WILCOM 2006 User Manual

Embroidery Software 2006
Online Manual
Copyright © 1998-2005 Wilcom International Pty Ltd. All rights reserved.
No parts of this publication or the accompanying software may be copied or
distributed, transmitted, transcribed, stored in a retrieval system or translated into any
human or computer language, in any form or by any means, electronic, mechanical,
magnetic, manual, or otherwise, or disclosed to any third party without the express
written permission of:
Wilcom International Pty Ltd. (A.B.N. 62 062 621 943)
146-156 Wyndham Street, Alexandria (Sydney)
New South Wales, 2015, Australia
PO Box 581, Alexandria, 1435
Phone: +61 2 9578 5100
Fax: +61 2 9578 5108
Email: wilcom@wilcom.com.au
Web: http://www.wilcom.com.au
The Stitch Processor (SP) portion of this product is protected by the following patents:
US Patent Nº 4,821,662
European Patent Nº 0221163
Japanese Patent Nº 2029491
Curve Line Fill Stitching in this product is protected by US Patent No. 6,587,745.
TrueView™ and Point & Stitch™ are trademarks of Wilcom International Pty Ltd.
Portions of the imaging technology of this product are copyrighted by AccuSoft
Corporation. The EPS File Import/Export Convertor used in this product is copyrighted
by Access Softek, Inc. All rights reserved.
Wilcom International Pty Ltd. makes no representation or warranties with respect to
the contents of this publication and specifically disclaims any implied warranties of
merchantable quality or fitness for any particular purpose.
Further, Wilcom International Pty Ltd. reserves the right to revise this publication and
to make changes in it from time to time without obligation of Wilcom International Pty
Ltd. to notify any person or organization of such revisions or changes.
The screen illustrations in this publication are intended to be representations, not
exact duplicates of the screen layouts generated by the software.
Subject to any warranties implied by law which are incapable of limitation or exclusion,
the software is purchased ‘as is’ without any warranty as to its performance, accuracy,
freedom from error or to any results generated through its use and without any implied
warranty of merchantability or of fitness for any particular purpose for which the
software is being acquired. The purchaser relies on its own skill and judgement in
selecting the software for its own use and assumes the entire risk as to the results and
performance of the software. Wilcom International Pty Ltd. specifically does not
warrant that the software will meet the purchaser’s requirements or operate without
interruption or error.
Rev 1 April 2005

Introduction
Welcome to Wilcom ES 2006, the leading software application for

embroidery industry design and manufacture. Wilcom ES is a suite of
CAD/CAM tools providing a fast, flexible way to create, edit, organize and
stitch out embroidery designs. It is designed to support the high productivity
and efficiency requirements of professional digitizers. It also allows novices
and less frequent users to become productive digitizers. Wilcom ES lets you
edit designs at any stage, or adapt existing designs for use with different
fabrics and machines.
First-time users
Wilcom ES provides a wide range of design capabilities, allowing you to
create, edit, and output embroidery designs with ease. Before you begin
working with the product, read Digitizing with Wilcom ES. This chapter
presents an overview of the basic concepts of digitizing with Wilcom ES and
provides important guidelines on how to use the software for best results.
You should also familiarize yourself with Basic Procedures. This chapter
explains how to start the application and how to use some of the essential
tools and features that Wilcom ES provides. The chapters Viewing Designs
and Working with Design Objects contain essential information about the
many ways of viewing designs in Wilcom ES as well as selecting and
manipulating design ‘objects’.
Upgrade or update users

Wilcom ES 2006 has many new and expanded features which make
digitizing easier and more efficient. Read the chapter Digitizing with Wilcom
ES to familiarize yourself quickly with the scope of these improvements.
Wilcom ES product models

Wilcom ES 2006 is available in five product levels—21L, 21E, 21D,
45 and 65. Each is designed to fulfil the needs of specific embroidery
businesses and to build upon the others to provide for the whole gamut of
stitching and digitizing requirements of professional digitizers.
ES 2006 Wilcom ES Online Manual 1

21L—Lettering
Monogramming, Lettering
Do you routinely embroider lettering and sports Team Name garments?
Empower your business with the flexibility and reliability of in-house
lettering provided by Wilcom ES level 21L. Take possession of over 130
professionally digitized embroidery alphabets, or utilize the endless variety
of Windows fonts with Wilcom’s TrueType Font converter. Team Names and
mass monogramming is a breeze—automatically create hundreds of name
badges and emblems in seconds. Powerful lettering reshape tools let you
handle custom lettering jobs with confidence. Combined with professional
colorway and stitch processing technology, Wilcom ES level 21L provides for
all your lettering and monogramming needs.
21E—Lettering and Editing

Monogramming, Lettering, Editing
Empower your business with the flexibility and reliability of in-house
lettering and editing provided by Wilcom ES level 21E. Take possession of
over 130 professionally digitized embroidery alphabets, or utilize the
endless variety of Windows fonts with Wilcom’s TrueType Font converter. Edit
and reshape your embroidery designs or combine them with existing ones.
Change between Satin, Zigzag and Tatami, as well as adjust stitch density
and underlay settings over the whole or selected parts of a design. With
Wilcom ES level 21E, you are professionally equipped for any embroidery
lettering or editing job that comes your way.
21D—Powerful Digitizing
Corporate, Sports, Fashion
Wilcom ES level 21D introduces you to professional embroidery digitizing.
Backed with the advanced lettering and editing features of level 21E, 21D
delivers a suite of integrated and powerful digitizing tools plus the flexibility
to create reliable, quality embroidery designs. Using scanned or imported
artwork, create embroidery shapes with turning or parallel stitching plus
advanced stitch types like Program Split or Motif Fill. Ideal for companies
that do corporate, sports and fashion embroidery, level 21D supports all
common embroidery industry formats.
45—Creative Digitizing
Creative Flair, High Fashion, Inspiration
Boasting a blend of powerful digitizing tools and creative stitch effects,
Wilcom ES level 45 is Wilcom’s most popular embroidery digitizing system.
Import and convert vector files to embroidery using Wilcom’s legendary
ES 2006 Introduction 2
Point & Stitch technology. Advanced stitch effects such as Florentine Effect,
3D Warp, Trapunto and Stipple stitch bring your embroidery to life. Smart
Branching sequences your embroidery design, eliminating trims, while
Offset Object automatically create borders around lettering and other
design objects. Wilcom ES level 45 gives you the competitive edge to create
superior embroidery designs faster and more simply than ever before.
65—Advanced Digitizing
High Volume —Maximum Power
To arm yourself with the full power of Wilcom ES, level 65 is the only choice
for the advanced digitizer. Encompassing Wilcom’s complete range of
embroidery lettering, editing and digitizing tools, level 65 contains as
standard superior Chenille embroidery and stunning automated Sequin
design tools. Productivity and efficiency is the main focus of level 65.
Crafted to support high volume embroidery, time-saving tools such as
Mirror-Merge, Fusion Fill™ and Color Blending complement the easy-to-use
interface to give you maximum power. Take charge of your embroidery
design process with the powerful capabilities of Wilcom ES level 65.
Note For a complete feature listing, see Product Differentiation Table in the
Online Manual.
Wilcom ES documentation
Wilcom ES provides you with a number of ways to access information about
the software and how to use it, both in printed form and online via the Help
menu.
Warning Screen illustrations in the user documentation are intended to be

representations, not exact duplicates of the screen layouts generated by the
software. Procedural descriptions may be at slight variance from particular
installations depending on which default system settings are activated.
Printed documentation
With your Wilcom ES installation CD you will have received the following
printed documentation:

Release Notes
The Release Notes provide you with information about system requirements
for your Wilcom ES installation, details of new features and major and minor
improvements to the software release, as well as known limitations and
‘workarounds’. For an itemized listing of the new and improved features for
each level of product, refer to the Product Differentiation Table at the end of
this document. For a complete table, refer to Product Differentiation Table
in the Online Manual.
Quick Start Guide

The Wilcom ES Quick Start Guide contains installation instructions as well as
an overview of the ES Designer and ES Design Explorer applications. The
guide provides fully worked sample projects for each product level. While
these projects do not cover all product features, they provide a useful
starting point. There is also a Quick Reference section which lists all the
commands and shortcut keys used in ES Designer.
For detailed procedures covering all features of the ES Designer and
ES Design Explorer applications, refer to the online manual which can be
accessed via the Help menu. To identify sources of information relevant to
your specific model and any options you may have selected, see Product
Differentiation Table in the Online Manual.
Online documentation
Online documentation is provided in two formats—HTML Online Help and
Adobe Acrobat. Components include Release Notes, Quick Reference, Online
Manual, Online Help, as well as various User Manual Supplements.
Release Notes
An online version of the Release Notes is included with the software
installation.
Quick Reference
All commands in ES Designer can be accessed via the various menus, both
‘dropdown’ and ‘popup’, toolbar icons, menu chart (for use with digitizing
tablets), as well as ‘access’ and ‘shortcut’ keys. Many commands can be
accessed by more than one method. The Quick Reference lets you see at a
glance which method best suits you.
Online Manual
The Online Manual contains hundreds of step-by-step instructions together
with samples and screen images. These are intended to be used as a
reference, not a tutorial. The manual documents the following product
components: ES Designer and ES Design Explorer. ES Machine Manager,
and the ES Chenille, ES Schiffli, and ES Cross Stitch Options are
documented in separate supplements described below.
Online Help
Online Help provides quick access to general information on ES Designer
features and step-by-step instructions. Context Sensitive help is currently
available for dialogs by pressing the 1 key.
User Manual supplements

With your Wilcom ES installation CD you will have also received the
following online supplements:
Wilcom ES Machine Manager Supplement

This manual supplement documents the following product capabilities:
ES Machine Manager Direct Connect
feedback from machines
machine activity reporting
technical details of machine network setup.
The supplement must be used in conjunction with the Wilcom ES User
Manual.
Wilcom ES Cross Stitch Supplement

manual and automatic cross stitch digitizing
cross stitch editing
cross stitch lettering
handling cross stitch design files.
This supplement is supplied with the ES Cross Stitch Option. It must be used
in conjunction with the Wilcom ES User Manual.
Wilcom ES Chenille Supplement


ES Chenille features within ES Designer
ES Chenille machines, including chain, moss, needle height
ES Chenille stitch types and effects.
This supplement is supplied with the ES Chenille Option. It must be used in
conjunction with the Wilcom ES User Manual.
Wilcom ES Schiffli User Manual

This manual documents the following product capabilities:
ES Schiffli features within ES Designer
read/output to Schiffli files
ES Schiffli disk utilities, Fixpat, Defced.
The manual is supplied with the ES Schiffli Option. It must be used in
conjunction with the Wilcom ES User Manual.
Viewing online documentation

Online documentation can be accessed from the Wilcom ES Programs folder
or from the Help menu in Wilcom ES. You can read it with Adobe Acrobat™
Reader which is supplied with your Wilcom ES software installation. Quickly
search for the information you need using standard Adobe Acrobat™ Reader
features.
To view the online documentation

1 From Windows Start, go to the Programs > Wilcom 2006 folder.
You will find the following online documents:
Wilcom ES Online Manual
Wilcom ES Release Notes
Wilcom ES Quick Reference Guide.
2 Double-click the required document to open it in Adobe Reader.
Fit in Window
Actual Size Fit Width Zoom dropdown
Bookmarks Page turning controls Paging settings
Tip You can open your online documentation directly from ES Designer.
Go to the Help menu and select the document you want from the
dropdown list.
3 Select the topic you want by clicking on its ‘Bookmark’.
4 Change the view magnification in any of the following ways:
Click the Actual Size, or Fit in Window, or Fit Width buttons.
Select the Zoom In tool, then click anywhere on the page—each
click increases the magnification.
Click the Reader Zoom dropdown and select a setting—try 200% if
you want to look closely at screen diagrams.
5 Use the page turning controls at the bottom of the window to scroll
backwards and forwards through the book or return to previous views.
Tip Select Help > Reader Guide from the top of the Reader screen for
comprehensive information about using Reader.
Using online help

Online Help can be accessed from the Help menu in Wilcom ES.

To use the online help
1 Select Help > Help Topics.
The ES Designer Help window opens.
2 Click Contents to display the main list of topics.
Topics are grouped under high-level headings with ‘book’ icons.
3 Double-click a book to view the list of topics, then double-click a topic.
Alternatively, click Find and enter keywords to search on a specific
subject.
Note Context Sensitive help is available for dialogs. When you open a
dialog box, press 1 to invoke relevant help.
Linking to the Wilcom website

You can access sales and support information about the products easily from
within the software.
To link to the Wilcom website

Select Help > Wilcom Web Page.
You are directly connected to the Wilcom homepage at
http://www.wilcom.com.au/
Note You must have a correctly configured web browser on your system
together with web access.
Conventions used in the documentation

The documentation adopts the following conventions:
Commands
Commands on a submenu are referred to by both the submenu and
command name. For example the command ‘Open’ on the submenu
‘Embroidery Disk’ is referred to as Embroidery Disk > Open.
Dialog boxes
Dialog boxes are referred to as ‘dialogs’ and are displayed only if they
provide important information on using Wilcom ES. The screen images
provided may differ slightly to the layouts generated by the software and
operating system you are using.
Mouse conventions
Instruction Symbol Description
Click [ Click the left mouse button.
Right-click ] Click the right mouse button.
Double-click . Click the mouse button twice without moving the

mouse.
Shift-click V+[ Hold down Shift and click left mouse button.
Click OK [ or j Click OK with the mouse or press the Enter key

on the keyboard to complete the action.
Keyboard conventions
Shortcut Description
C+S While holding down the Control key (Ctrl), press the
lowercase letter S key.
C+V+H While holding down the Control key (Ctrl), press Shift and
the H key.
For a complete list of keyboard shortcuts, see Keyboard Shortcuts.

PART I
OBJECT-BASED
EMBROIDERY
Designs created in ES Designer are composed of ‘embroidery objects’. They
are called ‘objects’ because they are discrete entities which can be
manipulated independently of each other. Each object has certain defining
characteristics or ‘properties’ such as color, size, position, and so on. The
most important property of an embroidery object is its stitch type.
Basic procedures
This section describes how to start ES Designer, how to open designs, start
new ones and use the basic commands. It also explains how to turn on and
off the grid and measure distances on-screen. You will also find out how to
select machine formats for different output as well as how to save designs.
The section also explains the procedure for entering security codes. See
Basic Procedures for details.
Working with design objects

This section describes how to select objects using the selection tools and
keyboard. It also shows how to select while traveling through designs or by
using the Color-Object List. See Working with Design Objects for details.

Viewing designs
This section explains the design viewing modes available in ES Designer as
well as the various design viewing settings. It also describes how to view
designs by ‘traveling’ through the stitching sequence. Design colorways are
explained, as well as how to obtain and modify design information. See
Viewing Designs for details.
ES 2006 Object-Based Embroidery 11

Chapter 1
Digitizing with Wilcom ES
Embroidery digitizing consists of turning the basic shapes of a design into

embroidery objects. Different tools are suited to different shapes. You can
digitize them manually by marking points along an outline, or by using
‘smart’ tools which transform shapes automatically into embroidery objects.
Planning designs
High quality embroidery starts with good design and forward planning.
Artwork
Artwork in both bitmap and vector formats can be inserted, pasted or
scanned into ES Designer for use as digitizing ‘backdrops’. Unless you are
an experienced digitizer, do not use complicated artwork. Possible sources
include:
books of embroidery patterns
children’s story books
printed table cloths or tea towels
business cards, post cards and wrapping paper
clipart libraries from your word processing or graphics programs
internet or CD clipart libraries
samples in the Wilcom ES Design folder
original artwork—e.g. children’s drawings.
Note Be sure to check the copyright of any images you have not created
yourself. If unsure, contact the company and seek their permission.
Design shapes and stitching sequence

Before digitizing, you need to analyze and plan design shapes and stitching
sequence carefully. Design shapes need to be clearly defined to make them
easy to embroider. The best shapes have relatively constant width, with
smooth edges, no sharp turns and no small, protruding details.

The digitizing sequence defines the stitching sequence, or order in which
shapes are stitched out. Of course you can always change the sequence to
improve the stitchout—for example, to minimize color changes. Details
should be stitched last.
1
5 details last
Completed design
Good design is enhanced by the use of the correct backing, tension and a
good quality embroidery machine. Keep the following points in mind when
digitizing your design and assessing the final output:
design looks details are clearly

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

correct fill and outline match shapes
stitches
lettering is clear and

easy to read
The stitched-out design should also have the following characteristics:

The design stitches out efficiently on the machine.
Stitches are neat, smooth and even.
Shapes are stitched correctly—no unwanted gaps.
The fabric has not puckered around the stitched areas.
The design is free of loose ends.

Digitizer tablet
If you are using a digitizer tablet, you
need to prepare an enlargement drawing
from the artwork and place it on the
digitizer tablet. After registering the
drawing, you digitize it using the digitizer
puck. See Using Digitizing Tablets for
details.
Object-based embroidery
Designs created in ES Designer are composed of ‘embroidery objects’. They
are called ‘objects’ because they are discrete entities which can be
manipulated independently of each other. Each object has certain defining
characteristics or ‘properties’ such as color, size, position, and so on. The
most important property of an embroidery object is its stitch type.
Working with design objects

ES Designer provides various ways to select the objects in an embroidery
design. Modify the design as a whole or select individual objects for more
precise modification. The Color-Object List provides an easy way to select
objects and colors in designs and access their properties. Use it to group and
ungroup, lock and unlock, and show and hide objects as well. See Working
with Design Objects for details.
Viewing designs
ES Designer provides many viewing modes to make it easier to work with
your designs. Zoom in on an area to see more detail, view the design at
actual size, or view a thumbnail of the whole design in a separate Overview
window. Pan the design to move it across the design window instead of
scrolling, and quickly change between one view and the last.
ES 2006 Chapter 1 Digitizing with Wilcom ES 14

Show or hide various design elements with
the available display settings. You can show
or hide outlines, needle penetration points,
connectors, stitch angles, machine function
symbols and the stitches themselves. You
can also view designs in TrueView.
When working with embroidery designs, you
need to understand the stitching sequence.
Check this by ‘traveling’ through the design Normal view
stitch-by-stitch. You can also check it by
slowly ‘redrawing’ the design on-screen. You
can also preview a design in different colors
on different fabrics by selecting from among
any number of pre-defined colorways.
ES Designer gives you comprehensive
information about your designs. Even before
opening a design, you can check the
software version number and other design
information for EMB files directly from TrueView
Windows Explorer. View stitching details in
the Design Properties dialog. The production worksheet also provides
essential production information, including a design preview, the size of the
design, color sequence and any special instructions. See Viewing Designs for
details.
Digitizing designs
In ES Designer, you build designs from basic shapes or ‘embroidery objects’.
These are like ordinary vector objects in that they have certain defining
characteristics or ‘properties’ such as color, size, position, and so on. They
also have properties unique to embroidery such as stitch type and density.
Digitizing methods
The process of creating embroidery objects on-screen is called ‘digitizing’.
Like the creation of designs in graphics applications, this involves the use of

input or ‘digitizing’ tools. These are similar to drawing tools except that the
end result is an embroidery rather than a vector object.
large irregular shape line (Run)

(Complex Fill)
columns of varying width (Input A)
narrow columns (Input C)
turning stitches (Input B)
Different tools are suited to creating different shapes or design elements.

There are specific tools for digitizing larger complex shapes, asymmetrical
columns of turning stitches, columns of varying width, columns of fixed
width, lines, and even individual stitches. See Digitizing Methods for details.
Fill and outline stitches

The most important property of all embroidery objects is the stitch type. The
software uses object outlines and associated stitch type to generate
stitches. Whenever you reshape, transform or scale an object, stitches are
regenerated according to its stitch type and settings.
Run for lines
Tatami for large

shapes
Satin for narrow

shapes
Stitch types divide broadly into two categories—outline and fill. Satin fills
are generally suited to columns and borders. Tatami stitch is used to fill
larger shapes with solid fields of stitching. Run stitch, Backstitch, and
Stemstitch are considered both digitizing methods and stitch types. Both
Zigzag and E Stitch are used as outline stitches. Zigzag is frequently used
for tacking down appliqués, while E Stitch is used as the cover stitch. Both
can also be used for decorative effect. See Fill and Outline Stitches for
details.

Colorways and thread charts
When digitizing, you select thread colors for each object you create from the
color palette. This contains a selection of thread colors tailored for each
design or color scheme.
Colorway 1 Colorway 2
The particular ‘colorway’ represents the actual thread colors in which a

design will be stitched. In fact you can define multiple color schemes and
switch between them. This has important implications for sales
presentations as well as production. You can also print multiple colorways,
design backgrounds, and icons of color blocks together with the production
worksheet.
For each colorway you define, you can
select colors from commercial thread
1 charts or define your own. Search for
2 particular threads by various criteria.
Automatic thread color matching helps
3 you locate thread colors based on
4 closest match across one or several
thread charts. You can also match
5 thread colors from imported
graphics—vector or bitmap. See
Colorways and Thread Charts for
details.
Connecting embroidery objects

Connectors link objects in a design. They can be run stitches or jumps. You
can use automatic settings to generate connectors, trims and tie-offs, or
add them manually.
connector
trim stitching starts

Travel runs are typically used to connect segments within filled objects.
Adjust travel run length to reduce stitch count. See Connecting Embroidery
Objects for details.
Improving stitch quality

ES Designer provides many techniques for achieving smooth, even
placement of stitches, and eliminating gaps in your designs. Strengthen and
stabilize designs with automatic underlay.
with underlay without underlay
Compensate for fabric stretch with pull compensation. Reduce stitch

bunching with stitch shortening and fractional spacing. Adjust stitch density
for more efficient production and remove small stitches automatically.
Control corner stitching with Smart Corners and fine-tune handling of long
stitches with Auto Split and Auto Jump. Set automatic start and end points.
with no effects with Auto Split with Auto Jump
These features are all object properties and can be applied, removed or
modified at will. See Improving Stitch Quality for details.
Digitizing with artwork

There are two broad categories of artwork file, both of which can be
imported into ES Designer for use as digitizing backdrops—vector and
bitmap. To create good quality embroidery, you need to choose or create
suitable artwork of either format.

Digitizing with vector images
ES Designer provides tools to draw shapes and outlines directly on screen.
Alternatively, insert or paste vector images created in third-party drawing
packages for use as digitizing backdrops. Scale and transform them in the
same way as embroidery objects. You can also select colors for vector object
outlines and fills. When working with overlapping vector or embroidery
objects, merge, trim or split them using the Shaping tools.
Vector images have the advantage over bitmap images that they can be
converted directly to embroidery objects using a variety of input methods.
This allows you to concentrate on design shapes without having to think
about stitch properties and sequence. See Digitizing with Vector Images for
details.
vector image
converted to
embroidery design
Digitizing with bitmap images

Artwork can be inserted, pasted or scanned into ES Designer and cropped
for use as digitizing templates or ‘backdrops’. These help you to:
digitize shapes manually
digitize shapes automatically with Point & Stitch
digitize complete images automatically with Smart Design
digitize photographs with Photo Flash.
Scan artwork directly into ES Designer and edit it before use. Open images
directly in MS Paint, Corel PHOTO-PAINT®, or Paint Shop Pro™. Images
updated in this way are automatically re-imported into ES Designer.
Alternatively, insert bitmap images saved on your hard disk into

ES Designer. Show or hide them as you digitize. See Digitizing with Bitmap
Images for details.
Preparing images for automatic digitizing

ES Designer supports the automatic and semi-automatic digitizing of both
bitmap images and vector images. The quality of the resulting designs
greatly depends on the type and quality of the original artwork. In order to
make bitmap images—both outlined and non-outlined—more suitable for
automatic digitizing, ES Designer provides image processing capabilities
and links to graphics packages. See Preparing Images for Automatic
Digitizing for details.
Bitmap image scaled and background Areas recolored and outlines

removed—ready for manual digitizing improved—ready for automatic digitizing
Automatic digitizing
ES Designer provides a variety of complementary tools and techniques for
automatically digitizing suitably prepared artwork. See Automatic Digitizing
for details.
All colors omitted Background color

except black omitted
The Auto Trace feature lets you convert scanned artwork to vector
objects. You can then convert these to embroidery objects using a
variety of input methods.
The Point & Stitch tools provide everything necessary to digitize shapes
in bitmap images automatically without using manual input methods.

Smart Design automatic digitizing is intended for people working at all
levels of the embroidery industry. Smart Design automatically converts
bitmap images to fully digitized embroidery.
Photo Flash lets you create embroidery designs directly from
photographs and other grayscale bitmap images. The effect resembles
the output of a line printer.
gray scale
image
digitized with
Photo Flash
Modifying designs
After digitizing a design, you can modify it as a whole, edit individual objects
or even individual stitches.
Combining and resequencing objects

ES Designer provides techniques for
combining and resequencing
objects. You can add to designs by
duplicating and copying objects.
Combine designs. Split objects into
smaller ones and remove overlaps
between objects. See Combining
and Resequencing Objects for
details.
The stitching sequence

naturally occurs in the order
in which the design was
digitized. The Color-Object
List displays a sequential list
of objects grouped by object
and color. It provides an easy
way to group, cut, copy and
paste, and resequence

selected objects and color blocks. See Selecting and viewing objects with
the Color-Object List for details. See also Resequencing embroidery objects.
Group objects together to apply a
change to them all at once. Better
still, apply Branching to join
like-objects to form a single
‘branched object’. Objects are
resequenced, connectors
minimized, component objects
grouped, and stitches regenerated.
Apply an underlay to all. See
Automatic branching for details.
Arranging and transforming objects

ES Designer also provides techniques for
arranging and transforming objects. Change the
position, size and orientation of objects by
moving, scaling, rotating, skewing, and mirroring
them. Group objects together to apply universal
changes, or lock them to avoid unintentional
modification. Modify objects directly on-screen or
using the Object Properties dialog. Access
commonly used functions via the Color-Object
List. See Arranging and Transforming Objects for
details.
Converting and reshaping objects

There are also techniques available for converting
and reshaping objects. Convert among vector and
embroidery objects of different types at all stages
of the design. The points you mark when digitizing
a shape become its ‘control points’. These vary
slightly with the object type. Use them to edit or
transform objects—e.g. reshaping, scaling, letter
spacing, changing entry and exit points. Modify
stitch angles of selected objects. Add multiple
stitch angles as required. See Converting and
Reshaping Objects for details.

Editing stitches and machine functions
Techniques are available for specialist stitch and
machine function editing. In essence, you edit
individual stitches like any other object, moving
the needlepoint position as required.
ES Designer also lets you manually insert
machine functions and modify them. This
flexibility allows you to adapt designs to almost
any machine requirement. A Stitch List is
available to help you locate stitches and
machine functions. See Editing Stitches and
Machine Functions for details.
Advanced digitizing techniques

ES Designer provides specialized productivity features as well as special
effects and digitizing techniques.
Object properties, styles and templates

Every object you create in ES Designer has a unique set of properties that
are stored with it whenever you save the design. You can set the properties
of a selected object to be the current property settings. You can also apply
current property settings to existing objects. A style is a group of property
settings stored under a unique name. You can save any combination of
settings to a style. This makes it easy to apply these settings to selected
embroidery and lettering objects. Templates are special files used to store
styles and default property settings. See Object Properties, Styles and
Templates for details.
Style 1 Style 2

Specialized digitizing techniques
ES Designer provides specialized
digitizing features to save time as
you digitize, and for special
effects and machine functions.
There are input tools for digitizing
circles, stars, rings and appliqué
objects, as well as methods for
creating repeated or ‘backtracked’
duplicates, adding borders or
filling holes. See Specialized Digitizing Techniques for details.
Borders
Add attractive borders such as rectangles, ovals, and shields to
designs using the Borders symbol set. When you add a border, it is
automatically sized to fit the current design. See Adding borders to designs
for details.
Appliqué
Automatically create all the stitching you need for
appliqué using Auto Appliqué. Simply extract
appliqué shapes from a design to a separate file.
See Digitizing for appliqué for details.
Tip Cross stitch is sometimes combined with

appliqué for special effects. Cross stitch is a popular
technique for filling large areas with low stitch
counts. It can also be used for outlines and borders.
It is suitable for homeware, tablecloths, children’s clothes and folk designs.
See ES Cross Stitch Supplement for details.

Textured fills
ES Designer provides special tools to create textured effects from needle
penetrations. Apply offset fractions and partition lines to Tatami fills to
create split-line patterns.
Tatami Offset Partition Lines Random Factor
Alternatively, apply Program Split or Flexi Split to create decorative fills

from pre-defined patterns of needle penetrations. Select from the library or
create your own. With User Defined Split, create your own split lines when
you want to add detail to filled objects. See Textured Fills for details.
Program Split Flexi Split User Defined Split
Artistic stitch effects

ES Designer provides many artistic effects and stitch types to create
textured and contoured fill stitching. Use Jagged Edge to create rough
edges, shading effects, or imitate fur and other fluffy textures. Accordion
Spacing varies stitch spacing between dense and open fill, producing
shading and color effects which are difficult to achieve manually. The Color

Blending effect creates interesting perspective, shading and color effects by
blending two colored layers.
Jagged Edge with Accordion Spacing Tatami with Color

Tatami backstitch with circles Blending
Apply Trapunto effect to force

underlying travel runs to the
edges of an object so that they
can’t be seen through open
stitching. See Connecting
Embroidery Objects for details.
Create ‘chiaroscuro’ effects with
Contour. Choose between Standard and Spiral. For another type of curved
effect, use Florentine Effect to curve needle penetrations along a digitized
line. Liquid Effect allows you to enter twin curves. See Artistic Stitch Effects
for details.
Contour spiral Open fill with Single curve with

Trapunto Florentine Effect

Motif runs and fills
Motifs are pre-defined design
elements, such as hearts,
leaves or border patterns. They
generally consist of one or more
simple objects, and are stored
in a special motif set. Use Motif
Run and Motif Fill to create
ornamental runs and textured
fills. Create your own motifs or
use the ones provided with the
software. Motifs can be scaled, rotated and mirrored in the same way as
other objects. Using 3D Warp with motif fills, you can also create interesting
three dimensional effects. See Motif Runs and Fills for details.
Sequins and boring

Some embroidery machines are equipped with a
sequin dispenser that drops sequins onto the
garment as it stitches. Some are also equipped
with a boring knife or needle to cut holes in the
fabric, producing an effect similar to lace. Often the
two techniques are used in combination.
ES Designer provides support for both.
ES Designer provides a dedicated set of Sequin
tools which allow you to digitize sequined designs
for compatible machines. Create sequin runs along
digitized lines, either placing sequins manually or
letting the software generate placement positions
according to current settings. The Sequin tools also
allow you to digitize individual sequins for even
greater control. If your embroidery machine is
equipped with a boring knife or needle, you can use
the Borers tool to cut holes in the fabric, producing
an effect similar to lace. See Sequins and Boring for
details.
Embroidery lettering
Create top-quality lettering quickly and simply. ES Designer provides a large
range of scalable closest-join alphabet styles and multi-color and fancy
stitching alphabets to choose from.

Creating embroidery lettering
Add lettering directly to designs using current settings or with the aid of the
dialog. With object-based operation, you can type and manipulate your text
directly on-screen, changing the size or spacings to fit. Apply formatting just
like a word processor, including italics, bolding, and right/left justification.
Change values for the whole text or for individual letters. See Creating
Embroidery Lettering for details.
Adjusting lettering layout

ES Designer gives you both interactive and precise numeric control over
many settings affecting lettering objects. Adjust both individual letters and
lettering objects as a whole. Apply horizontal, vertical, and curved
baselines. Modify baseline type, length, radius and angle, as well as
position. You can even define the rotation angle of letters relative to the
baseline or the design itself. See Editing Embroidery Lettering for details.
Adjusting lettering stitch settings

When it comes to stitching, you can fine-tune the density, add pull
compensation and underlay, or change to center-out stitching. Like all
embroidery objects, each lettering object has its own stitch properties.
Adjust settings at any stage. ES Designer also gives you precise control over
the stitch angles of individual letters. You can also specify the join method

and stitching sequence you prefer. See Adjusting Lettering Stitch Settings
for details.
Special lettering features

Add special characters and symbols to your lettering. Create interesting
distortions using lettering envelopes. See Creating special effects with
envelopes for details.
Bridge Pennant Perspective Diamond
Use the Team Names feature to create designs with multiple names. For
example, use the same logo with different names for sports teams or
corporate uniforms without having to create multiple copies of the same
design. See Team lettering for details.

Custom alphabets
Turn any TrueType font installed on your system into an embroidery
alphabet. See Converting TrueType fonts to embroidery alphabets for
details.
Typically spacing between certain character pairs appears uneven due to the
optical illusion of having straight lines and curves side-by-side. Automatic
kerning is a user-defined option allowing you to customize kerning. See
Automatic letter kerning for details.
Sometimes you find that you want to reshape a letter to improve its
appearance, perhaps to suit a particular lettering height. ES Designer lets
you save the letter as an alternative version. In fact you can save multiple
versions of the same letter within the same alphabet. See User-refined
alphabets for details.
Letter ‘a’ opened Default ‘a’ too narrow

up at smaller size at small size

You can even create your own custom alphabets. Alternatively, modify an
existing alphabet for special applications. See Creating custom alphabets for
details.
Merge letters from two or more alphabets with the stand-alone alphabet
merging utility. See Merging alphabets for details.
Design processing & encoding

Design processing and encoding involve all the important, back-end
operations of embroidery design and manufacture. This is where you
actually output your designs to machine, disk, printer, cutter, and so on. For
this, you will need an understanding of embroidery file types as well as
different machine formats. Depending on your setup, you will also need an
understanding of traditional storage media including embroidery disks and
paper tapes.
Processing design files

By default ES Designer saves to its native file format, EMB. This format
contains all information necessary both for stitching a design and for later
modification. When opening designs created or saved in other formats,
ES Designer converts the design internally to EMB format. You can then
modify it using the full range of ES Designer features. Depending on the file
type, you may need to provide additional information to assist ES Designer
in the conversion process. ES Designer also supports the processing of
Melco CND outline files, including color merging and reassignment of colors.
See Processing Design Files for details.
Changing machine formats

Different embroidery machines speak different languages. They have their
own control commands for the various machine functions. Before you can
stitch a design, it must be in a format which can be understood by the
embroidery machine. When you select a machine format, ES Designer
translates the digitized design into machine functions that can be

understood by that machine. If required, you can customize machine
formats to meet specific machine requirements. See Changing Machine
Formats for details.
Outputting designs
You can output embroidery designs in a variety of ways—saving to
embroidery disk, punching to paper tape, sending appliqué shapes to a
cutter, or sending directly to machine for stitching. From the same design
file, you can also output a production worksheet for the embroidery machine
operator. Designers frequently want to distribute their designs so that they
can be seen in real colors, in TrueView or otherwise. In ES Designer you can
save both design images and production worksheets to disk or email them
direct. See Outputting Designs for details.
Embroidery disks and paper tapes

Embroidery disks are specially formatted floppy disks used to transfer
designs from computer to embroidery machine. You can format embroidery
disks and save designs to them from within ES Designer. The format you
use will depend on the selected embroidery machine. You can also open
designs from embroidery disk directly into ES Designer.
Paper tape is the traditional medium for storing designs in stitch data
format. You can read paper tape designs of various formats into
ES Designer. Once a design is read, you can output it without change,
modify it and output it in its original format, or save it as an EMB file. You
can also punch designs to paper tape from ES Designer. See Embroidery
Disks and Paper Tapes for details.
Design management
ES Designer provides a number of productivity tools to help you manage
designs and design elements for re-use. The Embroidery Clipart feature is
a powerful productivity tool which makes whole designs and design
fragments easily available. ES Design Explorer provides an efficient way for
viewing and managing embroidery designs in folders.
Note ES Design Explorer is not a multi-user database for company-wide

design management. Wilcom Design Workflow is a central design storage
and management application. Any design format that can be read by
ES Designer can be stored in Design Workflow. Design Workflow uses

Microsoft SQL technology and is a true multi-user tool, allowing far greater
control of designs throughout your company. For this type of requirement,
refer to the Design Workflow User Manual.
Embroidery Clipart
The Embroidery Clipart feature allows you to recycle
commonly used design elements and greatly speeds up the
process of creating new designs. Use the clipart library to
permanently store useful embroidery elements and assign
keywords to them. Summary information such as width and
height, number of stitches and colors is automatically
recorded.
The library displays all design elements currently recorded to
your personal database. Behind this functionality is the
powerful Microsoft Data Engine or MSDE. Sort and search
functionality is provided to filter your list according to name,
keywords, number of colors, or number of stitches. Once a
suitable design element is located, simply drag and drop it
as ‘embroidery clipart’ into the current project.
Automatically find the nearest match between selected
clipart element colors and the current palette. See Embroidery Clipart for
details.
ES Design Explorer
With ES Design Explorer, you can browse design files stored on your
computer hard disk, CD-ROM, or floppy disk, as well as cut, copy, paste and
delete them. It recognizes all design file formats used by ES Designer. See
ES Design Explorer Basics for details.
Designs in ES Design Explorer
folders can be sorted in various
ways. This is useful when you
want to select designs for
stitching out, printing,
archiving, and so on. Once a
design is selected in an
ES Design Explorer folder, you
can send it direct to an
embroidery machine or
punching machine. You can also
batch-convert your EMB and
other design files to and from
other file formats directly from ES Design Explorer. See ES Design Explorer
Advanced Functions for details.

Create design catalogs containing thumbnail images and/or summary
information. These can be sent to a printer, published on your website or
intranet, and exported in formats suitable for spreadsheet and database
programs, and for integration with third-party e-commerce solutions.
Archive design files in folders with the built-in WinZip utility. This can be
useful for sending or receiving multiple files via email. You can even view
design files within ‘zipped’ archives.

Chapter 2
Basic Procedures
Wilcom ES software is an MS Windows-based product incorporating many of

the conventions with which most PC users are already familiar. To start using
ES Designer, you need to understand something about the organization of
the graphical user interface (GUI) as well as a few basic procedures such as
opening and saving designs. Other basic procedures include displaying the
grid, accessing design information, and selecting machine formats.
Security codes enable access to features within the software. You also need
to be able to identify your system’s access codes, and enter new codes for
upgrades.
This section describes how to start ES Designer, how to open designs, start
new ones and use the basic commands. It also explains how to turn on and
off the grid and measure distances on-screen. You will also find out how to
select machine formats for different output as well as how to save designs.
The section also explains the procedure for entering security codes.
Starting ES Designer
Double-click to start ES Designer.

Open ES Designer using the desktop icon or the Windows Start menu. The
screen image shown here displays an exploded view of all toolbars in the
product.
To start ES Designer
Double-click the ES Designer shortcut icon on the Windows desktop.
Alternatively, select Programs > Wilcom ES > ES Designer from the
Start menu. ES Designer opens with a new, blank design (Design1).
Title and Menu bars

Standard toolbar
Stitch Types toolbar
Show Vertical toolbar
Pointer toolbar
Input toolbar
Travel toolbar
Image toolbar
Status bar
Prompt line
Design Window Color toolbar General object properties
Customize the design window by showing or hiding the grid, changing

the grid dimensions, and showing and hiding toolbars. See Displaying
the grid and Showing or hiding toolbars for details.
ES 2006 Chapter 2 Basic Procedures 36

The Status and Prompt bars include a General Properties panel for
continuous display and routine modification of general object properties.
See also Accessing object properties.
Stitch type and General properties
current settings permanently available
Status bar
Prompt line
Stitch count Length and angle of Current color
Coordinates of current current stitch Current function
needle position
Using commands and tools

Once you start ES Designer, you use commands or tools, and dialogs to
complete your tasks. You select commands in ES Designer in the same way
as other Windows applications—from menus, toolbars, or popup menus.
Dialogs provide the other principal way of engaging with the system. They
come in two forms—modal and modeless. Modal dialogs effectively lock the
system until you have finished with them. The idea of the ‘modeless’ dialog
is that you can keep it open as long as you need to while working
interactively with different settings. Keyboard shortcuts are also available
for the most frequently used commands. See Quick Reference for details.
Showing or hiding toolbars
Use Show Pointer Toolbar (Show Vertical toolbar) to display the Pointer
toolbar.
Use Show Input Toolbar (Show Vertical toolbar) to display the Input
toolbar.
Use Show Travel Toolbar (Show Vertical toolbar) to display the Travel
toolbar.
Use Show Image Toolbar (Show Vertical toolbar) to display the Image
toolbar.
Toolbars provide quick and easy access to most ES Designer commands. You
can choose to show or hide them for convenience.
Tip To increase your working area, hide unwanted toolbars and use the
menu and keyboard commands instead. See also Quick Reference.

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

3 Click OK.
Tip Use the buttons on the Show Vertical toolbar to display the Pointer,
Input, Travel, and Image toolbars on the side of the design window.
Toolbar docking and parking

ES Designer toolbars are dockable. To move a toolbar to a more convenient
location, click-and-drag it. To dock it in its normal position, double-click the
toolbar title. The toolbar parking feature allows you to make better use of
available screen ‘real estate’.
Click-and-drag toolbars and

modeless dialogs into
toolbar park
By default, the Toolbar Park toolbar is situated just above the design
window. Simply drag and drop any toolbar into the Park to move it out of
the way. Click the tab and drag it back out when you need it. You can also
park the Color-Object List, the Color Palette Editor, and the Object

Properties dialog. The Toolbar Park toolbar itself can be docked at the
bottom of the screen.
Tip A toolbar parked in the Toolbar Park area is automatically removed by

deactivating it in the Toolbars dialog.
Selecting commands from toolbars

Toolbars provide quick and easy access to ES Designer commands. Click a
toolbar button to activate a command or, where applicable, right-click to set
its properties. Some icons are ‘toggles’ which turn on or off associated
functions.
To select commands from toolbars

Rest the pointer over a tool icon to see its name in a ‘tooltip’.
Click the icon to activate the command.
Right-click to adjust settings or activate the secondary command.
If the tool has both left and right-click commands, the name is split
with a slash (/). For example, the Polygon Select/Line Select tool
lets you select objects within a polygon when you click it, or objects
along a line when you right-click.
For many tools, right-clicking accesses current command settings.
For example, left-clicking Satin/Values selects Satin as the stitch
type, while right-clicking accesses Satin stitch settings in the Object
Properties dialog.
Note Object properties can be modified with or without objects

selected. The former affects only selected objects. The latter affects
current settings. See Working with object properties for details.

Using popup menus
Generally speaking, popup menus of context-specific commands can be
accessed from the design window as well as some modeless dialogs.
To use popup menus

1 Right-click a selected object/s in the design window or modeless dialog
such as the Color-Object List.
The popup menu opens.
2 Select a command from the menu.
Tip A frequently used command is Properties. This opens the Object

Properties dialog for selected objects. See Accessing object properties
for details.
Accessing object properties
Use Object Properties (Standard toolbar) to set properties for selected

objects.
The most important dialog in ES Designer is the Object Properties dialog.

This is a ‘modeless’ dialog, meaning that it stays in the design window as
long as you need it. Use it together with a General Properties toolbar to
adjust properties of selected objects as you work.

To access object properties
1 Open the Object Properties dialog by any of the following means:
Select View > Object Properties.
Click the Object Properties icon.
Double-click an object in the design window.
Right-click an object in the design window and select Properties
from the popup menu.
Right-click an object in the Color-Object List and select Properties
from the popup menu.
Select required
tab
Adjust settings
Scroll to view
dialog
Apply settings
2 Select a tab to access the object property set you want to adjust.

3 Use dropdown lists, radio buttons and checkboxes to choose options.
Adjust settings by keying in precise values or by using the popup slider
control.
After clicking
‘swivel’ button, drag
popup slider to set Click ‘swivel’ button
to invoke slider
control
‘Radio’ buttons are

mutually exclusive
Checkboxes are
optional
Tip The slider control has two operating modes—Normal and

Accelerated. Holding down the Ctrl key puts it in Accelerated mode.
4 Apply settings by means of the control buttons at the bottom of the
dialog.
Revert to previous settings

Apply current settings to Save settings to the
selected object/s current template
Click to invoke the Click to invoke help
‘effects’ tabs about a particular tab
Note You have the choice of applying changes to object properties

immediately or by means of the Apply button. See Setting Object
Property ‘apply’ options for details.

5 Click the FX button to access a separate set of more specialized object
property settings such as Accordion Spacing, Stitch Shortening, Smart
Corners, etc.
General properties
permanently available on
right side of status bar
Click to apply
or revert
6 Adjust general object properties—width, height, position—by means of

the General Properties controls at the bottom of the screen where they
are permanently available.
Tip The Object Properties dialog can be temporarily parked in the new
Toolbar Park toolbar for easy access. See Toolbar docking and parking
for details.
7 Close the Object Properties dialog by any of the following means:
Click the Object Properties icon.
Click the X icon in the Object Properties dialog to close.
Undoing and redoing commands
Use Undo icon (Standard toolbar) to undo an action and Undo Arrow to
undo a range of actions.
Use Redo icon (Standard toolbar) to redo an action and Redo Arrow to redo
a range of actions.
You can undo the effects of most commands. If you change your mind, you
can redo them again. ES Designer ‘remembers’ up to 256 undo and redo
command actions.

To undo and redo commands
To undo a previous command, simply click the Undo icon.
When ES Designer cannot remember more commands, Undo is
dimmed.
Click Redo to re-apply an ‘undone’ command.
To undo or redo a range of actions, use the dropdown lists by clicking
the arrow next to Undo/Redo icons.
Redo selected
actions
Undo selected
actions
Tip To cancel the current selection in the Undo/Redo List or close it, click
the Undo/Redo Arrow button again or click away the list without
selecting any action.
Opening designs
Use Open (Standard toolbar) to open an existing design.
ES Designer opens a comprehensive range of both outline and ‘stitch’ files.

You can also open designs from proprietary embroidery disks, or read them
from paper tape. See also Embroidery design formats and Embroidery Disks
and Paper Tapes in the Online Manual.
Warning You cannot open EMB files created with a later version of the
software than the one you are currently running.
To open a design
1 Click the Open icon.

The Open dialog opens.
preview panel
design data
preview on/off
2 Select a folder from the Look In list.

3 If the design is not in EMB format, select a file type from the Files of
Type list.
4 Select a design or designs.
To select a range of items, hold down Shift then select the first and
last in the range.
To select multiple items, hold down Ctrl as you select.
5 Select the Preview checkbox to preview the design (for supported file
formats) together with the design data. This includes stitch and color
numbers, design height and width, and software version number (V6.0
onwards).
Tip For more information about a selected file, right-click and select
Properties from the popup menu. See Viewing design information in
Windows Explorer for details.
6 For file types other than EMB or ESD, click Options and change the
recognition options. See Processing Design Files for details.
7 Click Open.
Creating new designs

When you start ES Designer, a new file—Design1—is automatically created,
ready for you to start digitizing. By default, Design1 is based on the
NORMAL template. Templates contain pre-set styles, default settings or
objects, to make digitizing quicker and easier. When you create a file based

on a template, the template’s values are copied to the new design. You can
create additional designs based on the NORMAL template, or select a
different template. New designs are given a name, and numbered
sequentially—e.g. Design1, Design2, and so on. See also Working with
design templates.
Creating new designs with the NORMAL template
Use New (Standard toolbar) to start a new design with the NORMAL
template.
Whenever you click the New icon, a blank design opens in the design window
using the default ‘NORMAL’ template.
To create a new design with the NORMAL template

Click the New icon.
A blank design opens in the design window.
Tip Whenever you create a new design, save it with a new name. See
Saving designs for details.
Creating new designs with selected templates
Use New (File menu) to start a new design with a selected template.
You can select a custom template to base your new design on. See also
Working with design templates.
To create a new design with a selected template

1 Select File > New.
The New dialog opens.

Note If there is no template other than the default, the New dialog may
not appear.
2 Select a template from the list.
3 Click OK.
Tip Whenever you create a new design, save it with a new name. See
Saving designs for details.
Generating stitches
Use Generate Stitches (Generate toolbar) to generate stitches for new or

selected objects.
With ES Designer designs, stitches are automatically generated from design

outlines and properties. You can either generate stitches as you digitize, or
wait until you have defined the outlines. With Generate Stitches on (the
default), stitches are calculated for new objects whenever you press Enter.
They are also updated whenever you scale, transform or move the object.
If speed is an issue, you can digitize objects with Generate Stitches off. You
can also select objects and remove all generated stitches. With Generate
Stitches off, only object outlines appear.
To generate stitches
To generate stitches for new or selected objects, click the Generate
Stitches icon or press G.
If any objects are selected, stitches are generated for them
automatically. If no objects are currently selected, stitches are
generated for new objects as soon as you press Enter.
To remove stitches, or digitize without generating stitches, deselect
Generate Stitches icon or press G again.
Tip Make sure Show Outlines is selected, and the colors of background
and object(s) when selected contradict each other, otherwise the objects
will not be visible in the design window. See Changing background colors
and fabrics for details.

Displaying grids, rulers and guides
ES Designer provides a set of grid lines to help accurately align or size
embroidery objects. The Show Rulers and Guides feature improves
usability by allowing you to accurately position stitches and align objects in
the design.
Displaying the grid
Click Show Grid (Standard toolbar) to show or hide the grid. Right-click to
change the Grid settings.
Use grid lines to help accurately align or size embroidery objects. You can
show or hide the grid at any time. Default grid spacing is 10 mm x 10 mm.
To display the grid

Toggle grid display by any of the following means:
Click the Show Grid icon.
Select Special > Options > Grid and Guides tab and select the
Show Grid option.
Show Grid
Select View > Grid and Guides tab and select the Show Grid option.
Press Shift+G.
Tip You can change grid spacing, select a reference point and turn Snap
to Grid on or off in the Options dialog. You can also change the color of
the grid lines. See Changing display colors for details. See also Setting
grid options.
Displaying rulers and guides
Click Show Rulers and Guides (Standard toolbar) to show or hide rulers and
guides. Right-click to change the Guides settings.
Drag the Ruler Zero Point to reset a new ruler zero point.

Rulers are located to the top and left side of the design window. The unit of
measurement—mm or inches—depends on the regional settings in the
Windows Control Panel. The ruler scale, illustrated with numbers and ticks,
depends on the zoom setting. Guides are dotted vertical and horizontal lines
placed across the design window to help you align objects. Each guide has
a yellow guide handle on the ruler that can be used to move or delete it.
Guides are displayed ‘on top’ of the grid, if present, but ‘beneath’ all images,
vector objects and embroidery objects. Rulers must be displayed before a
guide can be created.
Note By default, rulers and guides are switched on. When they are
switched off, guides are hidden but are stored in the design and will
reappear when switched back on.
To display rulers and guides

Toggle ruler display by any of the following means:
Click the Show Rulers and Guides icon.
Select Special > Options > Grid and Guides tab and select the
Show Rulers and Guides option.
Show Rulers and

Guides
Select View > Grid and Guides tab and select the Show Rulers and
Guides option.
Press Ctrl+R.
Click-and-drag to
reset ruler zero
point
Click-and-drag to
reposition guides
Click ruler to
create new guide
Drag guide off

ruler to remove

Reset the ruler zero point by clicking and dragging the box in the top
left-hand corner of the design window to the required point in the
design.
The point where you release the mouse becomes the new zero
point—X,Y (0,0). The grid always lines up with the rulers. Whenever the
ruler zero is changed, the Set Reference Point checkbox in Special >
Options > Grid tab is deselected.
To create a guide, click on either ruler—horizontal or vertical—and
click-and-drag it into position. Multiple guides can be created and just as
easily removed.
For more accurate positioning of guides, double-click the yellow handle.
In the Guide Position dialog, enter a precise distance from the zero
point, and click OK.
Enter precise
position
Note The ruler zero and the design zero are not the same and in
general do not coincide. When the zero point of the rulers is changed,
the guides maintain their current displacement from the zero point of
the design, not the zero point of the rulers.
To remove a guide, drag the yellow guide handle off the design window.
Tip You can turn Snap to Grid and Snap to Guide on or off in the
Options dialog. You can also change the color of grid and guidelines. See
Changing display colors for details. See also Setting grid options.
Measuring distances on-screen
Use Measure (View menu) to measure distances on-screen.
Measure the distance between two points on screen using the Measure
command. You can show these measurements in a tooltip. Measurements
are shown in millimeters or inches, depending on the option selected in the
Windows Control Panel. See your Windows documentation for more
information.

Tip For more accurate results, zoom in before you measure. The
measurement is always the actual size, and is not affected by the zoom
factor.
To measure a distance on-screen

1 Select View > Measure or press M.
2 Click the start point.
3 Move the pointer to the end point and hold the mouse still.
The following information displays in the Status bar:
Position coordinates of the end point (X=, Y=)
Length of the measured line (L=)
Angle of the line relative to the horizontal (A=).
Tip If turned on, the measurements will also appear in tooltips. Use the
tooltip with the crosshair cursor on for a more accurate measurement.
See Setting other options for details.
measurements
appear as tooltip
4 Press Esc to finish.
Selecting machine formats
Select the Select Machine Format (Machine menu) to select a machine format.
Before you start digitizing, decide which machine format to use. A design’s
machine format can be changed at any time for stitching to another machine
type, or sending to a paper tape punch or embroidery disk.

To select a machine format
1 Select Machine > Select Machine Format.
The Select Machine Format dialog opens.
Select machine
format
2 Select a machine format from the list.
Note You can customize or add formats to suit the embroidery machine
you will use to stitch the design. See Creating custom formats or
Adjusting standard machine format settings in the Online Manual for
details.
3 Click OK.
Saving designs
Use Save (Standard toolbar) to save the current design. Right-click to open
the Save As dialog.
ES Designer lets you save designs in EMB as well as other outline and ‘stitch’
file formats. You can also save designs to proprietary embroidery disks, or
punch them to paper tape. See Embroidery design formats and Embroidery
Disks and Paper Tapes in the Online Manual. See also Saving designs for
machine.
Saving a design records its file name, location and format, and updates it
with any changes you make. When you save an existing design under a new
name, to a different location or format, you create a copy of the original
design.

Tip Save your design early and often. Do not wait until you finish working.
You can also set ES Designer to save automatically while you work. See
Setting automatic save and backup options for details.
To save a design
1 Click the Save icon.
If this is the first time you have saved the design, the Save As dialog
opens.
Tip To save changes to an existing file but preserve the original, use
Save As.
folder containing
design
design name
format list
2 Select the folder where you want to save the design from the Save In
list.
3 Enter a name for the design in the File name field.
4 Select a file format from the Save as type list. See Supported
embroidery file formats for details.
Warning If a design feature is not available in the file type you select,
it will be converted—e.g. Flexi Split stitching may be changed to plain
Tatami.
5 Click Save.

Tip Files saved in EMB format are automatically compressed when
saved and decompressed when re-opened. This reduces the storage
space required, and makes it possible to save large files to floppy disk,
or send them as email attachments.
Once you have saved a design, every time you click Save on the toolbar
the file will be updated.

Chapter 3
Working with Design Objects
ES Designer provides various ways to select the objects in an embroidery

design. Modify the design as a whole or select individual objects for more
precise modification. The Color-Object List provides an easy way to select
objects and colors in designs and access their properties. Use it to group and
ungroup, lock and unlock, and show and hide objects as well.
Note In ES Designer vector objects and embroidery objects are in fact

inter-convertible since they share many of the same characteristics. See
also Digitizing with Vector Images.
This section describes how to select objects using the selection tools and
keyboard. It also shows how to select while traveling through designs or by
using the Color-Object List.
Selecting and deselecting objects

You can select all objects in a design, cancel all selections, or remove
individual objects from a selected group.
Selecting all objects in a design

Select all objects to apply changes to a whole design. See also Quick
Reference.

To select all objects in a design
Select Edit > Select All or press Ctrl+A.
Selection handles appear around the entire design.
no objects selected all objects selected
To deselect, select Edit > Deselect All, press X or Esc.
Deselecting objects
You can cancel all selections in the design, or remove individual objects from
a group of selected objects.
To deselect objects
Deselect an object/s by any of the following means:
Click an empty area of the background.
Select a different object.
Press Esc or X to deselect all.
Select Edit > Deselect All to deselect all.
Remove an object from a group of selection by holding down Ctrl and
clicking the object to deselect.
Selecting objects with Select Object

ES Designer provides various means for selecting objects including point
and click, and bounding box selection. You can also use the Select Object
tool in conjunction with Shift and Ctrl keys to select groups of objects.
ES Designer allows precise selection of object outlines or fill stitches. It also
allows selection of a solid color (for vector objects), fabric (for appliqués) or
the visible portion, after cropping, of a bitmap. See also Quick Reference.
ES 2006 Chapter 3 Working with Design Objects 56

Selecting objects by point & click
Click Select Object (Pointer toolbar) and click the object to select.
The simplest way to select objects is by pointing and clicking with the Select
Object tool—the default. With Shift and Ctrl keys, you can select multiple
objects. Filled objects can be selected by clicking their outlines or stitches.
Closed unfilled objects, such as drawing objects with no fill color, can only
be selected by clicking their outlines. Clicking an object outline selects the
object regardless of whether another object is on top. When clicking at a
point where two or more objects intersect, the last object in the sequence
is selected. Where you have a mixture of closed-curve objects, you can
select object outlines or fill stitches. Clicking within an object’s extent box
but outside its outline does not select it. With low-density stitching and/or
at high zooms, it is actually possible to click between stitches and not select
the object.
Note ES Designer allows a degree of ‘selection tolerance’ around stitches

and outlines when selecting, as though the lines were thicker. Selection
tolerance does not apply to color or fabric fills. When stitching has low
density and/or at high zooms, it is possible to click between stitches and not
select the object.
To select objects by point & click

Click the object you want to select.
Selection handles appear around it. You can move the cursor anywhere
within these extents to click-and-drag the object.
OR
Click first object Ctrl + Hold down Ctrl and Shift + Hold down Shift and
click another object click last object
To select a range of items, hold down Shift as you click.

Tip It helps to know the design stitching sequence for this method. See
Traveling by object for details.
To select multiple items, hold down Ctrl as you click.
Note Clicking within the object’s extent box but outside its outline does
not select it.
Where you have a mixture of closed-curve objects with or without fills,
you can select object outlines or fill stitches.
Clicking fill selects the object Clicking fill behind an object Clicking outline of object
even if it is within the bounds without fill selects the object selects the object
of a larger object
Tip To select an object which is sitting behind another object, zoom in

and position the cursor over the area where they overlap, and holding
down the 2 key, click until the second object is selected. Each click
selects the next overlapping object.
Selecting objects with a bounding box
Click Select Object (Pointer toolbar) and drag a bounding box around the
object to select.
With the Select Object tool activated, you can select objects by dragging a
bounding box around them. The selection tool is generally activated by
default.
To select objects with a bounding box

Drag a bounding box around the objects you want to select.

Objects are selected when you release the mouse button.
Drag a bounding box around Objects are selected

the objects
Note Only objects completely within the bounding box will be selected
when you release the mouse button. See also Grouping and ungrouping
objects.
Selecting objects ‘on the fly’

You can select a range of objects by traveling by object with Selects On
activated, or using the Select Object tool in conjunction with Shift, Ctrl and
Tab keys.
Selecting objects with Selects On
Click Selects On (Standard toolbar) to select a range of objects as you travel

through the design.
The Selects On tool adds objects to the selection as you travel through the
stitching sequence.
To select objects with Selects On

1 Click the Selects On icon.
2 Click the Select Object icon.
Note If the Select Object tool is not selected, Selects On has no effect.
3 Travel through the design. See Traveling by object for details.
As you travel, objects are added to the selection.

Selecting objects while traveling through a design
Click Select Object (Pointer toolbar) together with the Ctrl key to select
objects as you travel through a design.
You can select objects as you ‘travel’ through the design using the Ctrl key.
Traveling is usually associated with checking the stitching sequence.
To select objects while traveling through a design

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

object
3 Hold down Ctrl, and travel over the object to select it.
Note If an object is already selected, it is deselected when you travel

through it.
Hold down Ctrl and

travel by object
To select more objects, continue traveling with Ctrl held down.

To leave an object out of the selection, release Ctrl before you travel
through it.
Tip You can select the object you are currently traveling through by
pressing Shift+O or right-clicking the Select Object tool.

Selecting next or previous object
Click Select Object (Pointer toolbar) and press Tab or Shift + Tab to select
next or previous objects.
If an object is already selected, you can select the object before or after it
in the stitching sequence using Tab or Shift + Tab with the Select Object tool
activated. With no object selected, you can select the first or last object in
the design sequence.
To select next or previous object

2 Select an object as required.
3 Do one of the following:
Press Tab to select the next object in the stitching sequence.
Press Shift + Tab to select the previous object in the stitching
sequence.
Tip Hold down Ctrl and press Tab or Shift + Tab to add the next or
previous objects to the selection.
Selecting objects with Polygon Select/Line Select

Sometimes the Select Object tool does not provide fine enough control. The
Polygon Select /Line Select tool lets you select individual objects by
drawing an outline around them or a line through them.
Tip To select an object which is behind another object, you can zoom in and
click the outline. Alternatively, position the pointer over the object, hold
down the 2 key, and click until the object is selected. Each click selects the
next overlapping object.
Selecting objects with Polygon Select
Click Polygon Select /Line Select (Pointer toolbar) to select objects with a
bounding box.
With the Polygon Select /Line Select tool you can select a specific object
by drawing a bounding box around it.

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

1 Right-click the Polygon Select/Line Select icon.
2 Mark two or more reference points to create a line touching all objects
you want to select.
Mark two
reference points
Any object intersected by the line is selected.

3 Press Enter to select.

Selecting related objects
You can select all objects of the same color or stitch type with a single
command. Use this feature to apply a change across all objects of the same
type.
Selecting objects by color

You can select all objects of the same color with a single command. Use this
feature to apply a change across all objects of the same color. See also
Viewing design objects by color.
To select objects by color

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

To select multiple colors, hold down Ctrl as you click.
3 Click OK.
Objects using the selected thread colors are selected in the design.
Note Manual color changes are ignored. Any objects with manual color
changes are selected according to their original color.

Selecting objects by stitch type
You can select all objects of the same stitch type with a single command.
Use this feature to apply a change across all objects of the same stitch type.
To select objects by stitch type

1 Select Edit > Select By > Stitch type.
The Select By Stitch Type dialog opens.
Select stitch type
2 Select a stitch type from the list.
To select a range of stitch types, hold down Shift as you click.

To select multiple stitch types, hold down Ctrl as you click.
3 Click OK.
Objects using the selected stitch types are selected in the design.
Selecting and viewing objects with the Color-Object List
Use Color-Object List (Standard toolbar) to toggle the Color-Object List

display on and off. Use it to select and view objects in a design.
The Color-Object List provides a sequential list of objects as digitized,

grouped by ‘color block’. It offers an easy way to select objects and
selectively view them. It is synchronized with the design window,
dynamically updating whenever you manipulate objects. It is normally

docked on the right of the design window but can be dragged to any position
you require.
Note You can use the Color-Object List to group and lock objects. Use it
also to cut, copy and paste, resequence, as well as branch objects. See also
Grouping and locking with the Color-Object List, Copying and pasting
objects, Resequencing colors and objects with the Color-Object List, and
Branching objects with the Color-Object List in the Online Manual.
To select and view objects with the Color-Object List

1 Click the Color-Object List icon.
The Color-Object List opens. It can be docked to the left or right side
of the design window, or dragged to any position.
object total
total color icons object total stitch
block count count count
bitmap image
node
vector image object type
node
color block stitch type

node
stitch count
more than one

stitch type
more than one
object type
The Color-Object List shows a separate icon for each color block and
each object in the design, in order of stitching sequence. Each object’s
stitch count is also shown, together with the input method and stitch
type used in its creation.

2 Click a ‘node’ icon to open or close a color block and see its component
objects.
Click to
open/close all
color block nodes
Click to open/close
individual color block
node Blue border appears
around selected
objects
3 Click an icon to select a color block and/or individual objects.

When a color block is selected, all of its component objects are selected
as well. A blue border appears around each.
To select all items, right-click any object or color block, and choose
Select All from the popup menu.
Right-click any object or

color block, and select
Select All
To deselect all objects, click away from objects and color blocks.
4 Hide selected color blocks and objects via the popup menu commands.
Right-click a color block or object icon and apply Hide from the
popup menu.
To show all items, right-click any object or color block, and select
Unhide All from the popup menu.
Select Unhide All

To view selected items only, select Hide Others from the popup
menu.
Hold down
Locate to
quickly view
selected items
Select Hide
Others to view
only selected
items
Alternatively, select the items you want to view in isolation, and hold
down Locate.
Note The Locate button will hide all unselected objects, but it will not
pan to the located object. Nor will it update the Overview window.

Chapter 4
Viewing Designs

your designs. Zoom in on an area to see more detail, view the design at
window. Pan the design to move it across the design window instead of
scrolling, and quickly change between one view and the last. Show or hide
various design elements with the available display settings. You can show or
hide outlines, needle penetration points, connectors, stitch angles, machine
function symbols and the stitches themselves. You can also view designs in
TrueView.
When working with embroidery designs, you need to understand the

stitching sequence. Check this by ‘traveling’ through the design
stitch-by-stitch. You can also check it by slowly ‘redrawing’ the design
on-screen. You can also preview a design in different colors on different
fabrics by selecting from among any number of pre-defined colorways.
ES Designer gives you comprehensive information about your designs. Even
before opening a design, you can check the software version number and
other design information for EMB files directly from Windows Explorer. View
stitching details in the Design Properties dialog. The production worksheet
also provides essential production information, including a design preview,
the size of the design, color sequence and any special instructions.
This section explains the design viewing modes available in ES Designer as
well as the various design viewing settings. It also describes how to view
designs by ‘traveling’ through the stitching sequence. Design colorways are
explained, as well as how to obtain and modify design information.

Design viewing modes
your design. Zoom in on an area to see more detail, view the design at
window. Pan across the design instead of scrolling, and quickly change
between one view and the last.
Note To make sure your design is being displayed at the correct size, you
might need to calibrate your monitor. See Calibrating the monitor for details.
Zooming and panning designs
Click Zoom 1:1 (Zoom toolbar) to display a design at actual size.
Click Show All (Zoom toolbar) to display the whole design in the design
window.
Click Zoom Box (Zoom toolbar) to zoom in on a section of a design.
Select Zoom In 2X (Zoom toolbar) to display a design at twice its current size.
Select Zoom Out 2X (Zoom toolbar) to display a design at half its current
size.
Select a Zoom Factor (Zoom toolbar) from the dropdown list to
display the design at a particular scale.
Magnify your view of the design by zooming in on individual stitches or

details, or zoom out to display more of the design in the window. In addition
to the scroll bars, panning provides a quick way to view parts of a design
which are not currently visible in the design window. Panning is typically
used after zooming in on an area.
Tip Use Auto Scroll to scroll the design automatically while you are
digitizing. This can be more convenient than using panning or the scroll
bars. See Setting auto scroll options for details.
To zoom and pan a design

To display a design at twice its current size, click the Zoom In 2X icon
or press Z.

To display a design at half its current size, click the Zoom Out 2X icon
or press Shift+Z.
To display a design at actual size, click the Zoom 1:1 icon or press 1.
To return to the previous view, select View > Previous View or press V.
To view the entire design in the design window, click the Show All icon
or press 0.
Tip To fit selected objects in the window, select View > Show All >
Selected Objects. Alternatively, press Shift+0 on the keyboard. Press
Shift+S to only show selected objects. See also Design viewing settings.
Select a Zoom Factor from the dropdown list to display the design at a
particular scale or key it directly into the field. Alternatively, select View
> Zoom Factor or press F on the keyboard. In the Zoom Factor dialog,
enter a viewing scale and click OK.
Enter viewing
scale
To zoom in on a section of a design, click the Zoom Box icon and drag
a bounding box around the zoom area. Alternatively, press B on the
keyboard.
Click & drag bounding

box around area to
zoom
ES 2006 Chapter 4 Viewing Designs 70

To pan across a design in the design window, select View > Pan or press
P. Move the ‘pan box’ over the part of the design you want to view and
left-click. ES Designer centers the design window around the point you
clicked.
Place ‘pan box’

over area to view
and click
Working with the Overview Window
Use Overview Window (Standard toolbar) to toggle Overview window

display on/off. Use it to view a thumbnail of the design.
Use the Overview Window to view a thumbnail of the design. The window
updates whenever you make a change and can be used to zoom in or pan
across the design window. See also Zooming and panning designs.
Note To change the view settings for the Overview window, click it to make
it the active window. See Design viewing settings for details.
To work with the Overview Window

1 Click the Overview Window icon.

The Overview Window opens.
Click for
zoom box
2 To zoom in or out, click the Zoom button at the bottom of the window
and drag a bounding box around the area to zoom.
Drag bounding box

around area to zoom

3 To pan across the design, move the cursor inside the zoom box—it
changes to a four-way arrow cursor—and drag it.
Drag zoom box to

area to pan
Showing and hiding selected objects

ES Designer provides a number of techniques for quickly hiding or showing
selected objects in the design window. You can also switch quickly between
the current view and the last view you selected. After certain operations,
such as editing thread colors, you may also need to redraw the screen for a
clearer display.
Note To view the stitching sequence, use Slow Redraw. See Redrawing the
stitching sequence slowly for details.

To show or hide selected objects
To view a selected object in isolation, press Shift+S.
Press
Shift+S
To display the selected object full-screen, press Shift+0.

To return to the previous view, select View > Previous View or press V.
To re-display the entire design, press Esc followed by press Shift+S.
To redraw the screen, select View > Redraw or press R.
For further techniques in showing and hiding objects, see also Viewing
selected parts of a design.
Viewing selected parts of a design
Select Options (Special menu) to display all embroidery objects in a design, or hide
all but the selected objects.
You can set your system to display all embroidery objects in a design, or
hide all but the selected objects. You can also turn off all embroidery objects
in order to see backdrop images more clearly.
Note Display settings apply to both the design window and production
worksheet. See also Design viewing modes and Previewing production
worksheets.
Tip The Color-Object List provides another way to view design objects. See
Selecting and viewing objects with the Color-Object List for details.

To view selected parts of a design
1 Select Special > Options.
The Options dialog opens.
2 Select the View Design tab.
Select viewing (and

print) options
3 In the Visibility panel, select a display option.

No Change: the display remains the same as before.
Show Whole Design: all embroidery objects in the design are
visible. See also Viewing selected parts of a design.
Show Selected Objects: only objects that are currently selected are
visible. This option is only available when objects are selected.
Show Unselected Objects: the reverse of the above option. This

option is only available when objects are selected.

Hide Whole Design: all embroidery objects in the design are hidden.
Note From this dialog you can also select the design elements you want
to display—e.g. stitches, outlines, etc. You can also change TrueView
settings for different effects. See Setting design element view options
and Setting TrueView options in the Online Manual.
4 Click OK.
Viewing design objects by color
Select View By Color (View menu) to view design elements by color.
To help you isolate individual design elements for checking or manipulation,

the View By Color function lets you view objects by color. This is particularly
useful when you are reseqencing objects by color. See also Resequencing
objects by color.
Tip The Color-Object List provides another way to view design objects. See
Selecting and viewing objects with the Color-Object List for details.
To view design objects by color

1 Create or open a design.
2 Select View > View By Color.
The Select By Color dialog opens.
3 Select the colors you want to view.

To select a range of items, hold down Shift as you select.

4 Click OK.
The design appears with only those colors you selected in view.
Note The View By Color command will not work with grouped objects.
Design viewing settings

You can show or hide design elements with a variety of display settings.
Show or hide object outlines, needle penetration points, connectors, stitch
angles, machine function symbols and the stitches themselves. You can also
show or hide selected colors.
Tip You can change Overview window view settings separately to the design
window. For example, you can view the design in TrueView in the Overview
window and in normal view in the design window. See also Working with the
Overview Window.
Viewing stitches and outlines
Click Show Stitches (Standard toolbar) to show or hide stitches.
Click Show Outlines (Standard toolbar) to show or hide object outlines.
You can show or hide stitches and object outlines as you work. Hide stitches
to see outlines more clearly when reshaping. Show outlines if Generate
Stitches is turned off. See also Generating stitches.

Note Show Outlines will not work with ‘stitch’ files that have been read
without stitch recognition. See Opening stitch files in ES Designer for
details.
To view stitches and outlines

Click the Show Outlines icon to turn outlines on or off.
Click the Show Stitches icon (or press S) to turn stitches on or off.
stitches ON outlines ON stitches and

outlines ON
Tip Right-clicking these tools opens the Options > View Design tab.
See Viewing selected parts of a design for details.
Viewing designs in TrueView
Use TrueView (Standard toolbar) to change between normal view and

TrueView.
TrueView offers a graphical representation of what the final embroidery will

look like.
Tip Change TrueView settings for different effects. See Setting TrueView
options for details.

To view designs in TrueView
Click the TrueView icon to switch between TrueView and normal view.
Normal view (stitches

and outlines)
TrueView ON
Tip Use TrueView together with a background fabric to see how your
design will look when stitched out. See Changing background colors and
fabrics for details.
Viewing needle points, connectors and functions
Click Show Needle Points (Standard toolbar) to show or hide the needle
points in a design.
Click Show Connectors (Standard toolbar) to show or hide the connectors.
Click Show Functions (Standard toolbar) to show or hide the function

symbols.
You can show or hide design elements such as needle points, connectors and
machine function symbols in your design. For example:
View needle points to select stitches for editing
View functions to check color changes or trims
View connectors to help position entry and exit points.
See also Connecting Embroidery Objects and Editing Stitches and Machine
Functions in the Online Manual.
Note You can display or hide design elements in any combination. None
displays while viewing in TrueView.

To view needle points, connectors and functions
To show or hide needle points, click the Show Needle Points icon.
Needle Points ON Functions ON Connectors ON
To show or hide connectors, click the Show Connectors icon. See also
Types of connectors.
To show or hide machine functions, click the Show Functions icon. See
also Machine function types.
Tip Right-clicking these tools opens the Options > View Design tab.
See Viewing selected parts of a design for details. See also Setting
design element view options.
Viewing the stitching sequence

When working with embroidery designs, you need to understand the
stitching sequence. You can check a design’s stitching sequence by
‘traveling’ through it by stitches, segments, functions or objects. You can
also check the sequence by slowly redrawing the design on-screen.
ES Designer simulates stitching out by changing stitches from black to their
allocated thread color as they are ‘stitched’.
Note The stitching sequence can only be viewed in stitch view. It cannot
be used with TrueView.

Tip You can change the display color of unsewn stitches. See Changing
display colors for details.
Traveling by stitches
Click Travel 1 Stitch (Travel toolbar) to travel 1 stitch at a time.
Click Travel 10 Stitches (Travel toolbar) to travel backwards 10 stitches at a

time. Right-click Travel 10 Stitches to travel forwards 10 stitches at a time.
Click Travel 100 Stitches (Travel toolbar) to travel backwards 100 stitches at
a time. Right-click Travel 100 Stitches to travel forwards 100 stitches at a
time.
Click Travel 1000 Stitches (Travel toolbar) to travel backwards 1000 stitches
at a time. Right-click Travel 1000 Stitches to travel forwards 1000 stitches at
a time.
Use the stitch travel tools or keyboard shortcuts

to travel through the design one or more stitches
at a time. The current needle position is indicated
by a large white cross or ‘needle position marker’.
Initially, this is located at the end of the design.
When you travel through stitches, the needle
position marker moves accordingly. The current
stitch number appears in the Status Line.
To travel by stitches
Click the travel tool you require to travel backwards through the
stitching sequence by 1, 10, 100, or 1000 stitches.
Right-click the required tool to travel forwards through the stitching
sequence.
Travel backwards
one stitch
Alternatively, use the arrow keys, with no objects selected, to travel

backwards and forwards through the stitching sequence. See Quick
Reference for details.

Tip Slow Redraw lets you view the stitching and color sequence of a
design in slow motion. See Redrawing the stitching sequence slowly for
details.
Traveling by segment
Click Travel by Segment (Travel toolbar) to travel to previous and next

segments.
Use the Travel by Segment tool or keyboard shortcut to travel through the
design by object segment. See also Quick Reference.
To travel by segment
To travel to the previous segment, click the Travel by Segment icon.
To travel to the next segment, right-click the Travel by Segment icon.
Traveling to the start or end of a design
Click Start/End Design (Travel toolbar) to travel to the start or end of a

design.
Use the Start/End Design tool or keyboard shortcut to travel quickly to the
start or end of the stitching sequence. See also Quick Reference.
To travel to the start or end of a design

To travel to the start of the design, click the Start/End Design icon.
To travel to the end of the design, right-click the Start/End Design icon.

Traveling by object
Use Travel by Object (Travel toolbar) to travel to the previous or next object.
Use the Travel by Object tool or keyboard shortcut to travel through the
design by object. This is useful if you need to locate a specific object to
delete it from the stitching sequence, or in order to insert another object.
Use it in conjunction with the stitch travel tools if you want to ‘nest’ an
object. See also Nesting objects.
Tip You can select a range of objects by traveling by object with Selects On
activated. See Selecting objects with Selects On for details.
To travel by object
To travel to the previous object, click the Travel by Object icon.
To travel to the next object, right-click the Travel by Object icon.
Tip You can also use keyboard shortcuts to travel through the design
by object. See also Quick Reference.
Traveling by color
Use Travel by Color (Travel toolbar) to travel to the previous or next color
change function.
Use the Travel by Color tool or keyboard shortcut to travel through the
design by color. This is useful if you need to locate a specific color change in
order to insert an object or delete it from the stitching sequence. See also
Selecting and viewing objects with the Color-Object List and Quick
Reference.

Note When you travel by color, the system looks for the next or previous
color change function. Both automatically and manually inserted color
change functions are recognized.
To travel by color
To travel to the previous color, click the Travel by Color icon.
To travel to the next color, right-click the Travel by Color icon.
Traveling by machine function
Use Travel by Function (Travel toolbar) to travel to the previous or next

machine function.
Use the Travel by Function tool to travel through the design by machine
function. This is useful, for example, if you are looking for an extra trim that
should not be there. Note, however, that the needle point will stop at every
jump, trim, and color change. See also Quick Reference.
Note Both manually and automatically inserted functions are recognized.

See also Changing Machine Formats.

To travel by machine function
To travel to the next machine function, right-click the Travel by
Function icon.
To travel to the previous machine function, click the Travel by Function
icon.
Tip You can use the Stitch List to help locate stitches and machine
functions for editing. See Editing stitches and functions with Stitch List
for details.
Redrawing the stitching sequence slowly
Use Slow Redraw (View menu) to view the stitching and color sequence of a design
in slow motion.
The Slow Redraw tool lets you view the stitching and color sequence of a
design in slow motion. Redrawing can be started from any stitch in the
design. Hide previously stitched parts of the design as required. With larger
designs, you can choose to scroll automatically so that the area being
stitched remains on-screen.
half-stitched
design
Note Slow Redraw cannot be used with TrueView.
To redraw the stitching sequence slowly

1 Select View > Slow Redraw or press Shift+R.

The Slow Redraw dialog opens.
Adjust display
options
Go Back to Start
Pause Stop
Tip To redraw only a section of the design, travel to the point where you
want to start Slow Redraw. See Viewing the stitching sequence for
details.
2 Use the slider bar to adjust the redraw speed.
3 Select the options as required:
Hide Before: Hide all sections of the design prior to the current
cursor position.
Only areas being
redrawn are displayed,
the rest are hidden
Travel to middle of
design, then start Slow
Redraw
Auto Scroll: With larger designs, scroll automatically so that the

area being stitched remains on-screen.
4 Click Go.
The design is redrawn on-screen according to the stitching sequence and
selected speed.
5 Click Pause, Stop or Back to Start as required.
Pause pauses the redraw, letting you resume where you left off.
Stop stops the redraw and returns to the beginning of the design.
Back to Start redraws from the beginning of the design.
Note You can adjust the display color of unsewn stitches. See Changing
display colors for details.

Viewing colorways, backgrounds and display colors
In ES Designer, you can define multiple colorways for the one design. This
means you can preview or stitch out the same design in different colors to
different fabrics. Background colors and fabrics are treated as part of the
colorway rather than design window settings. In addition, display colors for
borer holes, unsewn and selected stitches, object outlines and grid are part
of the colorway definition.
Viewing colorways
Use the Colorways dropdown (Color toolbar) to select a new color

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

a background color or fabric sample. This means you can preview or stitch
out the same design in different colors to different fabrics. In ES Designer,
you can also print multiple colorways, icons of color blocks, and design
backgrounds with the production worksheet. See also Working with
colorways.
Tip When you start a new design, Colorway 1 appears as the default color
palette. You can change it by selecting from among any number of
pre-defined colorways saved to the current template.
To view a colorway
1 Open a design.
2 Select a colorway from the Colorways toolbar.
Tip Select View > Redraw to refresh your screen.

Select
colorway
Changing background colors and fabrics
Use the BKG button (Color toolbar) to change background color and
fabrics.
ES Designer lets you change the background color of the design window to
match the color of your fabric. Or you can select a background fabric for
more realistic previews and presentations. The background is saved with the
colorway.
Note Default settings are stored in the template as Colorway 1. If you

change the background in Colorway 1 and save your template, it will always
display like this at start up. See also Working with colorways.
To change the background color or fabric

1 Select a colorway and click the BKG button.
The Display dialog opens for the selected colorway.
Select background Edit color

color or fabric
Select fabric
Center or tile fabric pattern
pattern in design
window

2 Select the design window background type.
Color: uses the selected color.
Fabric: uses an image of a fabric.
3 Select a color or fabric to use.
To select a background color, click Edit. Select a color from the Color
dialog and click OK.
To select a fabric, click Browse. Select a fabric type from the Open
dialog and click OK.
You can center or tile the fabric bitmap in the design window. If the
bitmap is large enough to fill the entire window, select Center.
Otherwise, select Tile.
4 Click OK.
Tip Textured backgrounds can also be imported into ES Designer.

Almost any artwork can be used—photographs, magazine pictures,
clipart images, and even fabric samples. See also Scanning artwork into
ES Designer.
Changing display colors
Use the BKG button (Color toolbar) to change background color and
fabrics.
In addition to background color or fabric, display colors for borer holes,

unsewn and selected stitches, object outlines and grid are part of the
colorway definition. You may want to change them if the default display
color is not visible against the current colorway background.
blue outline black outline
To change display colors

1 Select a colorway and click the BKG button.

The Display dialog opens for the selected colorway.
Select items
displayed
Edit color
2 Select an item from the Selection list.

Borer: borer points.
Unsewn: unsewn stitches when traveling through design.
Selected: selected objects or stitches.
Object Outline: object outlines.
Grid: grid lines.
Guides: guides.
3 Click Edit.
The Color dialog opens.
Select or mix new

display color
4 Select or mix the new display color and click OK.

5 Click OK to close the Display dialog.

Viewing design information
You can obtain design information in a variety of ways and formats—before
opening the EMB file via Windows Explorer, from the Design Properties
dialog, as well as from the production worksheet.
Viewing design information in Windows Explorer

Before opening EMB files, you can check the software version number and
other design information through Windows Explorer. The Properties dialog
displays a design preview together with design information such as stitch
count, number of stops and color changes, as well as machine format. You
can also view general file information, such as file size and modification
dates.
Note This same dialog can be accessed from within the Open dialog in
ES Designer. See also Opening designs.
To view design information in Windows Explorer

1 In Windows Explorer, select a file.
2 Right-click the file and select Properties from the popup menu.
The Properties dialog opens and displays the EMB tab.

3 Check the design information, or click the other tabs for general file
information.
Fish
Marine animals
Hatice Onay
fish, tropical, marine
Tropical fish using curve line fills and trapunto

effect.
Tip The Summary tab provides some of the same information entered
in the Design Properties > Summary dialog in ES Designer. See
Viewing design information in ES Designer for details.
4 Click OK.
Viewing design information in ES Designer
Use Design Properties (File menu) to view stitching details about a design.
You can check the software version number and other design information
through the Design Properties dialog. Stitching details are also provided.
Most of the fields cannot be modified directly except for stitch counts,
summary information, Colorways, and Elements.
Note An element, in software terms, is a color block consisting of

sequential, same-color objects. You can assign names to elements which
then appear on the production worksheet. The operator generally uses these
to make sure colors are correct during production. See Naming design
elements via Design Properties for details.
To view design information in ES Designer

1 Select File > Design Properties.

The Design Properties > Information dialog opens.
This tab contains information about the design height, width, stitch
count and colors. The data is extracted from the design and, except for
stitch count, cannot be modified.
Note This tab also provides important information about the file source
– Native Design, Imported Outlines, Processed Stitches, or Imported
Stitches. See Embroidery design formats for details.
2 Click Length Calculation to revise stitch counts according to target fabric
thickness. See Estimating total thread usage for details.
3 Select the Stop Sequence tab to view the color sequence and stitch
counts for each design ‘element’.
Enter Element
name

The data in this tab is extracted from the design and, except for
Element, cannot be modified. See also Naming design elements via
Design Properties.
Note There is a stitch count for each element in the design. You can
show this as a stitch count for each element or a cumulative stitch count.
See Setting other options for details.
4 Select the Summary tab to view or enter summary information about
the design.
Hatice Onay
fish, tropical, marine
Tropical fish using curve line fills and trapunto.
Fish
Marine animals
5 Click a field and enter any text which will help you identify the design at
a later date.
Note Information from this tab is included on the production worksheet

as well as the Summary tab of the Windows Properties dialog. See
Viewing design information in Windows Explorer and Previewing
production worksheets for details.
6 Click OK.
Estimating total thread usage
Use Design Properties (File menu) to view total stitch usage.
In order to get more precise thread usage estimates, you can adjust the
fabric thickness setting to suit the target fabric.
To estimate total thread usage


2 Click Length Calculation.
The Length Calculation dialog opens.
Enter target fabric

thickness in mm
Enter bobbin thread
length as a%
3 Enter the thickness of the target fabric in millimeters.

4 Adjust the bobbin thread length according to the mixture of thread types
in the design.
This factor provides a simple mechanism for a more accurate bobbin
thread length estimate. The default value (100%) is suitable for a design
with a mixture of stitch types. If the design is all Run stitches or all
Tatami, more bobbin thread will be used and the factor can be increased
say to 125%. If the design is all Satin stitch, the factor can be reduced
to say 65%.
5 Click OK.
The Total Thread and Total Bobbin values are adjusted to take into
account fabric thickness on total thread requirement.
Tip Click Save to save the revised settings to the current template.
Naming design elements via Design Properties
Use Design Properties (File menu) to assign names to blocks of sequential, same
color objects.
You can assign names to blocks of sequential, same-color objects, known as

‘elements’. Each color block can be given a descriptive name for easy
identification. Element names appear on the production worksheet.
Tip The Usage field in the Color Palette Editor shows a list of selected color
blocks which correspond to design elements. See Naming design elements
via the Color Palette Editor for details.

To name design elements via Design Properties
2 Select the Stop Sequence tab.
Enter element
names for each
color block
3 In the Element fields, enter names for each color block as required. To
do so, click the field, type the name, and press Enter.
Note This information may be included on the production worksheet.

See Customizing production worksheet information for details.
4 Click OK.
Previewing production worksheets
Click Print Preview (Standard toolbar) to preview the production worksheet

on-screen.
The production worksheet is the link between the designer and the
embroidery machine operator. It contains a design preview and essential
production information, including the size of the design, color sequence and
any special instructions. See also Printing or plotting production worksheets.
To preview a production worksheet

1 Click the Print Preview icon.

The production worksheet displays in a preview window.
Click to display one or Click Close to return to

two pages Design Window
Click Print to print
the production
worksheet
production
information
Design appears
at actual size
2 Adjust the view as required:

To change the orientation of the paper, click Landscape or Portrait.
To change the information that displays, and set printing/plotting
preferences, click Options. See also Setting production worksheet
print options.
To print the design, click Print.
To close the production worksheet preview, click Close.
Tip Zoom in to read the production information or view the design

preview more closely. Large designs may be displayed over a number of
pages.
Showing and hiding backdrops
Use Show Bitmap (Standard toolbar) to show and hide bitmap images.
Right-click to set image display options.
Use Show Vectors (Standard toolbar) to show and hide vector images.

Artwork can be inserted, pasted or scanned into ES Designer for use as
digitizing templates or ‘backdrops’. You can show or hide backdrops
temporarily while you digitize. Depending on the view options set up in the
Options dialog, the image displays in full color, or dimmed. See Setting
image viewing options for details.
Note A design may include both bitmap images and vector images which
can be selectively turned on or off.
To show or hide backdrops

Click the Show Bitmap and/or Show Vectors icons.
When selected, backdrop images are visible.
To hide images, click the icons again.
vector image
together with
bitmap image
Tip So you don’t accidentally move or delete the backdrop, select it and
press K on the keyboard to lock it down. See Locking and unlocking
objects for details.

PART II
DIGITIZING DESIGNS
In ES Designer, you build designs from basic shapes or ‘embroidery objects’.
These are like ordinary drawing objects in that they have certain defining
characteristics or ‘properties’ such as color, size, position, and so on. They
also have properties unique to embroidery such as stitch type and density.
Digitizing methods
This section describes how to digitize shapes manually with the available
digitizing tools. It also explains how to adjust input settings to obtain the
best results. See Digitizing Methods for details.
Fill and outline stitches

This section explains how to apply fill and outline stitch types to your
embroidery objects, as well as how to change stitch settings to obtain the
best results. See Fill and Outline Stitches for details.
Colorways and thread charts

This section describes how to select colors from the color palette as well as
how to change colorways. It also explains how to define, modify and delete
colorways. There is also an explanation of how to define your own thread
colors and charts. See Colorways and Thread Charts for details.

Connecting embroidery objects
This section describes how to add connectors, tie-offs and trims to your
designs. It also describes adjusting settings for automatic connectors,
including the stitch length for travel runs. There is also a topic on hiding
travel runs using the Trapunto effect. See Connecting Embroidery Objects
for details.
Improving stitch quality

This section describes how to strengthen and stabilize designs with
automatic underlays, as well as how to compensate for fabric stretch.
Reducing stitch bunching with stitch shortening and fractional spacing is
covered, together with adjusting stitch density and removing small stitches
automatically. Techniques for controlling corner stitching and long stitches
with Auto Split and Auto Jump are described. You will also find details of
setting automatic start and end points. See Improving Stitch Quality for
details.
ES 2006 Digitizing Designs 100

Chapter 5
Digitizing Methods
In ES Designer, you build designs

from basic shapes or ‘embroidery
objects’. These are like ordinary
vector objects in that they have
certain defining characteristics or
‘properties’ such as color, size,
position, and so on. They also have
properties unique to embroidery
such as stitch type and density.
Note The most important property

for an embroidery object is in fact its
stitch type. Different stitch types are suited to different shapes. See also Fill
and Outline Stitches.
The process of creating embroidery objects on-screen is called ‘digitizing’.
Like the creation of designs in graphics applications, this involves the use of
input or ‘digitizing’ tools. These are similar to drawing tools except that the
end result is an embroidery rather than vector object. Different tools are
suited to creating different shapes or design elements. There are specific
tools for digitizing larger complex shapes, asymmetrical columns of turning
stitches, columns of varying width, columns of fixed width, lines, and even
individual stitches.
Tip Vector objects themselves can be converted directly to embroidery

objects using the Point & Stitch tools. See Digitizing shapes with Point &
Stitch for details.
This section describes how to digitize shapes manually with the available
digitizing tools. It also explains how to adjust input settings to obtain the
best results.

Digitizing tools
Different digitizing methods or ‘tools’ are suited to creating different shapes
or design elements. Digitizing methods divide broadly into two
categories—outline and fill. Different stitch types are suited to different
digitizing methods. See also Corresponding object and stitch types.
Note When you create an embroidery object, you can accept the default
settings for the particular tool, or apply new ones. Default settings are
stored in the design template. You can also define current properties to
influence all the objects you create in the current design. See Object
Properties, Styles and Templates for details.
Selecting digitizing methods
Use Manual (Input toolbar) to enter individual manual stitches.
Use Triple Manual (Input toolbar) to enter triple manual stitches.
Use Run (Input toolbar) to place a row of single run stitches along a digitized
line. Right-click to adjust settings for new or selected objects.
Use Triple Run (Input toolbar) to place a triple row of run stitches along a
digitized line. Right-click to adjust settings for new or selected objects.
Use Backstitch (Input toolbar) to place a row of backstitches along a digitized
Use Stemstitch (Input toolbar) to place a row of stemstitches along a
Use Input A (Input toolbar) to create columns of varying width and stitch
angle. Right-click to adjust settings for new or selected objects.
Use Input B (Input toolbar) to create asymmetrical columns of turning
stitches, where opposite sides are different shapes. Right-click to adjust
settings for new or selected objects.
Use Input C (Input toolbar) to digitize columns or borders of fixed width.
Right-click to adjust settings for new or selected objects.
Use Complex Fill (Input toolbar) to digitize filled shapes with a single stitch
Use Fusion Fill™ (Input toolbar) to digitize filled shapes with turning stitch
angles. Right-click to adjust settings for new or selected objects.
Digitizing methods divide broadly into two categories—outline and fill. Run
and Manual digitizing methods are used to digitize outlines or individual
ES 2006 Chapter 5 Digitizing Methods 102

stitches. Inputs A, B & C are used to create filled columnar shapes with
differing characteristics. Complex Fill and Fusion Fill™, the most commonly
used digitizing tools, can be used to create almost any filled shape. You can
adjust the settings of most of the digitizing methods by right-clicking the
tools and selecting options in the dialog.
Note Run stitch, Triple Run, Motif Run, Backstitch, and Stemstitch are
considered both digitizing methods and stitch types. Other digitizing
methods may use different fill stitch types depending on the particular
application. See also Fill and Outline Stitches.
Control points
Once you have selected a digitizing method, you digitize shapes in the same
way by marking points along an outline. ES Designer uses automatic Beziers
to create object outlines which creates objects much faster than traditional
Bezier methods. Unlike the traditional Bezier method, you do not need to
click-and-drag to create a curved line. Simply use the left mouse button for
a cusp or corner point or right mouse button for a smooth curve
point—ES Designer automatically curves the line for you.
2 2
4 4
3
3
1 6 1 5
5 6
Object is closed Object is closed
automatically automatically
The points you mark when digitizing a shape become its ‘control points’.
These are used to edit or ‘transform’ the objects. Such actions may include
reshaping, scaling, letter spacing, changing entry and exi points. You can
modify stitch angles of selected objects, including setting multiple stitch

angles. Control points vary slightly with the object type. See Modifying
Designs for details.
entry point
= entry point
= exit point
= corner point
stitch angle
line = curve point
= stitch angle points
corner point exit point
Corner and curve points can be interchanged. Most control points can be
added, deleted, or moved. Entry and exit points, however, cannot be
deleted.
Switching between fill and outline digitizing methods

You can quickly switch from a fill stitch digitizing method to Run or Manual
digitizing methods using keyboard shortcuts.
Tip After digitizing, you can convert between Run, Triple Run and Input C
objects, as well as between Complex Fill and Input A & B objects. See
Converting between object types for details.
To switch between fill and outline digitizing methods

Press Enter to switch between a fill stitch digitizing method and Manual
digitizing method.
Press Spacebar to switch between a fill stitch digitizing method and Run
digitizing method.
Digitizing individual stitches
Use Manual (Input toolbar) to enter individual manual stitches.
Use Triple Manual (Input toolbar) to enter triple manual stitches.
Digitize individual stitches with the ‘Manual’ digitizing method. You can enter
single manual stitches, or enter three stitch layers at a time with the Triple

Manual tool. Manual stitches digitized together form a single embroidery
object. They are not well suited to scaling and transforming actions as the
stitches have no associated properties. This means they will either be
stretched or pinched during scaling operations. Use them sparingly, for
example to add a few stitches to a finished design. See Editing Stitches and
Machine Functions for details.
Note As each stitch is individually defined, the only object properties

required by manual objects are general and connector properties.
To digitize individual stitches

1 Click the Manual or Triple Manual icon.
2 Click to mark the start of the stitch and again to mark its end.
The end-point becomes the beginning of the next stitch.
3 Continue marking stitch points until the manual stitch object is
complete.
2 6 10
4 8
1 7 11
3 5
Use the left 9
mouse button
Tip Stitches that are too long will automatically become jump stitches,
but you can also create jumps manually by right-clicking as you digitize.
See also Using jumps as connectors.
Click for manual Right-click for

stitches jumps
Digitizing lines
Use the Run and Triple Run tools to digitize lines of single or triple run
stitching. Run places a single row of run stitches along a digitized line. Triple

Run repeats each stitch three (or more) times for a thicker line. These tools
are typically used to add borders and pickout runs to designs.
length
1 2 3 4 5 6
Run
3 6
Triple Run 1 4
2 5
For thicker, decorative lines, use Backstitch or Stemstitch. Backstitch is an

older-style, adaptable stitch which can be used for delicate outlines. This
stitch follows intricate curves well. Stemstitch is thicker and can be used to
mimic hand-sewn embroidery. It is used for stems and vines with other
decorative stitches, or as an outline for Satin or Motif fills. See Creating
decorative outlines for details.
Tip ES Designer lets you convert between Run, Triple Run, Motif Run,
Backstitch, Stemstitch and Input C objects. See Converting between run
Creating stitch runs
Use the Run and Triple Run tools to

digitize lines of run stitching. Left and
right mouse clicks create reference
points—corner points and curve points
respectively. Use the Stemstitch and
Backstitch tools for decorative runs.
Motif Run is also available. See also
Creating Motif Run objects.

To create stitch runs
1 Click an input tool:
Run for run stitch
Triple Run for triple run stitch
Backstitch for backstitch
Stemstitch for stemstitch.
2 Digitize the shape of the line by marking points.
Click to enter corner points.
Right-click to enter curve points.
1 3 5 7
14 8 Click for
corner points
13 2 4 6 9
Right-click for
curve points
12 10
11
To constrain the line to 15° increments, hold down Ctrl as you

digitize. This is useful for digitizing straight lines.
For a perfect circular arc, mark three points with a right-click.
Where curves connect—either to a straight line or another
curve—click to mark the connection point.
2 Connect corners and 90° 60°

curves with a corner point 45°
curve 30°
point
1 3 180° 0°
curve curve
point point Hold down Ctrl to
constrain the line to
15° increments
270°
Tip Use the prompts in the prompt line to help you digitize. If you make
a mistake, press Backspace to delete the last point. Press Esc to undo
all new points. Press Esc again to exit digitizing mode.
3 Press Enter to finish digitizing the line.
Note For details of adjusting Backstitch and Stemstitch settings, see

Creating decorative outlines.

Setting run stitch length
For both Run and Triple Run stitches, set the stitch length to suit the
digitized shape. Where the object has tight curves, select a shorter stitch
length. To reduce the stitch count for flatter curves, increase the stitch
length.
Note These values only apply to objects created with the Run or Triple Run
tools. They do not affect travel runs, or underlay stitching.
You can change the stitch length, chord gap and number of stitch repetitions
(Triple Run only) in the Outlines tab of the Object Properties dialog. Preset
Run and Triple Run values by changing the current properties before you
digitize. See Modifying current property settings for details.
Run Length Run Length Variable Run on

2.5 mm 1.6 mm Length 2.5 mm
To set run stitch length

1 Right-click the Run or Triple Run icon.
The Object Properties > Outlines dialog opens.
Select stitch type
Adjust stitch length
2 Select a stitch type from the list.

3 Enter a stitch length in the Length field.
Run length Run length
Not enough stitches to Stitches follow the curve

follow tight curve more closely
If a line has tight, sharp curves, reduce the length, for example to
1.8 mm, so that the stitches follow the line. Alternatively, activate
Variable Run Length. See Setting variable run stitch lengths for
details.
Tip Mimic hand-made embroidery by setting the Triple Run length to

4.0 mm.
4 Click Apply.
Setting variable run stitch lengths
Automatically shorten stitches to follow tight curves with the Variable Run
Length option.
To set variable stitch lengths

1 Right-click the Run or Triple Run icon.
Select variable run length
Adjust variable run

length values

2 Select the Variable Run Length checkbox.
3 In the Min Len field, enter the minimum stitch length to allow.
4 In the Chord Gap field, enter the maximum distance to allow between
the digitized outline and the stitches. When this value is exceeded the
stitch length is reduced to follow the outline more closely.
Chord
gap
Run
length
Fixed Run Length Variable Run Length: Variable Run Length:

2 mm 0.07 mm (default)
Note Stitches will not be reduced to less than the specified minimum
length, even if the chord gap value is exceeded.
5 Click Apply.
Setting Triple Run stitch count
By default, Triple Run repeats each stitch three times. You can change the
number of repetitions used for Triple Run by changing the value in the
Object Properties dialog.
To set Triple Run stitch count

1 Right-click the Triple Run icon.

Select stitch type
Select # repetitions
2 Select Triple Run from the list.

3 Enter the number of repetitions in the Run Count field.
4 Click Apply.
Digitizing columns of fixed width

Use Input C to digitize columns of fixed width. It is typically used for
digitizing borders and outlines of larger shapes. You can digitize columns to
create thick lines or borders. Input C is typically used with Satin stitch but
you can use any fill stitch type except Motif Fill.
Tip ES Designer lets you convert between Run, Triple Run and Input C
objects. See Converting between run objects for details.
Creating columns and borders

Digitize columns and borders of fixed width with the Input C tool. Create
objects using left and right mouse clicks to mark points to form an outline.

Use left-clicks to enter corner points and right-clicks to enter curve points.
Then specify the column width. You can leave the shape open, or create a
border by joining the first and last points. See also Corresponding object and
stitch types.
To create columns and borders

1 Select the stitch type you want to use—e.g. Satin. See Selecting stitch
types for details.
2 Click the Input C icon.
3 Digitize the shape of the column by marking points.
4
2
5 7
3
6
1
4 When you have finished digitizing the line, either:
Press Enter to keep the last stitch and place the exit point at the last
point marked, or
Press Spacebar to omit the last stitch and place the exit point on the
opposite side of the column.
Tip To make a border, ‘close’ the shape by entering the last point exactly
on top of the first. If the points are not exactly on top of each other, the
stitches will not turn smoothly around the corner.
5 Specify the column width.

To use the current width (as set in the Special > Input C tab), press
Enter.
To specify the width, mark two additional points. The distance
between these points is the width of the column. (You can mark the
column width anywhere on the screen.)
8
Digitize column width
anywhere in design
window 9
Tip You can offset stitches by right-clicking the column-width points

(rather than left-clicking) exactly where you want the offset to be in
relation to the center line.
Right-click Right-click
reference points reference points
Setting offsets

By default, stitches are positioned around the center of a digitized line. Enter
an exact offset value in the Object Properties dialog. See also Creating
columns and borders.
Tip You can offset stitches by right-clicking the column-width points (rather
than left-clicking) exactly where you want the offset to be in relation to the
center line. See Creating columns and borders for details.
To set offsets
1 Right-click the Input C icon.

The Object Properties > Special dialog opens.
Select Offset
Set offsets in either

Side 1 or Side 2
fields
2 In the Input Side panel, select Offset.

3 Set an offset in either Side 1 or Side 2 field, either as an exact
measurement (in mm) or a percentage.
Input C offset: 25% Input C offset: 75%
Note You only need to enter the value for one side as ES Designer
automatically calculates the other, based on the Column Width value.
4 Click Apply.
Setting column width

You can set the exact width of Input C columns in the Object Properties
dialog. The value you set becomes the current width for new Input C
objects.
To set the column width


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

3 Click Apply.
Note You can also change the width of Input C objects by selecting the
Reshape tool, and moving the width control points. See Reshaping
embroidery objects for details.
Setting corner fractions

You can control the way stitches turn at the corners of Input C objects by
changing the distance over which they turn. This distance is set by the
‘corner fraction’. The larger the fraction, the greater the distance.
Tip Round Sharp Corners is also available for Input C objects to give you
the option of sharp or round points. See Rounding sharp corners for details.
To set corner fractions


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

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

Decreasing the fraction reduces the number of stitches that turn.
3 Click Apply.
Digitizing columns of varying width
Use Input A (Input toolbar) to create columns of varying width and stitch

Use the Input A tool to digitize columns of
varying width and stitch angle. Digitized pairs
of points define the outline, while lines
connecting the pairs define the stitch angles.
See also Corresponding object and stitch
types.
Tip The Continuous Input feature provides you with a simple and efficient
way of digitizing a single Input A object comprised of separately stitched
sections. See Creating smooth joins for details.
Note ES Designer lets you convert between Complex Fill and Input A or B
objects. See Converting Input A or B to Complex Fill or Fusion Fill™ for
details.
To digitize columns of varying width

types for details.
2 Click the Input A icon.
3 Digitize the column by marking points on alternate sides of the column.
Mark a pair of points wherever the outline changes, and wherever you
want the stitch angle to change.
Stitches change their Stitches remain parallel

angle gradually between parallel stitch
through the entire angles
shape
Note The control points in a pair do not have to be the same type. For
example, one can be a corner point, the other a curve.
4 When you have finished digitizing the column, either:
point you digitized, or

start start finish
Press Enter Press Spacebar
OR
finish
Tip If you are joining two columns, omit the last stitch on the first
column so that the exit point is close to the entry point of the next
column.
Digitizing asymmetrical columns of turning stitches
Use Input B (Input toolbar) to create asymmetrical columns of turning

stitches, where opposite sides are different shapes. Right-click to adjust
settings for new or selected objects.
Use the Input B tool to digitize shapes where one side is different to the
other, especially where one side requires more points than the other.
Stitches turn evenly throughout the entire shape. See also Corresponding
object and stitch types.
Tip ES Designer lets you convert between Complex Fill and Input A or B
objects. See Converting Input A or B to Complex Fill or Fusion Fill™ for
details.
To digitize asymmetrical columns of turning stitches

types for details.
2 Click the Input B icon.
3 Digitize the first side of the shape (i.e. top or left) by marking points.

