When learning to use your embroidery digitizing software and or digitizing you will need to know how to work with files and file types when re-sizing etc. Embroidery Files In newer versions for Tajima DGML you can open various types of file format list below ; PXF, POF, PED, KWK, PSF, PCH, EMD, DST, TBF, TCF, EMB, ART, PEC , PES, DSB, DAT SEW, JEF, CND, EXP, PCM, PCS, CSD, PUM, ARC, PAT, T15, XXX, HUS , SHV, VIP , VP3, DSZ.
Tajima Pulse embroidery formats
There are only three formats that you should be working with as your primary formats, POF (Pulse Outline Format) PXF (Pulse Unified Format) DST ( stitch file ) The other embroidery formats are secondary formats, and while you can open them your limited on editing them as they are stitch files.
Tajima Pulse PXF format
Not all file types contain the same amount of information and when you make your own files you should be saving them to your hard drive as PXF. This format is exclusively a Tajima Pulse format. This format allows you to access both the Outline and Stitch files associated with a embroidery design, at the same time. This embroidery format gives you the most control and you don't loose any thing.
When working with stitch files you should be aware of certain attributes and rules that apply to this format. When resizing it doesn't adjust the density, or stitch count of the design, which will make for a poor sew out if resizing more than 10%. Files that are considered stitch files include. DST, EMB, PCH, PES, PSF, SEW, When working with any stitch file your best to convert it to an outline and then re size it as an outline and then save it back to a stitch file to sew it out
When working with outline files you can edit and re size and the number of stitches in the design will adjust with the changes. Outline files are extremely flexible and allow the user to easily make changes including the stitch patterns and control settings like underlay. Outline formats include POF, PED, KWK and CND.
NOTE: When converting a stitch file to an out line it will give you greater control however it will not be the same as an a true outline file, I personally recommend that you save all your designs as a PXF and only output it to DST for the machine file.
Advantages of PXF Files
There are many advantages to working with PXF files as seen below;
1. Full editing control, re sizing , or manipulating
2. Remembers color sequence, underlay settings,
3. Flexibility, remembers the fonts used and density
4. Saves time,
5. Eliminates guess work
Differences Between Stitch Files and Outline Files
Converting files to an outline
In Tajima DGML version 11 or newer when you open the file you can open the file as a stitch segment , or you can convert the stitch file to an outline format which will allow you to edit it.
Steps on converting the files go to file open Select a stitch file At the bottom of the open window see Fig A Choose convert stitches to outline. Then open the file.
Viewing Stitch Files vs Outline files
Here is some visual ques of the difference between a stitch file and the outline file. You will notice the stitch file doesn't show any angle lines, or start stop commands that are showing up in the outline file . This means the stitch file is all one group and the outline is individual segments.
Re-sizing Stitch Files vs Outline Files
When you re size a stitch file see the difference compared to an outline file , the original file size for the design was 1364 stitches. After re sizing both files by 50% the stitch file went down to 1330 stitches and the outline file went down to 962 stitches. The stitch should not look so dense on the outline file.
Sequence view for both stitch files and outline files;
Steps for converting a stitch file to outline file
To convert a file when opening it follow steps below.
1. Go to File ...
2. Choose Open
3. Select the DST file
4. At the bottom of the open screen see Fig 1
5. Select Convert segments to Outline
6. Then open the file.
Outline File Editing
When editing an outline file make sure its a true outline file and not a stitch file converted to an outline. Editing a true outline file will make your life as a digitizer so much easier. It addition it take 85% off of labor to edit a PXF vs a DST file when changing the design. POF files and PXF file also save all the color information no more guess work.
NOTE: Do yourself a favor an save all your work as a PXF file it will make your life much easier when editing a design.
NOTE: If you do not do digitizing in house , when asking for files in PXF some digitizers will try to pull the wool over your eyes when sending you a PXF file it will be a stitch file saved as a PXF file, I see this all the time. I have a video on how to recognize the difference between a stitch file, a stitch file converted to an outline and a true outline like a POF or PXF
Managing your files.
I don't know about how many designs you have, but I know I have embroidery designs from several different digitizes, some stock embroidery designs from various vendors, and logos for my customers. It can be a daunting task to keep a handle on them. In years gone by we would store the design on floppies, I still keep the sew files on a floppy in a file folder with the sheet but I also keep the master copy on my computer, save in the PXF format. So if I need to edit I can very easily. I also have the ability to look up what font I used and what underlay is on the design.
On my digitizing computer I use Librarian. I would recommend that every one take notes on how to use Librarian, as it will once you learn it save you time hunting for that design. This is one of the most lost functions of the software not used.
Librarian is a database, much like a database that you store your contacts in or accounting information in. Databases allow you to access more information in a faster pace, allows you to catalog the designs and search by various strings. I think its the most neglected tools.If you are a larger shop you may want to invest in librarian server which allows you to store the designs on a server and access them on any system with DGML with the appropriate licenses. This option also allows you to pull designs down from librarian server to the embroidery machine when using the bar code option.
NOTE The built in version of librarian when set up for the first time comes with 1000 stock designs for use in your embroidery designs. These design can be access by searches or by the categories.
You have the ability to browse by picture, name or list of the designs, or you can get very specific and search for the embroidery design you want. You can organize your customer into groups, save favorites or even have different databases. You have the ability to import or I call it Mass load embroidery designs , and depending on your level you can export the designs too. It can be a very powerful tool is its given the chance.
In the file Open window you have the ability to type in the name or data type and view the files in that type, for customer that have embroidery and chenille its a great way to organize your designs. If you just want to browse all you have to do it just click open and it will open all your designs in alphabetic order
Librarian allows you in basic to view, search and store lots of information about the embroidery design. You can store color information of all outline files in addition it records the size and options.This single version is free in all the levels of the software. In addition their is no limit to the size of the database, the only limitation is that is a single version.
Searching tool this is where this program excels, you can search by name or part of a name, by customer, by description, production or stock design, or special fields like chenille. You can also use wild cards while searching designs. On the properties tab , you can search by size, creation date or last used, several different.
When you go to the properties of any design that you have saved there it will have a lot of useful information available at your fingertips
Information like , Designer ID, Customer, Size , Stitch count, number of colors, number of trims, number of stops, Type of file, description, creation date, edit the groups that the design is assigned to.
The import function allows you to do a mass load of files from a CD or from a directory. There are pro's and con's to this method.
- ability to import files in sequence.
- you cannot edit the information until after you have added them to librarian.
- depending on the speed of your computer it is a slow process
Librarian (Mass Load)
In this screen you will need to select type of file and any rules for and then click add...
High light the directory names and click on Create Link Then you can select your category or you can make a new category.
Then click OK and click finish then it will load all the files in the directory.
In the videos we will also show you how to setup and use librarian and how to access and search your designs. And how to use this tool as well as the rest of the software.
If you take the time to learn librarian it will allow you to search and or browse all your designs easily. In addition it stores quite a bit of information about the design you would not normally have access too.
Embroidery stabilizer is often very confusing, in this blog we hope to enlighten you and help you understand why we use backing and why one doesn't one type work for all garments. Please note backing comes in all shapes and size, from rolls, to cut sheets and
may be available in Black for dark fabrics too..When it comes to selecting the type of backing to use for a application its good to know a little about why you should use a certain type of backing. We will try and cover this. There are several factors that you will need to consider when making a choice on which backing to use, the garment fabric, stitch density, color of the garment, color of the design, special consideration like for a jacket back or heavy design or whether it has small text and how much will the design be laundered. These are all factors, that should impact your decision on what type of backing to use.
Below is a chart I like that explains the Elasticity of types of fabrics,
The higher the stretch often means you should be using a very stable fabric, and or underlay type, usually the backing works hand in hand with the underlay of the design and the compensation. Here is a visual that just changing the backing type will impact how a design will take when being sewn on a loose knitted fabric. ( Tearaway Backing )
The embroidery design would be greatly improved if underlay was used in addition to 2 pcs of tearaway, and a bit more density.
No Show Backing - Another factor that is rarely talked about is how translucent the fabric is, If you fabric is a light colored garment you may want to opt for a No show type cutaway backing as some backing you will see through the shirt. I always keep some no show on hand for when embroidering on a beige knitted shirt, as cutaway will otter show through and no show cutaway works the same with out showing through.
Another type of backing which is not used often enough is fusible backing this is great for applications where its hard to hoop and item, like belt, napkin corner , patches and is also known as sticky backing. I use this on fabric where I am hooping half of a garment like tuque. Once its down being embroidered it can be torn away just like Tearaway.
