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Beautiful design, Morning owl look amazing.

This embroidery work up perfectly and stitch out nicely. 
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Excellent stitches and original style

Stitched out beautifully! Looked amazing and no issues!
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Loving birds.. Wonderful designs, stitched out beautifully

Really cute, You love this when you stitched it. Would love more of same designs.
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Our designs looks great

Stitched out beautifully! Wonderful decoration!
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Adorable design. Stitches out beautifully.

"Thanks so much for this design It's lovely and stitched out beautifully on leather."
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News about machine embroidery software and digitizing.

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Tips n Trick, Introduction to Advance techniques


BORING TOOL   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. INTRODUCTION 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. BORING TOOLS 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. BORING TIPS - 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. EXAMPLES 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. CORDING TOOLS 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. CORDING TOOLS 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. Cording Tool 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. Cording Tool 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

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Digitizing, Introduction to sequins and settings.


Sequin Introduction Sequins are easy to digitize with the newer software, once you understand the basic and rules for digitizing. In your Tajima Pulse software the tools will automatically lock the sequins, you can choose a variety of sizes and styles for spacing them. So you need the hardware for your machine, usually you can add it on after the fact, check with your distributor, for information. If you plan to punch using the manual sequin tool then you will need to know how to tie it off when placing your stitches. The automatic tools do this for you. General Rules - Don't use short stitches , you need to allow for the spacing on the sequins and the stitches for the machine. If you use short stitches you will run into needle breaks , embroidery thread breaks etc. - Take time with your artwork making it accurate as possible. - When ever possible use the automatic sequin options - Costing sequins will slow your embroidery down and you cannot cost it by stitch count as their are very few stitches. Sequins are applied using a special electro mechanical device that mounts to the head of a machine at the needle #1 location. A sequin wheel, containing a ribbon of sequins, is attached to the device and the ribbon is fed down to the sewing needle. When engaged, the sequin device enables the sequins to be sewn to the garment using a series of “tie” stitches. “Tie” stitches are essentially a set of small run stitches, usually three per sequin, that overlap the edges of the sequin and secure it firmly in place. You can purchase the option in Illustrator for the sequin and you can purchase fonts as well once you have a sequin attachment.   Sequin Fonts   Sequin Tool The sequin tool is based on the Bezier drawing mode, to review the different drawing modes, you can press B bezier on your keyboard , The fundamentals video we recommend everyone set the software to quick draw mode which is Q on the keyboard .. However for the sequin tools your best to use the bezier tools. Create a string of sequins by simply drawing the shape along where the sequins have to be dropped. It’s just as easy as creating a run stitch. Or, Import artwork and convert to Sequin in one easy step. You will need to know what size of sequins you are using so can adjust the space for them   Spacing options for how close the sequins are to each other can be controlled via the properties. TIP For sequins use mm for measurement its easier value to work with for this tool.   Sequin Tool In your software you can easily control the colors of the sequins, color change option.. There are various types of styles that you can use for sequins and tack down see below; Another options is you can add repeats to the sequins for the tack down used Sequin Tool In your software you can control the placement on the line, and the length much like fit to box .. You can control the tie off for both starting the sequin, and ending the sequence which can be set up to be automatic. In addition you can control the which way the tack down is placed ie North face tack down. And you can control the start and stop position of the sequin.   Run Stitch length for the sequin tools You can convert any artwork files to sequins , please make sure your artwork is clean as it makes the conversion easier than trying to edit it after the conversion. Simplify it when possible and allow space for the size and type of sequins. Sequin Fill Tool If you need to have a filled in area , the sequin fill tool allows you to space, offset, fit to shape etc. Very easy to use to convert artwork shapes to sequin fills. You can control the fill pattern like normal fills including having the sequins align straight or like the wave tool.   Sequin Fill Tool You can control the line spacing, pattern offset and traveling route, traveling direction fill tolerance, edge connections. Disclaimer Always check with your machine manual for options and setup of all settings the information in this manual is based on theory not on production. We do not have a machine to test or setup the embroidery designs.   Aurthor: Frank Prokator

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Tajima DG15 by Pulse new features and screenshots


Tajima Pulse version 15 new release! In the new version, we have improved many embroidery features of the program so you will have an increasingly productive tool compatible with new technologies. Have also improved integration with other apparel decoration specialties, making this version the most powerful multi-decoration professional embroidery digitizing software of the market. New features in Tajima DG15 to help increase your productivity include: Superior Anchor Point Functionality New Fill Options for Wave Effects and Complex Fills New Slice Options: Breakup, Rectangle Slice Advanced Quotation Estimator Increased Snapping Functionality Vertical Text Capability Touch-Screen Support Best Sequin Features in the Industry New Monogramming Wizard Accessible from your mobile device Superior Vector Features Users are easily able to add multiple anchor points. Anchor points can be quickly converted by pressing control and right clicking. Cusp to Smooth Smooth to Straight (results in Cusp) Symmetric to Smooth This new function helps users doing embroidery designs for carbon layer. Select one or more nodes with the Vertex Select Tool and right click on one of the selected nodes to open a function list for nodes. The Move Anchors option in this list allows users to enter values for selected nodes to be moved. Alignment features have been added for the following: Vertical alignment to top, bottom and center/none
Horizontal alignment to left, right and center/none Breakup can now be applied to virtual slice segments. This feature will breakup each sliced section. After breaking up, virtual slicing is lost and user can only use combine for branching. Rectangle Slice Tool has been created. New Fill Options for Wave & Complex Fills Standard and carved fills can be used together with a wave effect. This means that wave fills maintain the pattern assigned to them and do not distort the embroidery pattern. Revolving complex fill. Stitches generate in a revolving path Complex Fill Modifier will have repeats and patterns mirror those in complex fill. During stitch generation, it collects the overlapping outlines and settings and modifies the complex fill stitch generation in those overlapping areas.   Improved Quotation Estimator Users can rotate the 3D embroidery design image within the Quotation Estimator. This feature allows the user to pre-populate information from previously entered/stored customer data. Increased Snapping Functionality Users have the ability to select nodes and snap them to an art segment or snap them to grid. When modifying a segment snap to guidelines on the canvas. Snapping to anchor points is now available. Vertical Text Capability A Vertical Text Tool has been added. This tool includes vertical spacing between characters. The default value is 25% of the reference height of the embroidery font. Vertical text can be adjusted using vertical justify New embroidery machine integration features Display messages to machine operators on the controller through your design Set the maximum speed of the machine through your design Using the Latest Technology • DG15 takes advantage of the latest hardware and operating systems with powerful 64-bit processing and CorelDRAW X7 support PulseCloud lets you to create, manage and browse your machine embroidery designs from multiple devices. Moving into the cloud opens the door for various mobile and social possibilities, enabling you to take your business on-the-go and access your designs and machine status securely on multiple devices. • Browse your embroidery design portfolio • Create new embroidery designs and change text from templates • Send embroidery designs to machines • Monitor embroidery machine status

