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    Understanding Layers in machine embroidery digitizing

    By diver361, in Machine embroidery materials and technology, , 0 comments, 1,034 views
    When embroidery digitizing its very important that you have some artistic knowledge, even though you may not have any artwork background you should be able to look at most designs and determine what should be in the background and what should be in the foreground. This is important as you it will give you an idea of which thread sequence to lay down first so it looks proportional. 
    Layers in digitizing machine embroidery designs as it is implemented in practice.
    The first thing you need to do when looking at a design is determine the background and foreground sometimes this is very easy and other times it can be more challenging.  On the design below you can see that there is no background but instead, there are just two separate thread sequences, one being orange and one being black on this design it really doesn't matter the sequence it generally will sew well either way. 

    The design below has a few different layers, it should be pretty easy to determine what the layers are.

    Generally, I ask myself if their pieces I will need to hide traveling stitches, so I do not have to trim and if will it impact the sewing ability of the design. I would normally sew the design from the center out I would start with the maroon color first.

    Notice the traveling stitch this will be covered up by the seecond layer. It prevents me from adding a trim to the design. The black layer will go down next.

    Now you should not see that traveling line as the black fill has covered the evidence, when ever possible you will need to hide your stitches in the design by layers in front.

    The borders can be made on the same level as the text but I have separated them here to show you the different parts. Make sure the satin border is large enough to cover the stitches I recommend perpendicular underlay on borders and absolute compensations at .01 inch.  The final design is below. 

    Real examples of how this is implemented by professional digitizers can be seen on real finished works in Cars embroidery designs. These are the most complex embroidery designs, where multi-layered designs are often used to emphasize shadows, curves of body parts, and glare on the windshield. All this requires the use of colors of transition effects from one embroidery thread to another. To create one shadow composition, a minimum of 2-3 layers are required (density from 1.5-1.8)
    Layers in a complex embroidery design
    This embroidery design has six layers and a lot more detail I first do the items that appear farther into the background, Take a look at this tractor below. Once the design is done then you can add compensation to the embroidery design, and embroidery effects. Imagine the joy of transforming a simple design into a stunning piece of art, where every thread is meticulously placed to create a harmonious and eye-catching masterpiece. 

    Making Custom Embroidery Thread Charts Tajima Pulse

    By diver361, in Machine embroidery materials and technology, , 0 comments, 8,392 views
    In machine embroidery digitizing software Tajima DG/ML by Pulse, there is a number of pre-installed embroidery thread charts however there are times when you need to create a custom chart with different thread thicknesses and or colors 
    Embroidery Thread Charts and Thread Palettes
    Embroidery Thread charts are a collection of thread and color information. Tajima DG/ML by Pulse has thread charts installed that contain information on threads from many thread manufacturers. Threads from a selected thread chart are displayed on the lower right-hand side of the Tajima DG/ML by Pulse workspace. Clicking the plus (+) sign at the edge of the embroidery thread chart list will allow you to change the selected thread chart for the current embroidery design. How this is implemented in practice can be seen in our catalog of Christmas machine embroidery designs. Since it is for festive winter projects the widest palette of thread colors is used.
    Creating a New Thread Chart
    The Thread Table Editor allows you to create and edit thread charts 1.  Open a new document 2.  Goto Tools , 3,. Click NEW  This will open a new tab , so you can add different threads.   Once your screen opens you can now start to add new threads to your chart. Please note you will need to know what thickness the thread is, they type of thread, the color codes, and Manufacturer info. Normally available on the color thread chart 

    4,.   To add a new thread color click EDIT and click NEW THREAD  5,.   Fill in the fields on the screen. 

    Name - The name of the new thread color (such as Royal Blue or Snow White)
    Manufacturer - The name of the manufacturer of the thread chart that contains this thread.
    Code - The manufactures code number for the thread. This is a unique code that manufacturers use to identify the thread. A thread code is usually used to identify a thread when placing an order with the manufacturer.
    Thickness - The thickness setting is a number used to define the thickness of the thread. 