I tend to use this on material that either stretch a lot , or are laundered a lot as it helps the embroidery design hold it shape. I will also use cutaway when sewing a heavy design or in an application where the backing will not been seen, like inside an embroidery pocket on a jacket, or for a large jacket back. Here are some other material I will use Cutaway.
Loose knit fabrics
Fine knit fabrics
Knit golf shirts
Lightweight woven silks
Wool / acrylic sweaters
Bathing suits / Lycra / Spandex
I often use Tearaway its my personal favorite, however you will need to look at the application before deciding if it can be used. I often will double up on the number of sheet. Remember that tearaway removes cleanly from the embroidery design...
Cotton / polyester
Nylon satin jackets
Leather or vinyl
Wash away Backing
This I only started using when I started working with a boring tool for my machine, it allows me to do cut work, But I have started experimenting with free standing lace , great for ornaments and decorative embroidery designs.
Free standing ace
Cut work designs
Wash away Topping
This I use when ever the garment or application calls for it, if the pile is high on a garment where the pressure foot might catch a strand of the thread from the garment I will use it , also provide the top stitch more stabilization. There are many more types out there ,
Pucker Resistant Backing
This is fairly new but its like a fibre backing, it a man made backing where the horizontal and vertical support is the same.
This backing also comes in black, its expensive but it helps reduce puckering. Also use the smallest needle when stitching on fabrics that pucker.
In embroidery there are always going to be variables, try different backing types from different vendors or manufactures, you will find that the support various , and their several thickness and colors as well. Backing will always be dependent on the design, needle, the size of the hoop, the fabric.
There is no right way or wrong way, only the way that works for you..
Author: Frank Prokator
In this blog we will look at preparing the fabric for your designs, and understanding why you should use a particular type of underlay in building a foundation for the machine embroidery design.
There are many names for the basic types of underlay in Pulse products you have several types, including Contour, Parallel , Perpendicular, Zig Zag, Lattice , Full Lattice and Center run.
When no underlay is applied, the embroidery thread making up the satin column lays flat on the fabric. This not only makes the embroidery look flat, but it allows the grain or nap of the fabric to peek through. Many new designers would increase density to block out the fabric peeking through, but it would be more effective to apply the proper underlay. Tip set the contour to .02 inches on the inset to make sure it doesn't stick out on corners. Never use by itself on a fill.
My favorite for text , I use the parallel underlay on any column stitch or steil stitch when ever possible, I find it gives the columns a good foundation prior to the stitching, its like a zig zag stitch but not as dense. I use it on knits and many of the stretchy type materials, including golf shirts, t-shirts, sweats, and hats and knitted caps.
The perpendicular underlay puts a column of lines down the center of the column and is often with each line just off center. I have used this with towels when I want to raise the text up a bit in addition to using zig zag. Advantages of this it will help push the column apart as the stitching goes in opposite direction of the satin stitch.
Zig Zag Underlay
Zig zag underlay provides additional loft than what can be achieved by Perpendicular or Contour. These two underlay types are especially effective at lifting the top stitches on fabrics such as pique, terry cloth and fleece. Due to their lofting characteristics, they are also used to give life to embroidery design aspects such as leaves or muscle tone to animals. Zigzag underlay is often used in addition to center run underlay where the center run is securing the fabric and the zigzag is creating the loft. This combination is the most under-used of the underlays, but when used at the appropriate time can set your design apart from others. Best used on satin stitches,
It can best be described as a light density fill, normally running perpendicular to the top stitch. The fill underlay anchors the target fabric to the backing and is the best way to reduce the push and pull factor so common to fill embroidery areas. It also lifts the top stitches up and allows a much less dense fill to be applied. This is the best way to prevent your designs from suffering from "bullet proof" fill areas. First placing a Contour underlay and then a lattice underlay has proven to be the best combination for medium to large fill areas.
Center Run ( New Version 14 only)
In Tajima DLML version 14 there is a new underlay option called center run it places a stitch right in the center of the column. This is very useful on small text as it helps keep it conformed to the space provided, and doesn't usually cause to much bulk for theses small letters.
Automatic underlay can be applied with a recipe or style when using the embroidery digitizing software or you can apply it by going to properties and adding the type of underlay you want. You can also adjust the inset, density, the stitch length and angle of the embroidery stitches, number of lines, drop stitch or angle of the underlay. It can be very useful.
I use manual underlay when working with fills that have steil borders and or when the garment has a lot of stretch too it. Typically Automatic underlay goes under each segment, however there are times when you want the underlay to go under both segments all at once. This will eliminate the two parts pull apart, the easiest way to make this is to use the complex fill tool draw a shape around all the segments and cover them completely, see comparison below;
Above you will see both the manual and the automatic have both a lattice and a parallel underlay applied, the Automatic the two underlays do not overlap where as the manual you can place the underlay underneath the parallel which will prevent the two from separating. I use this method quite a bit when digitizing.
Terminology for Underlay Settings
Angle The angle of the underlay
Connection End The type of end used , option include, Sharp, Square Chiseled and Zig Zag. You can change the connection end to adjust either the appearance or how the design sews out.
Density The density of the underlay how thick the underlay stitches will be, normally around 10.5 spi
Drop run stitch Is a setting to ensure the proper placement of the run stitches, setting include None,
At Anchor, Chord gap.
At Anchor Drops the run stitch and penetrates it at the anchor points
- None forces the run to stitches to follow the stitch length
- Chord Gap places the stitches fit to the top portion of the curve smoothly by shortening stitches at the top of the curve
Inset The distance the underlay stitches are placed from the edge of the top stitching.
Inset A The outside inset
Inset B The inside inset
Max Chord gap The Max Chord Gap is the maximum gap between two points on a bezier curve.
Min Stitch length The minimum stitch is usually set to .02 normally you do not want to go under this however sometimes you want this stitch higher.
Override Some setting in the underlay they use a particular pattern, there are times when this is not suited for the application
Repeats This is a setting when you want the underlay to repeat Sometimes it better to go over the same spot
Sequence The sewing order of which underlay goes down first sometimes you want a perpendicular to go down before doing a parallel stitch to give some extra support.
Stitch Length The length of each stitch on the underlay, the shorter is ideal when working with smaller sizes, but does increase the stitch count
3D Foam When applying underlay to use with foam you have to remember that you do not want to suppress the foam, if you feel the need to add underlay use a contour underlay with a short stitch length. Make sure the design is made for puff..
Leather With leather you do not want the underlay to punch a hole where the designs is going to go through this can cause the material to rip , With leather reduce the density of the underlay, and rotate the underlay to a 45 deg of the top stitch pattern.
Small Lettering I recommend using either the center walk on small letters or punching the underlay manually, watch the stitch lengths, and use a smaller needle and thread.
Large Lettering I using parallel or a lattice to compensate for the amount of stitches going down, recommend cutaway to support large letters in large hoops.
Fabric / Backing / Underlay / Compensation Notes
Broadcloth / Cutaway / Parallel / Percent 110
Burlap / Cutaway / Perpendicular / Percent 110
Canvas / Cutaway / Perpendicular / Absolute .01"
Chamois / Cutaway / Parallel / Percent 110
Chartreuse / Cutaway / Perpendicular / Percent 110
Chiffon / Water-soluble / Perpendicular / Percent 110
Cloth Diapers / Tearaway / Parallel / Percent 110
Corduroy / Cutaway / Perpendicular/zigzag / Percent 110
Denim / Cutaway / Parallel / Percent 110
F aux Fur / Cutaway / Perpendicular / Percent 110 Use 505 spray on backing
F aux Suede / Cutaway / Perpendicular / Percent 110 Use 505 spray on backing
F aux Leather / Cutaway / Perpendicular / Percent 110 Use 505 spray on backing
Felt / Tearaway / Parallel / Percent 110
Flannel / Tearaway / Parallel / Absolute .01"
Fleece / Cutaway; / Perpendicular/zigzag / Absolute .01"
Jersey Knit / Cutaway / Perpendicular / Absolute .01" No stretch cutaway
Leather / Cutaway / Perpendicular / Percent 110 Use 505 spray on backing
Linen / Tearaway / Parallel / Percent 110
Micro Pique / Cutaway / Parallel / Absolute .01" No show backing
Microfiber / Cutaway / Perpendicular / Absolute .01"
Neoprene / Cutaway / Perpendicular / Percent 110 Use 505 spray on backing
Nylon / Cutaway / Perpendicular / Percent 110
Organza / Water-soluble / Perpendicular / Percent 110
Pique / Cutaway / Perpendicular / Absolute .01" .