2 6
5
3
1
4 7
4 Press Enter.
An elastic line attaches to the pointer, ready for you to digitize the
second side of the shape.
5 Digitize the second—i.e. bottom or right—side of the object.
Press Enter or stitches turn

Spacebar evenly
9 10
Tip Stitch angles vary from tightly turning fills to parallel fills,
depending on the ends of the shape—the more ‘pointy’, the tighter the
stitch angles.
90°
turning fill sloping fill parallel fill
6 When you have finished digitizing the shape, either:

point you digitized, or

Digitizing complex shapes
Use the Complex Fill tool to digitize large, irregular shapes with fixed stitch
angles. Use the Fusion Fill™ tool to digitize complex shapes with turning
stitches. Many shapes can be digitized with these tools. By digitizing further
boundaries within shapes, you can create filled objects with holes.
Tip Use the Shaping tools to join, trim or split selected vector or
embroidery objects to make different shapes. See Shaping vector and
embroidery objects for details.
Boundaries in complex objects should not overlap or intersect each other. A
boundary should not overlap itself and should not have a second boundary
inside (hole within a hole). These shapes below, for example, cannot be
successfully digitized with Fusion Fill™ or Complex Fill.
boundaries overlap boundary overlaps itself hole within hole
Where they occur, overlapping boundaries in Fusion Fill™ or Complex Fill

shapes are ignored and stitches are generated in the largest area defined
by the boundaries.
Creating complex shapes with fixed stitch angles

Digitize complex shapes with the Complex Fill tool. Create objects using
left and right clicks to mark points to form the boundary outlines. See also
Corresponding object and stitch types.
Tip ES Designer lets you convert between Fusion Fill™ or Complex Fill and
Input A or B objects. See Converting Input A or B to Complex Fill or Fusion
Fill™ for details.
To create complex shapes with fixed stitch angles

1 Select the stitch type you want to use—e.g. Tatami. See Selecting stitch
types for details.
2 Click the Complex Fill icon.
3 Digitize the boundary of the shape, by marking points around the outline
of the shape.
4 Close the shape.
8 9 4 8 9
4
5 5 7
7
6 6 10
3 10 3
ht
ig 11 2 11
2 t ra e 12 ve 12
s lin r
cu
1 Press Enter—the object is Last point marked on top of
1
closed automatically 13 first with right button
To close the shape with the same type of point as the last one
entered—i.e. corner or curve—simply press Enter.
To close the shape using a different type of point, mark the last on
top of the first and press Enter.

5 Digitize any additional boundaries in the same way.
Note Boundaries must not overlap.

6 Press Enter.
7 Mark the entry and exit position by clicking outside the object boundary.
Tip To minimize segments and gaps in your embroidery, place the entry
and exit points opposite each other on the outside boundary. Then
define the stitch angle so it is perpendicular to the line between the
entry and exit points.
8 Define the stitch angle by marking two points.
13
14 15
12
stitch angle 1 stitch angle
1 14 direction 13 direction
9 Press Enter.
Note Complex Fill objects generally stitch out in several segments,

joined by travel runs. However, all segments and boundaries are part of
the same object. See also Adding underlay by segment.
Creating complex shapes with turning stitches
Eliminate the need to digitize multiple objects with Fusion Fill™. This tool
allows you to create a single complex object with multiple stitch angles and
even holes. It is best used with designs containing complicated, turning

columns such as trees, animals, or large filled areas. See also
Tip ES Designer lets you convert between Fusion Fill™ or Complex Fill and
Input A or B objects. See Converting Input A or B to Complex Fill or Fusion
Fill™ for details.
To create complex shapes with turning stitches

1 Select the stitch type you want to use—e.g. Tatami. See Selecting stitch
types for details.
2 Click the Fusion Fill™ icon.
3 Digitize the boundary of the shape, by marking points around the outline
of the shape.
4 Close the shape.
8 9 4 8 9
4
5 5 7
7
6 6 10
3 10 3
ht
ig 11 2 11
2 ra ve 12
st line 12 r
cu
1 Press Enter—the object is Last point marked on top of
1
closed automatically 13 first with right button
To close the shape with the same type of point as the last one
entered—i.e. corner or curve—simply press Enter.

To close the shape using a different type of point, mark the last on
top of the first and press Enter.
5 Digitize any additional boundaries in the same way.
Note Boundaries must not overlap.

6 Press Enter.
7 Mark the entry and exit position by clicking outside the object boundary.
Tip To minimize segments and gaps in your embroidery, place the entry
and exit points opposite each other on the outside boundary. Then
define one of the stitch angles so it is perpendicular to the line between
the entry and exit points.
8 Define the stitch angles by marking two points for each angle.
13
14 15
12
stitch angle 1 stitch angle
1 14 direction 13 direction
9 Press Enter.
Note Fusion Fill™ objects generally stitch out in several segments,

joined by travel runs. However, all segments and boundaries are part of
the same object. See also Adding underlay by segment.
Adding boundaries

ES Designer lets you add boundaries to Complex Fill and Fusion Fill™
objects.
Tip You can also create new objects from existing boundaries using the
Filled Holes feature. Alternatively, you can use other objects to cut holes.
See Filling holes in objects and Removing underlying stitching for details.
To add boundaries
1 Select the object to modify.
2 Click the Complex Fill or Fusion Fill™ icon.
Points display around the object outline.
3 Digitize additional boundaries making sure they do not overlap. Press
Enter each time.
4 When you have digitized all additional boundaries, press Enter again.
5 When prompted, enter a new entry point, exit point and stitch angle for
the object.
Tip To use the current settings, press Enter to bypass each option.
6 Press Enter.

Note To remove unwanted boundaries, select the object and select the
Reshape Object tool. Delete each control point on the unwanted
boundary, and press Enter.
Adjusting stitch angles using object properties
You can change the stitch angle of Complex Fill objects using object
properties. By definition, Fusion Fill™ objects contain multiple stitch angles.
However, they also have a property called the ‘nominal angle’. This has two
functions. First, if a Fusion Fill™ object fails to stitch correctly—for instance,
if the stitch angles are irreconcilable—it will revert to parallel stitching in the
direction of the nominal angle. Second, the nominal angle affects certain
underlay styles. See also Strengthening and stabilizing with automatic
underlays.
Tip You can adjust the stitch angle of Complex Fill and Fusion Fill™ objects
interactively using the Stitch Angles tool. See Adjusting stitch angles for
details.
To adjust stitch angles using object properties

1 Select an object.
2 Right-click the Complex Fill or Fusion Fill™ icon.

Adjust stitch
angle
3 In the Angle or Nominal Angle field, enter the required stitch angle and
click Apply.
Angle: 90° Angle: 0°
Note The ‘nominal angle’ in a Fusion Fill™ object only takes effect if
multiple stitch angles are irreconcilable—it then reverts to parallel
stitching in the direction of the nominal angle. The nominal angle also
affects certain underlay styles.
Adjusting segment overlaps
Where segments within an object meet, the push-pull effect on the fabric
during stitching may cause gaps to appear. These gaps can be prevented by
adding overlapping rows. An overlap of ‘1 row’ means no real overlap. An
overlap of ‘2 rows’ means that the first segment is extended by the addition
of one extra row of stitches. And so on. With Fusion Fill™ objects you can
also adjust the stitch angle where segments join. Normally, when you create
an overlap, it is formed by continuing the two sides of a segment in the
direction of their endpoints. This becomes a problem if either side is parallel,

or almost parallel, to the cover stitches — the overlap may become
disproportionately wide. For this reason, you can adjust the ‘tapering angle’.
To adjust segment overlaps

1 Right-click the Complex Fill or Fusion Fill™ icon.
Enter required
number of rows
2 Adjust the number of overlapping rows where segments join.
overlapping
rows
3 For Fusion Fill™ objects, you can also adjust the stitch angle where
segments join. In the Overlap Taper Angle field, enter the required
angle.
Enter overlap taper angle

4 Click Apply.
Overlap taper angle Overlap taper angle increased

set to minimum to minimize overlapping area
Adjusting travel margins
When dealing with complex shapes with multiple segments, you may want
to keep travel runs away from the boundary of the filled shape for various
reasons. If, for instance, you are using Jagged Edge effect, the travel might
become visible through the shortened stitches. For this reason, you can
specify a margin for the travel stitches. As you increase the travel margin,
the travels are positioned more towards the center. Where the filled area
becomes very narrow, however, travel stitches do not necessarily remain at
the specified distance from the boundary.
To adjust travel margins

1 Select an object.
travel run too close to edge
2 Right-click the Fusion Fill™ icon.

Adjust travel margin distance
3 Adjust the travel margin distance in the Distance field.

The greater the distance, the more the travels are positioned towards
the center of the shape.
Travel run closer to

center of shape
4 Click Apply.

Chapter 6
Fill and Outline Stitches
All embroidery objects in ES Designer contain a defining set of settings or

‘values’. The values stored with an object become its ‘properties’. All objects
have certain properties in common such as size and position. There are
other, more specific properties of objects which depend on the object type.
The most important property of all embroidery objects is the stitch type. The
software uses object outlines and associated stitch type to generate
stitches. Whenever you reshape, transform or scale an object, stitches are
regenerated according to its stitch type and settings.
Stitch types divide broadly into two categories—outline and fill. Satin fills
are generally suited to columns and borders. Tatami stitch is used to fill
larger shapes with solid fields of stitching. Run/Triple Run stitch, Motif Run,
Backstitch, and Stemstitch are considered both digitizing methods and
stitch types. Both Zigzag and E Stitch are used as outline stitches. Zigzag is
frequently used for tacking down appliqués, while E Stitch is used as the
cover stitch. Both can also be used for decorative effect. See also Digitizing
Methods.
This section explains how to apply fill and outline stitch types to your
embroidery objects, as well as how change stitch settings to obtain the best
results.

Selecting stitch types
Use Satin (Stitch Types toolbar) for narrow columns and shapes.
Use Tatami (Stitch Types toolbar) for large, irregular shapes.
Use Zigzag (Stitch Types toolbar) for long, narrow columns of slanted,
side-by-side stitches in a zigzag pattern.
Use E Stitch (Stitch Types toolbar) for a ‘comb’ effect with long, narrow
columns.
Different stitch types are suited to different objects. When you digitize an
object, it uses the current stitch type for the selected input method.
However, you can change an object’s stitch type at any stage. You can also
preset the stitch type by selecting it as ‘current’ before digitizing. See
Modifying current property settings for details. See also Corresponding
object and stitch types.
Tip You can change between fill stitch types quickly using the buttons on
the Stitch Types toolbar, or using the keyboard to switch between fill and
outline stitching. See Selecting commands from toolbars and Switching
between fill and outline digitizing methods for details.
To select a stitch type

1 Select the object (or objects) whose stitch type you want to change.
2 Select a stitch type icon.
The new stitch type is applied to the object.
Note You cannot select Run, Triple Run, Backstitch or Stemstitch

stitch types from the Stitch Types toolbar. To use these stitch types you
need to change input methods. See Digitizing lines for details.
Creating fills with Satin stitch
Use Satin (Stitch Types toolbar) to apply Satin stitch to new or selected
narrow columns and shapes. Right-click to adjust Satin settings.
Satin stitch is well-suited to stitching narrow columns and shapes, where the
length of each stitch forms the width of the column. Satin stitches are
ES 2006 Chapter 6 Fill and Outline Stitches 132

almost parallel, with every second stitch slightly slanted. Because there are
generally no needle penetrations breaking up the fill, Satin stitch creates a
glossy, high-quality effect. See also Corresponding object and stitch types.
If a column is too wide, stitches may be loose and not cover the fabric
properly. Conversely, in very narrow columns, the stitch density can be too
high, and the needle penetrations can damage the fabric. Adjust stitch
density by setting a fixed spacing value, or let Auto Spacing calculate the
spacing for you. Auto Spacing automatically adjusts the stitch spacing
wherever the column changes width.
Tip The Auto Split and Auto Jump features help you to control long Satin
stitches. See Splitting long stitches with Auto Split and Preserving long
stitches with Auto Jump for details.
Adjusting Satin stitch spacing
Right-click Satin (Stitch Types toolbar) to adjust Satin spacing.
Stitch spacing is the distance in millimeters between two needle

penetrations on the same side of a column. Where a column is narrow,
stitches are tight, thus requiring fewer stitches to cover the fabric. Where a
column is very narrow, stitches need to be less dense because too many
needle penetrations can damage the fabric. See also Adjusting stitch
density.
Satin spacing Satin spacing
Change the stitch density in Satin fills by adjusting the stitch spacing setting
in the Object Properties dialog. The larger the spacing between stitches,
the lower the density. The smaller the spacing, the higher the density.

Tip If you are using a digitizing tablet, you can quickly switch between
preset styles with different spacing settings. Each button on the puck
accesses the next preset style. For example, clicking button 1 accesses
<PRESET_SATIN_1>.
To adjust Satin stitch spacing

1 Right-click the Satin icon.
The Object Properties > Fills > Satin dialog opens.
Adjust stitch spacing
Deselect Auto Spacing
2 Deselect the Auto Spacing checkbox.
Note If Auto Spacing is selected, the fixed stitch spacing setting is not
used. See Applying Auto Spacing to Satin stitch for details.
3 In the Stitch Spacing field, enter the spacing.
To increase stitch density, enter a smaller value.
To reduce the density for more open stitching, enter a larger value.
Stitch Spacing 1.0 mm Stitch Spacing 1.8 mm
4 If you want to control long Satin stitch, select the Auto Split checkbox
and specify the Auto Split Length and Auto Split Minimum Stitch
values.
See Splitting long stitches with Auto Split and Preserving long stitches
with Auto Jump for details.
5 Click Apply.

Applying Auto Spacing to Satin stitch
Right-click Satin (Stitch Types toolbar) to adjust Auto Spacing settings.
The Auto Spacing option adjusts stitch spacing for Satin stitches according
to column width. For varying width objects, Auto Spacing changes spacing
to the best density for the width. See also Adjusting stitch density.
To apply Auto Spacing to Satin stitch

Select Auto Spacing and

adjust spacing percentage
2 Select the Auto Spacing checkbox.

3 Adjust standard Auto Spacing in the Adjust field.
The spacing is given as a percentage of the preset values:
To decrease stitch density, increase the percentage—e.g. to
110-115%.
To increase stitch density, decrease the percentage—e.g. to
90-85%.
>100%—fewer stitches 100%—no adjustment <100%—more stitches

Tip 75% generally produces high quality embroidery. An increased
stitch count means the design will take longer and be more expensive
to stitch.
4 Click Apply.
Note For even more precise results, you can adjust Auto Spacing
settings. See Adjusting Auto Spacing settings for details.
Adjusting Auto Spacing settings
Right-click Satin (Stitch Types toolbar) to adjust Auto Spacing settings.
Adjust Auto Spacing settings to get the exact results you want. You can
specify how rapidly spacing changes, and by how much, by changing the
stitch length and spacing settings. You can also specify spacing offsets to
automatically adjust spacing for different thread types.
Tip Take a note of the default settings before you start. You will usually
want to save modified settings to a template. See Working with design
templates for details.
spacing 2
spacing 1
length 2
length 1
Fixed spacing Auto spacing
Warning If you want to restore the default settings and have not kept a
record of them, use the Revert utility in the Wilcom ES folder to revert to
factory settings.
To adjust Auto Spacing settings


Select Auto Spacing
Click to adjust Auto Spacing values
2 Click Values in the Auto Spacing panel.
Enter spacing
Adjust stitch
offsets for each
length values
thread type
Adjust spacing
values
3 Adjust stitch settings in the Stitch panel:
default spacing values custom spacing values
Length: These values define the increments by which spacing is

adjusted.
The smaller the distance between each length, the more rapidly
stitching changes from open to dense. Each length value must be
greater than the previous one.
Spacing: These values define the spacing corresponding to each
stitch length.
4 Adjust spacing offsets for different thread types.

The offset set the compensatory amount by which stitch settings will be
adjusted for different thread types.
Thread type A is average thread, and will generally use the default
value, 0.01 mm.
Thread Type B is thicker than average and requires a larger offset
value—e.g. 0.03 mm—in order to slightly increase stitch spacing
(decrease density).
Thread type C is thinner than average and requires a negative
value—e.g. -0.03 mm—to decrease stitch spacing (increase
density).
Thread Type D is very thin and requires an even greater negative
value—e.g. -0.06 mm—to decrease stitch spacing.
Note You assign the thread type in the Add Thread dialog. Stitch
spacing of the assigned thread type is automatically adjusted according
to the values set here. See Adding your own colors to thread charts for
details.
5 Click OK in the Auto Spacing dialog.
6 Click Apply.
Tip If you change your mind, click Reset to revert to the factory default
settings.
Adjusting Satin stitch count
Right-click Satin (Stitch Types toolbar) to adjust the Satin stitch count.
Triple Satin is often used for folk

designs to mimic handmade
embroidery that uses thicker thread.
If you require thicker stitches, set the
Satin stitch to repeat itself multiple
times. You set the number of
repetitions of each stitch in the Satin
Count field. Every odd (forward)
stitch of a Triple Satin column can be
stitched up to 15 times.
To adjust Satin stitch count


Enter number of repetitions
2 Enter the number of repetitions in the Satin Count field.
Warning Using a value higher than 10 may cause thread breaks,

depending on the design, fabric, or thread tension.
3 Click Apply.
Tip When you increase the Satin stitch count, you should also increase
the stitch spacing to avoid bunching of stitches and thread breaks. See
Adjusting Satin stitch spacing for details.
Creating fills with Tatami stitch
Click Tatami (Stitch Types toolbar) to apply Tatami stitch to new or selected
large, irregular shapes. Right-click to adjust Tatami settings.
Tatami stitch consists of rows of run stitches and is suitable for filling large,
irregular shapes. Stitches are laid in rows going back and forth across the
shape. Stitch offsets in each row are used to eliminate horizontal split lines.
See also Corresponding object and stitch types.

You can control stitch density in Tatami objects by adjusting the backstitch
type, stitch length, and row spacing. With Tatami fills you can specify how
each row is offset in order to control the patterns formed by needle
penetrations. See Creating textures with Tatami offsets for details.
Adjusting Tatami stitch spacing and length
Right-click Tatami (Stitch Types toolbar) to adjust Tatami spacing and length.
Tatami stitch density is determined by the distance between each row of

stitches. The spacing setting is the distance between two forward rows.
Specify the optimum and minimum stitch lengths to be generated for Tatami
objects. The stitch length varies slightly in Tatami fills to ensure that small
stitches are not generated at the edges of the shape. See also Adjusting
stitch density.
row spacing
offset fraction
stitch length
row direction
Tip Sometimes you may want to increase row spacing to create open
stitching. This is often useful for backgrounds. However, this also means
that travel runs, spacing variations and overlapping rows between segments
are visible and can spoil the effect. The Trapunto effect automatically moves
underlying travel runs to the edges of an object so that they can’t be seen.
See Creating open stitching with Trapunto for details.
To adjust Tatami stitch spacing and length

1 Right-click the Tatami icon.

The Object Properties > Fills > Tatami dialog opens.
Adjust stitch values
2 In the Stitch Spacing field, enter the new spacing value.

This value is the distance between each forward row of stitching.
To increase the density, enter a smaller value.
To decrease the density, enter a larger value.
Spacing: 0.4 mm Spacing: 0.6 mm Spacing: 0.8 mm
3 Enter a stitch length in the Length field.
Length: 4.5 mm Length: 2 mm Length: 1 mm

Minimum Stitch: 0.4 mm Minimum Stitch: 0.4 mm Minimum Stitch: 0.4 mm
4 In the Min Stitch Length field, enter the length of the shortest stitch to
be generated.
Length: 4 mm Length: 4 mm Length: 4 mm

5 Click Apply.

Selecting a Tatami backstitch
Right-click Tatami (Stitch Types toolbar) to select a Tatami backstitch.
Click to apply Standard backstitch.
Click to apply Borderline backstitch.
Click to apply Diagonal backstitch.
Tatami backstitch is the term used for every second row of stitches in a
Tatami fill. There are three types available—Standard, Borderline, and
Diagonal.
Standard backstitch Borderline backstitch Diagonal backstitch
Standard backstitch
The rows are approximately parallel, with every backstitch row slightly
shorter than the forward row. Because the rows are different lengths, there
are fewer small stitches at the edge of the shape, reducing possible damage
to the fabric. Standard backstitch is suitable for high density fills.
Borderline backstitch
The rows are approximately parallel. With lower density fills, borderline
backstitch creates a smooth, well-defined edge. Borderline backstitch is also
called Trapunto style. See Creating open stitching with Trapunto for details.

Note Borderline backstitches may not follow the outline of the shape if the
stitch spacing is less than the minimum stitch length. Where the stitch rows
are perpendicular to the boundary, connecting stitches are adjusted to be
longer than the minimum stitch.
.
minimum stitch
stitch spacing
connecting stitches
connecting stitches follow the boundary
are adjusted
Diagonal backstitch
The backward rows are diagonal, directly connecting the forward rows.
Diagonal backstitch is suitable for turning shapes, and gives good results
with Jagged Edge. See Creating jagged edges for details.
To select a Tatami backstitch

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

3 Click Apply.
Creating outlines with Zigzag stitch
Click Zigzag (Stitch Types toolbar) to apply Zigzag stitch to new or selected
objects. Right-click to adjust Zigzag settings.
Zigzag stitch is similar to Satin in that the needle penetrates each side of
the column. But while Satin gives a straight line followed by a diagonal,
Zigzag produces two diagonal lines, thereby producing a more open stitch.
Zigzag is frequently used for tacking down appliqués, while E Stitch is used

as the cover stitch. It can also be used for decorative effect or where fewer
stitches are required. See also Corresponding object and stitch types.
Tip Zigzag and Double Zigzag stitches are frequently used as underlays.
See Adjusting Center Run and Edge Run underlay settings for details.
To create outlines with Zigzag stitch

1 Right-click the Zigzag icon.
The Object Properties > Fills > Zigzag dialog opens.
2 Enter a spacing value in the Stitch Spacing field.

This value is the distance in millimeters between two needle
penetrations on the same side of the column.
stitch spacing: 2.0 mm stitch spacing: 3.0 mm stitch spacing: 4.5 mm
3 Click Apply.
Creating outlines with E Stitch
Click E Stitch (Stitch Types toolbar) to apply E Stitch stitch to new or selected
objects. Right-click to adjust E Stitch settings.

E Stitch, sometimes referred to as ‘blanket stitch’, produces long, narrow
columns with a ‘comb’ effect. It is often used to stitch borders around
appliqués. The needle penetrates both sides of the column, and then
penetrates the second side again, laying the thread along the side.
E stitches are usually more open than Satin or Zigzag stitches. See also
To create outlines with E Stitch

1 Right-click the E Stitch icon.
The Object Properties > Fills > E Stitch dialog opens.
Enter # run stitches
2 In the Stitch Spacing field, enter the spacing value.

This value is the distance in millimeters between each perpendicular
stitch.
Stitch Spacing: 1.0 mm Stitch Spacing: 2.0 mm Stitch Spacing: 3.5 mm

3 In the Number of Runs field, enter the number of run stitches between
each E Stitch.
3 runs
1 run E Stitch spacing E Stitch spacing
4 Click Apply.
Creating decorative outlines

Digitizing methods divide broadly into two categories—outline and fill. Run
and Manual digitizing methods are used to digitize outlines or individual
stitches. Run stitch, Triple Run, Motif Run, Backstitch, and Stemstitch are
considered both digitizing methods and stitch types. See also Digitizing lines
and Creating motif runs.
For thicker, decorative lines, use Backstitch or Stemstitch. Backstitch is an
older-style, adaptable stitch which can be used for delicate outlines. This
stitch follows intricate curves well. Stemstitch is thicker and can be used to
mimic hand-sewn embroidery. It is used for stems and vines with other
decorative stitches, or as an outline for Satin or Motif fills.
Backstitch Stemstitch Stemstitch with

Motif Fill

Tip ES Designer lets you convert between Run, Triple Run, Motif Run,
Backstitch, Stemstitch and Input C objects. See Converting between run
Adjusting Backstitch settings

Adjust Backstitch settings to get the exact results you want. You can specify
the exact stitch length, chord gap, thickness and overlap values as well as
the number of strokes.
To set Backstitch settings

1 Right-click the Backstitch icon.
The Object Properties > Outlines > Backstitch dialog opens.
Adjust backstitch values

2 Enter minimum and maximum run lengths in the Length and Min
Length fields.
Run Length: 1.5 mm Run Length: 2.5 mm Run Length: 4.5 mm
3 Adjust the Chord Gap setting as required. See Setting variable run
stitch lengths for details.
4 Adjust stitch thickness in the Thickness field.
Needle penetrations are spaced more widely for thicker stitches.
Stitch Thickness: 0.30 mm Stitch Thickness: 0.50 mm Stitch Thickness: 0.70 mm
5 Adjust the backstitch overlap percentage in the Overlap field.
Overlap: 10% Overlap: 50% Overlap: 90%

6 Select the number of strokes—3 or 5.
Strokes: 3 Strokes: 5
7 Click Apply.
8 Digitize Backstitch outlines as you would a Run stitch outline. See
Creating stitch runs for details.
Adjusting Stemstitch settings

Adjust Stemstitch settings to get the exact results you want. You can specify
the exact stitch and line thickness, spacing and overlap values as well as the
number of strokes.
To adjust Stemstitch settings

1 Right-click the Stemstitch icon.

The Object Properties > Outlines > Stemstitch dialog opens.
Adjust stemstitch values
Select type and adjust thickness
2 Adjust the line thickness in the Thickness field.
Line Thickness: 1.0 mm Line Thickness: 1.5 mm
3 Adjust stitch spacing in the Spacing field.
Spacing: 1.2 m Spacing: 0.8 mm
4 Enter a stitch angle in the Angle field.
Angle: 90° Angle: 45°

5 Select either Single or Triple.
Type: Triple Type: Single
Note For Triple only, you can also adjust stitch thickness in the Stitch
Thickness field. Needle penetrations are spaced more widely for thicker
stitches.
6 Click Apply.
7 Digitize Stemstitch outlines as you would a Run stitch outline. See
Creating stitch runs for details.

Chapter 7
Colorways and Thread Charts
When digitizing, you select thread colors for each object you create from the
color palette. This contains a selection of thread colors tailored for each
design or color scheme. The particular ‘colorway’ represents the actual
thread colors in which a design will be stitched. In fact you can define
multiple color schemes and switch between them. This has important
implications for sales presentations as well as production. You can also print
multiple colorways, design backgrounds, and icons of color blocks together
with the production worksheet.
For each colorway you define, you can select colors from commercial thread
charts or define your own. Search for particular threads by specific code.
Automatic thread color helps you locate thread colors based on closest
match across one or several thread charts. You can also match thread colors
from imported graphics—vector or bitmap.
This section describes how to select colors from the color palette as well as
how to change colorways. It also explains how to define, modify and delete
colorways. There is also an explanation of how to define your own thread
colors and charts.
Changing thread colors

New objects are digitized using the selected color in the color palette. You
can change the color before or after digitizing. If the color you want is not

available in the color palette, you may need to add it to the colorway. See
Modifying colorways for details.
Note Color change machine functions are automatically inserted when you
assign a color.
Selecting colors
When you digitize a new object, it automatically takes the color selected in
the color palette. This is the ‘current’ color. Change the color of one or more
selected objects in your design at any time.
Tip If the color palette itself does not appear, you need to select it from the
Toolbars dialog. See Showing or hiding toolbars for details.
To select a color
Deselect all objects, and then select a color from the palette.
Edit background Split palette color
Select color Edit color palette
Edit colorways Compact palette

Change colorway Add color to palette
This color becomes current for all new objects.

To change the color of selected objects, simply select a new color from
the palette.
object selected color changed
Note While the selected object/s change color, the ‘current’ color does
not change.

Recoloring consecutive objects
Select Set Color (Machine menu) to change the color of consecutive objects.
You can change the color of consecutive objects of the same color at the
same time. Consecutive objects follow each other in the stitching sequence.
See also Selecting and viewing objects with the Color-Object List.
To recolor consecutive objects

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

The Set Color dialog opens.
Change color of
consecutive objects
Select color
3 Select the All consecutive objects of the same color option.
Note If you selected more than one object, this option is not available.
4 Select a color from the list.
Only colors in the colorway are available.
ES 2006 Chapter 7 Colorways and Thread Charts 154

5 Click OK.
red
red
green
Working with colorways

ES Designer lets you define multiple color schemes, or ‘colorways’, for the
one design. Change them to preview an existing design in different colors
on different fabrics.
When you start a design, Colorway 1 appears as the default color palette.
Colorways are saved automatically with the design when saving in EMB
format. You can save all your colorways as an EMT template file for use in
future designs. Colorways cannot, however, be saved with stitch files. See
also Viewing colorways and Working with design templates.
Note Certain properties are included as part of the colorway

definition—background color or fabric, unique number, as well as display
colors for borer symbols, unsewn stitches, selected objects, object outlines
and the grid.
As dark-colored threads cover light-colored fabrics better than vice versa,
different densities may be required when you change from one colorway to
another. For example, a black design on a white shirt may have been
digitized with slightly open Tatami to save on stitches. If the colorway is
changed to white on black, the Tatami density may need adjusting. See
Adjusting stitch density for details.

Note Colorways are not intended to compensate for the different densities.
Rather, different styles should be used, or separate designs—one for dark
threads on light fabric, and one for light threads on dark fabric.
Setting up color palettes
Use Add Color To Palette (Color toolbar) to add a new color slot to the
palette. This can be edited by means of the Color Palette Editor.
Use Color Palette Editor (Color toolbar) to assign thread colors to slots in the
Color Palette.
Use Compact Palette (Color toolbar) to remove all unused colors from
palette. Unused slots appear gray.
When you create a new design, it includes a single default colorway called
‘Colorway 1’. This contains 15 default colors, unassigned to any thread
chart. The Color Palette Editor displays the same default colors. Add extra
color slots as required.
To set up a color palette

1 Open a new design.
The default color palette provides 12 colors.
Click to add color slots
Tip If you using artwork as a backdrop, you can match image colors
directly to the nearest matching threads in selected thread charts. See
Matching image colors to threads for details.
2 Click the Add Color To Palette icon to add further color slots as
required.
3 Click the Color Palette Editor icon.
The Color Palette Editor dialog opens displaying the same default
colors.
4 Click the Thread Charts button.

The Active Thread Charts dialog opens.
Select tread
chart/s to use
5 Select the thread chart/s you want to use and click OK.
All color definitions from the selected chart/s are transferred to the Color
Palette Editor.
Click to select
thread chart/s Click Match to match
selected color
Search color list manually

for suitable colors
Enter exact color

code if known
Default
colors
6 Select a color slot in the Color Palette Editor and match it to a suitable
thread by one of the following means:
Simply click the Match button at the top of the color list to find the
nearest equivalent thread color in the selected charts.
Enter an exact color code in the Find Code field.
Click-and-drag the selection handle and scroll down the color list to
locate a color you want to use.
Click the arrow buttons on top and at the bottom of the color list.

Note The current selection in the Color Palette Editor is not linked to
the current selection in the Color Palette itself.
7 Select the color in the list by clicking the color or the code.
The color is assigned to the selected color slot, ready for use.
8 Click Assign.
The selected thread is assigned to the color slot and the Color Palette
Editor selection is advanced by one slot.
Tip Once all colors are assigned to objects, you can click the Compact
Palette icon to display only those colors used in the design. See also
Naming design elements via the Color Palette Editor.
Note The Compact Palette tool is disabled for machine formats that use
needle addressing—i.e. that have Color Change set as Needle No in the
Machine Format Values dialog. See also Setting color change functions.
Adding and deleting colorways
Use Multi-Colorway Box (Color toolbar) to open or close the modeless

Multi-Colorway Box dialog which allows you add and edit colorways.
It is often difficult to imagine your designs stitched out on different fabric

colors and textures, using different combinations of thread colors. When you
create a new design, the design contains a single default colorway called
‘Colorway 1’. You can define up to 100 colorways for each design.
To add or delete a colorway

1 Create a new design or open an existing one.
2 Click the Multi-Colorway Box icon.
The Multi-Colorway Box dialog opens.
Colorway 1
Click to add new
colorways

3 Click New and enter a New Colorway name.
My Colorway Enter new colorway name
Colorway 1 Select colorway to base on
Tip By default, the Based on Colorway field contains the current

colorway. Select from the dropdown list to change colorways. If you
want to base the new colorway on default settings, leave the field blank.
Colorway 1
Click to choose My Colorway
colorway
Click to delete colorway
4 Edit the colors and background of the new colorway using the Color
Palette Editor. See Modifying colorways for details.
5 Select a colorway in the list to view.
This has the same effect as selecting the colorway from the dropdown
list on the Color toolbar.
6 To delete a colorway, select it and click Delete.
You are prompted to confirm the deletion.
7 Click OK.
Modifying colorways

Use Add Color To Palette (Color toolbar) to add a new color slot to the
palette. This can be edited by means of the Color Palette Editor.
Color Palette.
Use Compact Palette (Color toolbar) to remove all unused colors from
palette. Unused slots appear gray.
You can modify a colorway by adding or changing colors. New colors can be
selected from any of the available thread charts. Any modifications to thread

colors only affect the selected colorway. All others remain unchanged. The
modified colorway can be saved with the design you are working with and/or
the current template.
Note The default settings are stored as Colorway 1. If you change the
background in Colorway 1 and save your template, it will always display like
this at start up. All defined colorways are saved in the template.
To modify a colorway
1 With a design open, click the Multi-Colorway Box icon.
Colorway 1
Select colorway My Colorway
to edit
Click to change background of colorway
2 Select the colorway you want to edit.

3 To edit the name, click the field, key in a new name, and press Enter.
4 To add further color slots, click the Add Color To Palette icon.
5 To change the colorway background and display colors, click BKG.
The Display dialog opens. Background colors and fabrics are treated as
part of the colorway rather than design window settings. In addition,
display colors for borer holes, unsewn and selected stitches, object
outlines and grid are part of the colorway definition. See Viewing
colorways, backgrounds and display colors for details.
6 To modify the thread colors of the selected colorway, click the Color
Palette Editor icon.

The Color Palette Editor dialog opens displaying the current colorway.
Search color list manually

for suitable colors
Enter exact color code if known

Click to assign color to
selected color slot
Click to locate selected color

1 - Clouds Enter descriptive name for
selected color
7 Assign colors from the current thread chart to selected color slots. See
Setting up color palettes for details.
Tip Once all colors are assigned to objects, you can click the Compact
Palette icon to display only those colors used in the design. See also
Naming design elements via the Color Palette Editor.
Modifying thread colors
Use Color Palette Editor (Color toolbar) to modify threads in existing charts.
Change the code, description, brand, thickness or display color of existing

threads by means of the Color Palette Editor.
To modify a thread color


The Color Palette Editor dialog opens.
Click to assign
new color to slot
Click to edit
selected thread
2 Import threads from the thread chart of your choice. See Setting up
color palettes for details.
3 Select the color slot you want to edit and click the Edit Thread button.
The Edit Thread dialog opens.
Click to select
or mix color
Edit thread
details
4 Edit thread details as required. See Adding your own colors to thread
charts for details.
5 Click OK.
Naming design elements via the Color Palette Editor

You can assign names to blocks of sequential, same-color objects, known as
‘elements’. Element names appear on the production worksheet. The Usage
field in the Color Palette Editor shows a list of selected color blocks which
correspond to design elements. By default, the number in the stop sequence
is displayed. However, each color block can be given a descriptive name for
easy identification.
Tip You can also name design elements via the Design Properties dialog.
See Naming design elements via Design Properties for details.

To name design elements via the Color Palette Editor
1 Use the Color Palette Editor to set up a new palette or edit an existing
colorway. See Setting up color palettes for details.
Select color slot
Enter descriptive
1 - Clouds
name for selected
color Click and hold to locate selected color
2 Select a color slot.

3 To view the color, click Locate and hold.
Tip When more than one element appears in the Usage list, you can
select and locate them singly or as a group.
4 To name the design element, double-click the Usage field and key in a
descriptive title—e.g. ‘Clouds’.
5 To check the naming of all design elements, select File > Design
Properties.
6 Select the Stop Sequence tab to view the color sequence and stitch
counts for each design ‘element’.
The data in this tab is extracted from the design and, except for
Element, cannot be modified.
Click to edit
design elements
Tip You can show the stitch count for each element individually or as a
cumulative count. See Setting other options for details.

7 To edit an Element name, simply click the field, key in a new name, and
press Enter.
Tip The information on this tab may be included in total or in part on

the production worksheet. See Customizing production worksheet
information for details.
Splitting color blocks

Color Palette.
Use Split Palette Color (Color toolbar) to create a new color slot with the
same thread specification as the selected slot.
A color block or ‘element’ corresponds to a color stop in the design. It may

be comprised of a single item—e.g. ‘ropes’—or more—e.g. ‘ropes and birds’.
In one colorway you may want to assign the same thread color to both
items, while in another you may want to assign different colors to each. The
Split Palette Color tool makes this easy—simply create a new color slot
with the same thread specification as the selected slot. This is added to the
palettes of all colorways. Selected objects are assigned to the new palette
position.
Note The design needs to contain at least two colorways and two objects.
The button is disabled when objects of different colors are selected.
To split a color block

1 With a design open, click the Multi-Colorway Box icon.
Select colorway
to edit
2 Select the colorway you want to modify.

3 Select the object(s) whose color needs to change—they must be
assigned to the same color slot.
The Split Palette Color button is activated.
Select objects
to change
4 Click the Split Palette Color icon.

A new color slot of the same color is added to the palette and all
colorways. Selected objects are assigned to the new palette position.
New color slot added to all colorways

based on selected color (#2)
5 Assign a new thread color to the new color slot in the selected colorway.
See Setting up color palettes for details.
The colors of the other colorways remain unaffected.
New color assigned to slot

in selected colorway

Note By default, the new color slot is placed at the end of the Color
Palette. This, however, does not affect the stitching sequence.
Consecutive
blocks of same
color remain
separate
Matching image colors to threads
Right-click the image and select the Match Bitmap Color command to match image
colors to actual threads.
You can manually match colors from an inserted bitmap or vector image to
thread colors in a selected chart. But the quicker way is by using automatic
color matching.
To match image colors to threads

1 Right-click the image.
2 Select Match Bitmap Color from the popup menu.

All colors used in the image appear in the Match Bitmap Color dialog.
Select color
to match
Click to
assign
Select thread
Matched chart
colors listed
Click to
match
3 Select the thread chart/s to include in the search from the Thread
Charts list.
Note To automatically match the image colors to available threads,

simply click OK. The system automatically assigns thread colors from
the selected chart/s to the current colorway.
4 To make your own color selections, first select the color to match.
5 Click Match.
The system searches for the closest match across all selected charts and
displays them in the thread color list below.
6 Select a thread and assign to the color palette by double-clicking or
clicking Assign.
7 Repeat until all the colors you intend to use in the design have been
matched.
Note Each search negates the previous results.

8 Click OK.
The selected thread colors are assigned to the current colorway. If the
number of available thread colors is less than the number of colors in
the image, the system will increase the number of slots in the color
palette accordingly.
Note The maximum number of new thread colors which can be added
to the color palette from a bitmap is 128.

Customizing thread charts
Thread charts are lists of pre-defined thread colors. They may be based on
commercially available thread charts, or charts you define yourself. When
you create a thread chart, you are creating a store of colors to use in future
use. You may use pre-defined thread colors from existing charts or define
your own. You may also want to update existing thread charts by modifying
thread details or removing threads.
Creating new thread charts
Use Color Palette Editor (Color toolbar) to create new thread charts.
ES Designer lets you define your own thread charts. When you create a
thread chart, you are creating a store of colors to use in future use.
To create a new thread chart

Click to select
thread chart/s
Click to modify
thread charts
2 Click the Thread Charts button.
The Active Thread Charts dialog opens.
3 Click Modify.
The Modify Thread Chart dialog opens displaying the current thread
chart.
Click to create new chart

4 Click New.
The New Thread Chart dialog opens.
A-My Thread Chart Enter new thread

chart name
5 Enter a name for the chart and click OK.

You return to the Modify Thread Chart dialog. The new chart is created,
ready for you to add thread colors.
Click to add your

own threads
Click to copy
threads from
other chart
6 Click Add to add your own colors. See Adding your own colors to thread
charts for details.
7 Click Copy From to add colors from an existing chart. See Copying colors
between charts for details.
8 Click Close to finish.
The new chart is created and ready for use.
Modifying existing thread charts
Use Color Palette Editor (Color toolbar) to modify existing charts.
Use the Modify Thread Chart dialog to rename existing thread charts and
remove them entirely from the system. Select names that will help you
remember the charts you need or to help you sort frequently-used charts to
the top of the list.

Warning Be careful when deleting thread charts. If you delete the wrong
chart you will need to reinstall Wilcom ES to restore it.
To modify existing thread charts

1 Open the Active Thread Charts dialog. See Creating new thread charts
for details.
Select
thread chart
Click to modify
selected thread chart
2 Select a thread chart and click Modify.

chart.
Click to rename Click to delete
3 From the Name list, select the chart to modify.

4 Click Delete to remove the entire chart.
5 Click Rename to change names.
The Rename Thread Chart dialog opens.
A-My Royal Chart Enter new thread

chart name
6 Enter the new name for the thread chart and click OK.
Modifying threads in existing charts

Remove obsolete thread colors from a thread chart using the Modify
Thread Chart dialog. Change the code, description, brand, thickness or
display color of existing threads.
To modify threads in existing charts

1 Open the Active Thread Charts dialog. See Creating new thread charts
for details.
2 Select the required thread chart and click Modify.
chart.
Select
thread chart
Select color
to modify Click to remove
selected thread color
Click to edit selected
thread details
Click to remove ALL

colors from chart
3 From the Name list, select the chart to modify.

4 In the Threads list, select the thread to modify.
5 Click Remove to remove the selected thread from the chart.
Tip To delete all the threads from the thread chart, click Clear All.
6 Click Edit to change thread details.

The Edit Thread dialog opens.
Click to select
or mix color
Edit thread
details
7 Edit thread details as required. See Adding your own colors to thread
charts for details.
8 Click OK.
Copying colors between charts
You can copy colors between different thread charts to create your own
charts from existing colors.
To copy colors between charts

1 Open the Modify Thread Chart dialog. See Creating new thread charts
for details.
Select Click to create

existing chart new chart
Click to copy
threads from
other chart
2 Create a new chart or open an existing one from the Name list.
3 Click Copy From.

The Copy From dialog opens.
Select
thread chart
Select color
to copy
4 Select the source thread chart from the Name list.

5 Select the color/s you want to copy.
Tip Use Ctrl or Shift keys to copy a group or range of colors.

6 Click OK.
All colors are copied to the new thread chart.
Adding your own colors to thread charts
You can add colors to thread charts using colors from other charts or colors
you mix yourself.

To add your own colors to a thread chart
1 Open the Modify Thread Chart dialog. See Creating new thread charts
for details.
Select Click to create

existing chart new chart
Click to add
own colors to
thread chart
2 Create a new chart or open an existing one from the Name list.
3 Click Add to add your own colors.
The Add Thread dialog opens.
Click to select
or mix color
Enter code,
1234
brand, and
description details My Brand
Deep Purple
Select thread
thickness
4 Enter code, brand, and description details for the new thread color.
Code is the identification number of a thread color in a brand.
5 Select the appropriate thread thickness.
Thickness A: normal embroidery thread (thickness 120/2, or 40).
Thickness B: thicker than normal.
Thickness C: finer than normal.
Thickness D: very fine.
Note This setting determines the Auto Spacing setting used with the
thread. See also Applying Auto Spacing to Satin stitch.
6 Mix the thread display color. See Mixing your own thread colors for
details.

7 Click OK.
The new color appears in the Threads list.
Mixing your own thread colors
You can change the color that displays for a particular thread, or create new
thread colors using the Color dialog.
To mix your own thread colors

1 Add your own colors to a thread chart or modify threads in an existing
chart. See Adding your own colors to thread charts or Modifying threads
in existing charts for details.
2 Click Mix.
Drag crosshairs to
adjust color
Click to Drag arrow to

select color adjust brightness
Enter exact values

if known
Click to add selected
color to Custom Colors
3 From the Basic colors palette, select a color that approximates the one
you require.
4 To further refine your color choice, drag the crosshairs on the color
spectrum.
5 To adjust color brightness, drag the arrow on the slider bar.
Alternatively, set the exact HLS or RGB values you require.
6 Click Add to Custom Colors to add mixed color to Custom Colors palette
for future use.

7 Click OK.

Chapter 8
Connecting Embroidery Objects
Connectors link objects in a design.

They can be run stitches or jumps. You
can use automatic settings to generate
connectors, trims and tie-offs, or add
them manually. Travel runs are
typically used to connect segments
within filled objects. Adjust travel run
length to reduce stitch count.
Warning For Schiffli work, you are advised to add connectors manually
rather than rely on the automatic settings. Automatic connectors are turned
off in the Schiffli template. See Adding connectors manually for details.
This section describes how to add connectors, tie-offs and trims to your
designs. It also describes adjusting settings for automatic connectors,
including the stitch length for travel runs. There is also a topic on hiding
travel runs using the Trapunto effect.
Note You can set separate connector settings for Auto Start and End. See
Setting automatic start and end points for details.
Types of connectors
The type of connector you use depends on whether you want it to be visible
in the final design. The default connector setting in ES Designer is for jumps.
Jumps
Jumps move the frame from one part of the design to another without
needle penetrations. You can use automatic jumps as connectors between
embroidery objects. The connecting thread generally needs to be tied-off

and trimmed. The default connector jump length is the same as that set for
Auto Jump.
Tip You can also digitize jumps manually using the Penetrations function
or with Manual stitch. See Adding jumps with penetrations off and Digitizing
individual stitches for details.
Runs
Travel runs are typically used to connect segments of complex shapes. They
can also connect adjacent objects. Because runs are not trimmed, they may
be visible in the final embroidery. For this reason, they are less commonly
used as connectors between objects than jumps. If objects are adjacent and
connectors will be hidden, they can be used. You can change the stitch
length of travel runs to ensure they do not protrude from the cover stitching.
You may also adjust the travel run length to reduce the stitch count. See
also Adjusting travel run stitch length.
Note While you can control the properties of run connectors between
objects, you generally cannot control connectors within objects. Lettering
and motif run objects are the exception.
Tie-ins
Tie-in stitches are inserted at the start of objects to prevent stitches from
unraveling. They are inserted inside the shape on the second stitch. You
generally use them when the previous connector is trimmed.
Tie-offs
Tie-offs are generally placed before trims to prevent stitches from
unraveling. You can adjust connector settings to automatically add tie-offs
under certain conditions, or add them manually. You can also include trim
functions so machines with trimmers cut the thread automatically.
Trims
If you are using a machine with an automatic trimmer, the trim function
causes the thread to be cut after a tie-off. In the software, trims are
represented by a triangle with a small circle at the point where stitching
ES 2006 Chapter 8 Connecting Embroidery Objects 178

starts again. The trimmed connector appears as a dotted line. You can
adjust connector settings to automatically add trims, or add them yourself.
connector
stitching starts
trim
Using automatic connectors

ES Designer lets you generate automatic connectors in your design based
on settings in the Object Properties > Connectors dialog. You can change
the connector settings for the whole design or selected objects.
Tip If you prefer to add tie-offs and trims as you digitize, you can turn off
automatic connectors altogether. For Schiffli work, you are advised to add
connectors manually rather than rely on the automatic settings. Automatic
connectors are turned off in the Schiffli template. See Adding connectors
manually for details.
Note The Branching feature lets you digitize like-objects—e.g. the fingers
of a hand—without having to think about the most efficient stitching
sequence and joins. See Automatic branching for details.
Using jumps as connectors
Use Object Properties (Standard toolbar) to toggle the Object Properties

dialog on/off. Use it to set jumps as connectors.
You can use automatic jumps as connectors between embroidery objects.

Jumps move the frame from one part of the design to another without

needle penetrations. You generally need to tie-off and trim the connecting
thread.
You can also digitize jumps manually using the Penetrations function. See
Adding jumps with penetrations off for details.
To use jumps as connectors

1 Click the Object Properties icon.
The Object Properties dialog opens.
2 Select the Connectors tab.
Select connector method
Select Jump and

enter distance
Adjust Trim
After settings
Adjust tie-in /
tie-off settings
3 Select a connector method.

After Object: allows you to adjust settings of connectors
immediately following the current object.
Inside Object: allows you to adjust settings of connectors joining
letters within a lettering object, and motifs within motif runs. This
setting also applies to disconnected parts of branched objects.

Note This option does not apply to segments within an object. See also
Adjusting travel run stitch length.
4 Select Jump and enter a distance for each frame movement.
5 In the Trim After panel, adjust the trim settings. See Adjusting
automatic trim after settings for details.
6 Select Tie In from the list to adjust tie-in settings. See Adjusting
automatic tie-in settings for details.
7 Select Tie Off from the list to adjust tie-off settings. See Adjusting
automatic tie-off settings for details.
8 Click Apply.
Using runs as connectors

dialog on/off. Use it to set runs as connectors.
You can use runs of single stitches to connect objects in a design. Because
runs cannot be trimmed, they are visible on the final embroidery, unless
another object is digitized to cover them. For this reason, runs are less
commonly used as connectors than jumps.
Run Jump
connectors connectors
To use runs as connectors


Select connector method
Select Run and

adjust stitch length
Adjust tie-in
settings
3 Select a connector method.

After Object: allows you to adjust settings of connectors
immediately following the current object.
Inside Object: allows you to adjust settings of connectors joining
letters within a lettering object, and motifs within motif runs. This
setting also applies to disconnected parts of branched objects.
Note This option does not apply to segments within an object. See also
Adjusting travel run stitch length.
4 Select Run and enter a length for the connecting run stitches.
The Tie Off and Trim After options are disabled as they do not apply to
travel runs.
5 Select Tie In from the list to adjust tie-in settings. See Adjusting
automatic tie-in settings for details.
6 Click Apply.
Adjusting automatic tie-in settings

dialog on/off.

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

Adjust tie-in
settings
3 Select Tie In from the list and select a tie-in option:

Off: no tie-ins are inserted.
Always tie in: tie-ins are inserted before the object.
Tie In If: tie-ins are created if certain conditions are met. When you
select this option, the condition checkboxes become available.
4 If you selected Tie In If, set the conditions:
After Trim/Color Change: tie-ins are inserted after trims and color
changes.
Previous Connector: tie-ins are inserted when the previous
connector exceeds the length you specify.
5 Set the tie-in values:
Length: determines length of tie-in stitches.
Number: determines number of tie-in stitches to generate.
6 Click Apply.

Adjusting automatic tie-off settings

dialog on/off.
With trims, stitches need to be tied off so the thread can be trimmed without
unraveling. Select between two automatic tie-off methods.
Method 1 with four Method 2 with Method 2 with four

stitches two stitches stitches
Method 1 is generally more visually pleasing on smaller objects and Satin

columns. With this method, however, stitches sew on top of each other with
the consequent risk of thread breakage. On larger areas, the safer
alternative is Method 2.
Tip For narrow shapes or columns—e.g. small lettering—use only one

tie-off stitch. You may also decrease the stitch length.
To adjust tie-off settings

Adjust tie-off
settings
3 In the Tie Off panel, select a tie-off option:

Off: no tie-off is inserted. By selecting this option, you need to add
tie-off functions manually. See Adding tie-offs for details.
Always Tie Off: a tie-off is inserted after the object.
Tie Off If: a tie-off is created if certain conditions are met. When
you select this option, the condition checkboxes become available.
4 If you selected Tie Off If, set the conditions:
Before Trim/Color Change: a tie-off is inserted before a trim or
color change.
Always Tie Off Last: a tie-off is inserted if the object is the last one
in the design.
Next Connector Longer Than: a tie-off is inserted if the next
connector exceeds the specified length.
5 Select a tie-off method:
Method 1 inserts tie-off stitches along the last stitch. This hides well
and prevents stitches from bulging. It is suitable for Satin columns
and lettering objects.
Method 2 inserts tie-off stitches between the last two stitches. This
is suitable for larger Tatami-filled shapes.
6 Set the tie-off values:
Length: determines length of tie-off stitches.
Number: determines number of tie-off stitches to generate.
7 Click Apply.
Adjusting automatic trim after settings

dialog on/off.
You can choose to turn off automatic trimming, to always trim connecting
stitches, or to trim only when the connecting stitch is longer than a specified
value.
To adjust automatic trim settings


Adjust trim after

settings
3 In the Trim After panel, select a trim option:

Off: no trims are inserted. This feature is useful if trimming causes
your machine to slow down, or the needle to lose the thread. You can
either add trim functions yourself, or trim the final embroidery by
hand.
Always Trim: trims are inserted after the object.
Trim If Next Connector Is Longer Than: trims are inserted if the
next connector exceeds the length you specify.
Tip Usually, connectors shorter than 3 mm are not visible on the final
embroidery. You may sometimes require a smaller value—e.g. if the
thread color contrasts with the background color.
4 Click Apply.
Adding connectors manually

You can add tie-offs and trims in a design yourself, using the Tie Off, Trim
and Empty Stitch tools. This method is less efficient than using automatic
connectors and it is not recommended, but gives you more control over the
final design. Some machine formats are unable to read functions that
appear on a normal stitch. For these machines, you need to add trim, tie-off
and other machine functions to an Empty Stitch or Empty Jump. You may
also need to add one or more empty stitches or empty jumps to either side
of a function for the machine to read it correctly.
Note If you want to add all the tie-offs and trims yourself, turn off
automatic features in the Object Properties > Connectors dialog. See
Using automatic connectors for details.
Adding tie-offs
Click Tie Off (Pointer toolbar) to insert a tie-off.

You can add tie-offs in your design using the Tie Off tool. This provides a
semi-automated technique for adding tie-offs as an alternative to digitizing
them with manual stitches. Tie-offs are usually added before a trim at the
end of an object.
Tip You can also insert machine functions manually using the Insert
Machine Function dialog. See Inserting machine functions manually for
details.
To add a tie-off
1 Travel to the object you want to tie-off. See Traveling by object for
details.
2 Click the Tie-off icon.
A Tie-off function is inserted.
Tie-off
function start
Tie-off
function end
Tie-off function inserted, needle

backtracks and returns
The default number of tie-off stitches is two. This means the needle
backtracks twice and returns at the insertion point. Adjust this value in
the Object Properties > Connectors dialog. See Adjusting automatic
tie-off settings for details.
Note Generally you will follow a tie-off with a trim. See Adding trims for
details.
Adding trims
Click Trim (Pointer toolbar) to insert a trim.
You can add trims in your design, using the Trim tool. When you add a trim
in this way, the trim function is added to the current stitch. Some machines

require empty stitches or empty jumps on either side of the trim. If this is
the case for the machine you want to stitch to, you will need to insert them.
Tip Make sure that all stitches you trim have been tied in and tied off,
otherwise the stitches will not be secured.
To add a trim
1 Travel to the needle position where you want to trim the thread. See
Traveling by stitches for details.
2 Click the Trim icon.
A trim function is inserted at the current needle position.
tie-in symbol
trim symbol
details.
Adding empty stitches and empty jumps
Click Empty Function (Pointer toolbar) to insert an empty stitch. Right-click

to insert an empty jump.
Empty stitch is a tight (zero length) lockstitch, used together with, or as an

alternative to, tie-in and tie-off stitches. Use empty stitches instead of
tie-ins or tie-offs for objects filled with light density stitching where standard
tie-ins and tie-offs may be visible. Also, use empty stitches or empty jumps
when required by the selected machine format.
details.

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

borers out.
You can create jump connectors manually in a design by digitizing with

penetrations off. The Penetrations tool (formerly known as Needles In)
prevents the needle from penetrating the fabric, forcing the machine to
move across the design in a series of jumps. You can use Penetrations with
any input method.
To add a jump with penetrations off

1 Select an input method.
2 Deselect Penetrations.
3 Digitize the connector (or row of jumps) in the usual way for the selected
input method.
The jumps are saved together as an embroidery object.
Penetrations off—jump stitches Satin Jumps Tatami
Adjusting travel run stitch length

dialog on/off. Use it to set the travel run stitch length.

Travel runs are usually used to connect segments within filled objects. They
are usually covered by fill stitches when the object is stitched out. You can
adjust the travel run length to reduce the stitch count.
To adjust travel run stitch length

2 Select the Special tab and Travel Run from the list.
Adjust travel run length
3 Enter a value in the Length field as required.
Travel Run length: 1mm Travel Run length: 3mm
Tip Increase stitch length to reduce the stitch count. Travel Run
automatically varies the stitch length on tight curves.
4 Click Apply.

Chapter 9
Improving Stitch Quality
ES Designer provides many techniques for achieving smooth, even

placement of stitches, and eliminating gaps in your designs.
Strengthen and stabilize designs with automatic underlay. Compensate for

fabric stretch with pull compensation. Reduce stitch bunching with stitch
shortening and fractional spacing. Adjust stitch density for more efficient
production and remove small stitches automatically. Control corner stitching
with Smart Corners and fine-tune handling of long stitches with Auto Split
and Auto Jump. Set automatic start and end points. These features are all
object properties and can be applied, removed or modified at will.
This section describes how to improve stitch quality with automatic underlay
and pull compensation. It also covers stitch shortening and fractional
spacing together with adjusting stitch density and automatic removal of
small stitches. Auto Split and Auto Jump are described as well as setting
automatic start and end points.
Strengthening and stabilizing with automatic underlays

Embroidery appearance and quality depends a lot on underlay which serves
as a foundation for the cover stitching. Without an underlay, embroidery lies
flat on the underlying fabric which can often show through. New digitizers
might be tempted to increase stitch density but it is much more effective to
apply an underlay. Although it increases the stitch count, underlay helps to

stabilize fabrics and reduce puckering and pulling especially on larger
designs. It also provides ‘loft’, raising cover stitches and preventing them
from sinking into soft fabrics. It can also prepare a napped fabric by
flattening it.
Larger areas and stretchy fabrics such as knits and pique generally need
more underlay than smaller areas and firm fabrics such as drill or leather.
ES Designer lets you set values to suit different fabrics, lettering appearance
and size. Underlay settings are stored with each object in the same way as
other object properties. They are regenerated whenever the object is scaled
or transformed.
Applying automatic underlays
Use Auto Underlay (Stitch Types toolbar) to strengthen and stabilize

embroidery designs with automatic underlays. Right-click to adjust underlay
settings.
You can generate automatic underlay stitching from scratch or apply it to

existing objects. The type of underlay you choose is determined by the
purpose it is to serve. Any combination of underlay types can be applied in
order to achieve the desired purpose.
with underlay without underlay
To apply automatic underlays

Click the Auto Underlay icon with or without objects selected.
With no objects selected, underlay stitches are automatically generated
for all new objects. For both new or selected objects, automatically
generated underlay stitches are based on current properties.
Click again to turn off the effect.
Selecting underlays
Right-click Auto Underlay (Stitch Types toolbar) to adjust underlay settings.
ES 2006 Chapter 9 Improving Stitch Quality 192

ES Designer provides a selection of underlay types to choose from. Use a
single layer of underlay, or for more support, combine two underlay types.
The Auto Underlay feature lets you see both underlay settings at the same
time.
Center Run and

Edge Run underlays
used together
To select underlays
1 Right-click the Auto Underlay icon.
The Object Properties > Underlay dialog opens.
Select 1st Select 2nd

underlay underlay
Select 1st Select 1st
underlay type underlay type
Adjust 1st Adjust 2nd

underlay settings underlay settings
Adjust 1st Adjust 2nd

underlay margins underlay margins
2 Select the First Underlay checkbox.

3 From the first Type field, select the first underlay type.
4 Select the Second Underlay checkbox as required.
5 From the second Type field, select the second underlay type.
6 Adjust settings as required and click Apply.
Adjusted settings are applied to any selected objects. Otherwise, new
settings become current.

Adjusting Center Run and Edge Run underlay settings
Right-click Auto Underlay (Stitch Types toolbar) to adjust Center Run and
Edge Run underlay settings.
Center Run places a row of stitches along the center of a column. It is used
to stabilize narrow columns—e.g. 2-3 mm wide. Edge Run places stitches
around the edge of an object. Use Edge Run together with the Zigzag or
Tatami underlays when digitizing large shapes.
Center Run underlay Edge Run underlay
Note You cannot use Center Run with Complex Fill objects.
Adjust the stitch length for Center Run and Edge Run underlays to ensure
the underlay stitches follow the shape of curves and are not visible in the
final embroidery. Set a specific run stitch length, or use a variable stitch
length calculated by ES Designer. If you use a variable length, enter a chord
gap value to control how closely the stitches follow the digitized lines. The
chord gap is the distance between the digitized curve and the underlay
stitch. See also Setting variable run stitch lengths.
Note Stitch settings for Center and Edge Run underlays are stored
separately from and do not affect Run and Triple Run objects.
To adjust Center Run and Edge Run underlay settings



underlay underlay
Select Center Run Select Edge Run
(or Edge Run) (or Center Run)
Adjust fixed or Adjust fixed or

variable run length variable run length
Adjust underlay
margins
2 Select the first and second (as required) Underlay checkbox and select
Center Run or Edge Run as the First or Second underlay type.
3 Enter the required length values for each underlay type:
Length: Sets the maximum length of each stitch.
Vary Run Length: If enabled, specify minimum stitch length and
Chord Gap values as required. See Setting variable run stitch
lengths for details.
Edge Run and Center Run underlay Edge Run and Center Run underlay
with 2.5 mm stitch length with variable run length
4 Click Apply.
Adjusting Zigzag and Double Zigzag underlay settings
Right-click Auto Underlay (Stitch Types toolbar) to adjust Zigzag and Double
Zigzag underlay settings.

Use Zigzag and Double Zigzag underlay stitching to support wide columns.
You can combine Zigzag or Double Zigzag with Center Run or Edge Run
underlays. These underlays are best used under Satin cover stitching.
Zigzag underlay Double Zigzag underlay
You can set spacing and stitch length properties for Zigzag and Double
Zigzag underlay.
Note Zigzag underlay stitch settings are stored separately from, and do not
affect, zigzag cover stitch settings.
To adjust Zigzag and Double Zigzag underlay settings


underlay underlay
Select Zigzag (or Select Double
Double Zigzag) Zigzag (or Zigzag)
Adjust spacing Adjust spacing
and length and length
Adjust underlay Adjust underlay

margins margins
2 Select the first and second (if required) Underlay checkbox and select
Zigzag or Double Zigzag as the First or Second underlay type.
3 Enter the required spacing and length for each underlay type:
Spacing: Sets the required distance between two needle
penetrations on the same side of the column.

Spacing: 3.0 mm Spacing: 4.0 mm
4 Click Apply.
Adjusting Tatami underlay settings
Right-click Auto Underlay (Stitch Types toolbar) to adjust Tatami underlay

settings.
Tatami underlay is used to stabilize large, filled shapes. It resembles an

extremely open Tatami fill stitch, where rows of stitches are placed across
the object to create the underlay. Tatami underlay is often used together
with Edge Run, especially for Complex Fill objects under Tatami cover
stitching.
Tatami stitch with

Edge Run and
Tatami underlay
direction of underlay
direction of cover
stitching
Change stitch spacing and length settings for Tatami underlay in the same
way as for Tatami fill stitches. Select the backstitch type you require and,
for Complex Fill objects, set the angle of the underlay stitches.
Note Tatami underlay stitch settings are stored separately from, and do not
affect, Tatami cover stitch settings.
To adjust Tatami underlay settings


Select 1st
underlay
Select Tatami
Adjust Tatami
underlay values
Adjust underlay
margins
2 Select first or second Underlay checkbox as required and select

Tatami.
3 Adjust spacing and length settings as required:
Spacing: Sets the distance between each row of stitching.
Spacing: 3mm
Spacing: 2mm
4 For Complex Fill objects, you can also set the stitch angle for Tatami
underlays.
Angle: 45º
Angle: 135º
5 Select a backstitch. See Selecting a Tatami backstitch for details.

6 Click Apply.

Setting underlay margins
Right-click Auto Underlay (Stitch Types toolbar) to adjust underlay margins.
The underlay margin is the distance between an object outline and the edge
of the underlay. Increase this margin to prevent underlay stitches from
extending outside the cover stitches.
underlay margin
For Complex Fill objects, you can enter a single margin value which is used
for all edges in the shape. For objects created with the Input A, Input B,
Input C or Lettering tools, you can set three different margins—one for the
sides of the column and one for each end.
Note Margin values do not apply for Center Run underlays.
To set underlay margins


underlay underlay
Select required Select required

underlay type underlay type
Set underlay Set underlay

margins margins
2 In the Margins panels, set the required margins.

For Input A, Input B, Input C and Lettering objects, enter margins in
the 1:, 2: and 3: fields, using the diagram as a guide.
For Complex Fill objects, enter a margin in the 1: field only. Values
in the other fields will be ignored.
Mgn 1: 0.8 mm, Mgn 2: 0.2 mm, All margins: 0.1 mm

Mgn 3: 0.4 mm
Tip If you are joining two columns, use a negative value at the joining
end. The underlay will extend outside the cover stitching, allowing for
smooth joining of the columns.
two columns joined
3 Click Apply.
Adding underlay by segment
Right-click Auto Underlay (Stitch Types toolbar) to add underlay by segment.
Normally underlay is applied to all segments before the cover stitches are
sewn. With Fusion Fill™ objects, however, underlay can be applied by
segment. This means that underlay and cover stitch are stitched segment
by segment.

To add underlay by segment
Select By Or select By
Segment Segment for the
2nd underlay only
2 Select first and second underlays as required.

3 Select By Segment for either first or second underlay.
Note If you select By Segment for the first underlay, it is selected by

default for the second as well.
4 Click Apply.
Compensating for fabric stretch

Embroidery stitches tend to pull fabric inwards where the needle penetrates.
This can cause fabric to pucker, and gaps to appear in the embroidery.
Experienced digitizers can manually compensate for pull by overlapping
objects as they digitize. Automatic pull compensation, however, counters
the pull effect by ‘overstitching’ outlines of filled shapes on the sides where
the needle penetrates. See also Adjusting stitch density.
Digitized outline
Calculated outline
Pull compensation
Adjust the amount of overstitching you need by varying the pull

compensation setting in the Object Properties dialog. This is handy if you
want to stitch a design on fabrics with varying degrees of stretch.
Tip Applying underlay stitching, and using appropriate backing and topping
when stitching out can also reduce the push-pull effect.

Applying automatic pull compensation
Use Pull Compensation (Stitch Types toolbar) to automatically compensate

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

or after you digitize.
Pull Compensation OFF Pull Compensation ON
To apply automatic pull compensation

Click the Pull Compensation icon with or without objects selected.
With no objects selected, pull compensation is applied to all new objects.
For both new or selected objects, pull compensation is based on current
properties.
Adjusting pull compensation settings
Right-click Pull Compensation (Stitch Types toolbar) to adjust pull

compensation settings.
Appropriate pull compensation settings vary with the type of

fabric—stretchy, pile, etc—hooping method—tight or loosely hooped—and
size of embroidery object—wide or narrow columns. Use the following table
as a guideline.
Fabric Pull compensation (mm)
drills, cotton 0.20
T-shirt 0.35
fleece, jumper 0.40
lettering 0.2 - 0.3

To adjust pull compensation settings
1 Right-click the Pull Compensation icon.
The Object Properties > Pull Comp dialog opens.
Select Pull Compensation

and enter overstitch
allowance
2 Select the Pull Compensation checkbox.

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

setting.
The Column Width setting adjusts the width of columnar shapes, allowing
you to change the column width at every point by a constant amount in the
direction of stitching. The purpose is to ‘fatten’ or ‘thin’ a column, for
example, in order to create ‘bold’ lettering. See also Making bold lettering.
Tip Reduce column width if you need to allow the underlay to extend
outside the object boundary.

To adjust column width
1 Right-click the Pull Compensation icon.
The Object Properties > Pull Comp dialog opens.
Select Column Width

and enter column width
adjustment
2 Select the Column Width checkbox.

3 Enter the amount (mm) by which you want to adjust column widths.
column width: -1 no adjustment column width: +1
4 Click Apply.
Reversing stitch direction
Use Reverse Curves (Image menu) to reverse stitch direction in vector or closed
embroidery objects.
Stitching direction can affect embroidery quality because of the push-pull

effect. This is especially visible with Input C objects. Reverse Curve lets
you control the push-pull effect by reversing the stitch direction. This in turn
affects the stitching direction of Jagged Edge, Contour Stitch and E Stitch
objects. It can also affect Contour stitching, Tatami offsets, Flexi Split
pattern orientation, and Motif Run orientation.
Note Only closed vector and embroidery objects such as Input C can be
reversed. The effect on vector objects will not be visible, convert them to
embroidery objects first.

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

Jagged Edge
Reverse Curve
applied
Creating smooth joins
Use Input A (Input toolbar) together with Continuous Input to create single
objects comprising separately stitched sections.
The Continuous Input feature provides a simple and efficient way of

digitizing a single Input A object comprised of separately stitched sections.
You can also create two smoothly joined objects with different cover stitch
parameters in each.
Note Continuous Input applies only to Input A. The objects so created can
be deleted or edited using standard reshape tools.
To create smooth joins

1 Select Special > Options and click the General tab.
Select a continuous
input style
2 Select a continuous input style.

Normal: Use this for non-continuous input.

Continuous Replace: Use this to continue digitizing the same
object after each Enter keypress. Any properties you change during
digitizing will affect the entire object, not just the section you are
working on.
Second section
‘smooth joined’ to
first—two sections
become a single
First section created object
Continuous Add: Use this to join objects of different size where

different stitch types are used—e.g. a narrow section of Satin stitch
joining to a larger section of Tatami.
Second section
‘smooth joined’ to
first—two sections
become separate
objects
First section created
3 Click OK.
4 Digitize the Input A object. See Digitizing columns of varying width for
details.
When you press Enter, the digitized object fills with stitches. The input
tool is still active.
5 If you are using Continuous Add mode, you can select another stitch
type at this point.
Tip To stop the screen scrolling while moving the mouse, hold down
Shift and click the stitch type button you require.
6 Recommence digitizing where you left off and press Enter when you have
finished.
The new section fills with stitches and joins to the previous one. If you
are using Continuous Add mode, the new section actually comprises a
new object. This means that, while the two sections (objects) are
smoothly joined, they can have quite different property settings.
7 To start a new object without joining to the previous object, click the
Input A icon again.

Reducing stitch bunching with stitch shortening
Standard stitch spacing is calculated at the outside edge of a shape. With
sharp curves, spacing which provides adequate coverage on the outside
edge may cause bunching along the inside edge. This may cause thread
breakage when stitching out. The longer the stitches, the worse the
problem.
shortened stitches
Stitch shortening reduces the length of some stitches in sharp turns so that
the needle penetrations are distributed evenly, creating smoother stitching.
Tip Fractional spacing provides another way of reducing stitch bunching.

See Reducing stitch bunching with fractional spacing for details.
Applying stitch shortening
Use Shortening (Stitch Types toolbar) to reduce stitch bunching in tight

curves by shortening some stitches on the inside edge. Right-click to adjust
stitch shortening settings.
Apply stitch shortening to sharp corners to decrease stitch density on the

inside edge.
To apply stitch shortening

Click the Shortening icon with or without objects selected.

With no objects selected, stitch shortening is applied to all new objects.
For both new or selected objects, stitch shortening is based on current
properties.
Adjusting stitch shortening settings
Right-click Shortening (Stitch Types toolbar) to adjust stitch shortening

settings.
Default shortening settings are set to suit most designs. However, advanced
users can adjust the way ES Designer shortens stitches by setting precise
shortening settings.
Note Only change these settings if you understand how stitch shortening
is calculated.
To adjust stitch shortening settings

1 Right-click the Shortening icon.
The Object Properties > Shortening dialog opens.
Select Shortening
Adjust shortening
settings
Access further
settings

2 In the If Spacing < field, enter the minimum spacing permitted
between stitches (as % of nominal spacing) before automatic
shortening takes effect.
If spacing < 90% If spacing < 40%
3 In the Max No Of Short Stitches field, enter the maximum number of

consecutive short stitches to allow, up to a limit of five.
Max no. of short stitches: 1 Max no. of short stitches: 5
A higher number allows smoother distribution of the needle penetrations

in tight curves, and reduces stitch bunching.
4 Click the Values button.
The Shortening dialog opens.
Define length of short

stitches relative to
original stitch length
Randomize
shortening pattern

5 In the Shorten Stitch Length to (%) panel, define the individual
lengths of consecutive short stitches, as a percentage of the original.

Shorten stitch length to: 80% Shorten stitch length to: 50%
Note A value of 80% means that the stitch is shortened to 80% of the
original length, not by 80%. The smaller the percentage, the shorter the
stitch.
If you allow three short stitches, you need only fill in the first three rows.
If you allow five short stitches, fill in all five rows.

Shorten stitch length to: 50% Shorten stitch length to: 50%
Row 1: 90 Row 1: 80
Row 2: 70 60 Row 2: 85 70
Row 3: 55 85 55 Row 3: 70 90 70
Row 4: 55 85 75 55 Row 4: 70 90 80 70
Row 5: 55 70 45 70 55 Row 5: 70 85 65 85 70
If only one short stitch is generated between normal stitches, the value
in Row 1 will apply. If two consecutive short stitches are generated, the
values in Row 2 will apply to 1st and 2nd stitch respectively. And so on
up the scale.
Tip For best results use a jagged pattern between consecutive stitches.

6 Select the Randomize checkbox to randomize the shortening pattern
values. This will eliminate unwanted lines appearing in regular curves.
Randomize ON Randomize OFF
7 Click Apply.
Reducing stitch bunching with fractional spacing

Standard stitch spacing is calculated at the outside edge of a shape. With
sharp curves, spacing which provides adequate coverage on the outside
edge may cause bunching along the inside edge. This may cause thread
breakage when stitching out. The longer the stitches, the worse the
problem.
offset fraction: 0.00

0.33
outside edge
0.66
1.00
With Fractional Spacing, ES Designer calculates spacing settings from a

specified point called the offset fraction. This lies between the outside and
inside edges of the shape. You can change the offset fraction to adjust stitch
spacing at inside and outside edges.
Tip Stitch shortening provides another way of reducing stitch bunching. See
Reducing stitch bunching with stitch shortening for details.

Applying fractional spacing
Use Fractional Spacing (Stitch Types toolbar) to reduce stitch bunching in

tight curves by adjusting the point at which stitch spacing is calculated.
Right-click to adjust fractional spacing settings.
Apply fractional spacing to curved shapes to even out the stitch density
along the outside and inside edges. Fractional spacing is particularly useful
for columns of Satin stitches with sharp turns.
Fractional Spacing OFF Fractional Spacing ON
Tip For best results, combine stitch shortening and fractional spacing
effects.
To apply fractional spacing

Click the Fractional Spacing icon with or without objects selected.
With no objects selected, fractional spacing is applied to all new objects.
For both new or selected objects, fractional spacing is based on current
properties. See Adjusting fractional spacing settings for details.
Adjusting fractional spacing settings
Right-click Fractional Spacing (Stitch Types toolbar) to adjust fractional

spacing settings.
Fractional stitch spacing calculates the spacing at some point between the
outside and inside edges of the shape. This point is called the offset fraction.
The offset fraction is entered as a fraction of the column width, where the
outside edge is 0.00, and the inside edge is 1.00.
To adjust fractional spacing settings

1 Right-click the Fractional Spacing icon.

The Object Properties > Smart Corners dialog opens.
Select Fractional Spacing

and enter offset fraction as
fraction of column width
2 Select the Fractional Spacing checkbox.

3 In the Offset Fraction field, enter the offset fraction value as a fraction
of the column width, where the outside edge is 0.00, and the inside
edge is 1.00.
59 stitches 49 stitches 43 stitches
offset fraction 0.00 offset fraction 0.33 offset fraction 0.66
Tip An offset fraction of 0.33 generates fewer stitches than standard

spacing, reducing bunching along the inside edge. An offset fraction of
0.66 eliminates bunching on the inside edge, but may produce
insufficient stitches to cover the fabric.
4 Click Apply.
Controlling corner stitching

Sharp points in a shape may cause a bunching of stitches and needle
penetrations which can create a hard spot in the embroidery and may
damage the fabric or needle. Smart Corners helps you control sharp corners
in Input A and Input C objects. There are two types—Mitre Corners and
Cap Corners. Specify the corner angle at which either will be automatically
invoked. Mitre Corners create a sharp line at the intersection of the two

columns. Use them primarily for corner angles of 75° to 90°. Cap Corners
are suitable for very sharp corners as they generate fewer stitches.
Smart Corners OFF Mitre Corners Cap Corners
Applying Smart Corners
Use Smart Corners (Stitch Types toolbar) to control the stitching out of sharp
corners in Input A and Input C objects. Right-click to adjust settings.
Apply Smart Corners to reduce the number of stitches and the risk of
bunched, distorted embroidery, in sharp corners.
To apply Smart Corners

Click the Smart Corners icon with or without objects selected.
With no objects selected, Smart Corners are automatically generated for
all new objects. For both new or selected objects, Smart Corners are
based on current properties. See Adjusting Smart Corners settings for
details.
Smart Corners OFF Mitre Corner Cap Corner
Note You can also apply Smart Corners in Input C objects in conjunction
with sharp corner rounding. See Rounding sharp corners for details.

Adjusting Smart Corners settings
Right-click Smart Corners (Stitch Types toolbar) to adjust Smart Corners

settings.
You can set the angles at which Mitre Corners and Cap Corners will be
applied, and specify the overlap and stitch length allowances.
Note You can use Mitre Corner and Cap Corner options together. For
example, you may wish a corner with an angle less than 75° to be mitred,
but sharp corners of less than 45° to be capped.
To adjust Smart Corners settings

1 Right-click the Smart Corners icon.
The Object Properties > Smart Corners dialog opens.
Select Smart Corners
Adjust Mitre Corner

settings
Select Cap Corner

and adjust settings
2 Select the Smart Corners checkbox.

3 In the Mitre Corner panel adjust the following settings:

Mitre below Angle: the angle below which to apply Mitre Corner.
Any corners less than this angle are mitred.
mitre below mitre below

angle: 75° angle: 45°
For example, set ES Designer to automatically mitre corners with an

angle of less than 75°, but stitch wider angles using normal fill stitch
values.
Mitre Overlap: the distance by which the stitches are allowed to
overlap in the center of the corner.
mitre overlap: mitre overlap:

0.5 mm 1.5 mm
4 In the Cap Corner panel adjust the following settings:

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

angle: 45° angle: 75°
If Mitre Corners are also selected, then the cap angle is usually
smaller than the mitre angle.

Capping overlap: the number of overlapping rows to allow where
the sections of the cap join.
capping capping
overlap: 1 overlap: 3
Max Capping stitch length: the maximum length of cap stitches.

Cap Corners with stitches exceeding this length will become Mitre
Corners. This prevents long and short stitches appearing next to
each other.
5 Click Apply.
Rounding sharp corners
Right-click Input C (Input toolbar) to set sharp corner rounding.
ES Designer applies rounding to sharp corners by default. Round Sharp

Corners is available for Input C objects to give you the option of sharp or
round corner points. The option is only available in conjunction with the
Smart Corners effect, and is typically used with the Cap Corner option. See
also Applying Smart Corners.
To round sharp corners

The Object Properties > Special > Input C dialog opens.
Select Round
Sharp Corners
2 Select the Round Sharp Corners checkbox.

This checkbox is only enabled when Smart Corners is turned on in the
Object Properties dialog. See Controlling corner stitching for details.

3 Click Apply.
Sharp corner Rounded corners
Adjusting stitch density

You may want to change stitch density in order to stitch on a different fabric
or with a different thread. Alternatively, you may want to make production
cheaper by reducing the overall stitch count. The Process feature lets you
change the density of all stitch types (except Manual) across the whole or
selected parts of a design. It also lets you adjust the density of selected
stitch types. You can even use the feature to scale a design. See also
Adjusting Auto Spacing settings and Removing small stitches automatically.
100%: 5195 stitches 20%: 987 stitches
Adjusting overall stitch density
Use Process (Generate toolbar) to adjust stitch density of and/or scale the
whole or selected parts of a design.
The Process tool lets you adjust the overall stitch density across the whole
or selected parts of a design in order to achieve a target number of stitches.
You can adjust density as a percentage to avoid calculating the absolute
stitch spacing and length values for each stitch type.

Tip If a design was originally created in ES Designer, or was converted into
objects, the changes you make through the Process dialog will change the
properties of the selected objects. You can check any changes via the
Object Properties dialog.
To adjust overall stitch density

1 Select the design or objects you want to process.
2 Click the Process icon.
The Process dialog opens.
Enter target
stitch count
Adjust Pull
Compensation
3 In the Stitch Values panel, enter the number of Target Stitches either
as a percentage or absolute value.
This value sets how much the density of each stitch type needs to
change to achieve the target stitch count. The spacing and length
settings for each stitch type automatically adjust according to the new
overall density setting.
4 In the Pull Compensation field, enter the amount by which to
overstitch (or understitch) in order to compensate for fabric pull.
If the design was originally created in ES Designer, or has been
converted to EMB format, enter a pull compensation value which will be
applied to all objects in the design. See also Compensating for fabric
stretch.

5 In the Dimensions panel, adjust the Width and Height values to scale
the selected objects as required.
Adjust width and

height settings to
scale
Enter the new sizes as an absolute value or as a percentage of the

current size. The default 100% for stitch spacing and length adjusts
automatically to reflect the new density. See Scaling objects by an exact
amount for details.
6 Click Apply.
Stitches for Tatami, Satin, Run, and Program Split objects are
regenerated using the new settings.
100%: 5195 stitches 20%: 987 stitches
Note Like the Object Properties dialog, the Process dialog lets you
specify design dimensions precisely.
Adjusting stitch density of certain stitch types
Use Process (Generate toolbar) to change the density of selected stitch

types in a design.
The Process tool lets you adjust the density of one or more stitch types
across the whole or selected parts of a design. You do not have to select
objects individually, and you can change density as a percentage. Even if the
selection includes objects created with different stitch types, you can
change the density of only one type. For example, you can select the whole
design, then change the density of all Satin objects. The changes are
reflected in the properties of the individual objects.

To adjust the density of certain stitch types
1 Select the design or objects you want to process.
Select Auto
Spacing
Adjust stitch
densities
Adjust Pull
Compensation
3 In the Stitch Values panel, adjust the density for each stitch type as
required.
You can select the new spacing or length as a percentage of the
original—from 10% to 1000%—or as an absolute value (in millimeters).
Note If you do not want to change the density of a certain stitch type,
leave it as 100%.
4 Select the checkbox if you want to use Auto Spacing for Satin stitching.
If the checkbox is cleared, Auto Spacing will be removed from all Satin
elements of the design which will change to fixed spacing. If the
checkbox is dimmed, the original Auto Spacing values are retained. See
also Applying Auto Spacing to Satin stitch.
5 In the Pull Compensation field, enter the amount by which to
overstitch (or understitch) in order to compensate for fabric pull.

If the design was originally created in ES Designer, or has been
converted to EMB format, enter a pull compensation value which will be
applied to all objects in the design. See also Compensating for fabric
stretch.
Program Split
Tatami stitches Tatami stitch spacing reduced Program Split stitch spacing
(density increased) reduced (density increased)
6 Click Apply.
Note Like the Object Properties dialog, the Process dialog lets you
specify design dimensions precisely.
Removing small stitches automatically
Use Small Stitches (Stitch menu) to remove unwanted small stitches automatically.
Very small stitches can damage the fabric and cause thread or needle
breakage. Before you stitch out a design, you can remove unwanted small
stitches automatically. See also Filtering stitches by stitch length.
Tip For small stitches to be removed automatically whenever you output

the design, select the Run Small Stitch Filter on Output checkbox in the
Options dialog. See Setting other options for details.
To remove small stitches automatically

1 Select Stitch > Small Stitches.

The Small Stitches dialog opens.
Enter minimum stitch

length to keep
2 Enter the minimum stitch length you want to keep.

3 Click Ok.
All stitches shorter than the specified length will be removed from the
design.
Tip If the new value is smaller than the previous value, regenerate
stitches for the object before you stitch out. Check the Status bar for
the new stitch count.
Setting automatic start and end points
Use Auto Start and End (Generate toolbar) to toggle the Auto Start and End
function on/off according to the current settings. Right-click to open the Auto
Start and End dialog.
Before stitching, some embroidery machines require you to position the

starting needle exactly above the first needle penetration point. Use Auto
Start and End to connect the first and last stitches in the design. This
makes it easy to position the needle before stitching, and reduces the
chance of the needle hitting the side of the frame.
To set automatic start and end points

1 Select Stitch > Auto Start and End.

The Auto Start and End dialog opens.
Select Use Auto

Start and End
Select centering
method Select preset end
point
Click to enter
separate start and
end points
Specify how to
match connecting
stitches
Specify the
connector type
2 Select the Use Auto Start and End checkbox to connect the first and
last stitches in the design.
3 Select the Maintain Automatically checkbox to maintain the design
center after modifying the design.
4 Select a centering method.
Auto Start and End: by default, connecting stitches are created
from the start and end points to the center of the design. Select one
of the nine preset end points.
Return to Start Point: creates a connecting stitch from the end
point to the start point.
Digitize Auto Start/End Point: creates connecting stitches from
the start and end points to a point you define. If you select this, you
are prompted to select the point after you click OK. Click the
Separately checkbox to enter separate start and end points.

5 Select to match connecting stitches on the Horizontal plane, Vertical
plane or both in the Match On panel.
Match on vertical Match on horizontal Match on both
6 Select the type and length of the connecting stitches in the Connectors
panel. See Connecting Embroidery Objects for details.
7 Click OK.
Connecting stitches will be inserted as required before the first and after
the last stitch of the design.

PART III
DIGITIZING WITH
ARTWORK
There are two broad categories of artwork file, both of which can be
imported into ES Designer for use as digitizing backdrops—vector and
bitmap. To create good quality embroidery, you need to choose or create
suitable artwork of either format. See Digitizing with Vector Images for
details.
Digitizing with vector drawings

This section describes how to create drawing objects using the drawing tools
as well as how to import them from third-party applications. It also explains
how to merge, trim and split overlapping drawing or embroidery objects
using the Shaping tools. See Digitizing with Vector Images for details.
Digitizing with bitmap images

This section describes how to choose suitable artwork for digitizing purposes
as well as how to scan it into ES Designer and edit it before use. It also
describes how to insert and save bitmap images into ES Designer, as well
as how to show and hide them as you digitize. See Preparing Images for
Automatic Digitizing for details.

Preparing images for automatic digitizing
This section describes how to prepare images for automatic digitizing. It
explains how to crop images for digitizing as well as how to prepare both
outlined and non-outlined images. See Preparing Images for Automatic
Automatic digitizing
This section describes how to automatically convert bitmap images to
embroidery objects and complete designs, as well as how to create
embroidery from grayscale images. See Automatic Digitizing for details.
ES 2006 Digitizing with Artwork 227

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

Alternatively, insert or paste vector images created in third-party graphics
packages for use as digitizing backdrops. Scale and transform them in the
same way as embroidery objects. You can also select colors for vector object
outlines and fills. When working with overlapping vector or embroidery
objects, merge, trim or split them using the Shaping tools.
Tip Vector images have the advantage over bitmap images that they can
be converted directly to embroidery objects using a variety of input
methods. This allows you to concentrate on design shapes without having
to think about stitch properties and sequence. See also Converting between
object types.
This section describes how to create vector objects using the drawing tools
as well as how to import them from third-party applications. It also explains
how to merge, trim and split overlapping vector or embroidery objects using
the Shaping tools.
Creating vector outlines

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

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

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

embroidery objects using an outline input
method—e.g. Run, Triple Run, or
Motif Run—or Input C. See Converting vector
To draw straight lines

1 Click the Line icon.
2 Click the start point of the line.
3 Click the end point.
Tip To constrain the line vertically, horizontally or in 15° angles, press

Ctrl as you mark the end point.
Drawing open shapes
Use Polyline (Image toolbar) to create open-ended vector objects.
Draw lines of any shape using the Polyline tool. Enter

reference points to create the shape you want.

Note You can convert polyline vector objects to embroidery objects using
Input C or an outline input method—e.g. Run, Triple Run, Motif Run,
Backstitch, or Stemstitch. See Converting vector objects to embroidery for
details.
To draw open shapes

1 Click the Polyline icon.
2 Mark reference points to draw the shape of the line.
Click to enter a corner point.
Right-click to enter a curve point.
curve point
corner point
3 Press Enter.
Drawing polygons
Use Polygon (Image toolbar) to create closed vector objects.
Draw closed shapes using the Polygon tool. Enter

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

embroidery objects using Input C, Complex Fill, Fusion
Fill™, or an outline input method—e.g. Run, Triple Run,
Motif Run, Backstitch, or Stemstitch. See Converting
vector objects to embroidery for details.
To draw polygons
1 Click the Polygon icon.
2 Digitize the shape by marking reference points on screen.
ES 2006 Chapter 10 Digitizing with Vector Images 230

Click to enter a corner point.
Right-click to enter a curve point.
curve point
corner point
Tip To constrain the line between two points to 15° increments, press
Ctrl as you mark the second point.
3 Press Enter to close the shape.
Drawing rectangles and squares
Use Rectangle (Image toolbar) to create rectangular or square vector

objects.
Draw rectangles and squares using the

Rectangle tool.
Note You can convert rectangle vector

objects to embroidery objects using Input C,
Complex Fill, Fusion Fill™, or an outline input
method—e.g. Run, Triple Run, Motif Run,
Backstitch, or Stemstitch. See Converting vector objects to embroidery for
details.
To draw rectangles and squares

1 Click the Rectangle icon.
2 Click to mark the corner of the rectangle.
An outline attaches to the mouse pointer.

3 Move the pointer until the outline is the size and shape you require, then
click again.
Click to enter
corner point
Drag pointer,
click again
Note To draw a square, hold down Ctrl as you move the pointer.
Drawing circles and ellipses
Use Ellipse (Image toolbar) to create circular or elliptical vector objects.
Draw circles and ellipses using the Ellipse tool.
Note You can convert ellipse vector objects to embroidery objects using
Input C, Complex Fill, Fusion Fill™, or an outline input method—e.g. Run,
Triple Run, Motif Run, Backstitch, or Stemstitch. See Converting vector
To draw circles and ellipses

1 Click the Ellipse icon.
2 Click to mark the center of the circle or ellipse.
The outline of a circle attaches to the mouse pointer.
3 Move the pointer until the outline is the diameter you require, then click
again.
To draw a perfect circle, press Enter.

To draw an ellipse, move the pointer again, then mark a second
radius point when the outline is the required size. Press Enter.
Click to enter
center point
Press Enter for circle

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

You can insert or paste vector images created in third-party drawing
packages for use as digitizing backdrops. You can then convert these to
embroidery objects using a variety of input methods or with the Point &
Stitch tools. See also Converting vector objects to embroidery and Digitizing
shapes with Point & Stitch.
Note The Auto Trace feature lets you convert scanned artwork to vector
objects. See Converting bitmaps to outlines with Auto Trace for details.
Inserting vector images
Use Insert File (Image menu) to insert a vector image for use as a backdrop.
Images from third-party applications can be inserted into ES Designer in a

variety of native and interchange vector formats. You can choose to remove
overlapping objects in vector images by ‘flattening’ them. This eliminates
overlapping areas of stitching when vector objects are converted to
embroidery objects. You can also import vector images (not DXF) as
bitmaps. See also Supported image formats.
Tip You can also paste vectors directly into ES Designer through the
Windows clipboard. See Pasting vector images for details.

To insert a vector image
1 Create a new file in ES Designer or open the design file into which you
want to insert the vector image.
2 Select Image > Insert File.
Select to
insert as
bitmap rather
than vector
Select to
remove
overlapping
objects
3 From the Look In list, select the folder where you keep your vector files.
4 From the Files of Type list, select a suitable vector image format and
select the file you want to insert.
5 If you are working with DXF files:
Click Options.
The DXF File Options dialog opens.
Select Inches or Millimeters from the Units of Measurement list

and click OK.
If this information is not specified, the vector image may not display
at the correct size.

6 Select the As Bitmap checkbox to insert the vector image as a bitmap
image.
imported as vector imported as bitmap image—individual

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

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

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

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

You can export vector images and embroidery designs from ES Designer in
various vector formats for use in third party programs. This can be useful,
for example, for screen printing. See Supported image formats for details.

To export a vector image
1 Select the vector image or embroidery design.
2 Select File > Export As.
The Save Image As dialog opens.
Select folder
Enter file name

Select required
format
3 Select a folder in the Save In field.

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

1 Select the vector image or embroidery design you want to copy and
paste.
2 Copy it to the Windows clipboard.

want to insert the vector image.
4 Select Edit > Paste Vector > As Vector.
The vector image is pasted into the design.
Note You cannot flatten vectors using Paste.
Manipulating vector images

Vector images may consist of grouped vector objects. You can ungroup
these to work with them individually. ES Designer lets you remove
unnecessary reshape nodes by applying ‘smoothing’ to individual ungrouped
objects. You can select colors for outlines as well as fills. The Make Complex
Shape feature lets you combine any number of vector curves into a single
‘complex shape’—i.e. a shape with holes in it. You can also show or hide
vector images in the design.
Tip You can scale and transform vector images in the same way as
embroidery objects. Unlike bitmap images, any changes you make to vector
objects are updated and saved with the design file. See also Arranging and
Transforming Objects.
Smoothing vector objects
Use Reshape Object (Pointer toolbar) in combination with Image > Smooth
Vector Curves to remove unnecessary reshape nodes from vector image
objects.
When you insert a vector image into a design, reshape nodes—the same as
for embroidery objects—are added to the outline. On shapes where the
angle changes constantly, the software may insert hundreds of reshape

nodes, making reshaping difficult. To remove unnecessary reshape nodes,
ungroup the vector image, and apply ‘smoothing’ to the vector objects.
Precision:
0.1 mm
without Precision:
smoothing 0.5 mm
To smooth a vector object

1 Select the vector object (or objects) to smooth.
Note You can only smooth vector objects that have been ungrouped
and selected. However, you can select multiple objects.
2 Click the Reshape Object icon.
Reshape nodes display around the vector image object.
3 Select Image > Smooth Vector Curves.
The Smooth Vector Curves dialog opens.
Enter smoothing
precision value
4 In the Precision field, enter the smoothing precision value.

This value controls how closely the smoothed outline follows the original.
The larger the precision value, the fewer the reshape nodes.
5 Click OK.
Coloring vector objects

dialog on/off. Use it to select colors for vector outlines and fills.
Vector images may be composed of outlines only. ES Designer lets you

select colors for outlines as well as fills. These can be different to the

embroidery objects you may create. Coloring makes vector objects easier to
interpret. For example, a solid fill color might suggest Satin or Tatami, while
a fill pattern may be interpreted as Motif Fill or Program Split.
Tip Colored vector outlines are also important for appliqué cutting. If
appliqué objects are digitized in ES Designer, they can be ungrouped,
duplicated, and sent to the laser or other type of cutter. Some can cut
several layers of fabric at the same time. The cutting depth is controlled by
object colors. These can be set within ES Designer without having to export
the shapes to a graphics package. See also Cutting appliqué shapes.
To color a vector object

1 Insert a vector image into the design file. See Inserting vector images
for details.
inserted vector
image
2 Ungroup the vector objects as necessary.

3 Select a vector object, right-click and select Properties from the popup
menu.
The Object Properties > Special > Vector dialog opens.
4 To change the outline color of the selected object, adjust the settings in
the Line panel:
Select an outline style from the Style list.
Select an outline width from the Width field.

Click Color and select an outline color from the Color dialog.
Select outline style

Select outline width
Select outline color
No fill currently
selected
5 To fill the selected object with a solid color, select the Solid Fill icon and
click the Color button to access the Color dialog.
Select solid fill

Click to
choose color
6 To fill the selected object with a pattern fill, select the Pattern Fill icon
and adjust the settings:
Select a pattern style from the dropdown list.
Select a foreground color via the Front button.
Make the background transparent as required or choose a color via
the Back button.
Select pattern fill
Select pattern style
Select colors for pattern

foreground and
background

7 To fill the selected object with a bitmap—e.g. a fabric texture—select the
Bitmap Fill icon and click the Load button to insert an image file via the
Open dialog.
Select bitmap fill

Click to load
image file
8 Click Apply.
Note To view the changes in the production worksheet, select File >
Print Preview. Then click Options and select the Drawings checkbox.
Combining vector curves into complex shapes

The Make Complex Shape feature lets you combine any number of vector
curves into a single ‘complex shape’—i.e. a shape with holes in it. This can
then be converted directly to an embroidery object. See also Shaping vector
and embroidery objects.
Tip You can convert complex vector shapes directly to embroidery using a
number of different input methods. See Converting between object types for
details. See also Digitizing fills with Point & Stitch.
To combine vector curves in complex shapes

1 Insert a vector image or create one using the drawing tools.

2 Select the objects you want to combine.
Tip Ungroup any imported vector object in order to select the required
component objects.
3 Select Image > Make Complex Shape or press Shift+H.
The selected objects become a single Complex Shape vector object.
4 You can use the Offset Object feature to digitize the complex shape.
See Creating outlines and filling holes for details.
complex shape object

Input C applied Run applied Motif Run applied
created and colored
Tip You can select any number of curves. Different selections create
different complex shapes.

Tip By copying the original vector objects, you can also create borders
and filled holes. See also Creating outlines and filling holes.
Creating overlapped complex shapes

If vector objects are overlapping, Make Complex Shape selects the largest
area and clips off the remaining shape. Depending on the shapes you use,
you can create combined or clipped shapes. See also Shaping vector and
embroidery objects.
To create overlapped complex shapes

1 Insert a vector image or create one using the drawing tools.
2 Decide how you want to combine the shapes.

If you want to combine the overlapping shapes, draw a box around
them and select all objects.

If you want to clip the overlapping shapes, simply select them.
3 Select Image > Make Complex Shape.

The selected objects become a single vector object. Make Complex
Shape selects the largest area and clips off the remaining shape. See
also Trimming vector and embroidery objects.
Shaping vector and embroidery objects

When working with overlapping vector or embroidery objects, you can
merge, trim or split them using the Shaping tools. All ‘shaped’ embroidery
objects convert to Complex Fill or Fusion Fill™. Vector objects remain as
vector objects unless combined with embroidery objects. You have the
option of preserving the source objects of shaping operations. You also have
the option of adding overlaps to objects resulting from Flatten or Divide
operations.

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

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

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

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

Exclude overlap are removed, starting from the
topmost object.

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

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

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

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

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

‘flattened’ object.
Use Combine (Shaping toolbar) to merge the properties of overlapping
objects and trim overlapping areas.

Merge selected objects using the Weld or Combine tools.
Combine
Weld
To merge vector and embroidery objects

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

reflecting, then welding the duplicate shapes.
Weld
applied

Click Combine to convert embroidery objects into multiple objects
sharing the properties—stitch color and type, etc—of the topmost
selected object.
Combine applied
(petals only)
If drawing tools are used as the input method, Combine converts vector
objects to a single complex shape.
Combine applied
(petals only)
If overlapping areas comprise an even number, all are removed when

Combine is applied. If the overlapping areas comprise an odd number,
the topmost area remains. Compare this with the behavior of the
Exclude tool. See Trimming vector and embroidery objects for details.
Tip Cut objects in half by drawing a line through them and applying
Divide. Apply Combine to create closed objects or Weld to fuse two
objects.
Weld + Run
applied to
resulting objects
Weld + Run +
Divide Combine applied to
applied resulting objects

Trimming vector and embroidery objects
Use Intersect (Shaping toolbar) to trim overlapping areas so that only those
intersected by all selected objects remain.
Use Exclude (Shaping toolbar) to trim overlapping objects and preserve their
individual properties.
Use Front-Back (Shaping toolbar) to trim overlapping objects so that only
non-overlapped areas of the topmost object remain.
Use Back-Front (Shaping toolbar) to trim overlapping objects so that only
non-overlapped areas of the bottommost object remain.
Trim selected objects using the Intersect, Exclude, Front-Back or

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

Click Intersect to trim overlapping areas so that only those intersected
by all selected objects remain.
Intersect
applied

Click Exclude to trim overlapping objects and preserve their individual
properties. The result is similar to Combine except that object
properties are not merged.
Exclude applied
(petals only)
If overlapping areas comprise an even number, all are removed when

Exclude is applied. If the overlapping areas comprise an odd number,
the bottommost area remains. Compare this with the behavior of the
Combine tool. See Merging vector and embroidery objects for details.
Tip Use Exclude to cut holes in Complex Fill objects.

Use Front-Back to trim overlapping objects so that only non-overlapped
areas of the topmost object remain.
Front-Back
applied
Tip Use Image > Make Complex Shape or press Shift+H to trim
overlapping shapes in unfilled vector objects.
Use Back-Front to trim overlapping objects so that only non-overlapped
areas of the bottommost object remain.
Back-Front
applied

Splitting vector and embroidery objects
Use Flatten (Shaping toolbar) to trim all overlaps while retaining the original
objects.
Use Divide (Shaping toolbar) to split selected objects into separate adjoining
objects wherever they intersect with other selected objects.
Split selected objects using the Flatten or Divide tools. These tools
preserve the outlines of the original shapes.
Flatten Divide
To split vector and embroidery objects

Click Flatten to trim all overlaps while retaining the original objects.
Flatten
applied

Click Divide to split selected objects into separate adjoining objects. All
overlapped areas become discrete objects.
Divide applied
(petals only)
Preserving original objects
Use Keep Source Objects (Shaping toolbar) to keep the source objects after
shaping.
The Keep Source Objects is a toggle which affects the behavior of all the
other shaping tools. While it is active, all selected source objects of all
shaping operations are preserved. The resultant objects are inserted after
the last source object in the stitching sequence.
To preserve original objects

1 Select the source objects.
2 Click the Keep Source Objects icon.

3 Apply a shaping operation to the selected objects.
All source objects of the shaping operation are preserved. The resultant
objects are inserted after the last source object in the stitching
sequence.
Overlapping shaped objects
Use Overlap (Shaping toolbar) to adjust the overlaps of objects

resulting from Flatten or Divide shaping operations.
Use Flatten (Shaping toolbar) to trim all overlaps while retaining the original
objects.
Use Divide (Shaping toolbar) to split selected objects into separate adjoining
objects wherever they intersect with other selected objects.
The Overlap feature allows you to add overlaps to the objects resulting from
Flatten or Divide shaping operations.
To overlap shaped objects

1 Select the source objects.
2 Adjust the overlap amount using the Overlap control on the Shaping
toolbar.

Note The Overlap range is from 0.00 to 5.00 mm with increments of
0.01 mm. The default overlap is 0.50 mm.
3 Click Flatten or Divide to apply shaping to the selected objects.
The border of the uppermost object—the last one in the stitching
order—is left unchanged. The border of the next object is extended
where it touches the uppermost fragment by the specified amount.
Source objects Flatten: 0.00 mm Flatten: 2.00 mm
The border of a third object in the stitching order is extended where it

touches the other two layers of objects. And so on.
Source objects Flatten: 0.00 mm Flatten: 2.00 mm

Chapter 11
Digitizing with Bitmap Images
Artwork can be inserted, pasted or scanned into ES Designer for use as

digitizing templates or ‘backdrops’.
Backdrops can help you to:

Digitize shapes manually.
You trace shapes and lines over the artwork using the appropriate input
methods. Using a bitmap image in this way is like using an enlargement
drawing and digitizer tablet, except that everything is done on-screen.
See Digitizing Methods for details.
Digitize shapes automatically with Point & Stitch.
in bitmap images and vector images automatically without using manual
input methods. See Digitizing shapes with Point & Stitch for details.
Digitize complete images automatically with Smart Design.
Smart Design automatically converts bitmap images to fully digitized
embroidery. See Automatic Digitizing for details.
Digitize photographs with Photo Flash.
photographs and other grayscale bitmap images. See Creating
embroidery from photographs for details.