     1.   20 wt thread very large thread
     2.   30 wt thread
     3.   40 wt thread default 
     4.   50 wt thread
     5.   60 wt thread Very small

    Type - The type setting is used to describe the type of material used to make the machine embroidery thread. Examples are Cotton, Rayon, Metallic, Nylon and Polyester.
    Color - There are three different values used to define the color of the machine embroidery thread that is displayed. These values represent the amount of red, green, and blue color that make up the color of the embroidery thread. These values, called RGB, are standard values for representing colors for computers. Clicking the Choose button will allow you to select from a list of basic colors or create a custom color. Once a color is selected, the RGB values for the selected color will be displayed in the color values.
    Repeat step 4 until all the colors have been added. 
    Saving your Embroidery Thread Chart
    When you have added all your embroidery threads now you need to save the file .
    5. Goto File, choose SAVE AS , add your file name and it will add it to your charts folder. 
    Now prior to accessing the chart you will need to close your Pulse Program and reopen it . 

    To Change the chart goto your CHART DOCKER on the Right and find the one named and you can click on any color and add them to your working palette. Enjoy your new chart. 

    Treading on Disaster in machine embroidery

    By diver361, in Machine embroidery materials and technology, , 0 comments, 1,928 views
    I went to customer's shop over the Holidays and he expressed concern that he was having quite a few thread breaks and other issues of late in his shop, I wanted to see why, the designs he has run worked for previously on his equipment and he mentions he having a lot of issues now. I got there and he said they added the screen printing business several months ago to their shop and the printing press is very close to the embroidery area. I said this is a problem.. If it's not causing you issues now it will down the road. When you screen print you often use a lot of aerosol and chemicals which also put a film on items in the environment. I took a look at the machine and the threads on the wall and they all had a film on it. I told him he was treading on disaster, the environment is and will impact his embroidery machine.
    Environment in machine embroidery
    The environment for any embroidery machine should be as clean as possible as the needles and threads are very delicate. You should be cleaning the machines, tables, and threads areas often as dust will build up in the area and impact your materials, and possibly your garments.

    I suggest that you keep the thread in boxes, or clear containers this will help minimize the dust on the threads. Did you know dust on the threads can cause tension issues, gumming up the top threading mechanism, dust can cause thread breaks and even broken needles if the particle is too large for the eye of the needle.
    Your machine area should also be cleaned regularly, this means wiping it down, oiling the machine, and making sure it's a clean environment. This will go a long way to helping your machine run smoothly.
    Embroidery threads
    Depending on the type of thread, and size of thread you use this could also effect your embroidering experience, Most shops use polyester thread and its more durable and generally easier to use. It's a bit stronger than cotton threads and sometimes cheaper. The average thread types for most shops is 40wt  this is the most common size, If you do a lot of small detail or letters you may have 50wt or 60wt thread on hand, if so you will need to be able to change the tension on your machine to accommodate the change, same goes if you use 20wt or 30wt thread you will need to be able to change your tension.
    Tension
    Everyone needs to know how to adjust their machines but their is a simple test to check the machine, make a column stitch with no underlay or compensation for each needle of your machine, the columns should be a quarter inch thick and each column should be a different color, then sew each column out, flip it over and look at the image below and gauge the tension of each needle.

    Now its good leave it alone, if its too tight, loosen it with a quarter turn, if its too loose tighten it with a quarter turn. LEFT LOOSY, RIGHTY TIGHTY is the easiest way to remember your tension guides. Check your machine manual for adjusting the thread on the machine as each machine may be a bit different.
    Metallic machine embroidery threads
    When working with metallic threads you will also need to loosen your tension as they need a little more give as they often have a fleck embedded in the twine and it doesn't have the same give as a polyester thread. Use the above guide to set your tension for specialty threads.
    Needles
    When on customer sites I often ask them when the last time they change their needles, and I often get that they break,, A needle can drastically effect the clarity of your work, as well as the sharpness of the design, a dull needle will often tear through the fabric instead of spreading the fibers, this can affect quality, thread breaks, and more,
    There are also different tips of the needles, different sizes, and different size holes, which all can impact using threads.
    Important Points to Remember
    Needles DO NOT last forever, they should be replaced approximately every 8 hours The eye of the needle should be 40% larger than the diameter of the thread When going to a larger size of thread, a larger needle should be used Use the appropriate needle for the type of fabric being sewn   When using metallic thread use a larger-eyed needle 
    TROUBLESHOOTING NEEDLE ISSUES

    UPPER THREAD BREAKS
    Check the upper thread path, tension is incorrect or replace the needle

    BOBBIN THREAD BREAKS
    Replace bobbin, check bobbin tension, check upper thread path 

    SKIPPED STITCHES
    Check upper thread path, change needle, do tension test,  check the size of needle

    FRAYED STITCHES
    Eye of the need clogged or too small, upper thread caught check path, remove a meter of thread, 

    THREADS LOOSE ON BOBBIN SIDE
    This is often caused by poor tension or improperly sequenced upper thread path. 