Satin / Cutaway / Perpendicular/parallel / Absolute .01" no show backing
Silk / Cutaway / Perpendicular/parallel / Absolute .01" no show backing
Spandex / Cutaway / Perpendicular/parallel / Absolute .02"
Sweater / Knits / Cutaway / Perpendicular/parallel / Absolute .02"
Sweatshirts / Tearaway / Perpendicular/parallel / Absolute .02" Cutaway can be used
T-Shirts / Cutaway / Perpendicular/parallel / Absolute .02"
Towels / Tearaway / Perpendicular/zigzag / Absolute .01" Topping can be used
Velor /Cutaway / Perpendicular/parallel / Absolute .01"
Velvet / Tearaway / Perpendicular/parallel / Absolute .02"
Wool / Cutaway / Perpendicular/parallel / Absolute .02"
NOTES 1 On most machine embroidery designs you can get away with a 75/11 needle, however if you find yourself needing small detail and or small text invest in some small needles like 60/8 or 65/9 needle and some 60 weight thread this will allow your small designs or designs that have a lot of detail to be crisp without bulking up the design. Small fonts in your software have underlay built in, you will need to 2 sheets of cutaway to helps support the text.
NOTES 2 If you plan on using the recipes in your software please note they are general notes, the design the type of backing, manufactures and shirt type can all impact the design. Its your job as an embroider to learn when you need to change the backing, and to troubleshoot your choices.
NOTES 3 Make sure you use the smallest hoop that will fit the embroidery design.
Author: Frank Prokator
Puckering (also known as cupping) is the gathering of material in an embroidery design which results in noticeable mounds of fabric and/or curled embroiderydesigns. 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:
The 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. Embroidery 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 patching 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].
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-away, mesh, water solubles, etc.) only when the job warrants it.
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.
Embroidery thread tensions
An embroidery machine with excessively high thread tensions can cause unnecessary “pull” on the material being stitched, which in turn can contribute to puckering. Properly tension ed, 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 materials 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 embroidery designs, good stabilization , good hooping practices and avoiding overly tight embroidery 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.
You need the following equipment for embroidery designs like this
In the embroidery industry many of us have a closed view of what we can offer, with a little bit of imagination, some troubleshooting and some creativity you can give your designs the illusion of blends and extraordinary detail. I am know master but Tajima Japan has this figured out. Each year they send out a Christmas card that they embroidered on paper no less , but with an image in the back ground and stitches on top.. The machine embroidery design below was made with the color change sequin option and two contrasting colors of sequins.
The above machine embroidery design was made by printing the image on the paper, printing the water spray with green, yellow and red run stitches, covered up by a white satin stitch random on both sides at a lower density of around 30 spi. The monument was down in a satin stitch and high lighted with a run stitch on top to make it appear like it has a shadow. Most shows either had a ink jet printer they can print heat transfers with and sew an embroidery design on top. this is an effective way to create blends with out the time of sewing out multiple layers. Their is one not you need to mark the image at some point where you can line up the first needle so the sew out aligns with the design.
Introduction to blending
In multimedia designs another technique is to use different embroidery thread types or different colors of embroidery thread to simulate a blend.
When doing blends its important to understand density as you need to lighten the density of the layers , as you want the stitches to lightly overlap so when sewn out they blend together.
Now before you get to worried its not all the hard.. lets take a look at the elements of the design and the properties.
Please note the images will look very different as the first design was made in Tajima Pulse version 13 and this one was made in Tajima Pulse version 14 , the stitch engine changes the way the stitches look. It took me a long time to get used to it.
So the this layer is made up of different satin stitches using a pattern fill and a density of 20 spi
This layer is made up of satin stitch with a density of 20 spi , tatami pattern , jagged on the first side with a randomness of 60 , this staggers the stitches and randomize the edge.
The last layer.
This layer adds the details density is 25 the fill is Tatami 50 and jagged on the first size randomness of 60 .
To understand fills you really need to sew out the different patterns and different density to appreciate what they look like.
Every technique will teach you the basics, you need to practice on sample embroidery designs to understand how they can be applied. One thing to keep in mind is that all the layers should equal no more than 55-75 spi
When I worked for a few different companies as embroiders they often asked why they cannot make small letters look good when other shops can. I explained to them that there using the wrong needle for the application. To make small letters look good you should be using a 65/9 needle and 60 wt embroidery thread, the needle is about 30 % smaller than the 75/11 needle and the thread is half the thickness of 40 wt .. making it ideal for fine detail and small letters. In future blogs we will cover this, however you can blend to thickness of threads in the same embroidery design repeating patterns and using a compliment color to get shading effect.
Aurhor: Frank Prokator
Making Custom Thread Charts
In Tajima DG/ML by Pulse there is a number of pre-installed thread charts however there are times where you need to create a custom chart with different thread thickness and or colors
Thread Charts and Thread Palettes
Embroidery Thread charts are a collection of embroidery 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 in the lower right hand side of the Tajima DG/ML by Pulse workspace. Clicking the plus (+) sign at the edge of the thread chart list will allow you to change the selected thread chart for the current design.
Creating a New Thread Chart
The Thread Table Editor allows you to create and edit thread charts.
1. Open a new document2. Goto Tools , click on Manage and choose thread charts,. 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 embroidery thread is , they type of thread, have 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 embroidery thread.
Code - The manufactures code number for the thread. This is a unique code that manufacturers use to identify the thread. A embroidery 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 thread. Examples are Cotton, Rayon, Metallic, Nylon and Polyester.
Color - There are three different values used to define the color of the 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 allow you to 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 Thread Chart
When you have added all your 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 .
Author: Frank Prokator
NOTE: This chapter will be covering some advanced options for Maestro users, however to the full benefit of this chapter you will the Boring tool, cording tool, for your machine. This tool can be used for decorative stitching, by placing holes in the garment and embroidering around them. You will need to check with your Distributor if your embroidery machine supports the hardware and get the option in your software, standard on Tajima Pulse Maestro optional on Tajima Illustrator Extreme.
Depending on your line of work and digitizing path you may or may not need to learn this tool. Its designed for the decorative digitizer that either does fashion, home furnishing production pieces etc. If you find yourself doing corporate logos you will not need this option. However a lot of home embroiders, craft embroiders and fashion embroiders could use this feature to add some styles to their embroidery designs.
The boring tool style presents a beautiful eyelet characteristics, boring lends itself to the home furnishing and fashion apparel decorating markets, specialty areas like ladies fashions you can incorporate this style of stitches for those embroidery designs.
Its critical when using the boring tool to make sure your garment or raw material is tight in the hoop as the tool will tend to stretch the fabric or put pressure on the fabric. Magnetic clamps work great for this application.
Tips on ideas for boring the general rule for boring decorative holes are small is better than large. The larger holes can distort the fabric and cause some alignment issues. generally 5 to 7 mm holes are a good size.
Note when digitizing for the boring holes the needle sits 12mm in front of the knife blade for the holes so the design will need to be offset by 12 mm to line up the design. You also need at least 2mm spacing between holes. This tool takes quite a bit of practice to line up the embroidery design with the holes.
See Artwork Design below.
TAJIMA DGML by Pulse Option
In your Tajima DGML by Pulse embroidery digitizing software you will have 3 boring tool options Triangle , Oval and a square. When working with these tools you will to make sure your density is between 70-90 spi to get the desired shape of the design,.saving stitches here will likely cause distortions.
NOTE: the reason you need a lot of stitches for this application is the stitches pull back the fabric and hold it in place, the knife or boring tool doesn't remove the fabric but pierces it, the satin stitches pull the fabric back and tuck it in, thus the reason the embroidery stitch density must be strong enough to hide and cover the fabric edges.
- If sewing several holes together, sew manual underlay all at once for all the sections. If sewing other heavier designs elements near the bore hole, sew the boring holes first, this way the holes will not be covered by the other components. if doing an eclipse or oblong holes, sew the satin stitch at an angle to the holes edge rather than perpendicular to it, this will grab any extra threads and pull them in. Always use underlay so the fabric and its backing material won't shift and the cause the hole to close up.
The boring tool is a great attraction for those who also do sequins as you can get a lot of diversity using both these tools. Sequins are covered later in this chapter.
Most of you think of unique embroidery processes as being applique, puffy foam and tackle twill. Those are actually categorized as applications rather than processes. Processes typically involve a special attachment that enables a machine to produce a different type of embellishment. Unfortunately, very few shops make use of, or even know about, such options.
