! !
† CED data condensed file
Supported Schiffli embroidery disk formats

Save your Schiffli designs to your Schiffli formatted disk. Schiffli machines with
Floppy Disk Readers can read your design. ES supports the following Schiffli
embroidery disk formats:
Format Density Read Write
Saurer SLC – SAS (Saurer) DS/HD ! !
Saurer SLC – PLS (Plauen) DS/HD ! !
Saurer SHC – PAT DS/HD ! !
Saurer NWD – NWD DS/HD ! !
Laesser (DAT) DS/HD !
Hiraoka (DAT) DS/HD ! !
Heinzle EAS DS/HD ! !
Supported drawing and image formats

Artwork can be imported into ES in both vector and bitmap (raster) formats. See
Digitizing with Backdrops on page 201 for details.
Supported vector drawing formats

ES supports the following vector drawing formats:
DXF AutoCAD !
EMF Enhanced Metafile !

WMF Windows Metafile !
Supported bitmap image formats

ES supports the following bitmap image formats:
BMP Windows Bitmap ! !
JPG JPEG File Interchange ! !
PCX PC Paintbrush ! !

Appendix E
Standard Alphabets
The table below includes all alphabets that are standard with your ES software.
For best results when stitching, do not exceed the recommended maximum or
minimum sizes. Recommended maximum and minimum heights refer to UPPER
CASE letters. Some lower case letters — e.g. a and c — are about 70% the height
of a capital letter. Thus you may need to make these characters larger than the
recommended minimum.
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 on page 350.
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 on page 540 for details.
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 on
page 545.
Note Not all characters are available in all alphabets. See the Embroider y
Alphabets samples booklet for details.
Recommended Sizes Stitch

Alphabet Sample Min Max Method
in. mm in. mm
Agatha 0.3 8 2.0 50 CJ

in. mm in. mm
Algerian 0.3 8 1.2 30 CJ
Anaconda 0.3 8 2.0 50 CJ
Architect 0.4 10 2.0 50 CJ
Arial Rounded 0.3 7 1.8 45 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
782 Appendix E Standard Alphabets V7

in. mm in. mm
Block2 0.25 6 2.4 60 CJ
Bodoni 0.3 7 2.0 50 CJ
Border Block 2 0.5 13 1.6 40 AD
Borders CJ
Carla 0.4 10 2.0 50 CJ
Castle 0.25 6 2.0 50 CJ
Cayman 0.4 10 2.0 50 CJ
Centurion 0.5 13 2.4 60 CJ

in. mm in. mm
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 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

in. mm in. mm
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 Applique 1.20 30 6.0 150 AD
Croissant 0.25 6 2.0 50 CJ
Dauphin 0.3 8 2.4 60 CJ
Dextor Normal 0.4 9 2.0 50 CJ
Easy Script 0.3 7 2.4 60 CJ
Enchantment 0.4 10 1.6 40 CJ

in. mm in. mm
Energy 0.3 8 2.4 60 CJ
Enviro 0.5 13 3.0 75 CJ
Flares 0.3 7 1.6 40 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 2
0.65 16 2.0 50 AD
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 Appliqué 1.2 30 4.0 100 AD
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
Hana 0.5 13 2.0 50 CJ
Handel Gothic 0.3 8 2.0 50 CJ
Handicraft 0.3 8 2.5 65 CJ
Hebrew Chaya 0.3 8 1.6 40 CJ
Helvetica 0.25 6 2.4 60 CJ
Helvetica Small 0.2 4 0.3 7 CJ
Hobo 0.25 6 1.6 40 CJ

in. mm in. mm
Impress 0.3 7 1.6 40 CJ
Informal 0.25 6 1.2 30 CJ
Kabel 0.25 6 2.4 60 CJ
Kids 0.5 12 1.2 30 CJ
Krone 0.3 8 1.6 40 CJ
Lariat 0.48 12 1.2 30 CJ
Lydian 0.3 7 2.0 50 CJ
Mandarin 0.3 8 2.0 50 CJ

in. mm in. mm
Matisse 0.4 10 1.6 40 CJ
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
News Outline 1.2 30 3.0 75 CJ
Old English 0.4 10 2.0 50 CJ
Olivia 0.3 7 1.6 40 CJ

in. mm in. mm
Outline Block 0.75 18 4.0 100 CJ
Pixie 0.5 13 1.2 30 CJ
Royale 0.5 13 2.4 60 CJ
Schoolbook 0.3 8 2.0 50 CJ
Script1 p 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

in. mm in. mm
Serif1 0.25 6 1.2 30 CJ
Serif2 0.3 8 1.2 30 CJ
Serif3 0.25 6 2.4 60 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
Swiss 0.4 10 2.0 50 CJ

in. mm in. mm
Swiss Run
0.6 15 4.0 100 AD
Hollow
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
Urbane 0.25 6 1.6 40 CJ

in. mm in. mm
Verdana 0.25 6 2.4 60 CJ
Victorian 0.3 7 1.0 25 CJ
Viking 0.35 9 2.0 50 CJ
Westminster 0.25 6 2.4 60 CJ

Appendix F
Motif Samples
Motifs available in 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 ES. Use these tables to
see what a particular motif looks like. The table also includes original size and
layout specifications. If they have changed for any reason, revert to the original
settings using the values in these tables. See Creating motif runs on page 466 and
Creating motif fills on page 472 for details.
Single motifs
The following table shows single motifs available in ES together with their size
values. It also shows the spacing values for Motif Runs, and default column, row
and offset values for Motif Fills.
Size in mm Motif fill

Motif Run
Motif
spacing
X Y Column Row Offset
Mtf01 4mm 4mm 4mm 4mm 4mm 0mm

Motif Run
Motif
spacing
796 Appendix F Motif Samples V7

Motif Run
Motif
spacing

Motif Run
Motif
spacing

Motif Run
Motif
spacing

Motif Run
Motif
spacing

Motif Run
Motif
spacing

Motif Run
Motif
spacing

Motif Run
Motif
spacing

Motif Run
Motif
spacing
Two-part motifs
The following table lists the two-part motifs that are available in ES, and the
resulting pattern. It also shows the size, column, row and offset values for Motif
Fills.
.

Motif A Motif B Fill pattern
X Y Col Row Offset
Mtf101a Mtf101b a=7.0 a=5.0 7mm 3.5mm 0mm

b=7.0 b=3.0
Mtf102a Mtf102b a=12 a=6 12mm 6mm 0mm

b=12 b=9

b=12 b=9

X Y Col Row Offset
Mtf104a Mtf104b a=9 a=8 9mm 4.5mm 0mm

b=9 b=3

b=6 b=3

b=4 b=2
Mtf107a Mtf107b a=5 a=4 5mm 2 1mm

b=5 b=1

b=12 b=4

b=7 b=5

X Y Col Row Offset

b=8 b=4

b=12 b=9

b=14 b=8

Appendix G
Program Split Samples
This section contains samples of the program split patterns available in ES. Use
the table to see what a particular program split looks like. The table also includes
the original size, column, row and offset settings. If they have changed for any
reason, revert to the original settings using the values in this table. See Adjusting
Program Split stitch settings on page 438 for details.
Size in mm Column Row

Pattern
Pattern
name
X Y Spacing Offset Spacing Offset
Arrowhd 6 6 4.5 0 6 0
Bars 8 8 8 0 8 0
Basket 9 7.5 9 0 4.5 4.5
Basket2 9 9 6 0 6 0
Bird 6 4.9 6 0 4.9 0
Blocks1 12 12 12 0 8 8
Blocks2 12 12 8 0 8 8
Breaker 10 6 10 0 6 0
Brick 6 3 6 0 3 3

Pattern
Pattern
name
Brick2 6 6 4 0 4 4
Chain 10 6 6.75 0 7 3.38
Chevron 6 3 6 0 6 3
Chevron2 2.5 6 2.5 0 6 0
Chevron3 7 3 7 0 3 0
Circle 6 6 8 0 6 4
Crosstile 7 7 5.5 -5.5 5.5 5.5
Cube 6 6 6 1.58 6 1.48
Diadem 10 6.7 10 0 6.7 5
Diamnd2 4 8 4 4 8 0
Diamond 6 6 6 0 6 0
Driver 8 4 8 0 4 1.5
Ellipse 4 6 4.6 0 6 2.3
Flame 6 3.7 6 0 3.6 3
808 Appendix G Program Split Samples V7

Pattern
Pattern
name
Greekey 6 4 6 0 4 2
Heart 6 6.5 6 0 6.4 3
Herringbone 8 4 8 0 4 0
Hexagon 6 7 6 0 5.2 3
Hexagon2 7 6 7 0 6 0
Jem 10 10 10 0 9.5 5
Keyhole 4 2.7 5.34 0 2.7 2.7
Leaf 10 5 10 0 5 5
Melody 10 6 10 0 5 5
Metal 5 9.4 5 0 8.5 2.5
Passage 10 10 10 0 10 0
Piccolo 8 8 8 0 8 0
Roma 10 5.5 10 0 6 5

Pattern
Pattern
name
Rope 7.5 5 3.8 0 5.5 1.9
Scale 6.4 3.5 6.4 0 3.5 3.2
Scale2 3.5 6.4 3.5 3.2 6.4 0
Seville 6.7 5.6 6.7 0 4.5 4.5
Star5 6 5.7 6 0 5.7 3
Steps 8 8 6 -6 6 6
Suncros 10 10 4 -6 4 6
Suncross2 11 11 6.85 -1.35 6.85 1.35
Swing 6 8.2 4.45 0 8.2 0
Tick 6.8 7.9 6.8 0.10 6 6
Tile1 8 8 8 0 8 0
Tile2 12 12 12 0 12 0
Tile3 10.1 10 10 0 10 0

Pattern
Pattern
name
Tile4 6 6 6 0 6 0
Triangl 6 5.2 6 0 5.2 3
Triangle3 7.5 6.5 7.5 0 6.5 0
Vine 8.5 2.8 8.5 0 3.5 2
Wave 6 1.3 6 0 4 3
Wave2 9.9 3.24 9.9 2.9 3.25 0
Wave3 10 4.51 10 0 4.5 0
Whirl 7.5 7.5 7.5 0 7.5 0
Wild 8.5 8 8.5 0 7.5 4.5
Xmastre 16 16 13.3 8 16 0
Ziggy 5 8 4 0 8 0

Appendix H
Troubleshooting
This section provides help for solving problems in ES. It includes procedures for
checking your system’s requirements and settings, reverting to original values, and
testing disks and connections. It also describes how to log errors, and lists causes
for common error messages and problems.
Solving problems in ES
If you encounter a problem, refer to the following references for help:
! ES User Manual — select Help > Online Manual (or printed version)
! ES Online Help — select Help > Help Topics
! Windows Online Help — select Start > Help
! Windows manual
! Documentation supplied with your hardware.
You can also find ‘troubleshooting’ information on the Wilcom website, at
http://www.wilcom.com.au. The Technical Support and Tips & Tricks sections
are regularly updated with helpful system information.
Getting help
If you are unable to solve a problem, you should contact your Wilcom reseller.
Before seeking help, check that your PC meets the system requirements, and
check the Security device messages and General problems sections in this chapter.
Reverting to factory settings

If you have made changes to the default settings in your software and you want
to revert back to the factory settings, use the Revert utility.