From within ES Designer you can open images in MS Paint, Corel
PHOTO-PAINT®, or Paint Shop Pro™. Images updated in this way are
automatically re-imported into ES Designer.
Tip Textured backgrounds can also be imported to show what a design will
look like on real fabric. Almost any artwork can be used — photographs,
magazine pictures, clipart images, and even fabric samples. See also
Changing background colors and fabrics.
This section describes how to choose suitable artwork for digitizing purposes
as well as how to scan it into ES Designer and edit it before use. It also
describes how to insert and save bitmap images into ES Designer, as well
as how to show and hide them as you digitize.
Choosing suitable artwork

For both manual and automatic digitizing purposes, ‘clean’ images,
sometimes referred to as ‘cartoons’, work best. Such images have a limited
number of solid colors which in turn have well-defined outlines. Ideally, they
are:
well defined, where each shape is made up of pixels of the same color
clearly ‘blocked’, where each shape is a stitchable size, at least 1 sq mm
saved at a color depth of at least 256 colors (8 bit), or preferably millions
of colors (16 bit). (Images are automatically reduced to 256 colors or
less when loaded into ES Designer.)
clean image with well-defined clean image with well-defined complex image, needs editing to
outlines color blocks remove background and improve
outlines
ES Designer automatic digitizing techniques — Smart Design and Point &

Stitch — produce best results with images of the type found in clipart
libraries or created from scratch in a graphics package. Automatic digitizing
can work with images from other sources but they require some
preparation. This is because most commonly available images are not made
ES 2006 Chapter 11 Digitizing with Bitmap Images 256

up of solid colors. Scanners introduce noise, while graphics packages
perform ‘dithering’ and ‘anti-aliasing’ to improve image print quality.
Automatic digitizing works least effectively with photographic images which
may contain many dithered colors and complex forms. With photographs,
however, you can pick out shapes that you want to embroider, leaving out
unnecessary detail. Alternatively, Photo Flash is available to create
embroidery designs from scanned grayscale photographs.
Scanned images
Images scanned from hardcopy drawings or
existing embroidery typically contain a lot of
introduced ‘noise’. While they can be used as
input to automatic digitizing, once again, best
results are achieved with relatively clean images
consisting of solid color blocks. Typically, logos
and simple drawings scanned from business
cards, letterheads, books, magazines, cards all
fall into this category.
Noisy images typically need to be prepared by
reducing the color count and sharpening the
outlines. See Image preparation techniques for image containing a lot of
scanner ‘noise’
details.
Dithered images
Dithering is a software technique which combines existing colors in a
checkerboard arrangement of pixels. It is typically used to simulate colors
that are missing from an image palette.
dithered color blocks

Like noisy images, dithered images need to be color-reduced before use. Be
aware, however, that while the software is able to process dithered colors
within a defined outline, it does not work so well with non-outlined images.
See Image preparation techniques for details.
Anti-aliased images
Anti-aliasing is a software technique similar
to dithering which is used to soften hard
outlines where color blocks intersect. It
produces smoother outlines by ‘blurring’ the
pixels where colors join.
Where anti-aliasing is deliberately used to
blur outlines, these need to be ‘sharpened’
before use with automatic digitizing. See
Image preparation techniques for details.
anti-aliased outlines
Scanning artwork into ES Designer

If you have existing artwork, you can scan it with a TWAIN-compatible
scanner using the ES Designer scanning function. It is important to scan
your artwork properly if you intend to use one of the automatic digitizing
techniques; the scanned image quality will affect the quality of the final
embroidered design.
Tip There are many graphics packages which can help you improve your
scanned images. At one end of the spectrum there is the simple MS Paint
program. This comes free with Windows but can handle few formats or color
conversions. At the other end, there are professional tools such as Corel
PHOTO-PAINT®. Such programs can do almost anything but may be too
expensive for occasional use. A compromise is Paint Shop Pro™ which has
many of the features of the high-end tools but at a much lower cost. See
also Editing bitmaps in third-party applications.
Preparing artwork for scanning

With embroidery design, less is more. You do not need every detail in an
image to create a design. You use the ‘structure’ of the image rather than
the fine details of texture and color.
To simplify artwork, you can cover it with tracing paper and draw only the
essential shapes and lines which will be filled with stitches. When scanning,
take away the original artwork and put white paper behind the tracing paper.

Shiny surfaces, such as glossy photographs, may not scan well. Cover them
with tracing paper. If the artwork has very light colors, highlight outlines
with a fine black felt-tip pen.
Scanning resolution
Most scanners require you to enter scanning resolution information.
Resolution determines the number of dots per inch (dpi) used to create an
image. Generally speaking, the smaller the source image and/or more detail
it contains, the higher the resolution needs to be. Use the following table as
a guide.
Type of artwork Scanning resolution
Business cards, letter heads 150 - 300 dpi
Hand sketches 150 - 300 dpi
Photos and images 150 - 300 dpi
Commercial art, line drawing 72 - 150 dpi
Color mode
Most scanners also require you to enter color mode information. First decide
whether your image is line art (black and white drawing), sketch, color
picture, or black and white or color photograph, then choose an appropriate
mode. Black and white mode produces the smallest files. Color photograph
and grayscale modes generate 256 color images and produce similar sized
files. ‘RGB’, ‘True Color’ or ‘millions of colors’ modes generate 16.7 million
colors and produce the biggest files. Use the table below to decide which
mode is suitable for use with your image.
Recommended No. of colors in

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

usually black and drawing 2
white Line art
* Different scanning software uses different terms for the same mode.

Recommended No. of colors in
Source image Example Description
color mode * scanned image
Drawing/sketch Sketch or drawing Grayscale 256

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

photograph Grayscale 256
Color photograph Many colors Color RGB 16 million

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

more Millions of colors 16 million
Color drawing 2 - 256
* Different scanning software uses different terms for the same mode.
Scanning tips
Do not scan line art images in grayscale mode; grayscale scanning
produces fuzzy edges.
Scan color images in RGB mode (millions of colors) rather than 256 color
mode. You may not notice any difference on screen. In fact the 256 color
image may look better than the RGB image. However, ES Designer

converts all images to 256 colors or less upon loading. It uses the extra
information to produce a better image than if it was originally scanned
at 256 colors.
scanned in 256 color

mode
scanned in RGB color mode

(millions of colors)
Do not scan color images in CMYK (Cyan, Magenta, Yellow, and Black)
mode as this is only used for images that will be printed; the colors may
be different from RGB colors.
If the image needs to be rotated, do so while scanning. Rotating
afterwards may distort the image.
Sharpening
Some scanning software lets you apply what is called ‘sharpening’ as you
scan. Sharpening compensates for the slight blurring in a scanned image by
looking for any differences between colors in the image. Sharpening
accentuates these differences which makes the image edges more defined.
It does not increase the image details; it just makes them more obvious. In
general, use sharpening with images that have well-defined outlines. Do not
use it with non-outlined images.
scanned with
sharpening
scanned without
sharpening
Scanning bitmap images
Use Scan (File menu) to scan an image into ES Designer.

You can scan images directly into ES Designer for use as digitizing
backdrops. You can also scan in your own textured background to see what
a design will look like on real fabric. Fabrics can be scanned to provide full,
centered, backgrounds to your design, or as small samples which can be
tiled to fill the screen. See also Changing background colors and fabrics.
The scanning feature in ES Designer allows you to use most
TWAIN-compatible scanners. You can use any scanning software provided
that it can save the image in one of the compatible formats.
To scan bitmap images

1 Set up your scanner. See Setting up scanners for details.
2 Prepare the artwork for scanning. See Preparing artwork for scanning for
details.
3 Create a new file or open a design you want to insert the image into.
4 Select File > Scan.
Your scanning program will open.
5 Choose a scanning mode and resolution. See Scanning resolution and
Color mode for details.
Tip If you are scanning a fabric background, set the scan to 256 colors,
100% and 72 dpi (dots per inch). These settings will give a small file
which will display well on your screen without taking up too much disk
space or memory.
6 Preview the image in the scanning program.
7 Select the area to be scanned and scan the image.
8 Save the scanned image in a compatible format image file to the Design
folder.
9 Scan the artwork.
Note Scanned images can be saved separately from the design file. See
Saving bitmap images as separate files for details.
Inserting and saving bitmap images

Bitmap images can be inserted, pasted or scanned into ES Designer for use
as digitizing backdrops. For both manual and automatic digitizing purposes,
‘clean’ images, sometimes referred to as ‘cartoons’, work best. Scanners
introduce noise, while graphics packages perform ‘dithering’ and

‘anti-aliasing’ to improve image print quality. See also Image preparation
techniques.
partially digitized
bitmap
original bitmap
Inserting bitmap images
Use Insert File (Image menu) to insert an image for use as a backdrop.
You can insert bitmap images of various formats for use as digitizing
backdrops. See Supported image formats for details.
Note You can also insert vector image files. See Inserting vector images for
details.
To insert bitmap images

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

3 Select a file type from the Files of Type list (e.g. BMP).
4 Select the file you want to insert.
Tip Select the Preview checkbox to preview the selected file.

5 Click Open.
Pasting bitmap images
Use Paste Vector > As Bitmap (Edit menu) to insert an image for use as a backdrop.
You can insert a bitmap image into ES Designer by copying it from another
embroidery design or graphics application, and pasting it directly into your
design.
To paste bitmap images

1 Select the image you want to copy and paste.
2 Copy it to the Windows clipboard.
want to insert the image.
4 Select Edit > Paste Vector > As Bitmap.
The image is pasted into the design.
Saving bitmap images as separate files
Use Save Bitmap As (File menu) to save an image as a separate file.
When you save a design containing a backdrop, a reference to the image file
is saved together with information on its position in the design. When you
re-open the design, the image file is re-inserted. If you scale or transform a
backdrop, you need to save it as a separate file or the changes will be lost.
Note Images that are scanned from within ES Designer must be saved this
way or will be lost when the design is closed.
To save bitmap images as separate files

1 Select the backdrop.
2 Select File > Save Bitmap As.
Save Image As dialog opens.

3 In the Save In field, select a folder, then select a format from the Files
of Type list.
4 Enter a new file name and click Save.
When you save the design, the reference is updated to use the new
image file.
Editing bitmap images

ES Designer allows you to crop bitmap images prior to use. From within
ES Designer you can also open images directly in third-party graphics
packages. Images updated in this way are automatically re-imported into
ES Designer. Within ES Designer you can set general properties such as size
and position. You can also scale and transform bitmap images although it
may be best to do this during scanning. Scaling after scanning can distort
the image. However, ES Designer allows you to smooth an image before and
after scaling or transforming, making it easy to digitize. See also Arranging
and Transforming Objects.
Tip If you scale or transform a backdrop, you need to save it as a separate

file or the changes will be lost. See Saving bitmap images as separate files
for details.
Cropping images for digitizing
Use Crop Bitmap (Image menu) to crop a rectangular image.

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

To crop images for digitizing
1 Select the image. See also Inserting bitmap images.
2 Select a cropping tool.

Select Image > Crop Bitmap to crop the image in rectangular
form.
Click-and-drag a cropping rectangle around the part of the image
you require.
Select Image > Crop Bitmap With Polygon to crop the image in
free form.
Mark points to create a cropping shape around the part of the image
you require and press Enter.
Crop bitmap Crop bitmap with polygon
Tip Use the prompt line to guide you.

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

marked points
Bitmap cropped in
rectangular form
Editing bitmaps in third-party applications
Use Edit Bitmap Using (Image menu) to edit images in a graphics package.
Sometimes you need to edit bitmap images directly in a third-party graphics

package. You would normally do this in order to eliminate backgrounds,
flood-fill solid areas with color, add or reinforce outlines, or close gaps. From
within ES Designer you can open images directly in MS Paint, Corel
PHOTO-PAINT®, or Paint Shop Pro™. Images updated in this way are
automatically re-imported into ES Designer.
To edit bitmaps in a third-party application

1 Select the image. See also Inserting bitmap images.
background may be
cleaned and eyes
added
2 Select Image > Edit Bitmap Using and select a graphics package.
The image opens in the graphics package.

3 Edit the image and save.
background cleaned eyes added
Note If you return to ES Designer before closing the image in the

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

graphics package
Return to the graphics package and select either File > Close or File >
Exit & Return <Filename>. In ES Designer, the stripes will disappear.
Smoothing bitmap images

When you scale or transform backdrops, the quality is sometimes
reduced—e.g. thin straight lines become jagged or distorted. By smoothing
an image before and after scaling and transforming, you can preserve its
quality, making it easy to digitize.
To smooth a bitmap image

1 Select the image and double-click. See also Inserting bitmap images.

Select required
smoothing option
2 Select the required smoothing option, depending on whether the

majority of lines in the image are light or dark.
None: turned off.
Dark lines: dark lines on the image are smoothed.
Light lines: light lines on the image are smoothed.
3 If required, set the scaling or transforming options in the General tab.
You can scale and transform objects both here and on-screen.
4 Click Apply.
no smoothing light lines smoothed dark lines smoothed
Note Scaling and transforming takes longer than usual when smoothing
is applied.

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

bitmap images and vector images. The quality of the resulting designs
greatly depends on the type and quality of the original artwork. Generally
speaking, vector images preserve the picture quality when resized, whereas
bitmap images cause problems of pixilation and image degradation when
enlarged or scaled down. In order to make bitmap images more suitable for
automatic digitizing, ES Designer provides image processing capabilities
and links to graphics packages.
This section describes how to prepare images for automatic digitizing. It

explains how to crop images for digitizing as well as how to prepare both
outlined and non-outlined images.
Image preparation techniques

Before applying automatic digitizing, you frequently need to improve or
‘clean up’ artwork. To work effectively, both Smart Design and Point & Stitch
require solid color images as input. You can improve artwork both with
bitmap editing tools in graphics packages and/or the image processing tools
provided in ES Designer. In fact, the software will not let you apply Smart
Design until the image has been suitably processed.

Outlined vs non-outlined images
Before preparing your image you need to know what type you are using. For
the purposes of automatic digitizing, there are two categories—outlined and
non-outlined. Outlined images ideally have a solid black outline around each
colored area. Non-outlined images ideally consist of solid areas of color.
Outlined and non-outlined images require different methods of preparation.
image with outlines image without outlines
Image clean up
In practice, cleaning up scanned images may involve any one or a
combination of the following techniques:
reducing the number of colors
adding or emphasizing outlines
removing noise, dithering or anti-aliasing
eliminating unnecessary detail
cropping sections
eliminating backgrounds.
See also Choosing suitable artwork.
Color reduction
Sometimes an image looks clean but extra colors have been introduced
during scanning or in a graphics package. Color reduction means reducing
the actual number of image colors in order to eliminate unnecessary detail
and reduce each block to a single color. Color reduction also cleans the
image, removing noise and anti-aliasing if present. This in turn helps
minimize the number of trims and color changes required in the resulting
embroidery design. Reduce colors in a non-outlined image using the Reduce
Colors tool and in an outlined image using the Sharpen Edges tool.
Color reduction should only be applied if the loss of detail does not affect the
image shapes. Before color reduction, the colored areas in the image below

include many colors. After reduction, each area is reduced to a single color.
The detail is preserved.
image before color reduction image after color reduction
If you are scanning images, make sure you scan them correctly for best
results. See Scanning artwork into ES Designer for details.
image scanned in RGB

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

color mode, then colors
reduced to 6
Be aware that the Reduce Colors tool is good at removing noise and
anti-aliasing but not so good at processing dithering in non-outlined images.
By contrast, the Sharpen Edges tool is excellent at processing dithered
ES 2006 Chapter 12 Preparing Images for Automatic Digitizing 272

colors as it averages all pixels within a defined outline. See also Choosing
suitable artwork.
Reduce Colors tool used with non-outlined Sharpen Outline tool used with outlined
image—dithered color blocks not image—dithered color blocks cleaned,
completely cleaned, edges fuzzy edges sharp
Outline sharpening
Outline sharpening means more clearly defining the outlines bordering
distinct color blocks or shapes in the artwork. These may have been
indistinct in the original or made so by the scanning process. Outline
sharpening is important for automatic digitizing because it makes it easier
for the software to identify the distinct areas which become embroidery
objects in the resulting design.
Note Outline sharpening only works on images with black or dark outlines.
image before outline image after outline

sharpening sharpening
Some images have solid outlines but they may be indistinct or incomplete.
These need to be rectified with the ES Designer image preparation tools or
a graphics package. See Editing bitmaps in third-party applications for
details.

Noise filtering
Noise filtering means restoring the solid color blocks of the original artwork
in scanned images. This is achieved by merging different shades into one
solid color. Noise filtering is important for automatic digitizing because it
makes it easier for the software to identify solid color blocks which become
embroidery objects in the resulting design. It also cleans up blurred or
mottled areas of color.
image before noise

filtering, mottled
color
image after noise

filtering, single colors
Image preparation tools

Use the artwork preparation tools to prepare images for automatic
digitizing. Your choice of tool depends on the artwork. There are three tools:
Tool Purpose Capabilities
Edit Image Link to a graphics Lets you crop, sharpen, re-color, add outlines,
package—e.g. Paint Shop remove noise from an image.
Pro™—for editing an image
outside ES Designer.
Reduce Colors Prepare any non-outlined Lets you reduce colors to a specified number. It
image. automatically:
• reduces each block to a single color
• removes anti-aliasing, noise and dithering
• removes colors smaller than specified area.
Sharpen Edges Prepare outlined images. Lets you adjust lightness or darkness of outlines. It
automatically:
• blends each outlined block into a single color
• removes anti-aliasing, noise and dithering
• sharpens outlines.

Note Even if your artwork looks ready to stitch when inserted into the
software, it will need to be image-processed before conversion. The
software will not let you apply automatic digitizing techniques without
preliminary image-processing.
Using image preparation tools

It is important to use the correct preparation tools for your artwork. The
example below shows an image with indistinct outlines. If the Sharpen
Edges tool is used, outlines can be made darker and more distinct,
improving stitching. By contrast, using the Reduce Colors tool before
stitching produces a poorly stitched design.
Reduce Colors
used—outlines not
sharpened, poor
stitching
image with
indistinct
outlines
Sharpen Edges
used—improved
stitching
image with solid

outlines

Before using the Sharpen Edges tool, make sure that the image contains
solid outlines. If there are gaps, separate color areas will be blended into
one.
Sharpen Edges
used
image partially outlined, some image colors blended

areas not closed
If you need to add outlines, close gaps, or reinforce an outline, you may
need to draw it in by hand before scanning. Or you might add it in a graphics
package after scanning. See Editing bitmaps in third-party applications for
details.
Sharpen Edges
used
image outline completed in outlines sharpened

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

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

Action Outlined image Non-outlined image Photograph
Use Sharpen Edges Sharpen outlines and - -

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

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

• Point & Stitch • Point & Stitch
• Smart Design • Smart Design
Preparing non-outlined images
Use Reduce Colors (Image toolbar) to reduce the number of colors and
remove image ‘noise’ in non-outlined images.
Use the Reduce Colors tool to prepare non-outlined images for automatic
digitizing. The tool automatically reduces color blocks in bitmap images to a
single color, removing anti-aliasing and noise. You can let the software
reduce the color count automatically or specify a precise number. The latter
is useful if you want to match design colors to an exact number of thread
colors.
Tip Depending on the quality of the scanned image, you may need to touch
it up manually before processing in ES Designer. You would normally do this
in order to eliminate backgrounds, or flood-fill solid areas with color. See
Editing bitmaps in third-party applications for details.
To prepare non-outlined images

1 Select Image > Insert File to load an image.

2 Select the image.
image scanned in RGB color

mode—converted to 256 colors
upon loading
3 Click the Reduce Colors icon.

The Reduce Colors dialog opens.
Zoom in and out of

image preview
Set color
reduction options
Set noise filtering

options
Save Image after

processing
The image appears in the preview panel. The Color Count field shows
the number of image colors.
4 Click Zoom In to view the image more closely.
5 Set the color reduction options you require:

Select the By Number option to enter the number you require.
ES Designer suggests a number and shows how the image will look.
You can accept this number or change it.
Select the Automatic Selection option if you want the software to
reduce the color count automatically.
The slider increases or decreases the effect—moving the slider
towards 100% gives you more colors, moving the other way gives
you fewer.
reduced to 13 colors reduced to 6 colors reduced to 3 colors
6 Check how many colors are in the image.

This is indicated by Color Count. If there appear to be too many, the
image probably contains noise.
7 Set the noise filtering options you require.
Minimum color area: This defines the smallest area recognized in
the conversion. The default is 0.5 by 0.5 square mm (about eight
pixels). Increase this value if your image has a lot of ‘out-of-color’
pixels. The minimum color area should not exceed 1/16 of the total
area.

Minimum line length: This defines the smallest line length
recognized as an object. The default is 2 mm. The minimum line
length should not exceed 25% of the smallest dimension.
Min. color area: 0.5 sq mm Min. Color area: 1 sq mm Min. color area: 5 sq mm
Min. line length: 2 mm Min. line length: 5 mm Min. line length: 9 mm
8 Click Save Image As to save changes.

9 Click OK to apply the changes.
Preparing outlined images
Use Sharpen Edges (Image toolbar) to sharpen outlines and reduce noise in
outlined images.
Use the Sharpen Edges tool to prepare outlined images for automatic
digitizing. The tool automatically sharpens outlines and reduces noise. Areas
enclosed by a black outline are reduced to a single color. Outline sharpening
makes it easier for the software to recognize distinct areas in the artwork.
These areas then become the embroidery objects of the finished design. Use
it particularly if the outlines are blurry, fuzzy or indistinct.
Tip Depending on the quality of the scanned image, you may need to touch
it up manually before processing in ES Designer. You would normally do this
in order to eliminate backgrounds, flood-fill solid areas with color, add or
reinforce outlines, or close gaps. See Editing bitmaps in third-party
applications for details.
To prepare outlined images

1 Select Image > Insert File to load an image.

2 Select the image.
zoomed
area
3 Click the Sharpen Edges icon.

The Sharpen Outlines dialog opens.
Zoom in and out

of image preview
Set outline
Click to see
appearance
colored areas
Save image after

processing
The image appears in the preview panel. The Color Count field shows
the number of image colors.
4 Click Zoom In to view the image more closely.
5 Set the outline contrast tolerance by dragging the slider control.

This produces a black and white preview of the detected outlines.
Set outline
appearance
6 Set the Noise reduction options you require.

Minimum color area: This defines the smallest area recognized in
the conversion. The default is 0.5 by 0.5 square mm (about eight
pixels). Increase this value if your image has a lot of ‘out-of-color’
pixels. The minimum color area should not exceed 1/16 of the total
area.
Minimum line length: This defines the smallest line length
recognized as an object. The default is 2 mm. The minimum line
length should not exceed 25% of the smallest dimension.
Tip Move the slider to the right until there is too much black, then move
it slowly back to the left. Stop when the image shows all the outlines you
need.
7 Click Show Color Areas to see the updated image.
Outlines not sharpened Slider control moved to left Slider control moved to right

8 Click Save Image As to save changes.
9 Click OK to apply the changes.
Outlines sharpened
and noise reduced

Chapter 13
Automatic Digitizing
ES Designer provides a variety of complementary tools and techniques for

automatically digitizing suitably prepared artwork.
Vector image Converted to

Input C
Converted to Converted to
Complex Fill Run
The Auto Trace feature lets you convert scanned artwork to vector
objects. You can then convert these to embroidery objects using a
variety of input methods.
in bitmap images automatically without using manual input methods.
The Smart Design feature automatic digitizing is intended for people
working at all levels of the embroidery industry. Smart Design
automatically converts bitmap images to fully digitized embroidery.
photographs and other grayscale bitmap images. The effect resembles
the output of a line printer.
This section describes how to automatically convert bitmap images to
embroidery objects and complete designs, as well as how to create
embroidery from grayscale images.
Converting bitmaps to outlines with Auto Trace

0
Use Auto Trace (Image toolbar) to convert artwork to vector objects for
conversion to embroidery objects.

Use Auto Trace to create vector outlines from bitmap images. You can then
convert these to embroidery objects using a variety of input methods. Auto
Trace can find holes in shapes—both inside and outside boundaries are
detected. See also Converting vector objects to embroidery.
software, it will need to be image-processed before conversion. See
Preparing Images for Automatic Digitizing for details.
To convert a bitmap to outlines with Auto Trace

1 Scan or insert a bitmap image. See Scanning artwork into ES Designer
or Inserting bitmap images for details.
2 Select the image and process it. See Image preparation techniques for
details.
3 Click the Auto Trace icon.
ES Designer will prompt you to click an image to select a single-colored
area.
4 Click the shape you want to digitize.
5 Press Enter.
The vector object is created and selected.
6 Select an input method then follow the prompts to enter start, end and
angle.
Click object Press Enter Select input method
At this point you can convert the created vector object directly into an
embroidery object. See also Converting vector objects to embroidery.
Digitizing shapes with Point & Stitch
Use Turning Satin (Point & Stitch toolbar) to digitize narrow column shapes.

Use Tatami Fill (Point & Stitch toolbar) to digitize large areas, preserving any
holes.
Use Tatami Fill without Holes (Point & Stitch toolbar) to digitize large areas,
ignoring any holes.
Use Pickout Run (Point & Stitch toolbar) to digitize centerlines.
Use Outline Run (Point & Stitch toolbar) to digitize boundaries of shapes.
Use Match to Palette (Point & Stitch toolbar) to find the nearest match
between the selected image color and the color palette.
The Point & Stitch tools provide everything necessary to digitize shapes in
bitmap images automatically without using manual input methods. These
tools are useful for quickly creating embroidery objects from scanned
images that do not require particular artistic effects or embroidery-specific
knowledge. This in turn frees you to spend more time on the artistic or
inherently complicated areas of your designs.
Bitmap image
Embroidery design digitized

with Point & Stitch tools
Note If you use a bitmap image as input, it will need to be image-processed

before conversion. The software will not let you apply automatic digitizing
techniques without preliminary image-processing. See Preparing Images for
Matching palette colors to an image
Use Match to Palette (Point & Stitch toolbar) to find the nearest match
between the selected image color and the color palette.
Use the Match to Palette tool to find the nearest match between a selected
image color block and a palette color. If Match to Palette is not selected,
the color block is digitized in the current palette color.
ES 2006 Chapter 13 Automatic Digitizing 286

Note If your artwork contains colors which are very different to those in the
colorway, you can use the Match Bitmap Color function to first add those
colors. See Matching image colors to threads for details.
To match palette colors to an image

1 Select the artwork:
Scan or insert a bitmap image. See Scanning artwork into
ES Designer or Inserting bitmap images for details.
Insert or create a vector image. See Inserting vector images or
Creating vector outlines for details.
Note If you use a bitmap image as input, it will need to be

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

current palette color.
Digitizing fills with Point & Stitch
Use Turning Satin (Point & Stitch toolbar) to digitize narrow column shapes.

Use Tatami Fill (Point & Stitch toolbar) to digitize large areas, preserving any
holes.
Use Tatami Fill without Holes (Point & Stitch toolbar) to digitize large areas,
ignoring any holes.
Point & Stitch can be used to create ‘closed’ Tatami fill objects, as well as
objects with turning Satin fills. Use Tatami Fill to digitize large areas in your
artwork with Tatami stitch, preserving any holes within them. If you are
using a vector image, it must include a fill color. If you want holes ignored,
use the Tatami Fill without Holes tool. Use Turning Satin to digitize
narrow column shapes with Satin stitch. Current properties are applied. You
can modify these as required before or after using the tools.
To digitize fills with Point & Stitch

Note If you are using a bitmap image as input, it will need to be

2 Select a thread color from the color toolbar.
Alternatively, use the Match to Palette tool to find the nearest matching
thread color. See Matching palette colors to an image for details.
3 Select the required Point & Stitch fill input method.

The shape is immediately filled with stitches.
Original artwork Turning Satin—leaf and Tatami Fill—hole in Tatami Fill without
stem filled with turning apple ignored Holes—hole in apple
stitches preserved
Note Stitches are generated according to current stitch settings. Jumps

may occur if stitch length exceeds the default setting. These can be
modified
Digitizing outlines with Point & Stitch
Use Pickout Run (Point & Stitch toolbar) to digitize centerlines.
Use Outline Run (Point & Stitch toolbar) to digitize boundaries of shapes.
Use Point & Stitch to digitize boundaries and details with run stitching. Use
Pickout Run to digitize centerlines in your artwork with run stitches. Use
Outline Run to digitize boundaries of shapes with run stitching. Current
properties are applied. You can modify these as required before or after
using the tools.
To digitize outlines with Point & Stitch


Note If you are using a bitmap image as input, it will need to be
2 Select a thread color from the color toolbar.
Alternatively, use the Match to Palette tool to find the nearest matching
thread color. See Matching palette colors to an image for details.
3 Select the required Point & Stitch outline input method.
4 Click the centerline or outline you want to digitize.
The line is traced with Run stitches.
Pickout lines Outlines

digitized digitized
Note Stitches are generated according to current stitch settings. These

can be modified.
Digitizing designs with Smart Design

Smart Design automatically converts bitmap images to fully digitized
embroidery. With Smart Design, novice embroiderers can create simple
designs quickly and easily. Similarly, experienced embroiderers can improve
productivity when working with simple designs. Sales people can estimate
stitches quickly and accurately for price quotations.
An extension of Point & Stitch technology, Smart Design recognizes shapes
in bitmap images and makes decisions about the most suitable input
methods and stitch types to use. It also determines the stitching sequence
based on closest join. Artwork is effectively ‘batch processed’ to create the
many embroidery objects that make up a design.
Smart Design gives you some control over how an image is interpreted
during conversion. You can choose to omit selected colors as well as select
colors for stitching in front or behind. There are options to add image colors
to the color palette, or match them to the existing palette. You can choose
to ignore lines or shapes under a specified width. Once created, you can

always edit the final result using the available digitizing techniques. See also
Digitizing Methods.
software, it will need to be image-processed before conversion. The
software will not let you apply automatic digitizing techniques without
preliminary image-processing. See Preparing Images for Automatic
Creating embroidery designs with Smart Design
Use Smart Design (Image toolbar) to create embroidery designs directly

from imported images.
In essence, creating an embroidery design with Smart Design is simply a

matter of selecting the image you want to convert, and clicking the Smart
Design tool. There are, however, many settings you can adjust to optimize
the conversion process for a particular image.
Note Only one image may be selected at a time. The command is disabled
if the selection contains anything other than an image. The display mode of
the image—for example, ‘dimmed’—will not affect the embroidery object
colors.
To create embroidery designs with Smart Design

1 Scan or load an image. See Scanning artwork into ES Designer for
details.
2 Select the image and process it. See Preparing Images for Automatic

3 Select the image and click the Smart Design icon.
The Smart Design dialog opens. Image colors are distributed among
the Omit, Fill, and Details fields depending on how the software
interprets the source image.
Select color
conversion
method
Click-and-drag
colors between
fields
Note Image information is given in the top panel, including width and
height values as well as the number of image colors.
4 Click-and-drag any colors you want to omit from automatic stitch
processing into the Omit column.
white
background
color omitted
all colors
omitted except
black
5 Similarly, click-and-drag or leave any colors you want to be treated as

filled areas in the Fill column.
fill color pink

only, the rest
omitted
fill colors pink

and yellow, the
rest omitted
Note You can adjust stitching styles and other settings for fill colors.
See Adjusting fill color settings for details.

6 Click-and-drag any colors you want to be treated as ‘details’—i.e. any
outlines, borders or small areas you want to stitch out last—into the
Details column.
detail color detail color

black only green only
Note You can adjust stitching styles for detail colors. See Adjusting
detail colors settings for details.
7 Select a Thread Colors conversion method for image processing.
By default, image colors are matched to the nearest thread colors in
the current colorway.
Select the Add Colors to Palette option to add image colors to the
palette.
image colors added

to palette
image colors
matched to nearest
thread colors
8 Click OK.
Smart Design converts the artwork to embroidery objects and
generates stitches.
Note Click Save to save the dialog settings to the template.
Adjusting detail colors settings

Smart Design lets you adjust object recognition settings for the colors of
anything in the design you identify as a ‘detail’. A detail may be an outline,

a border, a pickout run, or a small area of the design you want to be stitched
out last.
Tip If an image color is both a fill and a detail, you can either recolor the
fill color in a graphics package, or omit the color for later editing.
To adjust detail colors settings

1 Select a processed image and click the Smart Design icon.
The Smart Design dialog opens.
2 Click-and-drag any colors you want to be treated as ‘details’—i.e. any
outlines, borders or small areas you want to stitch out last—into the
Details column. See Creating embroidery designs with Smart Design for
details.
3 Select a stitching style for colors in the Details column.
Choose a suitable line

thickness for details
Double Run: most suited for use with thin lines.

Input C: suited for use with thicker lines of constant width.
Satin: most suited for use with thicker lines or small shapes of
varying width.
4 Click OK.
Smart Design converts the artwork to embroidery objects and generates
stitches.
Details: black outlines

with Double Run
Details: black outlines

with Satin
Adjusting fill color settings

Smart Design lets you adjust object recognition settings for fill colors,
giving you control over stitch types, stitch angles, and sequencing settings.
To adjust fill color settings

1 Select a processed image and click the Smart Design icon.

The Smart Design dialog opens.
2 Click-and-drag or leave any colors you want to be treated as filled areas
in the Fill field. See Creating embroidery designs with Smart Design for
details.
Adjust fill color

settings
3 Click Values.
The Automatic Stitching Values dialog opens.
Select style to
Adjust max. apply to each
widths for object type
each object
type
Adjust settings Adjust settings

for recognition for automatic
of Complex Fill object
objects sequencing
4 Select the Detect lines in objects checkbox if you want areas defined
up to maximum width set to be interpreted as ‘lines’.
The sample below, for example, shows narrow linear shapes being
interpreted as Satin Input C rather than Tatami Complex Fill objects.
Original image Yellow and green in Details Detect Lines selected, Satin Detect Lines not selected,
with Satin—larger areas used—fills stitched in default values used—most
also stitched in Satin Tatami, lines in Satin objects stitched in Tatami
5 Adjust the maximum width for each object type.

These rows determine the way in which graphic elements of specified
thicknesses are to be interpreted.

Note A value entered in the Maximum Width field becomes the
Minimum Width value for the next graphic element.
6 Select a style to apply to each object—e.g. Run , Satin, Tatami, etc.
Satin styles selected

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

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

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

To adjust object sequencing settings
1 From the Smart Design dialog, access the Automatic Stitching
Values dialog. See Adjusting fill color settings for details.
Adjust settings for

automatic object
sequencing
2 Enter the length of the maximum travel run connector in the Maximum
travel path length field. You may enter a large value to avoid trims that
may cause production problems.
3 Enter the minimum width of foreground objects to overlap background
objects in the Stitch under objects below width field.
original image below width: 1.5 mm below width: 4.0 mm
4 Enter the minimum stitch length you want to keep in the Filter small
objects below width field. See Removing small stitches automatically
for details.
5 Click OK.
generates stitches.
Creating embroidery from photographs
Use Photo Flash (Insert menu) to create embroidery designs directly from
photographs.
Use Photo Flash to create embroidery from photographs or other images,

color or grayscale. Grayscale images are made up of different shades of gray

pixels. Color images are automatically converted to grayscale when you
apply Photo Flash.
Photo Flash designs consist of rows of stitches of varying spacing settings.

The effect resembles the output of a line printer. Adjust the angle of the rows
and/or the stitches themselves.
Tip For best results, use images with well-defined subjects or constantly
varying shades.
To create embroidery from photographs

1 Insert the bitmap image in your design and scale it to the required size.
See Inserting bitmap images for details.
2 With the bitmap still selected, select Insert > Photo Flash.

The Object Properties > Special > Photo Flash dialog opens.
Select resolution
option
Select background
option
Enter angle
3 In the Resolution panel, select a resolution option—Coarse, Medium, or

Fine.
fine resolution medium resolution coarse resolution
Note The coarser the resolution the more spacing between rows.

4 In the Row panel, enter a new angle as required.
Row Angle: 0o Row Angle: 90o
5 In the Background panel, select a background option:

Light: applies the maximum row width value to the lightest part of
the image.
Dark: applies the maximum row width to the darkest part of the
image.
Light background Dark background
Tip The option you select usually depends on whether the fabric is light
or dark. The Dark option produces a negative of the image.

6 Select the Fills tab and adjust the stitch spacing and skew angle as
required.
Adjust stitch
values
The Skew Angle determines the angle of the stitches. See Adjusting
Satin stitch spacing for details.
Skew Angle: 0o Skew Angle: 45o
7 Click Apply.
You are prompted to select the part of the image you want to convert.
8 Click-and-drag a cropping rectangle around the part of the image you
require.
ES Designer generates stitches for the area within the cropping
rectangle. This process may take some time.
Tip Use TrueView for a more accurate representation of the stitching.

PART IV
MODIFYING DESIGNS
After digitzing a design, you can modify it as a whole, edit individual objects
or even individual stitches.
Combining and resequencing objects

This section describes how to combine objects and designs by copying and
pasting, duplicating, and inserting techniques. It also describes how to
resequence objects by cut and paste, by color, with the Color-Object List,
and by number. Using Branching to sequence objects is also explained. See
Combining objects and designs for details.
Arranging and transforming objects

This section describes how to position objects, how to lock and group, align
and space objects, as well as how to scale, rotate, skew, and mirror objects.
See Arranging and Transforming Objects for details.
Converting and reshaping objects

This section describes how to reshape objects with control points, reshape
circle, star and ring objects. It also describes how to convert object types,
adjust stitch angles, change entry and exit points, as well as keep or omit
the last stitch. See Converting and Reshaping Objects for details.

Editing stitches and machine functions
This section deals with selecting and editing stitches, and converting
selected stitches to objects. It also includes instructions for inserting,
checking, editing and clearing manually-inserted functions. It also describes
how to edit stitches and functions using the Stitch List. See Editing Stitches
and Machine Functions for details.
ES 2006 Modifying Designs 303

Chapter 14
Combining and Resequencing
Objects
ES Designer provides techniques for combining and resequencing objects.

You can add to designs by duplicating and copying objects. Combine
designs. Split objects into smaller ones and remove overlaps between
objects.
The stitching sequence naturally occurs in the order in which the design was
digitized. The Color-Object List displays a sequential list of objects grouped
by object and color. It provides an easy way to group, cut, copy and paste,
and resequence selected objects and color blocks.
Group objects together to apply a change to them all at once. Better still,
apply Branching to join like-objects to form a single ‘branched object’.
Objects are resequenced, connectors minimized, component objects
grouped, and stitches regenerated. Apply an underlay to all.
This section describes how to combine objects and designs by copying and
pasting, duplicating, and inserting techniques. It also describes how to
resequence objects by cut-and-paste, by color, with the Color-Object List,
and by number. Using Branching to sequence objects is also explained.

Combining objects and designs
You can copy or cut a design or design objects to the Windows clipboard for
temporary storage. These can then be pasted any number of times to the
same or another design until replaced on the clipboard. You can also cut,
copy and paste lettering objects within and between designs.
Copying and pasting objects
Click Copy (Standard toolbar) to copy selected objects to the clipboard.
Click Paste (Standard toolbar) to paste copied objects in the design.
You can copy objects to create multiple, identical objects, or to insert

objects from other designs.
Tip ES Designer lets you click-and-drag objects between designs. To copy,

hold down the Ctrl key as you click-and-drag the object. To temporarily
deactivate Auto Scroll, hold down the Shift key.
Petals
copied and pasted
Note Cut-and-paste changes the stitching sequence in the design. See

Resequencing objects with cut-and-paste for details.
To copy and paste objects

1 Select the object (or objects) to copy.
2 Click the Copy icon.
The selected object is copied to the clipboard.
3 Select a color palette option as required. See Setting inserted
embroidery file options for details.

By default, when you insert a design, colors are matched to the current
color palette.
Colors added Colors matched

to palette to palette
4 Travel to the position in the stitching sequence at which you want to

paste the object. See Viewing the stitching sequence for details.
Alternatively, use the Color-Object List to locate the required position in
the stitching sequence. See Selecting and viewing objects with the
Color-Object List for details.
Tip You can paste between other objects in the sequence, or ‘nest’ the
copied object within an object. See Nesting objects for details.
5 Click the Paste icon.
The object is pasted in the design, according to the current paste
options. Alternatively, use the popup menu to override the current paste
options.
Tip Change the default paste option as required. See Setting paste
position options for details.
ES 2006 Chapter 14 Combining and Resequencing Objects 306

6 Make sure that there is only one copy of an object at any one position.
If an object is pasted twice into the same position, it will be stitched
twice.
Note The object remains on the clipboard and can be pasted repeatedly
until the next Copy or Cut command.
Duplicating objects
Select Duplicate (Edit menu) to duplicate selected objects.
Objects can be duplicated rather than copied. When an object is duplicated,

it is not copied to the clipboard. This leaves the clipboard free for you to cut
or copy other objects.
Tip The Mirror-Merge tools allow you to duplicate and transform selected
embroidery objects, and merge them into a single object. See Duplicating
and mirroring objects for details.
To duplicate objects
1 Select the object (or objects) to duplicate.
2 Travel to the position in the stitching sequence at which you want to
place the object. See Viewing the stitching sequence for details.
You can place the duplicate between other objects in the sequence, or
‘nest’ it within an object. See Nesting objects for details.
3 Select Edit > Duplicate.
The duplicate object is placed directly on top of the original, in the
specified position in the stitching sequence.
4 Move the duplicate object to the required position.

Cloning objects
Use Select Object (Pointer toolbar) to select and clone objects.
The Quick Clone feature lets you quickly duplicate selected objects by
right-clicking, dragging and releasing at a new position.
To clone objects
1 Select an object or objects.
2 Holding down the right mouse button, drag the object(s) to a new
position.
A black outline of the object appears. The cursor icon includes a plus
symbol.
Drag-and-drop
Right-click object Object duplicated
Tip For more precise positioning, hold down the Ctrl key while
dragging—movement is thereby constrained to X or Y axes.
3 Release the mouse.
A duplicate object(s) is created at the release point.
Right-click, hold down Ctrl

key, and drag-and-drop
object

Tip Clone objects to another window by the same method. To
temporarily deactivate automatic scrolling, hold down the Shift key
while dragging. An identical copy of the selection is created at the same
coordinates as the first window, no matter where the mouse is released.
Deleting objects
Select Delete (Edit menu) to delete selected objects.
Various methods are available for deleting objects.
To delete objects
Select the object (or objects) to delete, and do one of the following:
Press Delete.
Select Edit > Delete.
Right-click and select Delete from the popup menu.
Nesting objects
ES Designer lets you ‘nest’ one object inside another at an exact point of the
stitching sequence. This feature is particularly useful with motifs and other
designs where long connectors may be generated. It also helps reduce the
overall numbers of objects, minimizing trims and tie-offs.

To nest objects
1 Travel through the first object until the needle position marker is
positioned where you want to insert the second object. See Traveling by
stitches for details.
Travel to insertion
point and paste object
2 Insert the second object. To do this, either digitize the object, or copy
and paste, or cut-and-paste it.
The second object is ‘nested’ in the stitching sequence of the first object.
All required functions are automatically inserted for the second object.
3 Move the copied object into the required position.
Tip To view the connectors that are generated for the nested object,
click the Show Connectors icon.
Combining designs
ES Designer lets you insert one design into
another. The two (or more) designs can
then be saved as a combined design. When
you insert a design in another, the two
color palettes are combined. Colors with
the same RGB values are automatically
identified as having the same thread color.
If you want to preserve these as separate
colors, you need to change one or other
before merging. See Modifying colorways
for details.
To combine designs
1 Open the first design.
2 Travel to the position in the stitching sequence where you want to insert
the design. See Viewing the stitching sequence for details.

You can insert a design between objects in the sequence, or ‘nest’ the
design within an object. See Nesting objects for details.
3 Select a color palette option as required. See Setting inserted
embroidery file options for details.
By default, when you insert a design, colors are matched to the current
color palette.

4 Select Insert > Embroidery File.

To select a design from any available DOS drive, select DOS Disk.
To select a design from an embroidery disk, select Embroidery
Disk.
5 From the Look In list, select the folder where the design you want to
insert is stored, and select the required format from the Files of type
list.
6 Select the design file to insert, and click Open.
The design is inserted at the current needle position.
7 Move the second design into the required position. See Positioning
Tip To ensure that all the objects in the inserted design stay together,
group the design while working with it. See Grouping and ungrouping
8 Save the combined design under the original or different name.
The designs you have inserted are now combined into one design.
Splitting objects
Use Split Object (Edit menu) to split selected objects.

ES Designer lets you split embroidery objects into smaller objects. This is
useful, for example, when you want to split Manual objects up in order to
convert sections to outline objects with Stitch Processor. Use the Split
Object command to split embroidery objects created with the Input A,
Input B, and Input C tools together with Satin, Tatami, or Program Split as
the stitch type. Run objects may also be split but Complex Fill objects
cannot. See also Shaping vector and embroidery objects.
To split objects
1 Select an object to split.
2 Travel to the stitch where you want it to be split.
You can travel to a stitch inside a Satin, Tatami, Run or Manual object.
See Traveling by stitches for details.
Note You cannot split an object at the first stitch.

3 Select Edit > Split Object.
The object is split into two objects at the needle position marker.
Split object
deleted
Split object
Tip You can convert any split Manual objects to outline objects with
Stitch Processor. See Recognizing object/outlines after editing for
details.
Resequencing embroidery objects

The embroidery objects in a design form a stitching sequence. Initially,
objects are stitched in the order in which they were created. You can change

the position of a selected object by cutting it, then pasting it somewhere else
in the sequence, or by using the Resequence command. You can also
resequence objects by color or using the Color-Object List.
Resequencing objects with cut-and-paste
Click Cut (Standard toolbar) to cut a selected object or objects and place
them on the clipboard.
Click Paste (Standard toolbar) to paste copied objects in the design.
You can resequence objects by cutting an object from the design and pasting
it back at a different point in the sequence. This does not change the
physical location of the object. See also Nesting objects.
To resequence objects with cut-and-paste

1 Select the object (or objects) to resequence.
2 Click the Cut icon.
The selected object is removed from the design and moved to the
clipboard.
Completed Object cut to

design—center clipboard
stitched first
3 Travel to the position in the stitching sequence where you want to paste
the object. See Viewing the stitching sequence for details.
You can paste between other objects in the sequence, or ‘nest’ the cut
object within another object. See Nesting objects for details.
If you do not move the current needle position marker, the object is
pasted at the end of the sequence.

4 Click the Paste icon.
Cursor inserted Object pasted

at end of design
The object is pasted back in the design according to the current paste
options. See also Setting paste position options.
Note The object remains on the clipboard and can be pasted repeatedly
until the next Copy or Cut command.
Resequencing selected objects
Select Resequence By Selects (Edit menu) to resequence selected objects.
You can resequence objects by selecting them in the required stitching

order.
To resequence selected objects

1 Select the first object in the range you want to resequence.
2 Holding down Ctrl, select the subsequent objects to resequence.
Note Select each object in the order you want it to stitch out in.
3 With the objects still selected, select Edit > Resequence > By Selects.
The objects are resequenced in the order they were selected.
Resequencing objects by color
Select Resequence By Color (Edit menu) to resequence objects by color.
The Resequence By Color feature lets you resequence all objects by color.
This reduces the number of color changes in a design.

Note This technique resequences all color blocks of the same color in the
stitching sequence. If, for any reason, you want to maintain separate color
blocks, you should use the Color-Object List. See Resequencing colors and
objects with the Color-Object List for details.
To resequence objects by color

1 Select the objects to resequence.
2 Select Edit > Resequence > By Color.
The Sequence By Color dialog opens listing the colors used in the
selected objects.
Select color
block
Use buttons to
resequence
3 Select a color and click Move Up or Move Down to change its position in
the sequence.
4 Click OK.
Resequencing colors and objects with the Color-Object List
Use Color-Object List (Standard toolbar) to resequence objects.
The Color-Object List provides an easy way to select objects in designs and
access their properties. You can resequence color blocks and objects easily
by changing their position in the Color-Object List.
Tip You can also use it to group and ungroup, lock and unlock, and show
and hide objects. Use it also to cut, copy and paste, as well as branch
objects. See also Grouping and locking with the Color-Object List, Copying
and pasting objects, and Branching objects with the Color-Object List.

To resequence objects with the Color-Object List
The Color-Object List opens.
Click-and-drag object
to new position
2 Select the color block or object to resequence.

3 Click-and-drag selected objects to reposition them.
Note You cannot move an object between colors in a manual color

change. However, you can move an object between consecutive
members of a grouped object.
Drop object into new

position
Tip You may need to select all—press Ctrl+A—then regenerate

stitches—press G—to update the display.

Automatic branching
Click Branching (Standard toolbar) to automatically branch selected

embroidery objects.
The Branching feature lets you digitize like objects—e.g. the fingers of a
hand, sections of a custom letter—without having to think about the most
efficient stitching sequence and joins. Branching is designed for use with
shapes made up of objects that overlap—e.g. complicated letters, Asian
characters, etc. Apply Branching to join selected objects to form a single
‘branched object’. Objects are resequenced, connectors minimized,
component objects grouped, and stitches regenerated. All component
objects are grouped and selectable as one. You can apply a single underlay
to all.
Properties of branched objects

Branching works with any combination of the following object types—Run,
Input A, Input B, Input C, Complex Fill and Fusion Fill™. Objects with Motif
Run and Motif Fill cannot be used. Branched objects preserve their original
properties while sharing the color of the first object in the sequence.
Mixture of object types and Color shared but object types

colors preserved
Note When dissimilar objects are selected and branched, any which cannot
be branched are omitted.
Connections between branched objects

The component objects of a branched object are connected by the Closest
Join method used with custom alphabets. All objects are resequenced both
externally (in relation to each other) and internally (by automatic
segmentation). See also Digitizing custom letters.

Editing branched objects
Branched objects remain editable. They can be reshaped. There is only one
entry and one exit point, but all component objects have individual reshape
points. The object properties of a branched object can be accessed via the
Object Properties dialog. Stitch types can also be re-assigned via the
toolbar.
Applying branching
Click Branching (Standard toolbar) to automatically branch selected

embroidery objects.
Apply Branching to selected objects. These become a single branched

object.
To apply branching
1 Select the objects.
Long connectors
between separate
objects
Note The function is only available if more than one object of any
suitable type is selected.

2 Click the Branching icon.
ES Designer will prompt you to digitize entry and exit points.
3 Digitize entry and exit points, or press Enter twice to accept the defaults.
Objects resequenced,
connectors minimized
Component objects are grouped and share the color of the first branched
object. Objects are resequenced, connectors minimized, and stitches
regenerated.
4 Travel through the branched object to check stitching.
See Viewing the stitching sequence for details.
Branching objects with the Color-Object List
Use Color-Object List (Standard toolbar) to branch objects in a design.
access their properties. You can use it to branch like objects in a design.
Tip Use the Color-Object List also to cut, copy and paste, group and
ungroup, lock and unlock, and show and hide objects, as well as resequence
objects. See also Grouping and locking with the Color-Object List, Copying
and pasting objects, and Resequencing colors and objects with the
Color-Object List.
To apply branching with the Color-Object List

2 Select objects in the Color-Object List.

3 Right-click and select Branching from the popup menu.
Long connectors
join objects
Branch selected
objects
Note The function is only available if more than one object of any
suitable type is selected.
4 Digitize entry and exit points, or press Enter twice to accept the defaults.
Component objects are grouped and share the color of the first branched
object. Objects are resequenced, connectors minimized, and stitches
regenerated.
Long connectors Selected objects

eliminated grouped into single
branched object
Applying automatic underlay to branched objects
Right-click Auto Underlay (Stitch Types toolbar) to select an underlay type to

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

can apply an underlay (single or double) to all.

To apply automatic underlay to branched objects
1 Select the branched object.
Select First
Underlay
Select underlay
type
3 Select the First Underlay checkbox and select an underlay type.

4 Click Apply.
Underlay stitches are automatically generated for the branched object.
Note If component objects are touching or overlapping, the underlay is

first stitched out for the whole branched object followed by the cover
stitch.
Cover stitched after

underlay
Whole underlay
stitched first
Applying two-layer run stitching with branching

With run stitching, digitizers frequently aim to have exactly two layers of
stitching on every segment while minimizing jumps and trims. This
technique effectively eliminates the need to have extra travel or jump
stitches to get from one part of the outline to another. It does so by using
the stitches themselves as travel stitches wherever possible, providing a
higher quality result in the process.

To apply two-layer run stitching with branching
1 Select the objects.
One layer of run

outline stitches
2 Click Branching and digitize entry and exit points in the normal way.
See Applying branching for details.
Stitches are regenerated. Component objects are grouped and
connectors minimized—no jumps, no extra travels.
Combination of one
and two layers of run
stitches created
3 Travel through the branched object to check stitching. See Viewing the
stitching sequence for details.
Tip When the entry and exit point are the same, there are two layers
of outline stitching. If they are different, the path between the entry and
exit will have three layers. It is your choice whether to have the extra
travel layer or a trim connection to the next object instead.

Chapter 15
Arranging and Transforming
Objects
You can change the position, size and orientation of objects in a design by
moving, scaling and transforming them. Group objects together to apply
universal changes, or lock them to avoid unintentional modification. Modify
objects directly on-screen or using the Object Properties dialog. Access
commonly used functions via the Color-Object List.
Warning The scalability and stitching quality of a design ultimately depend

on its original source – Native Design, Imported Outlines, Processed
Stitches, or Imported Stitches. Only EMB designs contain the complete
set of design information required for 100% perfect scaling and
transformation. See also Embroidery design formats.
This section describes how to position objects, how to lock and group, align
and space objects, as well as how to scale, rotate, skew, and mirror objects.
Positioning, aligning and distributing objects

Position objects in your design using the mouse to drag them to a new
position, nudging them with the arrow keys or by specifying the X:Y
coordinates in the General Properties bar. ES Designer lets you align
objects to position them relative to each other, or distribute them evenly in
your design.

Positioning objects
The simplest way to move an object in your design is to click-and-drag it to
a new position. Use the arrow keys to ‘nudge’ objects into position.
Note If no objects are selected, using the arrow keys moves the current
needle position.
To position objects
Select the object/s to move and click-and-drag it to a new position.
Use cross-hair cursor

to center object
For more accurate positioning, use the arrow keys to ‘nudge’ the object
into the required position.
For even more accurate positioning, enter the X:Y coordinates in the
General Properties bar.
Enter exact
coordinates
The object is centered above the coordinates you set.
Tip Zoom in to make small adjustments. The distance the object moves
depends on the current zoom factor. The greater the zoom factor, the
smaller the distance moved.
Aligning objects
Use Align Left (Arrange toolbar) to left-align selected objects.
Use Align Vertical Centers (Arrange toolbar) to align selected objects

through their vertical centers.
ES 2006 Chapter 15 Arranging and Transforming Objects 324

Use Align Right (Arrange toolbar) to right-align selected objects.
Use Align Top (Arrange toolbar) to top-align selected objects.
Use Align Horizontal Centers (Arrange toolbar) to align selected objects

through their horizontal centers.
Use Align Bottom (Arrange toolbar) to bottom-align selected objects.
You can align selected objects in a design to the left, right, top, bottom or
center of a specific object. The Arrange toolbar offers a set of buttons to
trigger functions of the same name found in the Arrange menu. The tools
all become enabled when two or more objects are selected.
To align objects
1 Select the objects you want to align.
2 Select the object you want to align with.
3 Click an alignment tool or select Arrange > Align > ...
Align center
1 Align left
2
Align bottom
Note Objects are aligned with the last object selected. When we select
all the objects in the design by using Ctrl+A all the objects are aligned
with the last object in the sequence.
Distributing objects evenly
Use Space Evenly Across (Arrange toolbar) to distribute selected objects

evenly across the screen.

Use Space Evenly Down (Arrange toolbar) to distribute selected objects
evenly down the screen.
You can automatically distribute selected objects with even spacing between
them, both vertically or horizontally. The Arrange toolbar offers a set of
buttons to trigger functions of the same name found in the Arrange menu.
The tools all become enabled when three or more objects are selected.
To distribute objects evenly

1 Select the objects you want to space.
2 Click a spacing tool or select Arrange > Space Evenly > ...
Grouping and locking objects

ES Designer lets you group objects together for group modifications.
Ungroup whenever you need to work with the component objects. You can
also lock objects to prevent them from being moved or modified by accident.
Grouping and ungrouping objects
Click Group (Arrange toolbar) to group selected objects.
Click Ungroup (Arrange toolbar) to ungroup selected objects.
You can group selected objects, or an entire design, to keep them together
for moving, scaling and transforming actions. With grouped objects you can
also apply global changes, saving time and ensuring consistency. When you
have finished making changes to a group, you can ungroup and work with
the component objects.
Note You need to ungroup before you can set properties for any individual
object in the group.

To group or ungroup objects
Select the objects and click the Group icon or press Ctrl+G.
Select, move, resize, or

transform grouped objects as
a single object
Selected objects are combined into a group. This can be selected,

moved, resized and transformed as a single object.
To ungroup, select the grouped object and click the Ungroup icon or
press Ctrl+U.
ungrouped objects
are selected
Tip To select with a bounding outline, simply drag the outline over one
component object and the whole group will be selected. See also
Selecting objects with a bounding box.
Locking and unlocking objects
Click Lock (Arrange toolbar) to lock selected objects.
Click Unlock All (Arrange toolbar) to unlock all locked objects in a design.
Lock objects to prevent them from being moved or modified by accident. For
example, locking backdrop images holds them in place as you digitize,
transform or reshape the embroidery objects near them. Locked objects can
be unlocked for modification at any time.

To lock or unlock objects
Select the object/s to lock and click the Lock icon or press K.
The selection handles disappear, indicating that the object can no longer
be selected or modified.
To unlock objects, click the Unlock All icon.
All locked objects in the design are unlocked.
Grouping and locking with the Color-Object List
Use Color-Object List (Standard toolbar) to group and/or lock objects.
access their properties. You can use it to group and ungroup, lock and
unlock, and show and hide objects.
Tip Use the Color-Object List also to cut, copy and paste, resequence, as
well as branch objects. See also Copying and pasting objects, Resequencing
colors and objects with the Color-Object List, and Branching objects with the
Color-Object List.
To group or lock with the Color-Object List

The Color-Object List dialog opens.

2 Click a node to open or close a color block and see its component
objects.
Click to open
or close node
Group/Lock
objects
3 Select a color block or object/s and right-click to invoke the popup

menu.
4 Group and/or lock selected color blocks and objects via the popup menu.
Scaling objects
You can scale objects by dragging selection handles, specifying the exact
dimensions in the General Properties bar, or by setting the distance
between reference points on the design. As an object is scaled, the stitch
count changes to preserve the current stitch spacing.
Note Only EMB designs contain the complete set of design information
required for 100% perfect scaling and transformation.
Scaling objects using click-and-drag

You can change the height and width of an object, or scale it proportionally
using selection handles. Scale objects individually, or select multiple objects
and scale them together.
To scale objects using click-and-drag

1 Select the object/s to scale.
Eight selection handles appear around the object.
2 Click-and-drag a selection handle to resize the object.

To scale height and width proportionally, use a corner handle.
Scale proportionally Scale freely in both Ctrl + drag

Drag
directions
Tip By default, objects scale proportionally. To scale freely in vertical

and horizontal planes, hold down Ctrl as you drag.
To change the height, use the handles at the center-top or
center-bottom.
Drag
Drag
Scale vertically Scale vertically
To change the width, use the handles at the center-sides.
Drag
Scale horizontally Scale horizontally

To resize proportionally around a central anchor point, hold down
Shift as you drag.
Shift + drag
Scale horizontally in
both directions Scale proportionally Shift + drag
about center
Scaling objects by an exact amount

You can scale artwork, selected objects or a whole design using their
properties. With normal outline (EMB) files, this allows stitches to be
regenerated while preserving the original stitch density. See also Adjusting
stitch density.
Warning If you scale a stitch design by more than 5%, changes to stitch
density will affect the design quality. See also Embroidery design formats.
To scale objects by an exact amount

2 In the General Properties bar, either:
Enter exact height and width values.
Enter the new height and width as a percentage of the current
dimensions.
Enter dimensions as exact

values or as a percentage
Click Apply
Tip To preserve aspect ratio, copy the calculated percentage from one
field to the other.

3 Click the Apply button.
vase scaled shadow scaled

Width: 120% Height: 140% Width: 140% Height: 120%
Note After scaling, the new object size is reset to 100%.
Scaling objects using reference points
Select Transform (Edit menu) to scale an object or design using reference points.
You can scale an object or design by marking reference points and specifying
the required length of the line between them. For example, to resize a
design to a specific width, select all objects, then mark the reference points
across the width of the design.
To scale objects using reference points

2 Select Edit > Transform.
The Transform dialog opens.
Select Size Specify size

checkbox
3 Select the Size checkbox, and enter the required distance between the
reference points.
4 Click OK.

You are prompted to enter the start and end points of the reference line.
You will have already decided which two points in the object or design
will form the reference line.
Click to mark the

reference points
5 Click to mark the reference points on the design.

The object is scaled so that the distance between the points is the value
you entered in the dialog.
Tip Press Ctrl to constrain the angle of the axis to 15° increments. Press
Enter twice to use the default reference line.
Making objects the same size
Click Make Same Width (Arrange toolbar) to scale an object or design to the
same width as a reference object.
Click Make Same Height (Arrange toolbar) to scale an object or design to the
same height as a reference object.
Click Make Same Width and Height (Arrange toolbar) to scale an object or
design to the same size as a reference object.
You can scale objects to the same size as a reference object. Resize the
height or width separately or both.
To make objects the same size

1 Select the object/s to resize.
2 Select the object that is the size you require.

3 Click a sizing tool or select Arrange > Make Same Size > ...
Make same width
3 1
2 Make same height
Make same width and height
Note Objects are resized according to the last object selected.
Rotating objects
You can rotate objects directly on-screen or by setting an exact rotation
angle.
Rotating objects using click-and-drag

When you select an object, selection handles display at its extremities. If
you click the object again, the handles change to rotation handles.
To rotate objects using click-and-drag

1 Select the object/s to rotate.
2 Click the object a second time.

Rotation handles appear at the corners and an anchor point at the
center.
rotation
handle
anchor
point
skew handle
First click displays Second click displays

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

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

An outline displays as you rotate.
Rotating objects by an exact amount
Click Rotate 45 CW (Transform toolbar) to rotate selected objects by 45° in

a clockwise direction.
Click Rotate 45 CCW (Transform toolbar) to rotate selected objects by 45° in
a counter-clockwise direction.
Use Rotate (Transform toolbar) to rotate selected objects by an exact
amount (in degrees).
You can rotate selected objects in 45° increments or by entering an exact

value using the Transform toolbar.

To rotate objects by an exact amount
2 To rotate in 45° increments, click one of the Rotate 45 icons.
3 To rotate by an exact amount, enter the angle in the Rotate field and
press Enter.
Rotating objects by reference line
Select Transform Special (Edit menu) to rotate an object using reference points.
The Transform Special tool lets you rotate selected objects with the aid of
reference points alone. It can be used both with embroidery and vector
objects.
Tip This technique is particularly useful to duplicate and rotate objects

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

2 Select Edit > Transform Special.
3 Follow the instruction in the prompt bar:
Click the first reference point. This will become the anchor point for
the rotation.

Click a second reference point. An outline attaches to the pointer.
Move the pointer
Tip Press Ctrl to constrain the angle of the axis to 15° increments.
Click the anchor point. The pointer then aligns itself with the second
reference point.
Click a guide point for the required rotation position. Use the
coordinates on the Status bar for exact alignment.
Rotating objects by reference line and angle
Select Transform (Edit menu) to scale an object or design using reference points and
specified angle.
The Transform tool provides another method for transforming selected

objects using a combination of reference points and numeric values. This
provides a very accurate technique for rotating selected objects. It can be
used with embroidery objects, vector images or bitmap images. The
technique is particularly useful when you want to align objects precisely with
a common reference line.
To rotate objects by reference line and angle

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

Select Angle Enter absolute

rotation angle in
degrees
4 Select the Angle checkbox, and enter the rotation angle of the reference
line.
For example, to rotate the image so that it aligns with the horizontal
axis, enter a value of 0°.
Select rotation Digitize reference line—align reference line set to angle

angle—e.g. 0° with base of object specified in dialog
5 Click OK.
6 Click to mark the start and end points of the reference line.
Tip Press Ctrl to constrain the angle of the axis to 15° increments. Press
Enter twice to use a horizontal reference line by default.
Skewing objects
You can skew objects directly on-screen or by setting an exact skew angle.
Skewing objects using click-and-drag

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

To skew objects using click-and-drag
1 Select the object/s to skew.
2 Click the object a second time.
Rotation and skew handles appear around the object. Skew handles are
diamond-shaped and appear at the center-top and bottom of the object.
3 Drag the skew handles left or right.
The object skews along the horizontal plane.
Drag skew handle left

or right
Skewing objects by an exact amount
Use Skew (Transform toolbar) to skew selected objects by an exact

amount (in degrees).
You can skew selected objects by entering an exact angle in the Skew field.
To skew objects by an exact amount

1 Select the object/s to skew.
2 In the Skew field of the Transform toolbar, enter the skew angle you
require.
3 Press Enter.
Duplicating and mirroring objects

You can mirror objects horizontally or vertically by means of the Transform
toolbar. You can also mirror around a defined axis using a reference line. The

Mirror-Merge tool allows you to duplicate and transform selected
embroidery objects, as well as merge them into a single object.
Mirroring objects horizontally and vertically
Click Mirror Horizontally (Transform toolbar) to flip selected objects in the

horizontal plane.
Click Mirror Vertically (Transform toolbar) to flip selected objects in the
vertical plane.
You can mirror selected objects horizontally or vertically using the

Transform toolbar.
To mirror objects horizontally or vertically

1 Select the object/s to mirror.
2 Click one (or both) of the Mirror icons.
mirrored in X starting object
mirrored in X & Y mirrored in Y
Mirroring objects about a specified axis
Select Transform (Edit menu) to mirror objects about a specified axis.
You can mirror objects around a defined axis using a reference line. Using
this method you mark the start and end points of the line around which the
object mirrors.
To mirror objects about a specified axis

1 Select the object/s to mirror.

Select Mirror
3 Select the Mirror checkbox.

4 Click OK.
starting object
mirrored
5 Click to mark the reference points of the mirror axis.

After the second click, the selected object is mirrored in the reference
line.
Tip Press Ctrl to constrain the angle of the axis to 15° increments. If
you just want to mirror your selection around a horizontal axis, press
Enter twice. The mirror axis defaults to zero.
Reflecting designs with Mirror-Merge
Use Reflect (Mirror-Merge toolbar) to duplicate and mirror objects or

designs.

Use the Mirror-Merge Reflect tool to duplicate and mirror designs
simultaneously. You can use it to quickly create borders. You can also use it
merge duplicates into a perfectly symmetrical object such as a face or heart.
To reflect designs with Mirror-Merge

1 Select the object or design.
2 Click the Reflect icon.
The pointer attaches to the center point. As you move it around, the
duplicate outlines move accordingly.
Tip Press Shift to disable Auto-Scroll while using Mirror-Merge.

3 Set the number of columns and rows you require.
Set no. of rows Set no. of columns
4 Move the reference line to position the duplicates.

5 For more precise positioning, adjust spacing settings.
Set precise row spacing Set precise column spacing
Tip Tab from field to field to enter values. Press Enter to confirm.
6 Click to mark the anchor point or press Enter to confirm.
The design is duplicated and distributed around the center point.
Note If the duplicates overlap the original, you are prompted to merge
objects. Use this feature to merge duplicates into a perfectly
symmetrical object such as a face or heart.
object reflected reflected objects merged
Creating wreaths with Mirror-Merge
Use Wreath (Mirror-Merge toolbar) to duplicate objects around a center point.
Use Kaleidoscope (Mirror-Merge toolbar) to duplicate and mirror objects

around a center point.
Use the Mirror-Merge Wreath tool to duplicate objects around a center

point. The Kaleidoscope tool works like Wreath but mirrors objects as well.

Because objects are mirrored, Kaleidoscope works best with an even
number.
six-point wreath eight-point kaleidoscope five-point wreath
To create wreaths with Mirror-Merge

2 Click the Wreath or Kaleidoscope icon.
The pointer attaches to the center point. As you move it around, the
3 Enter the number of Wreath points.
Enter no. of wreath points
Note Enter an even number for a kaleidoscope effect.

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

5 For more precise positioning, adjust the Distance and Angle settings.
Distance and angle are measured from the center of the original to the
center of the wreath or kaleidoscope.
Set precise distance Set precise angle
The design is duplicated and distributed around the center point.
five-point wreath six-point kaleidoscope
objects.
Duplicating designs with Mirror-Merge
Use Array (Mirror-Merge toolbar) to duplicate objects or designs.
Use the Mirror-Merge Array tool to create multiple copies of designs, such
as badges, spaced in rows and columns for faster stitchouts. Mirror-Merge

automatically sequences each color block to eliminate unnecessary machine
color changes.
To duplicate designs with mirror-merge

2 Click the Array icon.
The pointer attaches to a reference line. As you move it around, the
Tip Press Shift to disable Auto-Scroll while using Mirror-Merge.

3 Set the number of columns and rows you require.
Set no. of rows Set no. of columns

5 For more precise positioning, adjust spacing settings.
Set precise row spacing Set precise column spacing
The design is duplicated and distributed around the reference lines.
objects.

Chapter 16
Converting and Reshaping
Objects
ES Designer also lets you convert among vector and embroidery objects of
different types at all stages of the design. For example, you can convert
vector images directly to embroidery objects. Similarly, you can convert
embroidery designs or objects to vector images. These can then be
converted to any kind of embroidery object. You can also convert between
embroidery object types.
The reference points you mark when digitizing a shape become its ‘control
points’. These vary slightly with the object type. Use them to edit or
‘transform’ objects—e.g. reshaping, scaling, letter spacing, changing entry
and exit points. Modify stitch angles of selected objects. Add multiple stitch
angles as required.
entry point Key to control points
= entry point
= exit point
stitch angle = corner point
line
= curve point
corner point exit point = stitch angle points
Most control points can be added, deleted, moved or changed to corner or

curve points. Some control points have a specific function and cannot be
deleted, for example, the entry point.

Tip Before modifying any design, a good practice is to save a copy under a
new name and keep the original in case you want to discard your changes
and start again.
This section describes how to reshape objects with control points, reshape
circle, star and ring objects. It also describes how to convert object types,
adjust stitch angles, change entry and exit points, as well as keep or omit
the last stitch.
Converting between object types

ES Designer lets you convert vector images directly to embroidery objects
using a variety of input methods. Similarly, you can convert embroidery
designs or objects to vector images. These can then be converted to any
kind of embroidery object. You can also convert between different run
objects as well as Input C objects. This is useful when scaling designs—e.g.
for creating thicker or thinner columns and borders, or converting between
Complex Fill and Input A or Input B objects. See also Object
interconversion.
Tip You can also create embroidery objects with turning stitches by
applying stitch angles directly to vector objects. You can also add turning
stitches to Complex Fill objects with the Stitch Angles tool. See Adding stitch
angles in Stitch Angles mode for details.
Converting vector objects to embroidery
Use Convert > Stitch Angles (popup menu) to convert vector objects to
Fusion Fill™ objects.
Use Convert > Complex Fill (popup menu) to convert vector objects to
Complex Fill objects.
Use Convert > Input C (popup menu) to convert vector objects to Input C
objects.
Use Convert > Fusion Fill™ (popup menu) to convert vector objects to
Fusion Fill™ objects.
Use Convert > Auto Appliqué (popup menu) to convert vector objects to
Appliqué objects.
Use Convert > Run (popup menu) to convert vector objects to Run objects.

Use Convert > Triple Run (popup menu) to convert vector objects to Triple
Run objects.
Use Convert > Motif Run (popup menu) to convert vector objects to Motif
Run objects.
Use Convert > Backstitch (popup menu) to convert vector objects to
Backstitch objects.
Use Convert > Stemstitch (popup menu) to convert vector objects to
Stemstitch objects.
You can convert vector objects to embroidery objects using Complex Fill,
Input C, or an outline input method. The resulting object takes the current
stitch type, color and object properties set for that input method. Vector
objects can be converted to appliqué. You can even send them directly to a
laser cutter. See also Cutting appliqué shapes.
Vector object Complex fill object Motif run object Fusion Fill object
Tip You can also create embroidery objects with turning stitches by
applying stitch angles directly to vector objects. See Adding stitch angles in
Stitch Angles mode for details.
To convert vector objects to embroidery

1 Select a thread color from the color palette.
2 Select the vector object to convert.
Note If you select Complex Fill as the input method, you can select
several vector objects to create an object with multiple boundaries.
3 Select an input method from the Input toolbar.
Alternatively, right-click and select Convert > from the popup menu.
Tip Before you apply an input method, select the correct properties. For
Complex Fill and Input C, select a stitch type and set the desired effects,
otherwise the last selected stitch types and properties are used.
ES 2006 Chapter 16 Converting and Reshaping Objects 350

For open shapes and outlines, select Run, Triple Run, Motif Run or
Input C. You can apply these input methods to closed shapes as well
if you want to stitch their outlines.
For closed, filled shapes, use Complex Fill.
Tip You can also create objects with turning stitches by adding stitch
angles directly to vector objects. See Adjusting and adding stitch angles
in Reshape mode for details.
For Complex Fill objects, enter stitch entry and exit points and the
stitch angle points.
For Input C objects, enter width point1 and width point2.
For Auto Appliqué objects, enter stitch entry and exit points, and
follow other details as prompted. See Creating appliqué objects for
details.
For other Run objects, enter the entry point. Motif Run is converted
automatically.
Tip Press Enter to accept defaults at each step. You can edit the results
at any stage.
5 Press Enter.
Stitches are generated according to the current properties of the
selected input method. For fill input methods, the current properties
include the stitch type as well.
Tip The Point & Stitch tools can also be used with vector images created
either in a graphics package or with the ES Designer drawing tools. See
Digitizing shapes with Point & Stitch for details.
Converting embroidery objects to vector objects
Use Convert > Drawing (popup menu) to convert embroidery objects to

vector objects.

You can convert embroidery designs or objects to vector images at any time.
These can in turn be re-converted to any kind of embroidery object. See also
Pasting vector images.
run object vector object appliqué object
To convert an embroidery object to a vector object

1 Select an embroidery object or design.
2 Right-click it and select Convert > Drawing from the popup list.
The selected embroidery objects are converted to vector objects.
3 Convert selected vector objects to embroidery objects as required. See
Converting vector objects to embroidery for details.
Converting between run objects
Use Run (Input toolbar or popup menu) to digitize and then convert to Triple
Run or Input C.
Use Triple Run (Input toolbar or popup menu) to digitize and then convert to
Run or Input C.
Use Motif Run (Input toolbar or popup menu) to digitize and then convert to
Run or Input C.
Use Convert > Backstitch (popup menu) to convert vector objects to
Backstitch objects.
Use Convert > Stemstitch (popup menu) to convert vector objects to
Stemstitch objects.
Use Input C (Input toolbar or popup menu) to digitize and then convert to
Run or Triple Run.

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

1 Select a run object—e.g. Run, Triple Run, Motif Run, Stemstitch,
Backstitch, or Input C.
Run object
2 Click a run stitch icon.

Alternatively, right-click and select Convert > from the popup menu
Motif Run is converted automatically.
For Input C, enter width point1 and width point2.
For other run stitches, enter the entry point.
Tip Press Enter to accept defaults at each step. You can edit the results
at any stage.
The object is converted.
Enter width point1 and point2 Converted to Input C object

Note You can convert between any of these object types in the same
way.
Converting Input A or B to Complex Fill or Fusion Fill™
Use Fusion Fill™ (Input toolbar or popup menu) to convert objects from Input
A or B to Fusion Fill™.
Use Complex Fill (Input toolbar or popup menu) to convert objects from Input
A or B to Complex Fill.
You can easily convert objects from Input A or Input B to Complex Fill or
Fusion Fill™. This is useful for editing. For example, as curved fill effects can
only be used with Complex Fill objects, you can add them to Input A or B
shapes by first converting to Complex Fill. Also when scaling designs, an
Input A or B shape may become too big for Turning Satin. By converting to
Complex Fill or Fusion Fill™, you can apply fixed or turning Tatami or some
other fill stitch type. If the original object has overlapping areas, these are
removed. See also Object interconversion.
Converted to Complex Fill Motif fill applied Curve effect applied
Tip You can also convert Complex Fill objects to turning stitches using the
Stitch Angles tool. You can even convert vector objects to embroidery in
the same way. See Adding stitch angles in Stitch Angles mode and
Converting vector objects to embroidery for details.
To convert Input A or B to Complex Fill or Fusion Fill™

1 Select the Input A or Input B object.
2 Click the Complex Fill or Fusion Fill™ icon.
Alternatively, right-click and select Convert > Complex Fill or Fusion
Fill from the popup menu.
3 Follow the instruction in the prompt line:

For Complex Fill objects, enter angle points 1 and 2.
For Fusion Fill™ objects, enter more than one stitch angle line and
press Enter.
Enter angle
points
Press Enter
Note If the Input A or B object stitch type is not applicable to Complex

Fill—e.g. contour stitch—Satin will be substituted. If the underlay type
is not applicable—e.g. Center Run—Zigzag will be used.
4 Adjust reshape nodes and add effects as required.
Tip You can change an Auto Appliqué or vector object to a Complex Fill
object in the same way. You can also convert Complex Fill to Fusion
Fill™.
Converting Complex Fill to Auto Appliqué
Use Auto Appliqué (Input toolbar or popup menu) to convert objects from
Complex Fill to Auto Appliqué.
You can convert objects from Complex Fill to

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

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

Alternatively, right-click and select Convert > Auto Appliqué from the
popup menu.
Frame-out position
Complex Fill object

Entry and exit points

Click the outline to set the stitch entry and exit points or press Enter
to accept the defaults.
Mark the frame-out position if you are prompted or press Enter to
use the current frame-out values. See also Adjusting the default
frame-out position.
The object is converted to an appliqué object.
Note You can convert a vector object to an Auto Appliqué object in the
same way.
Reshaping embroidery objects

The Reshape Object tool is an important tool in ES Designer. Use it to add,
delete, or move reshape nodes on the object outline. For some objects, you
can also change corner points to curves. ES Designer lets you select a range
of reshape nodes in open and closed objects, making reshaping operations
quick and simple.
Viewing control points
Use Reshape Object (Pointer toolbar) to reshape selected objects, edit stitch
angles, and adjust entry/exit points.
Use Show Reshape Nodes (Reshape toolbar) to toggle reshape node
display when using the Reshape Object tool.
Use Show Stitch Angles (Reshape toolbar) to toggle stitch angle display
when using the Reshape Object tool.

Use Show Start/End (Reshape toolbar) to toggle entry/exit point display
The Reshape Object tool is an important tool in ES Designer. It invokes its

own Reshape toolbar which allows you to selectively view reshape nodes,
stitch angles, and entry/exit points. Use the Reshape Object tool whenever
you want to change object shapes by adding, deleting, or moving reshape
nodes on the object outline. Edit stitch angles as well as entry and exit
points in Reshape mode.
To view control points

Select the object and click the Reshape Object icon.
Control points appear around the object and the Reshape toolbar
appears. By default, reshape nodes, stitch angles and entry/exit points
display together.
entry point
curve reshape curve reshape

node node
stitch angle line
stitch angle stitch angle

point point
corner reshape node exit point
Note When editing an Input A object in Reshape Mode, turning off the
Show Reshape Nodes button also disables the Show Stitch Angles
button. When editing an Input C object or any outline object, the Show
Stitch Angles button is always disabled.

Click icons on the Reshape toolbar to selectively display control points
depending on what you want to edit.
Show Reshape Nodes Show Stitch Angles Show Entry/Exit
Use Show Reshape Nodes to toggle reshape node display. See

Reshaping objects with reshape nodes for details.
Use Show Stitch Angles to toggle stitch angle display. See Adjusting
stitch angles for details.
Use Show Start/End to toggle entry/exit point display. See Changing
entry and exit points for details.
Tip The Show Reshape Nodes button can be toggled using the hotkey
combination Alt+N. The Show Stitch Angles button can be toggled
using the hotkey combination Alt+A.
To view the next or previous objects, press Tab or Shift+Tab keys.
Shift + Tab Tab
Note Pressing Tab or Shift+Tab also causes all changes to the object to
be accepted.

Reshaping objects with reshape nodes
Use Reshape Object (Pointer toolbar) to reshape selected objects by means

of control points.
Use Show Reshape Nodes (Reshape toolbar) to toggle reshape node
display when using the Reshape Object tool.
Change object shapes with the Reshape Object tool. Use it to add, delete,
or move reshape nodes on the object outline. For some objects, you can also
change corner points to curves.
Note The Reshape Object tool lets you modify shapes without affecting
the stitch angles and the entry and exit points.
To reshape objects with reshape nodes

1 Select the object to reshape.
Control points appear around the object and the Reshape toolbar
appears.
3 Click Show Reshape Nodes to view only these control points.
4 To add extra nodes on the outline:
Left-click to add a corner point.
Right-click to add a curve point.
Right-click
Left-click

5 Select reshape nodes as required:
OR
Click to select—hold Drag bounding box Hold down Shift and right or
down Ctrl to select around reshape left-click to select range of nodes
multiple nodes nodes to select
Click to select a single reshape nodes.

Use the Ctrl key to select multiple reshape nodes.
Click-and-drag a bounding box around a group of reshape nodes to
select.
Use the Shift key to select a range of reshape nodes. Left-clicking or
right-clicking in closed shapes changes the direction of the selection.
6 Adjust the position of selected reshape nodes by dragging them along
the outline as required and press Enter.
Drag reshape
nodes Press Enter
Tip Use the arrow keys to ‘nudge’ selected reshape nodes.

7 Press Delete to delete unwanted reshape nodes and press Enter.
Delete reshape
nodes Press Enter
If the object only has two reshape nodes—or two pairs of reshape nodes
as in the case of Input A objects—deleting one deletes the whole object.
8 Press Spacebar to toggle between selected corner and curve reshape
nodes and press Enter.
Tip If you make a mistake, press Esc to remove the changes, press Esc
again to exit Reshape mode.
Select reshape
nodes and press
spacebar Press Enter
Note You can also adjust stitch angles as required, as well as change
entry and exit points. See Adjusting stitch angles and Adjusting
entry/exit points and last stitches for details.
Reshaping circle, star and ring objects

For objects created with the Circle/Star or Ring tools, you reshape using
the existing control points only. You cannot add, change or delete control
points in these objects.

Reshaping circle/star objects
Use Reshape Object (Pointer toolbar) to reshape circle and star objects.
You can change circle/star objects from circles to ovals using the Reshape
Object tool. The Show Stitch Angles icon is disabled. Circle/star objects
have two reshape nodes (used to change the radius and orientation of the
object), a center point (used to reposition it), and an entry point.
Tip To scale a circle without changing it to an oval, select it with the Select
Object tool, and use the selection handles to scale it.
To reshape circle/star objects

1 Select the circle/star object.
The Reshape toolbar appears.
Entry point
90°
Center point Reshape node
Stitch angle

3 Click a reshape node on the circumference of the circle, and drag it to
reshape the outline.
Click-and-drag Press Enter

reshape node
To reshape without changing the orientation, use the reshape node

at the top of the object.
To reshape and spin the object around its center point, use the
reshape node at the side.
4 To move the circle, click the center point and drag it to a new position.
5 Press Enter.
Reshaping ring objects
Use Reshape Object (Pointer toolbar) to reshape ring objects.
You can reshape the inner and outer boundaries of ring objects with the
Reshape Object tool. Reshaping rings is similar to reshaping circle/star
objects except that you reshape each boundary individually. Each boundary
has two reshape nodes for changing radius and orientation, as well as a
center point for moving the boundary. The object has a single entry point.
To reshape ring objects

1 Select the ring object.

The Reshape toolbar appears.
Entry point
Center point may Reshape node

not be visible
3 Click a reshape node on either boundary, drag it to change the outline,

and press Enter.
Click-and-drag
Press Enter
reshape node
To reshape without changing the orientation, use the reshape node

at the top of the boundary.
To reshape and spin the boundary around its center, use the reshape
node at the side.
4 To offset the boundaries, select the center point of a boundary, drag it
to a new position, and press Enter.
Click-and-drag
center point Press Enter
Note The center points are generally on top of each other to begin with,
and may not be visible.

Adjusting stitch angles
Stitch angle adjustments depend on the type of object you are working with.
With Complex Fill objects you can set a single stitch angle for the entire
object. You can add multiple stitch angles to objects with the Stitch Angles
tool. You can also adjust stitch angles with the Reshape Object tool.
Note You cannot change the stitch angle of Star, Ring and Input C objects
as the stitches automatically turn to follow the shape. You can, however,
change the stitch angle of Circle objects by moving the entry point. See
Reshaping circle, star and ring objects for details.
Adjusting and adding stitch angles in Reshape mode
Use Reshape Object (Pointer toolbar) to add stitch angles to selected Input
A and B objects.
Use Show Stitch Angles (Reshape toolbar) to toggle stitch angle display
You can adjust the stitch angle of embroidery objects interactively using the
Reshape Object tool. ES Designer also lets you add stitch angles to
Input A, Input B or Fusion Fill™ objects while in Reshape Object mode.
Input A objects thereby convert to Input B. See also Converting between
object types.
You can also use the Reshape Object tool to add individual reshape nodes
on either side of Input A and B objects, modifying the shape without
affecting the stitch angles. See Reshaping embroidery objects for details.
Tip You can change the stitch angle of Complex Fill objects using object
properties. See Adjusting stitch angles using object properties for details.

To adjust and add stitch angles in Reshape mode
1 Select the object.
Input A object Input B object Complex Fill object
2 Click the Reshape Object icon and click Show Stitch Angles to view
only these control points.
3 Click-and-drag stitch angle points to their required positions.
4 Select and adjust the end points as required.
Input A object Input B object Complex Fill object
Note You cannot add stitch angles to Complex Fill objects in Reshape
mode. See Adding stitch angles in Stitch Angles mode for details.
5 Holding down the Ctrl key, click the outline wherever you want to place
a stitch angle line.
Input A object Input B object with stitch Fusion Fill object with
converted to Input B angle added stitch angle added

Tip Input A objects automatically convert to Input B as soon as you add
or adjust a stitch angle. See Adding stitch angles in Stitch Angles mode
for details.
6 Press Enter.
The stitch angles change accordingly.
Tip You need to convert Input B objects to Input A in order to apply

Smart Corners. To do this, you need to edit the reshape nodes to create
reshape node pairs. See Reshaping embroidery objects for details.
Adding stitch angles in Stitch Angles mode
Use Stitch Angles (Pointer toolbar or popup menu) to add stitch angles to
selected Complex Fill objects.
Modify the stitch angles of Complex Fill and Fusion Fill™ objects with the
Stitch Angles tool. You can also create objects with turning stitches by
adding stitch angles directly to vector objects. Adding stitch angles to
Complex Fill or vector objects converts them to Fusion Fill™. See also
Converting between object types.
Complex Fill object—one

stitch angle
Complex Fill converted

to Fusion Fill™
To add stitch angles in Stitch Angles mode

1 Select an object.
2 Click the Stitch Angles icon.

Alternatively, right-click and select Convert > Stitch Angles from the
dropdown menu. You are prompted to enter stitch angles.
Complex Fill object Stitch angles added
3 Digitize stitch angles so that they intersect two sides of the object.
Make sure that they do not intersect each other.
4 Press Enter.
The object is re-generated with the new angles.
Adjusting entry/exit points and last stitches

ES Designer lets you change the entry and exit points of individual objects.
You can also keep or omit the last stitch in a column of stitches.
Changing entry and exit points
Use Reshape Object (Pointer toolbar) to adjust the entry and exit points of
selected objects.
Use Show Start/End (Reshape toolbar) to toggle entry/exit point display
You can change the entry and exit points of individual objects. Aim to place
the end point next to adjoining objects for smaller connecting stitches, or to
reduce the number of travel runs.
To change entry and exit points

1 Select the object to change.
2 Click the Reshape Object icon and click Show Start/End to view only the
entry and exit points.

3 Select the entry or exit point as required, and drag it to a different
position on the object outline.
entry point exit point entry point
exit point entry point exit point
Tip To view the next or previous objects, press Tab or Shift+Tab keys.
Pressing these keys also causes all changes to the object to be accepted.
4 Press Enter.
Note In circle/star or ring objects, only the entry point appears. In

circle objects, the stitch angle is perpendicular to the line connecting the
entry point to the circle center point. Thus, changing the stitch entry
point changes its stitch angle.
Keeping or omitting the last stitch
Click Keep Last Stitch (Pointer toolbar) to keep the last stitch in a column.
Right-click to omit the last stitch in a column.
If you are digitizing adjoining columns, you can keep or omit the last stitch
in the first column to achieve a smoother join or shorter connecting stitches.
columns smoothly
joined
columns with
unwanted space
Note This feature only applies when the exit point is at the end of the
column—i.e. the default exit point. Moving the exit point using the Reshape
Object tool overrides the Keep Last Stitch/Omit Last Stitch command.

To keep or omit the last stitch
To keep the last stitch, select the object and click the Keep Last
Stitch/Omit Last Stitch icon.
To omit the last stitch, select the object and right-click the Keep Last
Stitch/Omit Last Stitch icon.
last stitches kept
columns
smoothly joined
last stitches omitted
Tip Alternatively press Spacebar to omit the last stitch or Enter keep it.
Press Spacebar—last
stitch omitted
Press Enter—last
stitch kept

Chapter 17
Editing Stitches and Machine
Functions
ES Designer automatically generates stitches from design outlines and

properties. This means you can scale, transform, and reshape native
designs without affecting stitch density or quality.
However, ES Designer also lets you edit
individual stitches. You simply select them like
any other object and move the needlepoint
position as required. You may need to do this,
for example, when working with ‘stitch’ files
which do not contain design outline data. See
Embroidery design formats for details.
Like stitches, most machine functions are
inserted automatically whenever you select
commands or specify object properties. They
are stored with the embroidery object and
updated whenever the object is modified. However, ES Designer also lets
you manually insert machine functions and modify them. This flexibility
allows you to adapt designs to almost any machine requirement.
Warning Stitches or machine functions which are manually inserted into

non-manual objects—e.g. Input A, Complex Fill, etc—need to be maintained
manually. If an object’s stitches are regenerated for any reason, stitch edits
are lost. Machine functions may be moved to another point in the stitch
sequence. For this reason, only insert functions manually if they cannot be
added automatically.
This section deals with selecting and editing stitches, and converting
selected stitches to objects. It also includes instructions for inserting,
checking, editing and clearing manually-inserted functions. It also describes
how to edit stitches and functions using the Stitch List.

Selecting and deselecting stitches
The Stitch Edit tool lets you select single stitches, several stitches, or a
range of stitches by selecting their needle points, or dragging a bounding
box around them. You can select all stitches in a design, cancel all
selections, or remove individual stitches from a selected group. Selected
stitches are highlighted in a different color. You can also select individual
stitches in your design using the Stitch List.
Selecting stitches by needle point
Use Stitch Edit (Pointer toolbar) to select individual stitches for editing.
You can select individual stitches in Stitch Edit mode by selecting their
needle points.
Tip Zoom in and display the needle points for easier selection.
To select stitches by needle point

1 Click the Stitch Edit icon.
2 Click a needle point.
The needle point changes color and the needle position marker moves
to the selected stitch. All stitches after the needle position marker in the
stitching sequence appear in black.
Selected Hold down

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

To select multiple stitches, hold down Ctrl as you select.
ES 2006 Chapter 17 Editing Stitches and Machine Functions 372

Selecting stitches with a bounding box
Use Stitch Edit (Pointer toolbar) to select stitches with a bounding box.
With the Stitch Edit tool activated, you can select stitches by dragging a
bounding box around them.
To select stitches with a bounding box

2 Drag a bounding box around the stitches you want to select.
Stitches are selected when you release the mouse button.
stitches
selected
bounding
box
Selecting stitches with the Stitch List
Use Stitch List (Standard toolbar) to toggle Stitch List display on and off. Use
it to select individual stitches.
You can view and select individual stitches in your design by means of the
Stitch List. See also Editing stitches and functions with Stitch List.
To select stitches with the Stitch List

1 Click the Stitch List icon.

The Stitch List opens. It shows stitch position coordinates and function
information—e.g. whether the stitch is a jump. It also shows the length
of every stitch in the design.
Stitch List shows position

coordinates, function
information, and individual stitch
lengths
Change Stitch List

text and background
colors
Tip To display the text in black, select Black Text from the popup menu
(right-click). To display the text in the associated stitch color, select
MultiColored Text. To change the background color of the Stitch List,
select Background Color and edit to suit stitch colors.
2 Click a stitch in the Stitch List to select it.
Stitches selected in the Stitch List are also selected in the design, and
vice versa.
To select a range of stitches, hold down Shift as you select.
To select multiple stitches, hold down Ctrl as you select.
Selected
stitches
Tip Right-click inside the Stitch List to access the popup menu options.
For example, you can select to display the Stitch List in black and white,
or open the Stitch Edit dialog. See Editing stitch coordinates with Stitch
List for details.

Selecting a range of stitches
Click Selects On (Standard toolbar) to select a range of stitches.
You can select a range of stitches with Selects On activated. The Selects
On tool adds stitches to the selection.
To select a range of stitches with Selects On

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

stitch

4 Click the last stitch in the range.
The stitches between the needle marker and this stitch are selected.
Click the last stitch in

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

through the design.

You can select a range of stitches by traveling by stitch with Selects On
activated. The Selects On tool adds stitches to the selection as you travel
through the stitching sequence.
To select stitches while traveling through a design

1 With the Selects On tool off, travel to the required stitch or select an
individual stitch.
Travel to the first

stitch

Note If the Stitch Edit tool is not selected, Selects On has no effect.
4 Travel through the design. See Traveling by stitches for details.
As you travel, stitches are added to the selection.
Travel 10 Stitches
tool used
Note If a stitch is already selected, it is deselected when you travel

through it.
Deselecting stitches
You can deselect individual stitches from a group of selected stitches or
cancel all selections in the design.
To deselect stitches
Deselect individual stitches using the following method.
Travel backwards by one stitch.
Note The Stitch Edit and Selects On must be selected.

Deselect all stitches using any of the following methods.

Press Esc.
Deselect Selects On, then select another stitch.
Select Edit > Deselect All.
Editing stitches
You can insert stitches in an object to fill gaps. You can move or delete
individual or clusters of selected stitches.
Warning If an object’s stitches are regenerated for any reason, all stitch
editing functions are lost. Where possible, edit the object properties rather
than individual stitches.
Inserting stitches
Use Stitch Edit (Pointer toolbar) to insert stitches in an object.
You can insert stitches in an object to fill gaps. Inserted stitches are
considered part of the object (rather than independent objects). They will,
however, be lost if the object’s stitches are regenerated. Where possible,
edit the object properties rather than individual stitches. For example, to
increase stitch density, reduce spacing rather than insert stitches.
Note Inserting stitches is different from creating stitches using the Manual
input method. Using the Manual tool you create a separate object, with its
own properties and connectors. See Digitizing individual stitches for details.
To insert stitches
2 Zoom into the area you want to edit.
3 Select a needlepoint.

The stitch changes color and the needle position marker moves to the
selected stitch.
4 Move the mouse pointer where you want to insert the new stitch, and
right-click.
Right-click
5 Move the mouse to where you want to insert the next stitch, and
right-click.
Right-click
6 Continue right-clicking as required.
Moving stitches
Use Stitch Edit (Pointer toolbar) to select individual stitches for moving.
You can move individual or groups of selected stitches.
editing functions are lost. Where possible, reshape the object rather than
move individual stitches. See Converting and Reshaping Objects for details.
To move stitches
2 Select stitches and drag them to a new position.

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

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

turn selected stitches into an embroidery object.
New or revised object outlines can be recognized after stitch edits have been
made. This capability is particularly useful with stitch files which have been
opened without Object/Outline recognition. You may do this to preserve
the original stitching in most of the design, while modifying a single section
of it. You may also want to turn edited stitches into an embroidery object in
order to preserve the edits. See also Recognizing object/outlines after
editing.
To convert selected stitches to objects

1 Click the Stitch Edit icon and select the individual stitches you want to
process. See Selecting and deselecting stitches for details.
Stitches selected
2 Select Edit > Recognize Object/Outline.

The selected stitches are converted to objects.
Objects and
outlines
created
Editing machine functions

Most machine functions are inserted automatically whenever you select
commands or specify object properties. They are stored with the embroidery
object and updated whenever the object is modified. However, ES Designer
lets you insert machine functions manually. Depending on your machine,
different machine functions are available. The most common types are
described below. See your machine manual for further details.

Warning When you insert stitches or machine functions manually, you
must maintain them manually. If an object’s stitches are regenerated for
any reason, all stitch editing and machine functions are lost. For this reason,
only insert manual functions if they cannot be added automatically.
Machine function types

ES Designer lets you manually insert color changes, thread trims, jumps,
machine stops, needles in and out, and boring functions, depending on the
selected machine format.
Color Change functions

Color Change functions tell the machine to use the next thread color in the
design. They are automatically inserted when you select a new color from
the color palette. See Changing thread colors for details.
You only need to insert manual color change functions if you cannot recolor
using the standard methods, for example, when using multiple colors within
a single object. See Editing machine functions for details.
Trim functions
Trim functions instruct machines with trimmers to cut connecting threads
before moving to the next object. You insert trims automatically by setting
connector values or using the Trim tool. See Adjusting automatic trim after
settings and Adding trims for details.
If you need additional trims, you can insert the functions manually. See
Editing machine functions for details.
Note If a machine does not have a trimmer, the Trim function is ignored.
Depending on the machine format, the Trim function may be a code or a
sequence of jumps. See Setting trim functions for details.
Stop functions
If you want the embroidery machine to stop for any special reason during
stitching, you need to manually insert a Stop function in the stitching
sequence. See Editing machine functions for details.
Tip Because a Stop function may be inserted for various reasons, you
should record the purpose of the stop on the production worksheet to assist
the machine operator.

Jump functions
Jump functions cause frame movements without needle penetrations and
are used to move smoothly from one part of a design to another. There are
various methods for automatically entering Jump functions.
Apply Auto Jump to preserve long stitches. See Preserving long stitches
with Auto Jump for details.
Digitize individual jumps by right-clicking the Manual icon. See
Digitizing individual stitches for details.
Select jumps as connectors. See Using jumps as connectors for details.
Create jump connectors manually by digitizing with Penetrations
deselected. See Adding jumps with penetrations off for details.
If you need additional jumps, you can insert the functions manually. See
Editing machine functions for details.
Begin/End Jump functions

The Begin/End Jump functions (formerly known as Needle Out/In) instruct
the machine whether or not to use needle penetrations. You insert these
functions automatically using the Penetrations tool (formerly known as
Needles In). See Adding jumps with penetrations off for details.
If you need additional Begin/End Jump functions, you can insert them
manually. See Editing machine functions for details.
Note Remember to insert a End Jump function to instruct the machine to

resume normal stitching.
Borer In/Out functions

Borer In/Out functions are available for embroidery machines equipped with
a borer. They instruct the machine when to use the boring knife or tool
instead of a needle. You insert these functions automatically using the
Borers tool (formerly known as Borers In). See Digitizing boring holes for
details.
If you need additional Borer In or Out functions, you can insert them
manually. See Editing machine functions for details.
Sequin On/Off functions

Sequin On and Sequin Off functions are available for embroidery machines
that are equipped with a sequin dispenser. The Sequin On function generally
instructs the machine to physically lower the sequin dispenser into position
for sequins to be placed (fed and cut). These functions are automatically

inserted when using the Sequin Mode tool. See Sequins and Boring for
details.
If you need additional Sequin On or Sequin Off functions, you can insert
them manually. See Editing machine functions for details.
Some machines, notably Schiffli, use only explicit Drop Sequin functions.
These instruct the machine to drop a sequin on the fabric for stitching.
Schiffli machines, for example, do not require Sequin On/Off functions. See
the ES Schiffli User Manual Supplement for details.
Inserting machine functions manually
Use Insert Function (Machine menu) to insert machine functions manually in your
design.
You can insert machine functions manually by means of the Insert Function
dialog. Depending on your machine’s requirements, you will either add the
function to the current stitch, or insert it on an empty stitch or empty jump.
For some machines you will also need to add empty stitches or empty jumps
on either side of some functions. See your machine manual for details.
Note The available functions and their options depend on the selected
machine format. See also Selecting machine formats.
To insert machine functions manually

1 Travel to the position in the design where you want to insert a machine
function. See Traveling by stitches for details.
2 Select Machine > Insert Function.
The Insert Function dialog opens.
Select from functions

available for selected
machine format

Tip It is faster to digitize individual jumps—Jump(M)—by right-clicking
with the Manual input method selected. If you want the whole object to
consist of jumps, deselect the Penetrations icon. See Adding jumps
with penetrations off for details.
3 From the Available Functions list, select the function you want to
insert.
With some functions you can choose whether to insert on the current
stitch or on an empty stitch.
4 If available, choose the insertion method:
Insert on Empty Stitch: inserts the selected function on an empty
stitch.
Add to Current stitch: inserts the selected function on the current
stitch.
Depending on your machine, you may need to insert additional empty
stitches or empty jumps before or after the selected function. For
example, before a particular Stop function, you may want to insert a
number of empty jumps. See your machine manual for details.
5 To insert additional empty stitches or empty jumps, select one or other
in the Component field.
Select Insert Before if you want the empty stitch/jump to precede the
selected function.
Select Insert After if you want the empty stitch/jump to follow the
selected function.
To insert multiple empty stitches or jumps, click Add.
Additional empty
stitches inserted
before and after
selected function
The selected function, together with any additional empty stitches or

jumps, appears in the Sequence panel.
6 Click OK.

The selected function, together with any additional empty stitches or
jumps, is added at the current needle position.
Additional empty jumps

inserted before and after
selected function
Tip The Stitch List provides an alternative means for inserting machine
functions manually. See Editing stitch coordinates with Stitch List for
details.
Adding empty stitches/empty jumps to machine functions
Use Edit Function (Machine menu) to add empty stitches/empty jumps to machine
functions.
You can edit the encoding of machine functions by changing the number or
sequence of empty stitches or empty jumps that appear around them. Some
machines require a specific number of empty stitches or empty jumps in
combination with a function in order to interpret it correctly. You may need
to edit functions if they were inserted incorrectly or the machine format has
changed.
Note You generally only need to edit manually inserted machine functions.
Functions added by ES Designer are automatically updated if the machine
format changes.
To add empty stitches/empty jumps to machine functions

1 Travel to the function you want to edit. See Traveling by machine
function for details.
When you reach the function, its name appears in the Prompt line.
2 Select Machine > Edit Function.

The Edit Function dialog opens.
Insert empty
stitch/jump before or
after the machine
function
Select empty stitch or

empty jump
The Sequence panel shows the current format of the selected function.
3 To insert additional empty stitches or empty jumps, select one or other
in the Component field.
Select Insert Before if you want the empty stitch/jump to precede the
selected function.
Select Insert After if you want the empty stitch/jump to follow the
selected function.
4 To insert multiple empty stitches or jumps, click Add.
5 To delete an empty stitch or empty jump from the sequence, select it,
then click Remove.
6 Click OK.
Tip The Stitch List provides an alternative means for editing machine
functions manually. See Editing machine functions with Stitch List for
details.
Clearing machine functions
Use Clear Function (Machine menu) to clear a manually inserted machine function
from your design.
Manually inserted machine functions are not automatically removed or

updated when an object is modified. If a function is no longer required, it
must be manually cleared from the design. Both automatic and
manually-inserted functions can be removed.

Tip Check the Prompt line for the function’s name to ensure you clear the
correct one.
To clear machine functions

1 Travel to the function you want to remove. See Traveling by machine
When you reach the function, its name appears in the Prompt line.
2 Select Machine > Clear Function.
The function is removed.
Tip The Stitch List provides an alternative means for editing machine
functions manually. See Editing machine functions with Stitch List for
details.
Editing stitches and functions with Stitch List

You can use the Stitch List to help locate stitches and machine functions for
editing. The Stitch List displays stitch number, stitch coordinates, stitch
length, stitch function, stitch color. When you select a stitch in the list, it is
simultaneously selected in your design.
Editing stitch coordinates with Stitch List
Use Stitch List (Standard toolbar) to toggle Stitch List display on/off. Use it to
edit coordinates of individual stitches.
Use the Stitch List to edit the coordinates, and therefore position, of
individual stitches.
Note Changes to stitch coordinates are stitch edits and will be lost if the
object’s stitches are regenerated.
To edit stitch coordinates with Stitch List

1 Open the Stitch List. See Selecting stitches with the Stitch List for
details.
2 Double-click the stitch you want to edit.