One of those unique processes that has been around for quite a number of years is cording. This process is simply the attachment, through the stitching process, of a small cord or rope to the item being sewn. The selected cording material is stored on a spool and fed down to one of the machine needles which has been modified slightly. The needle doesn’t sew with the cord, but rather, uses embroidery thread to stitch the cord to the garment. Contact your dealer for options.
Cording is a relatively simple process and easy to embroidery digitize for. Basically, you will just create running stitches in the areas where cording is to be applied, to sew the cord into place. However, keep in mind that the automatic trimmers do not trim the cord, only the thread being used to attach the cord.
So, the cording portions of a design must be continuous without jumps or trims, as the machine operator will have to stop and manually trim the cord with scissors. In addition, tight circles and curves should be avoided. Some designs can use heavy thread or even wire.
In your embroidery digitizing software you can switch between standard embroidery to the Lock Stitch Chenille depending on your equipment and setup. For mixed mode machines its very simple just selecting a needle color for the machine.
You can use the cording tool as a run stitch via the left design or program it with a zig zag stitch on the right side.
On the machine side you can control the swing pattern , consult the manual of your embroidery machine.
Examples of pattern 1
Tip ... You have to make sure that the stitches are not to sharp, the minimum stitch is 1.5 mm and the maximum stitch should only be 5 mm..
Each of the techniques can open up new markets, research them when buying new embroidery equipment.
Author: Frank Prokator
In the embroidery industry whether you are new or be in the industry for a while. You will be asked to make some embroidery design that might make you wonder how to do that. 3D Puff embroidery design is one topic that I find I get asked about all the time. How do I make my designs stick off the hat .. Well its actually not that difficult, and you only need some basic tools, including the run tool, satin tool and possibly the fill tool.
If you need to just make some text using Foam Pulse has a couple of fonts that are designed to be used with foam.
Now if you want to punch or digitize your own embroidery design, as that font may not be suited all you need to do is use your RUN tool and your SATIN tool and manually cap all open ends on the machine embroidery designs. Lets take a look at a sample design I made for a friend this past week.
NINJA TURTLE EMBROIDERY DESIGN
Lets take a quick look at the different layers on how it was made,
Layer 1 This first layer is very simple, just a base for the background where the text is going using a complex fill tool.
Layer 2 Custom lettering for the WHITE text for the designs as the font slants in different directions however a
standard font could be used.
Layer 3 Is the 3D Foam , So what you need to do is embroidery digitizing program a stop on your embroidery machine so it stops when it finishes
the white layer, this allows you time to put the foam on. I recommend taping it in place.
Zooming in on one of the cap ends.
Layer 4 Black layer is the border stitch.. there is 2 reasons for doing this last, it will often hide aspects of the foam sticking out and or to make it pop.
his might be a bit challenging but if you break it down and look at 1 section at a time its not that difficult.
Below is a final sew out of the hat. I used a 39 THIRTY New Era Full Back cap for this.. Note when you offer 3D foam to your clients make sure you increase your price but 50% I charge $30 for a design like this, the stitch count was 21576 because of the high density to cover the foam
Author: Frank Profocator
TREADING on DISASTER
I wen to a customers 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, and I wanted to see why, they embroidery designs he has run worked for previously on his equipment and he mention he having a lot of issue now. I got their and he said they added the screen printing business several month ago to their shop and the printing press is very close to the embroidery area. I said this is a problem.. If its not causing you issue now it will down the road. When you screen print you often use a lot of are sol 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.
The environment for any embroidery machine should be clean as possible as the needles and embroidery 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 embroidery 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.
You embroidery machine area should also be cleaned on a regular basis, this means wiping it down, oiling the machine and making sure its a clean environment. This will go a long way to helping your machine run smooth.
Depending on the type of embroidery thread, and size of thread you use this could also effect your embroidering experience, Most shops use a polyester thread and its more durable and generally easier to use. Its a bit stronger than cotton threads, and sometimes cheaper. The average thread types for most shops is 40 wt this is the most common size, If you do a lot of small detail or letters you may have 50 wt or 60 wt 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 20 wt or 30 wt thread you will need to be able to change your 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.
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 embroidery threads.
When on customer sites I often ask them when the last time they change their needles, I often get when they break,, A needle can drastically effect the clarity of your work, as well the sharpness of the machine embroidery 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 embroidery 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 metalic thread use a larger eyed needle
TROUBLE SHOOTING NEEDLE ISSUES
UPPER THREAD BREAKS,
Check the upper thread path, tension is incorrect or replace needle
BOBBIN THREAD BREAKS,
Replace bobbin, check bobbin tension, check upper thread path
Check upper thread path, change needle , do tension test, check size of needle
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 squenced 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.
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 a upper thread tension. Check bobbin tension and make sure your using the right backing for the material.
Here is a chart of what size of needles work with the different embroidery threads..
A clean shop and work area will help you and your embroidery 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.
Author: Frank Prokator
Original text by: unknown
Every embroiderer has been in a situation where an embroidery machine that was running smoothly only a day before, suddenly begins to break the upper or the underthread almost every stitch. Such a problem, in case you eliminate the possibility of mechanical breakage, is connected with certain processes, and also with the quality of the embroidery materials you use in your work. If such a situation occurs, try to solve the problem yourself before calling a service engineer. In this article we tried to describe possible problems and their solutions, ranking from the easiest to the complex ones. Resume the embroidery process after having done this or that, to check if the problem has disappeared.
Why does the thread breakage occur
1. Upper thread
Tension regulation. Check your upper thread tension. Often the reason for the thread breakage may be too tight a tension.
Wrong threading may be the reason for thread breakage, too. In this case rethread your machine in accordance with the manual.
An upper thread of poor quality. If breakage occurred after replacing the upper thread, get back the bobbin you used before that. If breakage stops, buy embroidery threads of some other brand.
Rayon thread. This thread often causes thread breakage trouble for beginners. Threads literally "leap off" the bobbins. This problem is very easily solved. Place a grid on the bobbin case and reduce the embroidery speed.
Metallic thread. When working with this thread use a special grid, set a needle for metallic threads, and also reduce the embroidery speed.
The wrong size of the bobbin. However strange it might seem, such a problem exists. Check your manual to see what type of the bobbin is recommended for your machine.
Wrong winding may become the reason for thread breakage, too. In this case unwind the bobbin and rewind it after that.
Wrong threading. One of the common reasons for thread breakage. Carefully read that section in the manual that describes how to insert the bobbin, and do accordingly.
Thread thickness. One of the well-known reasons for thread breakage. Some of the sewing-embroidery machines just won't work with a very thin bobbin thread. In this case you should get a thicker thread.
All sewing and embroidery threads have their own thickness, determined by the number. The greater the number is, the thinner is the thread, and vise versa. For example: An upper thread #200 is thinner than #30
Glue particles adhere to the thread and the needle, holding back their movement, which causes the thread to break. If that's the case, stop the machine, clean the needle with alcohol, and rethread. Repeat every time your thread breaks until the embroidery will be completed.
After that refrain from using this particular type of adhesive stabilizer or spray adhesive in your work.
On the internet you can find many recommendations on the original use of various materials. You can count the use of double adhesive tape and sewing stabilizers, which are not manufactured specifically for our purpose and may cause thread breakage. The problem itself, together with the solution, was described above.
If the cleaning does not help and the thread continues to break, stop the embroidery and change the stabilizer.
A bent needle, burrs and a blunt needlepoint may also be the reason for thread breakage. In this case change the needle to a new one.
Also if the needle type is wrong for the particular kind of fabric, this may lead to the thread breakage, too. Read the information on how to choose needles, in our future articles.
In some embroidery machines the bobbin case used for the embroidery is different from the one used for sewing. If you have encountered the problem with thread breakage, check the one that is currently in use.
Burrs on the bobbin case are often the reason for the thread breakage. Take out the case and inspect it. If there are burrs and scratches present, polish them with a soft abrasive cloth. When it will be possible, buy a new bobbin case.
Scratches on the throat plate caused by the needles hitting it may lead to the thread breakage. Inspect the throat plate from above and from below, and if you find burrs and scratches there, think of buying a new one.
All in all, you're taking a gander at getting sewing machine surveys a fresh out of the box new sewing machine? It manages without asserting that obviously, you wish to guarantee that you get the best sewing machine for you - the one that is going to suit your prerequisites.
All things considered, preceding you go on and make your buy, it's a shrewd thought dependably, to do a tiny bit of study furthermore a touch of heart looking to really get clear in your psyche precisely what you require furthermore exactly the amount you expect to contribute.