To revert to factory settings
1 Exit ES.
2 On the Windows taskbar, click the Start button and select Programs >
Wilcom ES > Revert.
The Revert to Factor y Settings dialog opens.
Select items to be
restored
3 Select the items you want restored to factory defaults.
Warning Reverting to the original settings removes any changes you have
made to styles, templates and hardware settings. New styles, templates and
hardware settings are unaffected as they are saved separately.
4 Click OK.
The selected items are restored to factory settings.
Note There is no confirmation message.
Testing embroidery disks

Some newer PCs do not support some of the older embroidery disk formats.
Check that your PC can read, write and format embroidery machine formats
using the 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 on page 777.
Note Newer PCs cannot usually format Melco format. To enable formatting in
Melco, a Multiple Input/Output card is needed. For more information, consult
your local PC technician or Wilcom reseller.
814 Appendix H Troubleshooting V7

Warning Do not use a floppy disk containing data that you do not wish to lose,
as the Test Disk utility reformats the disk, erasing any data contained on it.
To test embroidery disks

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.
6 Click OK.
If the utility returns errors associated with any of the selected formats, your
PC will not support the reading, writing or formatting of these diskettes.

Tip The MelCheck feature in the Test Disk menu is identical to the Melco
feature in the Disk Format Test Selection dialog.
Checking digitizing tablet connections
Click the Start/Stop Digitizer icon to run the test.
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. See Serial port settings on page 693 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. 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 check 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 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 List of Formats, 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 setting on the digitizing tablet.
7 Select Indicate Digitizer Data to display digitizing tablet data as recognized
by ES.
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 on page 693 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 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 and configure the port as
above. See Setting up digitizing tablets on page 697 for details.
Recommended 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 166 MHz Pentium III (450 MHz)
Operating System Windows 95, 98/98SE Windows 2000
Browser I.E. 5.0 I.E 5.x
Memory 64 Mb (more if running multiple 128 Mb (for running multiple

applications) applications)
Hard Disk Size 2 Gb 4 Gb or more, especially for database

users
Free Hard Disk space 400 Mb (non double-spaced) More than 500 Mb if running multiple
before install 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 17" or larger for on-screen work 17" or larger for on-screen work
Scanner Windows compatible Windows 2000 scanners

Hardware Item Minimum Requirements Recommended
Printer and/or Plotter Windows supported devices Windows 2000 devices
Serial Ports Two standard ports: COM1/COM2 Standard COM1 and multiport adaptors.
USB for scanners/printers
Parallel Ports LPT1 required for Dongle security device LPT1 required for Dongle security device
if used, and also for printer if used, and also for printer
Bus slots ISA/EISA slots are required if Melco

Network card/Disk controller card (Melco
compatible), scanner interface board or
Bus mouse are used.
Mouse Bus, serial or PS/2 mouse PS/2 mouse USB
CD-ROMs and other CD-ROM drive for software installation High-capacity DOS drive such as
drives SuperDisk, ZIP, JAZ or Travan tape for
backup, CD ROM drive for software
installation. (Not for Embroidery Disk
formats)
Sound cards Not required Recommended for PET multi-media

training products for Sirius
Checking CPU/RAM specifications

Check your CPU and RAM specifications, and the version of Windows you are
running to ensure they meet ES requirements. See Recommended PC specifications
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.
Checking your hard disk space

Check that your hard disk has enough space to run ES effectively. See
Recommended PC specifications on page 818 for details.

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.
Unrecoverable errors
Problem The system fails and displays ‘unrecoverable’ error.
Cause The design you tried to open 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
below for details.
Deleting files with Purge Recovery

You can delete corrupt files using the Purge Recover y utility. Purge Recover y
deletes files in the C:\ESWin\Recover and C:\ESWin\Backup folders.
To use Purge Recovery

1 Exit ES.
Wilcom ES > Purge Recover y.
The Purge Recover 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 these files from the C:\ESWin\Recover and
C:\ESWin\Backup folders manually.
Tip If the errors persist, try reverting to factory settings. See Reverting to
factor y settings on page 813 for details.
Security device messages

This section describes the messages related to the security device. Most security
device messages are caused by incorrect connection, access codes, interference or
conflict from another hardware device on the PC. 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 may stop working altogether.
Tip After entering new codes, exit ES and then restart. See Entering security codes
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 ID code on the access code sheet to see whether it
matches the ID code in the Security dialog. If they do not match,
note your security device Serial Number and current ID code and
contact your distributor. See Identifying your security device
Security device not found (dongle)
Message Security device not found
Cause Software is unable to detect dongle or there is a conflict with

another device on your PC.

Suggestion Remove any other device that is attached to the same port as the
dongle. If the dongle is then found by ES, there is a conflict
between the devices. Install a second parallel port. The dongle
can be attached to either port. Try a different combination of
devices if you have 3 or more devices and only 2 parallel ports.
If the dongle can still not be found, reinstall the dongle driver. See
Installing the dongle driver below for details.
Installing the dongle driver

If your system cannot locate the dongle connection, you may need to reinstall the
dongle driver.
To install the dongle driver

1 From the Windows taskbar, click the Start button and select Run.
The Run dialog opens.
2 In the Open field, enter
C:\ESWIN\BIN\HINSTALL /I /PORTMODE=AUTO.
Note You must leave a space after both the L and I.

3 Click OK.
A message informs you that the dongle driver was installed successfully.
4 Restart your PC.
Security device not found (Trysoft)
Message Security Device Not Found
Cause Software is unable to detect Trysoft or there is a conflict with

another device on your PC.
Solution Reserve the Trysoft Input/Output address. See To reserve the

Trysoft I/O address below for details. You can also reserve
IRQ 11.
To reserve the Trysoft I/O address

1 From the Windows taskbar, click the Start button, and select Settings >
Control Panel.

The Control Panel window opens.
2 Double-click the System icon.
The System Properties dialog opens.
3 Click the Device Manager tab.
4 Right-click Computer and select Properties from the popup menu.
The Computer Properties > View Resources tab opens.
5 Select Input/Output (I/O).
The settings (addresses) of each piece of attached hardware are listed.
6 Check the settings list for a device listed as using the 0300-0330 address. Note
the name of the device.
Note If 0300-0330 is not present, you do not have a conflict with the Trysoft
and should look for another cause, e.g. there may be a conflict with your
sound card. To ensure conflicts do not occur again, complete steps 7 - 12.
7 Select the Reserve Resources tab.
8 Select the Input/Output (I/O) radio button, then click Add.
The Edit Resource Setting dialog opens.
9 In the Start value field enter 0300.
10 In the End value field, enter 0330.
11 Click OK.
Note You need to restart your PC for the changes to take effect.
12 Once your PC has restarted, repeat steps 1 to 6.
The 0300-0330 address should now read System Reserved.
13 Click Cancel and find the device that occupied the 0300-0330 address
originally.
14 Select that device and click the Properties icon.
15 Check that the device is working properly in the Properties > General tab.
16 If it is not working, select the Resources tab, go to the I/O address and click
Change Settings.
17 Select another free I/O address and click OK.
Note You will need to restart your PC for the changes to take effect.

Timeout warning
Message Timeout warning or 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 on page 53
for details.
For Dongles
For Trysofts
Security Error 510
Message Some files may be missing. Re-install software.
Cause • Corrupted hard disk

• Virus attack
• Security violation
Suggestion Re-install the software.

If the problem persists, further diagnose the problem (e.g. run a
virus checking program, or run Scandisk to check the hard disk
has not been corrupted).

Security Error 520
Message Unable to find security device.
Cause The hardware or security device is faulty, or the security device

is not correctly plugged in. If the device is a Trysoft, there may be
a conflict with the security device at the address 0300-0330. See
To reserve the Trysoft I/O address on page 822 for details.
Suggestion Check the installation of the security device to ensure it is fitted

correctly.
If the device is a Trysoft, check the slot which the card is seated
in. Try swapping the Trysoft to another slot and restarting the
software. If this does not work contact your distributor with your
Trysoft Serial Number. Change the security device address to
0300-0331. See To reserve the Trysoft I/O address on
If the device is a dongle, try using another port and restarting the
Dongle Serial Number.
Security Error 530
Message Incorrect security device setting. Contact your distributor/vendor.
Cause Incorrect security device (dongle) attached
Suggestion • Remove any attached security devices.

• Contact your distributor with the serial number and current ID
code of the security device. See Identifying your security
device on page 53 for details.
Security Error 540
Message Unable to run software
Description ES starts up, but most of the options are unavailable, and the
error message displays.
Cause • You have loaded the wrong software version.

• You are using the wrong security device.
• You have not entered the latest set of codes.

Suggestion • Ensure you are using the correct software.
• Ensure you are using the correct security device.
• Check that the security device has been fitted correctly.
If the device is a Trysoft, check the slot which the card is seated
in. Try swapping the Trysoft to another slot and restarting the
Trysoft Serial Number. Change the security device address to
0300-0331. See To reserve the Trysoft I/O address on
For dongles, try using another port if available and restarting the
Dongle Serial Number.
Security Error 550
Message Invalid security device for this software version.
Cause You are using the wrong security device for this software version.
Suggestion Contact your distributor or reseller.
General problems
The following section refers to general problems you may experience with your
designs.
Design dimensions
Problem Dimensions of design are incorrect.
Cause If the design’s dimensions are too large or too small, the system
units of measurement may be set incorrectly. The units of
measurement are set in Windows Regional settings.
Suggestion Change the units of measurement in Windows. Select Start >

Settings > Control Panel > Regional Settings.