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Embroiderying on leather

Embroidering on to Leather Embroidering on leather is one of the most sought after applications by high end customers, including sports fans, corporations and more. In this blog we will give you tips and tricks on how to work with leather to help familiarize your techniques. The problem with leather it comes it different thickness, and different cuts or skins, making your life a battle. Leather Thickness You will be asked to embroidery on different materials for different applications in the image below you will find a chart that indicates the different thickness of leather. Its very important that you compensate your needles and threads and the design for the different thicknesses. Soft Leathers When embroidering soft leathers you will find that they can take a wider range of stitches as they have a bit of give to them. I recommend using a adhesive with your backing , I also recommend a weaved med-heavy backing to hold the stitches from coming through the back. I often use a 30 weight embroidery thread and a 75/11 sharp needle for this application. I tend to slow the machine down to 400 rpm Thick Leathers On thick leathers, from 4 ounces and thicker I recommend using a 75/11 Titanium Teflon Coated Sharp point needle and a polyester thread, I also recommend a weaved med-heavy backing to hold the stitches from coming through the back. I tend to slow the machine down to 400 rpm I also try to stagger the stitch pattern and avoid underlay, when possible. Depending on the thickness you may need to go to a 80/12 needle or a 90/14 needle if you end up with this make sure your using 30 or 20 weight of thread to compensate. Hooping Leather Depending on the type of hoop your using , you may want to place tear away backing where your hoops are going to be placed on the garment this will reduce the amount of marks left of the leather from the hoops sliding against the surface. If you have a clamp or magnetic hoop they work the best. Design Characteristics When digitizing your designs I recommend using programmed fills, and or light densities to create patterns, large fills with dense areas will cause the leather to rip. Opt out on this using a heavier thread type to fill in the area. a 30 weight thread you can often get away with a density of 50 spi and a 20 weight thread you can get away with a density of 35 spi. If you can use satin stitches, stagger the over laps, change the stitch direction when ever possible this will eliminate some of the over lapped penetration points. Keep trims to a minimum. Alternate Methods If you have the option I would recommend embroidering the embroidery design on to a structured surface like felt and embroidering that on to the leather. This is great for sports jackets, motorcycle jackets, and similarly style of coats where it make not take a heavy design. Applique can be used to make the jacket look great. Finishing the Garment You need to take great care in trimming the leather, it will not give like other fabrics, On some leathers the machine may leave foot depressor marks, caused by the machine, if you get these use a soft brush or tooth brush and stroke the leather this will often take the marks out. If the leather has nicks in it you may want to get a dye similar color to the leather and treat those areas. Samples 1. Appliqued embroidery designs stitched on felt. 2. Stitched on the arm of a garment . Author: Frank Prokator

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Tajima Pulse learning: Securing your work


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. Definition 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. Trims 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. Locks 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. Advanced Options 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

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Introduction to Chenille


What is Chenille ? Chenille embroidery is textured embroidery that is created by forming loop stitches on the top side of the fabric being embroidered. Using wool, cotton, or acrylic yarns, it creates a unique texture that sets your embroidery apart from common, everyday embroidery designs. What do you need ? You will need a digitizing level of the embroidery digitizing software, the option for Chenille and a Chenille machine, contact your distributor for information on Chenille machines and software packages. I recommend that you have Tajima Illustrator Extreme with the Chenille option pack and fonts. What units should I use? When working with Chenille its recommended that your units and density be set to the Metric system as it allows for easier adjustments on values. When using the Metric system every thing is a base of example 10 mm =1 cm one inch equal 2.5 cm or 25 mm. Recommend secondary tools In addition to using Tajima Pulse I would recommend you have Corel Draw for designing the vector files with all the offset set ready to go, I recommend Corel as you can bring the artwork in using the draw fusion tool. If you design all the embroidery designs you will have many more flexible tools for the artwork side before converting it into chenille, ( Optional) you can punch it in Tajima Pulse but it may be more time consuming. Chenille Stock Fonts When you purchase the Chenille option and font pack you will be given a few fonts , However you may want to check with your distributor about purchasing some of the specialty fonts available. Not all Chenille fonts listed are standard in the Chenille package. Check with your local distributor. Chenille Tools Depending on your level and whether you have the option for Chenille you may or may not have these tools. These embroidery software tools only work with the software for Chenille,regular embroidery machines do not need these tools.   Chenille Stitch Types When working with chenille its important to understand the different applications or types of stitches. In the image below we have high lighted different stitch type and what they look like, Chenille Tips When working with chenille you should have a good understanding of the settings, also you need to know how to use your vertex select tool, your artwork tools as its easier to convert artwork to chenille than draw with it. You will also need to know how to reduce nodes and edit the artwork for chenille. Computer Recommendations for Chenille Its very important to have a well tuned digitizing computer, I recommend a Pentium 4 or equivalent Quad core computer with Windows 7 or Windows 8 64 Bit with 8 to 16 GB of ram. I also recommend the fastest chip and at least a 64 MB video card for working on Chenille. If your computer is not fast enough you will have a lot of idle time when converting your large file, and or it will crash causing you to loose your work, the converting process is very taxing on the computer. Chenille Uses What can you use Chenille for often on sport jackets for racing teams, football , soccer team jackets and or specialized patches. It requires a solid structure to hold the wait, usually stitched on felt which is then stitched on to the jackets. How ever Letterman jackets can hold the stitching well.   Author: Frank Prokator