    BOBBIN THREAD SHOWING ON TOP
    This can occur if the bobbin tension is too tight compared to the upper tension, check bobbin tension and upper tension using the tension test.

    FABRIC PUCKERING
    A design that puckers the fabric can be caused by being poorly digitized, the fabric as nylon tends to pucker, and or can be caused by wrong tension usually too tight of an upper thread tension. Check bobbin tension and make sure you're using the right backing for the material. 

    NEEDLE SIZES

    Here is a chart of what size of needles work with the different threads.. 

    OVERVIEW 

    A clean shop and work area will help you and your machine, testing the tension on a regular basis will also help tabs on it to avoid disasters on jobs. If you have not changed your needles and you do a lot of embroidery starting up the New Year you may want to replace them all. 

    Taijma Pulse border steil embroidery digitizing

    By diver361, in Machine embroidery materials and technology, , 0 comments, 2,063 views
    Embroidery Digitizing Borders
    This week we will look at digitizing borders for your designs, there are some methods and tools you can use to make the borders with, compensation and underlay types you should be using
    Embroidery digitizing methods
    There are two types of borders that you will need to make, the uniform border, which is the same thickness around the design, and the variable border which changes thickness.
    Uniform Border. This type of border tends to go around patches or similar designs, this border can be made with a steil stitch or a satin stitch 
    Variable Border: You will need to use the satin stitch to make the border

    Some lower versions may not have the (STEIL) border tool, it looks like so in your software, I have also shown the satin tool. 

    There are (2) main methods for making either of the stitches.. (1) the freehand mode drawing the shape manually. and (2) is converting it from artwork. For shapes like circles and very uniform objects, I use vector tools to make the shape and then convert it to stitches, but it will depend on the shape.
    Background 
    To better understand the different thicknesses, I recommend you sew out a sample of the different stitches on the fabric you digitize to get an understanding of how thick the result will be. 

    When sewing your samples out make sure you have some compensation and underlay for the stitches as it will affect the size and clarity of the stitch.  
    Embroidery underlay & compensation
    When sewing out border stitches or any column stitch it's recommended that you use an underlay that is opposite to the direction of the stitches. This will make the column push out evenly, if you use a zig-zag stitch the column will often become tighter and shrink when embroidering. It's also important to add enough compensation for the shrinkage of the stitch. 
    Underlay types
    Below is an example of the different underlays that you will have available in your software. 

    Border layers
    Depending on the design you may want to put your border onto or on the bottom of the design, I often use it to smooth out uneven stitches like in the example below. Fills often leave an unfinished edge and a satin or a steil can clean that up to look smooth. 

    When using the border underneath the thickness can be wider and have 3/4 of the border under the design and only 1/4 sticking out to blend with the design. 
    When using it on top of the design you will need to make sure it hides the design when embroidered often there will gap between the border and a fill as the push and pull effect, especially in corners. 
    Make sure your artwork is clear enough that you can see the borders on the design as it will often dictate whether you put it on top or underneath the logo, some borders are decorative and others are functional. You often will need to sew out the design to gauge the thickness of the border. 
    TRICK
    I often will add a manual underlay to the fill and the border, this helps prevent the fill from detaching from the border on some sew-outs. See Below. This can be made with the run toll or a complex fill with very low density, I would make this underlay opposite the fill stitches. This causes the underlays to overlap building a better foundation for the top stitches. 
     

    This wraps up this blog on adding borders, sewn out the different steil stitches, and keeping it on hand when you digitizing for your logos it will be a great guide. 

    Manual Applique as embroidery technique

    By diver361, in Machine embroidery materials and technology, , 0 comments, 1,116 views
    This week we are going to cover Manual Applique, this technique can be reproduced for jobs in production without the use of an inline cutter. All you need is a pair of scissors and some patience.
    ( This technique is great for those who DO NOT have an i-iline cutter )

    Requirements 

    You will need the following to make a design like this. 