By taking this tad bit of time and setting in a touch of thought before giving over your hard made bucks, you could help to ensure that you ration yourself from the aggravation of having a machine that does not do what you oblige it to do and the conceivable monetary strain, that can be made later on by over contributing on your fresh out of the plastic new machine. So permit's begin with the two key worries to ask all alone:
To start with - How much would you like to contribute?
This is a really crucial worry to ask all alone preceding gaining your sewing machine, else you may find yourself escaping in a fantasy universe of sewing open doors and also spending route more prominent than you can figure out how to on your fresh out of the plastic new machine, abandoning you fiscally reached out and also lamenting your buy later on - when the happiness regarding your new toy has slowed down. Sewing machine rates can vary from as meager as $30 to $1000's contingent on the limits of the machine.
So pick what is the ideal amount of cash you consent to contribute and afterward find a machine that will unquestionably do precisely what you fancy it to - inside your rate range.
Second - What are you going to utilize your living arrangement sewing hardware for?
Why do you crave a sewing machine? Is it only to heal furthermore repair administrations? It is safe to say that you are thinking about doing somewhat standard sewing? On the other hand, would you say you will do a lot of sewing? Making pieces of clothing, doing knitting or specialties?
On the off chance that you just wish to do some standard sewing or repairing then you'll no doubt require a hardware that does the major lines, for example, straight fasten, crisscross and conceivably a couple substantially more which accompanies an essential presser foot, potentially a zipper foot and additionally a catch opening foot.
An essential machine, for example, this will surely empower you to do repairing, repair function and also some fundamental sewing if that is exactly what you crave.
In any case in case you're considering doing substantially more perplexing sewing employments or utilizing your sewing machine a ton, then it will be justified regardless of your while to get an a great deal more unpredictable machine that has more options coordinated in, for example, an expensive determination of implicit lines, programmed switch holing and included reward offer machines, for example, distinctive particular presser feet that could make testing exercises simple.
There is some exceptionally modernized sewing hardware offered today that simply make life significantly less confounded and make sewing exercises so much faster. Decisions, for example, one activity catch openings, where whatever you do is associate the right presser foot, press the perfect catches furthermore away it goes - the machine does everything for you. Speedily furthermore rapidly.
Different choices, for example, computerized threading that may not seem like a colossal arrangement, however when you're modifying cotton routinely, could be a lifesaver! These sorts of capacities can ration a group of time furthermore make you a lot more productive. In case you're planning on doing a lot of sewing, these sorts of components will empower you to accomplish more in a shorter time which is something to be thought about.
In this way, have a consider exactly what you mean to accomplish with your new machine, the amount you need to contribute and subsequently concentrate on different models to locate the absolute best sewing machine for you!
In the apparel decoration we have a wide range of methods to decorate garments with in this blog we are going to give you some insights on changing it up and spice to your designs. We have some general tips on how you can incorporate other decorating methods into your embroidery and still make the embroidery design look great.
Threads and impact
In the apparel decoration shop we normally only use 1 set of needles and 1 type of thread, some shops may have a variety, but we can change that. Standard embroidery thread is great for 75% of the logo out their but their are some specialty threads and circumstances that you may want to have alternates on hand.
Ever wonder why some shops can embroider very small text and you struggle with it , well its all in the thread, if your using a standard needle and standard thread it is very difficult to make your letters defined. Here is an example of text sew at 5 mm that looks clean as it was double the size.
The trick is in the needle and thread size.. we used a 60 wt thread which is half the thickness of standard 40 wt thread and we used a 65/9 needle this makes a world of difference for small lettering.
Large text you will need to make some modification to make it look good, one way is you can change the fill pattern to smooth instead of a satin stitch, in your software it will tell you how large fonts can be used prior to having to change the pattern of the design.
Tip "Applique Made Easy"
In some larger shops you may have access to an Io line cutter that can cut twill or fabric and used in the applique process. However us smaller shops do not have this equipment. But if you need to stand out and make unique designs here is a tip that easy to do and you may have the font already.
What You Need
•Non-Stick Embroidery Machine Needle
•Appliquй Sew File with Satin Stitch
•Heat seal (materials without a carrier)
•Heat Printing Pillow
1. Make a design with a placement stitch and satin stitch border .
2. Hoop your fabric and sew out the placement stitch .
3 Cut a section of heat transfer material 2" larger than your design. Remove carrier if using a CAD-CUT material.
4. Lightly coat the back side of the heat transfer material panel with spray adhesive.
5. Position material panel over the placement stitch, ensuring all areas of stitch are covered.
6. Sew satin stitch around the heat transfer material panel with machine speed between 500-700.
7. Rip-away excess heat transfer material and weed out any cavities.
8. Heat press the garment once embroidered and removed from the hoop this is a great looking easy applique design which can be used in a wide range of garments and works with a wide range of heat transfer vinyls.
Ink transfers and Embroidery
This technique doesn't need to be hard, Treat it like an applique put a mark in the image of the center point, either use transfer paper or a digital printer to print the background image and then when you line up the embroidery center the needle on the center point of the design. This will allow you to create a illusion that it was all done at the same time. See the image below. ( Samples )
Applique backgrounds and Embroidery
This applique was machine embroidery design for carpet, as when you digitize for carpets you have to use fills as if you use a satin stitch it will often break the needle. However having to stitch out a design this large with a complex fill I use applique as much as possible. So for the center part of this design I filled the black area in with Black Leather. To give it a standout texture.
The methods on this may be out side of the box but they are used in some embroidery shops that want to stand out from the competition.
Drop Shadows and Simple Borders
Adding A Drop Shadow
1. Start with a NEW page in your Tajima Pulse version 14
Go to " New File "
Choose " Blank Design"
Click " Ok "
2. Click on your line angle text tool .
3. Enter in the name " John " it should be about 1 inch tall and about 3 inches long or proportional.
4. Now we can add the Drop Shadow,
Select the text on your screen
Go to the properties tab on the right
Scroll down to where it say
" Auto Shadow "
Check the box beside " Drop Shadow "
You will need to set the offset
Change the X offset to 0.05
Change the Y offset to 0.05
Change the thread color to 2 or desired
Adding A Border to Text (Simple)
This technique is designed for Tajima DGML by Pulse Version 14 Maestro users, while you can if you know how to digitize you can accomplish adding a border to a font generally its quite a bit of work. The difference between this option and the simple is this make a steil border and the simple add a satin stitch underneath, this option only works with a limited number of fonts.
1. Start with a NEW page in your version 14
Go to " New File "
Choose " Blank Design"
Click " Ok "
2. Click on your line angle text tool .
3. Enter in the name " John " it should be about 1 inch tall and about 3 inches long or proportional.
4. Now we can add the border ,
Select the text on your screen
Go to the properties tab on the right
Scroll down to where it say
" Fill Border"
Check Add Border
Change the Border offset to 0.03"
Change the Border Color to Red
Change the Border thickness to 0.03
Now you know how to add special effects to standard fonts, depending on the font the results may vary and depending on your level the option may or may not be available. This tool can be an asset to anyone that needs to add a border to text , while its not a Steil border it gives the illusion that of a border. It can save you an hour of embroidery digitizing by a few simple clicks.
Charge Extra for adding a border to text.
Samples with Borders
Look at these popular fonts, Heather , Marker Brantford.
Author Frank Prokator
Ten Tips for Baseball Cap Embroidery
Embroidery on caps is one of the most challenging tasks, because they have a whole set of special features that render usual embroidery equipment unfit for them.
Use only those caps that will really fit your cap frames. It doesn't matter what you're doing: walking along the street, taking part in a corporate event or even — you never know — supporting you team during a baseball match, you see baseball caps everywhere, and they all look identical to you. What you can't even imagine is that there are numerous types of baseball caps depending on their size, shape, number of panels, and that means that not every type will fit your cap frames. In order to avoid poor quality embroidery, you should buy several models of baseball caps and try to embroider a pattern. See where it fits better. Try to offer only these types of baseball caps to your clients, but in case they insist on a particular model, see if it fits your уour embroidery equipment first.
Don't economize on cap frames. The law of embroidery on baseball caps states that it is better to spend some money in order to buy various cap frames than to be able to embroider very few types of caps. So, if you plan to offer some promotional embroidery on baseball caps to your clients, buy a selection of cap frames. By doing so you will considerably expand your possibilities.
Buy a 270 frame, too. It is useful because it enables you to embroider both the front and the sides of the cap simultaneously. Such a cap will look good and creatively different.
Don't let the embroidery design height slip you mind. Every cap model implies design height of it's own. A 5 cm design height is standard for cap embroidery. If a design is too big, embroidery in the areas beyond the recommended 5 cm limit will come out warped, possibly with other defects. But you can go up to 5.75 cm on low profile and up to 6.25 cm on high profile.