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Tajima Pulse experience: Three D of Digitizing

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 ,

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Tajima Pulse learning: understanding font icons


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. DROP SHADOW   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. SIMPLE BORDER 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

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Tajima Pulse experience: digitizing tools advanced


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

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Embroidery business: shop guide

In every embroidery shop you must have some financial understanding of how much money you need to earn to cover the cost of operating. This guide is geared to help individuals and or shops with figuring out their profits and pricing. We have made it form based and provide instruction on how to use it, this guide is FREE for anyone that wants to use it to help them get a grip on their pricing, designed for their shop.

We want to help everyone take the fear out of pricing for their needs, this also allows you to be more competitive as you will know where your money is being spent, we make the use charts, and forms all within the spread sheets, the first several sheets in the spread sheets are the forms this is wear you input your data, they include an expense form, machine form, garment information, design information. some forms will stay constant other forms will change per job you will be quoting.

This spread sheet will calculate cost per piece, time to produce, total job cost and much much more. Its a great tool for any shop. You will need a program like Microsoft Excel or a free program like Open Office to be able to use this program. It was made in Open Office which is a free program you can click on the link to get this office program.

This guide has fourteen pages , their are two documented pages of the guide, four forms for inputting data. Its critical that you take the time to setup these forms for your shop , your machine and your expenses. The garment form, and design form will change per job, its a great way to estimate job runs and expenses.
This guide is to simplify expenses, pricing and production in your shop, this fully customizable guide allows you to easily edit the information about your designs, your expenses and your machines. Fill out the the forms and it will then allow you to calculate pricing for your shop.
You will need to know basic calculations for your expenses, information about the designs, garment cost , and machine information. Everything else is preset in this spread sheet. All the calculations are built into this spread sheet.
Expense Form
The Expense Form is key to predicting your expenses which a lot of the calculations are based on, We use it to calculate what you need to make yearly, monthly weekly, and daily and hourly. Take the time to fill it out
Machine Form
This form is for you to put in the constant information about your machine, you should have knowledge of how long your machine takes to trim, make a color change, thread breaks, hooping time, regular RPM speed, number of needles, number of machines, number of heads.
Garment Form
This form will constantly change depending on the garment type, garment cost, preparation time, post production time in addition to shipping expenses and any other information with regard to the garment.
Design Form
This form will constantly change depending on the design job, you can get the information from your embroidery program, you should know the amount of stitches in the design, number of colors, size of the design, number of trims , number of color changes, number of heads, number of machines,
Garment Form
This form will constantly change depending on the garment type, garment cost, preparation time, post production time in addition to shipping expenses and any other information with regard to the garment.
Supply Form
This form is to record what backing price, and size of the roll, this allows you to calculate how much backing you will need and the cost, this helps you keep tabs on the cost of the job. (optional)
.ritz .waffle .s13{text-align:left;font-weight:bold;font-style:italic;color:#000000;background-color:#ffffff;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s9{border-bottom:1px SOLID #000000;border-right:1px SOLID #000000;text-align:left;font-weight:bold;font-style:italic;color:#000000;background-color:#ffff00;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s2{border-bottom:1px SOLID #000000;border-right:1px SOLID #000000;text-align:left;color:#000000;background-color:#00ff00;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle 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#000000;text-align:center;color:#000000;background-color:#00ff00;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s15{border-bottom:1px DOUBLE #000000;text-align:left;color:#000000;background-color:#ffffff;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s4{border-right: none;text-align:left;color:#000000;background-color:#ffffff;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s11{text-align:left;color:#0000ff;background-color:#ffffff;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s14{border-bottom:1px SOLID #000000;text-align:left;font-weight:bold;font-style:italic;color:#000000;background-color:#ffffff;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s3{text-align:left;color:#000000;background-color:#ffffff;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s10{text-align:right;color:#0000ff;background-color:#ffffff;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s0{border-bottom:1px SOLID #000000;border-right:1px SOLID #000000;text-align:left;font-weight:bold;color:#000000;background-color:#00ff00;font-family:arial,sans,sans-serif;font-size:12pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s8{border-bottom:1px SOLID #000000;text-align:center;font-weight:bold;color:#000000;background-color:#ffffff;font-family:arial,sans,sans-serif;font-size:10pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;}.ritz .waffle .s16{text-align:right;font-weight:bold;color:#008000;background-color:#ffffff;font-family:arial,sans,sans-serif;font-size:12pt;vertical-align:bottom;white-space:nowrap;direction:ltr;padding:0px 0px 0px 0px;} A B C D E F 1 SHOP EXPENSES 2 MONTHLY COST YEARLY COST 3 FIXED EXPENSES 4 EQUIPMENT LOAN $0.00 $0.00 The total amount paid on loans for your shop relating to embroidery. 5 SHOP RENT $700.00 $8,400.00 Your rent for your shop and or 50% work space in your house. 6 PROPERTY TAXES $200.00 $2,400.00 Property taxes, for your business if you do not own it mark as zero 7 EMBROIDERY SUPPLIES $20.00 $240.00 Embroidery supplies expense includes, needles, backing, threads, topping 8 BUSINESS PHONE $25.00 $300.00 Business phone, long distance expenses, message service expenses 9 BUSINESS INTERNET $25.00 $300.00 Internet or a percentage of shared internet for your home. 10 WEBSITE $10.00 $120.00 Expenses for your website on a monthly. 11 OFFICE SUPPLIES $10.00 $120.00 Office supplies, printing invoices, worksheets, copying, floppies,pens and pencils 12 OFFICE EQUIPMENT $10.00 $120.00 Computer equipment, USB drives, 13 BUSINESS UTILITIES $200.00 $2,400.00 Utilities related to the business. Portion of your home expenses 50% 14 BUSINESS INSURANCE $50.00 $600.00 Insurance for the business and equipment 15 HEALTH INSURANCE $100.00 $1,200.00 Health insurance for you ( can be omitted if you have another source for it ) 16 BANKING CHARGES $10.00 $120.00 bank charges, certified checks, money orders and credit card charges 17 PAY CHECK $2,000.00 $24,000.00 its very important to pay yourself. 18 ADVERTISING $100.00 $1,200.00 Advertising, business cards, pamphlets etc. 19 20 YEARLY TOTAL $41,520.00