Formatting 720kb disks in ES
Problem After formatting a 720kb DSDD DOS disk in ES using the ‘full
format’ option, any attempt to write any file or design to the disk
may cause a Windows 9x ‘blue screen’ error message to appear.
This affects disks formatted under Windows 98, Windows 98
Second Edition, 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.
Cause 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.
Colors change in TrueView™
Problem When the design is displayed in TrueView™ the color of some of

the objects change.
Cause In TrueView™, the colors are limited to those available on the

embroidery machine. This would then depend on the number of
needles your machine has. If your design has more colors than
are available on your machine, the colors will ‘wrap around’ back
to color 1.
Suggestion Switch to normal view to see the actual colors of your design.
Cannot use Melco format
Problem 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 not supported by all 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, use Testdisk.exe. See Testing embroidery disks on
Inconsistent output results
Problem Problems when reading and punching paper tapes, sending

designs to embroidery machines for stitching. Inconsistent
reading and writing.
Cause Serial communications problems. Inconsistent reading and

writing may be caused by wrong port settings in the operating
system.
Suggestion Change the port settings. See Setting up paper tape readers
and punches on page 704 for details.
No stitches display
Problem No stitches are displayed in a design. 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™

If some objects still do not have stitches, select them and
re-generate the stitches. See Generating stitches on page 49
for details. Use the Shortcut G.
Missing toolbar buttons
Problem Buttons missing from toolbars
Cause 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 in systems

updated to V7.0 from a previous version. This problem may be
accompanied by ‘Exception Access Violation Error’ messages
followed by a system crash.
Cause This problem is related to the video card and occurs more on
newer and 3D video cards than older ones.
Suggestion Download and install the latest software driver from the video
card manufacturer’s Internet website. These are normally free
from the provider. Some websites to try include:
• http://www.s3.com/
• http://www.matrox.com/
• http://www.trid.com/
• http://www.tseng.com/
• http://www.nvidia.com
• http://www.diamondmm.com
• http://www.sis.com
• http://www.cirrus.com
• http://www.ati.com/
Other sites that provide drivers or links to other sites are:
• http://www.download.com/
• http://www.tucows.com/
• http://www.windrivers.com/

Index
A skewing by exact angle 304 supported file formats 202

Tatami underlay stitch angle 354 vector drawings 202
access codes
See also stitch angle Auto Appliqué 393
entering 54
anti-aliasing 205 Auto Appliqué tool 393
importing 55 Any Shape baselines, reshaping 522 cover stitch values 398
Accordion Spacing
any shape, drawing lines 240 guide run values 395
Accordion Spacing tool 408
appliqué tacking values 396
applying 409 cover stitch values 398 Auto Center 381
color blending 409
guide run values 395 Auto Jump
overview 408
offsetting cover stitches 398 applying 379
selecting types 410 outputting shapes 645 Auto Jump tool 378
setting values 410
partial cover 399, 400 connectors 379
spacing values 410
smart corners 393 overview 378
Add Thread dialog 178 tacking values 396 setting values 379
Add To Favorites dialog 147
using Input C Offset 112 Auto Jump tool 378
Add to Favorites dialog 147
See also Auto Appliqué Auto Queue 696
adding Apply Current Properties tool 141 Auto Spacing
Empty Stitch/Empty Jump 195
Apply Style tool 145 setting values 127
folders 671
Arrange menu spacing offset 128
tie-offs 194 Lock 291 stitch length 128
trims 195
Space Evenly 293 stitch spacing 128
adjusting stitch angles 320
Unlock 291 Auto Split 376
aligning objects 293 arranging objects applying 377
alphabets
grouping 291 Auto Start and End dialog 381
converting TrueType 577
locking 291 Auto Trace tool 244
converting TrueType fonts 573 artwork Auto Underlay
converting TrueType to
anti-aliased images 205 applying 350
embroidery fonts 573
bitmap images 203 Auto Underlay tab 350
creating new 567 choosing for automatic Auto Underlay tool 285, 349
digitizing 561
digitizing 202 Center Run 351
merging files 580
converting bitmaps to Double Zigzag 353
modifying 570 vectors 244–250 Edge Run 351
modifying custom letter 572
converting to vector selecting a type 350
preparing drawings 563
drawings 244 setting margins 356
See also lettering dithered images 204 Tatami 354
anchor points, rotation 299
enlargement drawings 713 Zigzag and Double Zigzag 353
angles
preparing for automatic AutoDelete 696
rotating by exact angle 300 digitizing 223 automatic
rounding sharp corners, Input
scanned images 204 digitizing techniques 239
C 375
scanning 205 pull compensation 358
setting for partition lines 431

trims 192 using bitmap images 209 boring
underlay 349 using vector images 213 Borers In tool 402
automatic backup 727 backgrounds changing borer display color 173
automatic borders 549 changing colors and fabrics 171 digitizing boring holes 402
See also lettering printing on production oval holes 402
automatic color matching 169 worksheets 638 round holes 402
automatic connectors, see scanning 208 boundaries
connectors backstitch Complex Fill 121
automatic digitizing Borderline 134 digitizing for appliqué 393
choosing artwork 202 Borderline (example) 134 digitizing for rings 387
cleaning up images 224 Diagonal 134 digitizing with Complex Fill 118
color reduction 224 Diagonal (example) 134 bounding outline
converting grayscale images 265 selecting for Contour fill 415 selecting objects 86
cropping images 229 selecting for Tatami 133 branching 281
image preparation tools 227–228 Standard 134 applying 282
noise filtering 227 types 133 applying two-layer outline
outline sharpening 226 Backtrack/Repeat tool 383 stitching 286
preparing images 223 backtracking objects 30, 383 Branching tool 281
automatic jumps, see Auto Jump baselines using auto underlay 285
automatic save 727 changing 515 using Object List 284
automatic spacing, see Auto Spacing moving letters along 503 brands, thread 178
automatic split, see Auto Split reshaping 522 bunching
automatic stitching 257 reshaping Any Shape reducing with fractional
adjusting shape tracing baselines 522 spacing 364
options 262 baud rate, setting 697 reducing with stitch
adjusting values 264 bitmap images shortening 360
creating embroidery designs 258 anti-aliasing 205
object sequencing 264 automatic digitizing 203
Automatic Stitching Values
dialog 262
converting to vectors 244–250
dimming 219
C
automatic thread color displaying 219 cap corners 372
matching 168 dithered 204 Capture Design Bitmap
file types 210 command 644
inserting 210 Capture Design Bitmap dialog 644
catalogs
B outputting designs as 644
pasting 211 exporting in CSV format 689
backdrops saving separately 213 exporting in Tab delimited
digitizing with backdrops 201 scanned 204 format 689
dimming 219 scanning 208 printing 686
displaying 219 smoothing 212 publishing 687
inserting bitmap images 210 supported file formats 203 Center Run underlay 351
inserting vector images 214 using as backdrops 209 setting values 352
locking and unlocking 291 Borderline backstitch 134 changing between fill and
pasting bitmap images 211 borders outline 316
pasting vector images 215 creating for existing objects 390 changing locale (language) 666
saving as separate files 213 digitizing with Input C 110 Character Map dialog 545
scanning 208 offset objects 390 charts, see thread charts
smoothing bitmap images 212 offsetting Input C stitches 112 checking sequence 79
smoothing vector images 216 setting width 113 Choose Locale dialog 667
832 Index V7
Choose Read Tape Type dialog 657, changing for an object 158 Satin in Satin 436
705 changing grid display 173 Satin in Tatami 437
Choose Write Tape Type changing object outlines 173 selecting 436
dialog 616, 658, 706 changing stitch display 173 Tatami in Tatami 437
chord gap 108 Color toolbar 158 types 436
circle objects copying across thread charts 176 combining
changing entry point 325 creating thread charts 175 designs 275
moving 314 deleting thread charts 182 objects (nesting) 274
reshaping 314 display colors 173 styles 148
Circle/Star tool 384 layering with 3D Warp 481 commands
circles matching images to threads 170 popup menus 45
Circle/Star tool 386 merging Melco CND files 607 registering the menu chart 711
digitizing 384 modifying colorways 162 selecting 43
drawing 243 modifying thread charts 179 undo/redo 46
in circles (Ring) 387 modifying thread values 180 using toolbars 44
in ovals (Ring) 387 removing from thread charts 181 compensating for stretch, see pull
closed shapes, drawing 241 re-sequencing by 279 compensation
CND selecting for an object 158 Complex Fill 118
CND files, color merging 607 selecting objects by color 92 adding boundaries 121
compatible input methods 772 selecting the current color 158 adding stitch angles 322
conversion options 603 setting for consecutive changing stitch angle 322
conversion tables 768 objects 159 Complex Fill tab 120
saving to 769 thread colors 157 Complex Fill tool 118
codes, thread 178 traveling by 82 converting to Input A & B 318
color 42 Colorway Options dialog 639 creating borders 390
blending with Accordion colorways 160 digitizing objects 119
Spacing 409 Add Colors to Palette, Match digitizing the stitch angle 119
change functions 623 Colors to Palette 258 entry and exit points 119
color blocks, printing 640 basing on existing 164 filling holes 391
Color dialog 179 changing backgrounds 171 Motif Fill 472
color film, printing 640 changing display colors 173 offset objects 390
Color List changing display settings 171 open stitching 411
Color List tool 95 Colorways tool 70 overlapping rows 120
displaying hidden objects 96 Colorways toolbar 70 removing boundaries 121
printing color film 640 creating 164 stitch angles 320
selecting color blocks 95 default settings 162 Trapunto 411
Color List dialog 96 deleting 167 Complex Fill tool 102, 118,
color matching 169 different stitch densities 161 319–320, 419–424, 472
automatic 168 modifying 162 complex shape drawing objects 247
Color Merge utility 607 printing 638 Condensed File Input Values
color palette renaming 165 dialog 603–609
selecting thread colors 159 selecting 64, 161 condensed files 602
color reduction column spacing, Program Split 437 See also outline files
automatic digitizing 224 columns Confirmation dialog 681
images 261, 262 digitizing with Input A 115 connection settings
colors digitizing with Input C 110 ethernet 696
adding to thread charts 177 offsetting Input C 112 Melco StarLAN 695
changing background 171 setting width 113 network 695
changing borer display 173 combination splits parallel ports 695