The Move Stitch dialog opens.
Enter new
coordinates
3 Enter the new coordinates in the X and Y fields.
Note The specified coordinates will change the location of the stitch end
point.
4 Click OK.
The stitch is regenerated in the new position and the Stitch List
information is updated.
Inserting machine functions with Stitch List
insert machine functions directly into the stitching sequence.
You can use the Stitch List to access the Insert Function dialog. This
provides a convenient means for inserting machine functions manually into
the stitching sequence.
Warning When you insert machine functions manually, you must maintain
them manually. For this reason, only insert manual functions if they cannot
be added automatically.
To insert machine functions with Stitch List

details.

2 Locate the position in the stitching sequence where you want to insert
the machine function.
Insert machine
functions directly
3 Right-click the stitch in the Stitch List and select Insert Function from
the popup menu.
4 From the Available Functions list, select the function you want to
insert. See Inserting machine functions manually for details.
5 Click OK.
The name of the inserted function appears in the Prompt line.
Editing machine functions with Stitch List
edit machine function encoding and to clear machine functions.
You can use the Stitch List to access the Edit Function dialog. This provides
a convenient means for editing existing machine functions. The Stitch List
also lets you clear machine functions from the stitching sequence.
Note You generally only need to edit manually inserted machine functions.
Functions added by ES Designer are automatically updated if the machine
format changes.
To edit machine functions with Stitch List

details.

2 Locate the function you want to edit.
Edit selected
machine function
3 Right-click any stitch in the Stitch List and select Edit Function from the
popup menu.
The Edit Function dialog opens.
4 Edit the function as required. See Editing machine functions for details.
5 To remove the function altogether from the stitching sequence, select
Clear Function from the popup menu.
Filtering stitches by function
display stitches associated with specific functions.
You can apply a filter to the Stitch List so that only stitches associated with
specific functions appear in the list.
To filter stitches by function

details.
2 Right-click any stitch in the Stitch List and select Show Functions from
the popup menu.

The Show Functions dialog opens.
Select functions
to show
3 Select the functions you want to show.
Tip Click Select All to show all function types. To select multiple function
types, hold down Ctrl as you select. To select a range, click the first type
in the range, then hold down Shift and click the last type in the range.
4 Click OK.
Only the selected functions are displayed in the list.
Only selected functions

are displayed
Tip To display the text in the associated stitch color, select

MultiColored Text from the popup menu. To display the text in black,
select Black Text.
5 To show all stitches again, right-click in the Stitch List and select Show
All from the popup menu.
Filtering stitches by stitch length
display only stitches of a certain length.
You can apply a filter to the Stitch List so that only stitches of a certain
length appear in the list. The main use of this feature is to find stitches which
cause production problems, such as short stitches (e.g. < 1.0 mm). See also
Removing small stitches automatically.

To filter stitches by stitch length
details.
Show specified
stitches
2 Right-click any stitch in the Stitch List and select Show Stitches from
the popup menu.
The Show Stitches dialog opens.
Select stitch
range to show
3 Select the range of stitch lengths you want to show.

Radial corresponds to the actual stitch length.
Axial X,Y corresponds to the horizontal and vertical frame
movements.
See Adjusting Auto Jump settings for details.
4 Click OK.
Only the selected stitches are displayed in the list.
Only selected stitches

are displayed

Tip To display the text in the associated stitch color, select
MultiColored Text from the popup menu. To display the text in black,
select Black Text.
5 To show all stitches again, right-click in the Stitch List and select Show
All from the popup menu.

PART V
ADVANCED DIGITIZING
ES Designer provides specialized productivity features as well as special
effects and digitizing techniques.
Object properties, styles and templates

This section explains how to change the property settings in your design, as
well as how to apply, create and maintain styles and templates in
ES Designer. See Object Properties, Styles and Templates for details.
Specialized digitizing techniques

This section describes how to reinforce outlines. It also describes how to
digitize circles, stars and rings. Creating smooth joins, as well as borders
and filled holes are covered. You can also find instructions for specialist
digitizing with appliqué, sequins and boring. See Specialized Digitizing
Techniques for details.
Textured fills
This section describes how to apply textures to fills, and how to adjust their
settings to get the results you want. Details of Tatami offsets and partition
lines are explained, as well as how to create textures with Program Split and
Flexi Split. Adding details with User Defined Split is also covered. See
Textured Fills for details.

Artistic stitch effects
This section describes how to create artistic effects with Jagged Edge,
Accordion Spacing, and Color Blending, and how to adjust their settings to
get the results you want. Creating contoured stitch effects with the Contour
feature is also covered, as well as how to create curved fills with Florentine
Effect and Liquid Effect. See Artistic Stitch Effects for details.
Motif runs and fills

This section describes how to insert motifs into your design, and how to
rotate, mirror and scale them. It explains how to manage motifs, including
how to create your own motifs and motif sets. It also describes how to
create both motif runs and motif fills, as well as how to apply 3D effects to
motif fills. See Motif Runs and Fills for details.
Sequins and Boring

This section describes how to set up custom sequin palettes for the creation
of sequin designs. It also describes how to create sequin runs and digitize
individual sequins, as well as how to convert sequin artwork to Sequin Run.
Scaling and reshaping sequin runs is also explained as well as digitizing
boring holes. See Sequins and Boring for details.
ES 2006 Advanced Digitizing 395

Chapter 18
Object Properties, Styles and
Templates
Every object you create in ES Designer has a unique set of properties that
are stored with it whenever you save the design. These properties define
general characteristics such as size and position, as well as
embroidery-specific characteristics such as stitch type and density. The
stitch properties determine how stitches will be regenerated when you
reshape, transform or scale the object.
Default property settings

Default or starting property settings are the ones stored with the design
template. These are automatically applied to any newly created objects in
the design.
Current property settings

Current property settings override the template defaults. Unless you
deliberately change them, these take the default values. You generally
change them to save time when digitizing. For example, you may preset
Tatami stitch spacing to use a specific density for all new Tatami objects you
create.

Note When you close the design, the current settings are not automatically
saved. You can save them as the new default settings of the current
template or to another template altogether.
Object properties
Each object has its own unique set of properties stored with it. You can set
the properties of a selected object to be the current property settings. You
can also apply current property settings to existing objects.
Styles
A style is a group of property settings stored under a unique name. You can
save any combination of settings to a style. This makes it easy to apply
these settings to selected embroidery and lettering objects. When you apply
a style to an object, the style settings replace its current properties. Any
properties not specified in the style, retain their current settings.
Templates
Templates are special files used to store styles and default property settings.
Use templates when digitizing frequently-used design types to save time
re-adjusting the current property settings.
This section explains how to change the property settings in your design, as
well as how to apply, create and maintain styles and templates in
ES Designer.
Working with object properties

When you create an embroidery object, you can simply accept the default
settings or apply new ones. Default property settings are stored with the
design template. You can also define current settings to influence all the
objects you create in the current design. You can change an object’s
properties at any time without affecting those of any other object.
Alternatively, you can make any changes to the selected object current for
all new objects. Alternatively again, you can change all the current property
settings in the Object Properties dialog with no objects selected at all. You
can then apply current settings to any existing objects. You can also save
any modified settings to the current template as the new default property
settings.
Tip You can save any combination of settings to custom styles. See Working
with styles for details.

Changing properties of existing objects
You can change an object’s properties at any time without affecting those of
any other object not currently selected. Nor do such changes affect the
current or default settings. Some properties can be modified on-screen—for
example, you can change the size properties by scaling the object with the
selection handles. Other properties, such as stitch spacing or length, can
only be modified via the Object Properties dialog.
If you select more than one object, the Object Properties dialog will only
display tabs relevant to all selected objects. For example, if you select a
Complex Fill object and an Input C object, neither of these tabs will display
as the settings do not apply to both. If selected objects have different
values for the same setting—e.g. stitch length—the field will be blank. If you
enter a new value, it will apply to both objects.
To change properties of an existing object

1 Select an object and double-click.
Select tab
Modify settings
as required
Click to access Click to apply

another set of tabs settings
Tabs display at the top of the Object Properties dialog. These provide
access to all possible object property settings.
2 Select a tab to view the object properties and adjust as required.
3 Click the FX button to access another set of tabs.
4 When you are finished, click Apply.
ES 2006 Chapter 18 Object Properties, Styles and Templates 398

These settings are applied to the selected object. They do not affect
current settings or those newly created objects. See also Making
selected object properties current.
Tip Some properties, such as Auto Underlay, are applied by means of

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

selected object current for the design.
You can make the properties of an existing object current for all newly
created objects.
Note Only the settings applicable to the selected object change. Other
settings retain their current values. For example, if you make the properties
of a selected Input C object current, settings specific to Complex Fill will not
change.
To make selected object properties current

1 Select the object on which you want to base the current properties.
2 Click the Make Properties Current icon.
The properties of the selected object become the current ones. You can
now create new objects with these settings or apply them to existing
objects.
Tip To check that the now current settings are as you intended, open
the Object Properties dialog.
Modifying current property settings

dialog on/off. Use it to set properties for the current design.
Whenever you change the current property settings, these will automatically
apply to any new objects you create. If you know which settings you require
before digitizing, you can preset them.

Note Some object properties, such as Auto Underlay, are made current
by means of toolbar buttons. When the button is selected, that tool’s
settings are current.
To modify current property settings

1 With no objects selected, click the Object Properties icon.
Select tab
Modify settings
as required
Click to access Click to apply

another set of tabs settings
Tabs display at the top of the Object Properties dialog. These provide
access to all possible object property settings.
2 Select a tab to view the current settings and adjust as required.
3 Click the FX button to access another set of tabs.
4 When you are finished, click Apply.
These settings are current for all newly created objects. You can apply
them to existing objects by means of the Apply Properties Current tool.
See Applying current settings to existing objects for details.
Applying current settings to existing objects
Use Apply Current Properties (Styles toolbar) to apply current settings to

selected objects.

When you change the current property settings, these apply to all new
objects you create but not automatically to any existing objects. However,
you can apply them to selected objects as required.
To apply current settings to existing objects

1 Select the object (or objects) whose properties you want to change.
2 Click the Apply Current Properties icon.
The current values are immediately updated.
Changing default property settings

dialog on/off. Use it to set change default property settings for the current
template.
You can change default property settings at any time by saving the current
settings in the Object Properties dialog to the current template. If the
settings you are saving are based on a selected object, only these values
are updated in the template.
Note All changes affect any new designs created using this template. If you
only want the changes to apply to the design you are working in, change the
current—not the default—properties. See Modifying current property
settings for details.
To change default property settings

1 With or without any objects selected, click the Object Properties icon.

Change settings
as required
Click to save to
template
2 Select the tab you want and change the settings as required.
3 Click Save.
The object properties are saved to the current template. These will
apply to any new objects in any design based on this template.
Tip You may wish to save your modified property settings to a custom
template for certain specialist purposes. See Working with design
templates for details.
Working with styles

A style is a group of property settings stored under a unique name. You can
save any combination of settings to your styles. This makes it easy to apply
them to selected embroidery and lettering objects. When you apply a style
to an object, the style settings replace its current properties. Any properties
not specified in the style, retain their current settings.
Styles are stored with the design template. The NORMAL template provides
a selection of preset styles for you to use. You can modify these as required
and save them back to the NORMAL template or to your own custom
templates. Each template may contain specific styles for different types of
embroidery. See also Working with design templates.
Styles toolbar

Use the Styles toolbar to quickly apply styles in your design. This toolbar
lets you:
apply current settings to selected objects
change current settings, and
apply styles to selected objects.
The styles you select as ‘favorites’ are each assigned a tool icon on the
toolbar.
Applying styles
Click Apply Style (Styles toolbar) to apply a style from the template to new or
selected objects.
Use the Styles toolbar to apply favorite styles to new or selected objects.
When you select a style, the settings overwrite the current property
settings. You can apply a style to current property settings before you
digitize, or to a selected object. See also Working with object properties.
Tip If you are using a digitizing tablet, you can quickly switch between
preset styles. Each button on the puck accesses the next preset style with
different spacing settings. For example, clicking Button 1 accesses
<PRESET_SATIN_1>.
To apply styles
1 Click the Apply Style icon.
The Use Object Style dialog opens.
My Style Select style
2 Select a style from the dropdown list, then click OK.

If an object is selected, the style settings are applied to it alone.
If no object is selected, the style settings become the current
property settings, and apply to any new objects you create.

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

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

existing style or object. You can create styles in the Object Properties box
by specifying settings in any or all of the tabs. New styles are saved to the
current template.
Note The stitch type, settings and effects you specify for the new style do
not automatically change the current property settings. See also Applying
current settings to existing objects.
To define new styles

1 To base the new style on an existing object, select it now. To base it on
the current settings, make sure no objects are selected.
2 Select Stitch > Define Style.
The Organize Styles dialog opens.
My Style
Click to define new style
3 Click New.

The New Object Style dialog opens.
Enter name for

new style My New Style
Select style to My Style

base it on
4 Enter a name in the Style Name field.

5 To base the new style on an existing style, select it from the Based On
Style dropdown list.
Tip If you want the new style to be added to the Style toolbar, select
the Add to Favorites checkbox.
6 Click OK.
The Object Properties dialog opens. If you selected a style to base the
new style on, those settings will display.
7 Update the Object Properties tabs for the new style.
Note You do not have to enter values in all fields, only those you
specifically wish to store.
8 Click Apply and close the dialogs.
The new style is saved to the current template.
Assigning favorite styles
Select Define Style (Stitch menu) to assign a favorite style.
You can assign up to ten favorite styles to tool icons on the Styles toolbar.
To apply the style, you then simply select the tool.
To assign favorite styles


My New Style Select style

My Style
Organize favorite styles
2 Click Favorites.
The Organize Favorites dialog opens.
Click Add
3 Click Add.
The Add To Favorites dialog opens.
4 Select a style from the list.

5 Click OK.
6 Change the order in which the favorites will appear on the Styles toolbar
using Move Up and Move Down.
7 Click OK and then Close.
The styles are assigned in the order they appear in the Organize
Favorites box. The tool tip for each button shows the style name.

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

My Style
Click to merge styles
2 Select a style to merge to.

3 Click Merge.
The Merge With Style dialog opens.
My Old Style Select style
4 Select a style to merge from and click OK.

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

You can modify all styles, including the preset styles in the NORMAL
template.
Tip At some stage, you may want to revert to the original style settings in
the NORMAL template. See Reverting to the NORMAL template for details.
To modify a style

My Style
Click to edit style
2 Select a style and click Edit.

3 Change the settings in the tabs as required. See Modifying current
property settings for details.
4 Click Apply.
A warning message asks you to confirm that you want to overwrite the
existing style settings.
The modified style is updated and saved to the current template.
Note Changes apply only to future uses of the style. Existing objects
based on the style are not affected.
Renaming styles
You can rename a style without affecting its settings.

To rename a style
My Style Select style

My New Style
Click to rename style
2 Select a style to rename.

3 Click Rename.
The Rename Object Style dialog opens.
My Style 1 Enter new style name
4 Enter a new style name and OK.

The style is renamed.
Deleting styles
You can remove any unwanted styles from a template.

To delete styles
My Style 1 Select style

My New Style
Click to remove style
2 Select a style to delete and click Remove.

A warning message asks you to confirm the deletion.
The style is deleted from the current template and removed from the list
of style names.
Note To remove all styles from a template click Remove All.
Working with design templates

Templates are special files used to store styles and default settings. Use
templates when digitizing frequently-used design types so that you do not
have to set the current property settings every time. For example, a
template may include standard objects and sample lettering. It may simply
have preferred stitch settings, lettering font and size, and colors set as
current settings. Or it may have special density, pull compensation or
underlay settings to suit different fabrics.
The NORMAL template

The NORMAL template is the default template supplied with ES Designer. It
contains current property settings as well as a selection of preset styles.
These styles include variations on the current property settings. For
example, <PRESET_SATIN_1> and <PRESET_SATIN_2> contains different

stitch spacing settings for Satin stitches. You can view and modify the
settings for these styles at any time. See Modifying styles for details.
Note If necessary, you can revert to the original NORMAL template after
modifying it. See Reverting to the NORMAL template for details.
Creating design templates

You create templates from designs containing the required objects and
property settings. Simply save the design, or elements of it, as a template.
Templates look the same as design files, but use the file extension EMT.
Note You cannot overwrite templates by accident. Each time you create a
new design from a template, ES Designer opens a duplicate. When you save
the design the first time, the Save As dialog opens so you can save the
template under a new name.
To create a design template

1 Start a new design or open an existing one.
2 Adjust the property settings, styles, and effects as required.
3 Add the objects and lettering you want to appear in the template.
Tip You can enter lettering baselines on their own but it helps to include
sample text. You can overtype the sample text when using the template.
4 Select File > Save As.
The Save As dialog opens.
Enter template name

Select Design
Templates (EMT)

5 Select Design Templates (EMT) from Save as type list.
ES Designer automatically opens the ESWin\Template folder. Design
templates must be saved here or they will not appear in the template
list when you start a new design.
6 Enter a name for the template in the File name field.
7 Click Save.
Using design templates

When you start a new design from the File > New menu, a list of the
available templates appears in the New dialog. See Creating new designs
with selected templates for details.
Note The template list only appears when you start a design from the File
menu. If you select the New tool on the Standard toolbar, the NORMAL
template is applied by default. See also Creating new designs with the
NORMAL template.
Modifying design templates

You can modify templates in the same way as a normal design.
Note Changes apply only to future uses of the template. Existing designs
based on the template are not affected.
To modify design templates

1 Select File > Open.
2 Navigate to the ESWin\Template folder, then select Templates (EMT)
from the Files of type list.
The available template files display.
3 Select the template you want to modify and click Open.
4 Modify property settings, styles and other settings as required.
6 From the Save as type list, select Templates (EMT).
7 Enter the name of the template and click Save.

Tip To create a new template based on the modified one, type a new
file name and click Save.
8 Click Yes to confirm.
The modified template is ready for use.
Saving current properties to a template
Use Object Properties (Standard toolbar) to change current properties.
You can easily save current property settings to the current template. See
also Working with object properties.
To save current properties to a template

1 Access the Object Properties dialog.
To use the current property settings, deselect all objects, then click
the Object Properties icon.
To use the properties for a particular object, select the object, then
double-click it.
Select tab
Modify settings
as required
Click to save to
current template
2 Change property settings as required. See Modifying current property


3 Click Save.
The modified settings are saved to the current template.
Note Only the current property settings—not the objects or other

settings in the design—are saved to the template.
Tip To save more than one set of property settings to the template, save
them as styles. See Defining new styles for details.
Reverting to the NORMAL template

If you modify the NORMAL template supplied with ES Designer, you can
revert to the original version. A factory copy is always maintained so that
the NORMAL template can be restored.
To revert to the NORMAL template

1 Close ES Designer.
2 Click the Windows Start button and select Programs > Wilcom ES>
Revert.
The Revert to Factory Template dialog opens.
Click OK
Select Templates
3 Select the Templates checkbox and click OK.

The original settings for the NORMAL template are restored.

Deleting design templates
Delete templates in the same way as you would any other Windows file,
using Windows Explorer. Templates are located in the ESWin\Template
folder.

Chapter 19
Specialized Digitizing
Techniques
ES Designer provides specialized digitizing

features to save time as you digitize, and for
special effects and machine functions. There are
input tools for digitizing circles, stars, rings and
appliqué objects, as well as methods for creating
repeated or ‘backtracked’ duplicates, adding
borders or filling holes. If your machine type
supports boring or sequining, you can use
ES Designer to digitize these effects as well.
This section describes how to reinforce outlines. It
also describes how to digitize circles, stars and
rings. Creating smooth joins, as well as borders
and filled holes are covered. You can also find
instructions for specialist digitizing with appliqué, sequins and boring.
Digitizing circles, stars and rings

ES Designer provides special time-saving input tools for digitizing circles,
stars, rings. Use the Ring and Circle tools to digitize circles or rings and the
Star tool for smaller scale star effects. You can use any fill stitch type with
circles and ovals although Contour stitch only looks effective with long,
narrow ovals.

Digitizing circles and ovals
Use Circle/Star (Input toolbar) to digitize filled circles and ovals.
Digitize filled circles and ovals with a few clicks. You can use any fill stitch
type with circles and ovals although Contour stitch looks most effective with
long, narrow ovals.
circle with
Program Split
oval with Contour
Tip To achieve a spiral contour fill effect for a circle, digitize the circle using
a different input method—e.g. Ring—leaving a small hole in the middle.
To digitize circles and ovals

1 Click the Circle/Star icon.
2 Digitize the circle or oval.
Click to mark the center of the circle or oval. A circle outline attaches
to the pointer.
Move the pointer until the outline is the required size, then click to
mark the radius reference point.
This point becomes the entry point for the whole object. The stitch
angle will be perpendicular to the line connecting the center point
and the radius reference point.
To create a circle, press Enter.
To create an oval, click again to mark a second radius point, and
press Enter.
reference point
2
reference
90° point
1 center 3

Digitizing stars
Use Circle/Star (Input toolbar) to digitize star shapes filled with Zigzag
stitching.
You can digitize circles and ovals which use turning Zigzag stitches to create
a ‘Star’ or ‘French dot’.
Note Stars are only stitched using Zigzag. You cannot select a different
stitch type for this effect. See also Corresponding object and stitch types.
To digitize stars
1 Right-click the Circle/Star icon.
2 Digitize the reference points for the star.
Click to mark the center of the star. A circle outline attaches to the
pointer.
Move the pointer until the outline is the required size, then click to
mark the radius reference point. This point becomes the entry point
for the whole object.
To create a circular star, press Enter.
2
reference point
1
center
To create an oval star, click again to mark the second radius point,
then press Enter.
Digitizing rings
Use Ring (Input toolbar) to digitize circle and oval-shaped rings.
ES 2006 Chapter 19 Specialized Digitizing Techniques 418

Create rings by digitizing circles and ovals within each other. Use different
combinations of inner and outer boundary shapes to create different effects.
circle in oval oval in circle oval in oval
You can digitize rings with a variety of fill stitch types. Contour stitch is well
suited to rings, as it runs stitches around the ring in a spiral pattern. See
also Corresponding stitch types, input methods, and effects.
ring with Satin ring with Contour ring with Tatami
Tip Digitize the inner circle first to ensure that the stitches push outwards.
To digitize rings
1 Click the Ring icon.
2 Digitize the inner boundary of the ring.
Click once to mark the center of the inner boundary. A circle outline
attaches to the pointer.
Move the pointer until the outline is the required size, and click to
mark the radius reference point. This point becomes the entry point
for the whole object.
Press Enter to create a circle, or click again to mark a second radius
point for an oval.
The outline of the second boundary now attaches to the pointer.

3 Digitize the outer boundary of the ring in the same way as the first, then
press Enter.
reference
4 point
reference
2 point
3
1 center reference
point
Reinforcing outlines
Use Backtrack / Repeat (Pointer toolbar) to reinforce an outline, stitching it

in the same or opposite direction.
Use Backtrack and Repeat to reinforce outlines while specifying the

direction of the stitching. Backtrack stitches in reverse direction to the
original. It is typically used to make run stitch outlines thicker without
creating unwanted connecting stitches. Repeat duplicates the original stitch
direction and is typically used with closed shapes.
Use Backtrack for open shapes Use Repeat for closed shapes
Note If you use Repeat for open shapes, a connecting stitch is inserted
from the end to the start of the object which will require trimming.
To reinforce outlines
1 Select the object (or objects) to reinforce an outline.
2 Click the Backtrack/Repeat icon to backtrack, right-click to repeat.
The object is duplicated and placed on top of the original. It is the same
color as the original and is positioned after it in the stitching sequence.
3 Check that the object has been duplicated by using one of the following
methods:

Check the stitch count in the Status Line.
Use Slow Redraw. See Redrawing the stitching sequence slowly for
details.
Travel through the stitches. See Viewing the stitching sequence for
details.
Removing underlying stitching
Use Remove Overlaps (Arrange menu) to remove overlapping stitches.
Use the Remove Overlaps command to remove the underlying layer of

stitching in overlapping objects. This helps to reduce the stitch count and
prevent a build-up of stitches where they are not needed. See also Shaping
vector and embroidery objects.
To remove underlying stitching

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

The Remove Overlaps dialog opens.
Set ‘cutter’ values
Enter amount of overlap

Enter size of smallest
permissible object
3 In the Cutters panel, enter the minimum object width and the
maximum stitch spacing allowed.
These settings are useful if, for example, you choose an entire design as
a cutter and wish to exclude objects, such as borders or details, less
than a certain width. The Maximum Stitch Spacing setting allows you
to exclude background stitches of a certain density.
4 Select Accordion Allowed to include Accordion Spacing objects.
By default, the software treats Accordion Spacing objects as
backgrounds and excludes them from the cutting operation. This option
allows you to include them.
5 Enter the amount of overlap required in the Cutting Overlaps field.
Cutting Overlap: 0.5 mm Cutting Overlap: 2.0 mm Cutting Overlap: 3.5 mm
6 In the Minimum Fragments field, enter the size of the smallest object
that will be produced after cutting.
This eliminates the generation of small objects and unnecessary color
changes.
7 Click OK.

The stitching overlap is removed.
Tip You can use an entire design as a cutter excluding objects, such as
borders or details, less than a certain width.
Splitting long stitches with Auto Split
Right-click Satin (Stitch Types toolbar) to apply Auto Split to new or selected
Satin objects.
If a Satin shape is wide, some stitches may exceed the maximum stitch the
particular embroidery machine can produce. When Auto Split is applied,
ES Designer breaks any long Satin stitches into shorter ones. It also
distributes needle penetrations in a random pattern so that they do not form
a line in the middle of the shape.
Auto Split OFF Auto Split ON
While Auto Split is used primarily to prevent long stitches in wide columns,
it can also be used as an alternative to Tatami fill. Auto Split looks more
Satin-like and works well with turning stitches, creating soft lines and a little
more depth. By contrast, Tatami is flat and can show unwanted patterns
with tight curves.

Note If you want to preserve the Satin effect—for example, if only a few
stitches are too long—you can use Auto Jump instead. Auto Split must be
turned off for Auto Jump to take effect. See Preserving long stitches with
Auto Jump for details.
If you do not apply either Auto Split or Auto Jump, the stitches are split into
smaller stitches of equal length. The line formed by the needle penetrations
will be visible in the final embroidery.
To split long stitches with Auto Split

Select Auto Split
Adjust max and min

stitch lengths
2 Select the Auto Split checkbox.

3 In the Length field, enter the maximum Satin stitch length to allow
before Auto Split is applied.
Stitches that exceed this value will be split into smaller stitches. This
value can be smaller than the maximum stitch generally used in the
design.

Tip Use a length of 7.00 mm to preserve the Satin effect.

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

Minimum Stitch: 5 mm Minimum Stitch: 3 mm Minimum Stitch: 1 mm
5 Click Apply.
Tip As an alternative to Auto Split, try a textured Tatami fill or Program

Split. Or, use User Defined Split to manage split lines in Satin fills. See
Textured Fills for details.
with Tatami with Program Split with User Defined Split
Preserving long stitches with Auto Jump

Embroidery machines have a maximum possible stitch length which is
determined by the frame movement limitations of the machine itself. If a
stitch exceeds this, it is broken into smaller stitches. This can affect the
appearance of the embroidery, especially Satin fills. By applying Auto Jump,

you can preserve long stitches in an object by turning them into a series of
jumps.
Auto Jump OFF Auto Jump ON
Note Auto Jump is applied by default to connectors. See also Using jumps
as connectors.
Auto Jump can be used, for example, with manually digitized underlays. It
can also be used to create quilted effects, for example, by applying it to
Satin areas that are over-stitched with Run stitch or Motif Fill.
To create a narrow column with more ‘loft’ than normal Satin, apply Auto
Jump, in conjunction with a suitable underlay, with the maximum stitch
length set to a small value—e.g. 6 mm. If the cover stitches are short,
splitting them with a jump makes them looser and thus more effectively
raised off the fabric. See also Strengthening and stabilizing with automatic
underlays.
Note The maximum frame movement is defined in the software by the

machine format values. See Adjusting standard machine format settings for
details.
Applying Auto Jump
Use Auto Jump (Stitch Types toolbar) to preserve long stitches in new and
selected objects. Right-click to adjust settings.

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

—additional stitches—not
needle trimmed
penetrations
Note Many machines trim by jumps. Thus, to prevent the trimmers being
activated, usually only one or two jumps between needle penetrations may
be used. See also Setting trim functions.
To apply Auto Jump

Click the Auto Jump icon with or without objects selected.
With no objects selected, Auto Jump is applied to all new objects. For
both new or selected objects, Auto Jump is based on current properties.
Adjusting Auto Jump settings
Right-click Auto Jump (Stitch Types toolbar) to adjust settings.
You can adjust Auto Jump settings to vary the length at which stitches are
converted to jumps, the length of the jumps themselves, and the method of
calculating stitch length.
To adjust Auto Jump settings

1 Right-click the Auto Jump icon.

The Object Properties > Auto Jump dialog opens.
Select Auto Jump
Enter maximum stitch

and jump length
settings
Select calculation
method
2 Select the Auto Jump checkbox.

3 In the Maximum Stitch field, enter the maximum stitch length to allow.
Stitches exceeding this value will have Auto Jump applied.
Note This value must be smaller than or equal to the maximum stitch
length possible for the selected machine format. See Adjusting standard
machine format settings for details.
4 In the Jump Length field, enter the length of each jump.
Smaller jumps increase the time required to stitch out, but move the
frame more smoothly across the design.
5 In the Length Calculation panel, click the required method of
calculating stitch length.
Along Radius: measures the distance between two consecutive
needle penetrations.
Along Axis: measures either the horizontal or vertical movement
required for the stitch.
Y
measured along
measured along
radius
axis
maximum
stitch
maximum
stitch
maximum stitch
The option you select depends on the way your machine measures stitch
length. See your embroidery machine’s documentation for details.
6 Click Apply.

Creating outlines and filling holes
ES Designer provides tools for quickly creating outlines and filled areas
based on existing boundaries. The Offset Object feature creates new
outlines (up to eight) from the outlines of selected objects with both fixed
and variable spacings. The Filled Holes feature creates filled objects from
the outlines of selected Complex Fill objects.
Creating offset objects with fixed spacings
Use Offset Object (Generate toolbar) to create accurate outlines for any filled
embroidery object or any closed vector object.
Use the Offset Object tool to quickly create new outlines from selected
objects. Any closed object can be used, including vector objects, runs, or
any of the input types. The generated outline is an independent object that
can be reshaped or modified as required. Use offset objects to highlight
design details—e.g. small Satin objects—or create seamless borders. You
can center generated objects over the original outline or offset them.
Various offset object types are available—Run, Triple Run, Motif Run or
Input C, Backstitch, Stemstitch, or vector objects. You can even create
offset Complex Fill and Fusion Fill™ objects.
Run outline Stemstitch outline Motif outline Input C outline
To create offset objects with fixed spacings

1 Select the source object.
2 Click the Offset Object icon.

The Offset Object dialog opens.
Select rounded
Enter required offset or squared
Enter offset count corners
Choose target
object type
Replace the
original object if
required
3 Select Fixed Offset and enter the required offset in millimeters.
Source object Negative Offset Zero Offset Positive Offset
To center the generated object over the original, accept the default
value of 0.00.
To position the generated object outside the original, enter a positive
offset (e.g. 1.00).
To position the generated object inside the original, enter a negative
offset (e.g. -1.00).
Note For Complex Fill objects, offset objects are created around all
boundaries. If necessary, select any unwanted objects, and press Delete.

4 In the Offset Count field, enter the required number of offset objects.
Source object Offset Count: 1 Offset Count: 2 Offset Count: 3
Note If the Use Spiral checkbox is selected, the offsets are joined
together to create one or more spirals, according to the geometry of the
original outline. The Offset Count field needs to be set to 2 or more.
Spiral Offset Spiral Offset Spiral Offset

Object: 2 Object: 3 Object: 4
5 Select rounded or squared corners as required.
Squared Squared Squared Rounded

Angle limit: 20° Angle limit: 30°
Note The squared option allows you to adjust the angle limit—first
select Cut Sharp Corners and set required angle value.
6 From the Object Type list, select an object type for the offset object(s).

Note If you select Complex Fill as the outline object type, you get a
complete offset shape, not just an outline.
Tip If you are using Input C, set the column width in the Object
Properties dialog before you start as the default setting is generally too
wide.
7 Adjust the Approximation setting as required.
This controls the smoothness of the generated object outline—the larger
the value, the smoother the curve. The smaller the value, the greater
the number of reshape points.
Approximation: 0 mm Approximation: 0.3 mm Approximation: 0.6 mm
Tip If the value is set to zero, there is no approximation and the

generated outline is unsmoothed. This is suitable for use with cutting
machines.
8 Choose to replace the original or source object with the offset object as
required.
If this option is selected, the offset object replaces the original in the
same position in the stitching order. The start and end points of the
resultant object will be as close as possible to those of the source object.
9 Click OK.
Warning If angle lines in the offset object cross, they are removed
one-by-one until the object can be generated. If this happens, you are
prompted to continue.
Creating offset objects with variable spacings
Use Offset Object (Generate toolbar) to create accurate outlines for any filled
embroidery object or any closed vector object.

The Offset List allows you to specify up to eight offsets with different
spacings. All objects are created by offsetting from the original selection.
Offsets are cumulative.
To create offset objects with variable spacings

2 Click the Offset Object icon.
The Offset Object dialog opens.
Select rounded
or squared
corners
Select variable
offset
Choose a target
object type
Replace the
original object if
required
3 Select Use Offset List and click Offset List.

The Offset List dialog opens.
Specify offset
values
Select required
number of
offsets
4 Select the required number of offset objects using the checkboxes.

5 Set the offset values for different spacings and click OK.
The Result column gives you the cumulative total of each offset.
Offset Object: 2 Offset Object: 3 Offset Object: 4
6 Select other options as required. See Creating offset objects with fixed
spacings for details.
7 Click OK.
Filling holes in objects
Use Filled Holes (Insert menu) to create new objects from object outlines.
Create new objects from boundaries in Complex Fill or Fusion Fill™ objects
using the Filled Holes feature. This lets you fill holes formed by existing
boundaries, without having to re-digitize the shape. When you fill a hole, a
new object is created using the current fill stitch type. You can choose to fill
the hole exactly or offset it.
positive offset-gap
between objects
negative offset-
overlapping objects
To fill holes in objects

2 Select Insert > Filled Holes.

The Holes dialog opens.
Enter required offset
3 In the Offset field, enter the offset value.
Source object Offset: 0.00 Offset: 1.00 Offset: -1.00
To cover holes exactly, accept the default value of 0.00.

To leave a gap between the filled holes and the original object, enter
a positive offset (e.g. 1.00).
To overlap the filled holes and the original object, enter a negative
offset (e.g. -1.00). Overlapping the objects prevents gaps
appearing between them.
4 Click OK.
All holes in the object are converted to Complex Fill objects and are filled
with the current fill stitch type and color.
You can modify the outlines and object properties of the filled holes in
the normal way.
Note If you do not want to fill all the holes, select the unwanted new
objects, and press Delete.
Adding borders to designs
Use Borders (Generate toolbar) to edit letters in envelopes on-screen.

Add decorative borders such as rectangles, ovals, and shields to designs
using the Borders library. When you add a border, it is automatically sized
to fit the current design. Adjust border thickness and size as required.
To add borders to designs

1 Open the design.
2 Click the Borders icon.
The Select Border dialog opens.
Select border
Adjust border
width
Click to insert
3 Select a border and adjust the Border Width setting as required.

The default is 3.00 mm. This value can be adjusted after insertion in the
design.
4 Click Make Current.

The Select Border dialog closes and the border is generated to include
all design elements in the design window.
5 Change the thread color as required.
Note Thread color defaults to the last object in the design.

6 Adjust border size as required. See Reshaping embroidery objects for
details.
Digitizing for appliqué

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

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

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

vector objects to appliqué by selecting
them, then clicking the Auto Appliqué icon.

To create appliqué objects
1 Click the Auto Appliqué icon.
2 Digitize the boundary of the appliqué, by marking reference points
around the outline of the shape.
Click to create a corner point.
Right-click to create a curve point.
Tip Follow the prompts in the Prompt Line to help you digitize. If you
make a mistake, press Backspace to delete the last reference point, then
continue digitizing.
3 Press Enter to close the shape.
4 Click the outline to set the stitch entry and exit points or press Enter to
accept the defaults.
5 If prompted to do so, mark the frame-out position.
To use the current frame out values, press Enter. See also Adjusting
the default frame-out position.
To specify a frame out position, click a point on the design.
frame out
position
Note If you select None as the Frame Out option in the Object
Properties > Auto Appliqué dialog for both guide and tack stitching,
you will not be prompted to enter a frame out position. See Adjusting
guide run settings or Adjusting tacking settings for details.
6 Press Enter.

Up to four layers of stitching—guide run, cutting line, tack and
cover—are generated for the appliqué object, depending on the current
Auto Appliqué values.
Tip When you stitch out an appliqué object, the machine stops between
layers. Before you start, lay the fabric over the design and start the
machine. When the guideline has been stitched, trim the excess
appliqué material and start the machine again for the tack and cover
stitch.
Adjusting guide run settings
Right-click Auto Appliqué (Input toolbar) to adjust Auto Appliqué guide run
settings.
A guide run is a layer of run stitches around the outline of an appliqué

object. It is the first appliqué layer stitched and is used to position the
appliqué fabric on the background material. You can adjust the guide run
stitch length, offset and frame-out setting.
To adjust guide run settings

1 Right-click the Auto Appliqué icon.
Adjust settings for

guide run stitching
2 Enter Stitch length and Offset values as required in the Guide Run
panel.

A negative offset value moves the guide run within the outline, a positive
value moves it outside.
Offset: 1 mm Offset: -1 mm Offset: 0 mm
3 Select a Frame Out option to insert a Stop or Color Change function

after the guide run.
Note If you select None for both guide and tack stitching, you will not
be prompted to enter a frame-out position. See Creating appliqué
4 Click Apply.
Adjusting the default frame-out position
Right-click Auto Appliqué (Input toolbar) to adjust Auto Appliqué frame out
settings.
When you stitch out appliqué objects, you can set a frame-out position. This
shifts the hoop out from under the needle, making it easier to place and trim
the appliqué shapes. The frame-out settings determine the distance and
direction of the hoop movement.
To adjust the default frame-out position

Set frame out

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

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

settings.
Tacking is used to fix appliqué shapes to a background fabric before cover

stitching is applied. You can change the stitch type and settings used to
generate tacking, or choose to omit this layer altogether.
To adjust tacking settings

Select tack stitch type
Adjust settings for

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

If you do not require a tacking layer, select None.
tacking: E Stitch tacking: Zigzag

3 Select the tack stitch settings. Depending on the selected stitch type,
you can set different stitch properties:
Stitch Length: stitch length value for Run stitch only.
Spacing: stitch spacing value for E Stitch and Zigzag.
Count: number of stitch repetitions for Zigzag only.
Width: column width value for Zigzag and E Stitch.
Offset: negative offset value moves the tack stitching within the
outline, a positive value moves it outside (Run stitch only).
No. of Runs: number of runs between stitches for E Stitch only.
Inside/Outside: offset value as a percentage—the sum of both
equals 100%.
inside: 25% outside: 75% inside: 50% outside: 50% inside: 75% outside: 25%
4 Select a Frame Out option to insert a Stop or Color Change function

after the tack stitching.
Note If you select None for both guide and tack stitching, you will not
be prompted to enter a frame-out position.
5 Click Apply.
Adjusting cover stitch settings
Right-click Auto Appliqué (Input toolbar) to adjust Auto Appliqué cover stitch
settings.
The cover stitch is the Satin border around the appliqué shape. You can
change the width of the cover stitch, and offset it to the inside or outside of
the digitized outline. An extra line of stitching can be added if you need to
trim the appliqué fabric in position. If the fabric has been pre-cut, this
cutting line is not needed.
To adjust cover stitch settings


Adjust cover
stitch settings
2 In the Cover panel, adjust the cover stitch settings.

Width: enter the width of the Satin column.
Inside/Outside: offset value as a percentage—the sum of both
equals 100%.
inside: 10% outside: 90% inside: 90% outside: 10%
3 Select an appliqué cutting method.

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

Tip A cutting line is only generated if Trim in Place is selected. Place
the fabric patch after the placement line has been stitched, then trim
after the cutting line has been stitched.
4 Click Apply.
Tip Ungroup the auto-appliqué object, then Select All and generate the
stitches. You now have a guide stitch, cutting line, tack down and cover
stitch that are separate objects. This allows you to edit them separately
or resequence by color. This technique is useful when you have multiple
auto-appliqué objects in the same design.
Creating partial cover appliqué objects
Right-click Auto Appliqué (Input toolbar) to digitize appliqué objects. Select

Partial Appliqué (Stitch menu) to create appliqué objects with partial cover
stitching.
You can create appliqué objects with partial cover

stitching to create an overlapping effect without
doubling-up borders.
Tip Print a copy of appliqué patterns to use in

cutting out fabric pieces. Each appliqué pattern
piece is numbered according to the stitching
sequence. See Printing appliqué patterns for
details.
To create partial cover appliqué objects

1 Digitize appliqué shapes in the same way you digitize with Auto
Appliqué.

Note If the appliqué has holes, digitize the shape in the same way as
Complex Fill with Holes so that the software can recognize the holes.
2 Select the appliqué shapes in the group and select Stitch > Partial
Appliqué.
partial cover
unstitched part of
boundary
Note The cover stitches are generated in a clockwise direction between

the start and end points, leaving the rest of the boundary unstitched.

Chapter 20
Textured Fills
ES Designer provides special tools to

create textured effects from needle
penetrations. Use Stipple Run for
special stippled effects. Apply offset
fractions and partition lines to Tatami
fills to create split-line patterns.
Alternatively, apply Program Split or
Flexi Split to create decorative fills from
pre-defined patterns of needle
penetrations. Select from the library or
create your own. With User-Defined
Split, create your own split lines when
you want to add detail to filled objects.
This section describes how to apply
textures to fills, and how to adjust their settings to get the results you want.
Details of Tatami offsets and partition lines are explained, as well as how to
create textures with Program Split and Flexi Split. Adding details with
User-Defined Split is also covered.
Creating textures with stippling
Use Stipple Run (Generate toolbar) for special stippled effects.
Stippling is a method for creating textured fills of run stitching which

meanders more or less randomly within a border. It can be applied to closed
objects with a single stitch angle. You can control stitch density in Stipple

objects by adjusting stitch length and loop spacing. See Corresponding
object and stitch types for details.
Note When creating Stipple objects, you need to preset the stitch values.
You can, however, adjust the stitch settings of the generated Run object via
the Object Properties dialog.
To create a texture with stippling

1 Create a closed curve object of some kind and select it.
2 Click the Stipple icon.
The Stipple dialog opens.
Adjust stitch
settings
Choose whether to
replace original
object

3 Adjust the Stitch Length as required.
Stitch length: 0.25 mm Stitch Length: 0.75 mm Stitch Length: 1.5 mm
4 Adjust Minimum Stitch Length and Chord Gap as required.
Min stitch length: 0.1 mm Min stitch length: 0.4 mm Min stitch length: 0.7 mm
Chord Gap: 0.01 mm Chord Gap: 0.03 mm Chord Gap: 0.05 mm
5 Adjust the Loop Spacing as required.
Loop Spacing: 1.0 mm Loop Spacing: 2.0 mm Loop Spacing: 3.0 mm
6 Choose whether to preserve the original object or replace it with the

generated stipple object.
7 Click OK.
ES 2006 Chapter 20 Textured Fills 448

Tip You can change run stitch settings of stipple objects in the Object
Properties dialog. You can even change run stitch type—e.g. Triple Run,
Stemstitch, Backstitch, etc.
Stipple with Stemstitch Stipple with Satin Stipple with Backstitch
Creating textures with Tatami offsets
Use Tatami (Stitch Types toolbar) to apply to new or selected objects.

Right-click to adjust settings.
With Tatami fills you can specify how each row is offset in order to create
patterns formed by needle penetrations. You do this by adjusting either
offset fractions or partition lines. With only two offsets available, the number
of patterns is limited, but even with small offsets, visible lines are produced.
Partition lines, with up to eight offsets, can create more patterns. Using a
random factor you can eliminate patterns formed by regular needle
penetrations and distribute stitches randomly inside the shape.
Tatami Offset Partition Lines Random Factor
Tip Auto Split can be used to create special textures in Satin stitches as an
alternative to Tatami fill. See Splitting long stitches with Auto Split for
details.

Setting Tatami offset fractions
Use Tatami (Stitch Types toolbar) to adjust Tatami offset fractions.
The Tatami offset default settings are designed to create a needle

penetration pattern or texture in the stitched embroidery that is uniformly
flat and smooth. The texture is like a woven Tatami mat without obvious split
lines. By manipulating offset fractions, you can create textured fills where
the stitch penetrations are more clearly visible.
default offset values textured fill stitch penetrations visible
To control the patterns created by needle penetrations you set offset

fractions for both forward and backward rows. Offsets for each row are
defined as fractions of stitch length—e.g. 0.3 = 30%.
Tip By adjusting the offsets, you can also improve the quality of turning
Tatami where the pattern may be disturbed by non-parallel stitches.
Changing the offsets can reduce this interference.
To set Tatami offset fractions

Select Offset Fraction
Enter offset fraction values
2 Select the Offset Fraction option.

3 In the A: and B: fields, enter the offset fraction values you require.

Different combinations of offset settings create different effects.
A=0.00, B=0.00 A=0.50, B=0.50 A=0.25, B=0.25
A=0.50, B=0.25 A=0.30, B=0.60 A=0.40, B=0.00
Even stitching: set both fields to 0.25.

Strong horizontal lines: set both fields to 0.00 or 1.00. The
distance between each line of needle penetrations is the stitch
length.
Light horizontal lines: set both fields to 0.5. Lines are produced at
half stitch-length intervals.
offset: A=0.3, B=0.6 offset: A=0.3, B=0.6 offset: A=0.3, B=0.6

stitch length: 4 mm stitch length: 3 mm stitch length: 2 mm
Diagonal lines: set both fields to any value other than 0.00, 0.50
and 1.00. Diagonal lines are less noticeable than horizontal or
vertical lines. Vary both values to change the angle of the lines and
the distance between them.
Other: set one field to 0.00, and experiment with the other values
to place the needle penetrations on the forward and backward rows
close to each other, but with different effects.

Note If A-B offsets add up to 1.0, the lines will be horizontal. If the sum
is less than 1.0, the lines will slope down, more and they slope up. The
mirror image of ‘A=0.3 and B=0.6’ is ‘A=0.7 and B=0.4’. That is, the
mirror of A and B is 1.0-A and 1.0-B.
A=0.30, B=0.60 A=0.50, B=0.50 A=0.70, B=0.40
4 Click Apply.
Applying Tatami partition lines
Use Tatami (Stitch Types toolbar) to adjust Tatami partition lines.
The Partition Line feature provides an alternative method for offsetting

needle penetrations in Tatami fills. Two parameters can be set—Sequence
and Angle.
Setting the sequence

Partition Line allows you to specify up to eight Tatami offsets. Each stitch
length is split into ‘knots’ numbered anywhere from 0 up to 7. For example,

a typical partition sequence number might be 20143. This translates to the
following pattern.
stitch length
knot 2
row 1
knot 0 knot 0
row 2
knot 1
row 3
knot 4
row 4
knot 3
row 5
In this partition sequence (20143), there are five rows of stitches indicated
by the five digits. The stitch length is also divided into five knots numbered
0 to 4. (In any pattern, both the number of rows and the number of knots
are determined by the number of digits in the sequence number.)
The first digit in the sequence, 2, is the knot number at which the needle
penetration will occur in the first row. The second digit, 0, is the knot
assigned to the second row. And so on. Thus, each row in a partition
sequence is assigned a digit which represents a particular knot.
Note Because Partition Line allows you to specify only up to eight Tatami
offsets (0 to 7), the software ignores digits 8 and 9 and nothing appears in
the entry field.
Setting the angle

If you imagine lines drawn through the rows and partition knots, they form
a grid, as seen above. You can skew the grid formed by the partition knots
to further vary the needle penetrations. For example, the partition sequence
20143 at a 45° angle produces the following stitch pattern:
row 1
row 2
row 3
row 4
row 5

To apply partition lines
Select Partition Line
Enter partition sequence

and grid angle
2 Select the Partition Line option.

3 In the Sequence field, enter the partition sequence number.
In any pattern, both the number of rows and the number of knots are
determined by the number of digits in the sequence number. See Setting
the sequence for details.
Sequence: 11 Sequence: 012 Sequence: 01
4 In the Angle field, enter the grid angle you require. See Setting the
angle for details.
Sequence: 11
Angle: 135
Sequence: 11
Angle: 45
5 Click Apply.

Applying random factors
Right-click Tatami (Stitch Types toolbar) to apply random factors and

eliminate split line patterns.
Using a random factor you can eliminate the split line patterns formed by
regular needle penetrations and distribute the stitches randomly inside the
shape. This can create interesting mottled effects.
Random factor: 50%
Random factor: 0%
To apply random factors

Enter random factor

2 In the Random field, specify a random factor between 0% and 100%.
random factor: 10% random factor: 50% random factor: 100%

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

3 Click Apply.
Creating textures with program splits
Use Program Split (Stitch Types toolbar) to create decorative fill stitches
where needle penetrations form a tiled pattern. Right-click to adjust settings.
Program Split is a decorative fill stitch in which the needle penetrations form
a tiled pattern. Select a pre-defined pattern or create your own.
Note For a complete catalog of samples, see Program Split Samples.
Applying Program Split
Click Program Split (Stitch Types toolbar) to apply the effect to new or
selected objects.
You can apply Program Split to a wide variety of objects. The current
Program Split values are set in the Object Properties > Fills dialog. You
can adjust these either before or after applying the effect. See also
Corresponding stitch types, input methods, and effects.

To apply Program Split
Click the Program Split icon.
Program Split stitching is applied to new or selected objects, based on
the current Program Split settings.
Tip Turn on TrueView or click the Show Needle Points icon to see the
Program Split effect.
Selecting and sizing program split patterns
Right-click Program Split (Stitch Types toolbar) to select patterns.
You can select a wide variety of program split patterns from the Object
Properties dialog. Select the pattern either before or after digitizing the
object. Set the exact program split pattern size in the Object Properties
dialog.
Note For a complete catalog of samples, see Program Split Samples.
To select program split patterns

1 Right-click the Program Split icon.

The Object Properties > Fills > Program Split dialog opens.
pattern preview
Click to expand Click to select pattern
pattern list
Select pattern
Enter pattern width
and height
2 Select a pattern from the dropdown list.

Alternatively, click the arrow button to expand the pattern list for
TrueView representations of patterns and select one.
3 In the Size X field, enter the required width of each fill pattern.
4 In the Size Y field, enter the required height of each fill pattern.
default values Size X and Size Y Size X increased

decreased
5 Click Apply.
Selecting Combination Split options
Right-click Program Split (Stitch Types toolbar) to access Combination Split

options.
Standard program split consists of a Satin foreground and background—i.e.

Satin-in-Satin. In effect it is a Satin stitch with a complicated user-defined
split. If the patterns do not overlap you may get jump stitches occurring in
the background. In this case, you can select from different combinations of
Satin and Tatami stitches. There are two possible
combinations—Satin-in-Tatami and Tatami-in-Tatami. Tatami in

combination with Satin also offers a different, flatter look to standard
Satin-in-Satin.
Satin-in-Satin Satin-in-Tatami Tatami-in-Tatami
To select Combination Split options

Satin-in-Satin Tatami-in-Tatami
Satin-in-Tatami
2 In the Combination Split panel, click the icon you require.

Satin-in-Satin: The needle penetrates the fabric only where the
patterns intersect the stitch rows. This is the standard program split
stitch type, which produces the smallest number of stitches.
Satin-in-Tatami: The foreground of the pattern uses Satin
stitching, while the background is filled with Tatami. Use this option
to avoid long stitches when the patterns are small but the column
and row spacings are wide.
Tatami-in-Tatami: Both foreground and background use Tatami.
Select this option for large objects and patterns to avoid long
stitches.
Satin-in-Satin Satin-in-Tatami Tatami-in-Tatami
3 Click Apply.

Adjusting column and row spacing settings
Right-click Program Split (Stitch Types toolbar) to access column and row
spacing settings.
Set the exact row and column spacing in program split objects. Column and
row spacing settings determine the distance between grid lines. Patterns are
placed at intersection points—the center of each pattern coincides with an
intersection.
default spacing values column spacing increased row spacing decreased
The initial settings define a simple grid, where the spacing equals the
dimensions of the pattern. The row offset is set to 0.00 mm so columns and
rows are perpendicular.
Note Spacing is measured from the start of each pattern. Thus, to define
a new spacing setting, add the distance you require between patterns to the
original setting. Reducing it will cause the patterns to overlap.
To adjust column and row spacing settings

Set column spacing

and offset values
Set row spacing and

offset values
2 In the Column panel, set the spacing and offset settings for columns in
the pattern grid.
Spacing: the distance between each vertical column of patterns.

Offset: the distance by which to offset patterns in each column.
3 In the Row panel, set the spacing and offset settings for rows in the
same way as for columns.
default spacing values column spacing increased row spacing decreased
4 Click Apply.
Adjusting program split stitch settings
Right-click Program Split (Stitch Types toolbar) to adjust stitch settings.
Specify the stitch length, minimum stitch length and spacing settings for
program split objects, in the same way as for other fill stitch types.
To adjust program split stitch settings

Adjust stitch spacing, length

and minimum length
2 In the Stitch Spacing field, enter the required spacing.

For Tatami this is the distance between two forward rows of stitches, for
Satin, the distance between each forward stitch.
3 In the Length field, enter the stitch length.
This is the maximum stitch length to be generated in the fill.

4 In the Min Len field, enter the length of the shortest stitch to be
generated.
default spacing values stitch spacing increased stitch spacing decreased
5 Click Apply.
Adjusting program split offset settings
Right-click Program Split (Stitch Types toolbar) to adjust row and column
offset settings.
With all three program split combinations—Satin-in-Satin,

Satin-in-Tatami and Tatami-in-Tatami—you can vary the pattern by
applying offset settings to rows and/or columns. Using Tatami in
combination with Satin offers a different, flatter look to standard
Satin-in-Satin. With these combinations, you can also provide background
texture with Tatami stitch offsets.
Column and row offsets

The column and row offsets determine the angle of the grid lines by shifting
rows and/or columns relative to each other. If both offsets are set to ‘0’, the
grid lines are perfectly vertical and horizontal. As a rule, it only makes sense
to use values between 0 and half the pattern size. For example, if the
pattern is 8 mm, select row and column offsets between 0 mm and 4 mm.
column and row offset: 0 row offset: 3 column offset: 3 column and row offset: 3
Tatami stitch offsets

When using Tatami stitch in the program split combinations Satin-in-Tatami
or Tatami-in-Tatami, you can also control Tatami stitch offsets. In effect,

Tatami stitch becomes the background pattern with the program split
superimposed. Tatami is mainly used to avoid long stitches, so it should not
have a distinct appearance which may obscure the program split pattern.
Therefore, typical offsets are in the range 0.2 mm to 0.4 mm. See also
Creating textures with Tatami offsets.
offset A: 0 offset A: 0.25 offset A: 0.4 offset A: 0.75
To adjust program split offset settings

Enter stitch
Enter column offset
offset
Enter row offset
2 Enter an offset for each column of the pattern in the Column > Offset
field.
column offset: 1.00 column offset: 2.50 column offset: 4.00
Tip As a rule, it only makes sense to use values between 0 and half the
pattern size. For example, if the pattern is 8 mm, select row and column
offsets between 0 mm and 4 mm.

3 Enter an offset for each row of the pattern in the Row > Offset field.
row offset: 1.00 row offset: 2.50 row offset: 4.00
4 Enter a stitch offset in the Stitch > Offset A field.

This offset controls where the needle penetrations line up for each row
of stitching.
offset A: 0.00 offset A: 0.25 offset A: 0.50
5 Click Apply.
Applying program split random factors
Right-click Program Split (Stitch Types toolbar) to adjust random factor

setting.
You can eliminate unwanted patterns and distribute stitches evenly within a
shape using a random factor. Apply random factors to program splits that
use combinations of Satin-in-Tatami or Tatami-in-Tatami.
Note The random factor does not affect the deliberate needle penetrations
that form the pattern.
To apply program split random factors


Enter random factor value
2 Enter a value in the Random field—specify a factor between 0% and

100%.
random factor: 0% random factor: 25% random factor: 90%
Tip Values of around 50% generally give good results.

3 Click Apply.
Laying out program split patterns on-screen
Right-click Program Split (Stitch Types toolbar) to adjust layout options.
You lay out program splits on-screen in a similar way to Motif Fills by using
‘guide patterns’ to scale, space, transform and offset the entire pattern fill.
There are three blue guide patterns. Other sample patterns appear in
yellow. Each guide pattern lets you change different elements of the layout.
When you change a guide pattern, all patterns in the fill change accordingly.
See also Laying out motif fills on-screen.

Tip Generally you define the layout of the fill before digitizing the object. If
it is important to align the patterns with the object boundary, digitize the
object using the current settings, and change the layout afterwards.
To lay out program split patterns on-screen

Select pattern
Click to change
pattern layout

3 Click Layout.
Sample and guide patterns appear in the design window. When you
change a guide pattern, all patterns in the fill change accordingly.
Use top guide pattern to change row

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

Use side guide pattern to
move, rotate, skew, and
scale patterns change column spacing, and to
scale patterns
Tip Zoom in to select the correct guide pattern.

4 Adjust the guide patterns to achieve the effect you require.
Move patterns by selecting the middle guide pattern and dragging it
to a new position.

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

pattern horizontally
Scale vertically
Rotate patterns by clicking the middle guide twice to display the

rotation handles. Click a corner handle and drag to rotate.
Skew patterns by clicking the middle guide twice, then dragging the
skew handles.
rotate
anchor
skew
Change column spacing by selecting the side guide and dragging it

left or right.

Change column offset by selecting the side guide and dragging it up
or down.
Change column
spacing
Change
offset
Change row spacing and offsets in the same way as columns.
Change row
spacing
Change
offset

The size and layout settings you select become the current Program Split
settings.
Tip To revert to the original factory settings, run the Revert utility. See
Reverting to factory settings for details. Alternatively, enter the values
manually in the Object Properties > Fills > Program Split dialog and
click Save. See Program Split Samples for details.
6 Digitize the object outline as you normally would.

Note Digitize the stitch angle carefully when creating objects filled with
program split. The needle penetrations are placed where the lines of the
pattern intersect the stitch rows. If the rows are parallel with the lines
of the pattern, they will rarely intersect, and the pattern may not be
visible. A 45° stitch angle is suitable for most patterns.
Making program split patterns

Make your own patterns to use in program split fills. Create patterns from
the outlines of embroidery objects or from drawing objects.
Note Patterns you create can also be used for Flexi Split effects.
To make program split patterns

1 Select the object (or objects) you want to use for the pattern.
2 Select Special > Make Program Split.

The Make Program Split dialog opens.
Enter pattern A-My Program Split

name
3 Enter a name in the Make Program Split dialog.

You are prompted with a confirmation message.
4 Click OK.
The new pattern is automatically selected in the Pattern list.

Editing program split patterns
Editing a pattern changes the actual pattern, not just the object layout. See
also Laying out program split patterns on-screen.
To edit program split patterns

Select pattern
Click to edit pattern
2 Select a pattern and click Edit.
Edit pattern
The pattern appears in the design window.
Tip Press Shift+0 to zoom in on the pattern.

3 Scale, transform or reshape the pattern as required.
See Arranging and Transforming Objects for details.
See Converting and Reshaping Objects for details.
4 Select Special > Make Program Split with the pattern selected.
The Make program Split dialog opens.
Enter pattern A-My New Program Split

name

5 Enter a name for the pattern in the Make Program Split dialog.
To create a pattern based on the old one, enter a new name.
To overwrite the original pattern, enter the name of the original.
6 Click OK.
The pattern is automatically selected in the Pattern list.
Creating textures with Flexi Split

Flexi Split is a decorative effect where one or more
lines of a program split pattern are used in the
object fill. The pattern follows the stitch angle and
may be scaled to fit the width of the object. There
are four different Flexi Split effects. Use the existing
patterns for Flexi Split or create your own. See also
Making program split patterns.
Applying Flexi Split
Use Flexi Split (Stitch Types toolbar) to apply a decorative effect to new or
selected objects. Right-click to adjust settings.
You can apply Flexi Split to a wide variety of object and stitch types. It is
intended for use with objects with turning stitches or constantly changing
column width. You can adjust Flexi Split values either before or after
applying the effect. See also Corresponding stitch types, input methods, and
effects.
To apply Flexi Split

Select an object and click the Flexi Split icon.
The effect is applied based on the current Flexi Split settings.

You can also activate the effect with no objects selected. It then applies
to all newly created objects.
Tip Turn on TrueView or click the Show Needle Points icon to see the
effect of Flexi Split.
Selecting Flexi Split patterns and options
Right-click Flexi Split (Stitch Types toolbar) to select patterns and options.
You select Flexi Split patterns and options from the Object Properties >
Flexi Split dialog.
To select Flexi Split patterns and options

1 Right-click the Flexi Split icon.
The Object Properties > Flexi Split dialog opens.
Pattern preview
Select Flexi Split
Click to expand Click to select pattern

pattern list
Select pattern
Select option
2 Select the Flexi Split checkbox.

4 Select one of four Flexi Split options.
5 Adjust size and spacing settings as required. See Adjusting Flexi Split
6 Click Apply.
Adjusting Flexi Split settings
Right-click Flexi Split (Stitch Types toolbar) to adjust settings.
You can adjust Flexi Split settings to vary size, shape indent, spacing and
pattern offsets.
To adjust Flexi Split settings

1 Right-click the Flexi Split icon.
The Object Properties > Flexi Split dialog opens.
Select Flexi Split
Select pattern
Select Flexi
Split option
Enter
dimensions of
largest pattern
Enter distance
between first pattern
and first stitch line
Enter spacing
and offsets
2 Select the Flexi Split checkbox.


TrueView representations of patterns and select one. See also Selecting
Flexi Split patterns and options.
4 In the Size X and Size Y fields, enter the dimensions of the largest
pattern in the effect.
5 In the Indent field, enter the distance between the first pattern and the
first stitch line.
default indent values Indent: 2 mm Indent: 4 mm
6 In the Column panel, enter spacing and offset settings as required:

Spacing: the distance between each column of patterns in the
effect.
Offset: the distance by which each pattern repeat is offset.
default column values column spacing column offset value

decreased changed
Note If you selected an option that uses more than one row of patterns,
the fields in the Row panel are available.
7 In the Row panel, enter spacing and offset settings as required.
default column and row column and row spacing row offset value changed
values decreased
8 Click Apply.

Creating user-defined splits
User-Defined Split lets you add detail to filled
objects by digitizing lines of needle
penetrations called ‘split lines’. Split lines are
stored as object properties. They are
preserved when stitches are regenerated
even if you apply a different stitch type.
Note Split lines are not part of the object outline and cannot be reshaped
with the rest of the object.
Creating new objects with User-Defined Split
Use User-Defined Split (Stitch Types toolbar) to create your own split line
effects. Right-click to adjust settings.
Select User-Defined Split before digitizing to add split lines to new objects.
As you digitize, you are prompted to enter the split lines. You digitize them
in the same way as Run objects. You can define multiple splits if required.
Tip Satin is the most suitable stitch type for User-Defined Split as there are
no initial needle penetrations inside the shape.
To create new objects with User-Defined Split

1 Select a fill input method and stitch type.
2 Click the User-Defined Split icon.
3 Digitize the object boundaries, entry and exit points and stitch angle as
you normally would, following the prompts in the Prompt Line.
4 Digitize a split line over the object when prompted, then press Enter.

Repeat this step for additional split lines.
Digitize object outline Digitize split line Generate stitches
Tip For best results, digitize split lines approximately perpendicular to

the stitch angle.
5 Press Enter.
Applying User-Defined Split to selected objects
Use User-Defined Split (Stitch Types toolbar) to apply the effect to selected
objects. Right-click to adjust settings.
Add split lines to an existing object by

digitizing the required line over it, then
converting it to a split line. Digitize the
split line using an input method—e.g.
Run—or a vector drawing tool.
To apply User-Defined Split to selected objects

1 Select an input method or drawing tool to digitize the split line.
Tip Use any input method—including fill input methods—as only the
outlines are used to create the split lines.
2 Digitize a split line on top of the filled object, using left and right-clicks
to enter reference points, and press Enter.

To create more than one split line, repeat this step.
Tip To use existing objects to create split lines, simply move the object
on top of the filled object you are creating lines for.
3 Select the split line object (or objects).
4 Select Special > Make Lines For > User Defined Split.
5 Press Delete to remove the split line object (or objects).
6 Select the filled object on which you digitized split lines.
7 Click the User Defined Split icon.
Tip Turn on TrueView or click the Show Needle Points icon to view the
effect.
Splitting alternate lines
Right-click User-Defined Split (Stitch Types toolbar) to apply split lines.
The User-Defined Split feature sometimes creates a split line which is too
hard for certain applications such as Schiffli design work. The Split
Alternate Stitch Lines setting softens the split line.
To split alternate lines

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

The Object Properties > Decorative dialog opens.

3 Select the Split Alternate Stitch Lines checkbox.
Select to soften split line
4 Click Apply.
Split lines are softened.
split lines
applied

Chapter 21
Artistic Stitch Effects
ES Designer provides many

artistic effects and stitch types to
create textured and contoured fill
stitching.
Use Jagged Edge to create rough
edges, shading effects, or imitate
fur and other fluffy textures.
Apply Trapunto effect to move
underlying travel runs to the edges
of an object so that they can’t be
seen through open stitching.
Accordion Spacing varies stitch
spacing between dense and open
fill, producing shading and color
effects which are difficult to
achieve manually. The Color Blending effect creates interesting
perspective, shading and color effects by blending two colored layers. The
colors are merged smoothly from one to another using a mixture of dense
and open fill.
Create interesting ‘chiaroscuro’ effects with Contour. Choose between
Standard and Spiral. For another type of curved effect, use Florentine Effect
to curve needle penetrations along a digitized line. Liquid Effect allows you
to enter twin guidelines.
This section describes how to create artistic effects with Jagged Edge,
Accordion Spacing, and Color Blending, and how to adjust their settings to
get the results you want. Creating contoured stitch effects with the Contour
feature is also covered, as well as how to create curved fills with Florentine
Effect and Liquid Effect.
Tip ES Designer also provides special tools to create patterns from needle
penetrations. These include Program Split, User Defined Split and Flexi
Split. See Textured Fills for details.

Creating jagged edges
Use Jagged Edge to create rough edges, shading effects, or imitate fur and
other fluffy textures. See also Corresponding stitch types, input methods,
and effects.
Note Jagged Edge does not work with Contour stitch.
Applying Jagged Edge
Click Jagged Edge (Stitch Types toolbar) to apply the effect to new or
selected objects.
Apply Jagged Edge to create a rough edge along one or more sides of an
object. Change settings before or after applying the effect. See Adjusting
Jagged Edge settings for details.
To apply Jagged Edge

Click the Jagged Edge icon.
The effect is applied to new or selected objects, based on the current
Jagged Edge settings.
side 1 jagged side 2 jagged both sides jagged
Tip For objects filled with Tatami, use Diagonal backstitch for the best
results. See Selecting a Tatami backstitch for details.
ES 2006 Chapter 21 Artistic Stitch Effects 480

Adjusting Jagged Edge settings
Right-click Jagged Edge (Stitch Types toolbar) to adjust Jagged Edge

settings.
Adjust Jagged Edge settings to change the side of the object to which the
effect is applied. You can also set the range within which stitches will fall.
To adjust Jagged Edge settings

1 Right-click the Jagged Edge icon.
The Object Properties > Decorative dialog opens.
Select Jagged
Edge
Adjust Jagged
Edge settings
2 Select the Jagged checkbox.

3 Select the side to apply the effect to—Side 1, Side 2, or Both Sides.
Side 2 Both Sides Side 1

4 In the Roughness field, enter a value between 1 and 10 to indicate the
required degree of jaggedness. The larger the value, the more variation
in the stitch length.
Roughness: 1 Roughness: 5 Roughness: 10

Range: 5 Range: 5 Range: 5
5 In the Range field, enter the margin within which you want the stitches
to fall.
Range: 1.5
Range: 4
6 Click Apply.
Creating open stitching with Trapunto
Use Trapunto (Stitch Types toolbar) to force underlying travel runs to the
edges of a selected object. Right-click to adjust Trapunto settings.
‘Trapunto’ traditionally refers to quilting in which a design is outlined with

two or more rows of running stitches and then padded from the underside
to achieve a raised effect. For a consistent ‘puffed’ look, rows need to be
separated with fixed spacing. In ES Designer, the Trapunto effect is
typically used in combination with open stitching to fill backgrounds or for

shading effects where the absence of travels under the fill is more important
than exact spacing.
Complex Fill / Tatami Complex Fill / Tatami

object without object with Trapunto
Trapunto effect effect
The Trapunto effect automatically moves underlying travel runs to the edges
of an object so they can’t be seen. It also applies consistent row spacing and
prevents segments from overlapping, regardless of the Overlapping Rows
setting. Without it, travel runs, spacing variations and overlapping rows
between segments are visible and can spoil the effect of open stitching.
Another major use of Trapunto is with color blending which is created by a
combination of Trapunto and Accordion Spacing. Accordion Spacing extends
the usefulness of Trapunto by providing a simple way to produce variation
in a filled pattern and the illusion of depth in a design. Trapunto and
Accordion Spacing can also be combined with Liquid and Florentine effects
to produce curved color blending. See also Creating color blending effects
and Creating curved fills with Florentine Effect.
Note The Trapunto feature is only available with Complex Fill objects using
Tatami stitching.
To create open stitching with Trapunto

1 With or without a Complex Fill object selected, right-click the Tatami
icon.
2 In the Stitch Spacing field, enter the required stitch spacing.

The larger the value, the more open the spacing.
3 Click Apply.
4 With the Complex Fill object selected, click the Trapunto icon.
Travel runs and overlapping rows are removed and consistent row
spacing applied.
Spacing: 5 mm Spacing: 3 mm
Note Trapunto effect overrides whatever Tatami Backstitch settings

currently apply. See also Selecting a Tatami backstitch.
Creating accordion spacing effects
Use Accordion Spacing (Stitch Types toolbar) to vary stitch spacing between
dense and open fill. Right-click to adjust settings.
Accordion Spacing varies the stitch spacing between dense and open fill,
producing shading and color effects which are difficult to achieve manually.
Eight different Accordion Spacing effects are available. When you use
Accordion Spacing, the current spacing settings—including Auto Spacing
and Fractional Spacing—are ignored. However, other stitch effects will still
apply. See also Corresponding stitch types, input methods, and effects.
Tip Apply Trapunto effect to force underlying travel runs to the edges of an
object so that they can’t be seen through open stitching. See Creating open
stitching with Trapunto for details.

Applying Accordion Spacing
Click Accordion Spacing (Stitch Types toolbar) to apply the effect to new or
selected objects.
Use Accordion Spacing to create perspective effects and shading.
maximum
spacing
minimum
spacing
You can apply it using the current settings. These can be adjusted and the
type of Accordion Spacing changed either before or after you apply it.
Tip You cannot use Accordion Spacing with Contour stitch or Motif Fill.
However, you can also use Accordion Spacing over standard Tatami to create
interesting shading effects.
To apply Accordion Spacing

Click the Accordion Spacing icon.
The effect is applied to new or selected objects, based on the current
Accordion Spacing settings.
Adjusting Accordion Spacing settings
Right-click Accordion Spacing (Stitch Types toolbar) to adjust settings.
Use the Object Properties dialog to select the Accordion Spacing type and
set the minimum and maximum spacings.
Tip Because of the open stitch, Accordion Spacing is best used without
Auto Underlay.
To adjust Accordion Spacing settings

1 Right-click the Accordion Spacing icon.

The Object Properties > Accordion dialog opens.
Select Accordion Spacing
Select spacing effect
Adjust spacing settings
2 Select the Accordion Spacing checkbox.

3 In the Profile panel, click an Accordion Spacing icon.
4 In the Values panel, enter new spacing values as required.

Maximum Spacing: the largest spacing value to allow.

Minimum Spacing: the smallest spacing value to allow.
max spacing: 3.5 mm max spacing: 6 mm min spacing: 1 mm min spacing: 3 mm
Tip Apply Trapunto effect to force underlying travel runs to the edges
of an object so that they can’t be seen through open stitching. See
Creating open stitching with Trapunto for details.
5 Click Apply.
Creating color blending effects

From sunsets to wood grains, the Color Blending effect creates interesting
perspective, shading and color effects by blending colored layers. Two colors
are merged smoothly from one to another using a mixture of dense and
open fill. The effect is created by duplicating the object, then applying
Accordion Spacing and Trapunto to both layers which are then grouped.
There are four Color Blending effects—linear stitch spacing, exponential
spacing, convex or concave spacing, and wavy spacing.
Color Blending can be applied to ungrouped objects filled with Satin, Tatami,
Zigzag, E Stitch, or Program Split stitch, or objects outlined with Satin or
E Stitch.
Applying Color Blending
Click Color Blending (Generate toolbar) to apply the effect to selected

objects.

Use the Color Blending effect to create color blends, perspective effects
and shading. Select which type of Color Blending to use, and set the spacing
settings in the Color Blending dialog.
maximum
spacing
minimum
spacing
Note Color Blending cannot be applied to grouped objects. Ungroup, select

the object, then apply Color Blending.
To apply Color Blending

1 Select the object.
2 Click the Color Blending icon.
The Color Blending dialog opens.
Select first
Spacing effect
Select first color

Select first
spacing
Select second
Spacing effect
Select second color

Select second
spacing
3 In the Top Layer panel, select a profile and color, and set spacing
values.
4 Repeat this step with the Bottom Layer panel.

5 Click OK.
Top and Bottom Layer Top and Bottom Layer Top and Bottom Layer Top and Bottom Layer
Linear Profile Exponential Profile Convex Profile Wave Profile
Tip To prevent underlay stitching from showing through, deselect Auto

Underlay. Trapunto effect is applied by default. See also Strengthening
and stabilizing with automatic underlays and Creating open stitching
with Trapunto.
Adjusting Color Blending settings

Objects with Color Blending can be resized, rotated and skewed without
losing the color blending effect. However, reshaping the object is not
recommended. Editing a Color Blending object is limited. The two objects
must first be ungrouped and the separate objects edited according to
Accordion Spacing settings such as color, profile, and spacing. See
Creating accordion spacing effects for details.
To adjust Color Blending settings

1 Select the blended object and ungroup it.
2 Select one of the objects and change the color as required.
3 Double-click the object to open the Object Properties dialog.

4 Click the FX button and select the Accordion tab.
Select spacing effect
Adjust spacing settings
5 Select a profile and adjust spacing settings as required.

6 Click Apply.
7 Repeat the process for the second object and re-group the objects.
Creating contoured stitch effects
Use Contour (Stitch Types toolbar) to create curved fills where stitches follow
the contours of the shape. Right-click to adjust Contour settings.
‘Contour’ is a curved fill stitch type—stitches follow the contours of a shape,

creating a curved, light and shade effect. It only works on columnar shapes.
There are two types—Standard and Spiral—both of which can be applied
to a variety of objects. See also Corresponding object and stitch types.
Standard Contour
Standard Contour creates rows of stitches across the shape, perpendicular
to the digitized stitch angle. The number of stitch lines is constant, so the

stitching is denser where the shape is narrower, and more open where the
shape is wider.
Standard Contour
Spiral Contour
Spiral Contour creates a single, continuous line of stitching that spirals
around to fill the shape. Typically, it is used for rings and borders, but it is
also suitable for other closed shapes.
Spiral Contour
circle with Spiral Contour

created from a ring
Spiral Contour can only be used with closed shapes with two outlines such
as rings. If a shape is not properly closed, it will be filled with Standard
Contour instead. You cannot use Spiral Contour with Circle objects.
Tip To fill a solid shape with Spiral Contour, create a closed object with a
very small hole at the center. For example, to create a circle filled with Spiral
Contour, digitize a thick ring with a very small inner boundary.
Applying Contour stitch to fills
Click Contour (Stitch Types toolbar) to apply Contour stitch to new or

selected objects.
Apply Contour to filled objects in the same way as other stitch types—by
selecting it from the toolbar either before or after digitizing.

To apply Contour stitch to fills
Click the Contour icon.
Contour stitch is applied to selected objects based on the settings in the
Object Properties dialog. See Adjusting Contour stitch settings for
details.
Tip When you digitize shapes with pointed ends—e.g. leaves,

diamonds, stars—cut the ends to prevent the stitches from bunching.
2 3
4
1 5
Input B
6 10
7 9
8
3
2 4
1 stitch bunching
Input B
8 at sharp ends
5
7
6
Selecting Contour stitch types
Right-click Contour (Stitch Types toolbar) to select Contour stitch types.
Apply Standard or Spiral Contour to new or existing objects in a design.
To select Contour stitch types

1 Right-click the Contour icon.
The Object Properties > Fills > Contour dialog opens.
Select contour type
2 In the Type panel, click a contour type icon.

Standard: lays rows of stitches back and forth along the shape.
Spiral: fills the shape with a continuous spiral of stitches.
Standard
Spiral
3 In the Backstitch panel, click a backstitch type icon.

Standard: creates backstitch rows that are slightly shorter than the
forward rows, reducing small stitches. Suitable for high density fills.
Borderline: creates parallel backstitch rows to give a smooth,
well-defined edge. Suitable for lower density fills.
Standard
Borderline
Note If the spacing is small, Borderline backstitch will not be applied.

This is to prevent damage to the fabric from the large number of small
stitches that are generated.
4 If required, adjust the Contour stitch settings. See Adjusting Contour
stitch settings for details.
5 Click Apply.
Adjusting Contour stitch settings
Right-click Contour (Stitch Types toolbar) to adjust Contour stitch settings.
Set the stitch settings for Contour fills to adjust the stitch length, spacing
and offset fraction.
To adjust Contour stitch settings

1 Right-click the Contour icon.

The Object Properties > Fills > Contour dialog opens.
Adjust offset setting
Adjust variable
stitch settings
2 In the Length field, enter an approximate stitch length.

Each stitch is adjusted to distribute the stitches evenly throughout the
shape. See Adjusting Tatami stitch spacing and length for details.
stitch length
3.6 mm
stitch length
1.5 mm
3 In the Spacing field, enter the maximum spacing value.

This value is used at the widest part of the shape. As the shape narrows,
the spacing decreases. See Adjusting Tatami stitch spacing and length
for details.
stitch spacing:
3.0 mm
stitch spacing:
1.5 mm
4 In the Offset Fraction field, enter the required offset value.

The offset fraction controls the pattern of needle penetrations to achieve
even distribution of stitches and prevent needle penetrations from
forming unwanted lines.
default offset: 0.25 mm, too big offset: 1 mm,

stitches evenly distributed unwanted lines
5 In the Vary Stitch Length panel, set the variable stitch length values,
if required. See Setting variable run stitch lengths for details.
Variable Length selected, Variable Length not selected,

stitch values vary stitch values fixed
6 Click Apply.
Creating curved fills with Florentine Effect

Florentine Effect can be applied to Complex Fill objects to create a flowing
stitch effect along a digitized line. The stitches follow the digitized line but
maintain uniform density and needle penetration patterns. The digitizing
method varies, depending whether you are applying the effect to new or
existing objects. See also Creating curved fills with Liquid Effect.
Note For all other object types, use Standard Contour to achieve curved
stitching.

Creating new objects with Florentine Effect
Use Complex Fill (Input toolbar) to create an embroidery object.
Use Florentine Effect (Stitch Types toolbar) to create user-defined curved

stitching.
To apply the effect to new Complex Fill objects, select Florentine Effect
before starting.
Tip For best results, use smaller stitch lengths—e.g. 4.00 mm or less.
To create a new object with Florentine Effect

1 Click the Complex Fill icon and select Tatami stitch.
2 Click the Florentine Effect icon.
3 Digitize the boundaries, and entry and exit points of the Complex Fill
object following the prompts.
4 Digitize the guideline you want the stitches to follow.

The guideline must intersect both sides of the object, have at least three
points, and must not overlap itself. Curves generally give better results
than sharp corners.
5 Press Enter.
Tip Use the Reshape Object tool to change the shape of the curve. See
Applying Florentine Effect to existing objects for details.
Applying Florentine Effect to existing objects
Use Florentine Effect (Stitch Types toolbar) to apply curve stitching to

existing objects.
Use Reshape Object (Pointer toolbar) to adjust control points of the
guideline.
Apply Florentine Effect to existing Complex Fill objects in a design. Then

use the Reshape Object tool to adjust the guideline.
To apply Florentine Effect to existing objects

1 Select an object.
Note The Florentine Effect icon is only available with Complex Fill
objects using a suitable stitch type.
3 With the object still selected, click the Reshape Object icon.

A default guideline with three corner control points appears.
4 Reshape the guideline by moving, adding, changing or deleting

reference points.
5 Press Enter.
ES Designer regenerates the stitches along the new curve.
Tip Turn on TrueView or click the Show Needle Points icon to view the
results.
Applying Florentine Effect to multiple objects
Use Florentine Effect (Stitch Types toolbar) to apply curve stitching to

multiple objects.
Use Reshape Object (Pointer toolbar) to adjust control points of the
guideline.
Click Make Properties Current (Styles toolbar) to make the properties of a
selected object current for the design.
Use Apply Current Properties (Styles toolbar) to apply current settings to
selected objects.
You can apply Florentine Effect to multiple objects in a design by copying

the properties of the first object and applying them to other objects.

To apply Florentine Effect to multiple objects
1 Select an object.
Note The Florentine Effect icon is only available with Complex Fill
objects using a suitable stitch type.
3 With the object still selected, click the Reshape Object icon.
A default guideline with three corner control points appears.
4 Reshape the guideline so that it overlaps the objects you want to
include.
5 Press Enter.
ES Designer regenerates the stitches of the first selected object along
the curve.
6 With the first object selected, click the Make Properties Current icon.
The stitch properties of the first object, including the florentine effect,
now become the current settings. See Making selected object properties
current for details.
7 Apply the current settings to each of the other objects with the Apply
Current Properties tool. See Applying current settings to existing
Apply current
settings to selected
object

Tip Turn on TrueView or use the Show Needle Points tool to view the
results.

Adjusting Florentine Effect settings
Right-click Florentine Effect (Stitch Types toolbar) to adjust settings.
In a Florentine Effect fill, stitch lengths vary to adjust the needle point
pattern to the curve of the digitized line. You can specify how ES Designer
calculates the stitch length by choosing between Nominal and Maximum.
The Nominal setting generates roughly the same number of fill stitches as
with normal stitching. The Maximum setting generally produces smoother
curves than Nominal, but the stitch count is higher.
Tip Use Maximum when the curve is tight with respect to the stitch length.
To adjust Florentine Effect settings

1 Right-click the Florentine Effect icon.
The Object Properties > Curve dialog opens.
Select Florentine Effect
2 Select the Florentine Effect checkbox.

3 Select the required stitch length calculation option:
Nominal: the average length of the fill stitches matches the Stitch
Length setting.

Maximum: the longest stitch matches the Stitch Length setting.
nominal
maximum
4 Click Apply.
Creating curved fills with Liquid Effect

Liquid Effect is similar to Florentine Effect except that you enter twin
guidelines for stitches to follow in Complex Fill objects. This means that
stitches at the top of a shape can follow a different guideline to those at the
bottom. The change between the two guidelines is distributed evenly to
produce smooth stitching.
Creating new objects with Liquid Effect
Use Complex Fill (Input toolbar) to create an embroidery object.
Use Liquid Effect (Stitch Types toolbar) to create curved stitch effects with
two guidelines.

Unlike Florentine Effect, Liquid Effect guidelines are digitized outside the
object, rather than over it. If any part of a guideline crosses the object
boundary, an error message appears.
Tip You can also apply the Liquid Effect to existing objects. To get the
required shapes, select the object and adjust the guidelines using Reshape
Object icon.
To create new objects with Liquid Effect

1 Click the Complex Fill icon and select Tatami stitch.
2 Click the Liquid Effect icon.
You are prompted to enter the first point of boundary 1 of the object.
3 Digitize the boundaries, entry and exit points and stitch angle of the
Complex Fill object following the prompts.
Note You are not prompted to digitize the stitch angle.

4 Digitize the first guideline around the outside of the object.
You must enter at least three reference points.
guideline 1
5 Press Enter.

You are prompted to enter the second guideline. Notice that the pointer
has elastic lines attached to it. These lines join each side of the guideline
shape.
6 Digitize the second guideline in the same direction of the first, marking
at least three reference points.
Note The two guidelines must not overlap or intersect the object
outline.
7 Press Enter.
guideline 2
guideline 1
Tip To modify the guidelines, select the object and then the Reshape
Object icon. Click-and-drag the guidelines into the required shapes, and
press Enter.
Adjusting Liquid Effect settings
Right-click Liquid Effect (Stitch Types toolbar) to adjust settings.
As with Florentine Effect fill, you can specify how ES Designer calculates
the stitch length by choosing between Nominal and Maximum.
Tip Use Maximum when the guideline is tight with respect to the stitch
length.

To adjust Liquid Effect settings
1 Right-click the Liquid Effect icon.
Select Liquid
Effect
2 Select the Liquid Effect checkbox.

3 Select the required stitch length calculation option:
Nominal: the average length of the fill stitches matches the Stitch
Length setting.
Maximum: the longest stitch matches the Stitch Length setting.
Nominal Maximum
4 Click Apply.

Chapter 22
Motif Runs and Fills
Motifs are pre-defined design elements, such as hearts, leaves or border

patterns. They generally consist of one or more simple objects, and are
stored in a special motif set.
With Motif Run and Motif Fill you can use simple motifs such as hearts,
leaves or border patterns to create ornamental runs and textured fills.
Create your own motifs or use the ones provided with the software. Motifs
can be scaled, rotated and mirrored in the same way as other objects. Using
3D Warp with motif fills, you can also create interesting three dimensional
effects.
This section describes how to insert motifs into your design, and how to
rotate, mirror and scale them. It explains how to manage motifs, including
how to create your own motifs and motif sets. It also describes how to
create both motif runs and motif fills, as well as how to apply 3D effects to
motif fills.
Creating motif runs

Motif Run is an input method that creates motif repeats along a digitized
line. You can create decorative outlines using any motif from the selection

list. You can modify the rotation angle, orientation and scale, and vary the
space between motifs.
Creating Motif Run objects
Use Motif Run (Input toolbar) to create a string of motifs along a digitized line.
Use the Motif Run tool to create a string of motifs along a digitized line. You
can select motifs in the Object Properties dialog before or after digitizing.
You can also adjust scale and spacing settings.
Tip You can also apply Motif Run to other selected run objects such as Run,
Stemstitch, etc. See Converting between run objects for details.
To create a Motif Run object

1 Click the Motif Run icon.
2 Digitize the line along which you want the motif to appear by entering
reference points.
Click to add a corner point
Right-click to add a curve point.
3 When you have finished digitizing the line, press Enter.
An outline of the current motif attaches to your cursor.
Resize motif
outline to scale
To use the original size and orientation of the motif press Enter.
ES 2006 Chapter 22 Motif Runs and Fills 506

To scale the motif, move the pointer until the motif is the required
size, click, then press Enter.
To mirror the motif, right-click then press Enter.
Tip You can combine scaling and mirroring.
Selecting motifs for motif runs
Right-click Motif Run (Input toolbar) to select motifs to use with Motif Run.
You can select motifs to use before or after digitizing a motif run. If you use
Motif Run without selecting a motif, a default will be used. To change a
motif after digitizing, use the Object Properties dialog as described here.
See also Selecting and inserting single motifs.
Note For a complete catalog of samples, see Motif Samples.
To select a motif for motif runs

1 Select a Motif Run object.
2 Right-click the Motif Run icon.

The Object Properties > Outlines > Motif Run dialog opens.
Select motif set
Select motif
3 Select a motif set from the Set list.

There are two pre-defined sets—Single Motifs and Two-Part Motifs.
Two-Part Motifs are more appropriate to motif fills but can be used for
motif runs as well. You can also define your own motif sets. See Creating
motif sets for details.
Alternatively, click the arrow button to expand the motif list for TrueView
representations of motifs and select one.
Motif preview
Click to expand
motif list
Select motif
5 Click Apply.
The selected Motif Run object is updated according to the motif selected.
Tip Select a motif with no object selected and click Apply to make the
selection current.

Scaling motifs in motif runs to an exact size
Right-click Motif Run (Input toolbar) to scale motifs in Motif Run.
You can set the exact size of motifs in a Motif Run by entering the
dimensions in the Object Properties dialog.
Note You can enter motif dimensions before or after digitizing the object.
To scale motifs in a motif run to an exact size

Enter horizontal and

vertical dimensions
3 In the Size X and Size Y fields, enter horizontal and vertical dimensions
for the motifs.
Original run Scaled in X Scaled in Y
4 Click Apply.
Tip You can also scale motifs as you digitize Motif Run objects. See
Creating Motif Run objects for details.

Adjusting Motif Run spacing
Right-click Motif Run (Input toolbar) to adjust Motif Run spacing.
Adjust the spacing between each motif in a Motif Run before or after
digitizing. See Saving motifs for details.
Original spacing Spacing increased Spacing decreased
To adjust Motif Run spacing

Enter distance between

motif repetitions
3 In the Spacing field, enter the distance between each repetition of the
motif.
spacing initial spacing
If they do not fit the baseline exactly, ES Designer adjusts the spacing
to make them fit:
If the space remaining at the end of the baseline is less than half a
motif, the extra space is spread evenly between the motifs.

If the space is larger than half a motif, ES Designer inserts an extra
motif, and slightly overlaps the motifs to distribute them evenly
along the baseline.
Tip You can reshape the baseline to achieve the exact spacing you
require. See Reshaping Motif Run objects for details.
Keeping or omitting motifs
Right-click Motif Run (Input toolbar) to select whether to keep or omit first
and last motifs.
If you are digitizing adjoining lines with Motif Run, you can omit the last
motif of the current object—or the first motif of the next object—to avoid an
overlap where the lines join.
First and last First motif kept,

motifs kept last motif omitted
Note You can adjust these settings either before or after digitizing the
object.
To keep or omit motifs


Choose whether to keep or

omit first and last motifs
3 Choose whether to keep or omit first and last motifs.

4 Click Apply.
Reshaping Motif Run objects
Use Reshape Object (Pointer toolbar) to reshape selected Motif Run objects.
Reshape Motif Run objects in the same way as you reshape lettering objects.
See also Special Lettering Features.
To reshape Motif Run objects

1 Select a Motif Run object and click the Reshape icon.
Control points appear around the motifs.
2 Adjust the outline and motif spacings as required:

Reposition and/or change reshape nodes from corner to curve.
Add or delete reshape nodes.

Click-and-drag individual motifs to adjust spacing.
Drag to scale Select and press
object height Drag to scale
Spacebar to toggle object
between corner and proportionately
curve reshape nodes
Drag to shift
motif Drag to scale
object width
Right/left-click
to add reshape
node
3 Adjust the size of the whole object as required:

Drag the vertical resize handle to scale the height of the object.
Drag the horizontal resize handle to scale the width of the object.
Drag the proportional resize handle to scale the object
proportionally.
4 Click the diamond control point of the motif to activate reshape nodes:
Drag resize handles to scale the motif.
Drag the skew handle to skew the motif.
Drag the rotate handle to rotate the motif.
Click to activate
Drag to resize motif
reshape nodes
Drag to
skew motif
Drag to
rotate motif

Creating motif fills
Motif Fill is a decorative stitch used for filling Complex Fill objects. This
feature repeats motifs in parallel rows to fill the shape. You can select
different motifs for forward and backward rows. You can design the motif
layout on-screen, or by adjusting settings in the Object Properties dialog.
Creating Motif Fill objects
Use Complex Fill (Input toolbar) to create an object to apply Motif Fill to.
Use Motif Fill (Stitch Types toolbar) to apply Motif Fill to objects using current
settings. Right-click to change settings.
Digitize Complex Fill objects with Motif Fill or apply it to existing Complex
Fill objects to create decorative fill stitching using current settings. You can
select motifs in the Object Properties dialog before or after digitizing. You
can also adjust scale and spacing settings.
Note The stitch angle has no effect on motif layout.
To create a Motif Fill object

1 Click the Complex Fill and Motif Fill icons.
2 Digitize an object.

As soon as the entry and exit points are entered the Motif Fill stitches
are generated using current settings. See Digitizing complex shapes for
details.
Tip You can generate layers of colored motifs by duplicating an object

and selecting a different color. For example, after filling a shape with
circles, you can create a second layer, apply a different color and motif,
and offset it from the first. You can even apply effects such as Globe Out
to the whole motif fill. See also Applying 3D effects to motif fills.
Selecting motifs for motif fills

t
Use Motif Fill (Stitch Types toolbar) to apply Motif Fill to objects using current
settings. Right-click to change settings.
Select from a wide range of motifs in the Object Properties dialog. You can
mix and match different motifs for forward and backward rows, or use the
same motif for each. See also Using two-part motifs in motif fills.
To select a motif for motif fills

1 Right-click the Motif Fill icon.

The Object Properties > Fills > Motif Fill dialog opens.
Select motif set to

select from for
Select motif for forward row
forward row
Select motif set to

select from for
Select motif for backward row
backward row
2 In the Motif 1 panel, select a motif set to choose from and select a motif
from the dropdown list.
representations of motifs and select one. See also Selecting motifs for
motif runs.
3 If you want different motifs for forward and backward rows, select the
Motif 2 checkbox.
4 In the Motif 2 panel, select the motif to use in the backward row fill
using the same method.
Same motif selected for

forward and backward
rows
Different motif
selected for
backward row
Note You can scale Motif 1 and Motif 2 motifs independently. See
Scaling motifs to an exact size for details.
5 Click Apply.

Using two-part motifs in motif fills
Click Motif Fill (Stitch Types toolbar) to select the current motif. Select the
Motif Fill object, and click Properties to change the properties of Motif Fill
objects.
ES Designer provides two pre-defined motif sets. One contains single motifs
for fills which use the same pattern in both forward and backward rows. The
other set is intended for use with two-part motifs which use complementary
patterns for forward and backward rows.
To use two-part motifs in motif fills

Select two-part motif

set to select from for
Select motif for forward row
forward row
Select two-part motif

set to select from for
Select complementary backward row
motif for backward row
2 In the Motif 1 panel, select the two-part motif set and select a motif
from the dropdown list.

representations of motifs and select one. See also Selecting motifs for
motif runs.
3 Select the Motif 2 checkbox to add a complementary backward row and
again select the two-part motif set from the dropdown list.
4 In the Motif 2 panel, select a complementary motif to use in the
backward row.
The pre-defined two-part motif set is specially designed to provide
complementary motifs for forward and backward rows—e.g. ‘Duet01a’
and ‘Duet01b’.
Note You can scale Motif 1 and Motif 2 motifs independently. See
Scaling motifs to an exact size for details.
5 Click Apply.
Adjusting Motif Fill spacing and offset settings
Right-click Motif Fill (Stitch Types toolbar) to adjust the exact row, column
and spacing settings.
You can adjust the exact row, column and spacing settings for motif fills. The
default settings define a simple grid where the spacing equals the motif
dimensions. The row offset is set to 0.00 mm so columns and rows are
perpendicular.

Note Spacing is measured from the start of each motif. So to define new
spacing settings, add a distance between motifs to the original spacing.
Reducing the original setting causes motifs to overlap.
To adjust spacing and offset settings

Enter column
spacing Scale and clip
motifs to fit
shape
Enter row
spacing and
offset
2 Select a motif set and motif. See Selecting motifs for motif fills for
details.
3 Enter column spacing in the Column > Spacing field.
4 Enter row spacing in the Row > Spacing field.
5 Enter row offset in the Row > Offset field.
offset row spacing

changed changed

6 Select the Scale motifs to fit grid checkbox to scale motifs to exactly
fit the grid squares.
Scale motifs to
fit grid ON
Scale motifs to
fit grid OFF
7 Select the Clip motifs to fit shape checkbox to clip motifs that do not
fit the shape.
Clip motifs to fit

shape ON
Clip motifs to fit

shape OFF
Note If more than half a motif is outside the boundary, it will be

omitted.
8 Click Apply.
Scaling motifs to an exact size
Right-click Motif Fill (Stitch Types toolbar) to scale motifs to an exact size.
You can set the exact size of motifs in a fill. You can also scale Motif 1 and
Motif 2 motifs independently to create special effects.

To scale motifs to an exact size
Enter motif width and

height of forward rows
Enter motif width and

height of backward rows
details.
3 In both panels, enter the dimensions of motif 1 and 2 for the forward
and backward rows:
Size X: Enter motif width.
Size Y: Enter motif height.
Motif 1: default size Motif 1: size adjusted Motif 1: default size

Motif 2: default size Motif 2: default size Motif 2: size adjusted
Note If you want the same motifs for forward and backward rows,
deselect the Motif 2 checkbox.
4 Click Apply.

Rotating motif fills by an exact amount
t
Right-click Motif Fill (Stitch Types toolbar) to rotate motifs by an exact

amount.
The rotation angle defines the orientation of the entire motif fill pattern. It
overrides the stitch angle you set when digitizing the shape with Complex
Fill.
To rotate a motif fill by an exact amount

Enter rotation
angle
details.
3 In the Rotation field, enter the rotation angle of the fill.
Rotation: 0° Rotation: 30° Rotation: 90°
4 Click Apply.

Laying out motif fills on-screen
Right-click Motif Fill (Stitch Types toolbar) to access layout options.
Lay out motif fills on-screen in a similar way to program splits by using
‘guide motifs’ to scale, space, transform and offset the entire motif fill. There
are three blue guide motifs. Other sample motifs appear in yellow. Each
guide motif lets you change a different element of the layout. When you
change a guide motif, all other motifs change accordingly. See also Laying
out program split patterns on-screen.
Motif Fill does not have a column offset since motifs are connected along
each row. Instead you can rotate the layout to achieve a similar effect. See
Rotating motif fills by an exact amount for details.
Tip Generally you define the layout of the motif fill before digitizing the
object. If it is important to align motifs with the object boundary, digitize the
object using current settings, and change the layout afterwards.
To lay out Motif Fills on-screen

Click to lay out

selected motif
details.

3 Click Layout.
Sample and guide motifs appear in the design window. When you
change a guide motif, all motifs in the fill change accordingly.
Use top guide motif to change row
spacing, row offset, and to scale motifs
Use middle guide motif to

Use side guide motif to change
move, rotate, skew, and
column spacing, and to scale
scale motifs
motifs
Tip Zoom in to select the correct guide motif.

4 Adjust the guide motifs to achieve the effect you require.
Move motifs by selecting the middle guide motif and dragging it to a
new position.
Scale motifs by selecting a guide motif and resizing it using the
selection handles.
Scale
proportionally
Scale
horizontally
Scale
vertically
Rotate motifs by clicking the middle guide twice to display the

rotation handles. Click a corner handle and drag to rotate.

Skew motifs by clicking the middle guide twice, then dragging the
skew handles.
rotate
anchor
skew
Change column spacing by selecting the side guide and dragging it

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

down.

Change row offset by selecting the top guide and dragging it left or
right.
Change row
spacing
Change
offset

The size and layout settings you select become the current Motif Fill
settings.
Tip To revert to the original factory settings, run the Revert utility. See
Reverting to factory settings for details. Alternatively, enter the values
manually in the Object Properties > Fills > Motif Fill and click Save.
See Motif Samples for details.
Applying 3D effects to motif fills

Use the 3D Warp tool with motif fills to create three dimensional effects.
You can make shapes appear concave or convex using Globe In or Globe
Out. You can also create distance effects using Perspective. You can apply
3D Warp as you digitize, or apply it to existing motif fills.
Without 3D Warp Globe In Globe Out Perspective
Tip Small stitches may be generated along the edge of objects using 3D
Warp. You can remove these automatically. See Removing small stitches
automatically for details.

Applying and adjusting 3D Warp with Globe In/Globe Out
Click 3D Warp (Stitch Types toolbar) to apply 3D effects to selected motif

fills. Right-click to change settings.
Use Reshape Object (Pointer toolbar) to reshape selected 3D Warp objects.
Using Globe In with 3D Warp gives a concave effect by increasing the motif
size and spacing around a center point. Globe Out gives a convex effect by
decreasing motif size and spacing.
You can apply Globe In and Globe Out to an entire object, or to a specified
part of the fill. You can modify the effect by adjusting the guide frame.
To apply and adjust 3D Warp with Globe In/Globe Out

1 Select the Motif Fill object.
Note To apply 3D Warp to newly created objects, make sure you have
no objects selected.
2 Right-click the 3D Warp icon.
Select 3D Warp
Select Globe In or
Globe Out
3 Select the 3D Warp checkbox, and select Globe In or Globe Out from
the list.
4 Click Apply.

The Globe In or Out effect is applied to the selected object.
OR
Complex FIll object Globe In applied Globe Out applied

with Motif Fill
5 To make further adjustments, click the Reshape icon with the object
selected.
A guide frame appears around the object with three control points.
6 Adjust the control points to modify the effect as required:
Top point: change frame height
Side point: change frame width
Center point: reposition frame.
Click-and-drag
control point
Click-and-drag
to reposition
frame
7 Press Enter.
Tip You can generate layers of colored motifs by duplicating an object

and selecting a different color. For example, after filling a shape with
circles, you can create a second layer, offset it, and apply a different
color. You can then apply effects such as Globe Out to the whole motif
fill.

Applying and adjusting 3D Warp with Perspective
Click 3D Warp (Stitch Types toolbar) to apply 3D effects to selected motif

fills. Right-click to change settings.
Use Reshape Object (Pointer toolbar) to reshape selected 3D Warp objects.
Use Perspective with 3D Warp to create a perspective effect by

exaggerating relative sizes.
Note You need to adjust the guide frame for Perspective 3D Warp to
specify the direction in which to make motifs larger and smaller.
To apply and adjust 3D Warp with Perspective

1 Select the Motif Fill object.
Note To apply 3D Warp to newly created objects, make sure you have
no objects selected.
2 Right-click the 3D Warp icon.
Select 3D Warp
Select Perspective
3 Select the 3D Warp checkbox, and select Perspective from the list.
4 Click Apply.
5 Click the Reshape icon.

A guide frame appears around the object.
Select object
and click
Reshape
6 Adjust the frame to move the guidelines closer together or further apart.
Warning The guide frame must not cross the outer boundary of the
shape, and cannot be inside the shape.
7 Press Enter.
The perspective effect is applied.
Adjust frame and

Press Enter
Working with single motifs

You can add motifs to your design one-by-one. Rotate, scale, or mirror
motifs as you add them or edit them like any other object.
Selecting and inserting single motifs
Use Motif Run (Input toolbar) to select motifs for individual use.
Add motifs to your design by selecting them from the Object Properties
dialog.

Note If a motif is comprised of two or more objects, these will be
automatically grouped when inserted.
To select and insert a single motif

Select motif set

Select motif
2 Select a motif set from the Set list.

representations of motifs and select one.
4 Click Apply to make the selection current.
5 Select Special > Motif > Use.
The outline of the motif appears attached to the mouse pointer.
6 Move the pointer to the position you want to add the motif, and click to
mark the anchor point.
7 Move the pointer until the motif is in the position you need, then click
again for a guide point.
Stitches are generated automatically. The outline of the motif appears
attached to the mouse pointer ready for the next motif.
Insert anchor Insert guide Repeat if

point point required

You can rotate, scale and mirror motifs as you insert them. See Rotating,
mirroring and scaling motifs for details.
8 Repeat the steps to insert the motif again.
Tip Press Enter to accept the default position and settings.

Rotating, mirroring and scaling motifs

You can rotate, scale, or mirror motifs as you add them to your design using
the keyboard and mouse.
Tip If you find it easier to insert a motif at its original size and orientation,
you can scale, rotate and mirror it later just like any other object.
To rotate, mirror and scale motifs

1 Select a motif to insert.
See Selecting and inserting single motifs for details.
2 Move the pointer to the position you want to add the motif, and click to
mark the anchor point.
Click to mark
anchor point
The motif attaches to the mouse pointer. As you move the pointer, the
motif rotates around the anchor point you marked.
3 Rotate, scale, or mirror the motif with the mouse.