How to handle a wide design. If the machine embroidery design on the front of a 6-panel baseball cap is wider than 10 cm or you need to embroider small letters close to the peak, you should digitize from the middle of design outward.
How to cope with puckering seams problem. Puckering center seams are the embroiderer's nightmare. They cause pulling and warp, which may damage your work. But there are some helpful tips on how to make an embroidery over a center seam neat and good-looking.
Try to choose baseball caps with flat center seams, this will help to avoid tension and warp.
Use a 80/12 needle, it won't bend when penetrating a seam.
You should also use a sharp point instead of a ballpoint needle.
Better use teflon-coated needles, because they penetrate the fabric more easily than traditional stainless steel ones.
Also use polyester thread, which is stronger than rayon and will reduce the chance of a embroidery thread breakage.
If your design includes lettering with an outline, digitize so that one letter is complete before moving to the next letter.
Choose you stabilizer properly. If you embroider on a soft cap, use a stiff backing or the design will be distorted. If you embroider on a leather cap, increase stitch length and column width whilst reducing the density of fill stitches, because the large number of perforations creates the "etching effect", and the design may pop out. Use a single, continuous piece of backing when working with a 270 frame.
Use your appliques carefully. Better not to use heavier weight fabrics with a high pile, such as corduroy or fleece for appliques on baseball caps. The stitches will sink into the pile and become invisible.
Digitize a unique machine embroidery design for a cap. Some "experts" think that for a cap you can use a design digitized for an embroidery, say, on a pocket. Though these designs may look alike, they use different types and density of fill stitches, and also different techniques. Please remember that baseball cap designs should be digitized separately and be unique, or the unsatisfactory result will be guaranteed.
Before ordering a embroidery design for embroidery on baseball caps you should tell the master all information required: the fabric of which the caps are made, the number of planes, the width of the center seam, the height of the crown. This will help to create a quality design.
When you first install Tajima Pulse version 14 you will notice the environment has been changed quite drastically from previous versions in this Blog we will take a look at the new tools and help you turn on some features that will make your life easier.
New Start screen
This start screen is the new landing page for the software, this cannot be turned off or by passed in any way. We will show you some areas that you can access or use.
You will notice that some of the tools bars have changed and that you may be wondering what some of the tools are.
We will show you the difference between the tools, Not all levels have all the tools. Please contact your distributor for clarification on your level. These blogs will illustrate the Maestro tool level.
File Open Toolbar
All the levels should have this toolbar, some icons have been removed or change to suit Tajima DGML by Pulse Version 14
Text Toolbar , these tools work the same on all the levels that support lettering.
Depending on your level the tools allows you to edit, manipulate parts of the design, depending on the embroidery design.
Stitch Select Tool , Is an old tool for editing the individual stitch points within a embroidery design.
Artwork Toolbar , for working with , importing artwork, tracing artwork and using Draw Fusion
Artwork Tools , In previous version Tajima embroidery software you had to right click to access these tools they were in the digitizing software now they just have icons to make them easier to access then using the right click.
Transformation Toolbar, This toolbar is new but you formerly could access the tools via the mouse right click.
Machine Output This option for those of you that have your Tajima machine hooked up via LAN or Serial can output embroidery designs from your software to the machine without floppies or flash drives, Please contact your distributor for information.
Digitizing Tool bars Please note only Creator, Illustrator Extreme and Maestro levels will have some of these digitizing and editing tools, Some tools are optional for some levels contact your distributor for information on what level you have and features.
Work Space Toolbar This toolbar is standard in all the levels in Tajima embroidery digiotzing software,
Author: Frank Prokaror
When learning the embroidery digitizing software its important to understand the different type of fonts that are included with your Tajima Pulse Software. In this blog we will cover what the font symbols mean, the limitations and options for the selected fonts.In the above image you will see that there are five distinct icons, lets go through and enlighten you on the font and uses.
(1) The old style font , this style of font's were digitized in Tajima Pulse version 7 and they do not have any new style options and or flexibility, however they are still used as they are slightly different than the new style counter parts. In your digitizing software you will often see both the old style and new style listed underneath the other.. see below.
So what is the difference.. The old style fonts sew each letter from the left side of the letter to the right, the NEW style fonts allow you to sew both from the left side of the letter or the right side of the letter, this is good when putting text on a cap you can choose sew out from the center and it will automatically sew the letters on the left from right to left and on the right side left to right, eliminating the push in the wrong direction.
Both fonts will look very close to each other ,
The new style of embroidery fonts will also allow you to add some options that in the past were very complicated to do. Now these are simple in mind that they add another layer underneath but for most purposes you can add a AUTO SHADOW and or a SIMPLE BORDER to the text .. this option is NOT available on the old style embroidery fonts.
To add a drop shadow ( Level Specific ) you need to high light your text, go to the properties, go to Auto Shadow, and then check the Drop Shadow check box, and choose your x and y distance and choose your color.
This option is level specific , to add the border you can simply go to your properties, Fill and border section and some option will be grayed out , however you may be able to change as indicated in the next image.
In the above image you can see that if you check the ADD A BORDER , than you can set the offset, choose a color , change the density and adjust the thickness.
Please note this is an ILLUSION as it adds another satin stitch underneath the other giving the impression that it has a border, due to the size limitation of the satin stitches you will have to judge the border relative to the overall size of the satin stitch used. ( Satin stitch is limited to .42 inch in column width)
In Tajima Pulse some fonts will be labeled as secured, these are added to your device and have to be purchased usually independent of the level, although they are sometimes packaged in options from your distributor. You can also purchase embroidery fonts that you need.. Unsecured fonts are general fonts that come with the digitizing software.
The last embroidery font options are what they specify and outline fonts, these will generally work with the Dynamic border option using the simple border
In review this is a very simple option to simulate a border on text and for most non digitizers its allows you some flexibility to make a standard font into a two color font. Works great on hats. Tip.. make the foreground font density higher than the border density.
Author: Frank Prokator
When embroidery digitizing or just doing text it very important that you understand trims and locks many times they go hand in hand as often if your applying a trim to a machine embroidery design, you should be applying a lock stitch. Depending on the type of garment the use and your personal preference you can choose to put locks around trim stitches.
Trims A trims is when the machine cuts the thread before moving to another part of the design, this also can be done manually on older machines,.
Locks A lock or lock stitch is a tie off after a trim, this locks the stitches down so they are less likely to unravel.
When you start to embroider or digitize you may not have any personal preferences when it comes to trimming or applying lock stitches. Trims often appear like little scissor like icons when you have your commands turned on.
Most times you will use locks around trims as it can help prevent the stitches unraveling when the material gets pulled on. There are several types of rules for locks, and several different types of lock stitches.
There are several rules that you can choose to apply I like to use Basic lock stitches for most of my embroidery designs. I like to use locks on all stitch types although especially when trimming. I only like to trim when its necessary or when I cannot avoid it. Depending on the applications and or material it vital for locks to be applied to trims, specially on performance wear, dance wear, field where or construction field any application where the garment is exposed to rubbing, abrasive conditions.
Applying Trims and Locks
When your punching a embroidery design , you can either setup recipes, for your personal preferences or you can add them as you punch. As often you will need to do as you punch a design as you can control where and how to apply the rules. Give example on a embroidery design I do not like trimming, however on text unless their touching I always trim. However I always use locks no matter the stitch especially when working with text, except for script lettering I will not trim in them but I will add lock stitches. When you have a segment in Tajima Pulse version 14 you can either add trims and locks at the top of the screen.
In version Tajima Pulse 14 there is also a feature to place the lock stitch on the inside of the letter it past version the locks sometimes would stick out from side of the letter, to use this feature in the latest build of version Tajima Pulse14 in the properties section where your trims are, see below;
This section is new if you check it it will place the trim starting inside the letter. This is a great feature for lettering.
Author: Frank Prokator
This is a brand option for Tajima DGML by Pulse version 14 users, This allow you to catalog your embroidery fonts, I would recommend that you set them up as they are in the help menu to make it easier to find them. You will need the latest version of Version 14 22.214.171.12467 or newer. This will help you find the style of font for your job and manage your list.
Putting your embroidery fonts into Categories
1. Start with a NEW page in your version 14
Go to " New File "
Choose " Blank Design"
Click " Ok "
2. Open the Font Categories
Go to " Tools "
Choose " Manage "
Click on " Font Categories"
3. I recommend the following categories
4. In the Font Categories window
Click on " New "
5. Name the font
Go To " File Save as "
Type in " Block Font "
Click " Ok "
6. Add the Block Fonts
Using the Help as a reference
Select the Block fonts
Click the top arrow
7. Repeat until all the block fonts are added TIP if you hold down the " control key " you can select multiple items at one time to make the process faster.