peripheral devices 693 supported stitch file formats 765 Crop Image command 229
serial ports 693 Conversion Values dialog 573–579 Crop Image with Polygon
connectors Convert Options dialog 678 command 229
about 186 Convert tool 677 CSV files, exporting catalogs as 689
add Empty Stitch/Empty Convert True Type Font current color, changing 158
Jump 195 command 577 current needle position marker 80
adding tie-offs and trims 193 Convert TrueType Font dialog 577 current object properties
Auto Jump 379 converting applying 141
automatic 186 bitmaps to vectors 244, 250 changing 140
digitizing with Needles Out 196 design file types 677 make current 142
displaying 65 drawing objects to curved fills
hiding 65 embroidery 245 adjusting settings 422–425
inside objects 189 photos to designs 265 applying to existing objects 421
jumps (automatic) 187 See also conversion tables Contour 413
minimizing with nesting 274 See also converting file formats creating 419
runs (automatic) 188 converting file formats creating fills with two curves 423
setting automatic tie-in values 190 CND conversion options 603 creating new objects 419–424
setting automatic tie-off CND conversion tables 768 custom templates, selecting 48
values 191 PCH conversion table 775 Customize Worksheet dialog 637
setting automatic trim values 192 converting outline designs cut and paste
show/hide 721 EMB conversion limitations 605 Cut tool 277
tie-ins 186 EMB to CND 605 objects 271
tie-offs 186 converting stitch designs resequencing 277
travel runs 197 recognize Jumps as Trim 591 Cut Appliqué command 645
trims 186 recognize Objects/Outlines 590 cutting designs 681
consecutive objects coordinates, setting for objects 290 cutting threads 195
selecting 89 Copy From dialog 176
setting colors 159 copying
Continuous Input 388
Contour
and pasting designs 680
colors across thread charts 176
D
applying 415 Copy tool 271 Decoding Options dialog 590–593,
contour stitch in rings 387 designs 680 610
Contour stitch overview 413 duplicating objects 273 defaults, object properties 140
Contour tool 413 motifs 464 Define Stop Sequence dialog 610
offset fraction 417 object properties 142 Define Style command 146–148
selecting a backstitch 415 objects 271 Delete command 273
selecting a type 415 corners deleting
setting stitch values 417 appliqué 393 colors from thread charts 181
Spiral 414 cap 372 designs 681
Standard 414 corner fractions, Input C 114 folders 671
Contour tool 413 mitre 372 motifs 465
control commands, checking 620 rounding, Input C 375 objects 273
control points 102 smart corners 372 styles 151
selecting 310 cover stitches templates 155
conversion tables offsetting 398 thread charts 182
digitizing for CND format 772 setting values 398 density, applying fractional
opening CND files 768 Create Designs dialog 557 spacing 365
opening Gunold PCH files 775 create smooth curves deselecting
saving to CND format 769 automatic stitching 262 a range of designs 674
834 Index V7
all designs 672 Add To Favorites 147 Format 653
objects 93 Auto Start and End 381 Format Embroidery Disk 653
several designs 673 Automatic Stitching Values 262 Functions 342
Design Explorer 663 Capture Design Bitmap 644 Group Entry/Edit 553
design formats Character Map 545 Hardware Setup 694–708
Gunold PCH 586 Choose Locale 667 Holes 392
old format ESD 586 Choose Read Tape Type 657, 705 HTML Catalog Options 687
Wilcom INP 586 Choose Write Tape Type 616, Insert Function 337
Design Properties dialog 658, 706 Layout 505, 526–529
Colorways 162–173 Color 179 Length Calculation 75
Information 73 Color List 96 Lettering Box 493
Stop Sequence 76 Colorway Options 639 Machine Format Values 622–630
design templates, see templates Condensed File Input Values 603, Machine Format Values >
designs 609 Standard 617–619
Auto Start and End 381 Confirmation 681 Make Letter 565–572
checking 73 Conversion Values 573, 579 Make Motif 461–462
combining 275 Convert Options 678 Make Program Split 446
converting formats 585 Convert TrueType Font 577 Match Drawing Color 170
converting formats (tables) 765 Copy From 176 Member Entry/Edit 554
converting to other file types 677 Create Designs 557 Merge With Style 148
creating new 47 Customize Worksheet 637 Modify Alphabet 570
deselecting a range 674 Decoding Options 590–593, 610 Modify Thread Chart 175–176
deselecting all 672 Define Stop Sequence 610 Move Stitch 340
deselecting several 673 Design Properties > New 48
finding by filename 670 Colorways 162–183 New Alphabet 567
finding by thumbnail 669 Design Properties > New Colorway 164
finding by thumbnail plus Information 73 New Motif Set 461
summary 670 Design Properties > Stop New Object Style 146
opening 46, 679 Sequence 76 New Thread Chart 175
opening multiple 46 Digi Test 816 Object List 94, 280
opening stitch designs 590 Digitizer Setup 694–700, 816 Object Properties 141–143
outputting 633 Digitizer User-Defined Format Object Properties -
planning a design 9 Setup 700 Lettering 490–501, 515, 550,
redrawing slowly 83 Display 172, 173 568–579
resequencing 277 DXF File Options 214 Object Properties - Lettering >
saving 51 Edit Function 338, 342 Fill Stitch 496, 532–535
selecting 672 Effects 496 Object Properties > Auto
selecting a range 674 Effects > Accordion 410 Appliqué 395–400
selecting all 672 Effects > Auto Jump 380 Object Properties > Auto
selecting several 673 Effects > Auto Underlay 351, Underlay 285
starting 47 352–356 Object Properties > Complex
details lists, sorting 676 Effects > Curve Fill 421–425 Fill 120, 321
Diagonal backstitch 134 Effects > Jagged Edge 407 Object Properties >
dialog Effects > Others 359–365, Connectors 187–192
Properties (Windows 454–482 Object Properties > Drawing
Explorer) 71 Effects > Shortening 361 Object 218
Select Symbols 544 Effects > Smart Corners 373, 536 Object Properties >
dialogs Embroidery Machine Embroidery 197
Add Thread 178 Connection 696–702 Object Properties > Fill

Stitch 126–137, 377, 412–417, Select By Color 69, 92 setting up 697
428–446, 473–482 Select By Stitch Type 92 shifting the drawing 716
Object Properties > Select Machine Format 51, 615, Stream mode 698
General 290–304 619 troubleshooting connections 816
Object Properties > Image 212 Select Motif 458–464 user-defined formats 700
Object Properties > Input Select Source 707 using 718
C 112–114, 376 Sequence 539–541 using preset spacing 719
Object Properties > Outline Sequence By Color 279 Digitizer User-Defined Format
Stitch 108–110, 467–470 Serial Port 682 Setup dialog 700
Object Properties > Photo Serial Port Setup 694 digitizers, see digitizer tablets
Flash 266 Set Color 159 digitizing
Offset Object 390 Set Security Device Options 54 appliqué 393
Open 46, 210, 214, 590, 603, 642 Setup Tablet 717 automatic 239
Open Embroidery Disk 651 Sharpen Edges 234 boring holes 402
Open From Embroidery Show Stitches 344 circles and ovals 384
Disk 651 Small Stitches 371 columns and borders 110
Options > Auto Scroll 726 Smart Design 258–264 columns with Input A 115
Options > General 388, 727–731 Smart Font 577 columns with Input C 110
Options > Grid 724–725 Smooth Drawing Curves 216 drawing objects 239
Options > View Design 67, 721, Sort 676 individual stitches with
722 Stitch List 329, 342 Manual 104
Options > View Drawing 218, Stitch Options 682 lines with Run/Triple Run 105
220, 221 Stitch to Stitch Manager 647, 696 manual 101
Organize Favorites 147 Stop Sequence Warning 610 Motif Run 466
Organize Styles 146–150, 151 Symbol Selection 549 new motifs 461
Preview 556 Tablet Setup 711–716 open and closed shapes with Auto
Print Catalog Options 686 Tape Manager 658, 683, 705–706 Trace 244
Print Options 635–640, 684 Team Names 550, 553 ring boundaries 387
Print Setup 684 Tie In Values 190 rings 387
Process 367–369, 595 Tie Off Values 191 shapes with Complex Fill 118
Properties (Design Explorer) 668 Toolbars 43 shapes with Input B 116
Punch Options 683 Transform 297–305 split lines 451
Purge Recover and Backup TrueView Options 722 turning stitches 419–424
Directories 820 Use Object Style 145 using a digitizer tablet 718
Quick Entry/Edit 555 User Preferences 665 with backdrops 201
Recognition - Advanced Windows Properties 690 with Needles Out 196
Options 597 Digi Test dialog 816 with User Defined Split 452
Redraw Controller 84 Digitizer Setup dialog 694–700, 816 digitizing artwork
Reduce Colors 231 digitizer tablets Complex Fill without Holes 253
Rename Colorway 165 baud rate 697 Outline Run 255
Rename Object Style 150 changing drawing scale 716 Pickout Run 254
Resequence By Number 281 defining and modifying Tatami Fill with Holes 252
Revert to Factory Settings 814 formats 700 Turning Satin 251
Revert to Factory Template 155 overview 711 dimming backdrops 219
Save As 52, 152, 643 Point mode 698 display
Save Options 558, 606 puck actions 718 changing display colors 173
Save to Embroidery Disk 655 registering enlargement changing display settings 171
Screen Calibration 708 drawings 713 setting display options 67
Security Device 53, 54, 55, 824 registering the menu chart 711 Display dialog 172–173
836 Index V7
distributing objects 293 E ellipses
dithering 204 digitizing 384
DOS disks, opening designs 651 E Stitch drawing 243
appliqué 397
Double Zigzag, setting values 353 email attachments 642
E Stitch tool 124, 136
drawing 42 embroidery disks
drawing objects E stitch tool 123 Embroidery Disk Format
values 136
apply input method 245 command 652
Edge Run
apply stitch type 245 Embroidery Disk Open
circles 243 setting values 352 command 651
underlay 351
closed shapes 241 Embroidery Disk Save As
edges, applying Jagged Edge 406
coloring 217 command 654
Edit Function dialog 338–342
coloring fills 218 formats 652
coloring outlines 218 Edit Image Using command 237 formatting 653
Edit menu
converting bitmaps to opening designs 651
Delete 273
vectors 244, 250 saving designs 649, 656
converting to embroidery 245 Duplicate 273 Embroidery Machine Connection
Envelope 546
creating 240 dialog 696, 702
Envelope > Delete 548
creating complex shapes 247 embroidery machines
ellipses 243 Make Same Size 298 automatic download 702
Paste Drawing > As Vector 215
open shapes 240 connections 701
Paste Image As Bitmap 211
ovals 243 feedback 702
overview 239 Resequence > By Color 279 setting up 701
Resequence > By Selects 278
polygons 241 See also machine formats
Split Object 276
rectangles 242 Empty Stitch/Empty Jump
squares 242 Transform 297, 302 tool 195
Transform Special 301
straight lines 240 EMT files 152
editing stitches 332
using 240 enlargement drawings
drawing scale, changing 716 deleting stitches 333 changing scale 716
inserting stitches 331
Drawing toolbar creating 713
moving stitches 332
Auto Trace 244 digitizing 718
Ellipse 243 removing small stitches 371 preparing 713
using Stitch List 344
Line 240 registering 714
EDS-III
Polygon 241 shifting 716
Polyline 240 digitizing for 772 Envelope command 546
saving to CND format 769
Rectangle 242 envelopes
EDS-III, conversion table 768
Reduce Colors 231 Delete command 548
Sharpen Edges 234 effects distorting objects 546
Accordion Spacing 408
Smart Design 258 types of 548
Auto Jump 378
drawings ES Designer, starting 41
creating enlargement drawing 713 Auto Underlay 349 ethernet connection settings 696
fractional spacing 364
enlargement drawings 713 existing designs, opening 46
Jagged Edge 405
See also backdrops exporting
duplicating pull compensation 357 catalogs as CSV files 689
smart corners 372
Duplicate command 273 catalogs as Tab delimited files 689
stitch shortening 360
objects 273
DXF File Options dialog 214 Trapunto 411
Effects dialog 496
Auto Underlay 285 F
Ellipse tool 243 fabric stretch, see pull compensation