To rotate the motif, move the pointer until the rotation angle is
correct, then click again.
Click to mark motif rotated

guide point
To mirror the motif, right-click.
Right-click to mark Motif rotated and

guide point and mirrored
mirror motif
To scale the motif, press Shift. Move the pointer until the motif
outline shows the required size, then click again.
Hold down Shift to

resize the motif
Motif rotated and
scaled
Hold down Ctrl to constrain
rotation angles
Tip When mirroring and scaling, make sure the motif is at the required
rotation angle, before clicking or right-clicking.
Tip You can create motifs from patterns made in the cross stitch
program and use them to create a cross stitch sampler. See the Cross
Stitch User Manual Supplement for details.
motifs created in
Cross Stitch program

Managing motifs
ES Designer provides various ways to manage your motifs including making
motif sets, saving motifs, copying motifs between motif sets, and deleting
motifs.
Saving motifs
Use Motif > Make (Special menu) to save motifs.
The Make Motif function lets you save your own motifs for future use. Motifs
may be saved to different files or ‘motif sets’.
To save motifs
1 Select the embroidery object you want to save as a motif.
2 Select Special > Motif > Make.

The Make Motif dialog opens.
Select motif set

Enter motif name
Select to remove unwanted
machine functions
3 Select a Motif Set from the list. See also Creating motif sets.
4 Enter a name in the Motif Name field.
5 If you want to automatically remove machine functions from the motif,
select the Remove Functions checkbox.
6 Click OK.
7 Click to mark two reference points for the motif.

These determine the default motif orientation in motif runs and fills.
Reference points also determine the spacing between each motif.
Reference point 2
Reference point 1
rotation direction
Reference point 1 Reference point 2
Reference point 1 becomes the anchor point in the final motif. Reference
point 2 becomes the rotation point.
8 Click OK.
The motif is ready to use.
Creating motif sets
Use Motif > Make (Special menu) to create your own motif set.
The Make Motif function lets you create your own ‘motif sets’ to organize
and classify your motifs.
To create motif sets

1 Select an embroidery object.
2 Select Special > Motif > Make.

The Make Motif dialog opens.
Click New to create

new motif set
3 Click New.
The New Motif Set dialog opens.
My New Motif Set Enter name for

motif set
4 Enter a name for the new motif set and click OK.
The Motif Set is ready for use.
Note Motif sets are stored in the C:\ESWin\Userletw folder. You can
delete or rename these motif sets as required.
Deleting motifs
Use Motif > Select (Special menu) to delete motifs from a set.
Delete any motifs you no longer want from a motif set.
To delete motifs
1 Select Special > Motif > Select.
The Select Motif dialog opens.
2 Select the motif to delete.
3 Click Delete.
A confirmation message appears.
4 Click Yes.

Chapter 23
Sequins and Boring
Some embroidery machines are equipped with a

sequin dispenser that drops sequins onto the
garment as it stitches. Some are also equipped
with a boring knife or needle to cut holes in the
fabric, producing an effect similar to lace. Often
the two techniques are used in combination.
ES Designer provides a dedicated set of Sequin
tools which allow you to digitize sequined designs
for compatible machines. There are also tools for
creating boring holes.
Note Sequin Mode is currently only supported in

Schiffli, Tajima, and ZSK embroidery machine
formats. Before you can use Sequin Mode, you
must select a machine format that supports it.
See Selecting machine formats for details. See
also Saving designs in ZSK-TC format.
You can set up a sequin palette for each design
from a library of pre-defined shapes and sizes.
Create sequin runs along digitized lines, either
placing sequins manually or letting the software
generate placement positions according to
current settings. You can change sequin shapes
and fixing stitch patterns at any stage.
The Sequin tools also allow you to digitize individual sequins for even
greater control. Artwork for sequin designs is frequently prepared in
third-party applications. Vector files can be imported into ES Designer and
converted directly to sequin runs. You have complete control over scaling
and reshaping Sequin Run objects.
If your embroidery machine is equipped with a boring knife or needle, you
can use the Borers tool to cut holes in the fabric, producing an effect similar
to lace. With Borers selected, each needle penetration point becomes a
borer hole, regardless of the selected stitch type. Borer holes are generally

stabilized with Zigzag to prevent fraying and movement, and bordered with
Satin stitches.
This section describes how to set up custom sequin palettes for the creation
of sequin designs. It also describes how to create sequin runs and digitize
individual sequins, as well as how to convert sequin artwork to Sequin Run.
Scaling and reshaping sequin runs is also explained as well as digitizing
boring holes.
Setting up custom sequin palettes
Use Sequin Palette (Sequin toolbar) to select from a

user-defined palette of sequin shapes for the current design.
Use Sequin Palette Editor (Sequin toolbar) to select sequin shapes from a
sequin library.
Set up a dedicated sequin palette from a library of pre-defined shapes and

sizes. The Sequin Palette dialog lets you prepare a palette of sequins to use
in your design. Adjust the color and size of each sequin. You can even adjust
the hole size.
To set up a custom sequin palette

1 Click the Sequin Palette Editor icon.
The Sequin Palette dialog opens.
Click to add sequin types
Click to mix colors of sequins
Adjust size and hole size
2 Click the Add button to add sequin types to the Sequin Palette.
ES 2006 Chapter 23 Sequins and Boring 538

The Select Sequin Type dialog opens.
Select sequin
to add
Click to add to
palette
3 Select a sequin from the list and click OK.

4 Adjust the sequin and hole size as required.
Note The number in the Name field adjusts automatically to correspond

to the Size field setting.
5 Select the color checkbox or Mix button in the Sequin Palette dialog.
Drag crosshairs to
adjust color
Click to Drag arrow to

select color adjust brightness
Enter exact values

if known
Add selected color

to Custom Colors
6 Select or mix a color and click OK.

7 Repeat as many times as necessary.

Selected sequins are now available for use in the Sequin Palette.
Select sequin
to use
Creating sequin runs

Create sequin runs along digitized lines, either placing sequins manually or
letting the software generate placement positions according to current
settings. You have the choice of exact spacing, for open shapes, or even
spacing, for closed shapes. You can preset sequin type or change at any
stage. Similarly, you can preset fixing stitches or change them after
digitizing. There is an option to ensure that the stitch before the Drop Sequin
function is placed opposite the feeding direction, as recommended by
machine manufacturers.
Note The Backtrack/Repeat tool is enabled for Sequin Run objects. See
Reinforcing outlines for details.
Creating manual and automatic sequin runs
Use Sequin Run Auto (Sequin toolbar) to create a string of sequins along a
digitized line according to current settings.
Use Sequin Run Manual (Sequin toolbar) to manually digitize sequin-drops
along a digitized line.

Use the Sequin Run input method to create a string of sequins along a
digitized line. You have the option of digitizing individual sequin drops with
the manual method, or letting the system automatically generate drops
along the line according to current settings. Digitize lines as you would motif
runs. Fixing stitches are generated automatically according to current
settings.
Note Sequin Mode is currently only supported in Schiffli, Tajima, and ZSK
embroidery machine formats. Before you can use Sequin Mode, you must
select a machine format that supports it. See Selecting machine formats for
details.
To create manual and automatic sequin runs

1 Select the sequin type you want to use from the dropdown list in the
Sequin Palette. See Setting up custom sequin palettes for details.
2 Click the Sequin Run Auto icon.
3 Digitize the line along which you want the sequin run to appear by
entering reference points—left-click for corner points, right-click for
curve points.
Press Enter
Digitize outline—left-click
corner points, right-click
curve points
4 When you have finished digitizing the line, press Enter.

Sequins of the selected type are automatically generated along the
digitized line along with their fixing stitches. Spacings can be individually
adjusted. See Scaling and reshaping sequin runs for details.
5 To add details or create special spacings, click the Sequin Run Manual
icon.

6 Digitize individual sequins—again, left-click for corner points, right-click
for curve points.
Connecting and fixing stitches are automatically generated. See
Changing sequin shapes and fixing stitches for details.
Press Enter
Digitize individual
sequins—left-click corner
points, right-click curve points
Changing sequin shapes and fixing stitches

You can select sequins before or after digitizing a sequin run. Similarly, you
can preset fixing stitches or change them at any stage.
Note Sequin Run stitch has potential as a decorative stitch in its own right.
For this purpose you can select None in the Sequin Palette. This option is
best used with the Sequin Drop Direction set to Any. See also Changing
sequin-drop direction.
To change sequin shapes and fixing stitches

1 To change shapes, select the object and select a different sequin type
from the Sequin Palette on the Sequin toolbar.

All sequins in the object are immediately substituted.
2 To change fixing stitches, double-click the object.

The Object Properties > Outlines > Sequin Run dialog opens.
Click to open
Fixing Type
Chooser
3 Click the Fixing Type Chooser button in the Type panel.

The Object Properties dialog extends to the Fixing Type Chooser.
Fixing stitch
preview
Select fixing
stitch type

4 Select a fixing stitch type.
A preview of the selected fixing stitch appears in the Preview Pane.
5 Click Apply.
Fixing stitches for the object are regenerated.
Note To close the Fixing Type Chooser, click the Fixing Type Chooser
button again.
6 To adjust the fixing stitch size, select one of the followings:
Adjust automatic or
manual settings
Match Sequin: sets a margin around the sequin so that fixing

stitches don’t punch too close to the sequin.
Set Manually: sets the fixing stitch size for all sequins, regardless
of size.
Sequin size: 7 mm Sequin size: 7 mm Sequin size: 7 mm

Auto Margin: 0.50 mm Manual Size: 5.00 mm Manual Size: 10.00 mm
7 Click Apply.

Changing sequin-drop direction
There is an option to ensure that the
stitch before the Drop Sequin function is
placed opposite the feeding direction, as
recommended by machine
manufacturers. Otherwise, the sequin
may be deflected by the thread. If the
needle then misses the center of a
sequin because of incorrect placement,
the embroidery material, needles or
needle plates may be damaged. In
multihead machines, sequins are fed from the front or ‘south’ which means
that the initial fixing stitch should be placed on the ‘north’ side. In Schiffli
machines, the opposite is the case.
To change sequin-drop direction

1 Select a sequin run object and double-click.
2 Select the Special tab and Sequin in the dropdown list.
Select
special tab
Select sequin
Select sequin
drop direction
Select to prevent
multiple penetrations
3 Select a required sequin drop stitch direction:

From North: ensures that the initial fixing stitch is opposite the
feeding direction—front or ‘south’—which is the case in multihead
machines.

From South: ensures that the initial fixing stitch is opposite the
feeding direction—the top or ‘north’—which is the case in Schiffli
machines.
Drop direction ‘From

North’: initial fixing stitch
always placed above, and Drop direction ‘From
sequin fed from ‘south’ South’: initial fixing stitch
always placed below, and
sequin fed from ‘north’
Warning With the Any option, direction is not important. This option
generates the least number of fixing stitches but may not be suitable for
your sequin device. It should be used by experienced digitizers only.
4 Enter an angle in the Max Angle field to specify an angular range within
which drop sequin stitch will fall.
You can set the value for either North or South fixing stitches. The
default is 90° but this can be increased or decreased depending on the
capabilities of your machine.
Drop stitch direction

set to North or South
Set maximum allowable

angle for placement of
fixing stitch
5 Select the Prevent multiple penetrations option as required.

This option is used to minimize penetrations at the same point, and to
generate Schiffli-compatible fixing stitching. If you select the Schiffli
template, the option is ‘on’ by default. When set to ‘off’, some fixing
stitches will have multiple penetrations at the same point, both at the
sequin center and outer edge.
Prevent Multiple Penetrations on Prevent Multiple Penetrations off
6 Select the Closest Point Join option as required.

By default, this option is off, meaning that the system connects the
predefined exit leg of the fixing stitch motif to the predefined entry leg
of the next fixing stitch motif. That is, unless the connector exceeds the
maximum sequin stitch. Choose the Closest Point Join option if you
want to always connect fixing stitch motifs from the leg closest to the
nearest leg of the next fixing stitch motif.
7 Click Apply.
Adjusting sequin run spacing and orientation

You can change the spacing in a sequin run at any stage. If you use the
manual method, you define the spacings between sequin-drops with every
click you make. If you use the automatic method, sequin-drops are
calculated according to the current spacing setting. You have the choice of
exact spacing, better for open shapes, or even spacing, better for closed
shapes. You can also manually fine-tune sequin spacings with the Reshape
tool.

To adjust sequin run spacing and orientation
1 Select a sequin run object—manual or automatic.
manual sequin automatic

run sequin run
2 Double-click the object.

The Object Properties > Outlines > Sequin Run dialog opens.
Select spacing
method
3 In the Positioning panel, select a spacing method:

Exact: uses the specified Spacing exactly. This may result in an
uneven spacing at the end of the curve.
Expand to fit: makes the spacing increase from the nominal value
until there is a sequin at the end of the path.
Compact to fit: makes the spacing decrease from the nominal value
until there is a sequin at the end of the path.
Exact Expand to fit Compact to fit
Tip If you want the sequins irregular, digitize using the Sequin Run
Manual tool and for fine-tuning of individual sequin spacings, use the
Reshape tool. See also Scaling and reshaping sequin runs.

4 To adjust fixing stitch orientation to place the first stroke of the fixing
stitch, select one of the following:
Choose fixing stitch

orientation—left, right, vertical
Left Orientation: to the left of the sequin run curve.

Right Orientation: to the right.
Vertical Orientation: always in the vertical plane—not relevant to
one-stroke fixing stitch types.
Orientation: Left Orientation: Right Orientation: Vertical
5 Adjust the minimum, run and maximum stitch lengths when connecting
the fixing stitches, if required.
Adjust stitch lengths
6 Click Apply.
Digitizing individual sequins
Use Manual Sequin (Sequin toolbar) to digitize individual sequins.

The Manual Sequin input method allows you
individual control over sequin placement and fixing
stitches. Create decorative outlines and patterns
manually using sequins from the selection list. To
add a sequin to the stitching sequence, simply
right-click to drop it onto the design, and secure it
with manual stitches. Manual sequin stitching is a
difficult digitizing skill to master and you need to
plan the stitching sequence carefully in order to
minimize unnecessary stitches. Experiment with
your machine and stitch width and spacing settings
to achieve the desired result. See also Sequin On/Off
functions.
details.
To digitize individual sequins

1 Click the Manual Sequin icon.
2 Right-click to add a sequin to the design.
A shape representing the sequin appears.
3 Left-click to digitize fixing stitches around the sequin to secure it.
Three stitches in the shape of a ‘Y’ are generally used. The needle points
of each stitch must be placed precisely to ensure that sequins are not
pierced by the needle when stitching.
Right-click to ‘drop’ a
sequin
Left-click to digitize
fixing stitches
Tip Zoom in for more accurate digitizing.

4 Press Enter.

Converting sequin artwork to Sequin Run
Use Vectors to Sequins (Sequin toolbar) to create a sequin run from a set of
sequin vector objects selected by intersecting line.
Frequently, artwork for sequin designs is independently created by a

specialist designer and supplied to the embroidery digitizer in vector file
format. The Vectors to Sequins tool is available for just this purpose. A
sequin run is automatically created from a set of vector objects representing
sequins selected by intersecting line. The order the line crosses the sequins
determines the sequin order. Fixing stitches are generated automatically
according to current Sequin Run settings.
details.
To convert sequin artwork to Sequin Run

1 Insert the sequin artwork into the design.
Specially prepared
sequin artwork
Properly designed artwork will contain vector objects centered on the

exact locations required for sequins in the design.
2 Select the Vectors to Sequins icon.
You are prompted to ‘Enter point 1 on the polyline’ on the Prompt
Message bar.

3 Click the sequin graphic which will start the Sequin Run.
Digitize connecting
line passing through
all sequin graphics
4 Digitize a line connecting all sequins to be included in the Sequin Run.

The line only needs to touch the sequin object somewhere within its
boundary. Enter reference points by left-clicking for corner points and
right-clicking for curve points.
5 Press Enter.
A Sequin Run is generated with a curve that passes through the center
of each sequin graphic with sequin objects positioned at these centers.
Current properties are applied and the object is set to ‘manual’ by
default.
Generated curve
contains reshape
node at each
sequin position
Note The generated curve contains a reshape node at each sequin

position.

Scaling and reshaping sequin runs
Use Select Object (Pointer toolbar) to resize objects using selection handles.
Use Reshape Object (Pointer toolbar) to reshape selected Sequin Run

objects.
Sequin editing often requires individual control over sequin positions.

Change sequin shapes and fixing stitch patterns at any stage. You have
complete control over scaling and reshaping Sequin Run objects. Scale and
reshape sequin run lines, as well as remove or add individual sequins. You
can also manually fine-tune sequin spacings. You can even edit individual
fixing stitches.
Note Performing manual edits to Sequin Run objects automatically

deselects all the options. If you set it back to Exact, Compact to fit, or
Expand to fit spacing, all manual edits are lost.
To scale and reshape a sequin run

Scale Sequin Run objects in the normal way by clicking and dragging
selection handles, or by adjusting the general properties. See Scaling
If the object is created with the Sequin Run Auto tool, the sequin
drops are automatically recalculated.
Sequin drops
regenerated according
to current settings

If the object is created with the Sequin Run Manual tool, the original
number of sequin drops is preserved.
Original number of
sequin drops
preserved
Reshape sequin run lines with the Reshape tool as you would any run
object. Add reshape nodes by left- or right-clicking the outline. See
Reshaping embroidery objects for details.
Note When a sequin run object is in the Reshape Mode, the Show
Stitch Angles icon is disabled.
Fine-tune individual sequin spacings with the Reshape

tool—click-and-drag a spacing handle.
You can also select a range of or multiple spacing handles by using Shift
or Ctrl keys. See Reshaping embroidery objects for details.

Note The movement of sequin objects is contained on the sequin run
line.
Click-and-drag
spacing handle
Delete selected sequins by pressing the Delete.

Add sequins by holding down the Alt key and clicking the sequin run line.
Rotate sequins and fixing stitches with the Reshape tool.
Click-and-drag
rotation handle
Reshape individual fixing stitches with the Reshape tool. To view the
fixing stitch reshape nodes, click the sequin outline.
Click-and-drag
fixing stitch
Digitizing boring holes
Use Penetrations (Generate toolbar) together with Borers to digitize boring

holes.

Use Run (Input toolbar) to digitize an outline around the shape you want to
bore.
Use Borers (Generate toolbar) to activate the boring function.
Use Manual (Input toolbar) to digitize boring holes.
Use Input A (Input toolbar) to digitize border stitching around the holes.
If your embroidery machine is equipped with a boring knife or needle, you

can use the Borers tool (formerly known as Borers In) to cut holes in the
fabric, producing an effect similar to lace. With Borers selected, each needle
penetration point becomes a borer hole, regardless of the selected stitch
type. Borer holes are generally stabilized with Zigzag to prevent fraying and
movement, and bordered with Satin stitches.
Tip Boring is a difficult digitizing skill to master. You may need to

experiment with your machine and stitch width and spacing settings to
achieve the effect you require.
With Tajima and Barudan
machines Borers inserts a Stop
function which allows the machine
to change to the needle position
that uses the boring attachment.
The machine must be correctly
programmed to use the correct
needle position.
Note The default setting for

Multihead borers is for a ‘knife’
attachment, where the cutting
position is offset 12 mm from the main needle line. This offset is only
expressed when you save your design to a stitch format like DST. If you are
using a boring needle, you need to change the offset value to 0. See Setting
borer functions for details.
To digitize boring holes

1 Ensure Penetrations is on.

2 Click the Run icon and digitize an outline around the shape you want to
bore.
Digitize outline
with Run stitch
This helps prevent the fabric from tearing.

3 Click the Borers icon.
A machine function is inserted to indicate the change from stitching to
boring.
4 Click the Manual icon and digitize individual stitches where you want a
boring knife to cut. See Digitizing individual stitches for details.
Each stitch you digitize becomes a boring hole. The borer penetration
points appear as diamonds, connected by dotted lines. These do not
appear in TrueView.
Digitize boring holes

with Manual or Run
stitch
Alternatively use Run to digitize lines for boring holes. See Digitizing
lines for details.
For a round hole, digitize two intersecting lines.
For an oval hole, digitize one line.
Tip Reduce the Run stitch length—e.g. 1.0-1.5 mm—to place the borer
penetrations closer together, thereby ensuring the fabric will be cut right
through. See Setting run stitch length for details.
5 Click Borers again to deselect it.

This returns you to normal stitching. You now need to stabilize the fabric
and create borders by stitching around them with Zigzag and Satin cover
stitches.
6 Digitize around the hole with Input A together with Zigzag stitch.
Place the inside edge close to the center of the hole so it ‘wraps’ the
fabric. See Digitizing columns of fixed width for details.
Digitize around hole Digitize borders with

with Input A and Input A and Satin
Zigzag
7 Digitize border stitching with Input A together with Satin stitch.

Place the inside edge of the object close to the center of the hole. If you
have used Zigzag stitches for reinforcement, ensure they are covered.
Warning You should not use Satin with a Zigzag underlay because a
run stitch is also generated (to return to the entry point). This can cause
thread breakage.

PART VI
EMBROIDERY LETTERING
range of scaleable closest-join alphabet styles and multi-color and fancy
stitching alphabets to choose from.
Creating embroidery lettering

This section describes how to add and edit lettering, change formatting
settings, and adjust lettering size and spacing. See Creating Embroidery
Lettering for details.
Adjusting lettering layout

This section describes how to adjust lettering objects as well as individual
letters. It also describes how to apply and adjust lettering baselines. See
Editing Embroidery Lettering for details.
Adjusting lettering stitch settings

This section describes changing lettering stitch types in lettering objects,
and adjusting lettering stitch angles. It also explains how to adjust the
lettering stitching sequence as well as lettering join method. See Adjusting
Lettering Stitch Settings for details.
Special lettering features

This section shows you how to add special characters and symbols. It
describes how to create special effects with envelopes. It also covers adding

borders to lettering, as well as setting up ‘team lettering’ designs. See
Special Lettering Features for details.
Custom alphabets
This section describes how to create new alphabets from TrueType fonts. It
also describes how to create and modify your own custom alphabets and
letters. Alphabet merging is also explained. See Custom Alphabets for
details.
ES 2006 Embroidery Lettering 560

Chapter 24
Creating Embroidery Lettering

range of scalable closest-join alphabet styles and multi-color and fancy
stitching alphabets to choose from. Add lettering directly to designs using
current settings or with the aid of the dialog. With object-based operation,
you can type and manipulate your text directly on-screen, changing the size
or spacings to fit. Apply formatting just like a word processor, including
italics, bolding, and right/left justification. Change values for the whole text
or for individual letters.
This section describes how to add and edit lettering, change formatting
settings, and adjust lettering size and spacing.

Adding lettering to embroidery designs
You can add lettering to a design by typing it directly in the design window,
or entering it via the Object Properties dialog.
Tip The size of your lettering will determine the type of underlay you need
to apply. Apart from stabilizing, underlay helps give ‘loft’ or to raise your
lettering off the fabric. Lettering with heights under 5 mm should not have
underlay. Letters 6 mm to 10 mm can have a center-run underlay applied.
Lettering larger than 10 mm is large enough for edge-run underlay. See
Strengthening and stabilizing with automatic underlays for details.
Creating lettering on-screen
Use Lettering (Input toolbar) to add lettering directly on-screen.

selected objects.
If it is not essential to fit letters precisely to a certain area, you can type
them directly on-screen as with a word processor. Current lettering settings
are used. You can change these before or after you digitize. You can also
modify lettering objects directly on-screen to achieve various artistic effects.
To create lettering on-screen

1 Click the Lettering icon.
2 Select a color from the color palette.
3 Click where you want to insert the text and start typing.
Tip To start a new line, press Shift + Enter.

4 Press Enter to complete.
ES 2006 Chapter 24 Creating Embroidery Lettering 562

5 Click the Generate Stitches icon or press G.
Note Appearance and layout depend on current settings in the Object

Properties dialog. Baselines determine the shape of lettering objects in
a design. You can place lettering on a straight horizontal or vertical line,
curve lettering around a circle or arc, or digitize your own baseline.See
Working with lettering baselines for details.
Creating lettering with Object Properties
Right-click Lettering (Input toolbar) to enter text in the dialog and adjust
settings for embroidery lettering.
selected objects.
Using the Object Properties dialog, you can specify letter formatting before
adding it to the design. This is the more traditional method and is useful with
more complex designs.
To create lettering with Object Properties

1 Right-click the Lettering icon.

The Object Properties > Special > Lettering dialog opens.
Enter text
Select
alphabet
Adjust
formatting
Select baseline
Click to apply
2 Enter the text you want to embroider in the text entry panel.
To start a new line of lettering, press Enter.
Tip You can insert a color change between two letters by keying a caret
(^) symbol. Subsequent letters default to the next color in the palette.
3 Select alphabet, formatting and baseline settings for the lettering. See
Selecting alphabets and Formatting lettering for details.
4 Click Apply.

Note Alternatively, click Create Text to create text on the screen when
the Apply button is deactivated.
Click to create text
apply button deactivated
5 Click where you want to place the lettering, or mark reference points for
the baseline you selected. See Working with lettering baselines for
details.
6 Select Generate Stitches icon or press G.
Note Appearance and layout depend on current settings in the Object

Properties dialog. Baselines determine the shape of lettering objects in
a design. You can place lettering on a straight horizontal or vertical line,
curve lettering around a circle or arc, or digitize your own baseline.See
Working with lettering baselines for details.
Selecting alphabets
Right-click Lettering (Input toolbar) to select an alphabet for new or selected

lettering objects.
ES Designer provides an alphabet range suitable for many applications.

Select from the supplied alphabets, create your own, or convert TrueType
fonts. See also Custom Alphabets.

Tip Once recorded, user-refined alphabet letters can be applied via the Use
saved version checkbox. See also Saving user-refined letters.
To select an alphabet
Select
alphabet Select to preview alphabet
in dropdown list
Use user-refined
version
2 Click the Preview in Dropdown List checkbox to view preview of

alphabets.
3 Select an alphabet from the Alphabet list.
A sample character of the chosen alphabet appears in the preview

window. For samples of the complete selection of standard alphabets,
see Standard Alphabets.
Tip Consider letter size before you change alphabets. Some alphabets
look best in a smaller size. Others can be stitched at a larger size. See
also Adjusting letter height and width.
4 Click the Use saved version checkbox to use saved user-refined
lettering in preference to the default.

User-refined lettering lets you save multiple versions of the same letter
to the same alphabet. Each version can have a unique height range. See
User-refined alphabets for details.
User-refined letter
‘a’ used for
smaller sizes
5 Click Apply.
The lettering alphabet is set.
Working with lettering baselines

Baselines determine the shape of lettering objects in a design. You can place
lettering on a straight horizontal or vertical line, curve lettering around a
circle or arc, or digitize your own baseline. Different reference points are
needed depending on the baseline you use. You can digitize baselines
on-screen or, if you are working from an enlargement drawing, on a
digitizing tablet.
Baselines use default settings to determine their size, spacing and angles.
ES Designer gives you both interactive and precise numerical control over
many baseline settings. Techniques are available to modify baseline type,
length, radius and angle, as well as baseline position. You can numerically
define the rotation angle of letters relative to the baseline or the design
itself.

Applying baselines
Right-click Lettering (Input toolbar) to select baselines and adjust baseline

settings.
You can select different baselines through the Object Properties > Special
dialog. You can also adjust baseline settings. You can apply baselines to
existing objects or pre-set a baseline for new lettering objects.
To apply a baseline
1 Double-click a selected lettering object or right-click the Lettering icon.
Select baseline
2 Select a baseline from the list.

The baseline you choose depends on the effect you want to achieve.
Options include:

Horizontal (Free Line and Fixed Line): See Applying horizontal
baselines for details.
Vertical (Free Line Vertical and Fixed Line Vertical): See Applying
vertical baselines for details.
Arc (Arc CW and Arc CCW): See Applying arc baselines for details.
Circle (Circle CW and Circle CCW): See Applying circular baselines

for details.

Custom (Any Shape): See Applying custom baselines for details.
Predefined: See Using predefined baselines for details.
3 Adjust baseline settings in the Layout dialog. See Adjusting baselines

for details.
4 Click Apply.
Applying horizontal baselines

Free Line and Fixed Line baselines are straight, horizontal baselines. Free
Line does not have a fixed or pre-determined length—the baseline extends
as long as you keep adding letters. Fixed Line has a fixed length which you
can digitize or specify numerically. If the text extends beyond the baseline,
letter spacing is reduced and letters may overlap. The letter width, however,
does not change.

To apply horizontal baselines
1 Create a new lettering object. See Creating lettering with Object
Properties for details.
2 Select the horizontal baseline you want to apply and click Apply.
3 For variable-length horizontal lines, enter your text in the Object
Properties dialog and select Free Line. Click the screen to establish the
start-point of the baseline.
Free Line—Click on-screen to

mark start point
Fixed Line—Click on-screen to

mark start and end points
For fixed-length horizontal lines, enter your text in the Object

Properties dialog and select Fixed Line. Click the screen to
establish the start and end points of the baseline.
You can define any angle depending on where you mark the
reference points.
You can adjust baseline settings at any stage. See Adjusting straight
baseline settings for details.
Applying vertical baselines

Vertical baselines are effective for embroidering on sleeves, as a
decorative effect, and for Asian text. There are two types—Free
Line Vertical and Fixed Line Vertical. Free Line Vertical baselines do
not have a fixed length, and extend to fit the letters you enter.
Fixed Line Vertical baselines are a fixed length. Letter spacing may
be compressed to make the letters fit.
Line spacing is calculated horizontally while letter spacing is
calculated vertically. Letters, by default, are centered along vertical
lines. New lines are placed by default from right to left to suit Asian
languages.
Tip For Western languages, vertical lettering is best suited to

uppercase because descenders in lowercase letters are not
accommodated in the letter spacing.

To apply a vertical baseline
2 Select the vertical baseline you want to apply and click Apply:
For variable-length vertical lines, enter your text in the Object
Properties dialog and select Free Line Vertical. Click the screen to
establish the start-point of the baseline.
Free Line Fixed Line Vertical—click

Vertical—click the the screen to mark start and
screen to mark end points
mid-point
For fixed-length vertical lines, enter your text in the Object

Properties dialog and select Fixed Line Vertical. Click the screen
to establish the start and end points of the baseline.
You can define any angle depending on where you mark the
reference points.
Note You can adjust baseline settings at any stage. See Adjusting
straight baseline settings for details.
Applying arc baselines

Use Arc Clockwise (Arc CW) and Arc Counter-Clockwise (Arc CCW)
baselines to place lettering objects in a curved arc. You can place the
lettering clockwise (CW) or counter-clockwise (CCW) along the arc. By

default, letters are positioned above the Arc CW and below the Arc CCW
baseline. They are also centered by default.
To apply arc baselines

2 Select Arc CW or Arc CCW as a baseline and click Apply.
3 Mark the start and end points of the arc.
Tip Hold down the Ctrl key to constrain the line to 15° increments.
4 Move the pointer up or down to increase the radius of the arc.
5 Mark a third point above the first two points for Arc CW, and below them
for Arc CCW baseline.
2 arc clockwise
1
1 arc
2 counter-clockwise
6 Press Enter to complete and press G to generate stitches.

Depending on the order in which you mark the reference points, the text
will be placed left to right, or right to left.

Applying circular baselines
Use Circle Clockwise (Circle CW) or Circle Counter-Clockwise (Circle
CCW) baseline to place letters around a full circle or oval.
To apply circular baselines

2 Select Circle CW or Circle CCW as a baseline and click Apply.
3 Mark the center of the circle.
4 Mark a point on the circumference to define the radius.
5 Mark a third point to define an ellipse or press Enter directly for a perfect
circle.
As soon as Enter is pressed, the letters of your text are distributed
around the circle. See also Setting letter justification.

Applying custom baselines
Use Any Shape baselines to shape lettering around elements in your
design. Digitize Any Shape baselines by marking reference points to form
the required line. The number of reference points and length of baseline are
practically unlimited.
Tip If the baseline has tight curves, or sharp corners, the letters may
overlap. For best results, only mark curve points, and digitize lines which
have shallow, gentle curves.
To apply custom baselines

2 Select Any Shape as a baseline and click Apply.
3 Mark the baseline reference points.
Mark curve points with the right mouse button.
Mark corner points with the left mouse button.
1 2 4
4 Press Enter to complete and press G to generate stitches.

Using predefined baselines
Use Predefined baselines to quickly create
three rows of lettering, or two rows
surrounding a design object. This technique
is typically used for creating logos.
To use a predefined baseline

1 With no objects selected, right-click the
Lettering icon.
The Object Properties > Special >
Lettering dialog opens.
Enter two or three

lines of text
Select options
and adjust
settings
2 Enter two or three lines of text in the text entry panel.

To start a new line of lettering, press Enter.
Tip If you want to insert a logo or design between the top and bottom
lines, leave the middle line of text blank.

3 Select the alphabet and adjust other settings you require. See Selecting
alphabets and Formatting lettering for details.
Select Predefined
baseline
4 Select Predefined from the baseline list.

5 Click OK.
6 Click where you want to place the lettering and drag the cursor
downward.
7 Click to enter a point on the circumference of the circle.
8 Mark another point if you want to create an oval, or press Enter for a
circular baseline.
9 Press G to generate stitches.
The lines of text are generated and dispersed around the baseline you
have defined. Each line of text becomes a separate lettering object.

Formatting lettering
You can control the appearance of lettering by changing formatting settings
in the Object Properties dialog. Change current formatting settings before
or after adding lettering in the same way as other objects.
Making italic lettering

You can slant letters to the left or right for an italic effect. Enter the degree
of slant in the Angle field. The default angle is 0°.
To make italic lettering

1 Right-click the Lettering icon or double-click selected lettering object/s.
Enter italic angle
2 Enter an angle in the Italic field.

The largest angle that the lettering can lean at is 45°. (0° is equivalent
to no italics.)
italic angle 45° italic angle 0° italic angle -45°
3 Click Apply.
Making bold lettering

You can create the effect of bold lettering either by increasing the pull
compensation settings for selected lettering objects, or adjusting the
column width setting. The difference is that the column width setting adjusts

the entire column, including underlay, while pull compensation adjusts only
cover stitching. See also Compensating for fabric stretch.
To make bold lettering

2 Select the Pull Comp tab.
Select Pull Comp tab
Increase pull compensation

or column width
3 Select Column Width or Pull Compensation as required. See

Compensating for fabric stretch and Adjusting column width for details.
4 Increase the values in the respective fields.
normal pull comp: 0.3 mm column width: 140%
5 Click Apply.

Setting letter justification
Justification is the way that lettering aligns itself on a baseline. You can
justify lettering left or right, center it, or fully justify it. Full justification
spreads the letters out to fill the length of the baseline.
To set letter justification

2 Select a justification setting—Left, Centered, Right, or Justified.
left centered right fully justified
3 Click Apply.
Adjusting letter spacing

Letter, word and line spacings can be determined before or after creating
lettering objects and placing them in your design. You can edit spacing
directly on-screen or via the dialog. Letter spacing is calculated

automatically according to justification—Left, Centered, Right, or Full
Justified. See also Setting letter justification.
Note When the justification setting is Full, letters are evenly distributed
along the baseline. To change the spacing for fully justified lettering, simply
change the length of the baseline.
Adjusting overall letter spacing on-screen
Click Reshape Object (Pointer toolbar) to change letter spacing.
The spacing between letters is calculated automatically as a percentage of

the letter height. In most cases the default spacing is adequate. Sometimes,
however, you may want to change the overall letter spacing.
To adjust overall letter spacing on-screen

1 Select the lettering object.
Drag letter spacing

control point
3 Drag the letter spacing control point left or right to adjust the spacing of
all letters along the baseline.

4 Release the mouse button to complete and press Esc.
Adjusting individual letter spacing on-screen
Use Reshape Object (Pointer toolbar) to change individual letter spacing.
The spacing between letters is calculated automatically as a percentage of

letter height. In most cases the default spacing is adequate. Sometimes,
however, the spacing between certain letters may appear too large or too
small, depending on the shape of neighboring letters. To compensate for this
visual effect, you can move one or several selected letters closer or further
apart along the baseline to improve spacing. See also Automatic letter
kerning.
To adjust individual letter spacing on-screen

3 Click the diamond control point in the centre of the letter.
Hold down Ctrl and click

diamond control points
Tip To select multiple or a range of letters, hold down Ctrl or Shift as you
select.
4 Drag selected letter/s along the baseline or use arrow keys to adjust the
spacing.

Tip Alternatively, to move multiple letters, right-click the diamond
control point of the first letter and drag. All letters to the end of the line
move as one.
Adjusting line spacing on-screen
Use Reshape Object (Pointer toolbar) to change line spacing.
Change the space between lines in a multiple-line lettering object using the
Reshape Object tool.
To adjust line spacing on-screen

3 Drag the line spacing control point up or down to change line spacing.
Drag line spacing

control point

Adjusting spacing settings
You can adjust letter, word and line spacings in lettering objects at any stage
via the Object Properties dialog.
To adjust spacing settings

1 Double-click a selected lettering object or right-click the Lettering icon.
Enter values as absolutes (mm)

or percentages
2 Enter Spacing values as absolute values (mm) or percentages of the

height.
Letter Spacing: the space between letters.
Word Spacing: the space between words.
Line Spacing: the space between lines.

Note Whether you enter a percentage or absolute value, the other
updates automatically.
3 Click Apply.
Tip If you want to remove spacing between words, set Word Spacing
to 0%.

Chapter 25
Editing Embroidery Lettering
ES Designer gives you interactive and precise numeric control over many
settings affecting lettering objects. Adjust both individual letters and
lettering objects as a whole. Apply horizontal, vertical, and curved
baselines. Modify baseline type, length, radius and angle, as well as
position. You can even define the rotation angle of letters relative to the
baseline or the design itself.
This section describes how to adjust lettering objects as well as individual

letters. It also describes how to apply and adjust lettering baselines.
Editing lettering text

When you have created a lettering object, you can select it and make
changes to it directly on-screen or by adjusting object properties.

Editing lettering text on-screen
Click Lettering (Input toolbar) to edit lettering on-screen.
With ES Designer you have the option of editing lettering directly on-screen.
To edit lettering text on-screen

1 Click the Lettering icon then click inside the lettering object.
An I-beam appears where you clicked.
I-beam
2 Edit the text as required.
Tip Press Shift + Enter to start a new line.

Editing lettering via object properties

When you have created a lettering object, you can select it and make
changes to it by adjusting object properties.
To edit lettering via object properties

1 Use one of the following techniques to select lettering objects:
Select a single lettering object: Click the lettering object with the
left mouse button. The object changes color and eight selection
handles appear around it.
Select a group of lettering objects: Select a lettering object then,
holding down the Ctrl key, click other objects as required.
Select lettering objects with a bounding box: Click-and-drag a
bounding box around the lettering object/s and release the mouse.
2 Double-click the selected lettering object/s.

Edit text
Adjust settings
Click to save to
template
3 Edit the text in the text entry panel as required.

4 Make any other adjustments you require. See Formatting lettering for
details.
5 If you want to save settings to the template, click Save.
6 Click Apply.
Letters are filled with stitches according to current settings. See also
Adjusting Lettering Stitch Settings.
Scaling lettering
When you first create lettering, it may be too big or too small. Size can be
adjusted in three ways:
by scaling on-screen with the Select Object or Reshape Object tools
by adjusting width and height settings in the Object Properties >
Special > Lettering dialog
ES 2006 Chapter 25 Editing Embroidery Lettering 588

by adjusting width and height settings in the General Properties bar.
Tip The size of your lettering will determine the type of underlay you need
to apply. Apart from stabilizing, underlay helps give ‘loft’ or to raise your
lettering off the fabric. Lettering with heights under 5 mm should not have
underlay. Letters 6 mm to 10 mm can have a center-run underlay applied.
Lettering larger than 10 mm is large enough for edge-run underlay. See
Strengthening and stabilizing with automatic underlays for details.
Scaling lettering with Select Object
Use Select Object (Pointer toolbar) to scale lettering objects on-screen.
You can scale your lettering objects vertically, horizontally and

proportionally with the Select Object tool. See also Transforming lettering
with Select Object.
To scale lettering with Select Object

1 Click the Select Object icon and select the lettering object.
Selection handles appear around the lettering object.
Drag to resize Vertically Drag to resize

Proportionally
Drag to resize
Horizontally

2 Click-and-drag one of the selection handles to resize the object
horizontally, vertically or proportionally.
Drag
A shadow outline shows the new size of the lettering object as you drag.
3 Release the mouse to complete.
Scaling lettering with Reshape Object
Use Reshape Object (Pointer toolbar) to scale lettering objects on-screen.

proportionally with the Reshape Object tool. See also Rotating lettering
with Reshape Object.
To scale lettering with Reshape Object

Drag to resize Vertically Drag to resize

Proportionally
Drag to resize
Horizontally
3 Click-and-drag one of the dark triangular control points to resize the

object horizontally, vertically or proportionally.
Drag

A bounding box shows the new size of the lettering object as you drag.
Adjusting letter height and width
Use Lettering (Input toolbar) to adjust letter height and width.

proportionally via the Special tab of the Object Properties.
Tip Change the appearance of an alphabet by changing the letter width in

proportion to the height. The original width value is 100%.
To adjust letter height and width

Enter letter
Enter width height in mm
percentage
2 In the Height field enter the height of your lettering object in

millimeters.
Note Letter height can be between 1 mm and 200 mm. For

recommended sizes, see Standard Alphabets.
3 Enter the width of your lettering object in the Width field as a
percentage of the height.
For wide letters, increase the percentage—e.g. 140%.
For narrow letters, decrease the percentage—e.g. 70%.
width 100% width 70% width 140%
4 Click Apply.

Adjusting lettering dimensions
proportionally using the general properties.
Tip Change the appearance of an alphabet by changing the letter width in

proportion to the height. The original width value is 100%.
To adjust lettering dimensions

The current dimensions of the selected object appear in the General
Properties bar.
Click Apply to
Adjust width and accept changes
height settings
2 Adjust width and height settings either as absolute values (mm) or as a

percentage of the current settings.
original width and height 125%
3 Click Apply.
Tip When you enter a value in either width or height field, the
percentage is automatically calculated. To resize proportionally, copy
this value to the other field and click Apply.

Transforming lettering objects
Apart from scaling, you can use the Select Object and Reshape Object
tools to skew and rotate lettering objects. See also Scaling lettering.
Transforming lettering with Select Object
Use Select Object (Pointer toolbar) to transform lettering objects on-screen.
You can transform lettering objects by manipulating control points

on-screen with the Select Object tool. See also Scaling lettering with Select
Object.
To transform lettering with Select Object

1 Click the Select Object icon and select the lettering object.
The selection handles appear. See also Scaling lettering with Select
Object.
2 Click the lettering object again.
Another set of control points appears. These let you rotate and skew the
lettering object.
Drag to skew Drag to rotate

rotation point

3 Click-and-drag one of the diamond-shaped control points to skew the
lettering object horizontally.
Drag
A shadow outline shows the skewed lettering object as you drag.

4 Click-and-drag one of the hollow square control points to rotate the
lettering object.
rotation
point
Drag
A shadow outline shows the rotated lettering object as you drag.
Tip Click-and-drag the rotation point itself to a new position before

rotating.
Rotating lettering with Reshape Object
Use Reshape Object (Pointer toolbar) to rotate lettering objects on-screen.
You can rotate lettering objects by manipulating control points on-screen

with the Reshape Object tool. See also Scaling lettering with Select Object.
To rotate lettering with Reshape Object


Control points appear around the lettering object.
3 Click-and-drag one of the solid square control points on the baseline to
rotate the lettering object.
Click and drag to rotate

object
A baseline shows the rotated position of the lettering object as you drag.
Adjusting individual letters

As well as scaling and rotating lettering
objects, the Reshape Object tool is used
to manipulate individual letters. You can
reposition letters in relation to each other,
scale, rotate and skew them, as well as
reshape them. You can also recolor letters
individually.
Repositioning letters on-screen
Use Reshape Object (Pointer toolbar) to reposition individual letters

on-screen.

You can reposition individual letters in a lettering object using the Reshape
Object tool.
To reposition letters on-screen

Click diamond control points
Tip To select multiple or a range of letters, hold down Ctrl or Shift as you
select.
4 Click-and-drag the letter to the new position:
To move the letter horizontally, drag it along the baseline. See
Adjusting individual letter spacing on-screen for details.
To move the letter vertically, hold down Shift as you drag.

To move the letter freely, hold down Ctrl as you drag.
5 Release the mouse button to complete.
Transforming individual letters on screen
Use Reshape Object (Pointer toolbar) to transform individual letters

on-screen.
You can transform individual letters by manipulating control points

on-screen with the Reshape Object tool.
To transform individual letters on screen

Control points appear.
Select diamond
control point

3 Click the diamond control point of the letter to activate reshape nodes.
Drag to scale
letter height Drag to scale letter proportionally
Drag to skew
Drag to scale letter width
Drag to rotate
4 Click-and-drag the special control points to transform individual letters.
Reshaping individual letters on-screen
Use Reshape Object (Pointer toolbar) to reshape individual letters

on-screen.
Create special lettering effects by reshaping letter outlines with the

Reshape Object tool.
To reshape individual letters on-screen

Control points appear around the lettering object.
3 Click the letter outline.

Control points appear around the outline. You can turn on or off reshape
nodes, stitch angles, and entry/exit points as required.
Click letter outline
4 Select reshape nodes by any of the following means:

Drag a bounding box around the reshape nodes you require.
Holding down Ctrl, select individual nodes.
Holding down Shift, left- or right-click start and end nodes.
Draw bounding box to Hold down Ctrl and Hold down Shift and
select group of nodes click to select individual left- or right-click to
nodes select range
5 Reshape the letter by adding, deleting and dragging the reshape nodes,
and press Enter. See Reshaping embroidery objects for details.
Reshape by adding,
deleting and dragging
reshape nodes

6 Adjust the stitch angles as required and press Enter. See Adjusting stitch
angles for details.
Tip Holding down the Ctrl key, click the outline wherever you want to
place an additional stitch angle line.
7 Adjust the entry/exit points as required and press Enter. See Adjusting
entry/exit points and last stitches for details.
Adjust entry/exit
points
Tip You can select and delete multiple nodes on a single segment. If
there are fewer than four nodes remaining, the segment itself is deleted.
However, if the letter includes more than one segment, those remaining
are still viable.

Tip The Stitch Angle and Reshape Object tools let you add, delete,
or adjust stitch angles in lettering objects. See Adjusting stitch angles
for details.
Recoloring letters on-screen
Use Lettering (Input toolbar) to recolor letters on-screen.
ES Designer lets you change the color of individual letters within a lettering
object.
Tip You can also insert a color change between two letters by keying a caret
(^) symbol. Subsequent letters default to the next color in the palette. See
Creating lettering with Object Properties for details.
To recolor letters on-screen

1 Click the Lettering icon then click within the lettering object.
2 Select a letter (or letters) by dragging the cursor over the letter.
Drag cursor over

letter to select
3 Click a color on the color palette.

4 Press Enter.
Adjusting baselines
Baselines can be modified after placement either directly on-screen or via
the Object Properties > Special > Lettering dialog. With the exception
of Free Line, baselines allow you to set the final length of the finished

lettering. Once you have placed a baseline, ES Designer attempts to fit all
the letters without altering the baseline length.
Tip As a baseline is filled with letters, letter spacing decreases. Eventually,

letters may overlap. If so, you can adjust the baseline length to
accommodate them, or change the lettering width in the Object Properties
> Special > Lettering dialog.
Reshaping baselines on-screen
Use Reshape Object (Pointer toolbar) to reshape lettering baselines.
Baselines can be adjusted on-screen after they have been placed in the
design with the Reshape Object tool. Depending on the baseline type you
are working with, you can adjust baseline angles, lengths, and sizes. You
can change curve radii and justification points. You can completely reshape
Any Shape baselines.
Tip For more precise numeric control over lettering layout, use the Layout
dialog. See Adjusting straight baseline settings and Adjusting curved
baseline settings for details.
To reshape a baseline on-screen

Select the lettering object and click the Reshape Object icon

Different control points display for different baselines.
baseline control
points
Tip The large diamond and cross represent stitching start and end
points. You may need to move them to access baseline control points.
See Reshaping individual letters on-screen for details.
Change angles of straight baselines by dragging the solid square control
points at either end.
Drag up or down to change

baseline angle
Create an arc baseline from a circular one by dragging the hollow square
control point apart.
Drag left or right to change

circle baseline to arc

Change lettering orientation of arc baselines by dragging the solid
square control points at either end.
Drag along circumference to

change baseline length
Tip The exact letter positions depend on the justification—left, center,

right or justified. If the baseline becomes too short, letter spacing is
reduced, and letters may overlap.
Change the radius of curved baselines by dragging the solid square
control point in the center of the circle.
Drag up or down
to change radius
of curve
Alternatively, change the radius of curved baselines by dragging the

solid square control point in the center of the baseline.
Drag up or down
to change radius
of curve

Adjust Any Shape baselines by adding, deleting, changing or moving
reference points like any embroidery object. See also Reshaping
embroidery objects.
Left or right-click on the Drag any control

baseline to add point up or down
To reshape, left-click to bend the line at an angle, right-click to bend

into a curve.
To re-position, drag any one of the baseline control points up or
down.
Drag to change curvature
To delete, select a control point and press Delete.

To change straight to curve, or curve to straight, select the control
point and press Spacebar.
Press Esc to finish.
Adjusting straight baseline settings
Use Lettering (Input toolbar) to adjust baseline settings.
A Free Line baseline does not have a fixed or pre-determined length; the
baseline extends as long as you keep adding letters. You can adjust baseline
angle numerically. A Fixed Line baseline has a fixed length which you can
digitize or specify numerically. Various options are available to handle text

that extends beyond the baseline. See also Applying horizontal baselines
and Applying vertical baselines.
To adjust straight baseline settings

1 Double-click a selected lettering object/s.
Click to lay out

baseline
2 Click Layout.
The Layout dialog opens. The baseline options depend on the type of
baseline selected.
Adjust length and

angle values
Select auto
frame style
3 Select a horizontal or vertical baseline, free or fixed, from the list.

Free Line baselines allow you to adjust the Line Angle value. Fixed Line
baselines also give you control over line length as well as options for
handling text which does not fit the baseline. This is particularly useful
for multiple ‘team’ names. See Team lettering for details.
4 For fixed line baselines, select an ‘auto-frame’ style:
Spacing: Letter size and width stays the same and letters are
spaced evenly along the baseline. Letters may overlap if the text is
too wide.
Width: The width of each letter is reduced and the original spacing
kept.
Size (Keep Proportions): Letter width and height is reduced

proportionally but the original spacing remains.
Spacing and Width: Letter width and spacing is reduced.
Spacing and Size (Keep Proportions): Letter width, height and

spacing is reduced proportionally.
5 Adjust the Length and Line Angle values as required.

Length: Enter the default length of fixed line baselines. For free line
baselines this is not available.
Line Angle: Enter the exact angle of the baseline to the horizontal
axis.

6 Select a baseline position.
baseline baseline baseline

below centered above
When creating lettering for a badge, for example:

For lettering above the badge, select a baseline below.
For lettering below the badge, select a baseline above.
For horizontal lettering through the middle of the badge, select a
centered baseline.
7 Specify the letter, word and line spacing as required. See Adjusting
spacing settings for details.
8 Select the letter orientation. See Changing letter orientation for details.
9 Click OK to return to Object Properties > Special and click Apply.
Adjusting curved baseline settings
Use Lettering (Input toolbar) to adjust baseline settings.
Adjust circle and arc baseline settings for more precise numeric control over
radius (X and Y), as well as tilt, justification, and arc angles.
Tip For interactive control over lettering layout, see Reshaping baselines
on-screen.
To adjust curved baseline settings

1 Double-click a selected lettering object/s.

Click to lay out

baseline
2 Click Layout.
The Layout dialog opens. The baseline options depend on the type of
baseline selected.
Adjust Tilt, Radius X, Radius

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

The Tilt, Radius X, Radius Y, Justification Angle and Arc Angle fields
are activated.
4 Adjust these values as required:
Radius X: default radius of the baseline arc (X-axis).
Radius Y: default radius of the baseline arc (Y-axis).
radius X: 50
radius Y: 50
radius X: 100
radius Y: 50
radius X: 50
radius Y: 100

Tilt: angle of the baseline relative to the horizontal axis.
tilt angle 0°
tilt angle 45°
Note The Tilt field is activated when Radius X and Radius Y values are
different.
Justification Angle: angle of the vertical axis through the lettering
object relative to the horizontal axis.
justification
angle 90°
justification
angle 45°
Arc Angle: angle between radii connecting ends of baseline to

center of arc. This constrains the baseline so the text falls within the
arc specified.
arc angle 100° arc angle 70°
5 Select a baseline position.
baseline baseline baseline

below centered above
When digitizing lettering for a badge, for example:

For lettering above the badge, select a clockwise circle or arc with
baseline below.
For lettering below the badge, select a counterclockwise circle or arc
with baseline above.
For horizontal lettering through the middle of the badge, select a
fixed line with baseline centered.
6 Specify the letter, word and line spacing as required. See Adjusting letter
spacing for details.
7 Select the letter orientation. See Changing letter orientation for details.
8 Click OK to return to Object Properties > Special > Lettering and
click Apply.
Changing letter orientation

You can define the rotation angle of letters relative to the baseline or the
design itself. The latter lets you keep letters vertical regardless of baseline
angle in order to achieve a ‘staircase effect’.
To change letter orientation

Click to lay out

baseline
2 Click Layout to open the Layout dialog.

3 Select an Orientation setting.
Select orientation
relative to baseline Set orientation
or design angle
Baseline: orients letters relative to the lettering baseline.

Design: orients letters relative to the horizontal.
4 Enter an orientation angle.
Baseline angle: 0º Baseline angle: 0º

Orientation: 10º to Orientation: 60º to
baseline design
5 Click OK to return to Object Properties > Special > Lettering dialog

and click Apply.

Chapter 26
Adjusting Lettering Stitch
Settings
When it comes to stitching, you can fine-tune the density, add pull
compensation and underlay, or change to center-out stitching. Like all
embroidery objects, each lettering object has its own stitch properties.
Adjust settings at any stage. ES Designer also gives you precise control over
the stitch angles of individual letters. You can also specify the join method
and stitching sequence you prefer.
This section describes changing lettering stitch types in lettering objects,

and adjusting lettering stitch angles. It also explains how to adjust the
lettering stitching sequence as well as lettering join method.
Note For information about adjusting travel run length in lettering objects,
see Adjusting travel run stitch length. For information about adjusting
lettering connector values, see Using automatic connectors.
Changing lettering stitch types

By default, lettering objects are filled with Satin stitch. You can also apply
other basic fill stitch types, such as Tatami or Zigzag, as with other
embroidery objects. See Selecting stitch types for details.

Note Lettering values are stored in the <PRESET_LETTERING> style in the
Normal template. Changing these does not affect the values of other
objects. Do not delete or rename this style. See Working with styles for
details.
Adjusting Satin stitch settings for lettering objects
Right-click Satin (Stitch Types toolbar) to adjust Satin values for lettering
objects.
By default, lettering objects are filled with Satin stitch. Where a letter is
narrow, stitches are tight, thus requiring fewer stitches to cover the fabric.
Where a column is very narrow, stitches need to be less dense because too
many needle penetrations can damage the fabric. See also Creating fills with
Satin stitch.
To adjust Satin stitch settings for lettering objects

1 Double-click a selected lettering object.
2 Select the Fills tab.
Alternatively, right-click the Satin icon with the lettering object selected.
ES 2006 Chapter 26 Adjusting Lettering Stitch Settings 614

3 Select Satin stitch from the Stitch Type list.
Select Satin
Adjust stitch
settings
4 Select the type of stitch spacing you want for your lettering.
For Fixed Spacing, clear the Auto Spacing checkbox and select a
value (in millimeters) in the Stitch Spacing field. For more open
stitching, select a higher value for decreased stitch density. See
Adjusting Satin stitch spacing for details.
For Auto Spacing, select the Auto Spacing checkbox and specify the
amount of adjustment to make to the spacings as a % value. See
Applying Auto Spacing to Satin stitch for details.
Auto Spacing ON Auto Spacing OFF
5 If you want to use Auto Split, select the checkbox and specify the Auto
Split Length and Auto Split Minimum Stitch values.
Note The Auto Split and Auto Jump features help you to control long
Satin stitches. See Splitting long stitches with Auto Split and Preserving
long stitches with Auto Jump for details.
6 Click Apply.

Adjusting Tatami stitch settings for lettering objects
Right-click Tatami (Stitch Types toolbar) to adjust Tatami values for lettering
objects.
You can fill lettering shapes with Tatami stitching. It is suitable for filling
large, irregular lettering shapes. See also Creating fills with Tatami stitch.
To adjust Tatami stitch settings for lettering objects

Alternatively, right-click the Tatami icon with the lettering object
selected.
3 Select Tatami stitch from the list.
Select Tatami
Adjust offset settings
Enter random factor
4 Adjust stitch spacing to increase or decrease density.

5 Adjust stitch length to increase or decrease needle penetrations. See
Adjusting Tatami stitch spacing and length for details.
6 Choose a backstitch type—Standard, Borderline, or Diagonal. See
Selecting a Tatami backstitch for details.
7 Select the Offset Fraction option to specify how each row is offset in
order to create special embroidery effects. See Setting Tatami offset
fractions for details.
8 Select the Partition Lines option as an alternative method for offsetting
needle penetrations in Tatami fills. See Applying Tatami partition lines
for details.
9 Specify a random factor to eliminate the split line patterns formed by
regular needle penetrations. See Applying random factors for details.
10 Click Apply.
Adjusting Zigzag stitch settings for lettering objects
Right-click Zigzag (Stitch Types toolbar) to adjust Zigzag values for lettering
objects.
Zigzag stitch is similar to Satin in that the needle penetrates each side of
the column. But while Satin gives a straight line followed by a diagonal,
Zigzag produces two diagonal lines, thereby producing a more open stitch.
It is generally used for decorative effect or where fewer stitches are
required. The density is determined by the stitch spacing setting. See also
Creating outlines with Zigzag stitch.
To adjust Zigzag stitch settings for lettering objects

Alternatively, right-click the Zigzag icon with the lettering object
selected.

3 Select Zigzag stitch from the Stitch Type list.
Select Zigzag
Adjust stitch
spacing
4 Enter a spacing value in the Stitch Spacing field.
stitch spacing: 1.0 mm stitch spacing: 1.5 mm
5 Click Apply.
Adjusting stitching sequence and join method

You can specify the sequence in which letters are stitched to minimize
registration problems such as on caps or difficult fabrics. While the Closest
Join method is recommended in most cases to minimize trims, you may
sometimes want to use the As Digitized setting with alphabets which
include multiple colors, multiple stitch types, or special effects.
Adjusting letter sequencing
Click Lettering (Input toolbar) to adjust the lettering stitching sequence.
You can specify the sequence in which letters are stitched to minimize
registration problems such as on caps or difficult fabrics. For example, the
Center Out option is especially useful when stitching on caps. There are
also options for multiple lines of lettering which are useful for machines
without trimmers.
To adjust letter sequencing


Click Sequence
2 Click Sequence.
The Sequence dialog opens.
Adjust single line

stitching sequence
Adjust multiple line

stitching sequence
3 Select a stitching sequence. Options include:

In Line: Select whether you want the lettering to be stitched
left-to-right or right-to-left in each line.
stitched right-to-left stitched left-to-right
Center Out: Select this checkbox if you want the lettering stitched
from the center out. You can specify that one side of the center is
stitched followed by the other, or that each letter is stitched
alternatively on either side of the center.
right side stitched first left side stitched first

Line by Line: Choose whether you want multiple lines of lettering
to stitch top-to-bottom or bottom-to-top. You can also specify that
the first line should be stitched left-to-right, and the second
right-to-left.
stitched
top-to-bottom
stitched
bottom-to-top
Note You can combine both In Line and Line by Line sequencing
options.
4 Click OK to return to the Special tab.
5 Click Apply.
Tip Travel through your design to check the stitching sequence. See
Changing lettering join method
Use Lettering (Input toolbar) to change the lettering join stitch method.
The lettering stitch method is preset to

give the best results for each alphabet. In
most cases, Closest Join is
recommended in order to minimize trims.
See Standard Alphabets for details.
The As Digitized setting is used with
alphabets which include multiple colors or
special effects. Such alphabets may include machine functions, as for
two-color alphabets, or run stitches as part of the cover stitching.
Lettering objects normally consist of one stitch type only. However, the As
Digitized join method together with Original Stitch Values setting can be
used with special fonts which combine several stitch types—e.g. Satin with
Run, or Tatami, or Motifs.
To adjust lettering join method


2 Click Sequence.
The Sequence dialog opens.
Select join method

Select Original Stitch
Values
3 Select a join method from the list:

Bottom Join: Letters are joined along the baseline. Use it when
stitching on towelling—joins are hidden in the pile.
Closest Join: Letters are joined at the closest point. Use it to
minimize trims.
As Digitized: Letters are stitched out the same way they were
originally digitized. Use it with alphabets combining different fill
stitch types or special effects.
Bottom Join Closest Join As Digitized
4 Select the Original Stitch Values checkbox as required.

This setting is only available if the As Digitized join type is selected.
Select it when using special fonts which combine several stitch types. If
not selected, these letters will be stitched with a single stitch type.
Closest Join selected As Digitized but Original As Digitized and Original

Stitch Values not selected Stitch Values selected
Tip For the recommended stitch and join methods, see Standard
Alphabets.
5 Click OK to return to the Special tab.
6 Click Apply.

Adjusting lettering underlay settings
Right-click Auto Underlay (Stitch Types toolbar) to adjust lettering underlay

settings.
Lettering appearance and quality depends a lot on underlay which serves as

a foundation for the cover stitching. As well as stabilizing, underlay also
provides ‘loft’, raising cover stitches and preventing them from sinking into
soft fabrics. It can also prepare a napped fabric by flattening it. Most
lettering used in designs is 15 mm high or less. The columns at such sizes
are less than 3 mm wide for normal—not heavy or block—fonts. Such
objects are best served with a single Center Run or Edge Run underlay.
Center Run places a row of stitches along the center of a column. Edge Run
places stitches around the edge of each column. Large letters for jacket
backs and so on, can of course use a second layer of underlay.
Double-zigzag is sometimes used to give added loft. See also Strengthening
and stabilizing with automatic underlays.
Edge Run underlays for lettering and branched objects also provide a Weld
option. When activated, underlay is applied to the lettering object as a
whole, rather than segment-by-segment. This means there should be no
overlaps where segments join.
To adjust lettering underlay settings

1 Select a lettering object.

Select 1st underlay and

optionally select Weld
Select Edge Run
(or Center Run)
Adjust fixed or
variable run length
3 Select the First Underlay checkbox and select Center Run or Edge Run
as the First underlay type.
Tip If you select Edge Run, a further Weld option becomes available.
When activated, underlay is applied to the lettering object as a whole.
This means there is no duplication where two objects overlap.
4 Enter the required length values for each underlay type.
See Adjusting Center Run and Edge Run underlay settings for details.
5 Click Apply.
Tip Run Slow Redraw to see how the underlay will stitch out. See
Redrawing the stitching sequence slowly for details.

Chapter 27
Special Lettering Features
Add special characters and symbols to

your lettering. Create interesting
distortions using lettering envelopes. Add
attractive borders such as rectangles,
ovals, and shields. Use the Team Names
feature to create designs with multiple
names. For example, use the same logo
with different names for sports teams or
corporate uniforms without having to
create multiple copies of the same design.
This section shows you how to add special
characters and symbols. It describes how to create special effects with
envelopes. It also covers adding borders to lettering, as well as setting up
‘team lettering’ designs.
Adding special characters and symbols

Embroidery and TrueType fonts generally contain many more characters
than are available via your keyboard. In ES Designer, you can add special
characters and symbols directly through the Select Symbols dialog or by
means of the Windows Character Map.
Inserting symbols
Use Lettering (Input toolbar) to add special characters and symbols.

Right-click to select lettering options.

You can quickly add special characters and symbols to your lettering
designs.
Tip If you know the keyboard shortcut for a symbol, add it to your lettering
by entering the combination on-screen or in the Object Properties >
Special > Lettering dialog.
To insert symbols
Click Insert
Symbol
2 Click Insert Symbol.

The Symbol Selection dialog opens.
Show characters
Show pictures and
Show pictures characters
Select alphabet
or symbol set
Select
symbols
Selected symbols
displayed
Click to add
Click to close Click to delete
3 Select an alphabet or symbol set from the Symbol Set list.

4 Select the symbols you want to use.
The selected symbols are displayed in the Selection field.
5 Click Make Current.
The selected symbols are displayed in the text entry panel of the Object
Properties > Special > Lettering dialog.
Note Click Delete to remove symbols displayed in the Selection field

as required.
6 Click Apply.
7 Continue creating the lettering object in the normal way. See Creating
lettering with Object Properties for details.
ES 2006 Chapter 27 Special Lettering Features 626

Using the Character Map
Use the Windows Character Map to provide quick access to common
symbols and letters. The Character Map is usually installed as part of the
Windows setup. See your Windows documentation for more details.
To use the Character Map

1 Open the Windows Character Map.
By default, you will find it under Start > Programs > Accessories >
System Tools > Character Map.
Select font
Select symbols
or double-click
Click to
copy
Selected symbols
Click to
displayed
select
2 Select a font from the Font list.

3 Double-click a character, or select it and press Select.
The character/s appear in the Characters to copy field.
4 Click Copy to copy the character to the clipboard.
5 Paste it into the text entry panel of the Object Properties > Special >
Lettering dialog.
To do this, click inside the text entry panel and press Ctrl+V.
Tip You can also paste characters and symbols into an external graphics
program to use as the basis for creating your own custom characters.
See Digitizing custom letters for details.

Creating special effects with envelopes
Apply Envelope effects to lettering objects to make them bulge or arch,
stretch or compress.
Distorting lettering objects
Use Envelope (Edit menu) to create special effects with envelopes.
Four types of Envelope effect are available—Bridge, Pennant, Perspective

and Diamond.
Tip Envelopes are typically applied to lettering objects, but they can also
be applied to other types of embroidery object.
To distort lettering objects

1 Select the lettering object you want to distort.
Tip To apply an envelope to several objects, group them first, then

apply the envelope. See Grouping and ungrouping objects for details.
2 Select Edit > Envelope.
3 Select an envelope type from among the following alternatives:
Different handles display around the object outline depending on the

envelope type.
Bridge reshape
handles

4 Drag one or more handles up or down to distort the object.
Drag
To move two handles in opposite directions, hold the Shift key down
while dragging a handle.
Shift + drag
To move the handles in the same direction, hold down the Ctrl key
while dragging a handle.
Ctrl + drag
Editing text in envelopes
Use Lettering (Input toolbar) to edit letters in envelopes on-screen.
You can edit the lettering text in envelopes on-screen in the same way as
normal lettering. When you click inside the lettering, a duplicate displays
below the envelope.
To edit text in envelopes

1 Click the Lettering icon with the lettering object in an envelope
selected.
Duplicate letters appear below the selected shape in their original form.
The cursor changes to an I-beam and appears after the last letter.

2 Click inside the duplicate lettering object and edit text as required.
Add letters at Press Enter

I-beam cursor

The lettering in the envelope is updated.
Removing envelopes
Use Envelope > Delete (Edit menu) return an object to its original shape by removing
the envelope.
Return an object to its original shape by removing the envelope.
To remove envelopes
Select the lettering object.
Select Edit > Envelope > Delete.
The envelope is removed and the letters return to their original shape.
Team lettering
The Team Names feature lets you create designs with multiple names. For
example, you can use the same logo with different names for sports teams
or corporate uniforms without having to create multiple copies of the same
design. When you use Team Names, you create a variable lettering object,

and associate names with it. Names are stored in lists that can be accessed
from any design. You can add to these lists, or remove names at any time.
Depending on how you want to stitch out, you can choose to save and stitch
the names and designs separately, or together.
Creating name groups
Use Team Names (Input toolbar) to create name groups.
Create a new name group to associate a list of names with Team Names
objects. Once you create a group, the names in it are available to all
designs.
Note Team Names groups are stored in the Namedrop.emn file in your
installation’s ...\res folder. If the file becomes corrupted, copy
ESWin\bin\namedrop.emn to ESWin\res\namedrop.emn. This will
restore Team Names groups to the default settings.
To create a name group

1 Click the Team Names icon.
The Team Names dialog opens.
Add new
group
2 Click Add in the Group panel.

The Group Name dialog opens.
Enter group
Gaelic Football Club
name
3 Enter a name for the group and click OK.

The new group name appears in the Group list. The Group Members
panel remains empty until you add names to it.
new group Gaelic Football Club
4 Add members to the group as required:

See Adding individual members to name groups for details.
See Adding multiple members to name groups for details.
5 Click OK.
Adding individual members to name groups
Use Team Names (Input toolbar) to add individual members to a group.
You can add members to a group one-by-one or as a entire group. See also
Adding multiple members to name groups.
To add individual members to a name group


Select group Gaelic Football Club
Add new
member
2 Select a group from the Group list, or create a new one. See Creating
name groups for details.
3 Click Add in the Group Members panel.
The Group Member Add/Edit dialog opens.
Michael Add first name
Patrick Add second name
Fitzpatrick Add third name
4 Enter the first name of the member in the Name 1 field.

5 Optionally, enter second and third names as required.
6 Click OK.

The name is added to the Group Members list.
name added Michael Patrick Fitzpatrick
Adding multiple members to name groups
Use Team Names (Input toolbar) to add multiple members to a group.
You can add members to a group one-by-one or as a entire group. See also
Adding individual members to name groups.
To add multiple members to a name group

Select Quick
Names
2 Select a group from the Group list, or create a new one. See Creating
name groups for details.
3 Click Quick Names.

The Quick Names dialog opens.
Michael,Patrick,Fitzpatrick
Patrick,Simon,Fitzsimons Enter names
Simon,Gerald,Fitzgerald
Gerald, Roy, Fitzroy
Roy,John, Fitzjohn
John, Maurice, Fitzmaurice
Maurice,Henry,Fitzhenry
4 Enter the names in the format Name 1, Name 2, Name 3.

You can type the names, or paste them in from a text file. Each name
must be separated by a comma. Each complete name must be on a new
line.
5 Click OK.
The new names are added to the Group Members list.
names added Michael Patrick Fitzpatrick

Patrick Simon Fitzsimons
Simon Gerald Fitzgerald
Gerald Roy Fitzroy
Roy John Fitzjohn
Add/edit/delete John Maurice Fitzmaurice
names Maurice Henry Fitzhenry
Tip Edit the list by using Add, Delete and Edit.
Creating team name designs
Use Team Names (Input toolbar) to associate multiple names with a design.
To associate multiple names with a design, you create a variable Team

Names object. Names are stored together in groups. You can select names
from an existing group or create a new one.

To create a team name design
1 Open the design you want to use.

Michael Patrick Fitzpatrick

Patrick Simon Fitzsimons
Simon Gerald Fitzgerald
Gerald Roy Fitzroy
Roy John Fitzjohn
John Maurice Fitzmaurice
Add all or Maurice Henry Fitzhenry
selected names
3 Select a group from the Group list.

The names display in the Group Members list. See also Creating name
groups and Adding multiple members to name groups.
4 Select names to associate with the design from the Group Members
list.
To select multiple names, hold down Ctrl as you select.
To select a range of names, hold down Shift as you select.
5 Click Add to add them to the Team Members list.
Alternatively, to associate all names in the group, click Add All.
Selected names are copied to the Team Members list. The Naming
Order defaults to Name 1, Name 2, Name 3.
Tip When you click Add, names are appended to the Team Members
list. Clicking Add repeatedly means that a fresh copy of the selected
name or names is appended each time.

6 In the Team Members list, edit members as required.
To sort team member names alphabetically, select a column by
clicking the button at the top of the column. To select multiple
columns, hold down Ctrl as you select.
To change the stitching order, select a name and click Up or Down.
To remove a name from the list, select it, and click Remove. To clear
all names from the Members Selected list, click Remove All.
7 Set Naming Order options as required—e.g.
To stitch only first and third names, select Name 1 and Name 3 in
columns one and two.
To stitch names in reverse order, select Name 3, Name 2, and
Name 1 in columns one, two and three.

Set naming
order options
Click to sort
Michael Patrick Fitzpatrick Michael Fitzpatrick names
Patrick Simon Fitzsimons Patrick Fitzsimons alphabetically
Simon Gerald Fitzgerald Simon Fitzgerald
Gerald Roy Fitzroy Gerald Fitzroy
Roy John Fitzjohn Roy Fitzjohn
John Maurice Fitzmaurice John Fitzmaurice
Maurice Henry Fitzhenry Maurice Fitzhenry
Remove all or
selected names
Adjust lettering
format
8 To adjust lettering format settings, click Show Properties.

The Object Properties > Special > Lettering dialog opens. The text
entry panel is grayed out, indicating that you are entering lettering by a
different method to normal.
Text entry panel

grayed out

Tip You have the opportunity to change the settings after the names
are stitched, but it is quicker to set them at this stage. If the design
already contains Team Member objects, Show Properties is disabled.
9 Adjust the settings as required. See Creating lettering with Object
10 Click Apply.
11 Click OK in the Team Names dialog.
Depending on your baseline selection, you may be prompted to enter
reference points. See Applying baselines for details.
ES Designer generates stitches for all names in the Team Members list.
The associated Team Members dialog opens automatically, the first
Team Member name in the list is selected and is visible in the design
window.
Simon Fitzgerald
Patrick Fitzsimons
Michael Fitzpatrick
Gerald Fitzroy
Maurice Fitzhenry
John Fitzmaurice
Roy Fitzjohn Select names to
view on-screen
12 Select names one-by-one from the Team List to view them together
with the design.
Viewing and modifying individual team names
Use Team List (Standard toolbar) to toggle Team Members display on/off.
Use it to view and edit individual team names.
You can preview individual team names in the design window as they will be
stitched out with the design. Set individual properties for each name.

To view and modify team names
1 Open the Team Names design you want to use. See also Creating team
name designs.
2 Click the Team List icon.
The Team Members dialog opens. By default all member names are
selected.
Click to select
Simon Fitzgerald column Simon Fitzgerald
Patrick Fitzsimons Patrick Fitzsimons
Michael Fitzpatrick Michael Fitzpatrick
Gerald Fitzroy Gerald Fitzroy
Maurice Fitzhenry Maurice Fitzhenry
John Fitzmaurice John Fitzmaurice
Roy Fitzjohn Select name to Roy Fitzjohn
view on-screen
Click to sort
selected names
alphabetically
View properties of
selected names
Tip By default a space is inserted between Name 1 and Name 2. To

remove this space, set the Word Spacing value in the Layout dialog to
0%. See Adjusting letter spacing for details.
3 View team names in any of the following ways:
Select a team member name. The selected name displays on-screen
with the current lettering properties.
Use the arrows keys to scroll up and down the list to view each name
in turn.
To sort team member names alphabetically, click the tab at the top
of a column to select, then click the Sort button.
4 To view and/or edit a selected team member’s object properties, select
a name then click Show Properties.

Simon Fitzgerald Edit text for

individual name
Adjust settings for

individual names
5 Adjust the settings as required and click Apply.

The lettering updates automatically. See Creating lettering with Object
6 For additional reshaping on-screen, do one of the followings:
Edit a selected name on-screen as you would any other lettering
object.
Team Names lets you do this without having to save the name as
separate design. Most important is the ability to manually adjust
lettering kerning. See Editing Embroidery Lettering for details.
Adjust the lettering baseline as you would any other lettering object.
Most important is the ability to select an ‘auto-frame’ style for fixed
line baselines. See Adjusting straight baseline settings for details.
7 To copy the object properties of one selected team member to all team
members, click Apply to All.
8 To add members to the list, click Add.
The Team Names dialog opens. You can add further names to the list
from the current Team Names group or any other group. See Creating
team name designs for details.
9 To delete members from the list, click Delete.

10 Click X in the top corner of the dialog to close.
All team member names

visible—only the one on
top selected
Note When the Team Members dialog is closed, all team member
names become visible but the one on top is selected in the design
window.
Modifying team names by column
Right-click Lettering (Input toolbar) to edit lettering on-screen.
You can easily set properties, such as font, size or color for an entire column
of names. For example, you might want to highlight the given name in a
particular way.
To modify team names by column

1 Open the Team Names design you want to use. See also Creating team
name designs.

selected.
Click to select
column Simon Fitzgerald
Patrick Fitzsimons
Michael Fitzpatrick
Gerald Fitzroy
Maurice Fitzhenry
John Fitzmaurice
Roy Fitzjohn
3 Click the tab at the top of a column and right-click the Lettering icon.
Text entry panel

grayed out
Select alphabet
Adjust settings for all

names in column
4 Adjust the settings as required and click Apply.

The lettering for the entire column updates automatically. See Creating
lettering with Object Properties for details.

Creating individual designs with team names
You can create individual designs from each name in a Team Names design.
The name will still be included in the original.
To create individual designs with team names

1 Open the Team Names design you want to use.
See also Creating team name designs.
selected.
Simon Fitzgerald
Patrick Fitzsimons
Michael Fitzpatrick
Select names Gerald Fitzroy
to use Maurice Fitzhenry
John Fitzmaurice
Roy Fitzjohn
Click to create
individual designs
3 Select names you want to use.

To select multiple names, hold down Ctrl as you select.
To select a range of names, hold down Shift as you select.
To select all names in the list, click Select All.
4 To create individual embroidery designs for each selected team member,
click Create Design(s).
A new design is created for each selected name. The name is now a
normal lettering object.
5 Click the Save icon to open the Save As dialog.

6 Enter a new name for the design and click Save.
Creating a matrix of team name designs

The Team Names Matrix feature allows you to automatically create a
matrix for all names in a team name object together with their
corresponding design. You have the option to minimize the number of color
changes created by the matrix operation. The operation also attempts to
minimize the number of jumps. A team name object must be present in the
design to activate the feature.
To create a matrix of team name designs

1 Open the team name design you want to use. See also Creating team
name designs.
2 Select the entire design if you want to process the design together with
the team name object.
3 Select Arrange > Team Name Matrix.

The Team Names Matrix dialog opens.
Adjust hoop width Adjust row and

and height column settings
Calculated fields
based on hoop size,
and row and column
settings
Select to minimize
Select stitching color changes
sequence
The Team Names field derives from the actual number of names
included in the design.
The Rows field is calculated from Hoop Height divided by Row
Height. Similarly the Columns field is calculated from Hoop Width
divided by Column Width.
The Output Files field is calculated from the number of team names
divided by rows X columns, rounded up to the nearest whole
number.
Note All calculated fields are updated when you change any of the
height and width settings.
4 Set the hoop height and width to suit the requirements of the hoop you
are using.
These settings are remembered within a session but the defaults are
loaded whenever you launch ES Designer.
5 Set the row height and column width within the selected hoop settings.
These settings are based on the design height and width properties.
Increase them if you want to enlarge the gap between designs. Minimum
and maximum settings: 2.50 mm and 999.99 mm.
6 Select a Sequence option.
Each option indicates a possible stitch sequence for the entire matrix.
The red square indicates the starting point and the arrow shows the
direction of the stitching sequence.
7 Select the Minimize Color Changes checkbox as required.

When selected, provided the team name object has more than one color,
the entire matrix is resequenced by color.
8 Click OK.
A new file is created containing the number of team names that will fit
into the specified hoop—i.e. the number of rows multiplied by the
number of columns, or less. If the number of team names exceeds this
value, another file is created to accommodate the additional names. The
total number of files created is given by the Output Files field.
Outputting team name designs

When you output a Team Names design, you need to define how it is to be
generated as a stitch file. You can generate files that include:
both the design and the names
design in one file and names in another, or
design and names in individual files.
You set these options whenever you save the file in stitch format or output
it to machine.
To output team name designs

1 Create a Team Names design or open an existing one.
2 Select File > Save As and select a stitch format from the Save As Type
list.
3 Click Options.
The Save Options > Team Names dialog opens.

Note Options is also available when you output designs. See also
Stitching designs with Stitch Manager.
4 Select a Save option:

Design and Team Names with stops: creates a single stitch file
including one copy of the design and all names.
Stops are inserted after the design, and between the
names—i.e. Design Stop TeamMember1 Stop TeamMember2
Stop, etc.
Repeated Design and Team Names with stops: creates a single
stitch file with multiple copies of the design, and all names.
Stops are inserted after each static design/name
combination—e.g. Design + TeamMember1 Stop
Design + TeamMember2 Stop.
Create multiple output files: creates separate files for each name,
each of which includes a copy of the static part of the design.
When stitching to ES Machine Manager, each file is queued
separately.
Design part only: creates a file containing only the static part of the
design.
Team Names only with stops: creates a single file containing only
the names, separated by stops. This means that after each machine
stop, you can change frames.
If you have selected Team Names only with stops, you have a further
two options:
Select Follow Auto Start/End Menu to set the start/end point for
each name.

As with any design, the needle should return to a known position
before a frame change. This ensures that the next name is stitched
in the correct position. See Setting automatic start and end points
for details.
Select Based on justification to set the start/end point for each
name according to its lettering justification, as follows:
Justification Auto Start / End Point
Align Left Bottom Left
Center Bottom Middle
Align Right Bottom Right
Justify Bottom Left
5 Click OK to return to the Save As dialog.

6 Click Save.
You are prompted with a confirmation message.
7 Click OK.

Chapter 28
Custom Alphabets
Turn any TrueType font installed on your system into an embroidery

alphabet. Typically spacing between certain character pairs appears uneven
due to the optical illusion of having straight lines and curves side-by-side.
Automatic kerning is a user-defined option allowing you to customize
kerning. Sometimes you find that you want to reshape a letter to improve
its appearance, perhaps to suit a particular lettering height. ES Designer lets
versions of the same letter within the same alphabet. You can even create
your own custom alphabets. Alternatively, modify an existing alphabet for
special applications. Merge letters from two or more alphabets with the
stand-alone alphabet merging utility.
This section describes how to create new alphabets from TrueType fonts.
Automatic letter kerning and user-refined alphabets are explained. The
section also describes how to create and modify your own custom alphabets
and letters. Alphabet merging is also explained.
Converting TrueType fonts to embroidery alphabets

The Convert TrueType Font feature lets you convert any TrueType font
installed on your system to an embroidery alphabet. You can do this ‘on the

fly’ or convert entire fonts for later use. This is an important feature for
Asian alphabets which may contain several thousands of characters.
The process is fully automatic. Lettering shapes are ‘cut’ into Input A or
Input B embroidery objects. Overlaps and stroke order are detected and
stitch angles defined. The result is similar to manually digitized alphabets
although the quality may not be quite as high. The quality greatly depends
on the original shapes, narrower serif type alphabets producing better
results than blocked alphabets.
Converting individual TrueType letters
Use Lettering (Input toolbar) to add TrueType lettering directly on-screen.

Right-click to set the formatting values for new or selected lettering objects.
You can convert individual TrueType letters ‘on the fly’ and add them directly
to a design through the Object Properties dialog.
To convert individual TrueType letters

Enter text
Select TT font
Set conversion
values
ES 2006 Chapter 28 Custom Alphabets 650

2 Select a TrueType font from the Alphabet list.
3 Enter the text you want to embroider in the text entry panel.
Alternatively, type it directly on-screen after adjusting the conversion
settings.
Note The more letters you enter, the more time needed to convert
them.
4 Click TTF Conversion.
The Conversion Values dialog opens.
Select lettering
style
Select Turning
Strokes for variable
stitch angle
Select Complex Fill

for fixed stitch angle
Tip Click Suggest Values if you are not sure which options to select.
Values are automatically set according to the selected alphabet.
5 Select the lettering style you want to create from the Styles
list—Regular, Bold, Bold Italic or Italic.
Note The Style panel is not available for some fonts.

6 If you want the stitching to follow the contours of the letters, select
Turning Strokes. Otherwise select Complex Fill.

The Turning Strokes option has preset values adjusted for the
particular alphabet style. The Complex Fill option lets you adjust the
stitch angle.
Turning Strokes Complex Fill Complex Fill

stitch angle 0º stitch angle 30º
7 Select the Match Ends checkbox to keep stitch angles parallel to the end
of the stroke.
Note This option will override any corner detection and corner fraction
where parallel stitching applies.
Match Ends
Match Ends OFF ON—stitches
parallel to baseline
Tip Stitch angles in strokes should normally be perpendicular to the

stroke, but the exceptions are letters like K, X, Y with short slanted
strokes. In these cases it is better to keep the stitch angle parallel to the
end of the stroke.
8 Select the Break Angle checkbox to apply a cap to sharp angles.
This effect is similar to Smart Corners—if the stroke bends sharply, like
the letter A or V, it will be split or capped.
Break Angle Break Angle 87º

OFF—no split

9 Select the Create Overlaps checkbox to prevent gaps forming between
segments.
You can fine-tune the overlaps by setting values in the ‘T’ junctions and
‘O’ junctions fields.
Create Overlaps Create Overlaps

OFF ON
10 Select the Separate Serifs checkbox if you are converting a serif font.
Separate Serifs Separate Serifs

OFF ON
Tip As the serifs are made into separate strokes, this option is better
used with larger lettering where serifs are greater than 0.8 mm in
breadth.
11 Fine-tune processing of corners with these settings:
Corner Detection Angle specifies the angle which will identify a
corner in the letter. This is more important for getting well-defined
small letters. Note, however, that ES Designer automatically inserts
stitch angles where needed in order to obtain smooth turning
stitches. These generally occur at locations where the shape
changes significantly in direction or width.

Corner Fraction specifies fractional spacing at corners. It is used to
create smooth transitions of stitch angle at corners, shape ends, or
where a shape changes in width or curvature significantly.
Corner Detection Angle 150º Corner Detection Angle 30º

Corner Fraction 0.6 mm Corner Fraction 1.0 mm
12 Click OK to return to the Object Properties > Special > Lettering

dialog.
13 Click Apply.
14 Click the entry point.
If you have already entered text in the Lettering dialog, lettering
outlines are created directly.
If not, type the letters on-screen and press Enter to create the
lettering outlines.
15 Select Stitch > Generate Stitches or press G.
Converting complete TrueType fonts
Use Convert TrueType Font (Special menu) to convert a TrueType font into an
embroidery alphabet.
The Convert TrueType Font feature lets you convert any suitable TrueType
font installed on your system into an embroidery alphabet. Converted letters
can be filled with parallel or turning stitches.
Note The conversion usually only takes a few minutes, although Asian fonts
may take longer.

To convert a complete TrueType font
1 Select Special > Alphabet > Convert TrueType Font.
The Convert TrueType Font dialog opens.
Select font
Select font style
Set values
Enter font
name
Choose
character set
2 Select the font to be converted and font style.
Arial Regular Arial Bold Arial Italic
3 Click Conversion Values.

The Conversion Values dialog opens. See Converting individual
TrueType letters for details.
Tip Click Suggest Values if you are not sure which options to select.
Values are automatically set according to the selected alphabet.
4 Enter a Font Name if you want to overwrite the default.
5 Choose whether to convert standard or extended character sets.
The standard character set contains alphanumeric characters only. It
excludes punctuation marks and other special characters.
6 Click OK.

When the font has been converted, the Convert TrueType Font dialog
confirms.
7 Click OK.
8 To check that the alphabet has been created, right-click the Lettering
icon to open the Object Properties > Special > Lettering dialog.
The newly converted TrueType font will be selected by default. You can
now use it in the same way as other embroidery alphabets.
Converting between Complex Fill and Turning Strokes
Right-click Lettering (Input toolbar) to convert between Complex Fill and

Turning Strokes.
When you convert TrueType fonts to embroidery lettering, the letters can be
filled with parallel or turning stitches. You can convert between Complex Fill
and Turning Strokes at any stage.
To convert between Complex Fill and Turning Strokes

1 Digitize a lettering object using Convert TrueType Font. See To convert
individual TrueType letters for details.
Complex Fill with

stitch angle of 0º

TrueType font appears

in Alphabet list
Set conversion
values

4 Click TTF Conversion.
The Conversion Values dialog opens.
Select Turning
Strokes for variable
stitch angle
Select Complex Fill

for fixed stitch angle
5 Specify whether the letters will be converted as Turning Strokes or

Complex Fill.
If Turning Strokes is selected, select the required options.
If Complex Fill is selected, enter the stitch angle.
See To convert individual TrueType letters for details.
6 Click OK to return to the Object Properties > Special > Lettering
dialog.
7 Click Apply.
letters converted to
Turning Strokes
Automatic letter kerning

The purpose of the automatic kerning feature is to improve lettering
appearance and legibility by fine-tuning spacings between letter pairs.
Typically spacing between certain pairs appears uneven due to the optical

illusion of having straight lines and curves side-by-side. Automatic kerning
is a user-defined option allowing you to customize kerning.
Applying automatic kerning
Right-click Lettering (Input toolbar) to adjust automatic kerning for selected

lettering objects.
The automatic kerning option is accessed by means of the Object

Properties dialog.
To apply automatic kerning

1 Double-click a lettering object.
Select or deselect
auto kerning
2 Scroll down to the Spacing panel.

If a kerning table exists for the selected alphabet or TrueType font, the
Auto Kerning checkbox is enabled and selected by default.

3 Select or deselect Auto Kerning as required and click Apply.
Note If the Auto Kerning checkbox is disabled, no kerning table exists

for the selected alphabet or TrueType font, or all the kerning values are
set to zero. See Managing user-refined letters for details.
Managing kerning tables
Use Object Properties (Standard toolbar) to access kerning tables.
A kerning table is an array of kerning values for every possible pair of letters
in the alphabet. The Kerning Table command accesses a dialog used to
manage kerning tables. You can copy tables from one alphabet or TrueType
font to an embroidery alphabet or remove its kerning table altogether.
Note TrueType kerning tables cannot be replaced, added to, or modified in

any way. You can, however, convert a TrueType font to an embroidery
alphabet and add or modify a kerning table as required.
To manage kerning tables

1 Open the Object Properties > Special > Lettering dialog.
Select alphabet
Click to access
kerning table

2 Select an alphabet from the dropdown list.
3 Scroll down to the Spacing panel and click the Kerning Table button.
The Kerning Table dialog opens with the current (target) embroidery
alphabet displayed.
Current (target)
alphabet
Choose similar
alphabet or font
Copy kerning
table to current
alphabet
The Choose Source dropdown list displays all alphabets and TrueType
fonts that contain kerning tables.
Note The Zero Table command is enabled if the current (target)

alphabet already has a kerning table. If you click this button, you are
prompted to confirm removal of kerning information.
4 Choose a suitable alphabet or TrueType font from the list and click Copy
Source to Table to load its kerning table to the current embroidery
alphabet.
If the current alphabet already contains a kerning table, you are
prompted to overwrite it.
Editing kerning values
angles, and adjust start/end points.
You have created a lettering object which has Automatic Kerning toggled
ON.

To edit kerning values
1 Select a lettering object with automatic kerning and click the Reshape
icon.

3 Drag selected letter/s along the baseline or use arrow keys to adjust the
spacing. See Adjusting individual letter spacing on-screen for details.
Tip Alternatively, to move multiple letters, right-click the diamond

control point of the first letter and drag. All letters to the end of the line
move as one.
4 Repeat as many times as necessary to fine-tune all letter spacings in the
object.
5 Select one or more blocks of contiguous letters by Ctrl-clicking their
diamond control points or dragging a selection box around them.
Each block may contain two or more letters.
6 Select Special > Alphabet > Update Kerning Values.

You are prompted with a confirmation message box stating that the
operation will affect letter spacing of new lettering objects.
7 Click OK.
A new kerning value is generated for each contiguous pair of selected
letters of the same alphabet or font, and written to the associated
kerning table.
User-refined alphabets
Sometimes you find that you want to reshape a letter to improve its
appearance, perhaps to suit a particular lettering height. ES Designer lets
versions of the same letter within the same alphabet. Each version can have

a unique height range. When using the letter in a design, the height setting
will automatically determine which version is used. The feature thereby
allows you to permanently record fixes to particular lettering problems and
thereafter automatically apply them.
Note The software preserves all user-refined alphabet letters when a new
version is installed. Only factory default letters are overwritten. Similarly all
user-refined alphabets are preserved unchanged.
Saving user-refined letters
angles, and adjust start/end points.
User-refined letters are saved via the Save Letter option. This is enabled
only if an alphabet letter or converted and/or reshaped TrueType font letter
is currently highlighted in the design window or selected in Reshape mode.
One and only one letter may be saved at a time. In the example below, the
letter ‘a’ tends to close over at reduced sizes. You may want to open it up.
By saving it as a user-refined letter, any changes made will be automatically
applied to new lettering objects using the alphabet in the specified size
range.
Letter ‘a’ opened up at

smaller size
Default ‘a’ too narrow at smaller size
To save a user-refined letter

1 Create a lettering object using the embroidery alphabet letters or a
TrueType font. See Creating Embroidery Lettering for details.

2 Size the lettering object and reshape the letter as required. See
Reshaping individual letters on-screen for details.
Select modified letter
Tip The Stitch Angle and Reshape Object tools let you add, delete,
or adjust stitch angles in lettering objects. See Adjusting stitch angles
for details.
3 With the letter selected (by clicking the diamond control point), select
Special > Alphabet > Save Letter.
The Save User-Refined Letter dialog opens.
Specify the
height range
Name the new

version
4 Set the height range for the letter:

All: the letter will be used at all letter heights (effectively replacing
the factory default).
Greater than: the letter will only be at heights greater than that
specified.
Less than: the letter will only be at heights less than that specified.
5 Give the new letter a unique name that you can easily identify—by
default, the new version is given the name ‘User 1’.

If the name has already been used for that letter, you will be prompted
to overwrite the existing saved letter. You can use the same name for
other letters.
6 Click OK.
A confirmation message appears when the letter has been saved. Note
that changes to the selected letter are not automatically applied to the
current lettering object.
default letter ‘a’
Changes applied to
modified both letters
letter ‘a’
Select to use
user-refined letters
7 To apply changes to all the same letters in the selected object, select the
Use saved version checkbox in the Object Properties > Special >
Lettering dialog and click Apply. See also Selecting alphabets.
Managing user-refined letters

User-refined letters are managed via the Manage User-Refined Letters
option. This menu item is only enabled when a lettering object with an
alphabet containing user-refined letters is currently selected.
To manage user-refined letters

1 While the letter is selected, select Special > Alphabet > Manage
User-Refined Letters.

The Manage User-Refined Lettering dialog opens.
Scroll to next or
previous letter
Click and
rename version Swap height ranges
as required by moving selected
version up or down
Select letter version to Adjust height range for the

include in alphabet selected letter version
The name of the alphabet is shown at the top of the dialog. If the
alphabet is a TrueType font, the TT font symbol is shown before the
name.
The original factory default letter is identified by the name ‘Factory’.
For converted TrueType font letters, the word ‘Convert’ appears
instead of ‘Factory’. These labels cannot be edited.
With embroidery alphabets generated entirely by you, the original
digitized letter is named ‘User 1’ by default. Every version of the
letter, including the original, is editable.
2 Use the left and right arrow buttons or dropdown list to select a
user-refined letter in the current alphabet.
3 Make any of the following modifications:
Click and rename any of the versions, except ‘Factory’ or ‘Convert’,
as required.
Delete any selected version name except ‘Factory’ by clicking Delete.
If the letter is a TrueType font conversion, all versions may be
deleted. If the letter is user-defined—i.e. non-Wilcom—you can
delete all versions except one.
Deselect the Use checkbox of any version if you don’t want to
include it in the alphabet but don’t want to delete it. When
deselected, the size range formerly occupied by the letter is
distributed evenly between the closest neighboring versions which
have their Use checkbox checked.
4 Adjust the height range for the selected version of the letter by moving
the slider bars.

The height is shown in the current units set in the Regional Options of
your PC. These can only be changed via the Control Panel.
5 Swap height ranges of the selected version of the letter with the Move
Up and Move Down buttons.
6 Click OK to confirm changes.
Creating custom alphabets

You digitize letters for a custom alphabet just like other embroidery objects.
Custom letters can be made up of multiple objects, and may be letters,
numbers, symbols or pictures. You can use artwork from sources such as
calligraphy books to create alphabet letters.
Note You can also create new alphabets by converting TrueType fonts. See
also Converting TrueType fonts to embroidery alphabets.
Choosing artwork to create custom alphabets

You can use artwork to create alphabet letters in the same way you do other
objects. Before digitizing, however, establish whether the letter shapes are
suitable for embroidery, and determine reference height and baseline for the
alphabet.
Warning Because of copyright laws, you cannot simply select letters from
an existing embroidery alphabet and save them directly to another
alphabet.

Letter shapes
For best results, letter columns should be of similar width, without tight
curves or sharp corners, or very fine, very wide, or curved serifs.
differences in column
width too great
serifs too long and fine corners too sharp
Reference height and baseline

Reference height is the maximum height of capital letters. Although there
may be subtle differences between upper and lower case letters, it is a
useful guide for digitizing. See also Saving custom alphabets.
Tip Place letters along a standard baseline to help digitize at a standard

height. Draw in the baseline if you are digitizing from artwork, or use a grid
line as your guide. Descenders in letters such as y or g generally fall below
the baseline.
letter height
baseline
Tip Use E or H as reference letters to determine the height and baseline for
the alphabet. These letters work well because they sit on the baseline and
do not extend above the standard cap-height.

Letter spacing and width
Letter width varies with the letter shape and spacing. When you digitize
letters, you enter two reference points to mark the width, and a third to
mark the height.
letter width
letter width
spacing
increased
Default spacing affects ‘kerning’ or spacing across all letters. Additional

width can be added as spacing around individual letters.
Tip For italic styles, you may need some overlap between letter extents.
Digitizing custom letters

You can digitize letters from backdrop images, convert vector objects, or
digitize freehand using any of the input method tools. You can also copy
characters and symbols from the Windows Character Map into an external
graphics program. Here you can modify them as you like, save them to a
graphics file, and use it as a design backdrop. See also Using the Character
Map.
Letter stitching sequence is based on the alphabet join type you select when
saving it. If you save using the Closest Join or Bottom Join methods,
ES Designer applies automatic branching to the letters. In this case, you
don’t need to worry about the direction individual letter strokes will stitch
in. When branching is applied, ES Designer determines where each stroke
starts and ends, adding travel runs as necessary. However, it is good
discipline to digitize the strokes in the direction they are most likely to be
stitched in. It is also important to specify the stroke order as this is
maintained when sequencing is calculated. See also Saving custom
alphabets.
If you want to specify the stitching sequence and connectors yourself,
digitize the letter in sequence and manually digitize the connecting
stitching. You then need to select As Digitized as the alphabet join method.
See also Changing lettering join method.

To digitize custom letters
1 Select an input method.
If you are digitizing the sequence and connectors manually, use any
input method. If you want the letter to be automatically resequenced
with Closest Join or Bottom Join, use Input A, Input B, Input C and
Complex Fill objects.
2 Select the stitch type.
Tip Most letters use Satin or Tatami.

3 Digitize each section of the letter.
Where one stroke butts up against the side or end of another, create
an ‘underlap’ to bind the two strokes together. Underlaps should be
about a third of the stroke width or less, but may be half for thin
strokes.
underlaps
Try to avoid having more than two strokes on top of each other as
this causes thread buildup and can lead to thread breaks.
Sometimes modifying the shape can improve it.
Sometimes it is helpful to angle the ends of underlaps so that a few
stitches are ‘caught’ by the overlapping stroke. This prevents a gap
appearing if the stitches of the top stroke pull back.
overlap / underlap

Where a stroke crosses another stroke, such as in the letter t, one
stroke is commonly broken into two parts. For thin objects, you may
digitize the above stroke in one piece, crossing over or under the
other.
4 Adjust outlines using the Reshape Object tool if necessary.

When the letter is the correct shape, save it as a custom letter. See also
Saving custom letters.
Saving custom letters
Use Alphabet > Make Letter (Special menu) to create a new letter.
When you create a new letter, you need to select an alphabet for it, give it
a name, specify its height, and indicate whether to preserve any machine
functions. You also need to indicate its spacing settings by digitizing
reference points on-screen.
Warning Do not use the tilde (~) symbol when naming letters. This is a
special character for entering letters with multiple-character names. See
Selecting custom alphabets for details.
To save custom letters

1 Digitize the objects that make up the new letter, and select them.
Select whole
character
2 Select Special > Alphabet > Make Letter.

The Make Letter dialog opens.
Select alphabet
Enter letter name
Enter reference height
Select to set height on-screen
Deselect to include functions
3 Select an alphabet from the Alphabet Name list. See also Saving
custom alphabets.
4 Enter a name for the letter in the Letter field.
For example, if you digitized the letter H, enter H in the Letter field.
Tip You can create names with multiple characters to identify special
letters—e.g. ‘Star’ for a star symbol, or ‘e-acute’ for é. See also
Selecting custom alphabets.
5 In the Reference Height field, enter a height for the letter.
The letter is recorded at this height regardless of its original size. You
can also set height on-screen by selecting the Digitize Reference
Height checkbox. When you return to the design window, you are
prompted to digitize the height. If you select Digitize Reference
Height, the value in the Reference Height field is ignored.
Tip Letters are generally 20 to 40 mm in height. See also Standard

Alphabets.
6 Deselect Remove Functions only if you want to keep any machine
functions in the object.
The letter may, for example, include deliberate color changes or other
machine functions. Such letters require the As Digitized join type. See
also Changing lettering join method.
7 Click OK.
8 Click to mark two reference points for letter width and the baseline.

The distance between reference points determines the letter width,
including any spacing either side of the letter. This then determines
‘standard spacing’ between letters. See also Letter spacing and width.
1 2
1 2
1 2
Note The reference points you digitize also determine where the letter
sits on the baseline.
9 If you selected Digitize Reference Height in the Make Letter dialog,
you are prompted to digitize a third reference point to mark letter
height. See also Reference height and baseline.
A message confirms that the letter has been saved to current alphabet.
10 Click OK.
Saving custom alphabets

Use custom alphabets to store any letters you create. To make a new
alphabet, you name it and set the default spacing and join type for adjacent
letters. You also specify the file type.
To save custom alphabets

1 Digitize the objects that make up the new letter, and select them.
Select whole letter

Click to create
new alphabet
3 Click New.
The New Alphabet dialog opens.
Enter alphabet name
Enter default spacing
Select join method
4 Enter a name for the alphabet in the Alphabet Name field.

5 Enter the default spacing in the Default Letter Spacing field.
Tip Use 8-10% for standard alphabets such as block and serif styles and
0% for script-style alphabets.
6 Select a default method of joining adjacent letters from the Default Join
Type list.
As Digitized: preserves the original stitching sequence of each
letter as it was digitized, as well as any stitch types and machine
functions used in its creation.
Closest Join: resequences entry and exit points in adjacent letters
to join them at the closest point.
Bottom Join: resequences entry and exit points in adjacent letters
to create a connector along the lettering baseline.
See also Changing lettering join method.
7 Click OK.
8 Enter additional values for the selected letter in the Make Letter dialog.
See Saving custom letters for details.
9 Click OK.

Selecting custom alphabets
Right-click Lettering (Input toolbar) to select a custom alphabet.
To use a custom alphabet, select it like any other alphabet. If a letter has a
multi-character name, you can only access it from the Lettering dialog
using the special tilde (~) symbol.
To select custom alphabets

Select custom
alphabet
2 Select a custom alphabet from the Alphabet list.

3 Enter the names of the letters you want to use in the text box.
If the letter name is a single character—e.g. ‘A’—enter that
character.
If the letter name consists of more than one character—e.g.
‘Star’—enter a tilde (~) followed by the letter name.

Tip Combine letters that use single or multiple characters in their name
by prefacing the single character with two tildes—e.g. ~Star~~A~Star.
See also Saving custom letters.
4 Set the formatting values as you would for other lettering objects. See
Formatting lettering for details.
5 Click Apply.
6 Add the lettering to your design. See Adding lettering to embroidery
designs for details.
Modifying custom alphabets

You can modify custom alphabets by changing names, default letter
spacings and join types. If an alphabet is no longer required you can delete
it. You can also rename, delete or reshape letters within custom alphabets.
Modifying alphabets
Use Alphabet > Modify Alphabet (Special menu) to modify custom alphabets.
Modify custom alphabets by changing names, default letter spacings and

join types. If an alphabet is no longer required, delete it.
To modify alphabets
1 Select Special > Alphabet > Modify Alphabet.
The Modify Alphabet dialog opens.
Select Click to rename

alphabet alphabet
2 Select an alphabet from the Alphabet > Name list.

To rename the alphabet, click Rename. Enter a new name in the
Rename Alphabet dialog and click OK.
Enter new name
To delete an alphabet, click Delete. A message prompts you for

confirmation.
To change default letter spacing, enter a new value in the Default
Letter Spacing field. See also Adjusting spacing settings.
To change the default join type, select a new one from the Default
Join Type list. See also Adjusting stitching sequence and join
method.
3 Click OK.
Modifying custom letters
Use Alphabet > Modify Alphabet (Special menu) to rename, delete or reshape letters
within custom alphabets.
Rename, delete or reshape letters within custom alphabets.
To modify custom letters

1 Select Special > Alphabet > Modify Alphabet.
The Modify Alphabet dialog opens.
Select
alphabet
Select letter
2 Select an alphabet from the Alphabet > Name list.