Save the Font
Go to " File "
Click on " Save "
8. Repeat until you have all the categories added
How to use the Font Categories
1. Start with a NEW page in your version 14
Go to " New File "
Choose " Blank Design"
Click " Ok "
2. Click on your line angle text tool .
3. Enter in the name " John "
4. To use the Font Categories
Click the ... beside the font names
It will show you a list like this
5. High light the category and select the font..
Author: Frank Prokator
Spiral Chenille Tool
When you convert artwork to Spiral Chenille ( in Tajima Pulse Maestro embroidery digitizing software) or draw with the tool it will default below;
Spiral Chenille Properties
Order of the stitch types,
Spacing settings between the segments or chains
Moss Path Settings
Spiro Fill Settings
Chain Walk Tool
This tool allow you to draw standard Moss embroidery patterns or segments
Moss Walk Tools
This tool allow you to draw standard Moss swirl patterns or segments
Here is the settings for controlling the swirl densities
Author: Frank Prokator
In the previous Introduction we covered some terminology, and some explanation of the different embroidery stitch types in this section we will look at the settings for those embroidery stitch types.
Chenille General Tab Settings
The General Tab for Lattice Chenille has a section called Before fill, Moss Fill and After fill.
Before the fill you can choose to have items a None, Chain, Moss depending on the embroidery design needs below shows the different items in the artwork, settings and how it should appear.
The moss fill can be set to None, Contour, or Lattice.
Here are the setting for after the fill
Minimize Cross Runs for lattice option
This option allows you to choose which segment sews first
Author Frank Prokator
When working with embroidery designs you will come across some limitations on size of text, this is where some back ground information is very helpful. We will cover which Tajima Pulse Fonts have been digitized for larger sizes, how to make a standard letter larger and other options
When working with text its important to know the limitation of the satin stitch. The maximum stitch length for satin stitches is .50-.54 depending on your embroidery machine, however I recommend no more than .40 inch as it will be come loopy. You will have to watch the sample sew outs on similar fabric to judge how large you can go with your lettering. To give you a hint your software has a section called "FONT HELP" In their they list all of "Pulse Fonts" and they have information on which fonts can be used and how large you can make them.
1. Open a new document
2. Go to help.. select fonts
Find the font called 2 Col Athletic 75-150 font and view the properties.
In the above image at the bottom right side of the screen it will show you the minimum and maximum size for this font. This font should work up to 5.9" in height without manipulation.
Here are some examples of standard large embroidery fonts in your embroidery digitizing software, there are more.
Two Color Block Min 0.98 inches/25 mm Max 2.56 inches/65 mm
Two Color Greek Min 0.98 inches/25 mm Max 2.05 inches/52 mm
Two Color Villanova Min 0.98 inches/25 mm Max 5.9 inches/150 mm
Western 2 Min 1 inch/25 mm Max 4.92 inches/125 mm
Well this is great but very limiting , what if you need a font such as Full Block which has a maximum height of 1.38 inches/35 mm , whether this is where knowing your digitizing software pays you back. Any font can be made to sew out large as long as you know what to do..
Put a letter L using the Full Block font on your screen make it about 5 inches high. You will see that alot of the stitches do not show up.. and if you measure the column with the ruler tool , the column width is .90 inch , (note sometimes the software will show it past the .50 inch ,you always need to know how wide the column is making sure its no large than .40 of inch, or it will have issues.)
Now we can adjust the letter so it can be sewn at this size
1. Right Click and go to the properties.
2. Find the Satin Tab.
3. Change the Satin Pattern to Pattern 1
When working with large letters you will need to make sure your underlay, density and compensation is set for the type of embroidery design, fills tend to have a lot of PUSH or PULL on your fabric, you will need a fair bit of underlay like a contour stitch and possibly a zig zag stitch which will also help with the density. Make sure you use med/heavy cutaway for this type of machine embroidery design.
For digitizers you can always digitize applique or make your own fonts.
Author: Frank Prokator
In digitizing machine embroidery designs its important to understand the embroidery design characteristics, this helps if you have taken some time of art courses as it can prepare you to look at the embroidery different. It also depends on the size, and quality of artwork you have to work with.
In this blog we are going to look at the three "D" of digitizing, Depth Density and Dynamics. Whether a embroidery design comes from a line drawing, clipart or a photograph, you need to understand how to get the digitizing software to be able to recreate the density, depth and dynamics of the design. This is not an easy task as you really need to know some settings in your embroidery digitizing software.
Lets take a look at a embroidery design and how it was made.
ORIGINAL IMAGE AND DESIGN INFO
LAYER 1 BACKGROUND
LAYER 2 HIGH LIGHT OF TREES
LAYER 3 DETAIL OF TREES
LAYER 4 AND 5 GRASS AND FENCE
LAYER 6 CHEST BACKGROUND
LAYER 7 AND 8 DEPTH AND DYNAMIC OF THE CHEST
LAYER 9 AND 10 CHEST HIGHLIGHTS AND ANTLERS
LAYER 11 HIGH LIGHT OF ANTLERS
LAYER 12 DETAIL OF ANTLERS
LAYER 13 HIGH LIGHTS IN DEER HEAD
COMPARISON FROM THE ORIGINAL IMAGE TO THE SEW OUT OF THE EMBROIDERY DESIGN.
The image on the left is the original image supplied and on the right the sew out ,
Organizing your Designs in DG15
At the end of last year Pulse Microsystems launched their newest version of their embroidery digitizing software, its called TAJIMA PULSE DG15 this program while it looks the same as DGML by Pulse 14 their is a lot of changes under the hood. Which makes organizing your designs easier and it even expands it for getting access to your designs on the road, at home or at other pc in your shop. This month we are going to introduce you to some of these new tools.
The drop box is a place for storing your embroidery designs and being able to access them from one pc to another is a smart add on to the TAJIMA PULSE DG15, when I worked for Pulse in the support department this was one thing they asked for all the time. This allows you the freedom to share designs from one work station to another, as long as they both have TAJIMA PULSE DG15 or access to the drop box. This options is included with TAJIMA PULSE DG15and makes for sharing embroidery designs from one computer to another very easy.
When you get TAJIMA PULSE DG15 you can register your product and get the Dropbox function activated which allows you to install a program on your pc and it sync with drop box so if you save an updated version it will sync with the online account., I use this when I need to sew designs up as my Embroidery Machine is in another location. I can save my files for the day to my drop box and I can access them at the shop computer, reduces the need for carrying a flash drive or forgetting a file.
You get 2GB worth of storage, so you can store a large number of designs, and if you need more space you can purchase it. I use this feature all the time since upgrading in December to TAJIMA PULSE DG15.
In the past to view files on your computer you either had to import them into librarian or browse via the open window, and when you found one you could click on it to view it. TAJIMA PULSE DG15 allows you to see all your PXF files in Windows Explorer I do not need to have TAJIMA PULSE DG15 open just the key plugged in.
Above you can clearly see the designs files in this folder . if you have a lot of PXF this way of viewing your embroidery designs is very easy, once you find the file you want just double click it and it opens up in TAJIMA PULSE DG15 I didn't know about this prior to me upgrading the only down side of this option is it only works with PXF files, I wish it would work with DST and other file formats.
Another innovative technology is to move the software to a whole new realm, Mobility, with the use of Pulse Cloud you now can access your design library on mobile devices, laptops and anywhere you have the internet. This is a standard option in the TAJIMA PULSE DG15 packages and is available to all levels. For customers that already have the design spooler and newer LAN based machines they can even send designs to the queue, monitor jobs in the que, and even get some reports on the machines.
This option allows you to view the designs on your mobile devices, and or another computer, if your machine is networked via ethernet cable you can send the design to the machine. I have not been able to test this yet, but I have used Pulse Cloud to show customers their designs in the field on my tablet. You can add comments, download the file on other pcs. share the design to Facebook, Twitter and Pinterest, In addition you can edit the text and more.
Browse Designs from any Device
• Constant access to all your designs from any mobile device
Create New Designs
• Use templates to create beautiful personalized embroidery designs
Monitor Machine Status
• Keep an eye on your production floor from anywhere
Send to Machine
• Send a design straight to your embroidery machine from the Pulse Cloud
• Allows you to view thumbnails of all your PXF files in your folders without Pulse open
Machine embroidery design management
When you enter into the embroidery business you will soon learn individual ways to track and organize your embroidery designs, some people use a specialty program, a filing systems on your computer, a database and other. Today we are going to take a look at organizing your designs with Librarian. This tool has been around for a while, while it has some limitations its a great tool for searching for designs.