     - 13-inch Hoop 
     - some felt 
     - some time
     - scissors 
     - digitizing software. 
     - Fabric temp adhesive 

    Step 1  Digitizing the design.

    Load the design into your program, and plan the design from that point.   I like to add the black background behind the applique letters, You can exaggerate the black lines as the layered applique will hide them, I would also do all the text at this point as well. 


    Next, I would add the white, I would use either a run tool or a steel tool to track down the white material. 
    Note you will need to make a separate file to cut the material out use the run from the applique to stitch the material out, and then cut it out by hand. 

     I would then digitize the Florida Gator design. I would do the F first with a solid fill and then put the orange over top with a steel border around the F, the green, and then accent it with black.  I would add your pull comp and underlay for the lettering and the gator at .01 percent, full lattice under the whole guy, and then a density of 65 spi.  

    For those of you who do not have a digitizing program but would like to sew out this design, I have enclosed the design below. 

    Step 2   Manually cutting the design out 

     When you sew the first run down onto the material take your time with very sharp scissors and stay true to the line as close as possible, any deviations from the line may lead to gaps.

    Step 3   Hoop your Fabric

    When hooping the fabric it's tight enough for the fabric and applique. 

    Step 4   Embroidery

    Start the embroidery the first color is black and then start the second, it should put down a white placement stitch. Use fabric temp adhesive to hold the fabric in place while the top stitches go down. 

    Step 6  Finish the design

    Here is what my design looked like, I sewed this on an orange t-shirt, with cutaway backing and used felt for the applique material. 

    This technique can be applied to a wide range of designs, but if you had to stitch out this design without the applique for a full sweater you would end up with 80-120 thousand stitches. Large designs can take a long time to sew out, applique can reduce this time as long as you can get the material cut into precise portions. 

    I have recently started using flock cut on my vinyl cutter for applique and I have much-improved speed and consistency. it also allows for seamless conversion, I export the file or use the vector file.  

    How to Resolve Floppy Disk Accessibility Issues on Modern Windows Systems

    By diver361, in Machine embroidery materials and technology, , 0 comments, 1,160 views
    Understanding the Floppy Disk Problem
    While many have transitioned away from using floppy disks, there are moments when we need to access older information stored on them. However, in doing so, a series of issues may arise. You might encounter messages like:
    A:\ is not accessible. The device is not ready. Disk is not formatted. Do you wish to format it now? STOP: The disk media is not recognized; it may not be formatted. Interestingly, these problematic disks may function correctly when used with older operating systems like MS-DOS or Windows 95.
    Root of the Issue
    The main culprit behind these issues is the absence of a media descriptor byte in the BIOS parameter block (BPB) found in the boot sector of the floppy disk. Historically, many preformatted floppy disks, especially older ones, lacked this media descriptor byte.
    The role of the media descriptor is vital as it identifies the type of medium present in a drive. Whereas systems like MS-DOS and Windows 95 didn't require the setting of this byte, modern systems do, which is why we see these compatibility issues arise.
    Efficient Solutions
    Reformatting: The most straightforward solution is to reformat the floppy disk using newer versions of Windows such as Windows 98 or XP. By doing this, the system ensures the necessary media descriptor byte is present. Advanced Workaround: For those who are tech-savvy and understand the risks involved, there's an advanced workaround. By using a disk sector editor, one can modify the media descriptor byte on the floppy disk. A word of caution: misuse can lead to permanent data loss, so proceed with the utmost care. Tools like DiskProbe (Dskprobe.exe) — included in Windows Support Tools for systems like Windows XP Professional — can be employed for this purpose.
    Understanding Media Descriptor Bytes
    To delve deeper, here are some common media descriptor bytes:
    F0: Represents 2.88 MB on a 3.5-inch, 2-sided, 36-sector, or 1.44 MB on a 3.5-inch, 2-sided, 18-sector disk. F9: Used for 720K on a 3.5-inch, 2-sided, 9-sector disk, and 1.2 MB on a 5.25-inch, 2-sided, 15-sector disk. FD: Denotes 360K on a 5.25-inch, 2-sided, 9-sector disk. And so on... These bytes are located in sector 0 of the disk, providing a hint about the media type and its compatibility.
    Final Thoughts
    The evolution of technology means some older storage mediums become challenging to access with newer systems. By understanding the root of these compatibility issues and knowing the ways to circumvent them, we can ensure the preservation and access of valuable data, even from antiquated storage methods like floppy disks.