fabrics masking file types 674 changing display color 173
changing background 171 refreshing 671 snap to 725
pull compensation guidelines 358 renaming 671 Group Entry/Edit dialog 553
fancy fill stitches searching 675 Group tool 291
Motif Fill 472 validating 671 Grouping objects 291
Program Split 433 Format dialog 653 grouping objects 291
favorites, assigning favorite Format Embroidery Disk guide patterns
styles 147 dialog 653 Motif Fill 478
File menu formats Program Split 442
Capture Design Bitmap 644 digitizer tablet formats 700 guide runs
Cut Appliqué 645 fractional spacing offsetting 395
Design Properties 73, 75 applying 365 setting values 395
Embroidery Disk > Format 652 Fractional Spacing tool 364 Gunold, opening PCH files 775
Embroidery Disk > Open 651 offset fraction 365
Embroidery Disk > Save As 654 overview 364
Paper Tape > Punch 657, 706
Paper Tape > Read 657, 704
Fractional Spacing tool 364
frame movement, Auto Jump 378
H
Save Bitmap As 213 French dots, digitizing 386 handles, see selection handles
Scan 208 functions hardware
Scanner Setup 707 displaying 65 changing port settings 822
Stitch to Stitch Manager 696 hiding 65 peripheral device settings 693
file types show/hide 721 setting up digitizer tablets 697
EMT 152 traveling by 83 setting up display monitor 708
stitch files 765 Functions dialog 342 setting up embroidery
files, combining designs 275 machines 701
fill stitches setting up paper tape
punches 706
changing between fill and
outline 316
G setting up paper tape readers 704
switching between fill and gaps, offsetting filled holes 391 setting up scanner 707
outline 103 General tab Hardware Setup command 693
types 123 dimensions 296 Hardware Setup dialog 694–708
filling holes, Complex Fill 391 mirroring objects 304 height, make objects same size 298
fills positioning using coordinates 290 help
adjust curved fill settings 425 rotating objects 300 Help Topics command 56
adjusting curved fill settings 422 skewing objects 304 using 56
adjusting textured fill settings 450 General toolbar viewing the online manual 57
applying curved fills 421 Generate Stitches 49 See also troubleshooting
creating curved fills 419 TrueView 722 Help menu
creating fills with two curves 423 Generate Stitches tool 49 Help Topics 56
selecting textured patterns 449 Generate toolbar Online Manual 56
finding designs 669 Borers In 402 Wilcom Web Page 56
finding threads 168 Needles In 196 hidden objects
Flexi Split tool 449–450 Process 367, 594 display in Color List 96
Florentine Effect Properties 140, 187, 197, 217 display in Object List 94
adjusting settings 422 generating stitches 49 Hide Directory Tree tool 665
Florentine Effect tool 419–422 graphics packages, linking 237 hiding
folders grayscale images, converting to backdrops 219
adding 671 designs 265 bitmap images 219
deleting 671 grid outlines 64
838 Index V7
stitches 64 pasting vector images 215 Circle/Star 384, 386
vector images 220 preparation tools 227 Complex Fill 102, 118, 319–320,
Hiding Directory Tree 665 saving bitmaps separately 213 419–424, 472
holes scanning bitmaps 208 Input A 102, 115
creating in Complex Fill 121 sharpening outlines 234 Input B 102, 116
digitizing boring holes 402 smoothing bitmaps 212 Input C 102, 110, 317, 375
digitizing rings 387 smoothing vectors 216 Lettering 489, 543–553, 568, 573,
digitizing with Complex Fill 118 vector images 213 579
filling holes 391 Input A Manual 102–104
Holes dialog 392 adding stitch angles 322 Manual with Sequins On 401
hoops, frame out (Auto creating borders 390 Ring 387
Appliqué) 396 digitizing columns 115 Run 102, 106, 317
HTML Catalog Options dialog 687 Input A tool 102, 115 Triple Manual 102, 104
offset objects 390 Triple Run 102, 106, 317
with Continuous Input 388 Inputs A & B, converting to
Complex Fill 318–319
I Input A tool 115
Input B Insert Drawing File
identity code 53 adding stitch angles 322 command 210–214
image colors, matching threads 170 creating borders 390 Insert Function dialog 337
Image menu digitizing columns 116 Insert menu
Crop Image 229 Input B tool 102, 116 Filled Holes 391
Crop Image with Polygon 229 offset objects 390 Filled Holes command 391
Edit Image Using 237 Input B tool 116 Offset Object command 390
Insert Drawing File 210–214 Input C Photo Flash command 265
image preparation column width 113 Team Names > Create
cropping 229 corner fractions 114 Designs 557
preparing non-outlined creating offset objects 390 Team Names > Preview 556
images 231 digitizing columns and inserting
preparing outlined images 234 borders 111 bitmap images 210
tools 228 Input C tab 112 one design into another 275
image sharpening, scanning 208 Input C tool 102, 110, 317, 375 one object inside another 274
images input side 112 vector images 214
bitmaps 209 offsetting stitches 112 Invalid Thumbnail icon 666
cleaning up 224 reversing stitch direction 359
color reduction 224 round sharp corners 375
cropping 230
dimming bitmaps 219
Input C tool 110 J
input methods
displaying bitmaps 219 Jagged Edge
applying to drawing objects 245
displaying vectors 220 applying 406
Circle/Star 386
editing 237 Complex Fill 118 Jagged Edge tab 407
inserting bitmaps 210 Jagged Edge tool 405
Input A 115
inserting vector images 214 setting values 407
Input B 116
noise filtering 227 Input C 110 Jagged Edge tool 405
non-outlined 231 joining
Manual and Triple Manual 104
outline sharpening 226 columns with underlay 356
Motif Run 466
outlined 234 Ring 387 joining objects, see connectors
outlined vs non-outlined 224 joins, creating smooth joins 388
Run and Triple Run 105
outputting designs as 642 jumps
Input toolbar
pasting bitmap images 211 Auto Appliqué 393 adding 196

adding Empty Jumps Empty creating embroidery fonts from Lock command 291
Stitches 196 TrueType 573 locking objects 291
Auto Jump 378 deleting stitch angles 538 lockstitches, see Empty Stitch
automatic connectors 187 entering on-screen 490
digitizing with Needles Out 196 entering via dialog 490
using 335 formatting 490
generating stitches 49
M
keeping original stitch values 540 Machine Format Values
dialog 622–630
K letter height 562
letter justification 497 Standard 617–619
keep/omit letter spacing 505 machine formats
motif (Motif Run) 470 letter width 563 advanced values 626
keep/omit last stitch line spacing 505 changing 616
Input A 115 moving letters along baseline 503 checking 620
Input B 117 names, see names color change sequence 627
Keep Last Stitch tool 325 reshaping baseline 522 creating custom format 617
reshaping curved baselines 522 modifying values 619–626
sequence values 540 removing 621
L special characters and selecting 51, 615
start of design/end of design 628
symbols 543
last stitch, keep or omit 115, 117 machine functions
layout stitching sequence 538
word spacing 505 boring 336
Motif Fills 478 checking control commands 620
See also alphabets
Program Split patterns 442 clearing 339
Layout dialog 505, 526–529 See also baselines
lettering art, applying 546 color change 335
length displaying 65
Lettering Box 493
automatic split 376 editing 339
calculation methods 380 Lettering Box dialog 493
Lettering tool 489, 543–553, hiding 65
Contour stitch 417 inserting manually 336
568–579
Edge Run and Center Run letters, converting TrueType Jumps 335
stitches 352 sequins 336
letters 573
nominal 422, 425 show/hide 721
Line Select tool 91
preserving long stitches 378 line spacing, changing 505 speed 630
Program Split stitch length 438 Stops 335
Line tool 240
Run and Triple Run 108 thread trim 335
lines
Tatami 132 digitizing with Run and Triple types 334
Tatami stitches (underlay) 354 using 336
Run 105
travel runs 197 Machine menu
drawing 240
variable (Run and Triple Run) 108 split lines 451 Select Machine Format 51, 615
Zigzag and Double Zigzag Sequin Mode 401
Liquid Effect
stitches 353 Set Color 159
Liquid Effect tool 424
Length Calculation dialog 75 Liquid Effect tool 424, 425 machines, see embroidery machines
letter spacing, changing 505 Make Letter command 565, 571
listing
lettering Make Letter dialog 565–572
designs as thumbnails 669
adjusting stitch angles 537 designs as thumbnails plus Make Motif 461
applying lettering art 546 Make Motif dialog 461–462
summary 670
automatic borders 549 Make Motif, copying motifs
designs by name 670
changing line spacing 504 locale between sets 464
color changes between letters 490 make objects same size 298
changing locale language 666
840 Index V7
make Program Split 445 Modify Alphabet dialog 570 selecting motifs 473
Make Program Split dialog 446 Modify Thread Chart spacing 474
Make Properties Current tool 142 dialog 175–176 values 474
Make Same Size command 298 modifying designs Motif Fill tool 457, 481
make User Defined Split 452 moving objects 289 Motif Run
manipulating designs using the Object List 94 creating offset objects 390
using the Color List 95 modifying objects keep/omit motifs 470
manual digitizing for sequins 401 aligning 293 Motif Run tool 466
Manual stitches changing entry point in Circle 325 overview 466
marking stitch end points 104 changing entry point in Star 325 reshaping 471
Manual tool 102, 104 changing entry point of saving 462
Manual tool with Sequins On 401 Circle 325 scaling 468
margins changing radius of Circle 314 selecting motifs 467
Jagged Edge 407 changing size of Ring 315 spacing 469
setting for underlays 356 distributing 293 using 466
masking grouping 291 values 468
files in folders 674 locking 291 motif sets
Match Drawing Color dialog 170 mirroring 304 copy motifs between sets 464
match palette colors to drawing 23, moving Ring object Make command 461, 462
256 boundary 315 making 461
Match to Palette 23, 256 resequencing objects by Select command 464, 465
Match to Palette tool 256 number 281 Motifs
maximum stitch length 422–425 resequencing with Object adjusting spacing on-screen 480
Measure command 50 List 281 offsetting patterns on-screen 481
measuring reshaping 310 rotating patterns on-screen 480
calculating stitch length 380 reshaping Circle objects 314 scaling patterns on-screen 479
Melco reshaping circles 314 skewing patterns on-screen 480
CND conversion tables 768 reshaping circles to ovals 314 motifs
CND files, color merging 607 reshaping Ring objects 315 creating new 461
digitizing for CND (tables) 772 reshaping Star objects 314 deleting 465
StarLAN network settings 695 rotating 299 inserting 457
Member Entry/Edit dialog 554 scaling 294 laying out on-screen (Motif
menu chart skewing Fill) 478
registering 711 spacing 293 mirroring 459
menu charts, icons 759 spacing evenly 293 modifying 459
Merge With Style dialog 148 using envelopes 546 Motif Fill 472
merging styles 148 viewing by color 68 overview 457
minimum stitch monitor, setting up 708 reference points 462
setting Tatami values 132 Motif Fill remove functions 462
mirroring motifs 459 applying 472 rotating 459
mirroring objects filling shapes with 472 scaling 459
around a specified axis 305 layout motifs 478 scaling (Motif Fill) 476
around X or Y axis 304 modifying layouts on-screen 478 scaling (Motif Run) 468
in the Object Properties dialog Motif Fill tool 472 selecting 457
box 304 motif size 476 selecting (Motif Fills) 473
with reference points 306 motifs 1 & 2 477 selecting (Motif Run) 467
Missing Design icon 666 offsets 474 single 795
mitre corners 372 rotating 478 spacing (Motif Run) 469
Modify Alphabet command 569 saving 462 two-part 804