What is Librarian
Librarian is a single user database that has been built into Tajima DGML by Pulse since version 11, the main structure of the database has not changed much over the years. This database allows you to store your PXF or a wide range of other stitch files. This database allows you to enter in information about the embroidery designs from vendor, special notes, it also keeps track of size, colors and more. You can search by a wide range of topics and or view the designs by image. It depends on how much type you want to spend setting it up.
Where is librarian , it can be found at the top of your screen and is available on a wide range of levels..
This tool is one of the most ignored tools in your software, when I worked with Tajima Pulse most customers did not know that it existed or what it could do for them, not to mention that it also comes with the option of a 1000 machine embroidery designs to start up with. While the designs are free its up to you to add them if you want them. When opening your software for the first time and you open librarian it will prompt you to choose a BLANK Database or PREMIUM Database, If you choose blank it will not show you any designs until you add them , if you choose premium database it will give you 1000 machine embroidery designs.
If you click on the Librarian tab at the top of your screen you will get a menu similar to the one I have illustrated below.
Open Design This allows you to visually view the embroidery designs in your database.
Search This allows you to search by various fields if entered
Save Design Manual way to add machine embroidery designs from your workspace to librarian
Save Design as Same as above but allows you to make a different version of another design.
Groups You can store embroidery designs in groups to catalog the embroidery designs easier
Favorites Allows you to set embroidery designs up as favorites for quick reference
Database info Path to the database for backing up and seeing how large your database is
Import A option for mass loading your designs, however it doesn't enter any additional data
Rebuild icons Sometimes the database will loose some image files, this option rebuilds the image files.
Multiusers This is only available to users that purchased the items.
Setting Librarian UP
Prior to setting up your librarian for the first time you will need to make sure you have permission to allow your system to right to restricted areas of your computer. Librarian needs permission from your windows to access this area. Contact your local distributor for help with this if needed.
When you click on the Open option in Librarian menu you will get the following screen .
This screen is a bit confusing for some while it may seem like you can choose the various options, you need to setup your librarian to use these features, the easiest method for this window is leaving everything as default and clicking open., There one option you may want to look at the datatype, this will also depending on what file types you have in your database.
The types included all embroidery files, stitch designs like DST, PSF and home embroidery formats, Outline files like PXF, POF, chenille embroidery designs and outline chenille designs.
Stitch Files Stitch files do not retain the color information in embroidery designs, and have limitation on sizing and editing
Outline Files These are the best files to save to librarian as they save all the editing information, and color info of designs, just like saving them to your system
Chenille files are only available if you have a chenille embroidery machine.
When you click open it will show your digitized embroidery designs in your window, depending on how large your window is will depend on how many designs it shows, also dependent on how many designs you have in the database as well.
Opening a embroidery design
To open a machine embroidery design you can just double click it and it will open up in Tajima DGML or you can right click to get more options, The main option you likely to use is the properties tab, but you can play around with the other options as well.
GENERAL TAB This tab will tell you basic info about the design, including when it was made, name of the file,
Design TAB This tab will show you information about the design including, Designer ID, Customer, Design dimension, stitch count, number of colors, number of trims etc.
User Tags Optional, I have used these tabs to hold customer information, you can also add notes or special instructions to the file as well
Color Information This tab will show you the color information of PXF and PSF and POF files but not dst files
Attachments Optional, I use this if I store a customer logo , I attach the original artwork to the database file
Groups Optional, you can add (1) embroidery design to several different groups. Dog design can be added to a Dog group or an animal group.
This option is listed as Import , but its basically a option of loading multiple designs at one time. This is a very taxing process for the computer as it has to generate alot of information for your files, You should do this when you do not need the machine for any other embroidery digitizing software task.
To use this option click the file types you want to add, choose the location where the embroidery designs are and click next and it will begin uploading you may also get a note that your embroidery program is not responding, ignore this and come back later.
When its done your screen will go back to the original window, Now you can go back into Librarian and see the machine embroidery designs you have added,
Now if you the import option you will need to add other details to each file if you want to know the vendor etc.
Searching Embroidery Designs
If you mass load , you will not be able to search all the fields, unless you edit each file. when you search for a machine embroidery design you can search by the following criteria
Design ID Optional , this needs to be manually added
Customer Optional , this needs to be manually added
Description Optional , this needs to be manually added
General Key Optional, but rarely used
Status Default is Production
Designer ID Optional , needs to be added
Customer Optional , needs to be added
Desing Dimensions Size of the design
Atributes Stitch Count, colors, trims, jobs etc,.
There are some other tabs but blank by default If you want the information to be all added its best to add designs as you use them , or several a day in your free time.
We are going to take a look at some advanced tools that are available for Illustrator extreme and higher.
In the above image I have high lighted the Tajima DGML by Pulse Illustrator Extreme level tools, The tool marked in red include , Cross Stitch Tool, The Cross Stitch Fill Tool, Star Tool, , Applique Tool, and Applique Cut Tool and symbols tool.
The Tajima DGML by Pulse Maestro Level will have all the tools Cross Stitch Tool, Cross Stitch Fill Tool , Cascade Fill Tool, Fur Stitch Tool , Star Tool, Radial Fill Tool, Spiral Fill Tool, Applique Tool , Applique Cut Tool , Line Carving Tool , the Region Carving Tool, Symbol Tool, Manual Sequin Tool
CROSS STITCH TOOL This tool is used for making border stitches or small sections utilizing a straight or curved line. This tool you can specify the grid spacing and some sew out dimensions, it acts similar to the programmed run tool.
CROSS STITCH FILL TOOL This tool allows you to make filled in areas similar to a cross stitch pattern, it linear in the fill pattern, and can be used to simulate cross stitch designs and or when blending colors, I often use the cross stitch tool over top of a standard fill to simulate a grill on the front of a car, however it has many other uses as well.
CASCADE FILL TOOL This tool allow you to fill any shape with a linear fill tool that fills in a shape with a run stitch with minimal overlaps produced. You can specify the spacing and type of run stitch used.
FUR STITCH, This tool is basically a SATIN TOOL with some presents assigned to the design, this tool can be used to make some stunning embroidery designs if you take the time to plan your embroidery design out. The key using this tool is to make small grouped satin style stitches and layer them together. change the density and randomness of the fill tool for effect. In the design below the FUR STITCH was used hundreds of times, layered with different colors, and then topped off with a run stitch, this embroidery design is not for the faint at heart and with 22 colors 35 color changes, 101765 stitches, 6" W x 8" H it sews out great for those who have the patients.
STAR TOOL this is a simple tool and it allows you to make simple star shapes or circular shapes with a fill change the density to get different embroidery effects.
RADIAL FILL TOOL is great, its based on a SATIN TOOL so size is limited and you can offset the center point, I use this tool a lot for EYES on animals as you can easily make the eye appear to look in a direction. usually in combination wit the star tool.
SPIRAL FILL TOOL the name explains it a spiral shaped fill using a run tool and you can set the gap distance and stitch length. see image above..
APPLIQUE TOOL this tool can be used to make any shape into an applique. This will automatically give you the option of the position stitch, the tack down stitch and the border stitch all from the drawing, you can import artwork and convert it to the applique and it will make all three layers. Can be used with easily applique from Stahls or if you have an ioline or similar cutter that you can cut twill on you can make your own applique designs. The border options can be any of the satin stitch, steil stitch a programmed run or e-stitch.
APPLIQUE CUT TOOL, This is for exporting your applique drawings to a supported cutter.
LINE CARVING TOOL this is a great tool when working with fills, I have used this a lot on designs where I need to change the grain or make the appear to be a cut in the design, works great across the fill , I use it for car doors, to simulate a break where the door opens, it divides the fill. see below.
REGION CARVING , only works with carved tile fills and it basically allows you to put 2 fills in one area. See below. This tool can be tricky to use, draw your fill shape, make sure its on carved tile. Then draw your region fill.. press SHIFT G to force the software to generate, choose your pattern and press SHIFT G to generate again.
SYMBOL TOOL this tool has a few hundred preset shapes usually basic in nature but readily available great for small detail that you need to add like stars, and leaves and similar designs , Click on the tool, choose your shape, size it and your done.
MANUAL SEQUIN TOOL , This allows placement of sequins manually, To use this option you must have a sequin attachment for your embroidery machine. Doesn't work with embroidery portions.
Author: Frank Prokator