    Mastering Fur Stitch Technique: Elevate Your Machine Embroidery Digitizing

    By diver361, in Machine embroidery materials and technology, , 0 comments, 1,914 views
    Guide to Mastering Fur Stitch Technique in Machine Embroidery
    Unleashing Creativity with Fur Stitch: A Key Technique in Embroidery Digitizing
    In DGML by Pulse there is an option which also come standard to allow you to make a stitch called a fur stitch. However I like the manual way which is available in many other levels. I will illustrate both in this document. Why should you use a fur stitch ? Well a fur stitch can be used as a layer to add depth to a design, here are a few examples where the design has a fur stitch as the base layer or as an accent.
    Machine embroidery is a distinctive art form that demands mastery of specific techniques to yield remarkable designs. One such technique that can dramatically enhance your creations is the Fur Stitch. By understanding and perfecting this technique, you can revolutionize your approach to machine embroidery digitizing and transform your work into highly textured, realistic designs.
    The Essence of Machine Embroidery
    Machine embroidery thrives on precision and technique, translating intricate designs into a tangible reality. The real magic unfolds when a meticulously designed pattern gets transferred to fabric through the digitizing process, laying the groundwork for an awe-inspiring, embroidered masterpiece.

    Example 1

    Example 2 
    So what are the two methods ?  Well in DGML by Pulse if you have Maestro level you will have the option to make a stitch called a fur stitch. 

    This tool has some presets built into it . and here is what the tool stitch looks like. 

    Here is what the satin tool option looks like both are very similar. Lower density is often associated with the fur stitch as its their to add texture.

    When your using this technique your going to want to add a few layers of top stitches.  Here are the next several layers. 

    These layers are made up of similar color palettes to allow blending on the colors using various patterns, densities and  stitch types will allow you to make detailed designs.  In this case the design used the fur stitch technique for all these layers, but at a lower density of 28 spi. 

    In the above layers they used run stitches, and regular satin stitches to add the detail.  
    After you pull all the data together you get one awesome design. 

    Embracing the Fur Stitch Technique
    The fur stitch technique holds immense potential for embroiderers looking to bring lifelike texture and depth to their designs. The "fur stitch" is a digitizing technique that involves varying stitch directions and lengths to mimic the look of animal fur or fluffy textures. When used adeptly, this technique can provide stunning realism to animal-themed designs, or add an extra dimension of texture to any piece.
    How to Master the Fur Stitch Technique?
    Understand the Concept: Begin by understanding that the fur stitch is all about playing with stitch lengths and directions. The goal is to create a look that resembles fur by layering stitches over each other and varying their direction. Analyze Real Fur: Before you embark on your digitizing journey, spend time analyzing real fur, if you can. Look at the direction, length, and density of the fur. This understanding will guide you as you map out your design. Digital Implementation: Start by laying the base layer of stitches, keeping them slightly longer than normal. After that, add shorter stitches, layering them to create depth and dimension. Stitch Direction: The stitches' direction must be varied and irregular to emulate real fur. The more random the stitches are, the more natural the fur will look. Practice Makes Perfect: Don’t be disheartened if your first few attempts don’t turn out as expected. The fur stitch technique requires patience and practice to master. Keep experimenting with different stitch lengths, directions, and densities. Expanding Your Embroidery Horizons with the Fur Stitch
    Once you have honed the fur stitch technique, you’ll be amazed at how it adds depth and lifelikeness to your designs. Whether you are creating adorable stuffed animals, designing realistic wildlife scenes, or simply adding texture to an otherwise flat design, the fur stitch can elevate your work to new heights.
    Conclusion
    Embroidery is a skill, an art that evolves with every stitch you make. The fur stitch technique is a valuable tool in your machine embroidery digitizing arsenal, capable of transforming your designs into highly realistic and textured works of art. So, keep practicing, keep experimenting, and watch your designs come alive with the fur stitch technique.
    Embrace this technique today and revolutionize your machine embroidery designs. The world of creativity awaits!