See also Motif Fill New dialog 48 Auto Appliqué 395–400
See also Motif Run New Motif Set dialog 461 Complex Fill 120, 321
Move Stitch dialog 340 New Object Style dialog 146 Connectors 187–192
moving circles 314 New Thread Chart dialog 175 Drawing Object 218
moving objects noise filtering Effects > Accordion 410
nudging 290 automatic digitizing 227 Effects > Auto Jump 380
positioning with X:Y nominal stitch length 422–425 Effects > Auto Underlay 351,
coordinates 290 non-outlined images 231 352–356
with click and drag 290 NORMAL template Effects > Curve Fill 421–425
multiple colorways, see colorways overview 152 Effects > Fill Stitch 412–417,
multiple stitch angles reverting 155 428–443
Complex Fill 322 using 48 Effects > Jagged Edge 407
Input A 322 nudging objects into position 290 Effects > Others 359, 365, 454,
Input B 322 482
Effects > Shortening 361
Effects > Smart Corners 373
O Embroidery 197
N Object List Fill Stitch 126–137, 377, 446,
names displaying hidden objects 94 473–482
adding to design 551 Object List tool 279 General 290, 296–304
creating groups of 553 resequencing objects 279–281 Image 212
preparing for stitching 558 resequencing objects by Input C 112, 113, 114, 376
previewing 556 number 281 Outline Stitch 108–110, 467–470
saving 557 selecting objects 94 Photo Flash 266
needle penetrations Object List dialog 94, 280 object sequencing, automatic
applying partition lines 430 Object List tool 94, 279–281, 284 stitching 264
decorative (Program Split) 433 object outlines object sides, Jagged Edge 407
digitizing split lines 451 changing display color 173 objects
digitizing with Needles Out 197 object properties appliqué 393
offsetting (Tatami) 428 apply current properties 141 applying underlay 350
random factor 432 changing defaults 143 backtracking 383
random factor, Program Split 441 changing for an object 142 changing colors 158
needle points 64 changing stitch type 124 changing the object
displaying 65 connectors 185 properties 142
hiding 65 defaults 140 circles 384
offsetting for Contour 417 make current 142 connecting 185
show/hide 721 overview 123 converting drawing objects 245
needle position marker 80, 277 presetting 141 copying and pasting 271
Needles In tool 196 saving current 140 creating duplicates 383
Needles Out tool 196 saving new defaults 143 deleting 273
nesting objects 274 saving to a template 154 deselecting 93
network settings 695 styles 144 drawing 240
ethernet 696 templates 151 duplicating 273
New Alphabet dialog 567 Object Properties - Lettering French dots 29, 384
New Colorway dialog 164 dialog 490–515, 550, 568–573, 579 mirroring 304
new designs Effects > Smart Corners 536 moving 289
creating 47 Fill Stitch 532–535 nesting 274
New tool 48 Fill Stitch > Effects 496 ovals 29, 384
starting 9 Object Properties dialog 141–143 repeating 383
842 Index V7
resequencing 277 existing 46 overlapping
rings 29, 384–387 from DOS disk 651 cap corners 373
rotating 299 from paper tape 657 Complex Fill rows 120
selecting colors 158 Open tool 46 mitre corners 373
selecting objects 79 other formats 651 Trapunto 411
skewing 303 preview window 46 overstitching, pull
splitting 276 opening program 663 compensation 357
traveling by 81 Options dialog Overview Window 62
See also modifying objects Auto Scroll 726
Offset Object command 390 General 388, 727–731
Offset Object dialog 390
offsetting
Grid 724–725
View Design 721, 722
P
appliqué cover stitches 398 View Drawing 218–221 palette
appliqué guide runs 395 Options dialog > View Design 67 Add Colors to Palette, Match
appliqué tacking 397 Organize Favorites dialog 147 Colors to Palette 258
Auto Spacing (Satin) 128 Organize Styles dialog 146–150, 151 See also color palette
Contour needle points 417 Organize Styles dialog box 144 panning designs 61
creating offset objects 390 outline files 602 paper tape
filled holes (Complex Fill) 391 Outline Run opening designs 657
fractional spacing 365 digitizing artwork 255 Punch command 657, 706
Motif Fill patterns 474 Outline Run tool 255 punching 657
objects 390 outline sharpening Read command 657, 704
offset fractions (Tatami) 428 automatic digitizing 226 setting up punches 706
offsets setting for Input C outline stitches, Motif Run 466 setting up readers 704
objects 112 outlined images 234 parallel ports, connection
patterns on-screen 481 outlines 64 settings 695
Program Split columns and changing between fill and partial cover appliqué 399
rows 439 outline 316 partition lines 430
Program Split patterns changing display color 173 angle 431
on-screen 445 creating borders for existing sequence 430
Program Split stitches 439 objects 390 Paste Image As Bitmap
random factor (Tatami) 432 displaying 64 command 211
using partition lines 430 selecting objects with 86 Paste Image As Vector
omit/keep last stitch sharpening 234 command 215
Input A 115 stitch types 123 paste motifs 464
Input B 117 switching between fill and paste options
omit/keep motifs (Motif Run) 470 outline 103 Center at Current Stitch 730
online help 56 outputting designs Object Property Position 730
Online Manual command 56 as bitmap images 644 Start at Current Stitch 730
Open dialog 46, 210, 214, 590, 603, as images 642 pasting
642 as vector drawings 643 bitmap images 211
Open Embroidery Disk dialog 651 punching paper tape 657 designs 680
Open From Embroidery Disk ovals objects 271
dialog 651 boring oval holes 402 Paste tool 271, 277
open shapes, drawing 240 digitizing 384 vector images 215
open stitching, see Trapunto drawing objects 243 patterns
Open tool 46 in circles (Ring) 387 creating patterns 445
opening designs 679 in ovals (Ring) 387 editing 446
converting stitch designs 590 reshaping circles to ovals 314 laying out on-screen (Motif