A B C D E F G H I J K 1 DESIGN INFORMATION 2 3 MACHINE BRAND TAJIMA 4 MACHINE MODEL TFMX C1508 NOTE : When adding up the number of heads or machines for this form please note if you have a 8 head 5 NUMBER OF NEEDLES 9 and a 6 head and a 1 head. Just add up the total number of heads and put machines as 1. This 6 NUMBER OF HEADS 1 form is not setup for different machines at this point. 7 MACHINE SPEED 600 8 NUMBER OF MACHINES 1 9 COLOR CHANGE TIME 5 10 TRIM TIME 5 11 MACHINE SETUP 15 12 HOOP CHANGE OVER TIME 10 13 POST SETUP TIME 15

A B 1 GARMENT INFORMATION 2 3 GARMENT TYPE GILDAN T-SHIRT 4 GARMENT MODEL 2000 5 GARMENT COST 2.25 6 GARMENT SHIPPING 15 7 NUMBER OF GARMENTS ON ORDER 12

A B C D 1 DESIGN INFORMATION 2 3 STITCHES 5450 4 TRIMS 14 5 COLORS 4 6 COLOR CHANGES 6 7 COST PER THOUSAND STITCHES $1.50 8 DIGITIZING FEE 8.175

A B C D 1 CALCULATION OF WEEKLY, DAILY, HOURLY COST OF OPERATION 2 3 NUMBER OF WEEKS PER YEAR 48 4 5 WEEKLY COST $865.00 6 7 NUMBER OF DAYS PER WEEK 6 8 9 DAILY COST $144.17 10 11 NUMBER OF HOURS PER WEEK 60 12 13 HOURLY COST $14.42

A B C D 1 CALCULATION OF PRODUCTION COST OF OPERATION 2 3 NUMBER OF SEWING HEADS 1 4 5 AVERAGE SPEED PER MINUTE 600 6 7 AVERAGE PRODUCTION MINUTES PER HOUR 30 8 9 TOTAL AVERAGE STITCHES PER HOUR 18000 10 11 MINIMUM COST PER STITCH 0.00080 12 13 MINIMUM COST PER THOUSAND STITCHES $0.80

A B C D E 1 Basic Production Time Calculator 2 3 General Machine Information 4 Trim Time (seconds) 5 5 Color Change Time (seconds) 5 6 7 Specific Job Information 8 Hoop Changeover Time 10 minutes 9 # stitches in the design 5450 stitches 10 average machine speed (spm) 600 (true) 11 # color changes in the design 4 12 # trims (not including color change thread trims) 14 13 14 Calculated Production Time using speed VS stitches only 9.1 minutes 15 16 Calculated Production Using More Precise Info 20.6 minutes 17 18 Unexpected Downtime (percentage) 5 % 19 20 Realistic Production Time For One Run 21.6 minutes 21 22 23 Difference Between Production Time Calculations 12.5 minutes 24 25 26 27 What Does A Thread Trim Cost? 28 Average machine speed (spm) 600-1200 600 29 Trim Time (seconds) 10 30 100 (per head) 31 32 Number of heads 1 33 100 34 35 36 37 What Does A Color Change Cost? 38 Average machine speed (spm) 600 39 Color Change Time (seconds) (seconds) 10 40 100 (per head) 41 42 Number of heads 1 43 100 A B C 1 Pieces Per Hour Method 2 3 Hourly Cost $14.42 (from Cost Analysis Sheet) 4 5 Estimated Sewing Time Per Item In Minutes 9.1 (from Production Time & Cost Sheet) 6 7 Calculated Number of Items Sewn in One Hour 6.6 8 9 Digitizing Fee 0.68 10 11 Minimum Cost Per Item $2.18 12 13 Garment Cost 2.25 14 15 Minimum Price Per Item $4.43

Full calculation: Shop Guide.pdf

diver361

diver361

 

EOD 11 tip; Changing Density from the Option ribbon

You can change a section's embroidery density from the application's option ribbon. Follow these steps: 1. Select the section to which you are going to change the density. Click on the “Select Object” tool and on the section of your interest. Tool “Select Object” 2. On the corresponding ribbon, insert the new density value in the “Density (lines/mm)” cell, and press “Enter”. In the example we changed the density value from 4 to a new value of 6. 3.The section will change the density to the new value inserted. By taking the density value from 4 to 6 you will notice a bigger number of embroidery stitches in the section.

guyasyou

guyasyou

 