    Embracing the Art of Terry Cloth: Composition, Properties, and Machine Embroidery Mastery

    By diver361, in Machine embroidery materials and technology, , 0 comments, 1,071 views
    Mastering the Art of Terry Cloth Embroidery: Needles and Threads
    The composition and properties of terry cloth
    Fabric involves a looped pile, commonly employed in the production of towels, beach robes, bath slippers, bedding, and children's linens, as well as children's toys and even bar accessories.

    Regarding the composition of terry cloth, it is primarily manufactured from cotton, linen, and less frequently, bamboo. The fabric exhibits excellent moisture absorption and does not stretch. The range of applications and the enumerated properties of terry cloth make it attractive for machine embroidery in both hobbyist and industrial contexts.
    Recently, there have been instances of incorporating synthetic fibers into the fabric composition. This slightly diminishes the quality, but does not impact the embroidery outcome when used as a base material. There are also benefits. Terry cloth with the addition of synthetic fibers is employed in crafting items such as baby bibs, resulting in soft products that can be easily laundered following breakfast and lunchtime incidents.

    Machine embroidery on terry cloth fabric requires consideration of density, thread twist, and loop height. These are the primary properties to focus on when mastering the technology of machine embroidery. The higher the loop, the greater the probability that stitches will sink into the fabric structure or will peek through the stitch coverage of the design. The thicker the material, the more likely it is that you will encounter problems when framing it, as securing the material in the embroidery hoop properly may be challenging. It is feasible but difficult; is it necessary? Let us proceed further.
    Selecting the Perfect Needle for Your Project
    When it comes to embroidering terry cloth, there's no need to stress over needle selection. The fabric can be beautifully embroidered using standard embroidery needles. However, if you do encounter issues, consider these specialized needles:
    For embroidery on loose terry fabrics, opt for needles with a rounded tip, like those designed for jersey embroidery. This type of needle gently separates the material without damaging its structure.

    When working with dense terry cloth featuring a high loop pile and a significant amount of synthetic fibers, utilize a sharp-pointed needle, such as a topstitching needle. This needle effortlessly pierces the material, preventing skipped stitches.
    Navigating Thread Choices for a Dazzling Finish
    If you've decided to embroider with metallic thread, use a needle specifically designed for this thread, as metallic threads can be finicky. When passing through the small eye of an improperly chosen needle, the thread may wear and lose its sheen, or worse, continually break.
    When embroidering on terry cloth, feel free to use any threads (cotton, polyester, wool, etc.). The primary goal is to ensure the threads are durable and wear-resistant. Viscose and metallic threads may be less tolerant of frequent washing and poorly compatible with bleach and other chemicals used in laundering.

    Advice on selecting the bobbin thread might not be groundbreaking. Use a standard bobbin thread (either black or white, depending on the color scheme of the design). The thickness of the bobbin thread depends less on the properties of the chosen material and more on the idiosyncrasies of your embroidery machine. Some machines, for instance, have been observed to be incompatible with very thin bobbin threads (No. 200).
    When embroidering on terry towels, consider using a bobbin thread that matches the color of the embroidered layer. In this case, the reverse side will appear more elegant. Keep in mind that this approach will result in denser embroidery.

    Embroidery Digitizing for Chenille: Mastering the Artwork Part 4

    By diver361, in Machine embroidery materials and technology, , 0 comments, 1,271 views
    Embroidery Digitizing for Chenille
    Unlike in every day embroidery  design for Chenille your will want to make sure your artwork is formed properly, this means you should review the artwork tools in previous blogs these Tools as its vital that you have a good understanding on how to reduce nodes, split anchors, join anchors and edit nodes.The artwork converting process is also very demanding on your computer some computers even new ones can cash when converting complex embroidery designs.
    Computer Recommendations for Chenille Digitizers
    Its very important to have a well tuned digitizing computer, I recommend a Pentium 4 or equivalent Quad core computer with Windows 7 or Windows 8 64 Bit with 8 to 16 GB of ram. I also recommend the fastest chip and at least a 64 MB video card for working on Chenille. If your computer is not fast enough you will have a lot of idle time when converting your large file.
    When you have a vector file to convert check that all shapes are closed. Not doing this can sometimes cause undesirable results. Somes times it easier to convert them in sections versus the whole design.
    Chenille Basic Example
    Here is an image file and a Chenille Stitch file.

    Most Chenille digitizers choose to use the option of creating the art work first and convert it to chenille, I have found that most people who use chenille do the art of the design and convert each section on its own. 