Fill) 478 popup menus Program Split tool 433
laying out on-screen (Program using 45 random factor 441
Split) 442 ports rotating patterns on-screen 444
Program Split 433 changing settings 822 scaling patterns on-screen 443
scaling (Program Split) 435 parallel 695 selecting patterns 434
scaling for Motif Fill 476 serial 693 skewing patterns on-screen 444
selecting (Program Split) 434 positioning objects 289 stitch values 438
selecting for Motif Fills 473 preparing enlargement properties
See also motifs drawings 713 dialog 667
PC specifications 818 preserving long stitches 378 Properties tool 140, 187, 197, 217
peripheral devices preset spacing values 719 viewing 667
connection settings 693 preset styles, NORMAL See also object properties
setting up 693 template 152 Properties (Design Explorer)
See also hardware presetting object properties 140 dialog 668
perspective effects, Accordion Preview dialog 556 Properties (Explorer) tool 667
Spacing 409 Print (Explorer) tool 684 Properties (Windows Explorer)
Photo Flash Print Catalog Options dialog 686 dialog 71
Photo Flash command 265 Print Options dialog 635–640, 684 publishing catalogs 687
photos, converting to Print Setup dialog 684 puck, digitizer 718
embroidery 265 Print tool 634 pull compensation
Pickout Run tool 254 printing applying 358
Pickout Run, digitizing artwork 254 backgrounds 638 overstitching amount 359
pictures, see backdrops catalogs 686 overview 357
Point & Stitch toolbar multiple colorways 638 Pull Compensation tool 357
Match to Palette 256 production worksheets 684 recommended values 358
Outline Run 255 Process dialog 367–369, 595 reversing stitch direction 359
Tatami Fill 252 Process tool 367, 594 Punch Options dialog 683
Tatami Fill without Holes 253 production worksheets Punch tool 682
Turning Satin 251 customizing 637 punching
Point & Stitch toolbar Pickout previewing 77 from Design Explorer 682
Run 254 print options 635 paper tape 657
Point mode, digitizer tablets 698 printing 634, 649, 656 See also paper tape punches
Pointer toolbar printing backgrounds 638 punching paper tape 657
Backtrack/Repeat 383 Text to Print 637 Purge Recover and Backup
Empty Stitch/Empty Jump 195 program Directories dialog 820
Keep Last Stitch 325 exiting 664 purge recovery 820
Line Select 91 starting 663
Polygon Select 90 Program Split
Reshape Object 216, 309, 321,
324, 421, 471
adjusting spacing on-screen 444
applying 433
Q
Select Object 85 combination splits 436 question mark (?)
Stitch Angles 318, 322, 537 creating patterns 445 blue — Missing Design 666
Stitch Edit 328 editing patterns 446 green — Unknown Format 666
Tie Off 194 filling shapes with 434 red — Invalid Thumbnail 666
Trim 195 layout patterns 442 Quick Entry/Edit dialog 555
Polygon Select tool 90 modifying layouts on-screen 442 Quick Reference Guide 735, 751,
Polygon Select/Line Select tool 90 offsetting 439 755
Polygon tool 241 offsetting patterns on-screen 445
Polyline tool 240 pattern size 435
844 Index V7
R by color 279 Program Split patterns
by selection 278 on-screen 444
random factor 432 objects 277 See also rotating objects
Program Split 441
objects by number 281 rotating objects
readers, see paper tape readers
objects by Object List 281 by an exact amount 300
reassigning colors, to stitch files 610 Resequence By Color by click and drag 299
Recognition - Advanced Options
command 279 from the Object Properties dialog
dialog 597
Resequence By Selects box 300
recoloring objects 158 command 278 on-screen 299
Rectangle tool 242
using cut and paste 277 using a reference line 301
rectangles, drawing 242
using the Object List 279 using a reference line and
Redo tool 46
reshape control points angle 302
redoing commands 46 selecting 310 roughness
Redo tool 46
Reshape Object tool 216, 309, 321, Jagged Edge values 407
Redraw Controller dialog 84 324, 421, 471 rounding corners, Input C 375
redrawing designs 63 reshaping row spacing
redrawing designs slowly 83 Any Shape baselines 522 Program Split 437
Reduce Colors dialog 231 Motif Run 471 Run
Reduce Colors tool 231 reshaping objects 310 Backtrack and Repeat 30, 383
reference lines circles 314 chord gap 108
mirroring objects 305 lettering 522 creating offset objects 390
rotating by specified angle 302 Ring 315 Run tool 105
rotating relative to 301 Star 314 setting stitch length 108
reference points restoring previous view 63 stitch length 108
mirroring objects 306 Reverse Curve 359 underlays 351
motifs 462 reverse stitch direction 359 values 107
origin 713, 714 reverse stitching variable stitch length 108
rotating using 301 Backtrack and Repeat 30, 383 Run and Center Run values 352
rotating using (exact angle) 302 reversing stitch direction 359 Run tool 102, 106, 317
rotation point 713–714 Revert to Factory Settings runs
scaling objects with 297 dialog 814 appliqué guide runs 395
See also control points Revert to Factory Template automatic connectors 188
refresh dialog 155 setting Center Run and Edge Run
folders 671 reverting values 352
tree node 671 to original NORMAL travel runs 197
registering template 155
enlargement drawings 714 Ring objects
the menu chart 711 changing entry point 325
Rename Colorway dialog 165 changing size 315
S
Rename Object Style dialog 150 digitizing 387 same size, objects 298
renaming moving boundary 315 sample motifs
folders 671 reshaping objects 315 Motif Fill 478
styles 150 Ring tool 387 sample patterns
thread charts 182 Ring tool 387 Program Split 442
repeating rotating Satin
motifs (Motif Run) 466 motifs 459 appliqué cover stitch 398
objects 30, 383 motifs in Motif Fills 478 applying Auto Split 376
Resequence By Number dialog 281 objects 299 automatic spacing 127
resequencing patterns on-screen 480 digitizing with Input C 110

overview 124 folders 675 using Line Select 91
Satin tool 123, 376 for threads 168 using point and click 85
setting stitch count 130 security using Selects On 89
spacing 126 device messages 821 using SHIFT to select a range 89
splitting long stitches 376 entering access codes 54 using the Color List 95
Triple Satin 130 Security command 53 using the Object List 94
Satin tool 123 security device while traveling 88
Save As dialog 52, 152, 643 entering access codes 54 with Polygon Select 90
Save Bitmap As command 213 identifying 53 selecting stitches 327
Save Options dialog 558, 606 Security Device dialog 53, 54, 55, range of stitches 328
Save to Embroidery Disk 824 several stitches 328
dialog 655 segments single stitch 328
Save tool 51 Complex Fill objects 119 using outline 329
saving traveling by 81 selection handles
bitmap images as separate Select By Color dialog 69, 92 rotating 299
files 213 Select By Stitch Type dialog 92 scaling 290
designs 51 Select Machine Format selection tools
designs to embroidery command 51, 615 Polygon Select/Line Select 90
disk 649–656 Select Machine Format dialog 51, Select Object/Select Current 85
object properties to a 615, 619 Selects On 89
template 154 Select Motif dialog 457–464 Selects On tool 89
Save tool 51 Select Object tool 85 semi-automatic stitching 244–250
scaling Select Object/Select Current sequence
enlargement drawing scale 716 tool 85 checking 79
motifs 459 Select Source dialog 707 partition lines (Tatami) 430
motifs (Motif Fill) 476 Select Symbols dialog 544 resequencing 277
motifs (Motif Run) 468 selecting traveling 79
objects 294 a range of designs 674 Sequence By Color dialog 279
Program Split patterns 435 all designs 672 Sequence dialog 539–541
Program Split patterns designs 672 sequencing objects, automatic
on-screen 443, 479 reshape control points 310 stitching 264
scaling objects several designs 673 Sequin Mode command 401
by click and drag 294 selecting objects sequins
make same size 298 bounding outline 86 digitizing 401
on-screen 294 by color 92 Sequins On tool 401
to an exact size 296 by stitch type 92 serial devices, recommended
using Object Properties 296 cancelling a selection 93 settings 693
using reference points 297 current object 88 serial number, identifying 53
Scanner Setup command 707 grouping 291 Serial Port dialog 682
scanning 205–209 resequencing by selection 278 Serial Port Setup dialog 694
artwork 205, 208 Select Object/Select Current serial ports, connection settings 693
bitmap images 208 tool 85 Set Color command 159
color mode 206 selecting a range 89 Set Color dialog 159
resolution 206 selecting all 84 Set Security Device Options
Scan command 208 selecting consecutive objects 89 dialog 54
setting up scanners 707 selecting first and last 87 settings, changing display 171
sharpening 208 selecting multiple objects 85 Setup Tablet dialog 717
Screen Calibration dialog 708 selecting the next or previous shading effects, Accordion
searching object 87 Spacing 409
846 Index V7
Sharpen Edges dialog 234 Smart Corners tool 372 Standard Contour 414
Sharpen Edges tool 234 Smart Design dialog 258–264 Standard Toolbar
Shortcut to Windows Properties Smart Design tool 258 Print Preview 76
dialog 690 Smart Font dialog 577 Standard toolbar
Shortening tool 360 Smooth Drawing Curves dialog 216 Branching 281
shortening, see stitch shortening smooth joins, creating 388 Color List 95
show snap to grid 725 Copy 271
designs 61 Sort dialog 676 Cut 277
needle penetration points 64 Sort tool 676 Group 291
outlines 64 sorting Lettering Box 493
Show Connectors tool 721 using details lists 676 Motif Fill 481, 482
Show Drawing tool 219 using Sort 676 New 48
Show Functions tool 721 using View menu 675 Object List 94, 279–284
Show Needle Points tool 721 Space Evenly command 293 Open 46
stitches 64 spacing Overview Window 62
Show Drawing tool 219–220 Accordion Spacing 408 Paste 271, 277
Show Drawing Toolbar tool 43 fractional spacing 364 Print 634
Show Grid tool 49, 724 objects evenly 293 Redo 46
Show Input Toolbar 43 offset, Auto Spacing 128 Save 51
Show Pointer Toolbar 43 open spacing (Trapunto) 411 Selects On 89
Show Stitches dialog 344 preset 719 Show Connectors 66
Show Travel Toolbar 43 Program Split stitches 438 Show Drawing 219–220
Show True Colors command 217 Tatami underlay 354 Show Functions 66
Show Vertical Toolbar using Auto Spacing 127 Show Grid 49, 724
Show Drawing Toolbar 43 Zigzag and Double Zigzag Show Needle Points 65
Show Vertical toolbar stitches 353 Show Outlines 64
Show Input Toolbar 43 Special menu Show Stitches 64
Show Pointer Toolbar 43 Alphabet > Convert TrueType Show Whole Design 61
Show Travel Toolbar 43 Font 577 Stitch List 329, 340
skewing objects Alphabet > Make Letter 565–571 Stitch to Machine 647
by click and drag 303 Alphabet > Modify Alphabet 569 TrueView 65
by exact angle 304 Hardware Setup 693 Undo 46
in the Object Properties dialog Motif > Make 461–462 Ungroup 292, 571
box 304 Motif > Select 464–465 Star objects
patterns on-screen 480 Options 217 changing entry point 325
Program Split patterns Options command 67 digitizing 386
on-screen 444 Security 53 reshaping 314
with rotation handles 303 Tablet 711 StarLAN network settings 695
Slow Redraw command 83 Spiral Contour 414 Start/End Design tool 81
Small Stitches dialog 371 in circles 384 starting new designs 47
small stitches, removing 371 split lines 451 stitch angles
smart corners splitting adding to Complex Fill 322
appliqué 393 combination splits 436 adding to Input A 322
applying 372 objects 276 adding to Input B 322
cap 372 Split Object command 276 defining for Complex Fill 119
mitre 372 using Auto Split 376 lettering, adjusting 537
round corners, Input C 375 using split lines 451 lettering, deleting 538
setting values 373 squares, drawing 242 setting for Complex Fill 320
Smart Corners tool 372, 535 Standard backstitch 134 Stitch Angles tool 318–322, 537