3 Select a letter from the Letter > Name list.
To delete a letter, click Delete. A message prompts you for
confirmation.
To rename a letter, click Rename. Enter a new name in the Rename
Letter dialog and click OK.
Enter new name
Tip You can use names with more than one character.
4 Click OK.
Reshaping custom letters
Use Ungroup (Standard toolbar) to ungroup a letter into its component

objects.
Use Reshape Object (Pointer toolbar) to reshape custom letters.
Use Alphabet > Make Letter (Special menu) to create a new letter.
To change the shape of letters in custom alphabets, ungroup them and

change their outlines and stitch angles using the Reshape Object tool.
Warning When you ungroup, the letter is converted back to objects, and
letter details such as alphabet and baseline are lost. When you have finished
reshaping, you have to enter these details again.

To reshape custom letters
1 Select a letter and ungroup.
2 Click the Reshape Object icon and reshape the objects as required.
Reshape objects
3 When you have finished reshaping, select the objects.

Select alphabet
Select letter name
5 Select the alphabet to which the letter belongs from the Alphabet
Name list.
6 Select the letter name from the Name list.
Note To save the letter under a different name, enter a new name.
7 Click OK.
8 Confirm you want to replace the old letter with the new.

Merging alphabets
You can merge letters from two or more alphabets with the stand-alone
alphabet merging utility. Files to be merged must be placed in the
ES Designer userletw folder of your installation.
To merge alphabets
1 Select Start > Programs > MS-DOS Prompt.
2 When the DOS prompt appears, change to the bin directory of your
ES Designer installation.
This is usually C:/ESWin/bin.
3 Choose whether to automatically overwrite or receive prompt.
To automatically overwrite the letters in the first file with letters of
the same name from the other file(s), type:
alphcat.exe file1.ESA file2.ESA file3.ESA.
To receive a prompt message before a letter is overwritten, type:
alphcat.exe file1.ESA file2.ESA file3.ESA /Y.
Press Y or N to confirm whether to overwrite.
4 Click Yes to merge.

PART VII
DESIGN PROCESSING &
ENCODING
Design processing and encoding involve all the less ‘glamorous’, back-end
operations of embroidery design and manufacture. This is where you
actually output your designs to machine, disk, printer, cutter, and so on. For
this, you will need an understanding of embroidery file types as well as
different machine formats. Depending on your setup, you will also need an
understanding of traditional storage media including embroidery disks and
paper tapes.
Processing design files

This section describes how to select conversion options for opening and
saving different stitch and outline design formats. It also provides details
about the processing of Melco CND outline files, including color merging, as
well as reassigning colors to both stitch and Melco CND files. See Processing
Design Files for details.
Changing machine formats

This section describes how to select a machine format for a design, output
it using other formats, and customize machine formats to meet your
machine’s specific requirements. See Changing Machine Formats for details.

Outputting designs
This section describes how to create production worksheets. It explains how
to send designs as email attachments, as well as how to output designs as
drawings and images. Cutting appliqué shapes is also covered, as well as
stitching designs with Stitch Manager. See Outputting Designs for details.
Embroidery disks and paper tapes

This section describes how to read from and write embroidery design files
to embroidery disk and paper tape. See Embroidery Disks and Paper Tapes
for details.
ES 2006 Design Processing & Encoding 681

Chapter 29
Processing Design Files
By default ES Designer saves to its native file format, EMB. This format
contains all information necessary both for stitching a design and for later
modification. When opening designs created or saved in other formats,
ES Designer converts the design internally to EMB format. You can then
modify it using the full range of ES Designer features. Depending on the file
type, you may need to provide additional information to assist ES Designer
in the conversion process.
This section describes how to select conversion options for opening and
saving different stitch and outline design formats. It also provides details
about the processing of Melco CND outline files, including color merging, as
well as reassigning colors to both stitch and Melco CND files.
Embroidery design formats

Embroidery designs are saved in one of two formats—‘outline’ format or
‘stitch’ format.
Note For details of specific formats supported by ES Designer, see

Supported embroidery file formats.
Outline files
Outline or ‘condensed’ files are high-level formats which contain object
outlines, object properties and stitch data. When you open an outline file in

ES Designer, corresponding stitch types, input methods and effects are
applied.
Complex
Fill object
Outline files can be scaled, transformed and reshaped without affecting

stitch density or quality. After modification, you can choose to save your
design to EMB format, or to a different format altogether.
Note Some outline files, such as Wilcom INP and Gunold PCH, contain
incomplete information. Old format ESD designs are somewhere between an
outline and a stitch file. They contain stitch data, information about selected
stitch types, densities, and machine functions. They do not, however,
contain information about shapes and lines. ESD files require object/outline
recognition if you want to perform object editing in ES Designer. See
Opening stitch files in ES Designer for details.
Stitch files
Different embroidery machines understand different languages. Each has its
stitch a design, it must be in a format which can be interpreted by the
machine. Stitch or ‘expanded’ designs are low-level formats for direct use
by embroidery machines. They contain only stitch coordinates and machine
functions. They are generally created ‘on the fly’ when sending designs to
machine. They can also be output to embroidery disk or paper tape. See
Embroidery Disks and Paper Tapes for details. See also Supported Machine,
File and Disk Types.
When they are read into ES Designer, stitch files do not contain object
information such as outlines or stitch types, but present the design as a
collection of stitch blocks called Manual objects. Manual objects are created
wherever machine functions—e.g. color changes or trims—are detected in

the design. They have only General and Connector properties. Manual
objects, in turn, consist of individual stitches, called Manual stitches.
Manual
object
Stitch designs are generally not suited to modification because stitches are
not regenerated. However, ES Designer patented Stitch Processor
technology can interpret object outlines, stitch types and spacing from stitch
data with some success. In this way, you can re-constitute old tape format
files and other stitch file format designs for modification in ES Designer.
These recognized designs can be scaled with stitches recalculated for the
new outlines. Processing is effective for most stitch designs but cannot
produce the same level of quality as original outlines and may not handle
some fancy stitches.
By default, stitch files are converted to outlines and objects upon opening
but you can also choose to open them without recognition. Designs opened
in this way can be output for stitching in another format. Or you can edit
stitches and add new elements. For such purposes, you do not need to
retrieve information about how the design was created.
You can scale stitch format designs which have been opened without
object/outline recognition. However, because the stitch count does not
change, the density increases or decreases with the design size. Thus you
ES 2006 Chapter 29 Processing Design Files 684

should not scale stitch designs by more than ±5% or some areas may be
too thickly or too thinly covered.
Original stitch Scaled stitch design

design opened without
object/outline
recognition
Alternatively, you can process the whole or selected parts of a design after
editing. You can even split larger manual objects into smaller objects, and
process them individually.
Note With or without object/outline recognition, stitch files can be saved in

EMB format once they are opened in ES Designer.
File sources
While embroidery files are broadly classified as ‘outline’ (condensed) or
‘stitch’ (expanded), ES Designer internally tags files as belonging to one of
four types–Native Design, Imported Outlines, Processed Stitches, or
Imported Stitches.
File source Description
Native Design Designs created in ES Designer (or equivalent).
Imported Outlines Designs read from non-EMB outline–CND or PCH–where

stitches have been generated in ES Designer (or
equivalent) from original outlines and stitching data.
Processed Stitches Designs read from stitch files where stitches have been
regenerated by processing.

File source Description
Imported Stitches Designs read from stitch files, where outlines may or may
not have been recognized, but stitches have not been
regenerated through stitch processing.
Note, however, that if you change a stitch design–e.g. add
a lettering object–the status changes to Processed
Stitches even though the imported stitches may not have
been regenerated.
For information about the source of a design file, refer to the Design
Properties dialog. See Viewing design information in ES Designer for
details.
Opening stitch files in ES Designer

If you want to scale a design, edit an outline or change a stitch type, then
the design or selected elements must be converted into objects using Stitch
Processor. By default, stitch files are converted to outlines and objects upon
opening. If you do not want to scale the design by more than ±5%, or only
want to make minor stitch edits, or output in another format, you can
choose to open the stitch file without object/outline recognition. The design
is then presented as a collection of manual objects. If you only want to
convert selected parts of a design, you can open the file without
object/outline recognition and process only the required stitch blocks.
Tip To ensure object outlines, stitch types, stitch density and colors are
correct, it is always a good idea to check and edit designs after conversion.
To improve the quality of a stitch file, it is often better to edit stitches before
conversion.
Object/outline recognition
When you convert a stitch file to outline format, ES Designer reads stitch
data stitch-by-stitch according to the needle penetration points. It
recognizes stitch types, spacing and length values, stitch effects, and can
determine object outlines.
All filled areas in a design become Input A or Run objects with fill or outline
stitch properties as well as general and connector properties. Stitch types
are assigned as Satin, Tatami, or Program Split depending on the pattern of
needle penetrations. With Tatami, ES Designer recognizes stitch spacing
and length, and applies a random factor. If a design is converted from ESD

format, Zigzag and Triple Run objects are also recognized. If an object is not
recognized, it becomes (or remains) a manual object with general and
connector properties only. As such, it will not scale well.
Recognized object outlines and stitch values are stored as object properties
in ES Designer. This means you can scale and transform recognized designs
in the usual way. You can also change the stitch density of the whole or
selected parts of a design, and/or of certain stitch types.
Tip ES Designer Stitch Processor is intended primarily to enable the

re-use of stitch format designs, but it also provides a convenient method for
changing the object properties of EMB designs. You can change stitch
density as a percentage without having to select objects individually. See
Recognition limitations
ES Designer cannot recognize the backstitch type for Tatami fills. Before
scaling a design, select the correct backstitch in the Object Properties
dialog. If a stitch type is not recognized accurately, the values in the Object
Properties dialog will not match the stitches. The stitches will remain the
same as in the original design, until you make changes and regenerate
them. If you change the design, stitches will be regenerated according to
the object properties.
Tip Designs converted from tape format files and expanded designs which
have non-standard stitch types may require editing in ES Designer to ensure
that the object outlines, stitch types, stitch density and colors are correct.
Opening stitch files with object/outline recognition

When you open stitch files with object/outline recognition, you can set open
options to determine how to convert the design. Options vary with the type
of stitch file you select.
Note Open options should reflect how the design was originally digitized,
not how you want it now. Experiment with the settings to get the best
results.
To open stitch files with object/outline recognition

1 Open the file from your hard disk, or read it from tape or embroidery
disk.

Select file
Select format Click

Options
2 Select a stitch format from the Files of Type list and select the file to
open.
3 Click Options.
The Open Options dialog opens.
Select machine
format
Enter number of
jumps as trims
Select output type
for stop codes
Select
Objects/Outlines
Note Depending on the file type selected, different options are

available.
4 Select the Objects/Outlines checkbox.
5 Select a different machine format from the Machine Type list as
required.
6 Enter the number of jumps to recognize as trims.
When ES Designer encounters this number of consecutive jumps, it will
convert them to a trim function.

Warning If this value is different from the original design, trim
functions will be not be inserted correctly.
7 Use the Stop Code as panel to select the output type for stop codes as
required.
Color Change: Stop codes are interpreted as Next Color
commands. The next color is selected from the default color palette.
Stops: Stop codes are interpreted as Explicit Stops. The machine
stops stitching.
Custom: Lets you map thread colors to every stop code in the file.
This means you can color code stitch file designs which do not
contain needle addressing information, before opening the file. See
Reassigning colors to stitch and Melco CND files for details.
8 Select or deselect the Automatic Connectors checkbox as required.
Deselect to open designs with connectors recognized as Manual
objects. This avoids stitch editing problems caused by automatic
connectors. This is recommended for open fills.
Select to open appropriate designs with automatic connectors
without having to use object/outline recognition.
9 Check the status of your embroidery machine as required, then select
the correct setting—Speed1 or Speed2—from the list (if available).
Select required
speed
On some Barudan machines there is a speed switch. Depending on its

position, fast is assigned as either Speed1 or Speed2. For example, if
you select Speed1, each fast speed function will be translated into a
Speed1 command.
10 Click Advanced to set advanced recognition options. See Adjusting
advanced recognition settings for details.
11 Click OK.
12 Click Open.

The selected design is processed and converted to Input A or Run
objects with fill or outline stitch properties as well as general and
connector properties. If an object is not recognized, it becomes a
manual object with general and connector properties only.
Manual
object
Input A
object
Note Stitch Processor adds the missing information to the file, but
does not change the stitches. See also Adjusting stitch density.
Opening stitch files without object/outline recognition

By opening a stitch file without object/outline recognition, you can output
the design without change, edit individual stitches, and perform minor
scaling and transforming actions without losing the original stitch
information. Alternatively, you can process the whole or selected parts of a
design after editing. See also Recognizing object/outlines after editing.
To open stitch files without object/outline recognition

disk.
2 Select a stitch format from the Files of Type list and select the file to
open.
3 Click Options.

The Open Options dialog opens.
Deselect
Objects/Outlines
4 Deselect the Objects/Outlines checkbox.

5 Set other open options as required.
Depending on the file type selected, different options are available. See
Opening stitch files with object/outline recognition for details.
6 Click OK.
7 Click Open.
The design opens as a collection of manual objects with only general and
connector properties.
Manual
object
Tip At this point, you can edit the stitches so that the Stitch Processor
can recognize the stitch types and object outlines more accurately:
Eliminate Stitch Shortening and Jagged Edge effects for smooth,
accurate outlines.
Remove small stitches from the design.

The exit point of a column may be on the same side as the entry
point. You may need to add an extra stitch at the end so that the
Stitch Processor can recognize the outline accurately.
See Editing Stitches and Machine Functions for details.
Recognizing object/outlines after editing
Use Process (Generate toolbar) to adjust stitch density of the whole or

selected parts of a design.
You can process a stitch file, or selected parts of it, to recognize objects and
outlines, or adjust its size and stitch density. Processing a stitch file is similar
to converting it to an outline file when opening except that you can process
only selected objects or stitches. You can also split larger manual objects
into smaller objects, and process them individually. See also Splitting
objects and Converting selected stitches to objects.
Tip You can also use the Process feature to change stitch count and density
for the whole design, or for objects of a particular stitch type only. See
To recognize object/outlines after editing

1 Open a stitch file without object/outline recognition. See Opening stitch
files without object/outline recognition for details.
2 Edit parts of the design as required. See Editing Stitches and Machine
Functions for details.
3 Select the part of the design you want to process.
You can select the whole design or individual manual objects.
Manual object

Enter target
stitch count
Click to access
advanced
recognition
options
Adjust stitch
densities
Adjust Pull
Compensation
5 In the Stitch Values panel, enter the number of Target Stitches as

either a percentage or absolute value (in millimeters).
6 Adjust the density for each stitch type as required.
You can change the density for selected objects and/or for specific stitch
types only. See also Adjusting stitch density of certain stitch types.
Note If a design contains objects created with other stitch types, the
target stitch count will not be achieved as these objects will not change.
7 Click Recognition to set advanced recognition options as required. See
Adjusting advanced recognition settings for details.
8 Click OK.

The selected objects are processed and converted to Input A or Run
objects with fill or outline stitch properties as well as general and
connector properties. If an object is not recognized, it remains a manual
object with general and connector properties only. In this case, the
target stitch count may not be reached.
Manual object
converted to
Input A and Run
objects, or left as
Manual
Note Stitch Processor adds the missing information to the file, but does
not change the stitches. See also Adjusting stitch density.
Adjusting advanced recognition settings

You can fine-tune how ES Designer converts stitch files using the advanced
recognition settings. By default, ES Designer converts stitches as Tatami,
Satin, or Run stitches according to the settings in the Recognition -
Advanced Options dialog. You can change these values, or choose not to
convert a certain stitch type at all.
Generally, the default settings provide the best results for the most
frequently used fill styles—Tatami and Satin—their properties—stitch length
and spacing—and edge effects, such as stitch shortening. Default settings,
however, cannot always guarantee the best results as the variety of
embroidery designs is virtually unlimited.
Original design
opened without stitch
recognition
Opened with stitch

recognition -
pattern splits recognized
as Tatami

Tip When using the advanced object/outline recognition options, select only
those options you want to be recognized. This will minimize the time taken
to process the design and ensure stitches are preserved.
To adjust advanced recognition settings

1 Access the Open Options dialog. See Opening stitch files with
object/outline recognition for details.
2 Click Advanced.
The Recognition - Advanced Options dialog opens.
Select to
recognize Tatami
stitches
Select to recognize
random needle Select to
penetrations recognize
Jagged Edges
Select to
recognize Satin
stitches Select to
recognize
Select to Splits
recognize Run
stitches
Set space and Select Segments

stitch length Resolution and
rounding Merging Factors
3 In the Tatami panel, select Recognize Tatami in order to process

Tatami fills, and adjust conversion options as required:
Stitch Spacing: enter spacing range to recognize. If the row
spacing falls outside this range it will not be converted to Tatami.
Min Stitch Length: enter minimum stitch length to recognize as
Tatami.

Random Factor: select to allow for random needle penetrations.
Deselect the Recognize Splits checkbox to detect Random Factor
more accurately.
Tatami Spacing range 0.4 mm

to 1.5 mm, Random Factor not
selected
Tatami Spacing range

0.4 mm to 1.5 mm,
Random Factor selected
4 In the Satin panel, select Recognize Satin in order to process Satin

stitching, and adjust stitch spacings as required—if the row spacing falls
outside the specified range it will not be converted to Satin.
Satin Spacing range

0.5 mm to 5.0 mm
Satin Spacing range

0.1 mm to 2.0 mm
5 In the Run panel, select Recognize Run in order to process Run

stitching, and adjust conversion options as required:
Max Stitch Length: enter maximum stitch length to recognize.
Length Variation: enter percentage by which stitch length can vary
in Run objects.
Run, Max Stitch Length

4 mm Length Variation 10%
Run, Max Stitch Length 4 mm

Length Variation 90%
6 In the Parameter Consistency panel, set options for Complex Fill

segment recognition.
Spacing Rounding: enter rounding value for stitch
spacings—‘snaps’ spacing values in Tatami and Satin fills to specified
increments.

Stitch Length Rounding: enter rounding value for stitch
lengths—‘snaps’ stitch length values in Tatami fills to specified
increments.
For example, if the Tatami minimum stitch length is 4 mm, and the
Stitch Length Rounding is 0.4 mm, stitches from 3.80 to 4.20 mm are
‘snapped’ to 4.0 mm, and recognized as Tatami.
Tatami Spacing range: 0.4 mm to 1.5 mm,

Spacing Rounding: 0.01 mm,
Stitch Length Rounding: 0.2 mm
Tatami Spacing range: 0.4 mm to 1.5 mm,

Spacing Rounding: 0.05 mm,
Stitch Length Rounding:0.5 mm
7 In the Effects panel, select Jagged in order to recognize the Jagged

Edge effect. Specify a minimum range in millimeters—anything
variation greater than this value will be recognized as Jagged Edge.
Jagged NOT selected, border

object recognized as Manual
Jagged selected, border object

recognized as jagged edge
8 In the Splits panel, select Recognize Splits to recognize splits in Tatami

fills, and adjust conversion options as required.
Program Splits as User Defined Splits: recognize split patterns as
user-defined splits. Note, however, that user-defined splits are
scaled when the design is scaled. This results in stitch lengths
getting longer as the design is enlarged, thus limiting scaling. With
native program splits, on the other hand, patterns—shape, size and
spacing—remain the same after objects are scaled. See also
Textured Fills.
Recognize Auto Splits: recognize Auto Splits in Satin objects.
Otherwise, patterns created with Auto Split will be recognized as
Tatami. See also Splitting long stitches with Auto Split.

Recognition Level: restrict recognition of Program Splits by
increasing percentage. Decrease to increase recognition. A low
percentage number will detect more areas as Satin with User
Defined Split than Tatami.
User Defined Split
Auto Split
Tip Program splits are reliably recognized when patterns are not
overlapping.
Warning Split patterns can be complex, so the recognition process can

take up to five times longer with this option. Do not use it unless the
design contains Program Splits, User Defined Splits with Tatami or Satin,
or Auto Splits.
9 In the Segments Resolution/Merging Factors panel, enter values to
fine-tune the recognition of segments and objects.
Spacing: this value expresses the ratio between stitch spacings in
adjacent stitch blocks—e.g. adjacent spacings of 0.6 mm and
1.0 mm gives a ratio of 1.67. A value of 2.0 in the Spacing field
means that these stitch blocks will be recognized as one segment or
object. A value of 1.5 means that they will not. The default value is
3.0. Normal Satin and Tatami stitching ranges in spacing from 0.3 to
0.6 mm, so most continuous sections of stitching of the same type
will not be split. To preserve spacing variations for color-blended
designs and more artistic designs, you may need to reduce the
spacing factor. In manually punched designs which include stitching
with irregular spacing, segment breaks can be reduced by increasing
the factor.
Height: this value expresses the ratio between heights of stitch
blocks. It is important in recognizing Complex Fill shapes,
particularly with holes.
Tip Generally, the lower these values, the larger the number of
segments/objects likely to be identified. Normally you want to obtain
design information with a minimum number of identified

segments/objects. In practice there is always a compromise between
design recognition quality and the minimum number of correctly
identified segments/objects.
Spacing: 0.5 mm,

Height: 2 mm
Spacing: 3 mm,
Height: 4 mm
Recognized objects
shown in different colors
10 Click OK.
Tip To revert to the original conversion settings, click Reset.
Opening Melco CND outline files

Melco Condensed (CND) is the native file format of Melco embroidery
digitizing software. CND files store only digitized outlines and stitch values.
When you open CND designs in ES Designer, these outlines are scaled and
stitches recalculated to preserve density. ES Designer recognizes all Melco
machine functions and stitch types, including Partition Lines and Complex
Fill, and automatically converts them to EMB format. However, CND files do
not contain specialty features such as Pull Compensation or Auto Spacing,
nor do they include actual stitches, thread colors, or design icons.
There are several versions of CND, all of which can be read by ES Designer.
While these designs scale accurately, the number and placement of stitches
may differ somewhat from the original design. You may notice some
difference (±5%) in the stitch counts between original and converted files.
This is because of differences in the software methods used to calculate
stitches. ES Designer cannot interpret certain specialty features of CND
design objects because there is no direct equivalent. However, stock designs
do not normally use these features and will generally convert without
problem.
Tip Before CND designs are stitched out, an EXP format file is created. The
EXP stores the actual stitches and can be stitched directly. This file too can
be opened in ES Designer. See Opening stitch files in ES Designer for
details.
When you open Melco CND files, the Melco stitch types used in the design
are converted to ES Designer stitch types—Satin, Run, Tatami, etc. You

can change conversion settings to adjust the spacing, stitch length, effects
and defaults applied to ES Designer stitch types. You can also set scaling
values to open the design at a different size to the original. See also Saving
designs in Melco CND format.
Note For details of how each CND stitch type is converted, see Conversion
of Melco CND format to Wilcom EMB.
To open a Melco CND outline file

disk.
Select file
Select CND
format
2 Select Melco (CND) from the Files of Type list and select the file to
open.
3 Click Options.

The Condensed File Input Values dialog opens.
Enter scale Select effects

values to apply
Adjust stitch
values
Adjust default
values
Select Auto
Color Merge
option
4 In the Scale Factor panel, enter the scale at which you want to open
the design.
New dimensions are expressed as a ratio of the original design size. For
example, to scale to 120% of the original, enter a scale factor of 1.2 in
each field.
Scale Factor Scale Factor

X: 1.00 X: 0.50
Y: 1.00 Y: 1.00
5 In the Adjust panel, enter the spacing and length values to apply to the
design as a percentage of the original values.
You can adjust Satin spacing, Run stitch length as well as Tatami
spacing and length.
6 In the Auto Color Merge panel, choose whether you want to read
thread color information from CND files.

This ensures that stitches are displayed in the correct colors when
converted to EMB. See Color merging Melco CND files and Reassigning
colors to stitch and Melco CND files for details.
7 In the Effects panel, select the effects you want to apply to the design.
For information about these effects, see the relevant sections of the
manual:
Auto Spacing: See Applying Auto Spacing to Satin stitch.
Short Stitches: See Reducing stitch bunching with stitch
shortening.
Fractional Spacing: See Reducing stitch bunching with fractional
spacing.
8 In the Default Values panel, adjust the default values for Satin
Spacing, Stitch Length and Maximum Stitch Length as required.
If the CND design was created with values different to the factory
settings, you can override them in these fields.
To save new settings as defaults, click Save.
To revert to the Melco factory settings, click Reset.
9 Click OK.
10 Click Open.
The selected design opens in the Design window. You can scale the
design directly on screen, or via the Object Properties dialog. You can
also rotate, mirror and skew the design. See Modifying Designs for
details.
Color merging Melco CND files

The Auto Color Merge feature reads thread color information for CND files
from an associated TXT file so that stitches are displayed in the correct
colors when they are converted to EMB.
Tip Your EMB and other design files can be converted to and from other file
formats using ES Design Explorer. Use it to batch process multiple CND
designs using Auto Color Merge. See Converting design files in folders for
details.
Setting up the color merge TXT file

Auto Color Merge reads and interprets a TXT file that contains color names
from a thread chart. You can create this text file manually with a text editor

such as MS Notepad. The text file must have the same file name as the CND
file—e.g. Fish.TXT and Fish.CND. Both files must also reside in the same
folder. For the Auto Color Merge function to work correctly, information in
the text file must be entered in a certain format.
Example text file: Fish

A typical text file might look like this:
Fish
Uses curve effects
File: Fish
55.9mmW X 74.5mmH
ST: 6,780
Colors: 8
1. Tropical Sunset
2. Saffron
3. Pale powder Blue
4. Tropical Sunset
5. Pale powder Blue
Curve effect
6. Tropical White
7. Tropical Sunset
8. Pale powder Blue
Text file structure

All text files contain some or all of the following elements.
Text file element Mandatory Description Example
Design name This is the name of the design as it appears Fish

in File > Information > Design
Properties > Subject.
Comments Lines inserted here appear under File > Uses curve effects
Information > Design Properties >
Comments.
File name This is the file name of the CND design file. File: Fish
The file extension should not be included.
Design size Enter the expected design size for the 55.9mmW X
design. The actual design size is derived 74.5mmH
from the software.
Stitch count Enter the expected stitch count for the ST: 6,780
design. The actual stitch count is derived
from the software.
Number of colors States the total number of colors in the Colors: 8

design.

Text file element Mandatory Description Example
Thread name 1 Enter the first thread name. The name of 1. Tropical Sunset
the thread is searched against the Thread
Chart. The thread name is shown in the File
> Design Properties > Stop Sequence
tab.
Thread name 2 Enter the second thread name. 2. Saffron
Thread name 3 Enter the third thread name. 3. Pale Powder Blue
Thread name 4 Enter the fourth thread name. 4. Tropical Sunset
Thread name 5 Add any extra threads to this list. 5. Pale Powder Blue
Thread Place comments below the relevant thread Curve effect

comments number.
Thread name 6 6. Tropical White
Thread name 7 7. Tropical Sunset
Thread name 8 8. Pale Powder Blue
Reading Melco CND files with Auto Color Merge

When opening a CND file which has a TXT file associated with it, you must
specify the thread chart used when the design was originally created in EDS
(or other design software). The thread colors nominated in the text file will
correspond to the selected thread chart. Alternatively, you can assign colors
manually to every Color Stop code in the file. See also Reassigning colors to
stitch and Melco CND files.
To read Melco CND files with Auto Color Merge

2 Select a CND design.
3 Click Options.

The Condensed File Input Values dialog opens.
Select thread
chart
Assign colors
manually
4 Select a color merge option from the Auto Color Merge panel.
If you want to read thread color information for the selected CND file
from an associated TXT file, select From File and follow the steps
below.
If you want to assign colors manually to every Color Stop code in the
file, select Custom and click Define Stop Sequence. See Reassigning
colors to stitch and Melco CND files for details.
5 If you have chosen to associate a text file with your CND file, select a
corresponding thread chart from the Auto Color Merge dropdown list.
Note Any thread color named in the text file must correspond to a color
in the selected thread chart. If not, it will default to black.
6 Click OK.
no chart selected—default one color not correctly original colors correctly

colors assigned matched—defaults to black assigned from text file
The design opens, the stitches appear in the correct thread colors, and
the color palette displays the selected thread chart.

Reassigning colors to stitch and Melco CND files
When you open a stitch file or CND file, a design without color code
assignment automatically uses the default color palette. You can, however,
map thread colors to every Color Stop code in the file. This means that
before opening the file you can color-code designs which do not contain
needle addressing information.
without color code with color code

assignment assignment
Note In order to assign colors correctly, you need to consult a production

worksheet for the necessary color sequence information.
To reassign colors to a stitch or Melco CND file

2 Select a stitch file or CND design and click Options.
If you’ve selected a stitch file, the Open Options dialog opens. If CND,
the Condensed File Input Values dialog opens. This procedure is the
same.
Stitch file
Select Define Stop

Sequence
CND file
Select Define Stop
Sequence
3 Select Custom and click Define Stop Sequence.

The Define Stop Sequence dialog opens. Initially the Building Stop
Sequence grid is empty.
Select thread
chart
Select color
4 Select a thread chart and first color.
Click to
assign color
5 Click Assign Color.

The color and the description are entered at the current Stop in the
Building Stop Sequence grid.
Note The selection moves to the next color in the thread chart. Two
consecutive same colors are not allowed and Assign Color is disabled.
6 Click Assign Stop to enter an explicit Stop code.

Stop is entered in the Description field.
Click to
assign stop
Note A Stop Sequence Warning message displays if a redundant color

function is assigned. Press Delete to delete a selected entry in the stop
sequence. Click Reset to delete all the entries.
7 Use the Extra Stop codes as panel to select the output type for extra
stop codes.
Color Changes: Extra Stop codes are interpreted as Next Color
commands. The next color is selected from the default color palette.
Stops: Extra Stop codes are interpreted as Explicit Stops. The
machine stops stitching.
Repeat Sequence: If you select fewer colors than the design
requires, the selected colors are repeated. For example, if your
design requires four colors and you’ve only selected two in the
Building Stop Sequence list, colors 3 & 4 will be the same as
original colors 1 & 2.
Choose how
extra stops are
to be interpreted
8 Repeat the operation as many times as indicated in the production

worksheet.
9 Click OK.
The design will have the desired colors and the correct number of Color
Changes.
Note You can convert color changes to an explicit Stop Code. You can
also remove Color Stops by assigning the same color number to
consecutive color blocks.

Chapter 30
Changing Machine Formats
Different embroidery machines speak different languages. They have their

stitch a design, it must be in a format which can be understood by the
embroidery machine. When you select a machine format, ES Designer
translates the digitized design into machine functions that can be
understood by that machine. If required, you can customize machine
formats to meet specific machine requirements.
This section describes how to select a machine format for a design, output
it using other formats, and customize machine formats to meet your
machine’s specific requirements.

Selecting machine formats
Use Select Machine Format (Machine menu) to change the machine format.
When you create a design, you need to select a format corresponding to the
embroidery machine you intend to use. You don’t, however, need to change
the design’s ‘native machine format’ in order to output to a different
machine. See Outputting to different machine formats for details. For a
complete list of supported machine formats, see Supported machine types.
Note You can change the machine format if machine values are incorrect
for your particular machine. You can even change the machine format for a
particular design. You should only modify formats if you no longer require
the original values. Otherwise see Creating custom formats.
To select a machine format

1 Select Machine > Select Machine Format.
The Select Machine Format dialog opens.
Click to create
Select machine new format
format
Click to adjust
format
2 From the Available Machine Formats list, select the required machine
format.
3 Adjust machine formats as required:
To check or modify settings for the selected format, click Values. See
also Adjusting standard machine format settings.
To create a new format based on the selected one, click Create. See
also Creating custom formats.
4 Click OK.
ES 2006 Chapter 30 Changing Machine Formats 710

Note If a selected machine format does not support a particular
function in the design—either automatically or manually inserted—it is
simply ignored.
Outputting to different machine formats
Use Stitch to Stitch Manager (Standard toolbar) to send a design to a

machine for stitching.
Use Save to Embroidery Disk (Standard toolbar) to save a design to an
embroidery disk.
Once a design is complete, you can stitch it out to any supported embroidery
machine without changing the original design format. If a selected machine
format does not support a particular function in the design—either
automatically or manually inserted—it is simply ignored.
Note To change the original format, see Selecting machine formats.
To output to a different machine format

Click the Stitch to Stitch Manager icon, then select a different format
from the Output as Machine Format list. See Stitching designs with
Stitch Manager for details.
Select machine
format

Click the Save to Embroidery Disk icon, then select a different machine
format from the dropdown list. See Saving designs to embroidery disk
for details.
Select machine
format
Select File > Paper Tape > Punch, then select a different machine
format from the dropdown list.
Select machine
format
Adjusting standard machine format settings

Different machines require different settings. When you select a machine
format, you only modify values relevant to that machine. Typical modifiable
values are stitch and jump length, trim functions and color change
functions. Use the Machine Format Values dialog to define values to allow
when outputting to a specific machine format.

Note Not all values described here are available for all machine formats.
Use these instructions to enter values that apply to your selected format.
See your embroidery machine manual for more information about machine
formats.
Setting stitch and jump length values

With some machines you can set the maximum frame movement, minimum
stitch length to recognize, and automatic jump length.
To set stitch and jump values

1 Access the Machine Format Values > Standard dialog. See Selecting
machine formats for details.
Note Only fields relevant to the selected machine format will appear.
Adjust stitch and

jump settings
2 In the Maximum Stitch field, enter the maximum stitch length to allow.
The value you enter depends on the tape code used by your machine:
Binary coding system: 12.7 mm—e.g. Barudan machines
Ternary coding system: 12.1 mm—e.g. Tajima machines
3 In the Minimum Stitch field, enter the minimum stitch length to allow.
This sets the default Small Stitches value. See Removing small stitches
automatically for details.
Tip Generally the minimum stitch length is increased for dense

materials and thick threads to prevent thread breakage.
4 In the Maximum Jump field, enter the maximum jump length to allow.
This sets the default Auto Jump value. See Adjusting Auto Jump settings
for details.
Tip Shorter jump values generally improve stitch quality and reduce
wear on the machine but may increase stitch-out time.
5 Click Save then Close.

Setting trim functions
With some machine formats you can specify how to format and interpret
trim commands. Some machines understand specific trim codes. Other
machines interpret multiple jumps as a trim command. Machines without an
automatic trimmer may not know how to interpret trim commands, and may
even shift the design when a trim code is encountered. For these machines
you need to deselect the Output Trims checkbox so that trim functions are
ignored when the design is stitched.
To set trim functions

Select to output
trim functions
Select trim
function format
2 In the Trim panel, select the Output Trims checkbox to include trim
functions when outputting to the selected machine format.
Note If you deselect the Output Trims checkbox, the trim functions
are not removed from the design but simply ignored for the selected
machine format.
3 Specify the trim function format to use:
Jumps: for machines that interpret multiple jumps as trims. You
also need to enter the required number of jumps.
Trim Code: for machines that require specific trim codes.
Setting color change functions

Machines interpret the Color Change function differently—either as a
Needle Number or Stop command.

Needle number commands
Needle Number commands tell the machine to move to the next needle
whenever a Color Change function is encountered. Each color in the design
corresponds to a needle number in the order listed in the Colors list. See
Changing thread colors for details.
Note The machine must have the correct thread colors loaded for each
needle to stitch out correctly.
For needle addressing machines, you need to specify how many needles are
on the machine. This tells the machine how often it needs to stop for the
operator to change threads. For example, for a design with 25 colors to be
stitched out on a machine with five needles, it must stop after every five
color changes in order for the operator to change threads. Needle Number
commands are sometimes combined with Jump commands to indicate color
changes.
Stop commands
Stop commands allow the operator to manually change threads whenever a
Color Change function is encountered. They are generally used with
machines that only have one needle or do not support needle addressing.
Stop commands are sometimes combined with Jump commands to indicate
color changes.
To set color change functions

Select method to interpret

color change functions
Enter number of needles
Select optional
functions as required
2 In the Color Change panel, select a method to use to interpret color

change functions.
Needle No: converts color change functions to Needle Number
commands.

Stops: converts color change functions to Stop commands.
Stop & Jump: converts color change functions to Stop and Jump
commands.
Needle No and Jumps: converts color change functions to Needle
Number and Jump commands.
3 For needle-addressing machines, enter the number of needles on the
machine in the No of Needles field.
4 Select the Use Group Addressing checkbox as required.
Some machines can group two heads together so you can stitch a design
using needles from both heads. For example, if a machine has two heads
and nine needles per head, the machine moves the hoop from the first
head under the second head, which allows you to stitch 18 colors
without a manual change.
Note If this is the case, enter the combined number of needles on the
machine in the No of Needles field.
5 Select the First CC required checkbox as required.
Some machines require a First CC code to initialize the machine and
bring the head back to the first color change needle position.
6 Select the Return to Start checkbox as required.
This returns the needle to the start of the design, preparing the machine
for the next run of the same design.
Setting borer functions

Some embroidery machines are equipped with a borer. The borer often
replaces one of the needles. You need to specify the needle position of the
borer and its offset value. Borers are often ‘knife’ attachments where the
cutting position is offset 12 mm from the main needle. Before the machine
starts, the frame moves so that the borer is in the correct position. This
extra frame movement compensates for the borer offset. Some machines
automatically adjust for this offset when a Borer In function is encountered.
These machines should have an offset value of 0. Similarly, if you are using
a boring needle (instead of a knife), you do not need an offset value. See
your embroidery machine’s manual for details.
To set borer functions


Enter borer offset

Enter needle number of
borer
2 In the Boring panel, enter the required borer offset.

If your machine automatically inserts an offset when a Borer In
function is encountered, enter an offset of 0 mm.
If your machine requires an offset value, enter an offset of 12.0 mm.
3 Enter the needle number to which the borer is attached.
Setting end-of-design functions

Some machines require an explicit End of Design function code in order to
recognize when the end of the design has been reached. Some machines do
not understand the End of Design function code, requiring a Stop code
instead. For example, Tajima machines recognize the explicit End of Design
function code while Happy machines require a simple Stop. See also Setting
the Start of Design / End of Design sequence.
To set end-of-design functions

Select relevant
option
2 In the End of Design panel, select the appropriate option for your
machine:
End of Design: some machines require an explicit End of Design
function code—e.g. some Tajima machines.
Stop: some machines require a Stop code instead—e.g. Happy
machines.

Adjusting advanced machine format settings

The Advanced tab lets you set additional machine format options. Again,
the available settings depend on the selected machine format. You can set
the color change sequence, insert special codes for the start or end of a
design, and enter speed settings. There are also miscellaneous settings,
including whether to change the fabric tension during boring, and whether
to rewind tape when stitching is complete. Use the Machine Format Values
dialog to define values to allow when outputting to a specific machine
format.
Note Not all values described here are available for all machine formats.
Use these instructions to enter values that apply to your selected format.
See your embroidery machine manual for more information about machine
formats.
Warning Only change Advanced values if you are familiar with the codes
used by your embroidery machine.
Setting the color change sequence

Some machines cannot interpret Color Change commands unless they
form part of a ‘color change sequence’ made up of empty stitches and empty
jumps before and after each Color Change command. Check the
requirements of your machine to determine whether you need to enter color
change sequence values. In the Advanced tab, the Color Change
Sequence panel reads from top to bottom, in the order the codes appear in
the sequence. The first two fields show the number of Empty Stitches and
Empty Jumps to insert before the Color Change command. The other

fields show the Empty Jumps and Empty Stitches to insert after the
command.
Color Change Sequence in Stitch List

matches sequence defined in Machine
Format Values Advanced tab
To set the color change sequence

1 Access the Machine Format Values > Advanced dialog. See Selecting
Enter number of Empty

Stitches and Jumps to insert
before Color Change

Jumps and Stitches to insert
after Color Change
2 In the Color Change Sequence panel, enter the color change sequence.
In the first 0:0 field, enter the number of empty stitches to insert
before the Color Change.
In the first 0:0 Jump field, enter the number of empty jumps to
insert before the Color Change.
In the second 0:0 Jump field, enter the number of empty jumps to
insert after the Color Change.
In the second 0:0 field, enter the number of empty stitches to insert
after the Color Change.

Setting the Start of Design / End of Design sequence
In addition to any End of Design function, some machines require extra
more empty stitches and empty jumps in order to stitch the start and end
of a design. Other machines require a Stop function. Depending on the
machine type, you may also require commands to initialize the machine or
trigger the frame-out command after stitching.
Note Remember that these fields show the number of extra codes you
want to insert in addition to the default settings.
To set the Start of Design/End of Design sequence


Jumps and Stitches to insert
at start of design

Stitches and Jumps to insert
at end of design
2 In the Start of Design panel, enter the start of design sequence.

In the 0,0 Jump field, enter the number of empty jumps to insert at
the start of the design.
In the 0,0 field, enter the number of empty stitches to insert at the
start of the design.
3 In the End of Design panel, enter the end of design sequence.
In the 0,0 field, enter the number of empty stitches to insert at the
end of the design.
In the 0,0 Jump field, enter the number of empty jumps to insert at
the end of the design.
4 Select the Set Needle Number checkbox as required.

Where available, this option initializes the machine and brings the head
back to the first color change needle position.
Select to initialize machine

and bring head back to first
needle position
5 Select the Frame Out checkbox as required.

Where available, this option triggers the frame to exit after stitching the
design.
Select to trigger frame

to exit after stitch out
Setting speed options

Some machines can stitch at different speeds. Depending on your machine,
you may then be able to select different speeds to use when you start
stitching or for when the borer is engaged. You need to first assign the
speeds as Speed 1 and Speed 2 in the Machine Format Values dialog.
To set speed options

Select and adjust

speed options
2 In the Speed panel, select the Boring Auto Speed Changes checkbox
as required.
This option slows the machine automatically whenever the borer is
engaged.

3 From the Start list, select the preferred starting speed—Fast or Slow.
4 From the Fast list, select the faster setting on your machine—Speed 1
or Speed 2. Check your machine manual for details.
Setting miscellaneous advanced options

Depending on the selected machine format, you may also be able to select
whether to reduce the tension on the fabric while boring, and indicate
whether to rewind the tape when stitching is complete.
To set miscellaneous advanced options

Set miscellaneous
speed options
2 Select the Tension Control for Boring checkbox as required.

This option reduces the fabric tension when the borer is engaged.
3 Select the Stop before rewind at end checkbox as required.
This option stops the machine at the end of the design and rewinds the
tape.
4 Select the Rewind with jump at end checkbox as required.
This option inserts a jump at the end of the design and rewinds the tape.
Creating custom formats

ES Designer provides standard formats for most machines. However, if your
machine is different, you may need to customize the machine format
settings. For example, if you have different models of the same type of
embroidery machine, different functions may require different values. There
are two ways to customize machine formats:

Create a new format, based on the original, and make it available to all
designs. See Creating custom machine formats for details.
Modify the format for a specific design, creating a custom format to use
only with that design. See Customizing machine formats for specific
Note If necessary, you can update the standard machine format itself.
However, you should only do this if the original values are no longer used.
See Adjusting standard machine format settings for details.
Creating custom machine formats
Use Select Machine Format (Machine menu) to change machine format settings.
You can create a new machine format based on a standard machine format,
and make it available to all designs.
To create a custom machine format

1 Select a machine format on which to base the new format. See Selecting
2 Click Create.
The Machine Format Values > Standard dialog opens.
Enter format
name
Adjust settings
3 In the Format Name field, enter a name for the new format.
The name of the format you based it on and a number appear as the
default—e.g. Melco - 1.
4 In the Comment field, enter any information that will help you identify
the machine format—e.g. No Trim.
5 Adjust the machine format settings as required. See Adjusting standard

6 Click the Advanced tab and adjust the settings as required. See
Adjusting advanced machine format settings for details.
The new format appears in the Available Machine Formats list.
Customizing machine formats for specific designs
Use Machine Format Values (Machine menu) to customize machine formats for
specific designs.
You can create a custom machine format for use with the current design.
Use this feature if you need to modify machine format values for a design
without changing the original format. The custom format appears in the
selection list.
Note The custom format is based on the selected machine format for the
design. If you want to base it on a different machine format, select it from
the Select Machine Format dialog. See Selecting machine formats for
details.
To customize machine format for a specific design

1 Select Machine > Machine Format Values.
The Machine Format Values > Standard dialog opens.
Adjust settings
2 Adjust the machine format settings as required. See Adjusting standard

3 Click the Advanced tab and adjust the settings as required. See
Adjusting advanced machine format settings for details.
Note You cannot change the Name or Comment fields. The custom
machine format is automatically named using the original machine
format and design name—e.g. Melco - Design1.

4 Click OK.
A new machine format is created for the design. It appears in the Select
Machine Format dialog and is saved with the design.
Removing custom machine formats

You can remove custom machine formats from your system when they are
no longer required.
To remove custom machine formats

1 Access the Select Machine Format dialog and select a machine format
to remove. See Selecting machine formats for details.
Note You cannot remove machine formats that come with the software.
You can only remove a custom format which you created.
2 Click Remove.
A confirmation box appears.
3 Click Yes to confirm the deletion, then click OK.
Checking control commands

If you change the machine format of a design that contains manual machine
functions, you may need to check whether the functions are compatible with
the new format. Generally, functions that cannot be performed by the new
machine type are simply ignored. If an ignored function was inserted on an
empty stitch or empty jump, the stitch or jump is automatically removed.
Sometimes, however, functions may not be correctly translated. For
example, trim commands may be misinterpreted, as some machines use
trim codes, and others a sequence of jumps.
Note If a function is not available in the new machine format, the word
Ignored appears in brackets after the function name.
To check control commands

Travel to the position of the machine function. See Traveling by machine
Alternatively, use the Stitch List to identify and select a given machine
function. See Editing stitches and functions with Stitch List for details.

The machine function name appears in the Prompt line. Extra
information may appear in brackets after the function name—e.g.
needle number.
Support for the Barudan FDR-II machine

ES Designer provides support for the Barudan FDR-II machine format which
is a backward-compatible extension of the older FDR format. The FDR-II
format supports all machine types that Barudan produce but is associated
with the control panel rather than a particular machine. Currently the BED*
machine series uses the new DR controller which supports the FDR-II
format. The new FDR-II format is required by Lockstitch machines with
sequin attachments, Chenille with programmable needle height, and
Chenille-combination machines. Older machines interpret the additional
information in FDR-II format as Stop codes.
BEDRH model—FDR-II
format is also supported
by BEDSH and BEDYH
machines
In ES Designer, the new Barudan FDR-II Chenille Combination machine

format—available with the Chenille Option—supports Lockstitch, Chenille,
and Sequin stitching in the one design. It switches from Lockstitch to
Chenille whenever it encounters a Chain or Moss command, and from
Chenille back to Lockstitch whenever it encounters a Lockstitch Needle
command. The new format can combine up to 15 Lockstitch needles and 6
Chenille ‘loopers’.
Two new machine formats

Two new Barudan FDR-II machine formats are now available—‘Lockstitch’
and ‘Chenille Combination’. Lockstitch format is available in all product
levels while Chenille Combination is only available with the Chenille
cost-option. See also Selecting machine formats.

Two new Barudan
FDR-II formats
available
Barudan FDR-II Lockstitch machine

The Barudan FDR-II Lockstitch machine uses a modified Machine Format
Values dialog. FDR-II combines and extends the capabilities of the existing
two Barudan Lockstitch machines. The Barudan FDR-II supports up to 15
needles. You still need to set the number of needles to match that of the
actual machine which may have 8, 9, 12 or 15 needles. The Barudan Z
series machines also support up to 15 needles but only the FDR-II supports
Sequin encoding. See also Adjusting standard machine format settings.
Note Barudan FDR-II cannot be saved to T03 or DSB stitch file formats
without loss of Sequin encoding.

Barudan FDR-II supports
up to 15 needles
Barudan FDR-II Chenille Combination machine

Barudan FDR-II Chenille Combination is implemented as a unique
combination of Lockstitch, Chenille, and needle addressing, meaning that
you can combine Lockstitch and Chenille stitches within the same design.
This format is now provided as part of the Chenille cost-option.
ES Designer allows you to select any needle or looper. To do so, we have

introduced the concept of the ‘Chenille Colors’ machine format value. This

value notionally divides the palette into Lockstitch and Chenille colors—e.g.
a value of 6 means that the first six colors in the palette are reserved
Chenille Colors, while Color Slot #7 and above are reserved for Lockstitch.
Therefore, picking Color Slot #7 will change to Lockstitch.
Barudan FDR-II supports up

to 15 Lockstitch needles and
6 Chenille loopers
First six color slots

reserved for Chenille
Encoding of Chenille functions

The Barudan FDR-II machine can encode multiple Chenille states on a single
stitch:
Stitch Mode (Lockstitch/Chain/Moss)
Needle Height (H00...H10)
Looper Number (Chenille Color 1...6)

Three Chenille states
encoded on single
stitch
Thus, a Chain, a Looper, and a Needle Height function can all co-exist on the
same empty stitch. The stitch list display has been updated specifically for
the new Barudan FDR-II machines (old machines are unaffected).
Logical functions display as follows:
Color Change: (Palette #1) ... (Palette #100)
Needle Height: (H00) ... (H10)
Physical functions display as follows:
Needle: (Needle #C01) ... (Needle #C15)
Looper: (Looper #1) ... (Looper #6)
Chain: (CC)
Moss: (CL)
Adjustable starting Needle Height setting

You can now set the starting needle height via the Advanced tab of the
Machine Format Values dialog for the Barudan FDR-II Chenille
Combination machine format. The default value is ‘H06’. The Chenille needle
height should vary with the thread type—thickness, material, etc—and
sometimes type of stitching—Chain or Moss—together with stitch length.
The starting needle height is simply the height the system assumes the
machine to be set to at the start of the design. You should only change the
software setting if you know the machine to be set to a different starting
height.

Change software setting if
you know the machine is set
to a different default starting
height
Stitching out existing designs on the FDR-II machine

If you want to stitch out an existing Lockstitch or Chenille design on a
Barudan FDR-II Chenille Combo machine, you must ensure that all
Lockstitch colors are higher than the allocated Chenille colors. Here’s how
you do it:
Open the Color-Object List and collapse all the colors.
Ensure that Chenille

objects use a color slot
equal to or less than
allocated number of
Chenille Colors
For each color block, ensure the color number for Lockstitch objects is
higher than the allocated number of Chenille Colors—e.g. greater than
6. At the same time, ensure that Chenille objects use a color slot equal

to or less than the allocated number of Chenille Colors. If not, change
colors. It doesn’t matter what the actual color is. The palette can be
adjusted at any time. In the example here, the red ES object is allocated
Color Slot #2 while the red Wilcom object is allocated Color Slot #9. The
first is a Chenille object, the second a Lockstitch object.
Warning Conversely, if you want to change from the Barudan FDR-II

format to a pure Chenille or pure Lockstitch machine, you have to divide the
Lockstitch and Chenille portions of the design (cut and paste). Changing
from the Barudan FDR-II to another needle-based machine will change all
the lockstitch needles—e.g. Needle 1 in a default Barudan FDR-II machine
will become Needle 7 in a regular Barudan machine because it uses Color
Slot #7.
Sequin encoding
The new Sequin Jump function is a variation of Sequin Off. Sequin Jump
turns off the sequin device, but unlike a full Sequin Off does not raise the
sequin head. This allows the machine to quickly and efficiently make jumps,
then turn Sequin On again to continue dropping sequins.
Sequin Jump turns off

sequin device without
raising sequin head
Sequin Jump functions are inserted automatically if a connector occurs

between two sequin objects of the same color has jumps. Sequin Off
functions are inserted if a connector occurs between:
a sequin and a non-sequin object
two sequin objects of different color
two sequin objects of different sequin type.
A new Sequin Off Mode dialog is invoked whenever you insert or edit a
Sequin Off function and click OK. The dialog prompts you to force the

sequin head to be raised or stay down as required. See also Editing machine
functions.
Change Sequin Off

mode
Sequin device addressing

You must ensure that the correct needle is used for sequin digitizing. A
sequin device is attached to a needle, typically Needle #1 (left side) or the
rightmost needle (8, 9, 12, or 15) of the Lockstitch head. You must manually
select the needle—i.e. by picking the correct needle slot for the sequin
device when digitizing sequin objects.
Warning If the wrong needle is selected and the FDR-II machine receives
a Sequin On command, the sequin device will not be turned on.

Chapter 31
Outputting Designs
You can output embroidery designs in a variety of ways—punching to paper

tape, sending appliqué shapes to a cutter, saving designs to specific
machine formats and/or to embroidery disk, or sending directly to machine
for stitching.
Note Wilcom ES provides alternative means for sending designs directly to

embroidery machine for stitching. Depending on your software options, you
can send the design to a machine using either Stitch Manager or ES Machine
Manager. Stitch Manager is described in this section. ES Machine Manager
is described in a separate ES Machine Manager Supplement.
From the same design file, you can also output a production worksheet for
the embroidery machine operator. Designers frequently want to distribute
their designs for viewing in real colors, in TrueView or otherwise, with or
without fabric backgrounds. In ES Designer you can save both design
images and production worksheets to disk or email them direct.

This section describes how to create production worksheets. It explains how
to send designs as email attachments, as well as how to output designs as
images. Cutting appliqué shapes is also covered, as well as stitching designs
with Stitch Manager.
Note For details of reading from and writing to embroidery disk and paper
tape, see Embroidery Disks and Paper Tapes.
Creating production worksheets

The production worksheet is the link between the designer and the
embroidery machine operator. It contains a design preview as well as
essential production information, including the design size, the color
sequence and any special instructions. You can customize production
worksheets before printing. You can also print multiple colorways, icons of
color blocks, and backgrounds.
Note If certain thread colors are not available on your printer, they may be
mapped to a different color, including white. If a color is mapped to white,
it will be invisible on the worksheet. Print the design in TrueView color, or
black and white, or turn off color mapping. See your printer manual for more
information.
Printing or plotting production worksheets
Use Print (Standard toolbar) to print production worksheets for the current
design using the current settings.
Create a hard copy of the production worksheet using a printer or plotter.

Set worksheet and printer options before you print, or use the current
options.
Tip Preview the production worksheet before you print to check whether it
is correct. See Previewing production worksheets for details.
To print or plot a production worksheet

1 Select File > Print.

The Print dialog opens.
Click to customize Click to preview

worksheet worksheet
2 Select the printer or plotter you want to use, and enter the number of
copies of the worksheet you require.
Note To customize the worksheet, click Options, and change the

settings as required. See Setting production worksheet print options for
details.
3 If you are using a plotter, click Properties, and set the pen colors to
correspond with the thread colors in the design.
Refer to your plotter’s manual for information on setting up pen colors.
4 Click OK.
Setting production worksheet print options
Use Print (File menu) to access production worksheet print options.

Use Print Preview (File menu) to access production worksheet print options.
Set production worksheet options to show the information you want in the
format you require. You can specify the data to print, graphics to include,
zoom factor, and general options such as company name. You can use a
color printer or a plotter to produce production worksheets. If you are using
a color printer, you can print in TrueView.
To set worksheet print options

1 To access the Print Options dialog, either select File > Print or File >
Print Preview.
ES 2006 Chapter 31 Outputting Designs 736

2 Click Options.
The Print Options dialog opens.
Select worksheet
or appliqué
Set zoom factor

Select for design
information type preview
to include
Select graphical Select other

features to general options
include
3 Select the option to print a production worksheet or appliqué patterns.

When the appliqué patterns is selected all other options are grayed out.
See Printing appliqué patterns for details.
4 In the Information to Print panel, select the information type to
include.
Full information: shows details specified in the Customize
Worksheet dialog. See Customizing production worksheet
information for details.
Short information: shows summary information about the design.
This and the previous options include information provided in the
Summary tab of the Design Properties dialog. See Viewing design
information in ES Designer for details.
Stop sequence: lists all stops in the design together with the stitch
number at which they occur, color number, and thread color name
and brand. See also Printing multiple colorways.
None: shows the design preview only.
Current Colorway: prints the design in the current colorway only.
Selected Colorways: prints multiple colorways. See Printing
multiple colorways for details.
5 In the Zoom panel, set the zoom factor for the design preview. This
controls the size of the preview on the worksheet.

1.0: shows the design at its actual size.
Show All: scales the design to fill the available space on the
worksheet.
Custom: lets you set a specific zoom factor.
6 In the Graphics panel, select the graphical features to include.
If you select TrueView, the Draft Quality checkbox becomes available.
Select this checkbox for quicker printing at lower resolution.
Tip Click Standard to reset the printing options to the original values.
7 Click Display Repeats to set display options for Schiffli repeats.
This is only available with the Schiffli Option. See the Schiffli Option
Supplement for details.
8 In the General panel, select the other options you require.
Print in English: deselecting this checkbox prints worksheets in the
same language as the Windows operating system. This feature is
useful when printing to plotters where the device driver does not
support the character set you require.
Extents Box Around Design: places an outline around the design.
Company Name: prints a specified company name on the
worksheet. Select a company name from the list, or enter a new one.
Color Film: prints color blocks in the design as they appear in the
Color List. Consecutive objects of the same color form a single
‘color block’. See Printing color film for details.
9 Click OK.

Customizing production worksheet information
Use Print (File menu) to access production worksheet print options.

Use Print Preview (File menu) to access production worksheet print options.
You can fine-tune production worksheet information when Full Information

is the selected text option.
To customize production worksheet information

Print Preview.
2 Click Options.
3 In the Information to Print panel, select the Full Information
checkbox.
4 Click Customize.
The Customize dialog opens.
5 In the Blocks to Print panel, select the design statistics to include on

the worksheet.
Left/Right/Up/Down: the margins between the edges of the design
and the edges of the design area.
End X/Y: the coordinates of the last stitch.
Max/Min Stitch: the maximum and minimum stitch lengths in the
design.
Thread Chart Type: the thread chart name used in the design.
Thread Usage: thread usage statistics by color.
Total Bobbin: total bobbin thread length.
6 In the Columns in Stop Sequence panel, select the statistics for each
color block.

Stitch Count: number of stitches per color.
Needle Number: the needle number stitching each color block.
Brand: name of the color (may vary from name of thread chart).
Element Name: user-defined name to identify each color block. See
Naming design elements via Design Properties for details.
Show Colors in Summary: includes actual color samples in the
colorways summary table/s. See also Printing multiple colorways.
7 Select the Use Left Side checkbox to print on the left side.
By default, text prints on the right of the page.
8 Click OK.
Printing multiple colorways
Use Print (File menu) to print designs in multiple colorways.

Use Print Preview (File menu) to print designs in multiple colorways.
You can print your design in the current or multiple colorways. See also
Working with colorways.
To print multiple colorways

Print Preview.
2 Click Options.
Select Current
Colorway or Selected
Colorways
3 Select Selected Colorways to print multiple colorways.
Tip Select Current Colorway to print the design in the current

colorway only.
4 Click Colorways.

The Colorway Options dialog opens.
Select one or more

colorways from the
list
5 Select Selected Colorways and then select one or more colorways from
the list.
Alternatively, select All Colorways to print out all the colorways in the
design.
Each colorway is printed on a separate sheet.
6 Click OK to return to the Print Options dialog.
7 In the Graphics panel, select Background if you want to include the
background color or fabric with the colorway.
Select Background
to include on
worksheet
Tip Select Crop to Design to crop the space around the design.
8 Click OK.

9 Click OK in the Print dialog or Print Now in the Print Preview dialog.
A colorway summary sheet is also printed. To print colors in the colorway

summary table/s, make sure the Show Colors in Summary is selected
in the Customize Worksheet dialog. See Customizing production
worksheet information for details.
Printing color film
Use Print (File menu) to print separate color films of the design for selected
colorways.
Use Print Preview (File menu) to print separate color films of the design for selected
colorways.
The Color Film option lets you print color blocks in the design as they appear
in the Color-Object List. Consecutive objects of the same color form a single
‘color block’. See also Selecting and viewing objects with the Color-Object
List.
To print color film

Print Preview.
2 Click Options.
Select Color Film

3 Select the Color Film checkbox.
4 Click OK.
5 Click OK in the Print dialog or Print Now in the Print Preview dialog.
A separate color film prints for selected colorways. See also Printing
multiple colorways.
Printing appliqué patterns
Use Print Preview (File menu) to print appliqué patterns.
Print a copy of appliqué patterns to use in cutting out fabric pieces. Each
appliqué pattern piece is numbered according to the stitching sequence.
One copy of the placement outlines is printed to show how their positions
relate to each other. This copy is printed to fit one page. A second copy of
the placement outlines is printed at 100% scaling, with each outline
separated for use in cutting the fabric.
Note Automatically create all the stitching you need for appliqué using the
Auto Appliqué input method. See Digitizing for appliqué for details.

To print an appliqué pattern
1 Select File > Print Preview.
2 Click Options icon.
Print Options dialog opens.
Select Appliqué
Patterns
3 Select the Appliqué Patterns option.

Each appliqué pattern piece is numbered according to the stitching
sequence.

4 Click OK.
5 Click Print Now.
Sending designs as email attachments
Use Send (File menu) to send a design as an email attachment.
Use Open (Standard toolbar) to send a design as an email attachment.
You can attach designs to emails from the design window or via the Open
dialog.
To send designs as email attachments

1 Do one of the following:
With the design open in the design window, select File > Send, or

Click the Open icon to display the Open dialog. Select the file to
send, then right-click it. The popup menu appears. Select Send To
> Mail Recipient.
Select Send To >

Mail Recipient
The email application for your system is launched, and a new email is
created with the design file attached.
2 Enter mailing details and send.
Outputting designs as images

Once a design is digitized in ES Designer, you can output object outlines as
a vector file. This can then be downloaded to a laser cutter through a
program such as CorelDRAW®. This can serve various purposes such as
appliqué cutting, multimedia, screen printing, and so on.
Designers frequently want to distribute their designs for viewing in real
colors, in TrueView or otherwise, with or without fabric backgrounds. This
might be for stock design sales purposes, for approval of digitized designs,
or for presentation on the web or in catalogs. ES Designer lets you save both
design images and production worksheets to disk or email them direct.
Saving designs as vector images

You can copy embroidery outlines directly to the Windows clipboard. Using
the Microsoft Clipboard Viewer, you can then save them to CLP format. This
file can then be opened in a program such as CorelDRAW®.
Note You may need to install Microsoft Clipboard Viewer from your
Windows operating system installation CD.

To save designs as vector images
1 Select the object/s whose outlines you want to copy.
2 Press Ctrl+C to copy them to the clipboard.

3 Open Microsoft Clipboard Viewer.
The copied outlines appear in the Clipboard Viewer window.
4 Save the outlines as CLP file format.
Save outlines as
CLP format
This file can now be opened in a program such as CorelDRAW®.
Capturing designs as bitmap images
Use Capture Design Bitmap (File menu) to save a design as a bitmap image.
You can save design images to disk or email them direct. This might be for
stock design sales purposes, for approval of digitized designs, or for
presentation on the web or in catalogs. The image can be captured as a

bitmap with or without background color or fabric. It can be captured in
TrueView or otherwise, and can include connectors, outlines and any other
display options provided in ES Designer.
To capture a design as a bitmap image

1 Open the embroidery design.
2 Select File > Capture Design Bitmap.
The Capture Design Bitmap dialog opens.
Select image Select Output

selection option option
Select to include
background color or Select Output
fabric format
3 Select a Selection option:

Whole Design (1:1): captures the screen image in a ratio of 1:1.
Current Design Window: captures the screen image at the
currently selected zoom factor.
Custom: lets you specify a capture area. After clicking OK, you are
prompted to enter a ‘rectangle origin’ and ‘rectangle corner’ to
define the area to capture.
Click to enter
rectangle origin
Click to enter
rectangle corner
4 Select an Output option:

Save to Disk: lets you save the screen capture to disk. After clicking
OK, the Save Capture Screen dialog opens, allowing you to select
a location, name and format for the captured design image.
Send via Email: lets you send the screen capture as email. After
clicking OK, a new email message opens with the image attached.

Both Save and Send: lets you both save to hard disk and send as
an email attachment.
Image captured as
Whole Design (1:1)
5 Select an output format for the screen image from the dropdown
list—BMP, JPG, etc.
6 Select Include Background/Fabric to include the background color or
fabric with the screen capture.
7 Click OK.
Cutting appliqué shapes
Use Cut Appliqué (File menu) to send appliqué shapes from a design file to a laser
cutter.
Use the Cut Appliqué feature to send appliqué shapes from a design file to
a laser cutter. ES Designer extracts outlines from the design and sends them
to the cutter. Only closed outlines are extracted. You can also send drawing
objects directly to the cutter using this feature. ES Designer also lets you
output object outlines as a vector file. This can then be downloaded to a
laser cutter through a program such as CorelDRAW®. See To save designs
as vector images for details.
Note Before you send appliqué shapes to a cutter, make sure it is set up
on your system with the correct Windows (printer) driver. Some
cutters—e.g. Ioline—use a standard driver for HP-7475 plotters. Once the
driver is installed in Windows, there is no need for a separate hardware
setup in ES Designer.
To output appliqué shapes

1 Create your appliqué object and duplicate it. See Creating appliqué

2 Select the duplicated object and click the Complex Fill icon.
3 Enter stitch angles or press Enter to accept the default.
This creates a Complex Fill object.
4 Select and ungroup the Complex Fill object.
This converts the embroidery object into a drawing object.
5 Repeat these steps for all applique objects in the design.
6 Select all the drawing objects and cut them to the clipboard.
7 Start a new design and paste them into it.
Tip If you need more than one copy of the appliqué shape, create
multiple copies of the shape, and arrange them so you get the most
efficient use from the appliqué fabric.
8 Select File > Cut Appliqué.
9 From the Name list, select the appliqué cutter.
10 Click OK.
Appliqué object Converted to Complex Converted to drawing

Fill object object
Tip If you intend to reuse the design, save the appliqué shapes file
under a similar name.
Saving designs for machine

Different embroidery machines understand different languages. Each has its
stitch a design, it must be in a format which can be interpreted by the
machine. Stitch or ‘expanded’ designs are low-level formats for direct use
by embroidery machines. They contain only stitch coordinates and machine
functions. They are generally created ‘on the fly’ when sending designs to
machine. They can also be output to embroidery disk or paper tape. See

Embroidery Disks and Paper Tapes for details. See also Supported Machine,
File and Disk Types.
Saving designs in Melco CND format

You can save files to Melco CND format from ES Designer. Designs originally
created in ES Designer generally give the best results. Other file types may
not have all the data necessary for successful conversion. Some stitch
quality features, stitch types, and decorative fills and effects do not convert
well to CND format. If you intend to save a file in CND format, you should
only use input methods, stitch types and effects that are compatible with
Melco EDS-III software.
Note For details of how each CND stitch type is converted, see Conversion
of Melco CND format to Wilcom EMB.
ES Designer has two save as CND output options—Superstar Compatible
and Output Tatami as Complex Fill. Superstar-compatible machines do
not have trimmers. The Output Tatami as Complex Fill option is for
controlling Turning Tatami fills.
Trim functions
If you want to stitch a design to a machine without trimmers, then set
machine values to not output Trim codes. Then digitize the design for
manual trimming. Early versions of CND do not support Melco Trim codes.
In this case, set the machine format values to output Trims as Jumps. See
also Adjusting standard machine format settings and Adding connectors
manually.
Turning Tatami fills

When you save to CND format, you need to specify how to convert turning
Tatami stitches. Objects with curving Tatami stitches—e.g. Input A
objects—are not supported by early versions of CND format. For
Superstar-compatible machines, turning Tatami stitches are simply
converted to Walk stitches, the EDS equivalent of Manual. For earlier
machines, Turning Tatami fills need to be converted to normal Tatami—i.e.
with a single stitch angle—then to Normal Fill, the EDS equivalent of normal
Tatami.
To save designs in Melco CND format


2 Select Melco (CND) from the Files of Type list.
3 In the File name field, enter a name for the design.
4 Click Options.
The Save Options dialog opens.
Select required
option
5 Select the required option for converting Turning Tatami fills.

Superstar Compatible: converts Turning Tatami to Walk (EDS
equivalent of Manual). Complex Fill Tatami is output as Normal
Fill (EDS equivalent of Tatami).
Output Tatami as Complex Fill: converts Turning Tatami fills to
normal Tatami—i.e. with a single stitch angle—then to EDS Normal
Fill.
Note These functions are also available when you send a CND design
for stitching.
6 Click OK.
7 Click Save.
Saving designs in CSD format

The CSD Save Option allows you to select between CSD Type I and Type II.
Type II was introduced in CS 1.2B software for the POEM machine. It is also
used by the Singer EU software for the POEM machine. Type II CSD files
additonally store the thread color RGB values and also an icon of the design.
See also Opening stitch files in ES Designer.
To save designs in CSD format

2 Select CSD from the Files of Type list.
4 Click Options.

The Save Options dialog opens.
Select CSD file

type option
5 Select the required CSD file type option.

6 Click OK and then Save.
Saving designs in ZSK-TC format

When encoding to ZSK-TC, the system
writes the sequin attachment number.
Attachment numbers are assigned to
each palette entry through a table
listing in the Save Options dialog.
When a ZSK-TC format design is
opened, ES Designer reads and
interprets the sequin attachment
number. No other format currently
supports attachment numbers. Any set
sequin sizes will be used to set the size
values in the Sequin Palette. If the
sizes are the same and the sequin
description does not contain a color,
then the #1 attachment sequin type
will have blue (0, 0, 255) color and the
#2 attachment will have red (255, 0, 0) color. See also Opening stitch files
in ES Designer.
To save designs in ZSK-TC format


Click to access
options
2 Select ZSK TC (*.Z??) from the Files of Type list.

4 Click Options.
The Save Options dialog opens. When saving as ZSK-TC, attachment
numbers are assigned to each palette entry through a table listing.
Select image
selection option
5 Set the sequin attachment numbers to #1 or #2 as required by your

machine.
By default, attachment numbers are set to the ZSK default #1
(right-hand attachment) but these are editable.
6 Click OK and then Save.

Stitching designs with Stitch Manager
Use Stitch to Stitch Manager (Standard toolbar) to send a design to a

machine for stitching.
You can send designs directly to connected embroidery machines for

stitching with Stitch Manager. When you send several designs in a row, they
are automatically queued and stitched out one at a time. See also Setting
up embroidery machines.
Note You can also use ES Machine Manager to send designs to machine
from within ES Designer, ES Design Explorer or Design Workflow.
ES Machine Manager lets you view and manage job queues. See the
ES Machine Manager Supplement for details.
To stitch designs with Stitch Manager

1 Open the design.
2 Click the Stitch to Stitch Manager icon.
The Stitch to Stitch Manager dialog opens.
Select embroidery
machine
Select machine
format
3 From the Machine Identification list, select an embroidery machine.

Click Setup to modify the machine’s settings as required. See Setting up
embroidery machines for Stitch Manager for details.
4 From the Output as Machine format list, select the correct machine
format.
Click Values to modify the machine format settings as required. See
Adjusting standard machine format settings for details.
Note This field is automatically updated if the target machine format is

different to the current format. Select the Prompt Changing Machine
Format checkbox if you want to be prompted when the Output as
Machine Format field updates.

5 If the design includes a Team Names object, click Options and specify
stitching details. See Outputting team name designs for details.
6 Click OK to return to the Stitch to Stitch Manager dialog.
7 Click OK.
The Stitch Manager dialog opens listing the files to be stitched out.
Tip To delete a design from the queue, select it and click Cancel.

Chapter 32
Embroidery Disks and Paper
Tapes
Embroidery disks are specially formatted floppy disks used to transfer

designs from computer to embroidery machine. You can format embroidery
disks and save designs to them from within ES Designer. The format you
use will depend on the selected embroidery machine. You can also open
designs from embroidery disk directly into ES Designer.
format. You can read paper tape designs of various formats into
ES Designer. Once a design is read, you can output it without change,
modify it and output it in its original format, or save it as an EMB file. You
can also punch designs to paper tape from ES Designer.
This section describes how to read from and write embroidery design files
to embroidery disk and paper tape.

Storing designs on embroidery disk
Embroidery disks are specially formatted floppy disks used to store designs.
They are primarily used to transfer designs from computer to embroidery
machine. Designs are generally stored in stitch data format, although Melco
CND, for example, is a ‘condensed’ file format. You can open designs from
embroidery disks of various formats directly into ES Designer. Once it is
read, you can output it without change, modify it and output it in its original
format, or save it as an EMB file. You can optionally convert it into objects.
After conversion, the design can be scaled and changed. See Opening stitch
files in ES Designer for details.
Tip You can save to embroidery disk in any machine format without
changing the format of the original design.
Embroidery floppy disks

Most embroidery machines are equipped with the same floppy disk drives
as those used in PCs. So that you can transfer your designs, make sure your
PC floppy disk drive can read, write and format floppy disks that your
embroidery machine uses. For example, if your machine requires a Double
Density (DD) disk, you must use this format even if your computer has a
High Density (HD) floppy disk drive.
Floppy disk types

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

Different floppy disk drives read and write floppy disks of different capacity:
Computer Disk Drive 360 Kb 720 Kb 1.44 Mb 2.88 Mb
Single Density
ES 2006 Chapter 32 Embroidery Disks and Paper Tapes 758

Computer Disk Drive 360 Kb 720 Kb 1.44 Mb 2.88 Mb
Double Density †
High Density (1.44) †
High Density (2.88) †
† Can only be formatted with correct controller installed.
Currently most computer models have one 3.5" floppy disk drive. The
capacity of a floppy disk drive depends on its controller. Most computers
have a High Density 1.44 Mb drive which can read both Double Density 720
Kb and High Density 1.44 Mb floppy disks. Most embroidery machines use
Double Density or High Density disks so there is usually no problem
transferring designs. See also Supported embroidery disk formats.
Controller cards for Melco embroidery disks

Old floppy disk drives were designed to format, read and write 3.5" Double
Sided Single Density (DS/SD) disks which could store 360 Kb of
information. This is the format that Melco uses.
Only a few floppy disk controllers support single density floppy disks. If you
want to format and use Melco 3.5" disks, you need to disable the onboard
floppy disk controller through the PC BIOS and install a floppy disk controller
card which supports IMB 3740 single density format (FM). The following
floppy disk controller cards have been tested and proved suitable for Melco
embroidery disks.
Floppy Disk Controller Capacity
Western Digital WD37C65 single/double density
NEC Electronics Inc. µPD765A/7265 single/double density
Intel 8272A single/double density
POWER I/O 5000AT/5100AT high density 2.88 Mb

(with SMC type chip numbered FDC37C664QF) (requires DOS 6.0 or later)
Currently there are no floppy disk controller cards available for laptop
computers which are suitable for formatting, reading and writing Melco
embroidery disks.
If you want to stitch designs on Melco Star or Superstar machines but your
disk drive cannot produce a Melco format disk, you can connect from

ES Designer using a Wilcom DCi unit to send designs directly to machine
(Windows 9x only).
Testing embroidery disks

Some newer PC hardware and operating systems do not support some of
the older embroidery disk formats. Check that your PC can read, write and
format embroidery machine formats using Wilcom’s Test Disk utility. If the
utility returns errors associated with any embroidery formats, your PC will
not support the reading, writing or formatting of these disks. See also
Supported embroidery disk formats.
Newer PCs cannot usually handle Melco format. To enable formatting in
Melco, a multiple input/output card capable of formatting single density
disks is needed. See Controller cards for Melco embroidery disks for details.
Note Wilcom Test Disk only works under Windows 98/ME.
To test embroidery disks

1 On the Windows taskbar, click the Start button and select Programs >
Wilcom ES > Test Disk.
The Test Disk window opens.
2 Select Test Disk > All.

The Disk Format Test Selection dialog opens.
Select disk drive

to test
Select embroidery
formats to check
3 In the Floppy Disk Drive panel, select a disk drive from the list.
4 In the Disk Format Type panel, select the embroidery formats to
check.
5 Insert a DS/DD disk in the floppy drive.
Warning Don’t use a floppy disk containing data that you want to keep
as the Test Disk utility erases all data contained on it.
6 Click OK.
When testing finishes, the Test Results dialog will display. Your PC will
not support the reading, writing or formatting of specified diskettes.
Tip The MelCheck feature in the Test Disk menu is identical to the
Melco feature in the Disk Format Test Selection dialog.
Reading designs from embroidery disk
Use Open As (Standard toolbar) to open a design from an embroidery disk.
You can open designs of other formats from specially formatted embroidery
disks. See also Supported embroidery disk formats.
To read designs from embroidery disk

1 Insert the embroidery disk in your computer’s floppy disk drive.

2 Click the Open As icon.
The Open Embroidery Disk dialog opens.
Select drive
Select format
3 From the Look In list, select the floppy disk drive.

4 Select the disk format. Either:
Select the format from the Diskette Format list.
Select the Auto Detect checkbox and let ES Designer automatically
determine the format. This generally takes longer.
5 Click OK.
The Open From Embroidery Disk dialog opens.
Select design
type
6 From the Designs of Type list, select a design type.

Any designs saved on disk are listed in the panel. If no designs are listed,
make sure that the correct drive and disk format are selected.
Note If the Options button is available, you can set recognition options
for the design. See Opening Melco CND outline files, Opening stitch files
with object/outline recognition and Opening stitch files without
object/outline recognition for details.
7 Click Open.

Note If you have problems with embroidery disks, see Testing
embroidery disks for details.
Formatting embroidery disks
Use Embroidery Disk > Format (File menu) to format an embroidery disk.
Embroidery disks must be formatted to suit the embroidery machine you

intend to use or the machine will not be able to read the design. Most
computers have a High Density 1.44 Mb drive which can read both Double
Density 720 Kb and High Density 1.44 Mb floppy disks. Most embroidery
machines use Double Density or High Density disks so there is usually no
problem with transferring designs. See your embroidery machine’s manual
for details of the appropriate disk type.
Warning Use the disk type required by the embroidery machine, not the
computer. For example, if a machine requires DD disks, you must use DD
disks even though your computer may have an HD drive. If your machine
can only read single density disks you may need to install a special floppy
disk controller card in your computer. See also Supported embroidery disk
formats.
To format embroidery disks

1 Insert a 3.5" floppy disk of the correct density in your computer’s floppy
disk drive.
Note Use the disk type required by the embroidery machine, not the
computer. See Embroidery floppy disks for details.
2 Select File > Embroidery Disk > Format.
The Format Embroidery Disk dialog opens.
Select drive
Select format
3 From the Drive list, select the floppy disk drive.

4 From the Diskette Format list, select the required disk format.
5 Click OK.

A confirmation message appears.
6 Click OK to confirm.
The Format dialog opens.
Select disk
format
Enter disk
label
Select format
option
Warning This is a Windows system dialog and may vary with the particular
operating system you are using.
7 From the Capacity list, select the disk storage capacity.
8 In the Format Options panel, select the ‘full format’ option:
Quick Format erases all data from the disk but does not reformat it.
Untick the option to reformat a blank disk. See your Windows manual
for details.
9 Click Start.
A progress bar appears. You are prompted when formatting is complete.
Note If you have trouble with formatting a Melco embroidery disk,

check if your floppy disk drive can read and write single density floppy
disks. See Testing embroidery disks for details.
Saving designs to embroidery disk
Use Save to Embroidery Disk (Standard toolbar) to save a design to an

embroidery disk.
Save designs to embroidery disk to stitch out on a specific machine. When

you save to a new format, the design is converted to encode the machine
functions and commands supported by the particular machine.

Note Embroidery disks must be correctly formatted before you save
designs to them. See Formatting embroidery disks for details.
To save designs to embroidery disk

1 Insert the embroidery disk in your computer’s floppy disk drive.
2 Click the Save to Embroidery Disk icon.
The Save to Embroidery Disk dialog opens.
Select drive
Select format
3 From the Look In list, select the floppy disk drive.

4 Select the disk format. Either:
Select the format from the Diskette Format list.
Select the Auto Detect checkbox and let ES Designer automatically
determine the format.
Any designs already saved on disk are listed in the panel.
Note If the disk is not formatted, or its format is not correct, click
Format. See Formatting embroidery disks for details.
5 In the Design Name field, enter a name for the design.
6 In the Filename field, enter a name for the design file.
Enter design name

Enter file number
if required Enter file name
Click to view or
Enter machine
modify settings
format and
design file type
7 If the Number field is enabled, enter a file number.

Not all machine formats require this information. This option is greyed
out if the file naming mechanism is not supported by the particular
embroidery disk type. Tajima uses a free-form file name, so both a
numbering system and a text file name system are supported, as seen
in the dialog.

8 From the Machine Format list, select a machine format.
Some machines can read different formats. For example, some Tajima
machines can read Barudan as well as Tajima.
Tip To view or modify machine format settings, click Values. See

Adjusting standard machine format settings for details.
9 From the Design Type list, select the file type to save to embroidery
disk. Only one file type is generally available.
10 If available, select the Save Icon checkbox to include a thumbnail
image of the design with the design file.
This icon appears in the machine control panel during stitch-out.
11 Click Save.
Warning Wait until the light on the floppy disk drive stops flashing
before removing the disk.
Storing designs on paper tape

format. Now largely replaced by floppy disk, they are still used by older
machines. More specifically, stitch data paper tapes are eight-channel paper
tapes which, in effect, are hard copies of 8 bit binary data. Paper tapes are
normally punched by the designer and read into the embroidery machine at
a later time.
You can read paper tape designs of various formats into ES Designer. Once
a design is read, you can output it without change, modify it and output it
in its original format, or save it as an EMB file. You can optionally convert
the design into objects. After conversion, the design can be scaled and
changed. See Opening stitch files in ES Designer for details.
You can also punch designs to paper tape from ES Designer. You can select
the output format type and include labels with the design. You can also
choose to rewind the tape after punching, or punch in the reverse stitching
sequence.
Reading designs from paper tape
Use Paper Tape > Read (File menu) to read a paper tape design.

You can read paper tape designs of various formats into ES Designer. Once
a design is read, you can save it as an EMB file. See also Supported paper
tape formats.
Tip Create backups of your paper tape designs by reading them into
ES Designer, then saving them to hard disk or embroidery disk in the same
machine format. This does not change the design in any way.
To read designs from paper tape

1 Make sure the tape reader is connected and configured correctly and
that a tape is loaded. See Setting up paper tape readers for details.
Warning Do not read the optional label which is at the beginning of the
tape as it is not part of the stitch data.
2 Select File > Paper Tape > Read.
The Choose Read Tape Type dialog opens.
Select machine
format
3 From the Choose input machine list, select the required machine
format.
Note Make sure you select the correct format as it cannot be detected
automatically by ES Designer.
4 Click OK.
The Tape Manager dialog opens.
Select to confirm
tape reader setup
before reading
Select required Click to

reader access serial
port settings

5 Set up the paper tape reader if not already configured. See Setting up
paper tape readers for details.
6 Click Read.
If the Confirm Setup checkbox is selected, the Read from Tape dialog
opens displaying technical details of the reader connection. Click OK to
continue.
Punching designs to paper tape
Use Paper Tape > Punch (File menu) to punch a design to a paper tape.
You can punch designs to paper tape from ES Designer. You can select the
output format type and include labels with the design. You can also choose
to rewind the tape after punching, or punch in the reverse stitching
sequence.
To punch designs to paper tape

1 Make sure the tape reader is connected and configured correctly and
that a tape is loaded. See Setting up paper tape punches for details.
2 Select File > Paper Tape > Punch.
The Choose Write Tape Type dialog opens.
Select machine
format
3 From the Choose output machine list, select the required machine
format.
4 Click OK.

Select to confirm
punch setup
before punching

tape punch access serial
port settings
Select options
as required
5 Set up the paper tape punch if not already configured. See Setting up
paper tape punches for details.
6 Click Punch.
If the Confirm Setup checkbox is selected, the Punch to Tape dialog
opens displaying technical details of the punch connection. Click OK to
continue.

PART VIII
DESIGN MANAGEMENT
ES Design Explorer provides an efficient way for viewing and browsing
embroidery designs. With this tool, you can browse design files stored on
your computer hard disk, CD-ROM, or floppy disk. It recognizes all design
file formats used by ES Designer.
Embroidery Clipart
This section describes how to view, search and sort embroidery clipart. It
also explains how to record it and manage keywords. See Embroidery
Clipart for details.
ES Design Explorer basics

This section describes how to use ES Design Explorer to access and view
designs in folders. It also covers cutting, copying, pasting, and deleting
designs in folders. See ES Design Explorer Basics for details.
ES Design Explorer advanced functions

This section describes the more advanced workings of ES Design Explorer
from sorting files to stitching, punching, and converting designs. It also
describes how to print and publish catalogs of designs, as well as how to
archive dormant or unused designs. See ES Design Explorer Advanced
Functions for details.

Note ES Design Explorer helps you manage designs in folders. It is not a
multi-user database for company-wide design management. Wilcom Design
Workflow is a central design storage and management application. Any
design format that can be read by ES Designer can be stored in Design
Workflow. Design Workflow uses Microsoft SQL technology and is a true
multi-user tool, allowing far greater control of designs throughout your
company. For this type of requirement, refer to the Design Workflow User
Manual.
ES 2006 Design Management 771

Chapter 33
Embroidery Clipart
The Embroidery Clipart feature is a powerful productivity tool which makes

whole designs and design fragments easily available. This allows you to
recycle commonly used design elements and greatly speeds up the process
of creating new designs. Use the clipart library to permanently store useful
embroidery elements and assign keywords to them. Summary information
such as width and height, number of stitches and colors is automatically
recorded.
The library displays all design elements currently recorded to your personal
database. Behind this functionality is the powerful Microsoft Database
Engine or MSDE. Sort and search functionality is provided to filter your list
according to name, keywords, number of colors, or number of stitches. Once
a suitable design element is located, simply drag-and-drop it as ‘embroidery
clipart’ into the current project. Automatically find the nearest match
between selected clipart element colors and the current palette.
Note Used in conjunction with Design Workflow, the Embroidery Clipart

library allows you to share embroidery elements between multiple users.
Available as a cost option, Design Workflow is an embroidery design
centralization and management solution for businesses that share
embroidery files across a network. It can serve as the repository for your
designs and design elements making the task of securing, searching for, and
managing your assets much easier.
This section describes how to view, search and sort embroidery clipart. It
also explains how to record it and manage keywords.
Viewing and selecting embroidery clipart
Click Show Clipart (Clipart toolbar) to open the embroidery clipart.
Use Match to Palette (Embroidery Clipart dialog) to find the nearest match
between the selected clipart element colors and the color palette.

The Embroidery Clipart library displays all design elements currently
recorded to your personal database. You may want to put together a design
such as a wreath with components such as ribbons, leaves, fruit and flowers.
With the Clipart Library this becomes a simple task.
To view and select embroidery clipart

1 Click the Show Clipart icon.
The Embroidery Clipart dialog opens. The design elements currently
recorded are displayed.
Search for names or

keywords
Click to sort by name,

color or stitches
Scroll to browse
Toggle Match to Palette on or off
The dialog consists of three main sections:

The Search For panel allows you to specify either names or
keywords to search the library for a specific design. There is also a
dropdown list to specify the sorting order.
The Clipart panel contains thumbnail images of designs in the clipart
library, ready to be dragged and dropped onto the design window.
The toolbar contains three icons—Properties, Match To Palette,
and Search Web Clipart.
2 Click-and-drag the dialog to any position you require.
The dialog is ‘modeless’ and can stay on screen while you work.
3 Browse the library using the scroll bar.

You can use the search and sort functions. See Searching and sorting
embroidery clipart for details.
4 Click a clipart thumbnail to select, or hover your mouse over it to view
summary information.
Hover cursor
over thumbnail
Note Before using the clipart in your design, decide whether to toggle
Match to Palette on or off:
On: when you insert your clipart, its colors are matched to the
current color palette.
Off: unique colors in the clipart are added to the current color
palette.
See also Setting inserted embroidery file options.

5 Drag-and-drop the design element into the design window to open.

Alternatively, right-click the thumbnail and select Insert from the popup
menu.
Right-click and
select Insert
ES 2006 Chapter 33 Embroidery Clipart 774

Searching and sorting embroidery clipart
There are more efficient ways of finding an appropriate design element than
scrolling and browsing through your entire library. Depending on what you
intend to do, it is helpful to narrow the search for design elements which
best suit your purpose.
Sorting the clipart library
You can sort the clipart thumbnails by different criteria.
To sort the clipart library

The Embroidery Clipart dialog opens.
2 Click the Sort by list.
Select to sort by name

and number of colors or
stitches
3 Select:
Name Ascending or Descending to sort by names
alphabetically—Ascending sorts letters from A to Z and numbers
from lowest to highest, Descending sorts in reverse order.
Colors Ascending or Descending to sort by the number of colors.
Stitches Ascending or Descending to sort by the number of
stitches.

Searching the clipart library by name
You can search the clipart thumbnails by names.
To search the clipart library by name

deer Enter name
Click to search
2 Type in the name you want to find in the Names field.
Tip You can use a ‘wildcard’ if unsure of the exact name:

Use asterisk (*) at the end of a string of letters. The asterisk (*)
must be placed at the end of the string—it cannot appear at the
beginning or in the middle of the string.
Use a question mark (?) if you are not sure of an individual character
in a name—e.g. T?re will return both Tyre and Tire. The question
mark (?) must be used as a substitute for a single character in a
name.
3 Click Search.
Searching the clipart library by keyword
You can search the clipart thumbnails by keywords.

To search the clipart library by keyword
deer Click to select keywords

Click to search
2 Click the Browse button next to the Keywords field.

The Keywords dialog opens.
Key in letters
to filter list Click to move to selected
Racket
Realistic keywords list
Ribbon
Rifle Click to remove from
Ring selected keywords list
Select keyword Sail
to search Sail boarding
Santa Click to remove all from
Sea selected keywords list
Shapes
Snow
Note Alternatively, simply enter keyword(s) in the Keywords field with

a space between them.
3 Key in required letters to filter the keywords list as required.
4 Select a keyword and click the Move button or double-click to move it
to the Selected Keywords column.

Note To remove a keyword from the Selected Keywords list, select it
and double-click or click the Remove button. To remove all the selected
keywords click the Remove All button.
5 Click OK to transfer selected keywords to the Keywords search field.
6 Click Search.
All clipart elements associated with the selected keywords are displayed
in the list.
Recording embroidery clipart

Use the Record to Clipart function to record design elements or even an
entire design to the clipart library. Assign a name and keywords to each
design element you record.
Recording designs to the clipart library
Use Record to Clipart (Clipart toolbar) to record a design to the embroidery

clipart.
The Record to Clipart option is enabled when at least one embroidery

object is selected. Use it to record design elements or even an entire design.
To record a design to the clipart library

1 Select a design you want to record.
2 Click the Record to Clipart icon.

The Record to Clipart dialog opens.
Assign name
Preview
Click to move to assigned

keywords list
Animal
Ball Click to remove from
Baseball
Basketball assigned keywords list
Bicycle
Click to remove all from
assigned keywords list
Click to add keyword
Note Design information, such as number of colors and stitches, height,

width, and date and time created, cannot be modified. You can,
however, overwrite the default numeric name.
3 Enter a meaningful name for the design in the Name field.
4 Assign one or more keywords. See Assigning keywords to clipart for
details.
5 Click OK.
Assigning keywords to clipart
Click Object Properties (Embroidery Clipart dialog) to set properties for

selected objects.
Keywords play an important part in organizing the clipart library. This is

especially so as it grows in size and diversity. Finding a suitable design
element can take time but searching on keywords speeds up the process by
narrowing the selection. Any number of keywords can be assigned to the
same clipart element.

To assign keywords to clipart
2 Select a clipart thumbnail.
3 Open the clipart properties dialog by any of the following means:
Double-click the thumbnail.
Click the Object Properties icon on the Embroidery Clipart dialog.
Right-click the thumbnail and select Properties from the popup
menu.
The Clipart Properties dialog opens.
Animal
Select keyword Ball Assign keywords to
Baseball design element
Basketball
Bicycle
Click to add
keyword
4 Click New to create a new keyword.

The Add Keyword dialog opens.
Love Type in new

keyword
5 Click OK.
6 Select a keyword and click the Move button or double-click to move it
to the Selected Keywords column.

Note To remove a keyword from the Selected Keywords list, select it
and double-click or click the Remove button. To remove all the selected
keywords click the Remove All button.
7 Click OK.
Selected keywords are associated with the clipart. These can now be
used during clipart searches. See Searching and sorting embroidery
clipart for details.
Managing keywords
Managing keywords is an essential part maintaining the clipart library
efficiently. You can add keywords to your list for future use without having
to assign them to a particular design. You can also remove keywords and
modify them with the Manage Keywords feature.
Adding, modifying and deleting keywords
Use Manage Keywords (Clipart toolbar) to manage keywords for the clipart.
Manage keywords by adding, modifying or deleting keywords.
To add, modify and delete keywords

1 Click the Manage Keywords icon.

The Manage Keywords dialog opens.
Actor
Animal Click to add
Applique
Architecture Click to modify
Ball
Basketball
Beetle Click to delete
Bells
Boat
Building
Butterfly
Cartoon
Cats
Children
Christmas
Crab
2 Click Add or press Alt+A to add a keyword.

The Add Keyword dialog opens.
Balloon Type in keyword
3 Enter a keyword and click OK.

The keyword is added to the list.
4 To modify a keyword, select and click Modify or press Alt+M.

The Modify Keyword dialog opens.
Baboon Enter new keyword
Actor
Animal
Applique
Architecture
Ball
Basketball
Beetle
Bells
Boat
5 Enter a new keyword or select a replacement keyword from the list.

6 Click OK.
The old keyword is replaced with the new one in the Manage Keywords
dialog.
7 To remove a keyword, select and click Delete or press Alt+D.
You are prompted to confirm deletion.
8 Click OK.
The keywords list is updated. Clips using old keywords will be updated
with any modified keywords.
Importing and exporting keywords
Use Manage Keywords (Clipart toolbar) to manage keywords for the

embroidery clipart.
Aside from adding, modifying and deleting keywords, you can manage your
keyword collection by exporting to a text file. You can later restore keywords
by re-importing the text file.
To import or export keywords

1 Click the Manage Keywords icon.

The Manage Keywords dialog opens.
Actor
Animal
Applique
Architecture
Ball
Basketball
Beetle
Bells
Boat
Building
Butterfly Click to import
Cartoon
Cats
Children Click to export
Christmas
Crab
2 To import keywords, click Import or press Alt+I.

Browse proper location

Select to import
Only Text (TXT) format

available
3 Browse and select the text file you want to import.

4 Click Open.
Keywords are imported to the Manage Keywords dialog.
Note When you import keywords, only unique keywords are appended
to any existing list. Duplicates are ignored.
5 To export the keywords in the list, click Export or press Alt+E.

Browse proper location
Type in file name
6 Browse and type in a filename.

7 Click Save.
The keywords are saved to a text file where each keyword is written to
a separate line.
Actor
Animal
Applique
Architecture
Ball
Basketball
Beetle
Bells
Boat
Building
Butterfly
Cartoon
Cats
Children
Christmas
Collie
Column
Setting Design Workflow as an Enterprise Engine

When you install ES Designer, the Embroidery Clipart feature is installed
with the Microsoft Database Engine or MSDE together with a sample clipart
library. When you first open the library, it displays all the design elements
currently recorded to your personal sample database installation. However,
if you are running Design Workflow on a company-wide network, you may

want to share the Embroidery Clipart library across the entire organization.
It is a relatively simple matter for the DW Administrator to configure a
dedicated Embroidery Clipart database and provide all users with a Microsoft
Database Engine file shortcut to connect to the database.
Note Used in conjunction with Design Workflow, the Embroidery Clipart

library allows you to share embroidery elements between multiple users.
Available as a cost option, Design Workflow is an embroidery design
centralization and management solution for businesses that share
embroidery files across a network. It can serve as the repository for your
designs and design elements making the task of securing, searching for, and
managing your assets much easier.
To set Design Workflow as an Enterprise Engine

1 Select Special > Clipart > Set Design Workflow as Enterprise Engine.
Browse to network
location
Select UDL to
connect to
Only UDL format

available
2 Browse to the location of the supplied UDL file.

3 Select and click Open.
Your clipart library will be linked to the enterprise clipart database. This
means that any design elements you record to the clipart library can be
accessed by all other users of the clipart database.
Note If you do not have the Design Workflow option activated on your
dongle, the menu will display a Learn Design Workflow Engine option.
This explains the benefits of using the engine across the enterprise.

Chapter 34
ES Design Explorer Basics
ES Design Explorer provides an efficient way for viewing and managing

embroidery designs. With this design management tool, you can browse
design files stored on your computer hard disk, CD-ROM, or floppy disk, as
well as cut, copy, paste and delete them. It recognizes all design file formats
used by ES Designer. See also Supported Machine, File and Disk Types.
Note ES Design Explorer helps you manage designs in folders. It is not a

multi-user database for company-wide design management. For this type of
requirement, refer to the Design Workflow User Manual.
This section describes how to use ES Design Explorer to access and view
designs in folders. It also covers cutting, copying, pasting, and deleting
designs in folders.
Opening ES Design Explorer and viewing designs

ES Design Explorer does not require a separate installation. It works as an
integral part of Wilcom ES and is easy to set up and get started. ES Design
Explorer displays thumbnails and limited design information whenever a
design folder is accessed. You can filter the contents of the display window
to show only certain file types. You can also rename folders, add sub-folders
and delete folders without leaving ES Design Explorer.
Opening ES Design Explorer
Double-click the desktop icon to open ES Design Explorer. ES Designer

will open by default.
Navigating to design folders with ES Design Explorer is very similar to

browsing with Windows Explorer. Your access to design folders on your
network is only limited by network access rights determined by your System
Administrator. ES Design Explorer lets you view any supported design file

type residing in design folders. See also Supported Machine, File and Disk
Types.
Note If you start ES Design Explorer from the desktop or from the Windows
Start button, ES Designer will also open. If your computer is slow or you
have many applications running, ES Design Explorer may not open.
To open ES Design Explorer

1 Double-click the ES Design Explorer icon on the Windows desktop.
ES Design Explorer and ES Designer open in separate windows.
ES Design Explorer defaults to the Design folder, showing all of your
EMB designs as thumbnails.
Tip If ES Designer is hiding ES Design Explorer from view, switch

between them using the Windows Alt+Tab function.
Change Design View
menu bar
toolbar
files dropdown
folder listing
design thumbnails
contained in
selected folder
split bar
status bar
Note The thumbnail image generation process can be very slow on

older machines or if there are a lot of designs in the selected folder.
Holding down the Alt key will abort the redraw. The thumbnail will be
drawn using a default yellow exclamation mark. This does not mean that
the design is missing. See also Locating missing files.
2 Drag the split bar between the folders and thumbnails to the left or to
the right to resize the window sections.
3 To find a design which is not in the current folder—e.g. C:\Designs—use
the folder listing to locate the required folder.
ES 2006 Chapter 34 ES Design Explorer Basics 788

Tip If not all drives or folders are displayed, click the + to the left of My
Computer to show all local and network drives available to your PC.
4 Click a folder in the folder listing to display its contents in the display
window.
You can list the folder contents in different ways. See Viewing design
properties for details.
Tip Close ES Design Explorer in View by Details mode so that it opens

more quickly next time.
Displaying design thumbnails and summary information
Click to Change Design View to select thumbnails only, thumbnails with

stitching details, or summary information only.
The designs in ES Design Explorer can be listed as thumbnails only (the

default), thumbnails and summary information, or design information only.
Tip Designs can also be displayed full screen using ES Designer. See
Opening designs in ES Designer for details.
To display design thumbnails and summary information

1 Open ES Design Explorer and select a folder. See Viewing design
2 Use the viewing options to view designs in the display format you
require:
To display the designs as thumbnails only, click the Change Design
View icon and select Thumbnails from the dropdown menu. Or,
select View > Design Thumbnails.
Thumbnail view

To display the designs as thumbnails with stitching details, click the
Change Design View icon and select Summary from the dropdown
menu. Or, select View > Design Thumbnails and Summary.
Summary view
To display the designs in a detailed list, click the Change Design

View icon and select List from the dropdown menu. Or, select View
> Design List. By default, designs are listed showing design name,
file size, file type, version, etc. See also Customizing design lists.
List view
Note The number of selected designs is displayed in the status bar at

the bottom of the ES Design Explorer window.
Viewing designs in the whole window
Click Show/Hide folders to hide the folder listing.
It is often more convenient to view designs in folders and databases in the

whole window. When doing so, you can always browse for designs using the
Look In list or Browse Location option.
To view designs in the whole window

1 Click the Show/Hide folders icon.

Designs are now viewable across the window.
Click to run in
full-screen mode
2 To view designs in another folder, select from the Look in dropdown list.
Tip Alternatively, select View > Browse Location to open the Browse
For Folder dialog.
Viewing zipped designs in folders

ES Design Explorer lets you archive and view design files in folders which
have been archived by means of the popular WinZip utility. This is a software
program which bundles files into a single compressed file with the extension
*.ZIP. This can be useful for sending or receiving multiple files via email. See
also Archiving design files.

To view zipped designs in folders
1 Open ES Design Explorer and browse to the folder containing the zipped
design files.
Zipped design
Zipped design names appear in
file appears in italics
folder listing
If the folder contains individually zipped designs, these will appear

directly in the display window. The file name will appear in italics.
If the folder contains zipped files containing multiple designs, these
will appear in the folder listing.
2 Select the zipped file to view its contents.
Locating missing files

If users incorrectly move files, the normal design thumbnail is usually
replaced by a ‘missing design’ thumbnail when ES Design Explorer is next
opened. Each color indicates the likely cause:
Icon Description
This means that ES Design Explorer cannot find the design file.
Replace missing files from backup or another source. If this is not
possible, delete the record or refresh the directory. See also
Refreshing the display.

Icon Description
This means that ES Design Explorer has found an up-to-date

thumbnail but doesn’t recognize the format. Use Validate and
Refresh to update the display. ES Design Explorer will try to make
a replacement next time the folder is opened or refreshed. See
also Refreshing the display.
ES Design Explorer recognizes a pre-determined set of file types

as per the file type dropdown list. If it sees a design that has the
required file suffix—EMB, BMP, etc—but it is unable to read the
file, it will display the green question mark. Locate the file and
delete it.
Adjusting view settings

ES Design Explorer allows you to customize window settings. It lets you
customize the toolbar layout. You can switch between ‘locales’—English,
French, German, etc—at any time. Occasionally you may need to refresh the
display. You can also change the way selected designs are highlighted,
whether thumbnail files are created, and so on. Design Workflow even lets
you customize design lists to display only the fields you require in any order
you prefer.
Changing locale
Select Change Locale (View menu) to switch between locales.
During installation of the ES Design Explorer software, optional languages

(locales) can be selected for dialogs and messages—e.g. English, French,
German, etc. You can switch between these locales at any time after
installation.
Warning If the default locale is not the same as the language of the
Operating System, then this option will not work properly. See also ‘locale’
in Windows Help for information about changing Windows to suit different
locales.
To change locale
1 Open ES Design Explorer. See Opening ES Design Explorer for details.

2 Select View > Change Locale to open the locale required.
The Choose Locale dialog opens.
Note Only those locales selected when ES Design Explorer was

installed will be listed.
3 Select the locale required, and click OK to make the change.
Tip See also ‘locale’ in Windows Help for information about changing
keyboards, fonts and so on to suit different locales.
Refreshing the display

Occasionally, your screen will not show changes you have made until you
refresh the display. Changes to folders may not display either until you
refresh the folder listing. If graphics and thumbnails still do not appear
correctly, or if you have updated your Wilcom ES software, you may need to
‘validate and refresh’.
To refresh the display

To refresh the display window, select View > Refresh, or press F5.
To refresh folders in the folder listing, select View > Refresh Folder.
Alternatively, select the node you want to refresh, right-click and select
Refresh Folder from the popup menu.
To validate and refresh a folder, select View > Validate and Refresh.
Tip Occasionally, ES Design Explorer displays red, blue or green

question marks and a short description instead of a graphic thumbnail.
See Locating missing files for details.

Modifying user preferences
Select User Preferences (View menu) to set design view user preferences.
You can change several default settings in ES Design Explorer:

the way selected designs are highlighted
what happens when you double-click designs.
To modify user preferences

2 Select View > User Preferences.
The User Preferences dialog opens.
Set user
preferences
3 In the Options panel, select Highlight in Full to fully highlight each

thumbnail as it is selected.
If you only require selected thumbnail borders to be highlighted, clear
Highlight in Full.
Tip The color and intensity of highlights can be changed in the Windows
Control Panel to suit each user. See Windows Help for details about
‘Display Settings’.
4 In the Double-click Options panel, select either:
Open Design: if you want the normal Windows action when you
double-click a design name or thumbnail, or
Show Properties: if you want to open the Properties dialog for
designs that you double-click.
5 Click OK to save the settings.
Tip If you need more space in the display window for viewing
thumbnails, click the Hide/Show folder listing button.