Tajima Pulse experience: Digitizing Small letters

Small Letter Introduction In this Blog we will discuss terminology, techniques and how to digitize small letters for best results. There is no one rule for all fabric when it comes to digitizing small letters as every fabric will sew out a little bit different and some experimentation will need to be observed. We have included some terminology to help you with terms and measurements. General Rules for small letters 1) Machine Settings: Approximate speed of 400 stitches per minute. 2) Needle Size: Use the smallest needle possible: 65/9 sharp 3) Thread: Use a lighter weight thread such as 50-wt cotton or 60-wt rayon. 4) Hoop: Use the smallest hoop that will fit the design properly. 5) Backing: Use extra backing. Add a heavy piece of tear or cutaway. 6) Spray Adhesive: Use spray adhesive on thin fabrics. Measurements In this document we will be using “mm” millimeters instead of inches as its easier to define the stitch length, and small measurements accurately. Here is a quick reference chart for you to use. 25.4 mm is approximately 1 inch
3/16 tall letter is approximately 4 mm tall
1/ 4 tall letter is approximately 6 mm tall
Tools Required To digitizing small embroidery lettering its recommended that you have and know how to use the following tools Run tool
Manual tool
Satin tool
Enhanced Column tool
Properties You should also be familiar with the properties windows and how to change the density and stitch length and pull compensation and be familiar with lock stitches and underlay. General Rules for digitizing small letters There are some general rules you should be aware of , but note they don't always apply but will the base line for making small lettering look good. Stitch length should not be less than 1 mm
For best results recommend using 65/9 needle and 60 weight threads
Use capital letters when all possible
Make sure the letters are connected , DON'T trim except in between words
Use manual underlay instead of automatic as it will push and pull too much
Don't use complex fonts when all possible the detail will not show up as much
Stitch Length When designing small text the golden fast rule is that you must maintain a minimum stitch length so your embroidery machine is able to sew the letters out, when you go below the minimum stitch length you may get undesirable results like holes or embroidery thread bunching up. In the figure below it shows where you should measure the art work to gauge your stitch length After measuring the capital E @ 10 mm high the stitch lengths should be greater than 1 mm in length a 1.9 mm, b 1.3 mm. c 1.5 mm, d 1.3 mm, e height of the letter is 10 mm When looking at minimum embroidery stitch length you will need to recognize that there are factors that can affect the out come even when the rules are followed. You will need to compensate for the push and pull compensation of the letters, and the underlay, and compensate for the material your sewing on. The rules indicate the minimum stitch length should be no more than 1 mm this is cause the embroidery machine cannot sew stitches beside one another that close. We recommend using a smaller needle 65/9 and a smaller thread for best results, 60 weight embroidery thread when all possible. On some materials you may need to increase the pull compensation so when the you sew 1 mm stitch it sews out at the 1 mm size without pull compensation it will sew out smaller and either bird nest or cause the embroidery machine to make a hole in the material. Note when sewing on Pique you may be able to get away with a stitch length of .8 mm but you must use a sharp needle Underlay When digitizing small letters do not use the underlay within the properties as it will cause undesirable results on your letters, automatic underlay cause to much pull and push on the letters and will cause the letters to look funny, keep the underlay to a minimum and manually ad it using a run stitch or manual stitch. You want to keep the underlay as basic as possible. When dealing with small lettering putting too much underlay will cause the stitches to push and pull too much to occur so you want to use just enough. On larger stitch length of 1.2 mm make sure there are no more than 2 passes, but when the stitches are 1 mm or less make sure the underlay only makes 1 pass or don't use underlay at all See above “e” Cornering Techniques When manually digitizing small letters you will want to pay special attention to the corners, unlike a regular text you don't want too many stitch around the corners or it will cause it to pucker and or put a hole in the embroidery design, you need to be delicate, we recommended using a mitered corner see below. Using the mitered corner will look a lot better do to the reduced stitch count and less overlapping of the stitches. Stitch Angel When digitizing small letters, you may run into situations where the embroidery stitches will be too long for the embroidery design of the letters, at these times you may want to change the angle of the stitches so you can make sure that the stitches are minimum 1 mm in length In the above illustration you can see that change the angle will allow for the stitch to meet the 1 mm length requirement. Some people will say that it will make the edge jagged but it not the case. Usually jagged edges are caused by not enough density or the underlay showing through. Special conditions When digitizing letters that have an opening in them like P D O B R you will need to alter the artwork or the stitches a bit so they don't join, there needs to be a gap as the stitch will sometime close up as they will expand to compensate see below. You will want to make 1 mm gap between 2 sides of the stitches Expansion When your digitizing small fonts with feet or tails your going to need to allow for expansion. Your going to want to make sure there is room for the expansion of the stitch as some stitch cause the material to push into one another. See Fig 1 An effect of the material pushing you will see the design sew out like Fig 2 Expansion can also cause the lettering to sew out crooked , when you manually digitize small letters you going to want to make the stitches all go the same way. Take a look at the path of the stitches

diver361

diver361

 

Tajima Pulse learning: Managing font catagories


Font Categories 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 14.1.1.5367 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

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diver361

 

Tajima Pulse experience: Working with Large Letters

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. Font Help 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

diver361

diver361

 

Tips N Tricks: Techniques Multimedia & basic blending

You need the following equipment for embroidery designs like this Inkjet printer, OpagueTransfer paper Heat press Embroidery Machine Sequin option 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

diver361

diver361

 