turning stitches, Input A 115 fill 123 digitizing Run stitches 105
stitch count, adjusting 367 Motif Fill 472 displaying 64
stitch density Motif Run 466 Edge Run and Center Run
adjusting 367 overview 123 length 352
adjusting for certain stitch Program Split 433 editing 332
types 369 Satin 124 generating 49
with colorways 161 selecting 124 keep/omit last stitch 115–117
stitch designs Triple Satin 130 Manual 104
conversion options 590 Zigzag 135 multiple stitch counts (Triple
converting to EMB 590 Stitch Types toolbar Run) 109
opening 590 Accordion Spacing 408 preserving with Auto Jump 378
processing into objects 590 Auto Underlay 285, 349 selecting 327
stitch recognition 590 Contour 413 selecting a stitch type 124
stitch direction, reversing 359 E Stitch 124, 136 shortening 360
Stitch Edit tool 328 Flexi Split 448–450 stitch types 123
stitch files Florentine Effect 419–422 Tatami underlay 354
reassigning colors 610 Fractional Spacing 364 travel runs 197
supported formats 765 Jagged Edge 405 traveling by 80
Stitch List Liquid Effect 424, 425 Triple Manual 104
editing stitch coordinates 340, Motif Fill 472 Zigzag and Double Zigzag
341, 342 Program Split 433 length 353
filtering by function 342 Pull Compensation 357 See also editing stitches
Stitch List tool 329, 340 Satin 123, 376, 532 See also selecting stitches
using 344 Shortening 360 stitching
Stitch List dialog 329, 342 Smart Corners 372, 535 selecting machine and
Stitch Manager Tatami 123, 131, 427, 432 options 682
setting up embroidery Trapunto 411 stitching designs
machines 701 User Defined Split 451 using Stitch Manager 647
using 647 Zigzag 124, 135 See also Stitch Manager
Stitch menu stitch usage, estimating total 75 stitching order, see sequence
Define Style 146, 148 stitch values Stream mode, digitizer tablets 698
Stitch Options dialog 682 Auto Spacing (Satin) 127 styles
stitch recognition 590 backstitch 133 applying 145
advanced options 596 cover appliqué 398 applying favorites 145
Stitch Selected Designs tool 682 guide runs (appliqué) 395 assigning favorites 147
stitch shortening length (Tatami) 132 creating new style 146
applying 361 lettering 540 deleting 151
customizing 361 setting Tatami offsets 427 make object properties
overview 360 setting Tatami values 131 current 142
setting values 361 stitch type 123 merging 148
Stitch to Machine tool 647 tacking (appliqué) 396 modifying 149
Stitch to Stitch Manager dialog 647, stitches 64 overview 144
696 adjusting density 369 renaming 150
Stitch Type toolbar appliqué cover stitches 398 See also templates
Auto Jump 378 appliqué tacking 396 toolbar 144
stitch types calculating stitch length 380 Styles toolbar
changing 124 changing display color 173 Apply Current Properties 141
Contour 413 Contour stitch values 417 Apply Style 145
E stitch 136 digitizing individual stitches 104 favorite styles 145
848 Index V7
Make Properties Current 142 templates overview 186
switching between fill and creating 152 setting automatic tie-ins
outline 103 deleting 155 values 190
Symbol Selection dialog 549 modifying 153 tie-offs
system preferences NORMAL 152 adding 193
automatic backup 727 overview 151 overview 186
automatic save 727 reverting to original 155 setting automatic tie-off
enabling 54 saving object properties 154 values 191
setting 721 using 48, 153 setting automatic trim values 192
viewing options 722 using custom templates 48 Tie Off tool 194
system security using the NORMAL template 48 toolbars
importing access codes 55 See also styles selecting commands 44
textured fills showing 43
adjusting settings 450 Styles toolbar 144
T creating 448
selecting patterns and
Toolbars dialog 43
tools, showing toolbars 43
tab-delimited files, exporting options 449 total stitch count, estimating 75
catalogs as 689 thread Transform dialog 297–305
Tablet command 711 thickness 128 transforming objects
Tablet Setup dialog 711–716 types 128 mirroring (reference line) 305
tablets, see digitizing tablets thread charts mirroring (reference points) 306
tacking adding colors 177 rotating (reference line and
offsetting 397 copying colors 176 angle) 302
setting values 396 creating 175 rotating (reference line) 301
Tape Manager dialog 658, 683, 705, deleting 182 scaling (reference points) 297
706 modifying 179 Transform command 297, 302
tape, see paper tape modifying thread values 180 Transform Special command 301
Tatami removing thread colors 181 Trapunto
backstitch 133 renaming 182 applying (Complex Fill) 412
Borderline backstitch 134 thread colors 157 overview 411
Diagonal backstitch 134 adding to thread charts 177 Trapunto tool 411
offset fractions 428 copying across thread charts 176 Travel 100 Stitches tool 80
offsets 427 creating thread charts 175 Travel by Color tool 82
partition lines 430 matching 168, 169 Travel by Function tool 83
random factor 432 matching to image 170 Travel by Object tool 81
setting underlay stitch angles 354 modifying thread values 180 travel runs 197
setting underlay values 354 removing from thread charts 181 Travel toolbar
Standard backstitch 134 See also colors Start/End Design 81
stitch length 132 threads Travel 1 Stitch 80
Tatami tool 123 brands 178 Travel 10 Stitches 80
values 131 code 178 Travel 100 Stitches 80
Tatami Fill tool 252 density 178 Travel 1000 Stitches 80
Tatami Fill without Holes tool 253 finding 168 Travel by Color 82
Tatami tool 123, 131, 427, 432 searching for 168 Travel by Function 83
Team Names 550 type 178 Travel by Object 81
Create Designs command 557 Tie In Values dialog 190 Travel by Segment 81
Preview command 556 Tie Off tool 194 traveling
See also names Tie Off Values dialog 191 by 1 stitch 80
Team Names dialog 550, 553 tie-ins by 10 stitches 80

by 100 stitches 80 TrueView tool 722 V
by 1000 stitches 80 viewing in 65
by color 82 Turning Satin validate folders 671
values
by function 83 digitizing artwork 251
Auto Jump 379
by segment 81 Turning Satin tool 251
by stitches 80 turning stitches automatic connectors 186
pull compensation 358
overview 79 applying fractional spacing 365
Run and Triple Run 107
selecting objects while applying stitch shortening 361
traveling 88 Contour 413 selecting stitch types 123
Tatami underlay 354
traveling tools corner fractions, Input C 114
travel runs 197
Start/End Design 81 digitizing with Input A 115
See also object properties
Travel by Color 82 digitizing with Input B 116
Travel by Function 83 turning-off variable row spacing 408
variable stitch length (Run and
Travel by Object 81 automatic tie-ins 190
Triple Run) 108
travel by stitches tools 80 automatic tie-offs 191
Trim tool 195 automatic trims 192 vector drawings
automatic digitizing 202
trims fractional spacing 365
converting artwork 244
adding 193 pull compensation 358
overview 186 TWAIN 707 digitizing automatically 245
displaying 220
trim functions 623
inserting 214
Trim tool 195
outputting designs as 643
Triple Manual
marking stitch end points 104
U pasting 215
underlays reshaping 216
Triple Manual tool 102–106
Triple Run See also Auto Underlay smoothing 216
Accordion Spacing 411 supported file formats 202
creating offset objects 390
Center Run 351 using as backdrops 213
repeating stitches 109
Triple Run tool 102, 317 choosing suitable underlays 351 vector objects
Edge Run 351 converting to embroidery 245
variable stitch length 108
setting Auto Underlay generating from bitmaps 244–250
Triple Satin 130
troubleshooting 813 margins 356 View Design Details List tool 670
Undo tool 46 View Design tab
changing port settings 822
undoing commands 46 setting display options 67
Digitest 816
digitizer connections 816 Ungroup tool 292, 571 View menu
ungrouping objects 292 Measure 50
general problems 826
Unknown Format icon 666 Pan command 61
purge recovery 820
recommended PC Unlock command 291 Previous View command 63
unlocking objects 291 Redraw command 63
specifications 818
Use 682 Slow Redraw 83
reverting to factory settings 813
security device messages 821 Use Object Style dialog 145 View By Color command 68
User Defined Split Zoom 1-1 60
testing embroidery disk 814
applying 453 Zoom Box 60
TrueType fonts 573
converting complete digitizing objects with 452 Zoom Factor 60
User Defined Split tool 451 Zoom In 2X 60
alphabets 577
User Preferences dialog 665 Zoom Out 2X 60
converting to embroidery
fonts 573 View Thumbnails & Details
tool 669
TrueView Options dialog 722
View Thumbnails tool 669
TrueView™ 64
selecting options 722 viewing
850 Index V7
backdrops 219 Zoom
design properties 667 Zoom Box command 60
viewing designs Zoom Factor command 60
connectors 65, 721 Zoom In 2X command 60
display options 64 Zoom Out 2X command 60
displaying hidden objects 94–96
functions 65, 721
needle points 65, 721
outlines and stitches 64
panning 61
redrawing 63
redrawing slowly 83
restoring previous view 63
setting display options 67
setting options 722
show all 61
TrueView™ 65
TrueView™ options 722
zooming 60
viewing objects
by color 68
W
width, make objects same size 298
Wilcom Web Page 56
Windows Desktop
Design Explorer 663
word spacing, changing 505
worksheets
See production worksheets
X
X and Y coordinates
setting for objects 290
Z
Zigzag
using with boring holes 402
values 135
Zigzag tool 123, 135
Zigzag tool 124, 135
Zigzag underlay
setting values 353

852 Index V7

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ES Designer

No parts of this publication or the accompanying software may be copied or distributed,

WILCOM Pty. Ltd. (A.C.N. 001 971 919)

P/N 8100707 Rev 1 1 Mar 2001

V7 ES Designer User Manual iii

PART II DIGITIZING ESSENTIALS

PART III DIGITIZING WITH ARTWORK

PART IV MODIFYING DESIGNS

V7 ES Designer User Manual v

PART V ADVANCED DIGITIZING

PART VI EMBROIDERY LETTERING

V7 ES Designer User Manual vii

PART VII DESIGN PROCESSING & ENCODING

PART VIII DESIGN MANAGEMENT

PART IX HARDWARE & SOFTWARE SETUP

V7 ES Designer User Manual ix

V7 ES Designer User Manual 1

ES21L ES21L is a professional lettering system which can be used to create

ES45 ES45 is a popular and powerful production digitizing system.

V7 ES Designer User Manual 3

Quick Reference Guide

Digitizer Menu Chart

Conventions used in the manual

Instruction Symbol Action

Click [ Click the left mouse button.

Right-click ] Click the right mouse button.

Double-click . Click the mouse button twice without moving

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),

C+V+H While holding down the Control key (Ctrl),

V7 ES Designer User Manual 5

V7 ES Designer User Manual 7

ES provides embroiderers with a fast, flexible way for creating embroidery

Planning the design

Characteristics of good embroidery design

V7 ES Designer User Manual 9

stitches are angled to

The stitched-out design should also have the following characteristics:

Choosing artwork for embroidery

10 Chapter 2 Embroidery Digitizing Process V7

Scanning and editing artwork

V7 ES Designer User Manual 11

Close gaps in artwork

12 Chapter 2 Embroidery Digitizing Process V7

V7 ES Designer User Manual 13

14 Chapter 2 Embroidery Digitizing Process V7

large irregular area digitized with Input B

narrow columns digitized with Input A

outline digitized with Run

narrow columns digitized with Input A

large area digitized with Complex Fill

irregular column digitized with Input A

V7 ES Designer User Manual 15

Input A — use evenly spaced

Input B — create shapes with

16 Chapter 2 Embroidery Digitizing Process V7

Input C — create columns

Complex Fill — create