Customizing design lists
Design Workflow lets you customize design lists to display only the fields you
require in any order you prefer.
To customize design lists

1 To display the designs in a detailed list, click the Change Design View
icon and select List from the dropdown menu. Or, select View > Design
List.
By default, designs are listed showing design name, date first designed,
when last changed, when first recorded, etc.
Select Customize
Column
2 Right-click the column header and select the Customize Column from
the popup menu. Alternatively, select View > Customize Columns >
Design List.
The Columns dialog opens.
Click to reorder
Select / deselect selected fields
fields to include in
listing
Click to hide
selected fields
3 Exclude a field from the listing by deselcting the associated checkbox.

Alternatively, highlight the field and select Hide.
4 Adjust the order of selected fields with the Move Up and Move Down
buttons.
Alternatively, select the column header in list view and drag-and-drop to
a new location.
Drag-and-drop
header to new
location
Browsing designs in folders

Information about designs in folders can be viewed in the Properties dialog.
Designs can then be browsed using navigation buttons and slide show
buttons on this dialog.
Tip You can also filter the contents of any design folder to show only certain
types of file—e.g. EMB only. See Sorting files in folders for details.
Viewing design properties
Click Design Properties to view information about selected designs.
Information about designs in folders can be viewed in the Properties dialog.

The data is extracted directly from design files created in ES Designer. You
cannot add, delete and edit these fields.
Tip Designs in folders can be browsed using navigation buttons and slide
show buttons on the Properties dialog. See Sorting files in folders for
details.
To view design properties

1 Open ES Design Explorer and select a design folder. See Viewing design

2 Double-click a design or click the Design Properties icon.
The Properties dialog opens showing all stitch information derived from
the design file together with user-defined information.
Stitch information from the design file appears grayed out and cannot
be edited. The Design, Description, and Selected fields are ranged
across the top of the dialog. Use the Selected field at the top of the
dialog to select or deselect designs in the main window as you move
between designs. See Sorting files in folders for details.
Tip If not all text is visible in a field, select the field and use the Arrow,
Home and End keys to scroll. Alternatively, resize the dialog.
3 Click OK to close.
Browsing through designs in folders

Navigation buttons on the Properties dialog allow you to move forwards,
backwards, as well as to the start and end of all designs in the selected
folder. Similarly, you can move forward and back through selected designs.
As you browse, the Properties dialog displays a thumbnail together with
relevant design information.

Tip When you find the design you want, right-click the name or thumbnail
and select Open with Wilcom ES Designer to open it in ES Designer. Or
choose File > Open to open bitmaps images in a third-party graphics
program.
To browse through designs in a folder

1 Open ES Design Explorer and select a design folder. See Opening
ES Design Explorer for details.
2 Select or sort the designs as required. See also Sorting files in folders.
3 Open the Properties dialog. See Viewing design properties for details.
navigation buttons
Click to select
or deselect
designs
4 Browse through the entire folder or a selection of designs as required.

folder navigation selection navigation
start end start end
If you want to browse the entire folder, use the red navigation
buttons.
These allow you to move to the first design, last design, previous
design and next design in the folder.
Use the Selected checkbox to select or deselect designs as you
browse.
If you want to browse through selected designs, use the blue
navigation buttons.
These allow you to move to the first selected design, last selected
design, previous selected design and next selected design in the
folder.
5 Click OK.

Browsing designs using slide show buttons
All designs in folder can be displayed as a slide show. The slide show is run
from the Properties dialog which displays each design’s thumbnail together
with relevant information. You can control the speed and direction of the
slide show.
To browse designs using slide show buttons

2 Select or sort the designs as required. See also Sorting files in folders.
3 Open the Properties dialog. See Viewing design properties for details.
slide show buttons
stop fast/slow
backwards forwards
4 Click the Forwards or Backwards button to start the slide show.

The slide show automatically scrolls through every design in the folder.
5 Click + or - to increase or decrease the speed.
6 Click the Stop button to stop.
Accessing designs in folders

ES Design Explorer lets you select designs residing in folders. Once
selected, you can manipulate them in a variety of ways—e.g. cutting,
copying, pasting, editing the record, and converting designs to other
formats. You can also open designs in ES Designer directly from ES Design
Explorer for viewing or editing.
Tip With the file selected, right-click to open a popup menu which includes
the commands Open, Print, Convert, Punch to Tape, Stitch to Machine, and
Delete.
Selecting designs in folders

Designs must be selected before an action can be performed—e.g. view,
open or copy a design. A group of designs, a range, or all the designs in a

database can be selected. A group is made up of any selected designs. A
range is a series of consecutive designs.
To select designs in a folder

2 Display designs as thumbnails or as a details list. See Displaying design
thumbnails and summary information for details.
Tip The thumbnail image generation process can be very slow on older
machines or if there are a lot of designs in the database. Holding down
the Alt key will abort the redraw. The thumbnail will be drawn using a
default yellow exclamation mark.
3 Sort designs by required category—e.g. sort by customer to list each
customer’s designs consecutively. See Sorting files in folders for details.
To select all designs in the current folder, select Edit > Select All or
click Ctrl+A.
5 To deselect all selected designs, select Edit > Deselect All, or click any
unselected design.
Tip To deselect a single design amongst a group of selected designs,

click it again while holding down the Ctrl key.
Opening designs in ES Designer
Click Open Design to open a selected design or designs in ES Designer.
Any designs selected in the ES Design Explorer display window can be

opened in ES Designer for viewing or editing.
To open designs in ES Designer


Tip If you want to open several designs at once, select the details list
view. See Displaying design thumbnails and summary information for
details.
3 Click the Open icon.
All selected files are opened.
4 Alternatively, if displaying designs as thumbnails, double-click a single
design thumbnail.
Make sure Double-click Options > Open Design is selected in the
User Preferences dialog. See Modifying user preferences for details.
The selected design or designs are displayed in the ES Designer window
ready for editing.
Tip To switch between ES Designer and ES Design Explorer:
Hold down the Alt key, then tap the Tab key until the ES Designer
icon is highlighted. Release the Alt key.
Alternatively, click the ES Designer icon on the Windows taskbar.
Creating new designs with custom templates

You can open a new design template in ES Designer from within ES Design
Explorer.
To create new designs with a custom template

1 Select File > New.

ES Designer opens and the New dialog appears.
Note If there is no template other than default, the New dialog may
not appear.
2 Select a template from the list.
3 Click OK.
Reconnecting ES Design Explorer to ES Designer

Occasionally ES Design Explorer may encounter a problem preventing it
from connecting with ES Designer. Follow the instructions below (in the
same order as they are listed) to find the solution.
To reconnect ES Design Explorer with ES Designer

Check that your dongle security device is connected.
Open ES Design Explorer and check that it runs correctly on its
own—close ES Design Explorer, then open ES Designer by clicking its
icon on the Windows Desktop.
If none of the above correct the problem, re-install ES Designer.
Check that the version of ES Designer you are running is the same as
that registered in ES Design Explorer’s Shortcut Properties.

Right-click the ES Design Explorer icon on your Windows Desktop,
then select Properties. The Design Explorer Properties > Shortcut
dialog opens.
shortcut
Read the last text item in the Target field—e.g. ...version=2006

This version should be identical to the version of ES Designer you
are running. If it is not, change it to the correct version and click OK.
Install ES Designer again.

Chapter 35
ES Design Explorer Advanced
Functions
Designs in ES Design Explorer folders can be sorted in various ways. This is

useful when you want to select designs for stitching out, printing, archiving,
and so on. Once a design is selected in an ES Design Explorer folder, you
can send it direct to an embroidery machine or punching machine. You can
also batch-convert your EMB and other design files to and from other file
formats directly from ES Design Explorer.
Create design catalogs containing thumbnail images and/or summary
Archive design files in folders with the built-in WinZip utility. This can be
useful for sending or receiving multiple files via email. You can even view
design files within ‘zipped’ archives.
This section describes the more advanced workings of ES Design Explorer
from sorting files to stitching, punching, and converting designs. It also
describes how to print and publish catalogs of designs, as well as how to
archive dormant or unused designs.
Sorting files in folders

The simplest way to sort files in ES Design Explorer folders is by file
type—e.g. EMB files only. Designs can be further sorted in the following
ways:
As simple sorts using View > Sort by (Name, Type, Size, or Date).
The designs are arranged according to the sort selection. The designs
can be sorted whether they are displayed as thumbnails or as a details
list.

As simple sorts using details list headings: by File Name, Size, File
Type, Version, Date, Stitches, or Description. Designs are arranged
according to the heading selected, and repeating the sort reverses the
order. Designs must be displayed as a details list.
As a complex sort in up to two levels in ascending or descending order:
by Colors, Date Designed, Design Name, File Type, Height,
Stitches, Version, Width or None. Designs can be displayed as
thumbnails, thumbnails with stitching details, or details lists.
Limiting file types displayed

With ES Design Explorer you can filter the contents of any design folder to
show only certain types of file—e.g. only EMB files.
To limit file types displayed

ES Design Explorer and viewing designs for details.
2 Click the Files dropdown on the toolbar.
3 Select:
All Files to show every file type in the folder.
Artwork Files to display only BMP and PNG files.
Any other option to display only files of that type—e.g. templates.
Running simple sorts using the View menu

You can sort your thumbnails or details lists by any of four types.
To run a simple sort using the View menu

ES 2006 Chapter 35 ES Design Explorer Advanced Functions 806

2 List the designs as either thumbnails or as a details list. See Displaying
design thumbnails and summary information for details.
3 Select View > Sort by Design Name, Sort by File Type, Sort by File
Size, or Sort by Last Changed.
The designs will be sorted according to the option selected.
Running simple sorts using the details list

You can sort details lists by clicking the column headings.
To run a simple sort using the details list

2 List the designs as a details list. See Displaying design thumbnails and
summary information for details.
Click column
heading to sort
3 Click the heading at a column to be sorted—e.g. Design Name.

The designs will be sorted in the order of the selection.
4 Click the heading again to reverse the order.
Running complex sorts
Use Sort to run a complex sort using the Sort dialog.
You can sort designs by various criteria such as Colors, Design Date, Design
Name, File Type, etc. ES Design Explorer lets you sort them by up to two
levels, in ascending or descending order.

To run a complex sort
2 List the designs as a details list. See Displaying design thumbnails and
summary information for details.
3 Click Sort icon.
The Sort dialog opens.
Select Level 1
criterion
Select Level 2
criterion
4 Select the first sort criterion:

Select the main category you want from the Sort By list—e.g.
Colors.
Select Ascending to sort letters from A to Z and numbers from
lowest to highest, or Descending to sort in the reverse order.
5 Select the second level sort criterion:
Select a different category from the And Then By list—e.g.
Stitches.
Select Ascending or Descending.
6 Click OK.
In the above example, the details list will display all designs by color,
together with number of stitches used.
Emailing designs direct
Use Email Selected Designs to email design information direct.

ES Design Explorer lets you email design information direct. This includes
all files associated with the design record, including design files, TrueView,
thumbnail, artwork and stitchout images as well as stitch files.
To email designs direct

Email selected
designs
2 Select one or more design records and either:

Click the Email Selected Designs icon on toolbar, or
Right-click the design record and select Email Design from the
popup menu.
The Email Design Options dialog opens.
Select files to
include
3 Select the files you want to include in the email.

Note If all options are grayed out, your administrator must configure
the email settings for your user account.
4 Click OK.
The selected files are attached to an email and the subject line populated
with the names of the selected designs.
Stitching and punching designs direct

Once a design is selected in a folder, you can:
send it direct to any embroidery machine connected to the ES Designer
system.
send it direct to any punching machine and punch the tape.
Tip When a file is selected, right-click to open a popup menu which includes
the commands Open, Print, Convert, Punch to Tape, Stitch to Machine, and
Delete.
Stitching designs direct
Use Stitch Selected Designs to stitch a design directly to machine.
Select one or more designs in a folder using ES Design Explorer. You can
then stitch to any embroidery machine connected to your ES Designer
system.
To stitch a design direct

2 Select and sort the design(s) to be stitched using Sort or Search. See
Sorting files in folders and Selecting designs in folders for details.
3 Click the Stitch Selected Designs icon.

The Stitch Options dialog opens.
Select machine type

and format
4 Select a machine type and format from the lists.

To define or modify the machine’s settings, see Setting up embroidery
machines for Stitch Manager for details.
5 Click OK.
The ES Machine Manager window opens. See the ES Machine
Manager Supplement for details.
Punching designs direct
Use Punch Selected Designs to punch a design directly to a punching

machine.
Select one or more designs in a folder using ES Design Explorer. You can
then punch to any paper tape punching machine connected to your
ES Designer system.
To punch a design direct

2 Select and sort the design(s) to be punched using Sort or Search. See
Sorting files in folders and Selecting designs in folders for details.
3 Click the Punch Selected Designs icon.
The Punch Options dialog opens.
Select machine type
4 Select a machine type from the list and click OK.

The Tape Manager dialog opens. See Punching designs to paper tape
for details.
Select tape punch
Select to label tape

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

Catalogs of designs in a folder contain thumbnails and/or summary
Tip Before printing, publishing or exporting, sort the designs into useful
groups. For example, sort by Type or search by Customer. See Sorting files
in folders for details.
Printing production worksheets
Use Print Selected Designs to print production worksheets.
You can print production worksheets for selected groups of designs in

folders, and include thumbnails of each design in the worksheet.
Note Unlike Print Designs, this option can provide all of the design and
sewing information available, but it uses far more paper to do so. See also
Printing design catalogs.
To print a production worksheet

2 Select and sort the designs to be printed using Sort. See Sorting files in
folders for details.
3 Click the Print Selected Design icon.

4 Select the printer you want to use, and enter the number of copies of
the worksheet you require.
5 To customize the worksheet, click Options.
Select worksheet
or appliqué
Set zoom factor

Select for design
information type preview
to include
Select graphical Select other

features to general options
include
6 Set production worksheet options to show the information you want in

the format you require. See Setting production worksheet print options
for details.
7 Click OK when finished, then ensure that your printer settings are
correct in the Windows Print Setup dialog.
Note The dialog and the settings available will vary from printer to
printer. See your printer manual for details.
8 Click OK.
Printing design catalogs

Printed catalogs of your designs are a handy sales and marketing tool. They
contain thumbnails of the designs plus limited text details. You can prepare
catalogs of all your designs, and others to suit specific markets, types of
design, and individual customers.

To print a design catalog
2 Select and sort the designs to be printed in the catalog using Sort. See
Sorting files in folders for details.
3 Select File > Print Catalog.
The Print Catalog Options dialog opens.
Change the scale

Select for design details
Click to preview
4 Change the Scale (%) amount if you want your thumbnails bigger or
smaller.
5 Select Summary if you want design details to be printed.
6 Click Preview as required.
Click to set printer settings
7 Click Printer to select a printer, paper size and other options in the
Windows Print dialog for the printer attached to your PC.
8 Click OK to print the catalog.
Tip If the catalog requires more than one page, you can select which
page to print in the Windows Print dialog.

Publishing design catalogs for browser viewing
You can convert your designs to the HTML and PNG formats suitable for
viewing by any browser, such as Microsoft Internet Explorer. This allows you
to publish designs throughout the company via an intranet, or throughout
the world via the internet. You can also attach catalogs to emails and send
them as design samples.
To publish a design catalog for browser viewing

2 Select and sort the designs to be published in the catalog using Sort.
See Sorting files in folders for details.
3 Select File > HTML Catalog.
The HTML Catalog Options dialog opens.
Change the scale
Adjust numbers of rows and columns
Enter filename and location
4 Change the Scale (%) amount if you want your thumbnails bigger or
smaller.
5 Adjust the number of rows and number of columns for the final output,
which will appear as a table.
6 De-select Summary if you don’t want design details to appear.
7 Enter a filename and location in the File Name field—e.g.
C:\Designs\Catalogs\Crests.htm—or accept the default settings.
Tip Make a separate folder for each catalog—the catalog conversion will
generate a PNG file for a thumbnail of each design, another PNG file for
a TrueView of each design, and an HTML file for each page.
8 Click OK to start converting the designs.

Your browser—e.g. Windows Internet Explorer—will open automatically
at the first page of designs when the conversion is finished.
If your browser does not open automatically:

Open your browser—e.g. Windows Internet Explorer—via the
Windows Start button.
Click the Address field, browse to the selected folder, and
double-click the first HTM file containing thumbnails—e.g.
Crests1.htm.
There will be at least two HTM files with similar names—e.g.
Crests.htm, Crests1.htm, etc. The filename without a number is the
index to all of the HTM files.
Your browser will display one or more design thumbnails in the window.
9 Examine the contents of the page.
Click Next Page to view the next screen of thumbnails.
Tip Double-click a thumbnail to view its TrueView image in real size.

10 Repeat the procedure to adjust thumbnail size and table layout as
required.
Exporting design catalogs

Design details can be converted to Tab and CSV (Comma Separated Value
files) formats suitable for use by most spreadsheets. See your spreadsheet
program for details.

To export a design catalog
2 Select and sort the designs to be exported to the catalog using Sort. See
Sorting files in folders for details.
3 Select File > Export Design List.
The Export to File Options dialog opens.
4 Click either Tabs or Commas, depending on your spreadsheet program’s

recommended format.
5 Select a folder and filename to store the CSV or TXT file.

6 Click Save.
The designs will be generated and saved in the selected format.
Converting design files in folders
Use Convert Selected Designs to convert from one design file type to
another.

You can convert your EMB and other design files to and from other file
formats directly from ES Design Explorer.
Tip You can use this capability in conjunction with the Auto Color Merge
feature. The Auto Color Merge feature reads thread color information for
CND files from an associated TXT file so that stitches are displayed in the
correct colors when they are converted to EMB. See Color merging Melco
CND files for details.
To convert design files in folders

2 Select the file(s) to be converted. See Selecting designs in folders for
details.
3 Click the Convert Selected Design icon.
The Convert Options dialog opens.
4 Select the file types you want to convert to.

5 Browse to the folder where you want to store the converted designs,
using the Browse button.

The Browse for Folder dialog opens.
6 Click OK to start the conversion.

The converted designs will be stored in the nominated folder.
Note Embroidery disks must be formatted to suit the embroidery

machine you intend to use or the machine will not be able to read the
design. Select File > Format Embroidery Disk to format a disk to
required format. See Formatting embroidery disks for details.
Archiving design files

ES Design Explorer lets you archive and view design files in folders which
have been archived by means of the popular WinZip utility. This is a software
program which bundles files into a single compressed file with the extension
*.ZIP. This can be useful for sending or receiving multiple files via email.
Saving design files to a single compressed file
Use WinZip to archive selected designs to a single compressed file.
ES Design Explorer provides a shortcut to the WinZip utility via the toolbar.
To save design files to a single compressed file

2 Select a folder and select the design(s) you want to archive.

3 Click the WinZip icon or right-click the design(s) and select Create Zip
Archive from the popup menu.
If you have selected one design file, the system will create a ZIP file
taking the design’s name as its own.
If you have selected more than one design file, the Create Zip
Archive dialog opens.
4 Choose whether to archive the selected files individually or as a single

file:
Create one archive containing multiple designs: creates a ZIP file
for every design, taking the design’s name as its own.
Create individual archives for each design: opens the Save As
dialog.
5 Enter a file name for your zipped file and click Save.
The selected designs are copied to the zip file. You can view them in the
specified folder. See Viewing zipped designs in folders for details.
Extracting design files from a zipped archive

ES Design Explorer allows you to extract design files from a zipped archive.
This is useful, for example, if you are receiving zipped designs via email.
To extract design files from a zipped archive


2 Select the folder which contains the design or designs you want to
extract.
Zipped design
Zipped design names appear in
file appears in italics
folder listing
3 Select the individual design to extract in the display window or the

zipped file in the directory tree.
4 Within the zipped file, select the design(s) you want.
5 Select File > Extract Zip Archive.
The Save As dialog opens prompting you to specify the location of the
extracted file.
6 Choose a location and click Save.

The designs are extracted to the selected location. If you have saved
them to a location referenced by ES Design Explorer, you can now view
them. See Opening ES Design Explorer and viewing designs for details.
Organizing designs in folders

You can rename, duplicate and edit database information without opening
designs. You can also rename folders, add sub-folders and delete folders
without leaving ES Design Explorer.
Renaming, adding and deleting folders

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

1 Open ES Design Explorer. See Opening ES Design Explorer and viewing
2 Browse to the folders you want to rename, delete or add folders to. See
Browsing designs in folders for details.
3 Add, rename, or delete folders as required:
To add a sub-folder to another, select the folder and right-click.
Select Add Folder and type in the name when the new sub-folder
appears.
To rename a folder, select it and right-click. Select Rename from the
popup menu, and type in the new name.
To delete a folder, select it and right-click. Select Delete Folder from
the popup menu. You will be prompted to confirm the deletion.
Copying and pasting designs

Once a selected design is copied, it can then be pasted to another location
using Paste. A copied design can be pasted any number of times.
To copy and paste a design

2 Select any number of designs. See Selecting designs in folders for
details.
3 Select Edit > Copy.

4 Change to another folder using the directory if required.
A design can be pasted to the same folder as the original design.
5 Select Edit > Paste.
If the selected design—e.g. Bear.EMB—is pasted into the current folder,
and the current folder contains the original design, or a file of the same
name, the new design is automatically named Copy of Bear.EMB. You
can then change the name of the new file by right-clicking its name,
selecting Rename and typing the new name. Press Enter to complete
the name change.
Note If you rename the file, ensure that the three letter extension—e.g.
EMB—is not altered.
Cutting and pasting designs

When a selected design is cut, the design is removed from the current folder.
The design can then be pasted at another location using the Paste
command.
To cut and paste designs

details.
3 Select Edit > Cut.
A confirmation dialog opens.
4 Click Yes to cut the design.
5 Browse to the folder where you want to paste the file or files.
6 Select Edit > Paste to paste the selected design into the new folder.
If a design of the same name already exists, each pasted copy is
renamed.
Renaming designs in folders

Duplicate designs, designs with misleading names, and designs with
misspelled names can be quickly renamed without opening them.

To rename a design in a database or folder
2 Ensure that the design you select is not currently open in ES Designer.
3 Right-click and select Rename from the popup menu.
Rename
selected design
The Rename Design dialog opens.
Bear Enter new name
4 Enter the new name.

5 Click OK.
The original design name is overwritten.
Deleting designs
Delete designs to remove them permanently from your PC.
To delete designs from ES Design Explorer


details.
3 Select Edit > Delete.
A confirmation dialog opens.
4 Click Yes to delete the design.
Warning The file is removed permanently from the folder.

PART IX
HARDWARE & SOFTWARE
SETUP
Setting up hardware
This section describes how to set up digitizing tablets, embroidery
machines, paper tape readers and punches, and scanners. It also describes
how to calibrate the monitor. See Setting up Hardware for details.
Using digitizing tablets

This section describes how to register both the menu chart and enlargement
drawing on the digitizing tablet so that ES Designer can interpret the
commands you select as well as the outlines you digitize. It also explains
how to change the drawing scale, shift an enlargement drawing, and how to
select preset spacing values using the menu chart. See Using Digitizing
Tablets for details.
Changing system settings

This section describes how to change TrueView display, grid spacing and
positioning, and design window scrolling options. It also describes how to
save designs automatically as you work. There is also information about how
to adjust the pointer position display, paste position options, and other
general options. See Changing System Settings for details.

Chapter 36
Setting up Hardware
You will need to connect peripheral devices for use with ES Designer. These
may include digitizing tablets, plotters, printers, paper tape readers and
punches, appliqué cutters, scanners and embroidery machines. Different
devices are set up in different ways—some in Windows, via the Control
Panel, others within ES Designer itself.
This section describes how to set up digitizing tablets, embroidery
machines, paper tape readers and punches, and scanners. It also describes
how to calibrate the monitor.
Note For instructions on connecting devices to your computer and setting

up in Windows, see the documentation for the device as well as your
Microsoft Windows documentation.
Peripheral device connection settings

Peripheral devices can be connected to your computer via serial ports,
parallel ports, a specialized network card or an ethernet network.
Note Local area networks (LANs) commonly use ethernet networks for
machine connection.
Serial port settings
Use Hardware Setup (Special menu) to access serial port settings.
PC serial COM ports are male connectors, and can be either 9-pin or 25-pin.
They are named COM1, COM2, COM3, etc. When you set up a digitizer or
machine that is connected via a serial port, you need to enter the serial port
settings in ES Designer as part of the setup procedure. See Setting up
digitizing tablets or Setting up embroidery machines for Stitch Manager.

The number of available ports limits the number of devices you can connect.
If additional ports are required, you can add them. Multi-port serial cards
can also be used. See a PC technician about your requirements.
The following table provides standard settings for various devices. They are
a guide only. Settings for the same device may vary according to
manufacturer. Check the documentation supplied with the device before
setting up.
Hand - Data Stop

Device Port Baud Parity
shaking bits bits
Digitizer * COM1 9600 None 8 1 None
Plotter COM2 9600 XOn/XOff 8 1 None
Tape Punch COM2 4800 XOn/XOff 8 1 None
Tape Reader COM2 4800 XOn/XOff 8 1 None
Embroidery COM2 9600 Hardware 8 1 None

Machine
* The digitizer applies only to 21D, 45, 65
Note You must be able to identify the ports on your computer. If in doubt,
consult a PC technician.
To enter serial port settings

1 Select Special > Hardware Setup.
The Hardware Setup dialog opens.
Select device
Click to access
device settings
2 Select a device from the Type list and select an item in the Name
column, then click Values.
ES 2006 Chapter 36 Setting up Hardware 828

The <Device> Setup dialog opens.
Click Setup
Select serial port
3 In the Connected To panel, select a serial port from the Port list.
4 Click Setup.
The Serial Port Setup dialog opens.
Enter port settings for

embroidery machine or
selected device
5 Enter the Baud rate, Data Bits, Stop Bits and Parity and Handshaking
settings for the device.
Note The port settings must match those of the embroidery machine
or selected device. The type of handshaking must match the type of
cable you are using. Check the communications setup section of the
documentation that came with the device.
6 Click OK.
Parallel port settings

Parallel ports are used to connect some embroidery machines. They are
named LPT1, LPT2, etc. When you set up the machine, select the parallel
port and the required protocol, and complete the machine setup procedure.
See Setting up embroidery machines for Stitch Manager for details.
Network settings
If an embroidery machine connection uses a Melco StarLAN network with a
Melco StarLAN card, enter the network settings. You do this as part of the
procedure for setting up or modifying machines in ES Designer. See Setting
up embroidery machines for Stitch Manager for details.

See the document Connecting Melco Embroidery Machines to Wilcom
ES Designer Embroidery software for more information. This document is
available on the Wilcom website (http://www.wilcom.com.au).
Ethernet settings
Use Stitch to Stitch Manager (Standard toolbar) to access ethernet

connection settings.
Enter the following information when setting up embroidery machines that

are connected using an ethernet network. See also Setting up embroidery
machines for Stitch Manager.
To enter ethernet connection settings

1 Click the Stitch to Stitch Manager icon.
The Stitch to Stitch Manager dialog opens.
Select Click to access

machine connection settings
2 In the Machine Identification field, select a machine from the list and
click Setup.
The Embroidery Machine Connection dialog opens.
Select
Ethernet
Select Select option

embroidery as required
machine
3 Select Ethernet from the Port list.

An additional field, Peripheral Name, and two checkboxes appear in
the Connected To panel.
4 From the Peripheral Name list, select the embroidery machine you are
setting up.

If the machine you require is not in the list, click Find. The system
searches for all machines connected on the ethernet and adds them to
the list.
5 Select Auto Delete to automatically delete files from machine memory
after stitching is complete.
6 Select Auto Queue to automatically queue the design as the next one
to stitch. Deselect it to send the design to the end of the existing queue.
7 Complete the machine setup as normal. See Setting up embroidery
machines for Stitch Manager for details.
Setting up digitizing tablets

Digitizing tablets generally connect to COM1 but can connect to any
available serial COM port. They must be set up in ES Designer to specify the
format and the preferred pointer display mode. ES Designer can only
support one tablet at a time. You can select from standard digitizer formats
or, if the format you need is not available, define a new one. See Defining
and modifying digitizing tablet formats for details.
Digitizing tablet limitations

ES Designer V6.0 and V6.1 cannot use the Windows-compatible drivers of
some tablets—e.g. GTCO and Calcomp tablets. Earlier versions of WinTab do
not free the COM port, even when it is not in use. This means ES Designer
is unable to communicate with the digitizing tablet. Check with the tablet
manufacturer to obtain a version of tablet software which will free the port
when not in use. Alternatively, the software may disable or uninstall WinTab,
or use another COM port when working with ES Designer.
Setting up digitizing tablets
Use Hardware Setup (Special menu) to setup digitizing tablets.
You can set up your digitizing tablet in ES Designer to define the required
format and pointer display mode. The pointer display mode can be set to
Point or Stream. If you change this setting on the digitizing tablet itself,
you must also change it in ES Designer.
Point mode
In Point mode, the pointer on the screen does not move when you move
the digitizer puck on the tablet. The pointer position on the design area of

the design window is only updated when you click a button on the digitizer
puck.
Stream mode
In Stream mode, the pointer position is continually updated. When you
move the digitizer puck on the tablet, the pointer moves on the screen.
Note If you use Stream mode, you need to set the digitizer to transmit at
20 data packets per second or less. The baud rate for the digitizing tablet
and serial port must both be set to 9600 baud. See Serial port settings for
details.
To avoid loss of data at high speed, it is important to set up the digitizer
correctly. If it can only transmit at greater than 20 data packets per second,
reduce the baud rate of the digitizer from 9600 baud to 2400 baud.
To set up a digitizing tablet

1 Connect the digitizing tablet and puck using the accompanying
instructions, and run ES Designer.
Select Digitizer
Click to access
digitizer settings
3 From the Type list, select Digitizer.

4 To change the settings of the existing tablet, select it and click Values.

The Digitizer Setup dialog opens.
Enter name
Select digitizer
format
Select input mode
Select COM port Click to access

serial port settings
5 In the Name field, enter a name for the digitizing tablet.

6 In the Comment field, enter a comment as required.
7 In the Format panel, select a required digitizer format from the list.
Alternatively, select Auto Detect to automatically match the format to
the connected digitizer.
Note Not all digitizers can be automatically detected by ES Designer.

For these tablets, you can define a new format or modify existing format
settings. See Defining and modifying digitizing tablet formats for details.
8 From the Input Mode list, select Point or Stream.
Note This setting must be the same as the one you specified on the
digitizing tablet.
9 From the Port list, select the COM port to which the digitizer is
connected.
10 Click Setup to access the serial port settings.
These settings must be the same as those set on the digitizing tablet,
or ES Designer will not be able to communicate with it. See Serial port
Note If you selected Stream mode, set the Baud value to 9600.
11 Click OK to return to the Hardware Setup dialog.
12 Click Close.

Defining and modifying digitizing tablet formats
If the digitizing tablet format you require is not set up in ES Designer, you
can create a new format, or modify an existing format to match the output
of your tablet. Before you start, review the documentation provided with the
digitizing tablet, and select a supported format. Use the specified settings
to create the new format in ES Designer.
Note This functionality is provided for advanced users with knowledge of

the data protocols supported by their digitizing tablet. Only use it if your
digitizing tablet does not work with any existing formats.
To define or modify digitizing tablet formats

1 Access the Digitizer Setup dialog. See Setting up digitizing tablets for
details.
Select digitizer Modify existing

format format
Create new format
2 In the Format panel:

To modify an existing format, select the format and click Modify.
To define a new format, click New.
The Digitizer User-Defined Format Setup dialog opens.
Enter format
name
Enter format
string for tablet
Enter digitizing
scale
3 In the Format Name field, enter a name for the new or modified format.
4 In the Format String field, enter the format string your digitizing tablet
outputs.

Obtain this information from the digitizing tablet documentation.
5 In the Scale field, enter the scale at which you are digitizing.
For example, a scale of 3.0 means your on-screen design will be one
third of the size you digitized.
6 Click OK to return to the Digitizer Setup dialog.
7 Click OK.
Note To set up the digitizing tablet with the new or modified format,
complete the standard setup procedure. See To set up a digitizing tablet
for details.
Setting up embroidery machines

Before you can send designs for stitching, you must configure the machine
in ES Designer. You can add machines, change settings for machines
already set up, or delete machines that are no longer used. ES Designer
provides alternative means for sending designs directly to machine.
Depending on your software options, you can stitch to machine using either
Stitch Manager or ES Machine Manager. For details about Stitch Manager,
see Stitching designs with Stitch Manager. ES Machine Manager is described
in a separate ES Machine Manager Supplement.
Setting up embroidery machines for Stitch Manager
Use Hardware Setup (Special menu) to setup embroidery machines for Stitch
Manager.
To set up a machine you need to define a name, the port it is attached to,
and the protocol it uses. You can select whether to download directly to the
selected machine or to receive a confirmation message each time. For every
machine, you need to select the machine formats it supports. You can select
from among standard formats, or create new formats if necessary. See
Changing Machine Formats for details.
Tip Machines that support serial feedback need to be set up in ES Machine

Manager. See the ES Machine Manager Supplement for details.

To set up embroidery machines for Stitch Manager
1 Connect the embroidery machine using the accompanying instructions,
and run ES Designer.
The identical port settings must now also be entered in ES Designer
Hardware Setup.
Select Direct
Click to add
Machine
machine
Connection
Click to access
machine settings
3 From the Type list, select Direct Machine Connection.

To change the settings of an existing machine, select it, then click
Values.
To add a new machine, click New. If no machines are set up, you are
automatically prompted to add a new one.
The Embroidery Machine Connection dialog opens.
Enter machine
name
Select COM Click to

port and access serial
protocol port settings
4 In the Name field, enter a name for the machine.

5 In the Comment field, enter a comment if desired.
6 From the Port list, select the COM port to which the machine is
connected. See also Ethernet settings.

Tip See Connecting Melco Embroidery Machines to Wilcom
ES Designer Embroidery software for more information. This
document is available on the Wilcom website
http://www.wilcom.com.au.
7 From the Protocol list, select the protocol for the connection between
the computer and embroidery machine.
The connection type on the computer will be either standard serial,
parallel, serial to parallel converted (DCi serial), or an interface card
such as Melco Starlan or Ethernet card.
See the documentation supplied with the embroidery machine to
determine the appropriate connection.
These settings must be the same as those set on the embroidery
machine, or ES Designer will not be able to communicate with it. See
Serial port settings for details.
9 In the Connected To panel, select Auto Download to directly download
designs to the assigned machine. Deselect it to confirm before sending.
10 In the Machine Type panel, select the compatible machine formats.
To do this, select compatible machine types in the Available list, and
click > to move them to the For this machine list.
Select machine types

machine type supported by your
machine
Click arrow buttons to swap

machine types between fields
Note Machine format values can be added or changed if required. See

Changing Machine Formats for details.
12 Click Close.
Deleting embroidery machines from Stitch Manager
Use Hardware Setup (Special menu) to delete embroidery machines from Stitch
Manager.

Delete embroidery machines from your system setup if they are no longer
required.
To delete embroidery machines from Stitch Manager

Select Direct
Machine
Connection Click Delete to
Select machine remove the
to delete machine
2 From the Type list, select Direct Machine Connection.

3 Select a machine and click Delete.
4 Click OK.
Setting up paper tape readers and punches
Use Paper Tape > Read (File menu) to setup paper tape readers and punches.
Set up paper tape readers and punches from within ES Designer. The values
you enter here are the default values when reading and punching tapes.
Paper tape formats supported in ES Designer include Tajima, Barudan,
Zangs, ZSK and Pfaff.
Setting up paper tape readers

To set up a paper tape reader, you need to connect it, select a machine
format and enter the serial port settings for it.
To set up paper tape readers

1 Connect the tape reader using the accompanying instructions, and run
ES Designer.
2 Select File > Paper Tape > Read.

The Choose Read Tape Type dialog opens.
Select machine
format
3 From the Choose input machine list, select the required machine
format.
4 Click OK.
Select to confirm
tape reader setup
before reading

reader access serial
port settings
5 Select the Confirm Setup checkbox if you want to confirm the setup of
the tape reader before reading.
6 In the Reader Setup panel, select the required reader from the Reader
Name list.
These settings must be the same as those set on the tape reader, or
ES Designer will not be able to communicate with it. See Serial port
8 Click Exit.
Setting up paper tape punches
Use Paper Tape Punch (File menu) to setup paper tape punches.
Set up paper tape punches in ES Designer to select the machine format, and
specify options such as labels, rewinding and punching in the reverse
sequence.

To set up paper tape punches
1 Connect the tape punch using the accompanying instructions, and run
ES Designer.
2 Select File > Paper Tape > Punch.
The Choose Write Tape Type dialog opens.
Select machine
format
3 From the Choose output machine list, select the required machine
format.
4 Click OK.
Select to confirm
punch setup
before punching

tape punch access serial
port settings
Select options
as required
5 Select the Confirm Setup checkbox if you want to confirm the setup of
the tape punch before punching.
6 From the Punch Name list, select the required tape punch.

Note The list contains a number of default entries. If the reader you
want is not available, you can add a new one. See Setting up paper tape
readers for details.
These settings must be the same as those set on the tape punch, or
ES Designer will not be able to communicate with it. See Serial port
8 Select the With Label checkbox to include a label with the design and
type the label text in the field.
The machine format and date are also included.
9 Select the AutoRewind at Start checkbox, if supported by the machine
format, to automatically rewind the tape before stitching.
10 Select the Reverse Direction checkbox to punch in the reverse
direction to the current stitching sequence.
This lets you punch directly from tapes that were stored on take-up rolls
without rewinding.
11 Click Exit.
Setting up scanners
Use Scanner Setup (File menu) to setup scanners.
ES Designer supports TWAIN-compatible scanners.
To set up scanners
1 Connect the scanner using the accompanying instructions.
2 Set it up in Windows using the accompanying instructions and/or the
Microsoft Windows documentation.
3 Start ES Designer.
4 Select File > Scanner Setup.

The Select Source dialog opens displaying a list of scanner drivers
loaded on your computer.
Select
scanning driver
5 Select the scanning driver to use, then click Select.
Note If you have trouble with scanning after re-starting ES Designer,

there may be a conflict with previously installed scanner drivers.
Re-install ES Designer and test the scanner. If the selected scanner
driver does not work in ES Designer, select another scanner driver from
the list. There are usually two installed for each scanner.
Calibrating the monitor
Use Hardware Setup (Special menu) to calibrate the monitor.
You need to calibrate your monitor so that designs at 1:1 scale appear at
real size. Do this when you first install ES Designer or whenever you change
your monitor.
To calibrate the monitor

Select Display
Monitor
Click to access
screen calibration
settings
2 From the Type list, select Display Monitor.

3 Click Values.
The Screen Calibration dialog opens.
Measure
height
Measure width
4 Measure the height and width of the dialog box.

5 Enter the measurement in the Width and Height fields.
7 Click Close.

Chapter 37
Using Digitizing Tablets
You can use a digitizing tablet and puck with ES Designer as an alternative
to digitizing directly on-screen. To use a tablet, you place an enlargement
drawing on the active area, and use the puck to mark reference points. You
can also select commands with the puck and menu chart provided with the
software.
This section describes how to register both the menu chart and enlargement
drawing on the digitizing tablet so that ES Designer can interpret the
commands you select as well as the outlines you digitize. It also explains
how to change the drawing scale, shift an enlargement drawing, and how to
select preset spacing values using the menu chart.
Note Before you start, you need to set up your digitizing tablet. See Setting
up digitizing tablets for details.
Registering the menu chart
Use Tablet (Special menu) to register the menu chart.
The menu chart provided with the software lets you select commands
directly on the digitizing tablet. Before you can use it, you need to register
it. A copy of the menu chart is provided in this manual together with a key
to the menu chart icons. See Quick Reference for details.
Tip If you prefer to use a bigger or smaller menu chart, scale it—e.g. on a
photocopier—and register the scaled version.
To register the menu chart

1 Select Special > Tablet.

The Tablet Setup dialog opens.
Select Register
Menu
2 In the Menu Chart panel, select the Register Menu checkbox.

3 Deselect all other checkboxes and click OK.
4 Place the menu chart on the digitizing tablet, leaving room for the
enlargement drawing.
5 Click the three menu chart reference points with Button 1 of the digitizing
puck.
Menu Chart Ref

Point 1
Menu Chart Ref

Point 2
Menu Chart Ref

Point 3
Menu Chart
Digitizing Puck
Button 1

Note Unless you move the menu chart, you do not need to register it
again.
Preparing an enlargement drawing

When you digitize with a tablet, you use an enlargement drawing to trace
the shapes and outlines of the design in the same way you use backdrops
on-screen. Before you start, you need to prepare the enlargement drawing.
To prepare an enlargement drawing

1 Convert the artwork to a technical drawing.
Generally the drawing will be three times larger than the final
embroidery.
Tip If the drawing is in hard copy, scale it using a transparency projector

or photocopier. If you used a graphics application to create the artwork,
scale it before you print it out.
2 Modify the drawing to make it suitable for embroidery:
Define shapes that can be easily filled with stitches.
Overlap and distort shapes to compensate for push-pull.
Draw digitizing guidelines—e.g. stitch angle lines.
3 Draw origin and rotation reference points.
These points set the position and orientation of the enlargement drawing
on the digitizing tablet.
Tip If the drawing is bigger than the digitizing tablet, enter additional
points to help you shift the drawing as you digitize. See also Shifting an
enlargement drawing.
ES 2006 Chapter 37 Using Digitizing Tablets 846

4 Write the name and scale of the enlargement drawing for future
reference.
rotation reference
point
name flower
origin
scale 3:1
Registering an enlargement drawing
Use Tablet (Special menu) to register an enlargement drawing.
When you place an enlargement drawing on the digitizing tablet, you need
to register it so ES Designer can interpret the design. To register an
enlargement drawing, enter the scale, and digitize the origin and rotation
points on the tablet. The origin and rotation points should be marked on the
enlargement drawing. If they are not, you need to draw them in.
Note The menu chart and enlargement drawing should not overlap. If they
do, you may need to shift the design as you digitize, or move and re-register
the menu chart. See Shifting an enlargement drawing and Registering the
menu chart.
To register an enlargement drawing


Enter drawing
scale
Select Register
Drawing
Deselect Register
menu
Select Save as
defaults
2 In the Drawing Scale panel, enter the scale of the enlargement

drawing.
Tip To calculate the scale, divide the height of the enlargement drawing
by the required height of the final embroidery. Enlargement drawings
are generally prepared at a scale of 3.00.
3 In the Drawing Position panel, select the Register Drawing checkbox.
4 In the Menu Chart panel, deselect the Register Menu checkbox.
5 In the Default panel, select the Save as defaults checkbox.
This saves the registration information for this drawing so you do not
have to re-register each time you resume digitizing.
6 Click OK.
7 Place the enlargement drawing on the digitizing tablet.
8 Click the origin and rotation points of the drawing with Button 1 of the
digitizing puck.

This completes the registration.
rotation reference
point
flower
origin
3:1
Changing the drawing scale
Use Tablet (Special menu) to change the drawing scale.
You can change drawing scale during digitizing. When you change the scale,
ES Designer automatically resizes the object outlines and regenerates the
stitches.
To change the drawing scale

Enter new
drawing scale
Select Resize Design to
Match Drawing
Select Register
Drawing
2 In the Drawing Scale panel, enter the new drawing scale.
Tip To calculate the scale, divide the height the enlargement drawing
by the required height of the final embroidery. Enlargement drawings
are generally prepared at a scale of 3.00.
3 Select the Resize Design to Match Drawing checkbox.
4 In the Drawing Position panel, select the Register Drawing checkbox.

5 Click OK.
6 Digitize the origin and the rotation reference points to re-register at the
new size.
The design is resized to the new scale.
Shifting an enlargement drawing
Use Tablet (Special menu) to shift an enlargement drawing.
If the drawing is bigger than the digitizing tablet, you can move it across the
tablet and continue digitizing. To move a drawing you need to draw, and
digitize, two additional reference points. These points must be over the
active part of the digitizing tablet, both before and after the move.
Note If the enlargement drawing overlaps the menu chart when you shift
it, move the chart and register it again. See also Registering the menu chart.
To shift an enlargement drawing

1 Draw additional reference points on the enlargement drawing.
Position the points so that they will be on the active part of the digitizing
tablet both before and after the move.
Tip If you are shifting the drawing up or down, draw the additional
reference points horizontally. If you are shifting the drawing left or right,
draw the reference points vertically.
Deselect Register Drawing

Select Shift Drawing
Deselect Register Menu
3 In the Drawing Position panel, select the Shift Drawing checkbox.

4 Deselect the Register Drawing and Register Menu checkboxes, and
click OK.

5 Click the additional reference points with Button 1 on the digitizing puck.
6 Move the drawing so that the part you want to digitize next is over the
active area of the digitizing tablet, and click the additional reference
points again.
The drawing is re-registered in the new position.
Using a digitizing puck

With a digitizing tablet, you generally use a puck instead of a mouse to mark
reference points and select commands from the menu chart.

To use a digitizing puck
Position the cross-hairs of the puck over a point on the enlargement
drawing or menu square, then press one of the four buttons.
Mouse or keyb’d
Function Button Description
equivalent
Digitize corner 1 [ Digitize corner reference point

point when digitizing outlines.
Digitize curve 2 ] Digitize curve reference point

point when digitizing outlines.
Terminate 3 M • Terminate input omitting

omitting last last stitch—i.e. the fill is
stitch terminated on the opposite
side as the last input point.
• Toggle between selected fill
stitch type and input method,
and the Run input tool.
Terminate 4 R • Terminate input including

including last last stitch—i.e. the fill is
stitch terminated on the same side
as the last input point.
• Toggle between selected fill
stitch type and input method,
and the Manual input tool.
Selecting preset spacing values

Use the menu chart to select preset spacing values for Satin and Zigzag
stitch types as well as preset stitch lengths for Run and Triple Run objects.
To select preset spacing values

1 Select the stitch type you want to use.
Note For Satin stitch, turn off Auto Spacing.

2 Move the puck over the Spacing 1/2/3/4 menu chart icon and click the
button that corresponds to the preset value you require.

Each button on the puck accesses the next preset style with different
spacing values. For example, if the stitch type is Satin, clicking Button
1 accesses <PRESET_SATIN_1>. Button 2 accesses
<PRESET_SATIN_2>, and so on.
Tip The spacing value displays in the Status Line next to the stitch
type.

Chapter 38
Changing System Settings
ES Designer lets you adjust various system settings controlling the

appearance of designs on screen, display of design information, the
behavior of the design window, and other settings.
This section describes how to change TrueView display, grid spacing and
positioning, and design window scrolling options. It also describes how to
save designs automatically as you work. There is also information about how
to adjust the pointer position display, paste position options, and other
general options.
Note Background colors and fabrics are associated with a particular

colorway and are considered design properties rather than system settings.
In addition, display colors for ‘borer’, ‘unsewn’, ‘selected’, ‘object outline’, as
well as ‘grid and guides’ are also part of the colorway definition. See Working
with colorways for details.
Setting design element view options

You can set options to show or hide design elements such as needle points,
connector and function markers in your design. For example, view needle
points to select stitches for editing, functions to check color changes or
stops, and connectors to help position stitch entry and exit points.
Note You can display or hide design guides in any combination. No design
guides display while in TrueView.
To set design element view options


The Options > View Design dialog opens.
Select design
elements to display
2 Select the options to display.

TrueView: shows what the embroidery will look like. See also
Viewing designs in TrueView.
Stitches: all stitches in the design are visible.
Outlines: all outlines in the design are visible. See also Viewing
stitches and outlines.
Needle Points: all needle points in the design are visible.
Connectors: all connectors in the design are visible.
Function Symbols: all function symbols in the design are visible.
See also Viewing needle points, connectors and functions.
Setting TrueView options
Right-click to set TrueView (Standard toolbar) options.
Change TrueView settings for different effects. You can:

change the thickness of the pictured thread
change the direction of the light source
set the maximum number of colors to use.

To set TrueView options
1 Right-click the TrueView icon.
Select Click to access

TrueView TrueView 0ptions
2 Select the TrueView checkbox and click TrueView Options.

The TrueView Options dialog opens.
Select thread thickness
Select light source
Select maximum number of colors
3 Select a thread thickness from the Thread Thickness list.

If you display a design at a zoom factor larger than actual size, select
thick thread for good coverage. This only affects the TrueView display,
not the actual thread values. To change thread thickness settings, see
Adding your own colors to thread charts.
4 Select the lighting direction from the Light Source list.
TrueView—thick thread, light above TrueView—thin thread, corner light
ES 2006 Chapter 38 Changing System Settings 856

5 Enter the maximum number of colors to display in TrueView from the
Max Number of Colors list.
6 Click OK.
Setting image viewing options
Use Show Bitmap (Standard toolbar) to show and hide bitmap images.
Use Show Vectors (Standard toolbar) to show and hide vector images.
You can dim bitmap image backdrops on your screen to make it easier to
view stitches when they are the same color as the image. You can also show
colored vector images as outlines only. Dimming, however, only applies to
bitmap images—you cannot dim vector drawings. Similarly, you can’t show
bitmap images as outlines only.
To set image viewing options

1 Right-click either the Show Bitmap or Show Vectors icon.
The Options > View Image dialog opens.
Dim bitmap image
Show vector outlines
2 To dim a bitmap image backdrop, select the Dimmed checkbox.
original bitmap dimmed bitmap

image image

3 To view a colored vector image as outlines, select the Show Wireframe
checkbox.
Original vector Vector outlines

image only
4 Click OK.
Setting grid options

You can change grid spacing, select a reference point and turn Snap to Grid
on or off in the Options dialog.
Setting grid reference point and spacing
Right-click Show Grid (Standard toolbar) to set grid reference point and
spacing.
Align the grid to a reference point in the design—e.g. when you want a grid
line to intersect the center of the design, or to sit under a particular object.
See also Changing display colors.
To set grid reference point and spacing

1 Right-click the Grid icon.
The Options > Grid and Guides dialog opens.
Select to display grid

Select to align grid to a point
Enter horizontal and vertical spacing

Click to save for current template
2 Select the Show Grid checkbox to display the grid.

3 Select the Set Reference Point checkbox to align a significant point of
the design with a grid line or grid point.
For example, you can set the grid reference point to the design center.
This is easier and faster than moving the whole design.
4 Enter Grid Spacing values for horizontal and vertical grid lines.
Tip To use these settings as defaults for the current template, click
Save.
5 Click OK.
If you selected Set Reference Point, mark the reference point on your
design. The grid aligns so that horizontal and vertical grid lines intersect
at this point.
Setting Snap to Grid/Guides
Right-click Show Grid (Standard toolbar) to set the Snap to Grid and Snap to
Guides options.
Right-click Show Rulers and Guides (Standard toolbar) to set the Snap to
Grid and Snap to Guides options.
Use the improved Snap to Grid and/or Snap to Guides feature to align
objects in your design with the nearest grid or guide lines. Reference points,
control points or leading edges of objects snap to grid and/or guides during
digitizing, sizing, reshaping, or positioning operations. When any of these
operations is taking place, grid or guide lines change color temporarily to
indicate that ‘snap to’ is active.
Snap to Grid Snap to Grid

in X only in X and Y
Note Each design has its own set of guides and its own zero point for the
rulers. When a design is saved, the ruler zero point and positions of the
guides, if any, are saved with it. In the factory-shipped Normal template,
rulers are on and there are no guides. If you save any template, the state
of the rulers and guides are included in that template.

To set Snap to Grid/Guides
1 Right-click the Grid or Rulers and Guides icon.
The Options > Grid and Guides dialog opens.
Select
Show Grid
Select Snap
to Grid
Select Show
Select Snap Rulers and
to Guides Guides
2 Select the Show Grid checkbox if not already activated.

3 Select the Snap to Grid checkbox as required.
4 Select an axis setting from the Method list.
In X and Y: snaps objects to the nearest horizontal and vertical grid
line intersection.
In X: snaps objects to the nearest horizontal grid line.
In Y: snaps objects to the nearest vertical grid line.
5 Select the Show Rulers and Guides checkbox if not already activated.
6 Select the Snap to Guides checkbox as required.
7 Click OK.
Tip To temporarily disable Snap to Grid/Guides as you digitize, hold

down Alt.
Setting auto scroll options
Select Options > Auto Scroll (Special menu) to set Auto Scroll options.
Use Auto Scroll to scroll the design automatically while you are digitizing.
This can be more convenient than using panning or the scroll bars.

To set auto scroll options
2 Select the Auto Scroll tab.
Select Auto Scroll and Move

Pointer After Scroll
Adjust auto-scroll speed

and pointer position
3 Select the Auto Scroll checkbox to apply Auto Scroll.

4 Select the Move Pointer After Scroll checkbox to move the position of
the pointer after each scroll.
5 Adjust the Autoscroll Response field as required.
Enter smaller values to increase scrolling speed.
6 Select the pointer position after scrolling from the Move Input Point To
list.
Center: center of the window. Use this setting for large movements.
Midway: halfway between the original pointer position and the
center of the window. Use this setting for smaller movements—e.g.
when zooming into a small area of the design.
Corner: the edge of the screen. Use this setting for slow scrolling.
7 Click OK.
The effect of this setting will only become apparent when you start to
digitize. The design window will automatically scroll to follow the current
cursor position.
Tip Hold down the Shift key to temporarily deactivate Auto Scroll.
Setting reshape options
Select Options > Reshape (Special menu) to set object reshaping options.

Stitch generation during reshaping operations can slow down your system,
depending on your computer specification. The Reshape options let you
choose whether stitches are generated immediately or only after Enter is
pressed.
To set reshape options

1 Select the Reshape tab by one of the following means:
Right-click the Reshape Object icon in the pointer toolbar
Select Special > Options > Reshape
Select View > Design Options > Reshape.
Select object types

for immediate stitch
generation
2 Select amongst the three options for generating stitches immediately:

Lettering and Motif Run checkboxes are selected by default. Outlines
and stitches are updated immediately after reshaping. If left unchecked,
any changes made are not updated until Enter is pressed.
Setting automatic save and backup options
Select Options (Special menu) to set automatic save and backup options.
Save your work automatically at regular intervals using Auto Save to

protect you from losing work in the event of hardware or software failure.
You can also create backup files for emergency use.
Tip Backup files should be kept in a separate location to the original files,
preferably off-site.
To set automatic save and backup options


2 Select the General tab.
Select to auto-save designs
Select to auto-backup designs
3 Select the Auto Save Design Every checkbox.

4 Enter the auto-save frequency in the Minutes field.
5 To create a backup every time you save a design, select the Always
Create Backup Copy checkbox.
The design will be saved in the BACKUP folder of your Wilcom ES
installation. It will have the same name as the original file with the
extension BAK.
Warning Backup files remain in the BACKUP folder until you delete
them. To prevent the folder from using too much hard disk space, delete
unwanted files regularly.
6 Click OK.
Setting pointer position display

When you move the mouse or digitizer puck, the pointer position is
displayed in the Status Bar at the bottom of the screen. You can optionally
display the pointer position relative to the last digitized point or stitch point,
or as an absolute value from the first needle point of the design.
Interpreting pointer position values

The X and Y values show the horizontal and vertical distance of the pointer
from the relative or absolute point. The L value is the length of the line

connecting two points, while A is the angle of that line, relative to the
horizontal.
length = 32.90 mm 2 length = 32.90 mm 1
Y = 16.45 mm Y = -16.45 mm
X = 28.49 mm X = - 28.49 mm
1 2
X: horizontal Y: vertical L: length A: angle
Status bar
A negative X value indicates that the second point was placed to the left of
the first point, while a negative Y value displays when the second point is
below the first. Negative angles indicate angles of more than 180º—e.g. an
angle of -60º is equal to 300º.
90º
2 135º 45º
180º 0º
A = 30º
1 -135º -45º
-90º
Tip You can measure on-screen distances using the values in the Status
Bar. See Measuring distances on-screen for details.
Setting pointer position display options
Select Options (Special menu) to set pointer position display options.
You can optionally display the pointer position relative to the last digitized
point or stitch point, or as an absolute value from the first needle point of
the design.
To set pointer position display options


Select relative or
absolute pointer
position
3 Select a Relative or Absolute setting for the pointer.

Relative: shows pointer position relative to the last digitized point
or stitch point. Useful while digitizing or editing stitches.
Absolute: shows pointer position as an absolute value from the first
needle point of the design. Useful for checking that the design fits a
given area.
4 Click OK.
Tip You can change the appearance of the pointer, so it displays as a

cross-hair. See Setting other options for details.
Setting inserted embroidery file options
Select Options (Special menu) to set inserted embroidery file options.
Whenever you copy and paste or insert an embroidery design or element

from one file to another, the respective color palettes are merged. You have
the option of adding the source palette to the target palette or of matching
the source palette to the nearest colors in the target palette. Use the
General tab to set one of these options as the default.
To set inserted embroidery file options

Select inserted
embroidery file
option
3 Select an inserted embroidery file option:

Add to Palette: unique colors in the design are added to the current
color palette.
Match to Palette: when you insert a design, colors are matched to
the current color palette. The system finds the nearest match based
first on RGB values, and then on Brand and Code.

Note Depending on the option selected, the Add/Match to Palette

toggle button in the Embroidery Clipart Chooser defaults to ‘in’ or ‘out’.
See Viewing and selecting embroidery clipart for details.
4 Click OK.
Setting paste position options
Select Options (Special menu) to set paste position options.
You can control where an object is positioned when pasted into a design. The
default is to paste objects at the position set by the coordinates in the
Object Properties dialog. If you are pasting within the same design, this is
the same position from which the object was copied or cut. Other paste
position options are available.
Note Paste options control the physical position of the object in the design,
not its position in the stitching sequence.
To set paste position options


Select paste
position setting
3 Select a Paste position setting:

Object Property Position: Objects are pasted according to the
coordinates in the Object Properties dialog.
Shift Pasted Objects: Objects are pasted slightly offset from their
original position.
Center at Current Stitch: Objects are centered at the current
needle position marker.
Start at Current Stitch: Objects are positioned after the current
needle position marker.
Pasted object offset

from original
4 Click OK.
Setting Object Property ‘apply’ options
Select Options (Special menu) to set default object property ‘apply’ settings.
The most important dialog in ES Designer is the Object Properties dialog.

This is a ‘modeless’ dialog, meaning that it stays in the design window as
long as you need it. By default, modified object properties to take effect
immediately. Alternatively, set the default to apply settings by means of the
control buttons at the bottom of the Object Properties dialog.

To set Object Property ‘apply’ options
Select object
properties default
3 Select the required Object Properties option:

Apply Changes Immediately: Any changes made to selected
objects via the Object Properties dialog take effect immediately.
Use Apply Button: Any changes made to selected objects via the
Object Properties dialog take effect after pressing the Apply button.
See also Accessing object properties.
4 Click OK.
Setting other options
Select Options (Special menu) to set stitch count display, small stitch filter, cursor
type and integrity of the design.
Use the Special > Options > General tab to:

Set stitch counts to display as cumulative totals
Turn the small stitch filter on and off
Change cursor type
Check design integrity
Display design source when opening designs that may not scale well
Display measure tooltip when using the Measure command.
To set general options


Select other
general options
3 Select one or more of these options.

Cumulative Stitch Count: displays stitch count as a cumulative
total in the Stop Sequence tab of the Information dialog. See also
Viewing design information in ES Designer.
Run Small Stitch Filter on Output: automatically removes small
stitches when the file is output to disk or machine. See also
Removing small stitches automatically.
Cross Hair Cursor: changes the default cursor pointer to
cross-hairs for more precise positioning. It is best used together with
the grid.
Always Check Design Integrity: checks design integrity when
opening a design and during digitizing.
Show Measure Tooltip: shows length and angle in a tooltip when
measuring distances on screen. See Measuring distances on-screen
for details.
Show Design Source: issues a warning dialog when opening
designs that may not scale well—i.e. where the design is a converted
stitch or non-EMB outline format.
Tip Use the tooltip with the crosshair cursor on for a more accurate
measurement.
4 Click OK.

PART X
PRODUCT
DIFFERENTIATION TABLE

Product Differentiation Table
ES 2006
Capability Feature 21L 21E 21D 45 65 Reference in Online Manual
Basics Basic Procedures
Toolbar docking and parking Toolbar docking and parking
Context-sensitive popup menus Using popup menus
Modeless object properties Accessing object properties
Multiple undos/redos Undoing and redoing commands
Open designs (EMB) Opening designs
Create new designs (normal, custom Creating new designs
templates)
Generate stitches Generating stitches
Display grids, rulers and guides Displaying grids, rulers and guides
Display measurements Measuring distances on-screen
Select machine format Selecting machine formats
Save designs Saving designs
Object Selection Working with Design Objects
Select all objects in a design Selecting all objects in a design
Select individual objects Selecting objects with Select Object
Select objects while ‘traveling’ Selecting objects ‘on the fly’
Select groups of objects Selecting objects with Polygon Select/Line
Select
Select objects by color Selecting objects by color
Select objects by stitch type Selecting objects by stitch type
Select objects with Color-Object List Color-Object Selecting and viewing objects with the
List Color-Object List
Design Viewing Viewing Designs
Zoom and pan designs Zooming and panning designs
Show design in Overview window Working with the Overview Window
Show / hide selected objects Showing and hiding selected objects
Show objects by color Viewing design objects by color
Show design outlines and stitches Viewing stitches and outlines
Show design in TrueView TrueView Viewing designs in TrueView
Included as standard Cost option New/improved feature/option L For lettering only LG For lettering and grouped objects only
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ES 2006
Show design needle points, Viewing needle points, connectors and
connectors and functions functions
Travel through design by stitches, Viewing the stitching sequence
color, function
Show stitch sequence Slow Redraw Redrawing the stitching sequence slowly
Show multiple colorways Viewing colorways
Change background Changing background colors and fabrics
Change display colors Changing display colors
Show design information in Windows Viewing design information in Windows
Explorer Explorer
Show design properties Viewing design information in ES Designer
Estimate total thread usage Estimating total thread usage
Name design elements Naming design elements via Design Properties

Preview production worksheet Previewing production worksheets
Show/hide vector images Showing and hiding backdrops
Show/hide bitmap images Showing and hiding backdrops
Input Methods Digitizing Methods
Digitize individual stitches Manual Digitizing individual stitches
Digitize individual stitches Triple Manual Digitizing individual stitches
Digitize lines Run Digitizing lines
Digitize columns and borders Input C Digitizing columns of fixed width
Digitize columns of varying width Input A Digitizing columns of varying width
Digitize shapes with turning stitches Input B Digitizing asymmetrical columns of turning
stitches
Digitize complex shapes with fixed Complex Fill Creating complex shapes with fixed stitch
angle angles
Digitize complex shapes with turning Fusion Fill™ Creating complex shapes with turning stitches
angles
Digitize objects with holes Adding boundaries
Outline and Fill Stitches Fill and Outline Stitches
Single stitch Run Digitizing lines (Input Methods)
Triple stitch Triple Run Digitizing lines (Input Methods)
Satin stitch Satin L Creating fills with Satin stitch
Satin Auto Spacing Auto Spacing L Applying Auto Spacing to Satin stitch
872
ES 2006
Triple Satin Triple Satin L Adjusting Satin stitch count
Tatami stitch Tatami L Creating fills with Tatami stitch
Tatami backstitch L Selecting a Tatami backstitch
Zigzag stitch Zigzag L Creating outlines with Zigzag stitch
E Stitch E Stitch Creating outlines with E Stitch
Backstitch and Stemstitch Backstitch Creating decorative outlines
Colorways and Thread Charts Colorways and Thread Charts
Change thread colors Changing thread colors
Set up color palettes Setting up color palettes
Multiple colorways Adding and deleting colorways
Name design elements Naming design elements via the Color Palette
Editor
Split color blocks Splitting color blocks

Match image colors to threads Matching image colors to threads
Customize thread charts Customizing thread charts
Automatic Connectors Connecting Embroidery Objects
Apply automatic connectors L Using automatic connectors
Add tie-offs and trims manually L Adding connectors manually
Add empty stitches and empty jumps Adding empty stitches and empty jumps
manually
Add jumps with penetrations off L Adding jumps with penetrations off
manually
Adjust travel run stitch length Adjusting travel run stitch length
Stitch Quality Improving Stitch Quality
Apply automatic underlay Auto Underlay L Strengthening and stabilizing with automatic
underlays
Apply pull compensation Pull L Compensating for fabric stretch
Compensation
Adjust column width Column Width L Adjusting column width
Reverse stitch direction Reversing stitch direction
Create smooth joins Creating smooth joins
Reduce stitch bunching Stitch L Reducing stitch bunching with stitch shortening
Shortening
873
ES 2006
Reduce stitch bunching Fractional L Reducing stitch bunching with fractional
Spacing spacing
Control corner stitching Smart Corners Controlling corner stitching
Adjust stitch density LG Adjusting stitch density
Remove small stitches automatically Removing small stitches automatically
Set automatic start and end points Auto Start & Setting automatic start and end points
End
Vector Images Digitizing with Vector Images
Create vector outlines—open, Drawing Creating vector outlines
polygon, squares, circles
Import vector images Importing and exporting vector images
Export vector images Importing and exporting vector images

Insert / paste vector images Importing and exporting vector images
Smooth vector objects Smoothing vector objects
Color vector objects Coloring vector objects
Merge vector and embroidery Shaping Merging vector and embroidery objects
objects
Trim vector and embroidery objects Shaping Trimming vector and embroidery objects
Split vector and embroidery objects Shaping Splitting vector and embroidery objects
Preserve original objects Shaping Preserving original objects
Overlap shaped objects Shaping Overlapping shaped objects
Bitmap Images Digitizing with Bitmap Images
Scan bitmap images (using Win95 Scanning artwork into ES Designer
Twain)
Crop images Cropping images for digitizing
Edit image using a graphics package Editing bitmaps in third-party applications
Insert/paste bitmap images Inserting and saving bitmap images
Save bitmap images as separate Saving bitmap images as separate files
files
Smooth bitmap images Smoothing bitmap images
Image Processing Preparing Images for Automatic Digitizing
Reduce colors Preparing non-outlined images
Sharpen outlines Preparing outlined images
874
ES 2006
Automatic Digitizing Automatic Digitizing
Convert artwork to vector drawing Auto Trace Converting bitmaps to outlines with Auto Trace
Convert artwork to embroidery Point & Stitch Digitizing shapes with Point & Stitch
objects
Match palette colors to an image Match to Matching palette colors to an image
Palette
Automatic digitizing Smart Design Digitizing designs with Smart Design
Create embroidery from photos Photo Flash Creating embroidery from photographs
Combine and Resequence Combining and Resequencing Objects
Combine objects and LG Combining objects and designs
designs—copy, paste, clone, etc
Split objects Splitting objects
Resequence embroidery objects Resequencing embroidery objects

Automatic object sequencing Branching Automatic branching
Arrange and Transform Arranging and Transforming Objects
Position, align and distribute objects LG Positioning, aligning and distributing objects
Group and lock objects LG Grouping and locking objects
Scale objects LG Scaling objects
Make objects same size LG Making objects the same size
Rotate objects LG Rotating objects
Skew objects LG Skewing objects
Mirror objects LG Duplicating and mirroring objects
Mirror-merge objects Mirror-Merge Reflecting designs with Mirror-Merge
Create wreath objects Mirror-Merge Creating wreaths with Mirror-Merge
Convert and Reshape Converting and Reshaping Objects
Convert between vector drawings Converting vector objects to embroidery
and embroidery objects
Convert between Run and Triple or Converting between run objects
Input C objects
Convert Input A or B to Complex Fill Converting Input A or B to Complex Fill or
or Fusion Fill™ Fusion Fill™
Convert Complex Fill to Auto Converting Complex Fill to Auto Appliqué
Appliqué
875
ES 2006
Reshape objects using control points L Reshaping embroidery objects
Reshape circle, star and ring objects Reshaping circle, star and ring objects
Adjust stitch angles of Complex Fill Adjusting stitch angles
objects
Add stitch angles to Input A, Input B Adjusting stitch angles
and Complex Fill objects
Change entry / exit points L Changing entry and exit points
Keep / omit last stitch Keeping or omitting the last stitch
Stitches and Machine Functions Editing Stitches and Machine Functions
Select and deselect stitches Selecting and deselecting stitches
Insert, move or delete individual Editing stitches
stitches
Convert selected stitches to objects Converting selected stitches to objects
Insert/edit/clear machine functions Editing machine functions
Edit stitches and functions with Stitch Stitch List Editing stitches and functions with Stitch List
List
Filter stitches by function/stitch Stitch List Editing stitches and functions with Stitch List
length
Object Properties, Styles and Templates Object Properties, Styles and Templates
Change properties of existing Changing properties of existing objects
objects
Make selected object properties Making selected object properties current
current
Modify current property settings Modifying current property settings
Apply current settings to existing Applying current settings to existing objects
objects
Change default properties L Changing default property settings
Define styles Defining new styles
Assign favorite styles Assigning favorite styles
Merge styles Merging styles
Create design templates Creating design templates
Save current properties to a L Saving current properties to a template
template
Revert to NORMAL template Reverting to the NORMAL template
876
ES 2006
Specialized Digitizing Techniques Specialized Digitizing Techniques
Create circles, stars and rings Digitizing circles, stars and rings
Reinforce outlines Backtrack / Reinforcing outlines
Repeat
Remove underlying stitching Removing underlying stitching
Split long stitches Auto Split Splitting long stitches with Auto Split
Preserve long stitches Auto Jump Preserving long stitches with Auto Jump
Create offset outlines Offset Object Creating outlines and filling holes
Fill holes in Complex Fill objects Filling holes in objects
Add borders to designs Adding borders to designs
Create appliqué designs Auto Appliqué Digitizing for appliqué
Create partial appliqué shapes Partial Appliqué Creating partial cover appliqué objects
Textured Fills Textured Fills

Create textures with stippling Stipple Creating textures with stippling
Create textures with Tatami offsets Tatami Offset L Creating textures with Tatami offsets
Create textures with program splits Program Split Creating textures with program splits
Create textures with Flexi Split Flexi Split Creating textures with Flexi Split
Create user-defined split effects User-Defined Creating user-defined splits
Split
Artistic Stitch Effects Artistic Stitch Effects
Create Jagged Edges Jagged Edge Creating jagged edges
Create open stitching with Trapunto Trapunto Creating open stitching with Trapunto
Create Accordion Spacing Accordion Creating accordion spacing effects
Spacing
Create Color Blending Color Blending Creating color blending effects
Create Contour Stitch and Spiral Contour Creating contoured stitch effects
Stitch
Create curved fills with Florentine Florentine Creating curved fills with Florentine Effect
Effect Effect
Create curved fills with Liquid Effect Liquid Effect Creating curved fills with Liquid Effect
Motif Runs and Fills Motif Runs and Fills
Create motif runs Motif Run Creating motif runs
Create motif fills Motif Fill Creating motif fills
877
ES 2006
Create 3D effects with motif fills 3D Warp Applying 3D effects to motif fills
Insert single motifs Selecting and inserting single motifs
Rotate, mirror and scale motifs Rotating, mirroring and scaling motifs
Create motifs Saving motifs
Create motif sets Creating motif sets
Sequins and Boring Sequins and Boring
Set up custom sequin palette Setting up custom sequin palettes
Create sequin runs Sequin Run Creating sequin runs
Digitize individual sequins Sequin Manual Digitizing individual sequins
Convert sequin artwork to Sequin Converting sequin artwork to Sequin Run
Run
Scale and reshape sequin runs Scaling and reshaping sequin runs
Digitize boring holes Digitizing boring holes
Embroidery Lettering Embroidery Lettering
Add lettering to embroidery designs Adding lettering to embroidery designs
Add baselines—horizontal, vertical, Working with lettering baselines
arc, circle, custom
Format lettering—italic, bold, Formatting lettering
justified
Adjust letter spacing Adjusting letter spacing
Edit lettering text Editing lettering text
Scale lettering Scaling lettering
Skew and rotate lettering objects Transforming lettering objects
Adjust individual letters—reposition, Adjusting individual letters
transform, reshape, recolor
Adjust and reshape baselines Adjusting baselines
Change stitch types of lettering Changing lettering stitch types
objects
Adjust lettering stitching sequence Adjusting letter sequencing
Change lettering join method Changing lettering join method
Adjust lettering underlay settings Adjusting lettering underlay settings
Add special characters and symbols Adding special characters and symbols
Create special effects with Creating special effects with envelopes
envelopes
878
ES 2006
Add multiple names to designs Team Names Team lettering
View and edit individual team names Team Names Viewing and modifying individual team names
Create individual designs with team Team Names Creating individual designs with team names
names
Create a matrix of team name Team Names Creating a matrix of team name designs
designs
Custom Alphabets Custom Alphabets
Convert TrueType fonts to Convert TTF Converting TrueType fonts to embroidery
embroidery alphabets alphabets
Automatic letter kerning Auto Kerning Automatic letter kerning
User-refined alphabets User-refined alphabets
Create custom alphabets Creating custom alphabets
Merge alphabets Merging alphabets

Design Formats Processing Design Files
Convert stitch files to EMB format Opening stitch files in ES Designer
Open/save designs in Melco CND Opening Melco CND outline files
format
Color merge Melco CND files Color merging Melco CND files
Reassign colors to stitch/CND files Reassigning colors to stitch and Melco CND
files
Machine Formats Changing Machine Formats
Output to different machine formats Outputting to different machine formats
Create custom machine formats Creating custom formats
Modify standard machine formats Adjusting standard machine format settings
Adjust standard machine format Adjusting standard machine format settings
settings (stitch/jump length, trim,
color change, boring)
Adjust advanced machine format Adjusting advanced machine format settings
settings (color change sequence,
start/end design, speed)
Design Output Outputting Designs
Print / plot production worksheets Printing or plotting production worksheets
Customize production worksheet Customizing production worksheet information
information
879
ES 2006
Print backgrounds on production Customizing production worksheet information
worksheets
Print multiple colorways Printing multiple colorways
Print color blocks Printing color film
Print appliqué patterns Printing appliqué patterns
Send designs as email attachments Sending designs as email attachments
Save designs as vector images Saving designs as vector images
Save designs as bitmap images Capturing designs as bitmap images
Cut appliqué shapes Cutting appliqué shapes
Stitch designs to machine with Stitch Stitching designs with Stitch Manager
Manager
Stitch designs to machine with ES Machine Manager Supplement

ES Machine Manager (1-4 machines
only)
Embroidery Disks and Paper Tapes Embroidery Disks and Paper Tapes
Read designs from embroidery disk Reading designs from embroidery disk
Format embroidery disks Formatting embroidery disks
Save designs to embroidery disk Saving designs to embroidery disk
Read designs from paper tape Reading designs from paper tape
Punch designs to paper tape Punching designs to paper tape
Embroidery Clipart Embroidery Clipart
View and select embroidery clipart Viewing and selecting embroidery clipart
Search and sort embroidery clipart Searching and sorting embroidery clipart
Record designs to the clipart library Recording designs to the clipart library
Assign keywords to clipart Assigning keywords to clipart
Add, modify and delete keywords Adding, modifying and deleting keywords
Import and export keywords Importing and exporting keywords
Design Management (ES Design Explorer) Design Management
View design thumbnails and Displaying design thumbnails and summary
summary information information
View zipped designs in folders Viewing zipped designs in folders
Change locales Changing locale
Modify user preferences Modifying user preferences
880
ES 2006
Customize design lists Customizing design lists
View design properties Viewing design properties
Browse designs in folders Browsing through designs in folders
Browse with slide show Browsing designs using slide show buttons
Open designs in ES Designer Opening designs in ES Designer
Create new designs with custom Creating new designs with custom templates
templates
Run simple and complex sorts Sorting files in folders
Limit file types displayed Limiting file types displayed
Email designs direct Emailing designs direct
Stitch and punch designs direct Stitching and punching designs direct
Print production worksheets Printing production worksheets
Print design catalogs Printing design catalogs

Publish design catalogs for browser Publishing design catalogs for browser viewing
viewing
Export design catalogs Exporting design catalogs
Convert design files in folders Converting design files in folders
Archive design files Archiving design files
Rename, add and delete folders Renaming, adding and deleting folders
Copy and paste designs Copying and pasting designs
Rename designs in folders Renaming designs in folders
Delete designs Deleting designs
Peripheral Devices Setting up Hardware
Serial / parallel ports support Peripheral device connection settings
Network support Peripheral device connection settings
Ethernet support Peripheral device connection settings
Digitizer tablet support Setting up digitizing tablets
Embroidery machine support Setting up embroidery machines
Paper tape reader and punch Setting up paper tape readers and punches
support
Scanner support Setting up scanners
Calibrate monitor Calibrating the monitor
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ES 2006
Digitizing Tablets Using Digitizing Tablets
Register menu chart Registering the menu chart
Register enlargement drawing Preparing an enlargement drawing
Change drawing scales Changing the drawing scale
System Settings Changing System Settings
Set design element view options Setting design element view options
Set TrueView™ options Setting TrueView options
Set image viewing options Setting image viewing options
Set grid options Setting grid options
Set auto scroll options Setting auto scroll options
Set reshape options Setting reshape options

Set automatic save and backup Setting automatic save and backup options
options
Set the pointer position display Setting pointer position display
Set paste options LG Setting paste position options
Set general options Setting other options
882
PART XI
QUICK REFERENCE

Introduction
All commands in ES Designer can be accessed via the various menus, both
‘dropdown’ and ‘popup’, toolbar icons, menu chart (for use with digitizing
tablets), as well as ‘access’ and ‘shortcut’ keys. Many commands can be
accessed by more than one method. The Command Reference lets you see
at a glance which method best suits you. It will also help DG/ML and
Punchant Designer users who have converted to ES Designer to identify
where equivalent commands are located.
Note While the Graphical User Interface (GUI) elements in ES Designer are
organized somewhat differently to DG/ML and Punchant, they provide
exactly the same functionality, and more.
ES Designer main window

This image shows the main Graphical User Interface (GUI) elements for
ES Designer.
Title and Menu bars

Standard toolbar
Stitch Types toolbar
Show Vertical toolbar
Pointer toolbar
Input toolbar
Travel toolbar
Image toolbar
Status bar
Prompt line
Design Window Color toolbar General object properties

Equivalent Feature Names
This table lists equivalent feature names for the three products, Wilcom ES,
DG/ML, and Punchant. For more information about these features, refer to
the Command Reference Table below.
Wilcom ES DG/ML Punchant
3D Warp 3D Effect 3D Effect
Branching Smart Connect Branching
Coil Swirl Swirl
Convert True Type Font Smart Font Quick Font
Cut Appliqué Cut Appliqué Print Drawing Objects
Filled Holes Fill Holes Auto Fill Holes
Flexi Split Elastic Split Stream Split
Florentine Effect Curve Line Fill Wave Effect
Island Coil Island Swirl Contour Swirl
Liquid Effect Two Curve Fill Double Wave Effect
Offset Object Parallel Offset Parallel Offset
Paste Vectors Paste Special Paste Special
Perpendicular Fill Lattice Lattice
Photo Flash Image Shot Picture Stitch
Point & Stitch™ Point & Stitch™ Auto Convert
Slow Redraw Slow Redraw Redraw Controller
Smart Design Smart Design Quick Stitch
Team Names Name Merge Name Drop

Command Reference Table
This table lists all the commands available in ES Designer and details of how
to access them. Note that, in the case of popup menus, the table shows the
context in which a given menu displays; this may include the ‘design
window’, ‘stitch list’, etc. For details of toolbar names, check also the ES
Designer main window.
The listing is grouped according to the chapters of the User Manual. For
further information about each command, refer to the relevant chapter. For
details about the Chenille and Schiffli commands, refer to the relevant User
Manual Supplements. For details of how to use the tablet icons, refer to the
Menu Chart appendix in the User Manual.
Dropdown Popup
Command Toolbar Tablet Shortcut
Menu Menu
Basics
About ES Help
Close File A+F+C
Cross Stitch Insert
Exit File A+4
Generate Stitches Stitch Generate g
Help Topics Help 1
Measure View m
New File Standard C+N
Online Manual Help

A+F+O or
Open File Standard
C+O
Quick Reference Guide Help
Redo Edit Standard C+Y
Release Notes Help
Request Form Help

A+f+S or
Save File Standard
C+S
] Right-click toolbar icon to access associated settings. = Use left/right buttons with toolbar icon to toggle these functions.
Popup menus: DW = Design Window SL = Stitch List COL = Color-Object List
ES 2006 Command Reference Table 886

Dropdown Popup
Menu Menu
A+f+A or
Save as File
C+S
Security Special
Show Image Toolbar Show Vertical
Grid and Guides View
Show Grid ] Standard V+G
Show Rulers and Guides ] Standard C+R
Show Input Toolbar Show Vertical
Show Pointer Toolbar Show Vertical
Show Travel Toolbar Show Vertical
Toolbars View
Undo Edit Standard C+Z
Wilcom Web page Help
New Window Window
Cascade Window
Tile Horizontally Window
Tile Vertically Window
Arrange Icons Window
Split Window Window

Design Viewing
Center Current Stitch View 6 or C
Design Properties File
Overview Window View Standard V+v
Pan View 7 or P
Previous View View 5 or V
Redraw View 4 or R

Dropdown Popup
Menu Menu
Show Connectors ] Standard V+C
Show Functions ] SL Standard V+F
Show Needle Points ] Standard . (period)
Show Outlines ] Standard L
Show Stitches ] Standard S
TrueView™ ] Standard T
View By Color View

2 or 0
Show All > Design View DW Zoom
(zero)
Show All > Selected Object View DW V+0
Zoom 1:1 View Zoom 1
Zoom Box View DW Zoom 8 or B
Zoom Box in Overview Window Zoom V+B
Zoom Factor View 3 or F
Zoom In 2X View Zoom 9 or z
Zoom Out 2X View Zoom 0 or V+z
Show (hidden object) COL
Hide (selected object) COL
Hide Others COL V+S
Unhide All COL E+V+S
Show Bitmaps ] Standard D
Show Vectors ] Standard
Object Selection
Add Next Object to Selection C+Ta

Dropdown Popup
Menu Menu
Add Previous Object to C+V+
Selection Ta
Deselect All Edit DW or COL E/X
Color-Object List View Standard V+l
Polygon Select = Pointer C+l
Line Select = Pointer
Select All Edit DW or COL C+A

Select at Current Needle
V+O
Position
Select By > Color Edit
Select By > Stitch Type Edit
Select Object Below 2+[
Select Next Object T
Select Previous Object V+T
Select Multiple Objects C+[
Select Range of Objects V+[
Select Object Tool Pointer O
Selects On / Off Edit Standard Q
Viewing Stitching Sequence

Slow Redraw View V+R
Start / End Design = Travel h/e
Travel 1 Stitch = Travel l/r
Travel 10 Stitches = Travel t/b
Travel 100 Stitches = Travel -/+
Travel 1000 Stitches = Travel
Travel by Color = Travel z/x

Dropdown Popup
Menu Menu
Travel by Function = Travel

V+T /
Travel by Object = Travel
C+T
Travel by Segment = Travel C+l / r
Manual Digitizing
Change between Fill Stitch and
R
Manual
Change between Fill Stitch and
s
Run
Embroidery Object > Input A ] Insert Input
Embroidery Object > Input B ] Insert Input
Embroidery Object > Input C ] Insert Input
Embroidery Object > Fusion Fill ] Insert Input

Embroidery Object > Complex
] Insert Input
Fill
Embroidery Object > Manual Insert Input
Embroidery Object > Run ] Insert Input V+N

Embroidery Object > Triple
Insert Input
Manual
Embroidery Object > Triple Run ] Insert Input
Embroidery Object > Backstitch ] Insert Input
Embroidery Object > Stemstitch ] Insert Input
Embroidery Object > Motif Run ] Insert Input

Finish Digitizing a
R
Complex/Fusion Fill Boundary
Finish Digitizing an Object -
R
Keep Last Stitch
Finish Digitizing an Object -
s
Omit Last Stitch
Delete Last Input Point B

Dropdown Popup
Menu Menu
Fill Stitches
Stitch Effects Stitch
Stitch Type > E Stitch ] Stitch Stitch Type
Stitch Type > Satin ] Stitch Stitch Type V+I
Stitch Type > Tatami ] Stitch Stitch Type V+M
Stitch Type > Zigzag ] Stitch Stitch Type
Object Properties, Styles and Templates
Apply Current Properties Stitch DW Styles
Apply Style Stitch Styles
Define Style Stitch
Make Properties Current DW Styles
Use Style Favorite 1 ] DW Styles

View or
Object Properties = DW or COL Standard
Stitch
Colorways and Thread Charts
Match Bitmap Color DW
Set Color Machine

o
Current Colorways Color
Multi-Colorway Box Color
Background Color
Color Slot Color
Add Color to Palette Color
Compact Palette Color
Split Palette Color Color
Color Palette Editor Color

Dropdown Popup
Menu Menu
Connecting Embroidery Objects
Empty/Empty Jump Function = Pointer
Penetrations Machine Generate
Tie-off Pointer
Trim Pointer
Bitmaps
Insert File Image
Paste Vector > As Bitmap Edit
Paste Vector > As Vector Edit
Save Bitmap As File
Scan File
Smooth Vector Curves Image
Crop Bitmap Image
Crop Bitmap with Polygon Image

Edit Bitmap Using > Corel
Image
PHOTO-PAINT
Edit Bitmap Using > Paint Image
Edit Bitmap Using > Paint Shop
Image
Pro
Reduce Colors Image DW Image
Sharpen Edges Image DW Image
Vectors
Draw Vector > Ellipse Image Image
Draw Vector > Line Image Image
Draw Vector > Polygon Image Image
Draw Vector > Polyline Image Image

Dropdown Popup
Menu Menu
Draw Vector > Rectangle Image Image
Make Complex Shape Image V+H

Shaping
Shaping > Weld Arrange DW Shaping
Shaping > Intersect Arrange DW Shaping
Shaping > Exclude Arrange DW Shaping
Shaping > Front-Back Arrange DW Shaping
Shaping > Back-Front Arrange DW Shaping
Shaping > Flatten Arrange DW Shaping
Shaping > Divide Arrange DW Shaping
Shaping > Combine Arrange DW Shaping
Shaping > Keep Source Objects Shaping
Shaping > Overlaps

Automatic Digitizing
Auto Trace Image C

U +m
Convert > Stitch Angles Special DW Pointer C+H
Convert > Complex Fill DW Input
Convert > Input C DW Input
Convert > Auto Applique DW Input
Convert > Run DW Input
Convert > Triple Run DW Input
Convert > Motif Run DW Input
Convert > Backstitch DW Input

Dropdown Popup
Menu Menu
Convert > Stemstitch DW Input
Convert > Drawing DW
Point & Stitch™ (Toolbar) View C+I

Point &
Match to Palette
Stitch™
Point &
Outline Run
Stitch™
Point &
Pickout Run
Stitch™
Point &
Tatami Fill
Stitch™
Point &
Tatami Fill without Holes
Stitch™
Point &
Turning Satin
Stitch™
Photo Flash Insert
Smart Design Insert
Combining and Resequencing
Branching Edit COL Standard I

UC+C or
Copy Edit DW Standard
C+Z
UC+X or
Cut Edit DW Standard
V+D
Delete Edit DW X
Duplicate Edit DW C+d

C+v or
Paste Edit Standard
V+Z
Paste > Center at Current Stitch DW
Paste > Object Property
DW
Position
Paste > Shift Pasted Objects DW
Paste > Start at Current Stitch DW
Resequence > By Selects Edit
Resequence > By Color Edit


Dropdown Popup
Menu Menu
Split Object Edit
Arranging Objects
Group Arrange COL Arrange C+g
Ungroup Arrange COL Arrange C+U
Lock Arrange COL Arrange k
Unlock Arrange COL V+K
Unlock All COL Arrange
Align Left Arrange Arrange
Align Horizontal Centers Arrange Arrange
Align Right Arrange Arrange
Align Top Arrange Arrange
Align Vertical Centers Arrange Arrange
Align Bottom Arrange Arrange
Align Center Arrange Arrange
Space Evenly > Across Arrange Arrange
Space Evenly > Down Arrange Arrange
Make Same Size > Width Arrange Arrange
Make Same Size > Height Arrange Arrange
Make Same Size > Both Arrange Arrange
Transforming Objects
Array Mirror-Merge
Reflect Mirror-Merge
Rows
Row Spacing

Dropdown Popup
Menu Menu
Columns
Column Spacing
Wreath Mirror-Merge
Kaleidoscope Mirror-Merge
Wreath Points
Radius
Initial Angle
Transform Edit
Transform Special Edit
Mirror Horizontally DW Transform
Mirror Vertically DW Transform
Rotate 45 CCW Transform
Rotate 45 CW Transform
Rotate
Skew
Reshaping and Editing

[+s
Change Reshape Node Type
Keep Last Stitch/Omit Last
= Pointer
Stitch
Maintain proportions while
V+;
resizing
Move Object horizontal or
C+;
vertical
Nudge selected object [+r
Reshape Object Pointer H
Stitch Angles Special Pointer C+H

Dropdown Popup
Menu Menu
Show Reshape Nodes Reshape A+N
Show Stitch Angles Reshape A+a
Show Start/End Reshape

Stitch and Function Editing
Background Color SL
Black text SL
Clear Function Machine SL
Edit Function Machine SL
Insert Function Machine SL
Move Stitch (dialog) SL
MultiColored text SL
Select / Deselect Stitches T
Set Color Machine
Show All (Stitches) SL
Show Functions SL
Show Stitches (dialog) SL
Stitch Edit Pointer E
Stitch List View Standard V+J
Stop Machine
Stitch Quality
Auto Jump ] Stitch Types
Auto Spacing These options can only be

accessed via the Object
Auto Split Properties > Fills > Satin
Auto Start and End ] Stitch Generate
Auto Underlay ] Stitch Types U

Dropdown Popup
Menu Menu
Fractional Spacing ] Stitch Types
Pull Compensation ] Stitch Types
Reverse Curves Image
Shortening ] Stitch Types
Small Stitches Stitch
Smart Corners ] Stitch Types
Specialized Digitizing
Backtrack = Pointer
Repeat = Pointer
Borers Machine Generate

Embroidery Object > Auto
] Insert Input
Applique
Partial Applique ] Stitch
Embroidery Object > Circle = Insert Input
Embroidery Object > Ring ] Insert Input
Embroidery Object > Star = Insert Input
Filled Holes Insert
Offset Object Insert
Remove Overlaps Arrange

Artistic Effects
Accordion Spacing ] Stitch Types
Trapunto ] Stitch Type
Color Blending ] Insert Generate
Flexi Split ] Stitch Types
Jagged Edge ] Stitch Types

Dropdown Popup
Menu Menu
Make Program Split Special
Make Line(s) for > Florentine
] Special Stitch Types
Effect
Make Line(s) for > Liquid Effect ] Special Stitch Types
Make Line(s) for > User Defined
] Special Stitch Types
Split
Stitch Type > Contour ] Stitch Stitch Types
Stitch Type > Program Split ] Stitch Stitch Types
Stipple Fill ] Generate
Motif Runs and Fills
3D Warp ] Stitch Types
Embroidery Object > Motif Run ] Insert Input
Motif > Make Special
Motif > Use Special
Stitch Type > Motif Fill ] Stitch Stitch Types
Sequins
Vectors to Sequins Sequin
Sequin Manual Sequin
Sequin Run Auto Sequin
Sequin Run Manual Sequin
Select Sequin Shape
Add to Sequin Palette Sequin

Clipart
Clipart > Show Clipart Special Clipart
Clipart > Record to Clipart Special Clipart C+E
Clipart > Manage Keywords Special Clipart

Dropdown Popup
Menu Menu
Clipart > Set Design Workflow
Special
as Enterprise Engine
Lettering
Embroidery Object > Lettering ] Insert Input a
Envelope > Bridge Edit
Envelope > Delete Edit
Envelope > Diamond Edit
Envelope > Pennant Edit
Envelope > Perspective Edit
Team Names Insert Input
Team List View Standard

Custom Alphabets
Alphabet > Convert True Type
Special
Font
Alphabet > Make Letter Special
Alphabet > Modify Alphabet Special

Alphabet > Managing
Special
User-Refined Letters
Alphabet > Save Letter Special
Alphabet > Update Kerning
Special
Values
Design Output
Process Edit Generate
Recognize Object Outlines Edit
Machine Format Values Machine
Select Machine Format Machine
Capture Design Bitmap File
Cut Appliqué File
Export As File

Dropdown Popup
Menu Menu
A+f+p
Print File Standard
or C+p
Print Preview File Standard
Record in Database File
Send File
Stitch to Machine Manager File
Stitch to Stitch Manager File Standard
Embroidery Disks and Paper Tapes

Embroidery Disk > Format File
Embroidery Disk > Open File
Embroidery Disk > Save As File
Embroidery File > DOS Disk Insert

Embroidery File > Embroidery
Insert
Disk
Paper Tape > Punch File
Paper Tape > Read File
Open As Standard
Save to Embroidery Disk Standard

Hardware Setup and System Settings
Hardware Setup Special
Scanner Setup File
Design Options View
Options Special
V (hold
Turn off automatic scroll
down)
Digitizing Tablet
Backspace
Enter

Dropdown Popup
Menu Menu
Information
Insert Auto Frame
Menu Chart Help
No
Preset Spacing
Shift Drawing
Shift Menu
Space
Tab
Tablet Special V+D
Yes R
Chenille
Chenille
Chain
Option
Chenille Manual Supplement Help
Chenille
Compound Chenille ]
Option
Chenille
Moss
Option
Chenille
Needle Height
Option
Chenille
Stitch Type > Coil ] Stitch
Option
Chenille
Stitch Type > Island Coil ] Stitch
Option
Chenille
Stitch Type > Perpendicular Fill ] Stitch
Option
Chenille
Stitch Type > Straight ] Stitch
Option
View by Machine Function
View
> Chain / Moss
Schiffli
Design Repeat Special V+W

Dropdown Popup
Menu Menu
Schiffli Repeats View W
Show Repeats Schiffli W
Schiffli Arrangement Special

Machine >
SL > Insert
Blatt Insert Schiffli [
Function
Function
Machine > SL > Insert
Stepp Schiffli ]
Ins. Function Function
End Jump Schiffli
Begin Jump ] Schiffli
Slow Schiffli
Fast Schiffli
Borer In Schiffli
Borer Out Schiffli
Borer Depth ;
Boring Tension Start /
Boring Tension End \

RPM- Schiffli "
RPM+ Schiffli :
Fadenleiter- Schiffli >
Fadenleiter+ Schiffli <
Thread Brake- Schiffli
Thread Brake+ Schiffli
Drop Sequin Schiffli
View by Machine Function >
View
Stepp/Blatt

Dropdown Popup
Menu Menu
View by Machine Function >
View
Schiffli Needles In/Out
Clear Function Machine SL Schiffli
Edit Function Machine SL

Keyboard Shortcuts
General functions Digitizing functions (cont)
To .. Press To .. Press
start new design C+N switch between continuous and V+A
open design C+O or normal Input A
A+F+O toggle Auto Underlay on/off u
close design A+F+C activate Auto Trace C+M
save design C+S or activate Branching I
A+f+S make Complex Shape vector object V+H
save as A+f+A
print design C+P or Selecting objects
A+f+p
record to clipart C+E To .. Press
show/hide Point & Stitch toolbar C+I select all objects C+A
show/hide Grid V+G deselect all objects E or X
show/hide Rulers and Guides V+G activate Select Object tool o
show/hide Overview window V+V deactivate Select Object tool E
show/hide Color-Object List V+L select object at current needle V+O
show Stitch List V+J position
open Lettering dialog A select multiple objects C+[
open digitizing tablet setup V+D select range of objects V+[
measure distance on-screen M select next object T
undo command C+Z select previous object V+T
redo command C+Y select object beneath 2+[
cancel command E add next object to selection C+T
open online help 1 add previous object to selection C+V+T
exit application A+4 activate Polygon Select tool C+L
toggle Selects On/Off Q
Digitizing functions group selected objects C+G
To .. Press ungroup selected objects C+U
finish digitizing object (keep last R lock selected object K
stitch) unlock all locked objects V+K
finish digitizing object (omit last s
stitch) Viewing designs
finish digitizing Complex Fill/Fusion R To .. Press or
Fill boundary
toggle TrueView on/off T
delete last input point B
show/hide stitches S
generate stitches G
show/hide outlines L
apply Satin stitch V+I
show/hide needle points . (period)
apply Tatami stitch V+M
show/hide connectors V+C
apply Run stitch V+N
show/hide function symbols V+F
switch between fill and run stitch s
show whole design E, V+s
switch between fill and manual stitch R
* Turn TrueView off

Viewing designs (cont) Cutting & pasting objects
To .. Press or To .. Press or
fit design to window 0 (zero) 2 cut object C+X V+D
fit selected objects to window V+0 (zero) copy object C+C C+Z
hide others V+s paste object C+V V+Z
show/hide image D duplicate object C+D
zoom in 2X Z 9 delete selected objects or last D
zoom out 2X V+Z 0 object
zoom to 1:1 scale (100%) 1
specify zoom factor F 3 Modifying objects & stitches
zoom box B 8 To .. Press or click
zoom box in Overview window V+B move selected object horizontally or * C+:
activate panning P 7 vertically
deactivate Auto Scroll V (hold down) nudge selected object [+t b l r
center current stitch in design C 6 maintain proportions while resizing † V+:
window activate Reshape Object tool H
return to previous view V 5 activate Show Stitch Angles tool A+a
redraw screen r 4 activate Show Reshape Nodes tool A+N
activate Slow Redraw * V+R change reshape node type ^ [+M
* Turn TrueView off activate Stitch Angles tool C+H
activate Stitch Edit tool E
Viewing stitching sequence add stitch angles (Fusion Fill™) C+H
check design integrity !
To travel .. Press or †
* Drag object † Drag handle ^ Select control point
to start of design h 7
to end of design e 1 Schiffli functions
to next color d 3
to previous color u 9 To .. Press
to next segment * C+r C+6 insert Blatt/Stepp function []
to previous segment * C+l C+4 insert Fadenleiter Plus/Minus <>
to next object C+T insert Boring Tension Start/End /\
to previous object V+T insert RPM Plus/Minus :"
100 stitches forward ^ + change Schiffli borer depth ;
100 stitches backward ^ - show Schiffli repeats W
10 stitches forward ^ b 2
10 stitches backward ^ t 8
1 stitch forward ^ r 6
1 stitch backward ^ l 4
select/deselect stitches * T
* Stitch Edit tool selected ^ No object selected † Keypad, Num
Lock off
ES 2006 Keyboard Shortcuts 906

PART XII
MENU CHART

WILCOM2006
WILCOM
-
- 5
- ( ) *
+,
- -
- -
- -
-
- - -
6 7 -
-
- - 8
- +
- &
9 *"
- -1 2 3- 4 5- 6 7- 8 9 10
- 11
- 12
- 13
- 14
- 15
- 16
- 17
- 18
- 19
- 20
- -
not in all models; no en todos los modelos; nao em © Copyright 1990-2005
todos os modelos; non in tutti i modelli; pas dans tous Wilcom International Pty. Ltd.
les modèles; nicht verfügbar für alle Modelle
Menu Chart Key
Pressing a different button on your digitizing puck can affect a command on
your Menu Chart in different ways:
Generally, a command will simply be executed—e.g. Save file, Undo
command, Generate stitches, etc.
Some commands toggle a function on or off—e.g. Auto Jump On/Off,
TrueView On/Off, etc. The same or different puck buttons may toggle the
command.
Other commands affect sequence—e.g. Travel to Start/End of Design,
Travel to Next/Previous Function. Different buttons generally control
direction—i.e. forward / backward.
Some commands let you select options or adjust values which affect the
command—e.g. Program Split display options, Fractional Spacing
values.
The key at the bottom of the table explains the action that a particular
button press performs in combination with a given command icon.
Icon Command 1 2 3 4 Icon Command 1 2 3 4
Save
i Information
Undo Redo
Select All Deselect All
Show Rulers &

Auto Start / End
Guides
Remove Small
Exit
Stitches
Show All Previous View
⌧ toggle on/off activate deactivate change values view options backward forward

Center Current
Pan
Stitch
Redraw Screen Zoom Box
1 Zoom 1:1 ? Zoom Factor
+ Zoom In 2X – Zoom Out 2X
TrueView Show Stitches
Show Needle
Show Outline
Points
Show Function
Show Connectors
Symbols
Show Grid Show Repeat ⌧
Show
1. Chain/Moss
Show Drawing ⌧ ⌧ ⌧
2. Stepp/Blatt
3. Needle In/Out
Satin Tatami
Zigzag E-Stitch
Program Split Motif Fill
ES 2006 Menu Chart Key 910

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

Trapunto Split
2/3. Split Alternate
Accordion
3D 3D Warp
Spacing
Coil Straight
Perpendicular Fill Island Coil
Compound
Needle Height ⌧
Chenille
Chain ⌧ Moss ⌧
Select Object ⌧ Polygon Select ⌧

Reshape Object ⌧ Stitch Edit ⌧
1. Keep Last
Stitch
Tie Off ⌧
2/4. Omit Last
Stitch
1. Empty Stitch
Trim ⌧
2/4. Empty Jump
1. Backtrack
Add Stitch Angles ⌧
2/4. Repeat
Next Color ⌧
Â
Input A Input B
Complex Fill Fusion Fill
Auto Appliqué
A Lettering
Input C Run
Triple Run Motif Run
Backstitch Stemstitch

Travel to Start /
Travel by Object
End
Travel by
Travel by Color
Segment
Travel by
Function
1000 Travel by 1000 100 Travel by 100

Stitches Stitches
10 Travel by 10 1 Travel by 1 Stitch

Stitches
Circle Ring
Star Stipple
Manual Triple Manual
Sequin Manual Sequin Run Auto
Sequin Run
Make Motif
Manual
Select Motif Use Motif
1
Preset Spacing
Smart Corners 4 2 1/2/3/4
3

Auto Spacing Auto Split
Cut Copy
Paste Options † Move

1/2/3/4
1. Penetrations on 1. Borers in
4. Penetrations off 4. Borers out
1. Insert Fast 1. Insert Slow

2/4. Add Fast ‡ 2/4. Add Slow ‡
1. Insert Stepp 1. Insert Blatt

2/4. Add Stepp ‡ 2/4. Add Blatt ‡
1. Insert Auto
Frame
2/4. Add Auto
Frame ‡
Drop Sequin Sequin Palette
1. Insert Stop 1. Insert Function

STOP 2/4. Clear
2/4. Add Stop ‡ Function
Shift Drawing Shift Menu
Tab Backspace

Cancel Delete
No Yes
Spacebar Enter
† Paste Options: 1. Paste - Object Property Position, 2. Paste - Shift Pasted Objects,
3. Paste - Center at Current Stitch, 4. Paste - Start at Current Stitch.
‡ Add / Insert functions: See Machine function types for details.

PART XIII
APPENDICES

Appendix A
Supported Machine, File and
Disk Types
This section provides details of the file and disk types supported by
Wilcom ES. Details are also provided about the conversion of Melco CND,
Wilcom INP, and Gunold PCH design formats to and from EMB. The section
also provides details of supported paper tape formats, as well as vector and
bitmap (raster) formats.
Note There are many additional Schiffli file formats to suit specific Schiffli
machines. Wilcom ES supports the most important of these. See the ES
Schiffli User Manual Supplement for details.
Supported machine types

The table shows the machine types currently supported by Wilcom ES. Make
sure you first check the recommended connection settings for your
particular machine. If you don’t have a record of the connection settings
required to set up your embroidery machine, a list can be found at the
Wilcom Support Center. This provides connection information for all the
machines listed in this table.
Note If not already a member of the WSC, you will need to register as a
licensed user of Wilcom software. See www.wilcom.com.au/support for
details.
Machine Format Description
Tajima This format is used for main types of Tajima machines.
Tajima TMCE-100 This format is used for Chenille-enabled Tajima machines.
Tajima TMCE-600 This format is used for Chenille-enabled Tajima machines.