    Chenille Basic Example
    Step 1 Load the artwork into Tajima Image … Load
    Step 2 Trace the red outline Using the artwork tool trace the red make a duplicate of this for later
    Step 3 Convert the art work to Chenille Right click ..go to .. Convert segment too choose chenille
    Step 4 Turn off all but the Chain Walk See Below 

    You should now have a chain walk of the image.

    Chenille Basic Example  
    Step 5 Highlight the artwork , right click , goto transform , Choose offset, Copy offset ,
    specify distance should be -.03 to -.05 

    Step 6 Manually add a color Change,
    Step 7 Convert the art work to Chenille Right click Go to Convert segment too choose chenille
    Step 8 Turn off all but the Chain Walk See FIG 4 previously for example

    Step 9 Add the Spiro Moss Fills of the areas indicate in white,
    again using the artwork Tool to draw with and convert it to Spiral Chenille

    Step 10 Make Sure you have 1 Chain and the Moss Fill should be Spiro

    Step 11 Now you need to trace the B with the artwork tool so the design looks like Below

    Setting should be similar 

    Now you should be able to make a wide range of Chenille, Spiro Chenill and Mixed embroidery design with chenille depending on your machine. 

    Say Goodbye to Puckering in Embroidery Designs: Tips and Tricks

    By diver361, in Machine embroidery materials and technology, , 0 comments, 1,212 views
    Puckering [also known as cupping] is the gathering of material in an embroidery design which results in noticeable mounds of fabric and/or curled designs. This is undesirable in quality stitching and when it occurs, the cause of the problem should be determined and corrected. There are a number of factors which can contribute to puckering and they include:
    Embroidery design
    Often design stitch densities are simply too high and editing is required to reduce this density. A quality digitized design will produce a stitchout which compliments and flows with the garment .... not protect it, like a layer of armor.
    Insufficient or improper underlay stitching can also lead to puckering. Underlay stitches serve a number of purposes and one of them is to attach the material being stitched to the stabilizer before the actual top stitching begins. This helps to control some of the “push - pull” effect which will occur during stitching. Long stitch lengths tend to apply more “pull” to the material being stitched than short ones. Sometimes puckering  can be reduced or eliminated by using shorter stitch lengths. For example, reduce 6 mm long stitches to 3 or 4 mm. Stitch direction can contribute to puckering. Designs having the majority of fill stitches running in the same direction or those that do not take into account the bias of the material being stitched, can produce puckering. If possible, direction of stitching should vary from one fill area to another and should run at an angle to the bias of the material. Improper pathing can also cause puckering. Stitching the outside areas of the design first and working towards the inside can result in the material being “pushed up” in the center. Generally, it is best to have a design stitch from the center - out [as much as possible].

    Little Feet In Hands embroidery design
    Stabilization
    Stitching without sufficient, proper stabilization can produce puckering [especially in lighter and/or problem materials]. As a general rule in embroidery, consider using a quality 2 - 3 oz. cut-away for most jobs because not only does the cut-away offer the best support during stitching, it also continues this support for the life of the garment. Switch to specialty stabilizers [tear-aways, mesh, water solubles, etc.] only when the job warrants it. 
    Hooping
    Using a large hoop for a small design can lead to excessive movement and shifting of material .... which in turn can result in puckering. In order to limit material movement and reduce the chance of puckering, always use the smallest hoop possible and when hooping, the material / stabilizer should be taunt [but not stretched] in the hoop.
    Thread tensions
    An embroidery machine with excessively high thread tensions can cause unnecessary “pull” on the material beingstitched, which in turn can contribute to puckering. Properly tensioned, smooth, consistent running top and bobbin threads go a long way in creating a quality stitchout and help reduce problems like puckering.
    Materials being stitched
    Some materials [like nylon, silk, and light knits spandex and jersey materiasl] simply tend to be more prone to puckering than heavier, more stable ones [denim, fleece, heavy cotton, etc.] and when working with these more problematic materials, the embroiderer will have to do all that they can to eliminate the potential for puckering. Proper editing of designs, good stabilization , good hooping practices and avoiding overly tight thread tensions all contribute to reduced puckering problems. Use the above information on puckering as a guide. However as with most things in embroidery, each job will offer  its own variables and challenges which often need to be dealt with on an individual basis.

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