EOD 11 Digitizing: Leaf

 
Introduction "Hoja" showcases a technique used for irregular mix of colors, achieved by overlapping Fill Patterns with different levels of Density and Jagged Edges, and some Running Stitches. With 118 sections and 4 colors, this simple design took a little over an hour to complete. General Design Details We digitized “Hoja” manually, using the 006.bmp file as artwork. We tried to keep the overall size to approximately 90 x 126 mm (3½” wide by 5” tall). To create the leaf veins we basically used Satin Stitch columns and some Running Stitch Paths in color 4 (dark brown). Just three Area Fill sections in color 1 (light brown) make up the overall base layers for the leaf, over which we digitized some Running Stitches and Areas in color 2 (khaki) to add some shading effects and highlights. Finally, we created some Areas in color 3 (medium brown) for the stem, also adding some irregularity to the mix of colors. The picture shows the sequence we followed to digitize this design, which does not necessarily reflect the final sewing sequence, rearranging it upon design completion. Effects for irregular mix of colors To achieve the effects desired for an irregular mix of colors, we first created the Area Fill sections that will constitute the base color. We then digitized over these sections other Area Fills with Jagged Edges and less Density than the base one, also adding a few Running Stitch Paths to give some highlights to the definition lines. Much of this effect would be lost if inadequate colors were to be used. Best results are obtained when using varying shades of a same color for the leaf layers, rather than different colors. This picture shows the sections that create the irregular mix of colors on the right portion of the leaf. Section 2 (light brown), the base layer for that area Section 2 (light brown), the base layer for that area of the design, was digitized as a Area Fill section with regular Density (5 lines/mm). On top of this you will find sections 28 and 29 (medium brown), which are also Area Fill sections, although with a considerably lower Density (1.67 lines/mm) than that of the base layer, and they also have Jagged Edges on, with a 40% setting. The Running Stitch Path in the khaki color (section 7) adds the highlights along the edges of that area. The sections above described have been created with these parameters: For the Path section we set the stitch type to Running Stitches, with a single pass and a Stitch Length of 1.7 mm. Notice the results achieved after applying the described settings to this geometry of sections. Additional Information Suggested Colors This chart shows the Pantone values for the colors we suggest for this machine embroidery design:   http://embroideres.com/forum/files/file/226-/

guyasyou

guyasyou

 

Learning; Digitizing for caps


In the embroidery industry digitizing for caps is unique, you should plan your designs to sew out from the center, a cap embroidery design will also work on left chest with out any issues but not usually the same way around. Here are the standard rules that would apply to the machine embroidery design: Sew from center out. Sew from bottom up. Sew each element completely. Lets take a look at the image and go through the process for digitizing this design for caps. 1. On the artwork draw a reference line in the center 2. In a new document in your embroidery digitizing software go to Image choose your design. 3. Following the rules above you start at the Brim of the hat which would be the Varsity Softball. If possible you should try and find a font that is matches the design letters. From my knowledge of the fonts this appears to look similar to Brush Script New font.   So I drew my line the length of the Varsity Softball and it very close to the original, but it needs some tweaking. The V S and f do not see to line up with the embroidery design. I would turn my beads on, and using my select tool grab the kerning bead illustrated in photo below. I would then pull down the letter so it matches up with the design below, Next step I would go to the properties by right clicking and going to properties and go to text tab and choose sew sequence. The default sew sequence for all text is from the left , you will need to choose to sew from center.. Optional you can also go to the text tab , general and change the trim distance to .05" so it will trim between the a V when sewing from center to the left. Now we can digitize the main part of the embroidery design , I would to the black inner area first from the center to the right.. To do this you will need the satin tool, do each letter at a time and simplify it. Once you are done digitizing the right side letters I would do the border stitch around the edge so it does distort when sewing out the other side of the cap. Using the Steil tool if you have it set the width to .06" and on the edge of the satin stitch place your points for the steil.. Remember what you see on screen is NOT what sew up, all stitches shrink usually the direction of the stitches. embroidery_caps_design.bmp Once you have the right side done, then you can start at the reference line and digitize the inner design using a satin stitch and go toward the left side and then repeat adding your steil border. Now that you have a properly stitched machine embroidery design you can either choose a recipe for caps or you can add your own underlay and compensation.   Author: Frank Prokator

diver361

diver361

 

Tips and Tricks: Techniques 3D Foam


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

diver361

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EOD 11; Automatic Outline Creation

Used Sierra Embroidery Office 11.41.embroidery digitizing software. Some sections allow the addition of an automatic outline over them, producing stitches on the section's external silhouette. Follow these steps to add an Automatic Outline to a section: 1 Select a section to which you will apply an outline. To do so, click on the “Select Object” tool and then over the section of interest. "Select Object” tool 2. Click on the “Border” tab under the Creation tool selected (Column or Area). Now click on the image button located on the “Line Fill” section, and choose any of the available border options. In the example a Zig-zag border type has been selected. 3. The chosen border will be automatically applied, following the section's external silhouette.

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Basic Digitizing Tools


In this blog we are going to introduce you to the basic digitizing tools, where they can be used and options you may have for the different tools depending on your level. Enhanced Column Tool This embroidery digitizing tool is very similar to the Satin tool except it the main difference between this tool is you place the angle lines by your nodes, where as a satin tool you choose where you want your angle lines. I first learned to digitize using this embroidery tool. This has the same range as a Satin Stitch .03 to .42 inch. See example on how to use below. Uses; borders, shapes, text     Column Tool This tool is very similar to the Satin tool except it can only do straight sections, rectangles between .03 to .42 inch. It follows the same rules as Satin stitches. The main difference is the angle lines are defined by the placement on the nodes. You can use this tool to bend right angle around corners. See example above , Limitations it only uses straight lines no curves, some text and simple column stitches Manual Tool This tool is very unique in how it works, this tool where ever you click it places a point, it can be useful but you have to remember what your machine will do if you place too large of a stitch, I recommend stitch lengths between .02 and .15 of inch maximum. Uses; decorative stitches, fancy manual fills, manual underlay. placement stitches.. Run Tool This tool is very different then the manual tool although they can be used for the same uses, the approach is very different. Stitches are placed by specified distance, the stitches are even. All you need to do is draw your line and it will add the stitches accordingly. Uses; decorative stitches, fancy manual fills, manual underlay. placement stitches.. Complex Fill Tool This should be a tool you should become practiced at as you will use it in about seventy percent of your designs, it works in a wide range of sizes from .03 to infinite,. Great for filling in large areas, uniform stitches to cover and area. Draw your shape and complete the segment and it will fill the shape in , then you can select your fill pattern, density etc. Uses; Large text, text with borders, large areas, decorative patterns,   Note With in the fill their are quite a few patterns, and options depending on your level, including the use of carved patterns, program fills and standard patterns.   Steil Tool This tool is available in Tajima Illustrator Extreme and higher, this tool is a tight zig zag stitch, this can be used with some options like add border to fills on some levels, its great as a borders as the thickness is consistent. Its also can be changed on the fly.   This tool works like a run tool , you draw your line and set the width and your done. Uses; borders, lines, out line shapes, applique, and more.   Satin Tool This tool you draw the shape then close the shape and then place your angle lines. It can be very useful using this tool when digitizing text I use this tool, and use it fifty percent within designs. The stitch range is around .03 to .42 inch.   The satin tool operates very differently , you place your out side shape and when you complete the segment it will prompt you for your start and stop points, and your angle lines then you can generate the stitches. Note: when you get above .38 in stitches will get loopy and you may want to convert them to a fill stitch. Uses; Text, borders, design elements Design Elements In the pictures below you will see some embroidery design elements based on these basic digitizing tools, with these tools and the Tajima Illustrator Extreme level you can punch 85% of the designs used in most shops. The higher levels have some additional tools and processes for speeding up the digitizing process including specialized digitizing tools for chenille, sequins, and boring, cording etc. In the embroidery design below you will see the original image on the left and the digitized file on the right , we have pointed out several of the different stitch types used. This machine embroidery design and similar can be made with the basic digitizing tools and the text tools we covered in other blogs. In the design below you can see that the steil tool was used to make a border around the design in a uniform circle this is perfect for the steil tool as it set to a width you choose, where the satin tool can very the width at any point allows you to customize the shape. The circle text tool was used to make circular text. The run tool added some fine detail to the clubs and ball. In this second design below you will see that the run tool was used as a primary stitch to add detail to the design. The fill tool was used to cover larger areas, and the steil tool was used around the tongue and the satin tool was used for the shapes as the width various. This design was made as a using a continuous pattern, their is only 1 trim in the whole design, 1 color and about 7769 stitches. It was made to illustrate smooth running embroidery designs. Both the embroidery designs illustrated were digitizing in Tajima DGML by Pulse software using the basic digitizing tools. The key to using these tools is to be able to Path your machine embroidery design ( PLAN IT ) Choose the right stitch that will create the element you want to make the image come to life.

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Textures and Techniques


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.   Small Text 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 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 •Embroidery Machine •Non-Stick Embroidery Machine Needle •Heat Press •Appliquй Sew File with Satin Stitch •Heat seal (materials without a carrier) •Lite-Tack Spray •Cover Sheet •Heat Printing Pillow •Weeding Tweezers 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. Multimedia Techniques 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.

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Compensation


Introduction Compensation is one subject that is often over looked when your learning the software whether you want to just make text or simple designs or to digitize corporate logos. In this blog we will take a look at compensation and the factors to be aware of. Backing choices In embroidery choosing the right backing for the application is key to designs that look sharp and clean,. Here is an example of how elasticity of the fabric changes when using different backing types. In the above example two pieces of cutaway seems to be the magic number, of course you would also have underlay but the distortion is clear on the fabric by just changing the backing. Here is a chart that can help you understand the elasticity in different fabrics, general rule if the fabric is stretchy you will need to use cut away backing types. Cut-away Backing Loose knit fabrics Fine knit fabrics Golf jerseys Knit golf shirts Lightweight woven silks Wool / acrylic sweaters Bathing suits / Lycra / spandex Thin leather & suede Vinyl Tear-away Backing Towels Hats Cotton / polyester Corduroy Sheets Nylon satin jackets Thick Leather & suede Water Soluble Stabilizer Freestanding Lace Transparent Fabrics Towels and Bath robes Delicate fabrics Badges and Patches Fusible backing Patches Velvet Hard to hoop items Cut away Pre-cut sheets Caps and hats hoop tech frames Fast Frames Convenience Specialty Applications Canvas , do not require backing Carpets, do not require backing Heavy Denim, do not require backing its optional Spandex, recommend cutaway with spray adhesive Satin , recommend cutaway with spray adhesive Organza, recommend cutaway with spray adhesive

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EOD 11: Hiding a Thread Color using the Color Bar

Used Sierra Embroidery Office 11.40 embroidery digitizing software. There's a direct way of hiding one or more colors from the working window. Once you disable a color, all the sections that have this color, will be hidden on the working window. This document will show you how to disable one or more colors. Follow these steps: 1. The capture below shows a design that uses four thread colors. The color bar shows that the four colors used have a little white dot inside their corresponding color box. 2. To hide a color, right click over it on the color bar. On the capture below we have hidden colors 2 and 3. A cross over them indicate that such colors have been disabled (hidden). Right click over any cross to enable the color again and show the corresponding sections on the working window. In the capture below we see the result of having hidden colors 1, 2 and 3. 3. Right click over each hidden color to see it again on also the corresponding sections on the screen.

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Digitizng tools: Artwork


Artwork Tools The artwork tools are essential when digitizing, you need to know what types of files you can work with, the various methods of bringing them in, and some general terminology. Pen Tool This tool is a free hand draw tool , it can be used with various modes, Quick draw, Bezier which is similar to Corel or Arc mode. Square and Circle Tools These tools are straight forward they let you adjust the vector shape both in the horizontal and vertical dimensions. These tools are very handy for even and true shapes. Import Artwork Tool This tools allows you to import vector files, however there is a long list of rules for importing vector files. See conditions below. Supported Artwork Formats Adobe Illustrator (AI) File size is limited. Use files less than 2MB in size. Encapsulated Post Script (EPS) Text is interpreted as "Saved as Curves". No support for embedded clip art, gradient fillings,transparencies and compound path objects.Support Adobe Illustrator up to and including Version 8.0 files. However, some color information may be omitted in AI Version 8.0 files.There is no support for AI Version 9.0 files. Save files as Version 7.0 or Version 8.0 instead. CorelDRAW (CDR) Corel Presentation Exchange (CMX) Support, CorelDRAW Version 5 files. When exporting files in AI format from CorelDRAW, turn off ’Simulate Complex Filled Curves’ for the file to output correctly. Export files as AI Version 7.0. Enhanced Windows Metafile (EMF) Windows Meta file (WMF) There is currently no text support. However, converting text to curves is supported. Hewlett-Packard (HPGL) Currently supports basic drawing (Pen Up / Down,Plot Absolute / Relative), text (Label - LB, Symbol - SM) and configuration commands (DF, IN, IP, SC). Please see any HPGL Reference Manual for details. Auto Cad (DXF) Currently support the following DXF entities: point, line, poly-line, circle, arc, trace, curves, and solid.Text entries are not supported. Importing Artwork Work Around There are two alternate methods of bringing in artwork or vector files. You can use the Draw Fusion option of importing a vector file, I would recommend bring it in as artwork instead of the tools in Draw Fusion as its limiting for digitizing levels. The second options is the copy and paste method, while its not great for exact matches like applique, its faster and easier than all the other options. Auto Trace Tool This function allows you to bring in a image and convert it to a vector shape, please note , this tool will only work on high resolution images as it detects the edge of the shape, however its not perfect and use it with a grain of salt. Load an image, click on the auto trace tool, select the mode you want, and the tolerance min-max then select the first color. This will trace the outline of the shape. AUTO TRACE TOOL Press enter and equals to convert the segment into a stitch type, or right click to convert it to artwork. NOTE: Depending on your level you may not have all these options. I have the Maestro level version 14 with the multi media pack. NOTE: When you zoom in on the artwork you will notice that its not aligned, I would normally at this stage change the min max and try again. The better the artwork the easier its is to grab the edge. I like to draw it manually. True Type Path Tool This tool allows you to type in text and choose the true type font from your systems font list. Please note that when using this tool I recommend you convert it to art segment and slice it up and convert it to stitches. The slice tool allows you to break letters up into sections to make the shape simplified. The nice thing about this tool as a vector you can easily edit the shape. Watch the videos on this tool, very powerful for matching true type fonts for logos. DRAW FUSION TOOL When digitizing it is very important to be able to work with a wide variety of file types and you should have the ability to bring in vector files. Vector files if designed fore embroidery can cut your work down as all you generally need to do is convert the different segments into stitches. The outline area already made in the vector format. In version 14 all the levels have the ability to use the automation in the Draw Fusion but only Tajima Illustrator Extreme and higher gives you some advanced options which we will take a look at and why.. You should have either Tajima Version 14 and Tajima Illustrator Extreme or a level for punching with the Draw Fusion to get the most out of this sections. Version 14 works with Corel X4 or X5 ..(X6 is not supported) I am using version 14.1.15367 and Corel X5, Step for creating a Draw Fusion Guide 1. Start your embroidery digitizing software 2. Start a new Blank Document 3. Click on the draw fusion Button 4. It will open a new tab in your software , Please note when your in Draw Fusion tab all the tools will change to those that are found in Corel , You can prep the artwork prior to switching it to Tajima Pulse. 5. Go to File ... Import high light your file and open it up 6. I choose the business card logo , on the right by double clicking. It will open in the Corel Draw Portion of the program, If you need to make any adjustments you can use the Corel Draw tools. Then you can go to the next step when all the edits are done. 7. Next you will need to un-group the design. 8. Then you will need to break it apart.. ( You always want the file in the simplest form for conversion) 9. Once its broken apart then you can switch it to Tajima Pulse Version 14. I like bringing it as artwork as with illustrator extreme you will have may more choices than using the draw fusion tools. The tools only give you three choices but in Tajima Illustrator Extreme or Maestro you will have 8-15 choices or more. 10. Go to File and choose Switch and set your options. In the screen below if you let draw fusion control the choices, you can see that you really only have 4 options. Convert fill shapes to Complex fill , Convert outlines to Run, Covert thick lines to Steil and then you can define what a thick line is .. Or .. at the top you can tell to convert everything to artwork. 11. Now you can see its brought the artwork into Tajima Pulse Version 14 Once converted you need to verify that the artwork is prepped for embroidery, Now you can modify it for embroidery, and convert each segment to which type of stitch you want. Very powerful tool used in this manner. There are some additional artwork tools that also have short cuts to them. See image below of the definitions. Combine CTRL L Breakup CTRL K Connect shapes SHIFT O Mastering these short cuts will help you when your working with artwork and or digitizing. We also have a short cut reference sheet in the appendix. You may want to print it out have have it laminated.

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PE-Design NEXT; fixing problem with "unexpected format"


This is most often a problem. When you try to open a file in PES format BROTHER PE-DESIGN NEXT you get message "unexpected format". .This problem is related to a large number of embroidery formats that are supported by the company and its Brother embroidery machines (currently 9). Or in error if you convert file in some converting software (Embird, Buzz Tools....etc). For fix this problem, you need using import DST, HUS, JEF, EXP, VIP, VP3, XXX, PEC formats. Procedure. 1 Open the PE-DESIGN NEXT embroidery editing software. In tab "Home" click Import Patterns. Choose "from File". 2. Choose disc and folder contained your embroidery design, which you want import.. Choose embroidery design. Click Import button. 3. Close Import dialog. 4. Click Home button . Click Save As and enter name and version (default 9) of PES format Note: Some patterns imported from embroidery cards cannot be exported. Divided embroidery designs and embroidery designs for the jumbo frame or multi-position hoop will be exported as a single file, and will not be split into sections.

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