Machine Format Description
Barudan This format is used for many Barudan machines. It supports up

to 9 needles. The Barudan format is suitable for paper tape,
FMC disks, and the DSB file format.
Barudan FDR-II This format is currently used for BED* series lockstitch
Lockstitch machines and is the standard for all new Barudan lockstitch
machine models. It supports up to 15 needles and optional
sequin attachments.
Barudan FDR-II This format is used for newer models of Barudan Chenille
Chenille machines supporting 6 chenille colors such as the BEDYH and
Combination BEDSH. Using this format, you can digitize pure Chenille or
even a combination of Chenille and Lockstitch in the one
design.
Barudan Chenille This format is used only for the older BELM - A3C series of
Barudan Chenille Machines with 5 Chenille colors. Newer
models use Barudan FDR-II Chenille Combination.
Barudan Z Series This format is used for Barudan Z series machines with 10 or
more needles.
SWF This format is used for main types of SWF machines.
Melco This format is used for main types of Melco machines.
Melco Chenille This format is used Melco-enabled Chenille machines.
Pfaff This format is used for main types of Pfaff machines.
Toyota This format is used for main types of Toyota machines.
Zangs This is the format for Zangs and Marco brand machines and
pre-1988 ZSK machines without trimmers.
ZSK 1 This format is for ZSK machines that have 7 or fewer

needles—generally those older than 1991.
ZSK 2 This format is for ZSK machines that have more than 7 needles
and those characterized by a single top thread trimmer.
ZSK TC This format is for ZSK machines that accepts Transport Code
Disks (DOS format disks).
Inbro This format is used for main types of Inbro machines.
Schiffli This format is used for Schiffli machines.
ES 2006 Appendix A Supported Machine, File and Disk Types 918

Supported embroidery file formats
There are two types of embroidery file format:
Outline: Outline or ‘condensed’ files usually contain digitized shapes
and lines, selected stitch types and stitch values and effects.
Stitch: Stitch or ‘expanded’ files generally contain stitches and machine
functions and are only suited to specific embroidery machines.
Wilcom file formats

Wilcom ES uses its own native EMB embroidery file format which combines
the advantages of outline files and stitch files. Outlines, stitches, thread
colors, and other data are stored together. Outlines mean the file can be
scaled and manipulated on an object basis while the stitch data preserves
manual stitch-by-stitch edits and touchups. Features of most third-party
products are supported. Variants and precursors of the EMB file format are
also shown in the table below.
Extension Format Read Write
AMT artista template
AMT42 Explorations template
ART V4.0 artista design file
ART42 Explorations project file
EMB Wilcom ES design file (up to ES 2006)
EMC Clipart Files
EMT Wilcom ES templates
ESD † Wilcom DOS format
INP ‡ Wilcom condensed format
Note † ESD is the native file format of DOS ES, the precursor to the current
ES Designer. It is actually a stitch file format with stitch blocks, stitch types
and parameters, and an icon. It has few of the advantages of the current
EMB file format.

Note ‡ Wilcom INP is the native file format of Wilcom Computer Embroidery
Design software. It is an outline file format but it contains no stitch data.
Wilcom INP designs can be directly converted to EMB files although
ES Designer interprets some of the stitch types differently. See Conversion
of Wilcom INP format to Wilcom EMB for details.
Supported outline file formats

Wilcom ES supports the following outline file (condensed) formats:
CND Melco condensed file
PCH Gunold APS
Note See below for conversion details when reading these files into EMB
format or writing to CND format. See Melco CND format and Conversion of
Gunold PCH format to Wilcom EMB.
Supported stitch file formats

Wilcom ES supports the following stitch file (expanded) formats:
10O Toyota
ARX artista cross stitch files
BRO Bits & Volts
CSD POEM/Singer/Huskygram
DAT Hiraoka DAT
DSB † Barudan
DST Tajima
DSZ ¥ ZSK—Tajima machine format
EMX ‡ Wilcom Cross Stitch
† includes needle addressing data ¥ Two options—ZSK1 and ZSK2 (see note) ‡ Can only be written
by ES Cross Stitch application § TAP and MON files are written together—TAP is the stitch file, MON
the header file.£ Used with Transport Code Disks (see note)

ESL Wilcom ESL
ESS Wilcom ESS
EXP Melco
HUS Husqvarna/Viking
INB Inbro Files
JEF Janome/Elna/Kenmore format (V1.0)
KSM Pfaff
MJD Time & Space MJD
PCD Pfaff
PCQ Pfaff
PCS Pfaff
PEC Deco, Brother, Babylock
PES Deco, Brother, Babylock
PMU Proel
PUM Proel DOS
SAS Saurer SLC
SEW Janome/Elna/Kenmore
STC Gunold
STX Datastitch
TAP / MON § Happy
T01 Tajima—Wilcom DST format
T03 Barudan—Wilcom DSB format
T04 Zangs
T05 ZSK—Wilcom DSZ format

T09 Pfaff—Wilcom KSM format
T10 Wilcom Plauen
T15 Wilcom Saurer
U?? † Barudan
VEP Hiraoka VEP
XXX † Compucon
Z?? £ ZSK TC machine format
Note ZSK1 format is used with older ZSK machines, generally those older
than 1991 which have no more than 7 needles. ZSK2 is for newer ZSK
machines, those characterized by a single top thread trimmer. The trim is
the most significant differentiating factor between the two types. If the ZSK
machine accepts Transport Code Disks, then ZSK TC Machine Format must
be used.
Melco CND format

Melco Condensed (CND) is the native file format of the Melco embroidery
digitizing software. CND files store only digitized outlines and stitch values.
See also Opening Melco CND outline files.
Conversion of Melco CND format to Wilcom EMB

When you open CND designs in ES Designer, outlines are scaled and stitches
recalculated to preserve density. ES Designer recognizes all Melco machine
functions and stitch types, including Partition Lines and Complex Fill, and

automatically converts them to EMB format. This table details how Melco
features are converted.
Melco CND EMB Notes
Stitch Types
Column Stitches Input A, Satin stitch
Simple Fill Complex Fill, Tatami The stitch angle is determined by

the longest stitchline.
Complex Fill Complex Fill Melco EDS Complex Fill are

recognized and converted to
Wilcom ES Complex Fill.
Column Fill Input A, Tatami fill
Walk Run
Bean Stitch Triple Run
Singleline Column Input C

Input, Centerline
Singleline Column Input C

Input, Left Line / Side 1 / Side 2
Right Line
Partition Lines Tatami partition lines
Underlays
Complex Underlay Tatami underlay in

Complex Fill object
Edge Walk Edge Run
Center Walk Center Run Column Stitches only
Narrow Column Zigzag
Machine functions
Needle Up Jump, Begin Jump
Reset Stitch End Jump

Melco CND EMB Notes
Manual Lock Stitch Added in Tie Off
Automatic Lock Tie In, Tie Off If Automatic Lock Stitch is set for
Stitch every Color Change, and at the
start and end of the design, tie off
and tie in stitches are inserted in
the EMB design.
Chain Chain
Moss Moss
Needle Height Needle Height
Slow Slow
Fast Fast
Borer In/Out Borer In/Out
Sequin On/Off Sequin On/Off
Conversion of Wilcom EMB format to Melco CND

You can save files to Melco CND format from ES Designer. Designs originally
created in ES Designer generally give the best results. Other file types may
not have all the data necessary for successful conversion. This table details
how Wilcom ES stitch types and effects are converted to CND format.
Tip When you convert to CND, many Wilcom ES effects will be lost. If it is
important to preserve the effects, save in Melco EXP stitch format instead.
Alternatively, turn off all effects before saving to CND format. See also Best
Wilcom ES input methods for Melco CND output.
EMB Melco CND Notes
Stitch types
Manual Walk
Run Walk
Triple Run Bean Stitch Only if the design is an original

Wilcom EMB design

EMB Melco CND Notes
Triple Run Bean Stitch Reverts to Triple Run (run count = 3).
(run count > 3)
Satin stitch Column Fill
Tatami - standard Fill Stitch Use Complex Fill to make sure that
the stitch lines are parallel.
Tatami - with random Walk

factor applied
Tatami - with sharply Walk or Complex Fill Changes to Walk if Superstar

turning stitches compatible, otherwise Complex Fill
with a fixed angle.
Tatami - with slightly Fill Stitch, several The shape is divided into several
turning stitches sections sections, filled with parallel Fill Stitch.
There may be small gaps between
these sections.
Zigzag Walk Density is not preserved when the

design is scaled.
E Stitch (Inputs A, B Column Stitches

& C)
E Stitch (Complex Walk

Fill)
Stitch settings
Run length Set length CND Walk stitch length is the same
as EMB Run stitch length.
Tatami length and Fill or Complex Fill The length and density of Fill
spacing settings Stitches will be the same as EMB
Tatami length and spacing.
Underlays
Center Run
Edge Run
Walk Uses CND Auto Underlay.
Zigzag
Double Zigzag
Zigzag (for objects Narrow Column

with Satin cover only)

EMB Melco CND Notes
Effects
Accordion Spacing Not preserved The effect is lost.
Motif Fill Not preserved The effect is lost.
Contour Stitch Not preserved The effect is lost.
Flexi Split Not preserved The effect is lost.
Auto Split Not preserved The effect is lost.
Jagged Edge Not preserved The effect is lost.
Trapunto style Not preserved The effect is lost.
Program Split Not preserved The effect is lost.
User Defined Split Not preserved The effect is lost.
Photo Flash Walk Density is not preserved when the

design is scaled.
Quality features
Pull Compensation Not preserved The original shape is preserved. The

effect is lost.
Fractional Spacing Not preserved In ES Designer, turn on Fractional

Spacing and set it to 0.5mm.
Although there is no direct equivalent
in CND, effectively it uses a fixed
fractional spacing with a value equal
to 0.5.
Stitch Shortening Not preserved Outlines are more accurately

recognized if Stitch Shortening is
turned off.
Auto Spacing Not preserved Auto Spacing is converted to fixed

spacing, based on the average
space value. It is best to turn off Auto
Spacing when digitizing a design for
CND.
Smart Corners Not preserved Avoid digitizing pointed ends.
Machine functions
Color Change / Stop Color Change / Stop Functions inserted on stitches inside
functions objects are not converted.

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

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

function does not apply to this
version.
Best Wilcom ES input methods for Melco CND output

This table details which input methods give the best results when digitizing
a design for Melco EDS-III CND output.
Input method Compatibility Notes
Input A, B, C OK Use with Satin only.
Complex Fill OK Only use with Tatami fill. Do not digitize

pointed ends as they will be ‘squared off’
during conversion. Cut off pointed ends with
a straight line, parallel to the stitch angle, to
avoid conversion problems.
Fusion Fill™ Not Fusion Fill™ objects are separated into a

recommended single object per segment. Conversions may
produce undesired results.
Circle OK
Ring Not The exit point will be on the wrong side of the
recommended shape.

Input method Compatibility Notes
Star Not The stitches are output as Walk.

recommended
End - Keep Last OK The exit point should always be on the

Stitch opposite side to the entry point.
End - Omit Last Do not use Start digitizing the next shape on the
Stitch opposite side instead.
Conversion of Gunold PCH format to Wilcom EMB

PCH ‘Punch and Stitch’ is the native file format of the Gunold Embroidery
Design software. Gunold PCH designs can be directly converted to EMB files
although ES Designer interprets some of the stitch types differently. This
table details how Gunold PCH features are converted to EMB format.
Gunold PCH EMB
Outline types
Parallel Input A
Serial Input C
Block Outline Complex Fill
Run Run
Incline Run
Manual Manual
Stitch types
Satin Satin
Ceding Tatami
Random Ceding Tatami with random factor applied
Step Tatami
Piping Contour
OBI Tatami
Zigzag Zigzag

Gunold PCH EMB
Cross not supported
Photo not supported
Satin underlays
none none
Single Center Run
Edge Edge Run
Zigzag Zigzag
Cross Zigzag
Edge Zigzag Edge Run + Zigzag
Edge Cross Edge Run + Zigzag
Netting Double Zigzag
Double Zigzag Double Zigzag
Triple Zigzag Double Zigzag
Step / block fill levels
Complex Fill Holes in Complex Fill
Form Fill User Defined Split in Complex Fill
Vector Fill User Defined Split in Complex Fill
Block Fill Program Split in Complex Fill
Miscellaneous
Branches Grouped object (uses lettering

sequence algorithm)
Random - side 1 Jagged Edge effect

/ side 2
Pitch Stitch Spacing
Length Stitch length
Stitch angle Complex Fill stitch angle
U turn Backtrack

Gunold PCH EMB
Compensation Pull Compensation
Corner mode Smart Corners
Short / Long Stitch Shortening
Square
backstitch Straight stitch
Satin Trapunto
Step
Styles Motifs
Patterns none
Conversion of Wilcom INP format to Wilcom EMB

Wilcom INP is the native file format of Wilcom Computer Embroidery Design
software. Wilcom INP designs can be directly converted to EMB files
although ES Designer interprets some of the stitch types differently. This
table details how Wilcom INP features are converted to EMB format.
Wilcom INP EMB Notes
Auto Spacing Auto Spacing Values are different. Can be

changed before stitching.
Backtrack/Repeat Separate objects are Functions are supported

section/marked added. correctly.
Backup Lock Satin tie off
Borderline Tatami Borderline Tatami
Borer In/Out Borer In/Out
CED Block lettering Block2 alphabet Font can be changed after

conversion.
CED Block, Jump out Block2 alphabet Manual edits and trimming
Circle Circle
ES Cross Stitch Paths imported as Change the stitch type to Motif

Run objects only Run to generate cross stitch.

Wilcom INP EMB Notes
Delete Stitch Manual only, ignored Can be edited

for other stitch types
Family of Curves Split Satin, single curve as Noticeably different from Satin.
split line You can copy imported curve to
get multiple curves.
Alternating number is ignored.
Geflecht Standard Tatami Can be edited
Matching Tatami Non-matching Tatami Complex Fill will have matching

Tatami.
Motifs Patches Normal objects
Needle In/Out End/Begin Jump
Other Multihead Stop (with info label) For example, Insert Appliqué is
Machine Functions converted to Stop.
Program Stitch Manual stitch
Ring Ring
Scattered Tatami Tatami with random Will look slightly different

factor applied
Schiffli Functions Stepp/Blatt only,

others are ignored
Slow/Fast Slow/Fast
Split Alternate Tatami
Split Stitch Standard Tatami Looks different but can be edited
Tajima style Lock Tajima tie off OK most of the time
Tourenblat E Stitch Looks different, so that it is easy

to locate and edit
Trim/Tie In/Tie Off Connector properties
Turn fill (spacing Wilcom ES turn fill Will look different but can be
measured along (generally fewer re-digitized in smaller sections
shape boundary) stitches)
Underlays—slant Zigzag underlay Can be added manually
Underlays, 3 or 4 Two underlays only Can be edited

layers

Supported embroidery disk formats
You can write a design to a disk which is formatted for a specific embroidery
machine. The disk can then be read through the machines’s Floppy Disk
Reader. The following disk formats are supported:
Format Density Read Write
Barudan 2HD DS/HD
Barudan FDR DS/DD
Barudan FMC DS/DD
Barudan S-FMC DS/HD
DOS DS/HD
Happy DS/HD
Tajima DS/HD
Toyota DS/HD
ZSK DS/DD
ZSK TC DS/HD
Note DS/HD is 1.44Mb while DS/DD is 720Kb.
Limitations
Microsoft Windows XP only supports the following floppy disk formats:
1.44 Mb 3.5" floppy disk (read, write, format)
720 Kb 3.5" floppy disk (read and write only)—workaround available for
formatting. See below.
1.2 Mb 5.25" floppy disk (read and write only)
360 Kb 5.25" floppy disk (read and write only)
Windows XP will not format DS/DD 720 Kb floppy disks via the normal
interface—i.e. My Computer, Windows Explorer. The reason for this is that
general computer technology is moving away from the 720 Kb format. Since
Wilcom ES uses Windows formatting utilities for DOS format, the formatting
of 720 Kb floppy disks is not possible through Wilcom ES. However, if you
have a current formatted DS/DD 720 Kb disk, Windows XP can read this
disk.

Note Formatting non-DOS disks—Barudan FMC, Barudan FDR, Barudan
S-FMC, ZSK—under Windows XP is unaffected by this issue, as Wilcom ES
uses its own formatting software.
Formatting 720 Kb disks under Windows XP

It is still possible, however, to format 720 Kb disks under Windows XP, via a
DOS command. There are two ways to enter this command:
1. Download the 'WinXP_720K.bat' file from the Wilcom Support Center at
www.wilcom.com.au/support. This is a simple batch file which performs the
steps you would otherwise have to perform manually as well as prompting
you what to do.
OR
2. Follow the instructions below to perform the commands yourself:
To format a 720 Kb disk under Windows XP

1 In Windows XP, select Start > All Programs > Accessories >
Command Prompt.
2 Enter format /t:80 /n:9 a:
3 Click OK.
You will be prompted to insert a new disk in drive A:.
4 Press Enter when ready.
After the disk has been 100% formatted, you will be prompted to give
it a label or name.
5 Key in a label (or leave it unlabelled) and press Enter.
You will be prompted to format another disk.
6 Click Y for Yes or N for No.
Once formatted, your 720 Kb DOS disk can be used as you would a
regular 1.44 Mb disk under Windows XP.
Supported paper tape formats

Wilcom ES supports the following paper tape formats:
Format Read Write
Tajima

Format Read Write
Barudan
Zangs
ZSK
Pfaff
Supported image formats

Artwork can be imported into ES Designer in both vector and bitmap
(raster) formats. See Digitizing with Bitmap Images for details.
Supported vector image formats

Wilcom ES supports the following vector image formats:
DXF AutoCAD
EMF Enhanced Metafile
EPS Encapsulated Postscript
PS Postscript
WMF Windows Metafile
Supported bitmap image formats

Wilcom ES supports the following bitmap image formats:
BMP Windows Bitmap
JPG JPEG File Interchange
PNG Portable Network Graphics
PCX PC Paintbrush

Appendix B
Object Types, Stitch Types, and
Effects
Not all stitch types can be applied to all object types. Nor can all stitch
effects be applied to all stitch types or objects. The tables below describe
the relationships between the various object and types supported by
ES Designer, as well as the stitch effects which can be applied to them.
Object interconversion
This table describes the relationship between object types and
interconversion options. See Converting between object types for details.
Vector
Input A
Input B
Input C
Complex Fill
Fusion Fill™
Auto Appliqué
Circle
Ring
Run
Object Types
Vector
Input A
Input B
Input C
Complex Fill
Fusion Fill™
Auto Appliqué
Circle
* ‘Run’ in this case refers to all outline input types—Run, Triple Run,
Motif Run, Stemstitch, Backstitch. These are all interconvertible.

Vector
Input A
Input B
Input C
Complex Fill
Fusion Fill™
Auto Appliqué
Circle
Ring
Run
Object Types
Ring
Run
Lettering
* ‘Run’ in this case refers to all outline input types—Run, Triple Run,
Motif Run, Stemstitch, Backstitch. These are all interconvertible.
Corresponding object and stitch types

This table describes the relationship between object types and stitch types.
See Digitizing Methods and Fill and Outline Stitches for details.
Stitch Type
Satin
Tatami
Zigzag
E Stitch
Program Split
Motif Fill
Contour
Stipple †
Run ‡
Input Method
Input A
Input B
Input C
Complex Fill
Fusion Fill™
Auto Appliqué
Circle
† Strictly speaking, Stipple is not a stitch type. It is an operation

that converts filled objects into run stitches.
‡ ‘Run’ in this case refers to all outline input types—Run, Triple
Run, Motif Run, Stemstitch, Backstitch. All are considered both
input methods and stitch types and all are interconvertible.

Stitch Type
Satin
Tatami
Zigzag
E Stitch
Program Split
Motif Fill
Contour
Stipple †
Run ‡
Input Method
Star
Ring
Run *
Lettering
† Strictly speaking, Stipple is not a stitch type. It is an operation

that converts filled objects into run stitches.
‡ ‘Run’ in this case refers to all outline input types—Run, Triple
Run, Motif Run, Stemstitch, Backstitch. All are considered both
input methods and stitch types and all are interconvertible.
Corresponding stitch types, input methods, and effects

This table describes the relationship between stitch types, input methods,
and effects supported by Wilcom ES. Note that, in some cases, stitch type
and input method are one and the same—e.g. Run stitch.
Stitch Effects
Auto Jump
Shortening
Pull Compensation
Fractional Spacing
Auto Underlay
Smart Corners
Jagged Edge
Trapunto
User Defined Split
Accordion Spacing
3D Warp
Flexi-Split
Florentine Effect
Liquid Effect
Input Method
Satin
Input A
Input B
Input C
Complex Fill
ES 2006 Appendix B Object Types, Stitch Types, and Effects 938

Stitch Effects
Auto Jump
Shortening
Pull Compensation
Fractional Spacing
Auto Underlay
Smart Corners
Jagged Edge
Trapunto
User Defined Split
Accordion Spacing
3D Warp
Flexi-Split
Florentine Effect
Liquid Effect
Input Method
Fusion Fill™
Auto Appliqué
Circle
Ring
Tatami
Input A
Input B
Input C
Complex Fill
Fusion Fill™
Circle
Ring
Zigzag
Input A
Input B
Input C
Complex Fill
Auto Appliqué
Circle
Star
Ring

Stitch Effects
Auto Jump
Shortening
Pull Compensation
Fractional Spacing
Auto Underlay
Smart Corners
Jagged Edge
Trapunto
User Defined Split
Accordion Spacing
3D Warp
Flexi-Split
Florentine Effect
Liquid Effect
Input Method
E Stitch
Input A
Input B
Input C
Complex Fill
Auto Appliqué
Circle
Ring
Program Split
Input A
Input B
Input C
Complex Fill
Fusion Fill™
Circle
Ring
Motif Fill
Complex Fill
Contour
Input A
Input B
ES 2006 Appendix B Object Types, Stitch Types, and Effects 940

941
Liquid Effect
Florentine Effect
Flexi-Split
3D Warp
Accordion Spacing
User Defined Split
Trapunto
Jagged Edge

Smart Corners
Auto Underlay
Stitch Effects
Fractional Spacing
Pull Compensation
Shortening
Auto Jump
Input Method
Triple Run
Motif Run
Triple Run
Motif Run
Input C
Circle
Ring
Run
Run
ES 2006
Appendix C
Standard Alphabets
The samples below show all alphabets that are standard with your
Wilcom ES software. The recommended stitch method for each alphabet is
indicated. This setting defines how letters in a sequence are to be
joined—i.e. Closest Join (CJ), Bottom Join (BJ), As Digitized (AD). Some
As Digitized alphabets also need to be applied with with Original
Values—e.g. all appliqué alphabets, where values are important, and others
like Kidnap, where open stitching is used. See Changing lettering join
method for details.
For best results when stitching, do not exceed the recommended maximum
or minimum sizes. Note, however, that recommended maximum and
minimum heights refer to UPPER CASE letters. Most embroidery fonts are
digitized from an original TrueType Font (TTF), some of which have
lower-case letters—e.g. a and c—which are about 70% the height of a
capital letter. As a result, these letters may be too small to embroider neatly.
You may need to increase the size of the lower-case characters to suit the
embroidery.
TrueType Font
Embroidery Letters
Lettering size will determine the type of underlay you need to apply. Apart
from stabilizing, underlay helps give ‘loft’ to raise your lettering off the
fabric. Lettering with heights under 5 mm should not have underlay. Letters
6 mm to 10 mm can have a center-run underlay applied. Lettering larger
than 10 mm is large enough for edge-run underlay. See Strengthening and
stabilizing with automatic underlays for details.
Not all characters are available in all alphabets. You can create special
characters in each alphabet by holding down the Alt key on your keyboard
and typing 0 (zero), its code, using the numbers on the keypad. For
example, to type ê with the code 234, type Alt + 0234. The accented letter
will appear when you release the Alt key. See also Using the Character Map.
ES 2006 Appendix C Standard Alphabets 942

2 Color Plain Script
2 Color Plain Script is an old fashioned script which is made special by using
two colors.
Characters A - Z, a - z, 0 - 9
Alphabet contains
Punctuation and symbols
Colors 2 colors
Stitching Satin
Default Letter Spacing 0%
Connector/Join type As Digitized

Minimum 0.5 in 13 mm
Recommended letter height
Maximum 2.0 in 50 mm

Agatha
Agatha is a traditional decorative style suitable for initials/monograms and
personalization.
Alphabet contains Punctuation and symbols
European/special characters
Colors 1 color
Stitching Satin
Connector/Join type Closest Join

Minimum 0.3 in 8 mm
Recommended CAP letter height

Algerian
Algerian is an ornate all caps alphabet.
Characters A - Z, 0 - 9
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Anaconda
Anaconda is suitable for most fabrics due to its constant width.
Alphabet contains European/special characters
Colors 1 color
Stitching Normal - Satin

Minimum 0.3 in 8 mm

Angle Block
Angle Block is an angular block alphabet which can be used for many types
of situation.
Alphabet contains
Colors 1 color
Stitching Satin


Architect
Architect is a compact modern alphabet with fairly narrow columns, best
suited in larger sizes.
Colors 1 color


Arial Rounded
Arial Rounded is based on the widespread 20th century realist sans-serif.
Colors 1 color

Minimum 0.3 in 7 mm

Arnold
Arnold is a fancy alphabet with a medieval feel.
Alphabet contains
Colors 1 color


Art Block
Art Block is a simple alphabet which is easy to read.
Colors 1 color
Stitching Satin


Avant Garde
Avant Garde is based on the same name sans-serif reminiscent of 1920s
styling.
Colors 1 color

Minimum 0.2 in 5 mm

Bauhaus
Bauhaus is a simple, clean, rounded sans-serif reminiscent of 1920s styling.
Colors 1 color


Blacklight
Blacklight is a modern sans-serif alphabet with a noticeable italic slant and
rounded ends. It is a popular style for advertising and designs with a
carefree feeling.
Colors 1 color


Block Caps
Block Caps is a plain block capital alphabet.
Colors 1 color
Stitching CAPS - Satin

Minimum 0.2 in 5 mm

Block1
Block1 is a traditional sans-serif alphabet. It is more compact than the
Block2 alphabet, making it useful for lettering where space is at a premium.
In capitals, it works well with enveloping.
Colors 1 color


Block2
Block2 is a traditional block-style alphabet, popular for corporate logo work.
It is quite bold and usually does not require additional pull compensation. It
also works well with enveloping.
Colors 1 color


Bodoni
Bodoni is a classic, high-contrast alphabet best suited to larger sizes or with
very stable fabric.
Colors 1 color

Minimum 0.3 in 7 mm

Book Script
Book Script is an elegant script that can be used in many different
situations.
Colors 1 color
Stitching Satin


Border Block2
Border Block2 is a two-color variant of Block2.
Colors 2 colors
Connector/Join type As digitized


Carla
Carla is a brush-style script with lower-case letters which do not connect. It
can be used for personalization, sporting goods and many other uses.
Colors 1 color


Castle
Castle is an easy-to-read sans-serif alphabet with large lower-case letters.
The stylish look suits both corporate and personal text.
Colors 1 color


Casual Serif
Casual Serif is a modern alphabet which would look good on casual wear and
sporting goods.
Colors 1 color
Stitching Satin


Cayman
Cayman is a bold, script-style alphabet with connecting lower-case letters.
The thickness of the strokes is even throughout. It is popular and versatile.
Colors 1 color
Stitching Satin


Centurion
Centurion is a compact alphabet with strokes curving into serifs
perpendicular to the letter strokes. It is more suited to medium-larger sizes.
Colors 1 color
Stitching Satin


Chancery
Chancery is based on one of the most popular calligraphy scripts. It is often
used in logos and is very popular for personalization.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Cheltenham Tall
Cheltenham Tall is a bold yet compact serif style. It is suitable for corporate
lettering where there is limited space. In capitals, it also works well with
bridge enveloping.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Cheshire
Cheshire is a brush style italic alphabet based on a font of the same name.
Colors 1 color
Stitching Satin


City Medium
City Medium is a modern very squarish athletic-style alphabet, with
half-serifs. Its solidity makes it well suited to large lettering on heavier
fabrics, such as athletic wear and jeans.
Colors 1 color
Stitching Satin


City Script
City Script is an elegant and versatile script which adds a stylish touch to
your lettering designs.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Civic
Civic is an angular modern alphabet. Its solidity makes it well suited to large
lettering on heavier fabrics, such as athletic wear and jeans.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

College
College is a bold serif block alphabet. It is suitable for athletic-style lettering
on garments, and for general use in logos, etc.
Colors 1 color


College Appliqué
College Appliqué is a large alphabet suitable for making appliqué letters for
college, school and university wear. The letters each have three colors, first
a guide run, then a zigzag tack-down, and finally a Satin stitch.
Colors 1 color
Stitching Appliqué
Connect/Join As Digitized, Original Stitch Values


Columbo
Columbo is a very rounded style. It suits children’s wear, sportswear and
modern designs.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Copperplate
Copperplate is the classic banknote, business card, and prestige font.
Colors 1 color


Croissant
Croissant is a specialist fancy style, giving a completely different look from
most other alphabets. It is suitable for restaurants, homewear and other
people-oriented designs.
Colors 1 color
Stitching Satin


Dauphin
Dauphin is a fancy alphabet with proportionally large lower-case and long
ascenders. It creates an old-style, formal and elegant impression.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Dextor Normal
Dextor Normal is a distinctive style. It has squarish letters in upper-case,
with the effect of an open bar on the left size. It makes an attractive
monogram.
Colors 1 color

Maximum 2 in 50 mm

Easy Applique
Easy Applique makes applique letters which have uneven stroke width and
rounded serifs. The letters each have three colors, first a guide run, then a
zigzag tackdown and finally a coverstitch.
Colors 1 color
Stitching Applique


Easy Script
Easy Script is a basic script-style alphabet, with simply-formed capital
letters. The thickness of the strokes is reasonably uniform, making this style
usable across a wide range of sizes.
Colors 1 color

Manual Run
Stitching
stitching
Minimum 0.3 in 7 mm

Enchantment
Enchantment is a classic romantic alphabet suitable for monograms or to
convey a medieval feel to restaurants or advertising material.
Colors 1 color
Stitching Satin


Energy
Energy is a fun, fast-paced style, which looks like quickly-written,
hand-printed notes. It is suitable for larger lettering in youth-oriented
designs.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Enviro
Enviro is a distinctive non-serif style with rounded ends on columns, and a
slanted effect on some letter shapes. It is suited to finer fabrics, and small
sizes may need extra pull compensation.
Colors 1 color
Stitching Satin


Fancy Monogram
Fancy Monogram is a special monogramming alphabet using the following
letters. To create a monogram, use the key shown below for left letter, upper
case for the central letter, and lower case for the right letter. Special keys
are used for each border (see table). For example, to create the first
monogram shown below type !Bc;
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
! “ # $ % & ‘ ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 :
; @ [ ] ‘
< ? _ | |
A - Z (left, center and right letters) 3 letter and 2 letter borders and
Alphabet contains
flourishes (see above)
Colors 1 color
Stitching Satin

Flares
Flares has a hint of serif created by the flared ends of the strokes. It is very
stylish, and suitable for masculine monograms.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Flair Script
Flair Script is a graceful script with added flairs underneath. Flairs either fit
snugly under the letters or are lowered to accommodate descenders.
Flair characters
Colors 1 color
Stitching Satin

For Flair characters type keys as shown. Flairs can be for letters with or without
descenders. For example, for the first example, type 4 abc[.
3 -5 letters type [ 5 -7 letters type \ 7 - 9 letters type ]
3 -5 letters type ‘ 5 -7 letters type { 7 - 9 letters type |
9 -11 letters type @ 11 - 13 letters type _ (underscore)
9 -11 letters type $ 11 - 13 letters type }

Flash
Flash is a modern non-serif style, reminiscent of hand printing using a thick
felt-tip pen. It is quite bold and has a noticeable italic slant.
Colors 1 color
Stitching Satin


Folio Condensed
Folio Condensed is a modern, dense and condensed sans-serif alphabet
suitable for company logos.
Colors 1 color
Stitching Satin

Minimum 2.8 in 7 mm

Formal Script
Formal Script is an upright calligraphy script style where the letters do not
join. The style is bold and extended, and suited for monograms, homeware,
etc.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Futura
Futura is a classic, geometric sans-serif alphabet suitable for general use in
logos, etc.
Colors 1 color
Stitching Satin


Futura Border 2 Color
Futura Border 2 Color is a two-color variant of Futura.
Colors 2 color
Stitching CAPS


Futura Outline
Futura Outline is a bordered, one-color variant of Futura.
Colors 1 color


Gaelic
Gaelic is based on the old writing styles of Welsh and Irish texts. It is
decorative and suited for a wide range of uses such as souvenirs, linen,
restaurants, some ethnic designs, etc.
Colors 1 color
Stitching Satin


Garamond
Garamond is based on one of the most popular typefaces originating in the
16th century. It is often used for business and corporate text.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Glory Appliqué
Glory Appliqué makes appliqué letters which have uneven stroke width and
rounded serifs. The letters each have three colors, first a guide run, then a
Zigzag tack-down and finally a Satin stitch.
Colors 1 color
Stitching Appliqué
Connect/Join Type As Digitized, Original Stitch Values


Goudy Sans
Goudy Sans is a popular font for corporate styles. Its bold lettering makes
it suitable for use at smaller sizes or on heavy fabrics.
Colors 1 color
Stitching Satin


Greek
Greek is a classic serif-style. It is suited for educational institutions,
restaurants, and events such as marriages and births in Greek communities.
Alphabet contains
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Greek Script
Greek Script is a script style containing only upper-case characters. It is
suitable for monograms.
Alphabet contains Characters A - Z
Colors 1 color
Stitching Foreign - Satin


Greek Spionic
Greek Spionic is a modern Greek Block alphabet.
Alphabet contains
Colors 1 color


Hana
Hana is based on classic upright calligraphy script style where the letters do
not join.
To access " (left quotes), press *
To access " (right quotes), press "
Colors 1 color
Stitching Satin


Handel Gothic
Handel Gothic is a chunky sans-serif alphabet. Its bold lettering makes it
suitable for use at smaller sizes or on heavy fabrics.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Handicraft
Handicraft is a modern narrow upright block, more suited for use on stable
fabrics.
Colors 1 color

Minimum 0.3 in 8 mm

Handy Script
Handy Script is a delicate script which is useful for formal occasions.
Colors 1 color
Stitching Satin


Hebrew Chaya
Hebrew Chaya is a modern Hebrew font.
Alphabet contains Hebrew letters, numbers, punctuation
Colors 1 color

Minimum 0.3 in 8 mm

Helvetica
Helvetica is the great all-purpose sans-serif alphabet, clean and simple, and
suitable for any fabric.
Colors 1 color


Helvetica Small
A variant of Helvetica, this alphabet is specifically created for use in small
sizes.
Colors 1 color
Stitching Satin

Minimum 0.2 in 4 mm
Maximum 0.3 in 7 mm

Hobo
Hobo is a bold, relaxed style, with curves throughout. It has an Art Deco
feel, and can be used in most situations.
Colors 1 color
Stitching Satin


Impress
Impress is a modern non-serif block style which is suitable for designs.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Informal
Informal is an unstructured very black alphabet style, in upper-case
characters only. It includes alternate versions of the accented letters Ö
(Oumalut) and Ü (Uumlaut).
Colors 1 color


Italian Script
Italian Script is a well-proportioned script which looks good for formal
occasions.
Colors 1 color
Stitching Satin


Kabel
Kabel is a modern non-serif block style alphabet suitable for casual designs.
Colors 1 color
Stitching Satin


Karin Script
Karin Script is a modern rounded script in which the letters do not join up.
Colors 1 color
Stitching Satin

Minimum
Maximum

Kindergarten Block
Kindergarten Block is a fun alphabet which has many applications for
children’s wear.
Colors 1 color
Stitching Satin


Kids
Kids is a fun alphabet, based on children’s hand-writing.
Colors 1 color
Stitching Satin


Krone
Krone is a solid serif alphabet, very stylish, and suitable for masculine
monograms.
Colors 1 color

Minimum 0.3 in 8 mm

Lariat
Lariat is a fun script-like alphabet without letters joining. It is suitable for
children’s clothing and monograms.
Colors 2 colors


Legal Block
Legal Block is a solid square alphabet. This makes it useful for small lettering
on thicker fabrics such as denim.
Colors 1 color
Stitching Satin


Lydian
Lydian is a modern non-serif alphabet style. The varying widths in the letters
give an impression of being written with a pen nib.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Mandarin
Mandarin is an alphabet consisting of upper-case characters, with an Asian
influence. It is used for Asian restaurants, martial arts clubs, etc.
Colors 1 color

Minimum 0.3 in 8 mm

Matisse
Matisse is a stylish, modern alphabet.
Colors 1 color


Matrix
Matrix gives a more interesting and relaxed style than most serifs.
Colors 1 color
Stitching Satin


Memo Script
Memo Script is a narrow easy-to-read script which creates a simple, elegant
feel.
Colors 1 color
Stitching Satin


Micro Block
Micro Block has been designed for use specifically where small legible block
letters is required.
Colors 1 color
Stitching Satin

Minimum 0.2 in 4 mm

Microgramma
Microgramma is a slightly boxy, wide, sans-serif alphabet.
Colors 1 color
Stitching Satin


Microscan
Microscan has a modern ‘hi-tech’ look. It is suitable for a wide variety of
applications.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Miniature Block
Minature Block is a rounded block alphabet which can be used when very
small letters are needed.
Colors 1 color
Stitching Satin


Narrow Block
Narrow Block is a condensed, but elegant block which can be used when text
needs to fit in a narrow space.
Colors 1 color
Stitching Satin


News Outline
News Outline has a Satin outline around the outside edge of the letter
shapes. The letters have solid, heavy appearance, with a serif-effect. This
alphabet should be used in larger sizes.
Colors 1 color

Closest Join,
Connector/Join type
unsaved

Old English
Old English is based on traditional medieval English calligraphy script. It is
used for specialist lettering, and is especially popular for school, college and
university badges.
Colors 1 color
Stitching Satin


Olivia
Olivia is based on Time-Script font. It is a bold alphabet with script-like
lower-case letters.
Colors 1 color

Minimum 0.3 in 7 mm

Outline Block
Outline Block is based on the Block2 alphabet. It presents the outline
without the fill, giving it an open feel.
Colors 1 color


Pixie
Pixie is a thin, modern alphabet based on Pixidium. It is most suited for use
in larger sizes.
Colors 1 color


Point Monogram
Point Monogram is a special monogramming alphabet using the following
letters. To create a monogram, use the key shown above for left letter, upper
are used for borders (see table). For example, to create the first monogram
shown below, type !Bc;
! “ # $ % & ‘ ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 :
; @ [ ] ‘
< > _ | {
} = \ ?
A - Z (left, center and right letters)—3 letter and 2 letter borders and
Alphabet contains
flourishes (see above).
Colors 1 color
Stitching Satin

Round Block
Round Block is based on a bolded Arial, the widespread 20th century realist
sans-serif.
Colors 1 color
Stitching Satin


Royale
Royale is an elegant calligraphic script style with a rich, classy look and small
lower-case letters. It is reminiscent of wedding and similar invitations, and
is suitable for gifts and special occasions.
Colors 1 color
Stitching Satin


Run Block
Colors 1 color
Stitching Satin

Minimum in mm
Maximum in mm

Run Script
Colors 1 color
Stitching Satin

Minimum in mm
Maximum in mm

Schoolbook
Schoolbook is a classic serif-style alphabet. It has been popular for many
years and is common in logos and educational designs.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Script1
Script1 is a hand-writing style where lower-case letters join together. It is
popular for monograms, but is not suitable for use with many capital letters
together. It includes alternate versions of upper-case I and accented Ì Í Î Ï.
Colors 1 color
Stitching Satin


Script2
Script2 is a bold script of the Brush style, which looks as it was written with
a brush-type pen. It is suitable for use on heavier fabrics such as towelling.
It includes alternate versions of upper-case I and accented Ì Í Î Ï.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Script3
Script3 is a stylish script with fine curves and flourishes. It is popular for
personalizing garments. Use extra pull compensation at smaller sizes. It
includes alternate versions of upper-case I and accented Ì Í Î Ï.
Colors 1 color
Stitching Satin


Seagull
Seagull is a modern alphabet style with a slight serif-type flare to the letter
shapes, making it more elegant than classic serif fonts. It can be used in
many situations.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Seal Monogram
Seal Monogram is a special monogramming alphabet using the following
letters. To create a monogram, use the key shown below for left letter, upper
are used for borders (see table). For example, to create the first monogram
shown below type !Bc;
! “ # $ % & ‘ ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 :
; @ [ ] ‘
< ? _ | {
} = \ >
A - Z (left, center and right letters)—3 letter and 2 letter borders and
Alphabet contains
flourishes (see above).
Colors 1 color
Stitching Satin

Serif1
Serif1 is heavy-weight serif style, with the serifs being stitched lengthways.
It is typically used on heavier fabrics where the lettering needs to be quite
bold.
Colors 1 color
Stitching Satin


Serif2
Serif2 is similar in many ways to the Times Roman font, with variable width
strokes and curved serifs. It is commonly used in corporate work, but is not
suitable at very small sizes because the serifs lose definition.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Serif3
Serif3 is a medium weight alphabet with squared serifs which stitch
cross-ways. It is less bold than Serif1 and suitable for lettering in logos at a
variety of sizes.
Colors 1 color
Stitching Satin


Slim Block
Slim Block is a thin block alphabet which can be used in situations where the
lettering does not need to stand out boldly.
Colors 1 color
Stitching Satin


Small Block1
Small Block1 is a version of Block1 alphabet specifically for use at small
sizes. The letter shapes allow for the proportionally larger amount of pull
and distortion that occur at these small sizes. This makes the alphabet
unsuitable for larger sizes.
Colors 1 color
Stitching Satin

Minimum 0.2 in 4 mm

Small Block2
Small Block2 is a version of Block2 alphabet specifically for use at small
sizes. Its bold style means that additional pull compensation is not needed.
The letter shapes allow for the proportionally larger amount of pull and
distortion that occur at these small sizes. This makes the alphabet
unsuitable for larger sizes.
Colors 1 color
Stitching Satin

Minimum 0.2 in 4 mm

Small Serif 1
Small Serif1 is a variant of Serif 1, a heavy-weight serif style, with the serifs
being stitched lengthways. This alphabet can be used at smaller sizes than
the Serif 1 minimum—i.e. < 6 mm.
Colors 1 color
Stitching Satin

Minimum 0.2 in 4 mm

Souvenir
Souvenir is a rounded and informal alphabet, evoking a nostalgic, friendly
feeling.
Colors 1 color
Stitching Satin


Speedy
Speedy is a bold, fast-paced modern alphabet.
Colors 1 color
Stitching Satin

Minimum 0.3 in 8 mm

Super Block
Super Block is a very narrow block alphabet. It has simple easy-to-read
letters which can be used when width is an issue.
Colors 1 color
Stitching Satin


Swiss
Based on the very popular Swiss721 font, this is recommended in all logos
where an even-width alphabet is needed.
Colors 1 color
Stitching Satin


Swiss Run Hollow
Based on Swiss alphabet, in this variant Satin is replaced by Run stitch
outlines.
Colors 1 color
Stitching CAPS - Run


Swiss Run Satin
Swiss Run Satin is a specialist alphabet, used with As Digitized join
method. The letters consist of Satin borders with a double-run pickout on all
edges. This alphabet is intended for use at medium to large-sizes.
Colors 1 color
Connect/Join Type As Digitized


Tahoma
Tahoma is a traditional san-serif alphabet, popular for corporate logo work.
Colors 1 color
Stitching Satin


Text Block
Text Block is a classic non-serif block style alphabet. It is a general purpose
alphabet, being slightly wider than Block1, but more compact than Block2.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Times Roman
Times Roman is based on Times New Roman serif font that got its name
from ‘The Times of London’ newspaper for which it was designed in 1932.
Colors 1 color
Stitching Satin
Default Letter Spacing 10%3


Times Small
Times Small is a variant of Times Roman, specifically designed for use in
smaller sizes.
Colors 1 color
Stitching Satin

Minimum 0.2 in 4 mm

Typewriter
Typewriter looks similar to the old-style font on typewriter ‘golf-balls’. This
style is suitable for designs with a nostalgic theme.
Colors 1 color
Stitching Satin


Upright Script
Upright Script is a freehand script alphabet.
Colors 1 color
Stitching Satin


Urbane
Urbane is solid block-style alphabet with simple clean lines. It is suitable for
use on heavier fabrics.
Colors 1 color
Stitching Satin


Utility Block
Utility Block is a simple rounded block. It can be used for small lettering as
it has bold letters.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Verdana
Verdana is a modern sans-serif font that is very popular with web designs.
Colors 1 color
Stitching Satin


Victorian
Victorian is an opulent font reminiscent of late 19th century stylings.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Viking
Viking is an alphabet consisting of capital letters, based on old-style Nordic
scripts It is suited to medium and larger sized lettering.
Colors 1 color


Western Serif
Western Serif can be used anywhere a western or cowboy feel is needed.
Colors 1 color
Stitching Satin

Minimum 0.3 in 7 mm

Westminster
Westminster is a solid rounded alphabet that will work well on most
materials.
Colors 1 color
Stitching Satin


Appendix D
Motif Samples
Motifs available in Wilcom ES can be one of two types — single or two-part.

Single motifs can be used on their own in a Motif Run or Motif Fill. Two-part
motifs consist of two separate motifs combined to form a single pattern for
Motif Fills.
This section contains samples of the motifs available in Wilcom ES. Use
these tables to see what a particular motif looks like. The table also includes
recommended size and layout specifications. If they have changed for any
reason, revert to the settings using the values in these tables. See Creating
motif runs and Creating motif fills for details.
Single motifs
The following table shows single motifs available in Wilcom ES together with
their size values. It also shows the spacing values for Motif Runs, and
column, row and offset recommended values for Motif Fills.
Size in mm Motif Motif Fill

Name Motif Sample Run
X Y Spacing Column Row Offset
Arrow01 3.9 3.1 3.9 3.9 3.1 0.0
Arrow02 4.4 3.3 4.4 4.4 3.3 0.0
Arrow03 4.0 3.0 4.0 4.0 3.0 0.0

Arrow04 4.0 3.0 4.0 4.0 3.0 0.0
Arrow05 4.0 2.5 4.0 4.0 3.5 0.0
Arrow06 10.1 10.0 10.6 10.1 10.0 0.0
Arrow07 5.0 4.0 5.2 5.0 4.0 0.0
Arrow08 5.0 4.0 5.0 5.0 4.0 0.0
Blocks01 3.0 5.0 2.0 2.0 5.0 1.0
Blocks02 3.2 5.0 2.3 2.3 6.0 0.0
Blocsk03 2.0 3.0 2.0 2.0 3.0 0.0
Blocks04 2.0 3.0 2.0 2.0 3.0 0.0
Blocks05 4.0 5.5 3.0 3.0 6.0 0.0
ES 2006 Appendix D Motif Samples 1072

Blocks06 2.6 2.4 2.4 2.4 1.8 1.2
Blocks07 6.0 4.0 6.0 6.0 4.0 0.0
Blocks08 6.0 4.0 6.0 6.0 4.0 0.0
Blocks09 6.0 6.0 6.0 6.0 6.0 0.0
Blocks10 6.0 6.0 6.0 6.0 6.0 0.0
Blocks11 8.0 8.0 8.0 8.0 8.0 0.0
Blocks12 8.0 8.0 8.0 8.0 8.0 0.0
Blocks13 5.6 5.6 5.6 5.6 5.6 5.6
Blocks14 8.0 8.0 8.0 8.0 8.0 0.0

Blocks15 3.8 5.0 3.8 3.8 5.0 0.0
Blocks16 3.0 4.0 3.0 3.0 4.0 0.0
Blocks17 10.1 10.0 10.2 10.1 10.0 0.0
Blocks18 10.0 10.0 10.0 10.0 10.0 0.0
Blocks19 12.0 3.0 12.1 12.0 3.0 0.0
Blocks20 3.0 6.0 3.0 3.0 6.0 0.0
Blocks21 8.9 3.6 9.0 8.9 3.6 0.0
Blocks22 6.0 5.0 6.0 6.0 5.0 0.0
Blocks23 4.0 6.5 4.0 4.0 6.5 0.0

Blocks24 6.0 6.0 6.1 6.0 6.0 0.0
Blocks25 6.8 8.9 6.8 6.8 8.9 0.0
Blocks26 7.5 8.5 7.5 7.5 8.5 0.0
Blocks27 4.0 8.0 4.0 4.0 8.0 0.0
Blocks28 6.0 8.0 6.0 6.0 8.0 0.0
Blocks29 8.0 8.0 8.0 8.0 8.0 0.0
Blocks30 8.0 10.0 8.0 8.0 10.0 0.0
Blocks31 9.0 8.0 9.0 9.0 8.0 0.0
Blocks32 8.0 8.0 8.0 8.0 8.0 0.0
Bow01 10.0 3.1 10.0 10.0 3.1 0.0

Bow02 8.0 4.0 8.0 8.0 4.0 0.0
Circle01 4.2 4.0 5.0 5.0 4.0 2.5
Circle02 9.6 13.1 9.1 9.6 13.1 0.0
Circle03 10.7 9.1 10.7 10.7 9.1 0.0
Cloud01 7.2 6.1 7.2 7.2 6.1 0.0
Cloud02 8.3 5.7 8.2 8.3 5.7 0.0
Cross01 4.0 4.0 4.0 4.0 4.0 0.0
Cross02 5.7 5.7 5.8 5.7 5.7 0.0
Cross03 4.0 4.0 4.0 5.0 5.0 0.0
Cross04 8.0 8.0 8.0 10.0 8.0.0 5.0

Cross05 6.0 8.0 6.0 6.0 8.0 0.0
Cross06 10.0 10.0 10.0 10.0 10.0 0.0
Cross07 6.0 6.0 6.0 6.0 6.0 0.0
Cross08 8.0 8.0 8.1 8.0 8.0 0.0
Cross09 6.0 6.0 6.1 6.0 6.0 0.0
Cross10 6.7 6.7 6.7 6.7 6.7 0.0
Cross11 8.0 8.0 8.0 8.0 8.0 0.0
Cross12 8.0 8.0 8.0 8.0 8.0 0.0
Cross13 8.0 8.0 8.0 8.0 8.0 0.0
Cross14 8.0 8.0 8.0 8.0 8.0 0.0

Cross15 8.0 7.0 8.0 8.0 7.0 0.0
Curve01 8.0 4.0 8.0 8.0 5.0 4.0
Curve02 15.0 6.9 15.0 15.0 6.8 0.0
Curve03 7.5 5.0 3.9 3.9 5.0 0.0
Curve04 7.5 3.8 7.5 7.5 4.1 2.5
Curve05 14.0 10.0 14.7 14.0 10.0 0.0
Curve06 19.1 20.5 19.4 19.1 20.5 0.0
Curve07 10.0 5.0 10mm 10.0 5.0 0.0
Curve08 9.1 5.1 9.1 9.1 5.1 0.0
Curve09 3.4 6.6 2.9 3.4 6.6 0.0

Curve10 10.3 10.0 10.2 10.3 10.0 0.0
Curve11 10.0 5.6 9.9 10.0 5.6 0.0
Curve12 5.3 4.0 5.3 5.3 4.0 0.0
Curve13 8.2 5.9 7.8 8.2 5.9 0.0
Curve14 9.0 7.0 9.0 9.0 7.0 0.0
Curve15 10.0 9.0 10.0 10.0 9.0 0.0
Curve16 8.0 28.0 8.0 8.0 28.0 0.0
Curve17 8.0 6.0 8.0 8.0 6.0 0.0
Curve18 9.0 10.0 9.0 9.0 10.0 0.0

Curve19 10.0 10.0 10.0 10.0 10.0 0.0
Heart01 6.0 6.0 6.0 6.0 6.0 0.0
Kite01 4.0 4.0 4.0 4.0 4.0 0.0
Kite02 4.0 4.0 4.0 4.0 4.0 0.0
Kite03 4.0 4.0 4.0 4.0 4.0 0.0
Kite04 4.0 4.0 4.0 4.0 4.0 0.0
Kite05 4.0 4.0 4.0 4.0 4.0 0.0
Kite06 4.0 4.0 4.0 4.0 4.0 0.0
Kite07 4.0 4.0 4.0 4.0 4.0 0.0

Kite08 4.0 4.0 4.0 4.0 4.0 0.0
Kite09 4.0 4.0 4.0 4.0 4.0 0.0
Kite10 4.0 4.0 4.0 4.0 4.0 2.0
Kite11 8.0 10.0 8.0 8.0 8.0 4.0
Kite12 10.0 10.0 10.1 10.0 10.0 0.0
Kite13 4.7 5.0 4.8 4.7 5.0 0.0
Kite14 9.0 10.0 9.0 9.0 10.0 0.0
Kite15 8.0 8.0 8.0 8.0 8.0 0.0
Kite16 7.0 7.0 7.0 7.0 7.0 0.0
Leaf01 8.6 6.8 6.0 6.0 6.7 1.8

Leaf02 8.7 7.2 6.2 6.2 7.3 0.0
Leaf03 6.5 3.0 6.6 6.5 3.0 0.0
Lines01 3.8 5.6 2.8 2.8 6.5 0.0
Lines02 2.2 3.6 1.3 1.2 3.6 0.0
Lines03 6.8 2.0 6.8 6.8 2.0 3.4
Lines04 6.0 5.0 6.0 6.0 5.0 0.0
Lines05 19.9 20.3 20.0 19.9 20.3 0.0
Lines06 20.3 20.5 21.0 20.3 20.5 0.0
Lines07 5.0 4.0 5.1 5.0 4.0 0.0
Lines08 10.0 8.0 9.9 10.0 8.0 0.0

Lines09 6.0 1.4 6.0 6.0 1.4 0.0
Lines10 8.6 7.7 8.6 8.6 7.7 0.0
Lines11 10.0 12.0 10.0 10.0 12.0 0.0
Lines12 9.0 10.0 9.0 10.0 10.0 0.0
Lines13 8.0 9.0 8.0 8.0 9.0 0.0
Lines14 10.0 12.5 10.0 12.5 12.5 0.0
Lines15 8.0 9.0 8.0 8.0 9.0 0.0
Lines16 4.0 10.0 4.0 10.0 10.0 0.0
Music01 6.1 9.8 3.9 6.1 9.8 0.0
Scroll01 6.0 4.8 6.0 6.0 6.0 0.0

Scroll02 6.5 5.6 6.5 6.5 4.3 2.8
Scroll03 10.0 5.0 10.0 10.0 6.3 0.0
Scroll04 10.0 5.0 10.0 10.0 6.3 0.0
Scroll05 9.5 9.0 9.5 9.5 9.0 0.0
Scroll06 9.0 9.0 9.0 9.0 9.0 0.0
Shapes01 9.5 9.0 9.5 9.5 9.0 0.0
Shapes02 10.0 9.0 10.0 10.0 9.0 0.0
Shapes03 10.0 10.0 10.0 10.0 10.0 0.0
Shapes04 9.0 9.0 9.0 9.0 9.0 0.0

Shapes05 10.0 9.0 10.0 10.0 9.0 0.0
Shapes06 8.0 9.0 8.0 8.0 9.0 0.0
Shapes07 8.5 8.0 8.5 8.5 8.0 0.0
Shapes08 9.0 8.5 9.0 9.0 8.5 0.0
Shapes09 7.0 8.0 7.0 7.0 8.0 0.0
Shapes10 7.0 9.0 7.0 7.0 9.0 0.0
Shapes11 8.0 8.0 8.0 8.0 8.0 0.0
Shapes12 10.0 8.5 10.0 10.0 8.5 0.0
Shapes13 9.0 9.0 9.0 9.0 9.0 0.0
Shapes14 9.0 10.0 9.0 9.0 10.0 0.0

Shapes15 7.5 9.0 7.5 7.5 9.0 0.0
Shapes16 10.0 10.0 10.0 10.0 10.0 0.0
Shapes17 10.4 9.5 10.4 10.4 9.5 0.0
Shapes18 10.0 10.0 10.0 10.0 10.0 0.0
Shapes19 10.0 12.0 10.0 10.0 12.0 0.0
Shapes20 9.0 9.5 9.0 9.0 9.5 0.0
Shapes21 8.0 8.0 8.0 8.0 8.0 0.0
Shapes22 9.0 9.0 9.0 9.0 9.0 0.0
Shapes23 9.5 9.0 9.5 9.5 9.0 0.0

Shapes24 9.0 9.0 9.0 9.0 9.0 0.0
Shapes25 12.0 10.0 12.0 12.0 10.0 0.0
Shapes26 8.0 9.0 8.0 9.0 9.0 0.0
Shapes27 9.0 8.0 9.0 9.0 8.0 0.0
Shapes28 10.0 12.0 10.0 10.0 12.0 0.0
Shapes29 8.5 9.0 8.5 8.5 9.0 0.0
Shapes30 10.0 12.0 10.0 10.0 12.0 0.0
Shapes31 12.0 10.0 12.0 12.0 10.0 0.0
Shapes32 8.5 9.0 8.5 8.5 9.0 0.0

Shapes33 8.0 9.0 8.0 9.0 9.0 0.0
Shapes34 9.0 10.5 9.0 9.0 10.5 0.0
Shapes35 4.0 7.5 4.0 4.0 7.5 0.0
Shapes36 8.0 8.5 8.0 8.0 8.5 0.0
Shapes37 9.0 9.0 9.0 9.0 9.0 0.0
Shapes38 7.0 4.0 7.0 7.0 4.0 0.0
Shapes39 8.0 9.5 8.0 8.0 9.5 0.0
Shapes40 9.0 8.0 9.0 9.0 8.0 0.0
Shapes41 12.0 12.0 12.0 12.0 12.0 0.0

Shapes42 7.5 7.0 7.5 7.5 7.0 0.0
Shapes43 10.0 9.0 10.0 10.0 9.0 0.0
Shapes44 9.0 10.0 9.0 9.0 10.0 0.0
Square01 4.0 4.0 4.0 4.0 4.0 0.0
Square02 4.0 4.0 4.0 4.0 4.0 0.0
Square03 4.0 4.0 4.0 4.0 4.0 0.0
Square04 4.0 4.0 4.0 4.0 4.0 0.0
Square05 4.0 4.1 4.0 4.0 4.1 0.0
Square06 4.0 4.0 8.0 8.0 4.0 4.0
Star01 4.0 4.0 4.0 4.0 4.0 0.0

Star02 4.0 4.0 4.0 4.0 4.0 0.0
Star03 6.0 4.0 7.0 7.0 4.0 3.5
Star04 6.0 6.0 6.0 6.0 6.0 0.0
Star05 6mm 8.0 6.0 6.0 8.0 3.0
Star06 6.0 8.0 6.0 6.0 6.0 0.0
Star07 5.0 4.4 5.3 5.0 4.4 0.0
Star08 10.0 10.0 10.1 10.0 10.0 0.0
Star09 20.1 20.6 20.6 20.1 20.6 0.0
Star10 8.7 10.0 8.7 8.7 10.0 0.0
Star11 6.0 6.0 6.0 6.0 6.0 0.0

Star12 8.0 7.8 8.0 8.0 7.8 0.0
Star13 8.0 9.0 8.0 8.0 9.0 0.0
Star14 9.6 9.0 9.6 9.6 9.0 0.0
Star15 8.0 8.0 8.0 8.0 8.0 0.0
Star16 10.0 9.0 10.0 10.0 9.0 0.0
Star17 8.0 9.0 8.0 8.0 9.0 0.0
Star18 10.0 9.0 10.0 10.0 9.0 0.0
Star19 10.0 10.0 10.0 10.0 10.0 0.0
Star20 8.0 9.0 8.0 8.0 9.0 0.0
Star21 9.5 9.0 9.5 9.5 9.0 0.0

Star22 8.0 9.5 8.0 8.0 9.5 0.0
Star23 8.0 11.0 8.0 8.0 11.0 0.0
Star24 9.0 10.0 9.0 9.0 10.0 0.0
Wave01 10.0 7.0 8.0 8.7 7.0 0.0
Wave02 15.0 10.0 15.8 15.0 10.0 0.0
Wave03 10.9 7.8 10.9 10.9 7.8 0.0
Wave04 8.0 8.0 8.0 8.0 8.0 0.0
Xmas01 7.3 8.8 7.4 7.3 8.8 0.0
ZigZag01 4.0 4.0 4.0 4.0 4.0 0.0
ZigZag02 8.0 4.0 8.0 8.0 5.0 0.0

ZigZag03 4.6 4 4.6 4.6 5.0 0.0
ZigZag04 7.0 4.0 7.0 7.6 3.0 0.0
ZigZag05 4.0 4.0 4.0 2.0 5.0 1.0
ZigZag06 4.0 4.1 4.2 4.0 4.1 0.0
ZigZag07 10.0 10.0 10.2 10.0 10.0 0.0
ZigZag08 10.0 10.0 10.7 10.0 10.0 0.0
ZigZag09 12.0 12.0 12.3 12.0 12.0 0.0
ZigZag10 9.9 10.0 10.3 9.9 10.0 0.0
ZigZag11 18.5 19.1 19.2 18.5 19.1 0.0
ZigZag12 20.2 20.1 20.4 20.2 20.1 0.0

ZigZag13 19.5 8.1 19.8 19.5 8.1 0.0
ZigZag14 18.0 9.1 18.4 18.0 9.1 0.0
ZigZag15 12.1 11.1 12.4 12.1 11.1 0.0
ZigZag17 8.0 8.0 8.0 8.0 8.0 0.0
ZigZag18 14.0 7.0 14.0 14.0 7.0 0.0
ZigZag19 9.0 9.0 9.0 9.0 9.0 0.0
ZigZag20 8.0 8.0 8.0 8.0 8.0 0.0
ZigZag21 8.0 8.0 8.0 8.0 8.0 0.0
ZigZag22 8.0 8.0 8.0 8.0 8.0 0.0
ZigZag23 9.0 10.0 9.0 9.0 10.0 0.0

ZigZag24 8.0 9.0 8.0 8.0 9.0 0.0
ZigZag25 10.0 7.5 10.0 10.0 7.5 0.0
ZigZag26 8.0 8.0 8.0 8.0 8.0 0.0
ZigZag27 12.0 8.0 12.0 12.0 8.0 0.0
ZigZag28 8.0 9.0 8.0 8.0 9.0 0.0
ZigZag29 12.0 12.0 12.0 12.0 12.0 0.0

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

Motif A Motif B Sample
X Y Col Row Offset
Duet01a Duet01b a=7.0 a=5.0 7.0 3.5 0.0

b=7.0 b=3.0
Duet02a Duet02b a=12.0 a=6.0 12.0 6.0 0.0

b=12.0 b=9.0
Duet03a Duet03b a=12.0 a=6.0 12.0 6.0 0.0

b=12.0 b=9.0
Duet04a Duet04b a=9.0 a=8.0 9.0 4.5 0.0

b=9.0 b=3.0
Duet05a Duet05b a=6.4 a=4.8 6.4 3.2 0.0

b=6.4 b=3.2
Duet06a Duet06b a=4.4 a=2.2 4.4 1.9 1.1

b=4.4 b=2.4

Size in mm Motif Fill
Motif A Motif B Sample
X Y Col Row Offset
Duet07a Duet07b a=4.8 a=4.4 4.8 2.2 1.3

b=4.8 b=4.2
Duet08a Duet08b a=11.6 a=4.4 11.2 2.9 0.0

b=11.6 b=4.4
Duet09a Duet09b a=6.5 a=5.0 6.5 3.4 3.3

b=6.5 b=5.0
Duet10a Duet10b a=8.0 a=4.0 8.0 4.0 0.0

b=8.0 b=4.0
Duet11a Duet11b a=5.2 a=3.8 5.2 3.8 0.0

b=12.0 b=9.0
Duet12a Duet12b a=15.0 a=8.4 13.5 3.9 0.0

b=13.5 b=7.8

Appendix E
Program Split Samples
This section contains samples of the program split patterns available in

Wilcom ES. Use the table to see what a particular program split looks like.
The table also includes the recommended size, column, row and offset
settings. If they have changed for any reason, revert to the settings using
the values in this table. See Adjusting program split stitch settings for
details.
Size in mm Column Row

Name Pattern Sample
X Y Spacing Offset Spacing Offset
Arrowhd 6.0 6.0 4.5 0.0 6.0 0.0
Bars 8.0 8.0 8.0 0.0 8.0 0.0
Basket 9.0 7.5 9.0 0.0 4.5 4.5

[
Basket2 9.0 9.0 6.0 0.0 6.0 0.0
Bird 6.0 4.9 6.0 0.0 4.9 0.0
Blocks1 12.0 12.0 12.0 0.0 8.0 8.0

Name Pattern Sample
Blocks2 12.0 12.0 8.0 0.0 8.0 8.0
Breaker 10.0 6.0 10.0 0.0 6.0 0.0
Brick 6.0 3.0 6.0 0.0 3.0 3.0
Brick2 6.0 6.0 4.0 0.0 4.0 4.0
Chain 10.0 6.0 6.7 0.0 7.0 3.3
Chevron 6.0 3.0 6.0 0.0 6.0 3.0
Chevron2 2.5 6.0 2.5 0.0 6.0 0.0
Chevron3 7.0 3.0 7.0 0.0 3.0 0.0
Circle 6.0 6.0 8.0 0.0 6.0 4.0
Crosstile 7.0 7.0 5.5 -5.5 5.5 5.5

Name Pattern Sample
Cube 6.0 6.0 6.0 1.5 6.0 1.4
Diadem 10.0 6.7 10.0 0.0 6.7 5.0
Diamnd2 4.0 8.0 4.0 4.0 8.0 0.0
Diamond 6.0 6.0 6.0 0.0 6.0 0.0
Driver 8.0 4.0 8.0 0.0 4.0 1.5
Ellipse 4.0 6.0 4.6 0.0 5.0 2.3
Flame 6.0 3.7 6.0 0.0 3.6 3.0
Greekey 6.0 4.0 6.0 0.0 6.0 2.0
Heart 6.0 6.5 6.0 0.0 6.4 3.0
Herring- 8.0 4.0 8.0 0.0 4.0 0.0

bone
ES 2006 Appendix E Program Split Samples 1100

Name Pattern Sample
Hexagon 6.0 7.0 6.0 0.0 5.2 3.0
Hexagon2 7.0 6.0 7.0 0.0 6.0 0.0
Jem 10.0 10.0 10.0 0.0 9.5 5.0
Keyhole 4.0 2.7 5.3 0.0 2.7 2.7
Leaf 10.0fr 5.0 10.0 0.0 5.0 5.0
Melody 10.0 6.0 10.0 0.0 5.0 5.0
Metal 5.0 9.4 5.0 0.0 8.5 2.5
Passage 10.0 10.0 10.0 0.0 10.0 0.0
Piccolo 8.0 8.0 8.0 0.0 8.0 0.0
Roma 10.0 5.5 10.0 0.0 6.0 5.0

Name Pattern Sample
Rope 7.5 5.0 3.8 0.0 5.5 1.9
Scale 6.4 3.5 6.4 0.0 3.5 3.2
Scale2 3.5 6.4 3.5 3.2 6.4 0.0
Seville 6.7 5.6 6.7 0.0 4.5 4.5
Star5 6.0 5.7 6.0 0.0 5.7 3.0
Steps 8.0 8.0 6.0 -6.0 6.0 6.0
Suncros 10.0 10.0 4.0 -6.0 4.0 6.0
Suncross2 11.0 11.0 6.8 -1.3 6.8 1.3
Swing 6.0 8.2 4.5 0.0 8.2 0.0

Name Pattern Sample
Tick 6.8 7.9 6.8 0.1 6.0 6.0
Tile1 8.0 8.0 8.0 0.0 8.0 0.0
Tile2 12.0 12.0 12.0 0.0 12.0 0.0
Tile3 10.1 10.0 10.0 0.0 10.0 0.0
Tile4 6.0 6.0 6.0 0.0 6.0 0.0
Triangl 6.0 5.2 6.0 0.0 5.2 3.0
Triangle3 7.5 6.5 7.5 0.0 6.5 0.0
Vine 8.5 2.8 8.5 0.0 3.5 2.0
Wave 6.0 1.3 6.0 0.0 4.0 3.0
Wave2 9.9 3.2 9.9 2.9 3.2 0.0

Name Pattern Sample
Wave3 10.0 4.5 10.0 0.0 4.5 0.0
Whirl 7.5 7.5 7.5 0.0 7.5 0.0
Wild 8.5 8.0 8.5 0.0 7.5 4.5
Xmastre 16.0 16.0 13.3 8.0 16.0 0.0
Ziggy 5.0 8.0 4.0 0.0 8.0 0.0

Appendix F
Troubleshooting
This section provides advice for solving problems in ES Designer. If you

encounter a problem, refer in the first instance to the following references:
Wilcom ES User Manual—select Help > Online Manual (or printed
version)
Wilcom ES Online Help—select Help > Help Topics
Windows Online Help—select Start > Help or Help and Support
Microsoft Windows knowledge base
Documentation supplied with your hardware, if the problem is
hardware-related.
For information about other Wilcom products, check the relevant
Supplement or Online Help. For the most up-to-date support information
about ES Designer and other Wilcom products, visit the Wilcom Support
Center at www.wilcom.com.au/support. You will need to register in order to
obtain access.
System requirements
Before you install, or if you experience operating problems of any sort, make
sure that your computer/s meet the system requirements.
PC requirements
Check that your PC meets the system requirements. Check CPU/RAM as well
as hard disk space. The table below provides minimum and recommended
system requirements.
Hardware Item Minimum Requirements Recommended
CPU Pentium III (800 MHz) or higher Pentium IV or higher
Operating System Windows 2000 / Win XP SP1 ‡ Windows XP Professional SP1 or later

Hardware Item Minimum Requirements Recommended
Internet Connection For access to Wilcom website for regular product information and updates
Browser IE 6.0 IE 6.0 or above
Memory (RAM) 128 MB 512 MB (for running multiple applications)
Hard Disk Size 8 GB 20 GB or more, especially for database

users
Free Hard Disk 1 GB after installation (non More than 2 GB after installation if
space † double-spaced) running multiple applications
Graphics Card Support for High Color (16-bit) and high 32 MB or higher graphics card
resolution (1024 x 768) (non-integrated)
Monitor ¥ 17" at 1024 x 768 resolution 20" at 1152 x 864 or larger
Scanner, Printer Windows compatible, any connection method—e.g. parallel, USB

and/or Plotter
Serial Ports Standard COM port if connecting to an embroidery machine via direct serial
connection or Wilcom DCi. Note: To connect multiple machines, consult your local
Wilcom Support.
USB Ports Dedicated USB port (V1.0 or V2.0) Dedicated USB port (V1.0 or V2.0)
Mouse Serial, PS/2 or USB mouse PS/2 or USB mouse
Data drives CD-ROM drive for software installation Backup device—e.g. CD/DVD burner,
tape backup, removable hard drive
Sound card Not required Required for multimedia training products
Supported operating systems ‡

Wilcom ES 2006 and Wilcom DW 2006 do not support Win98 or Windows
NT.
ES Designer, ES Design Explorer, and Wilcom DW 2006 all require IE 6.0
or higher—IE 6.0 is included with the Wilcom ES installation CD and is
also available from the Microsoft website.
Free Hard Disk space †

Wilcom ES 2006 occupies up to 200 Mb of hard disk space, depending on
the options installed.
Wilcom DW 2006 free hard disk requirement depends on the installation
type. The following are indicative figures only:
Client: min 200 MB
ES 2006 Appendix F Troubleshooting 1106

Server: min 2 GB.
Note Average 1000 designs will occupy 150 MB of disk space.
Screen resolution ¥
Some controls may be hidden on the user interface if you run your monitor
at low resolutions. The physical size of your monitor will have a bearing on
the optimum screen resolution.
Check CPU/RAM specifications

Check your CPU and RAM specifications, and the version of Windows you are
running to ensure they meet Wilcom ES requirements.
To check CPU/RAM specifications

1 On the Windows desktop, right-click the My Computer icon and select
Properties.
The System Properties > General dialog opens.
2 Check the Windows version, the CPU and the amount of RAM.
Check your hard disk space

Check that your hard disk has enough space to run ES Designer effectively.
This must be greater than 300 MB before intallation. After installation you
will need 100 Mb free or 10% of your total hard drive space, whichever is
the greater amount.
To check your hard disk space

1 Double-click the My Computer icon on your Windows Desktop.
The My Computer window opens.
2 Right-click the hard-disk drive icon (usually C:) and select Properties.
The Properties > General dialog opens.
This tab shows the hard-disk capacity as well as any free space.
Security device messages

This section describes the messages related to the Wilcom security device.
Most security device messages are caused by incorrect connection, access

codes, interference or conflict with other hardware devices. To prevent
security device errors, enter all access codes as soon as you receive them.
If you miss any, some features may become unavailable, or ES Designer
may stop working altogether. Consult your computer technician if more
assistance is required.
Tip If you need to provide security device information to Wilcom Support

or your reseller, send a screengrab of the Security Device dialog. This
saves you transcribing the information and ensures that accurate details are
sent. See Quick Start Guide.
Invalid Access Code
Message Invalid Access Code
Cause • The access codes you are trying to enter are incorrect for your
security device.
• You are missing a set of codes.
Suggestion Check the Identity Code provided against the Identity Code in the
Security Device dialog of ES Designer. If they don’t match,
note the security device Serial Number and current Identity Code
and contact your distributor. See Quick Start Guide.
Hardware key driver not found
Message Error 14: Hardware key driver not found
Cause The dongle driver is not installed, or an incorrect driver is

installed.
Suggestion 1. Click on OK to close the error message window.

2. Reinstall the Hasp HL device drivers using the command line
Haspdinst.exe /i /kp from the installation bin directory. The
driver installation program will inform you if a reboot is required.
3. Run the embroidery software again.
Please attach your dongle and restart your software
Message Error 7: Please attach your dongle and restart your software
Cause The dongle can not be detected by the computer or the dongle is
faulty.

Suggestion Log on to the Wilcom Support Center and download the latest
dongle driver and install. If this does not solve the problem, the
dongle maybe faulty. Please contact your local Wilcom reseller /
disturbutor. See also Installing the dongle driver.
Invalid Product when starting ES Designer
Message ‘Invalid Product’ displays when starting ES Designer.
Cause The dongle is faulty or incorrect access codes have been

entered.
Suggestion Note your security device numbers—Serial Number and Identity

Code—and contact your distributor or reseller. See Quick Start
Guide. New codes can normally be provided to re-enable your
dongle. If the dongle is faulty, you will need a replacement.
Timeout warning
Message Your Security Device will time out in xx days.
Cause New access codes are required or sent codes have not been
entered.
Suggestion If you have not received new access codes, note your security
device numbers—Serial Number and Identity Code—and
contact your distributor or reseller. See Quick Start Guide.
Missing Files
Message Some files may be missing.
Cause Corrupted hard disk, virus attack or security violation.
Suggestion Re-install the software. If the problem persists, further diagnose

the problem. For example, run a virus checking program and
scan the disk to check that the hard disk is not corrupted.
Unrecoverable errors
The system may generate unrecoverable errors when opening designs or
ES Designer itself.

Unrecoverable error when opening design
Problem When opening a design, the message ‘unrecoverable error,

shutting down’ displays.
Cause The design is corrupt.
Solution Email the design to your local reseller/distributor for further

analysis.
Unrecoverable error when starting ES Designer
Problem When starting ES Designer the message ‘unrecoverable error,

shutting down’ displays.
Cause A design in the Recover folder is corrupt.
Solution Use the Purge Recovery utility to delete any corrupted files.
Alternatively, delete them manually using Windows Explorer.
See also Deleting files with Purge Recovery.
ES Design Explorer problems

The following section relates to any ES Design Explorer connection problems
you may experience.
Timeout warning when starting ES Design Explorer
Message The connection to ES Designer has timed out.
Cause ES Design Explorer requires ES Designer to be running in order

to verify security. If ES Design Explorer is started without
ES Designer already running and ES Designer takes longer to
load than ES Design Explorer expects, the error message will
appear. This can happen on a slow PC, or a PC that is low on
resources.
Suggestion Start ES Designer before starting ES Design Explorer.
Unknown Format in ES Design Explorer
Message Unknown Format (in place of design thumbnails)
Cause Your ES Design Explorer program shortcut has the wrong ES

Designer version specified in the Target Path field of the shortcut.

Suggestion Right-click the relevant ES Design Explorer icon and select
Properties. Change the statement to match the version you are
running with ES Design Explorer, e.g.
‘C:\Program Files\Wilcom\DE2006\WilcomDesignExplorer.exe’
might become:
‘C:\Program Files\Wilcom\DE2006\WilcomDesignExplorer.exe
version=2006x’
where ‘x’ is the software version revision found under Help >
About ES
Select the 'Unknown Format' thumbnails and select View >
Validate & Refresh to regenerate the thumbnails.
Thumbnails slow to generate in ES Design Explorer
Problem Thumbnails are slow to generate in ES Design Explorer.
Cause The first time ES Design Explorer accesses a folder containing

design files, it has to generate each design's thumbnail image. If
the folder contains many files, it can take time to generate the
thumbnails.
Suggestion Note: Thumbnails only have to be generated once, after which

accessing folders is significantly faster.
Design files not showing up in ES Design Explorer
Problem Design files not showing up in ES Design Explorer.
Cause You have chosen to display only one type of embroidery file.
Suggestion Check which file types you have chosen to display in ES Design
Explorer. Select 'All Files' to display all available files.
Device connection problems

The following section relates to any embroidery machine and digitizing
tablet connection problems you may experience in ES Designer.
Problem connecting to Melco embroidery machine
Problem Problem connecting to Melco embroidery machine from

ES Designer
Cause Direct connection to Melco machines is not supported under

Windows 2000 / XP.

Suggestion View the document Melco Connect Support Notes.pdf either at
C:\Program Files\Wilcom\ES2006\Support Notes\Melco
Connect Support Notes.pdf or at the online Wilcom Support
Center in the Wilcom Library section.
Machine/digitizer connection suddenly stops working
Problem The machine connection suddenly stops working. Nothing has

changed on the PC or the embroidery machine, and no machine
connection settings have changed in ES Designer.
Cause The physical connection from the PC to the embroidery machine

has been broken, or there is a conflict with another device.
Suggestion Check that the cable connections are all sound. Check that the
cable has not been damaged. For digitizing tablets, run the
connection test. See Testing digitizing tablet connections for
details.
If you have recently installed new hardware—e.g. a
soundcard—disable or remove the device. If that resolves the
problem, consult a PC technician to determine how to assign
Windows resources so that they don’t conflict with the machine
connection setup.
Machine/digitizer connection stops working after

reinstallation of ES Designer
Problem Machine and/or digitizer connection has stopped working.

ES Designer recently reinstalled.
Cause Reinstallation of ES Designer over an existing installation using

the 'Typical’ or ‘Compact’ installation method will overwrite
existing machine and digitizer connection settings with the
default settings.
Suggestion To ensure settings from the existing installation are merged into
the new installation, select the 'Custom Install' option. You will be
prompted to merge existing settings into the new installation.
Tip: Always keep a note of any custom settings—machine or
digitizer connection, user-defined split settings, etc—for use in
case of emergency. For instance, your hard drive may crash and
you may need to install ES Designer on a different PC.
Missing connection settings
Problem You don’t have a record of the connection settings required to set
up your embroidery machine or digitizing tablet.

Suggestion See Setting up Hardware for details of how to set up the device.
Visit the online Wilcom Support Center. This lists connection
information for most popular devices. If not already a member of
the WSC, you will need to register as a licensed user of Wilcom
software.
Digitizing tablet is not listed in ES Designer
Problem The digitizing tablet is not listed in the list of formats in

ES Designer, and 'Auto Detect' is not detecting the tablet.
Cause If your connection settings are correct, you may need to set up a
custom 'format string'. This is a string of letters or characters
which tells the software how to interpret the format of the data
coming from the digitizing tablet.
Suggestion Use the DigiTest utility to determine the digitizing tablet’s format
string. See Testing digitizing tablet connections for details.
Enter the string in the The Digitizer User-Defined Format Setup
dialog. See Defining and modifying digitizing tablet formats for
details.
Windows-compatible digitizing tablet not recognized
Problem A Windows-compatible digitizing tablet is installed but

ES Designer doesn't recognize it.
Cause ES Designer is not capable of utilizing Windows drivers for

digitizing tablets.
Suggestion You need to set up the tablet in ES Designer. See Setting up

digitizing tablets for details.
Note: Some Windows-compatible tablets install software that
runs in the background, constantly checking the serial ports for
the presence of the tablet. Sometimes this software takes control
of the port, making it unavailable to any other applications such
as ES Designer that need to use it.
If you have a Windows-compatible tablet, check the software
(usually running in the Windows taskbar) for 'auto detect'
settings. You may need to disable auto detect when using the
tablet within ES Designer. Note: Some tablet software does not
have a disable option and must be uninstalled to free up the
serial port.
General problems
The following section relates to general problems you may experience in
ES Designer.

Units of measurement in ES Designer
Problem Units of measurement in ES Designer are not what you

want—e.g. measurements are in inches instead of millimeters, or
vice versa.
Cause The units of measurement are set in Windows Regional options.
Suggestion Change the units of measurement via the Windows Control

Panel > Regional/Language options. See your MS Windows
documentation for details.
Designs appearing distorted
Problem Designs aren’t displayed at actual size on screen or appear

distorted.
Cause Your screen needs to be calibrated to match your monitor.
Suggestion Go to Special > Hardware Setup > Display Monitor and

customize your settings to match your monitor. When pressing
‘1’ on the keyboard, designs should then appear at actual size.
See Calibrating the monitor for details.
Inconsistent output results
Problem There are problems when reading and punching paper tapes, or
sending designs to embroidery machines for stitching.
Cause These are caused by serial communications problems.

Inconsistent reading and writing may be caused by wrong port
settings in the operating system or by incorrect settings In ES in
the connection setup for the device.
Suggestion Change the port settings in ES Designer and/or the device. See
Setting up paper tape readers and punches for details.
Stitches not displaying
Problem No stitches are displayed in a design even though there is a

stitch count in the status bar. Only the shape outlines are shown
for the whole design, or for some objects.
Cause The View option Show Stitches is turned off, or stitches were not
generated for the design or for some objects during digitizing, or
the stitches were removed subsequently from selected objects.

Suggestion Select the Show Stitches tool. If some objects still don’t have
stitches, select them and re-generate the stitches using the
keyboard shortcut G. Slight reshaping of the object may also
allow stitches to be regenerated.
TrueView always turned on or off
Problem TrueView is always turned on or off.
Cause The TrueView display setting is saved when closing ES Designer

in the mode you are currently using.
Suggestion Open any design and click the TrueView button on or off as
required and exit (File > Exit) with the design still open. When you
restart ES Designer, all designs will open in the mode you
selected when you closed ES Designer. See also Setting
TrueView options.
Missing toolbars
Problem Some toolbars are missing.
Cause The toolbars have been closed or set not to display.
Suggestion Select View > Toolbars and select the toolbar you want to
display.
For the Point and Stitch toolbar, select View > Point and Stitch.
Missing toolbar buttons
Problem Buttons are missing from toolbars.
Cause The screen resolution is set too low.
Suggestion Change the screen resolution to 1024x768 or higher.
Control points missing
Problem The control points on selected objects are missing.
Cause This problem is related to the display adapter.

Suggestion Check the display adapter manufacturer's website or a software
driver download site for the latest display adapter driver for your
display adapter. If there is a more recent driver available,
download and install it. These are normally free. For a listing of
popular display adapter websites, see Locate the latest display
adapters.
Unwanted trims
Problem Unwanted trims sometimes appear in embroidery objects.
Cause You may be using the connectors ‘After Object' or ‘Inside Object'
settings incorrectly.
Suggestion Check the connector settings. See Using automatic connectors

for details.
Design integrity errors
Problem Some designs generate ‘Design Integrity’ errors.
Cause In most cases the problem is caused by a resequencing error in

the design, caused when stitches become 'unsequenced' from
their objects. This normally happens only when grouped objects
are resequenced.
Suggestion Avoid resequencing grouped objects. Leave the Design Integrity

checker on when digitizing designs. Whenever you receive a
Design Integrity error message, click Undo and work around the
problem. Even if a design does generate errors, ES Designer will
continue to work normally in most cases.
Beeping sound when digitizing
Problem ES Designer generates a beeping sound when digitizing.
Cause This is normal behavior and is a feature of ES Designer.

Suggestion To disable, overwrite the C:\Program
Files\Wilcom\ES2006\RES\button*.wav files with blank wav files.
Use the Windows Sound Recorder utility as follows:
• Select Start > Programs > Accessories > \....\Sound Recorder.
• Click File > New.
• Click File > Save As.
• Browse to the c:\eswin\res folder and save the file as
button1.wav.
• Repeat the process for button2.wav.
Note: Just deleting or renaming the C:\Program
Files\Wilcom\ES2006\RES\button*.wav files will not stop the
beeps.
Problem recovering design files from backup folder
Problem You cannot find your backup design—e.g. DesignName.BAK—in

the backup folder or you need to change the file extension.
Cause If you have the ES Designer 'Auto Save' option enabled, backups
of EMB design files will be saved to the C:\Program
Files\Wilcom\ES2006\BACKUP folder. This is a basic way of
backing up your files although manual backups are highly
recommended through File > Save or Save As.
Suggestion Start Windows Explorer and browse to the C:\Program

Files\Wilcom\ES2006\BACKUP folder. Select the file and select
File > Rename. Change the file extension to EMB—e.g.
DesignName.EMB. Move the EMB file to your c:\design folder.
You can now open the file normally in ES Designer.
Note: If you cannot see the file extension BAK, you need to
change your view settings in Windows Explorer. Refer to
Windows Help for more details.
Embroidery lettering problems

The following section relates to embroidery lettering problems you may
experience in ES Designer.
Problem embroidery letters
Problem Some embroidery letters display or stitch badly.
Cause You may be using the particular alphabet incorrectly.
Suggestion Ensure you are using the alphabet within Wilcom's

recommended sizes and sequence settings as specified in
Standard Alphabets.

Incorrect number of lettering connectors
Problem There are too many/too few connectors in my lettering.
Cause The connector settings and/or stitch method are incorrectly set.
Suggestion Check you are using 'Inside Object' as the connector properties
within your lettering object. Also check you are using the
recommended stitch method for your lettering. See Using
automatic connectors for details. See also Adjusting stitching
sequence and join method.
Installed optional alphabets not available I
Problem Some installed optional alphabets don’t show in the alphabet

dropdown list.
Cause This occurs when there is more than one copy of the alphabet in
one of the subfolders of the Wilcom ES installation folder
C:\Program Files\Wilcom\ES2006\. For example, there is a copy
of the alphabet S324.esa in both the C:\Program
Files\Wilcom\ES2006\wletter and C:\Program
Files\Wilcom\ES2006\userletw folders.
Suggestion • Search the hard drive for multiple copies of the alphabet file in
question.
• Search the C: drive for *.ESA files.
• If there is more than one copy of any file, delete the extra copy
from the hard drive.
• Ensure the remaining copy of the file is in the C:\Program
Files\Wilcom\ES2006\wletter folder.
• Restart ES Designer.
Installed optional alphabets not available II
Problem An optional alphabet which is present in C:\Program

Files\Wilcom\ES2006\wletter or C:\Program
Files\Wilcom\ES2006\monogram folder does not appear in
alphabet dropdown list.
Cause You are using an incorrect security device for the installed
alphabets.
Suggestion If you have changed security device (without a brain transplant)

since you received your optional alphabets—e.g. gone from a
Trysoft or Blue, Yellow or Black dongle to a Red dongle—these
will need to be re-created for your new security device. Contact
your reseller to order a replacement alphabet disk. Note: dongles
which have had a brain transplant will not cause this problem.

Installing the dongle driver
If your dongle driver was not installed correctly or you have an updated
version of the driver, you will need to reinstall it. Use the following procedure
to install or reinstall your dongle driver. Adding extra switches to the
command line may help.
Note To install the dongle driver under Win2000 or WinXP, you need to be
logged into Windows with Administrator privileges. If not, you will receive
an error message ‘User has no access to the registry’.
To install the dongle driver

1 Close all Wilcom applications.
2 From the Windows taskbar, select Start > Run.
The Run dialog opens.
Enter command
line
3 In the Open field, enter:

“C:\Program Files\Wilcom\ES2006\bin\haspdinst.exe” -i -kp
If you installed ES Designer to a different folder than C:\Program
Files\Wilcom\ES2006, modify the command line accordingly. If you have
downloaded a newer dongle driver from the Wilcom Support Center site,
copy the file to the appropriate folder.
Note A space is required before each ‘-’ or the installation command

will not work.
4 Click OK.
If the installation is successful, the message ‘The operation was
completed successfully’ or ‘HASP driver successfully installed’ appears.
5 Restart your PC, if prompted.
6 Start ES Designer.

Reverting to factory settings
If you have made changes to the default settings or they have become
corrupted, use the Revert utility to revert to factory settings.
Warning Reverting to the original settings removes any changes you have
made to styles, templates and hardware settings. Note down any settings
you want to preserve—e.g. machine connection settings—before running
the utility.
To revert to factory settings

Wilcom ES 2006 > Wilcom Tools > Revert.
The Revert to Factory Settings dialog opens.
Select items to be
restored
3 Select the items you want restored to factory defaults.

4 Click OK.
The selected items are restored to factory settings.
Note There is no confirmation message.
Deleting files with Purge Recovery

Delete corrupt files from the C:\Program Files\Wilcom\ES2006\Recover
and C:\Program Files\Wilcom\ES2006\Backup folders using the Purge
Recovery utility.

To use Purge Recovery
Wilcom ES 2006 > Wilcom Tools > Purge Recovery.
The Purge Recovery and Backup Directories dialog opens.
Tip To delete backup files as well, select Delete Backup files.

3 Click OK.
If some files cannot be deleted, a message will display. Using Windows
Explorer, delete any remaining files from the C:\Program
Files\Wilcom\ES2006\Recover and \Backup folders.
Tip If the errors persist, try reverting to factory settings. See Reverting
to factory settings for details.
Testing digitizing tablet connections

If you experience difficulties with your digitizing tablet, first check that it is
correctly connected, and that the hardware settings are correctly configured
in ES Designer. If you are still experiencing problems, you can confirm that
the tablet is communicating correctly with the PC using the DigiTest utility.
See also Serial port settings.
Note This utility will not recognize multiport serial cards—e.g. COM1 or
COM2. Always connect your digitizing tablet to a standard PC COM port for
testing purposes. Once you have confirmed that communications are
correct, replace the connection to your multiport serial card and configure
the port settings as described.
To test digitizing tablet connections

1 On the Windows taskbar, click the Start button, and select Run.
The Run dialog opens.

2 In the Open field, enter C:\Program
Files\Wilcom\ES2006\bin\digitest.exe where ‘C’ is the drive where
Wilcom ES was installed.
3 Click OK.
The DigiData - DigiTest window opens.
4 Select Digitizer > Setup.
The Digitizer Setup dialog opens.
Select digitizing
tablet
Select Point or
Stream
Show tablet data as
recognized by
software
Enter connection
settings
5 From the Digitizer Format field, select a digitizing tablet to check.

If it is not in the list, select Auto Detect.
6 From the Input Mode list, select Point or Stream.
This setting must match the one on the digitizing tablet.
7 Select Interpret Digitizer Data to display digitizing tablet data as
recognized by ES Designer.
During the test, this shows which puck button is pressed and the X, Y
coordinates at the point clicked.
8 Enter required information in the Connected To panel fields. See
Peripheral device connection settings for details.
9 Click OK.
10 Click the Start/Stop Digitizer icon.
11 Place the digitizing tablet puck on the tablet and press each of the
buttons on the puck.

Data appears on screen representing the X, Y coordinates and
corresponding button number. If the test is not successful, or you get
unformatted ‘garbage’ data, click the Start/Stop Digitizer icon to stop
the digitizing tablet.
12 Check the settings.

If the data is not mostly numeric, the port is in a corrupt state. Close
all applications, shutdown your PC and repeat the test.
If the data appears to be correct, switch to ES Designer and
configure the port with the settings you used successfully in
DigiTest. See Setting up digitizing tablets for details.
Resolving Exception Access Violation errors

The error message ‘Exception Access Violation’ can appear when zooming,
using lettering, printing or scanning, saving designs, or viewing the
Color-Object List. This problem generally relates to the display adapter
driver and/or the display adapter itself. Try each of the following solutions
in sequence.
Error messages
Exception access violation when starting ES Designer
Problem An ‘Exception Access Violation’ error message appears when

starting ES Designer.
Cause A corrupt design file in the Recover folder or a corrupt

C:\Program Files\Wilcom\ES2006\res\defaults.dfl file.
Suggestion Delete any files in the C:\Program Files\Wilcom\ES2006\recover

folder. If ES Designer still will not start, use Windows Explorer to
copy the default C:\Program
Files\Wilcom\ES2006\bin\defaults.dfl file to the C:\Program
Files\Wilcom\ES2006\res folder, overriding the corrupt
defaults.dfl file. This will reset ES Designer to ‘new installation’.

Other exception setting violations
Problem An ‘Exception Access Violation’ error message appears when

zooming, using lettering, printing or scanning, saving designs, or
viewing the Color-Object List.
Cause This problem generally relates to the display adapter driver

and/or the display adapter itself.
Suggestion Try each of the listed solutions in sequence. See Resolving

Exception Access Violation errors for details.
Check the display adapter
Use the System utility in the Control Panel to check your display adapter
and drivers.
Use the following procedure to determine which display adapter make and
model you have, and what drivers are installed for the display adapter.
To check the display adapter

1 From the Windows taskbar, select Start > Settings > Control Panel.
2 Double-click the System icon.
3 Select the Device Manager option for Windows 2000/XP by selecting
the Hardware tab and clicking Device Manager.
4 Click to open the Display Adapters node.
Note display
adapter
5 Note down the display adapter listed.

6 Right-click the adapter and select Properties.
7 Select the Driver tab and note the date of the driver.
8 Click Driver Details.
9 Note down Provider and File Version details.
Note provider and

file version
10 Cancel out of the dialogs and close the Control Panel window.
11 Check the display adapter manufacturer’s website for a more recent
version of the driver. See Locate the latest display adapters for details.
Locate the latest display adapters

Some common problems are related to your PC’s display adapter. These
occur more frequently with the newer and 3D display adapters. Check the
display adapter manufacturer’s website or a software driver download site
for the latest display adapter driver. If there is a more recent driver
available, download and install it. These are normally free from the provider.
Some popular display adapter websites are:
www.ati.com
www.nvidia.com
www.matrox.com
www.diamondmm.com
www.download.com
www.intel.com
www.helpdrivers.com
www.neomagic.com
www.oaktech.com
www.s3graphics.com

www.sis.com
www.tridentmicro.com
www.tucows.com
www.windrivers.com
If your video card is integrated to your system board, please check the
system board manufacturers website.
Reduce graphics acceleration

If you already have the latest driver installed, or if installing a newer driver
does not solve the problem, you can reduce the Windows graphics
acceleration.
To reduce graphics acceleration

1 Access the Hardware Acceleration option in your system settings for
Win 2000/XP:
Right-click the Desktop and select Properties.
Select the Settings tab and click Advanced.
Select the Troubleshooting tab.
Reduce hardware
acceleration
2 Reduce the hardware acceleration a ‘notch’.

3 Click OK.
You will be prompted to restart your computer.
4 When Windows has restarted, see how the software runs. If it has not
improved, try dropping the acceleration another notch.
Usually you should not need to reduce the acceleration by more than two
notches to correct the problem. However, in extreme cases, you may
need to reduce it to ‘None’.

Install a different model display adapter
In a very few cases updating the display adapter driver and/or reducing
graphics acceleration will not solve the problem. The only solution is to
install a different brand/model of display adapter. Wilcom can advise on the
type of display adapter to use. If you have another computer with a different
display adapter, we recommended swapping the two. Often a ‘problem’
display adapter will work fine in another computer.

Glossary
10O: Stitch file format native to Toyota add dimension and texture. Designs with
machines. appliqué can be more economical than
embroidery alone, if appliqué occupies a
3D Warp: 3D Warp is used with Motif Fill to significant amount of the design, thereby
create three dimensional effects. You can make lowering stitch count. In schiffli embroidery, an
shapes appear concave or convex using Globe embroidered motif, hand cut or aetzed away
In or Globe Out. You can also create distance from base fabric.
effects using Perspective.
Appliqué cutter: A device that can cut
Accordion Spacing: artistic stitch effect fabric along a line, somewhat like old pen
that gradually varies stitch spacing between plotters. It requires a vector file as input. In
dense and open fill along an embroidery object, MS Windows they can be set up as a type of
producing shading and color effects which are printer device.
difficult to achieve manually.
Artwork: Bitmap or vector image used as a
Active window: The active window is one to backdrop for digitizing. See also Bitmap image
which the next command or action will apply. If and Vector image.
a window is ‘active’, its title bar changes color to
differentiate it visually from other open Auto Appliqué: Auto Appliqué is an
windows. embroidery object associated with an appliqué
which provides automatic stitching to place it,
Allover: Continuous embroidery which covers tack it down, and cover its edges.
all of the goods from selvage to selvage.
Auto Center: Auto Center automatically
Alphabet: A set of characters of the same centers the start and end points of a design.
design or style including letters, numbers and
typographical symbols. Auto Jump: Auto Jump preserves long
stitches in an object by splitting them into a
Anchor point: A fixed point used when series of jumps. This prevents the machine from
rotating, scaling, skewing or mirroring a design. inserting unwanted needle penetrations when
the maximum frame movement is exceeded.
Anti-aliasing: A software technique similar
to dithering which is used to soften hard outlines Auto Scroll: The Auto Scroll feature
where color blocks intersect. It produces automatically scrolls the screen while you are
smoother outlines by ‘blurring’ the pixels where digitizing.
colors join.
Auto Spacing: Auto Spacing only affects
Appliqué: Decoration or trimming cut from Satin stitch. It adjusts stitch spacing according
one piece of fabric and stitched to another to to column width.

Auto Split: Auto Split only affects Satin Backdrop: An electronic image used as a
stitch. When applied, it breaks any long Satin guide for digitizing designs on-screen. Two
stitches into shorter ones. It also distributes types are used—vector or bitmap. Insert them
needle penetrations in a random pattern so that from various file sources, or copy and paste
they do not form a line in the middle of the them via the Windows clipboard.
shape. Used primarily to prevent long stitches in
wide columns, it can also be used as an Background: ES Designer lets you change
alternative to Tatami fill. Auto Split looks more the background color of the design window to
Satin-like and works well with turning stitches, match the color of your fabric. Or you can select
creating soft lines and a little more depth. a background fabric for more realistic previews
and presentations. The background is saved
Auto Start and End: Before stitching, with the colorway.
some embroidery machines require you to
position the starting needle exactly above the Background: The area inside the hoop in the
first needle penetration point. Use Auto Start design window. The background color can be
and End to connect the first and last stitches in changed to match the color of the fabric you will
the design. This makes it easy to position the be using for stitchout.
needle before stitching, and reduces the chance
of the needle hitting the side of the frame. Backing: See Stabilizer.
Automatic color change: Ability of Backstitch: Backstitch is an input method

multi-needle embroidery machine to follow a which can be used for delicate outlines. This
command to change to a specified needle with a stitch follows intricate curves well. It is also is
different thread color. the term used for every second row of stitches
in a Tatami fill. See also Standard backstitch,
Automatic pull compensation: Borderline backstitch, and Diagonal
Embroidery stitches pull the fabric inwards backstitch.
where the needle penetrates. This can cause the
fabric to pucker, and gaps to appear in the Backtrack: Use Backtrack and Repeat to
embroidery. Automatic pull compensation reinforce outlines while specifying the direction
counters this effect by ‘overstitching’ outlines of of the stitching. Backtrack stitches in reverse
filled shapes on the sides where the needle direction to the original. It is typically used to
penetrates. This means the design can be make run stitch outlines thicker without creating
optimized for different fabrics. See also Pull unwanted connecting stitches. Repeat
compensation. duplicates the original stitch direction and is
typically used with closed shapes.
Automatic stitch shortening: Reduces
stitch bunching at sharp corners. See also Backup: The copying of files onto floppy disk
Stitch shortening. or other storage media in order to duplicate and
secure data. Usually two copies are made and
Auto Trace: Auto Trace is used to convert kept separately.
bitmap images to vector images.
Baseline: The notional line on which the
Back appliqué: A fabric piece used behind a letters of an alphabet sit. Only descenders
design where the front fabric will be cut away to extend below it. Baselines determine the shape
reveal the fabric beneath it. of lettering objects in a design. Place it on
straight horizontal or vertical lines, curve it

around a circle or arc, or digitize your own Borer: Borer is a sharp instrument attached
baselines. to embroidery machines to puncture fabrics.
Schiffli machines have built-in borer knives
Baseline Angle: The baseline angle under the needle line which can cut different
determines the absolute angle of the baseline sized holes in fabric.
relative to the horizontal axis. You use it to align
letters to a significant part of the design. Borer depth: You can choose the numbering
system for specifying the Borer depth: Plauen
Begin Jump function: Begin Jump where one is the base and seven (7) the normal
functions instruct the machine not to use needle middle position and Saurer where the base is
penetrations. When encoded in an output file, it zero and the normal middle position is six (6).
normally converts to a Needle In function. See
also End Jump function. Borer Depth function: The Borer Depth
function controls the size of the boring hole. The
Bitmap: An electronic image made up of dots deeper the borer cuts, the larger the hole. The
or ‘pixels’, in contrast to vector ‘outlines’. borer depth on Schiffli machines is changed one
Typically created in paint programs, bitmaps value at a time. Thus a change in depth of three
have file extensions such as BMP, JPG, GIF, TIF (3) units will be automatically distributed by ES
and PCX. When enlarged or scaled down, vector Schiffli to three (3) stitches.
images preserve image quality while bitmap
images generally cause problems of pixilation Borer functions: Borer In/Out functions are
and image degradation. See also Pixels. available for embroidery machines equipped
with a borer. They instruct the machine when to
Blending: See Color Blending. use the boring knife or tool instead of a needle.
BMP: Windows bitmap image format. Boring: ‘Open-work’ incorporated into

embroidered designs. A sharp-pointed
Bobbin: Spool or reel that holds the bobbin instrument punctures, or bores, the fabric, and
thread, which helps form stitches on the stitches are made around the opening to
underside of the fabric. enclose the raw edges.
Bobbin embroidery: Designs worked with Bounding box: The dotted rectangle that
the fabric hooped facedown and the specialty appears when you select a range of items.
thread or ribbon wound onto the bobbin. Most
effective for simple designs such as leaves and Branching: The Branching feature lets you
vines, or special effects with threads too heavy digitize like objects—e.g. the fingers of a
to be threaded through the needle. hand—without having to think about the most
efficient stitching sequence and joins.
Bonding: Permanently joining two fabrics
together with a bonding agent. Heat sealing. BRO: Bits & Volts file format.
Borderline backstitch: The rows are Cap Corner: A type of Smart Corner. Cap
approximately parallel. With lower density fills, corners are used for very sharp corners as they
borderline backstitch creates a smooth, produce fewer stitches.
well-defined edge. Borderline backstitch is also
called Trapunto style. See also Backstitch. Cartoon: Finished artwork of an embroidery
design to be digitized. Usually six times larger
ES 2006 Glossary 1130

than finished design size, based on the Clipboard: A temporary storage area in PC
art-to-stitching ratio historically used in the memory for what was last cut or copied. Images
Schiffli industry. on the clipboard can be pasted into designs any
number of times.
Cascade: A way of arranging open windows
on the desktop so that they overlap each other, Close button: Used to close a window or an
with the title bar of each window remaining application. In MS Windows, it appears as a
visible. small box with an ‘X’ in it at the top-right of the
title bar.
CED: A data condensed file format.
CND: Melco Condensed (CND) is the native file
Center at Current Stitch: The object will format of the Melco embroidery digitizing
be placed with its center at the needle position software. CND files store only digitized outlines
marker. and stitch values.
Center Run underlay: Center Run Color blending: Digitizing technique which
underlay places a row of stitches along the creates interesting perspective, shading and
center of a column. It is used to stabilize narrow color effects by blending colored layers. Two
columns (e.g. 2-3 mm wide). colors are merged smoothly from one to another
using a mixture of dense and open fill.
Chain stitch: Stitch that resembles a chain
link, formed with one thread fed from the Color depth: Color depth, also called ‘pixel
bottom side of the fabric. Done on a manual or depth’, refers to the amount of color information
computerized machine with a hook that available to each pixel in an image. An image
functions like a needle. with a color depth of 1-bit can display only two
colors. As the color depth increases, more colors
Checkbox: A small square box that appears are available – 16 Colors (4 bit), 256 Colors (8
in a dialog box and that can be selected or bit), High Color (16 bit), True Color (24 bit).
cleared. When selected, a tick or a cross
appears. A checkbox represents an option that Color palette: The color palette contains a
you can set. selection of thread colors tailored for each
design. This color scheme, or ‘colorway’,
Chenille: Form of embroidery in which a loop represents the actual thread colors in which a
(moss) stitch is formed on the top side of the design will be stitched. See also Thread chart.
fabric. Uses heavy yarns of wool, cotton or
acrylic. Created by a chain stitch machine that Color Reduction: See Image Preparation.
has been adjusted to form this stitch type. Also
known as ‘loop piling’. Colorways: Colorways are multiple color
schemes for the same design. They are made up
Click: Press and release the left mouse of colors defined in ‘color books’ which may be
button. See also Right-click. created in Wilcom ES Designer or similar design
program, or may be selected from a patent color
Click-and-drag: Click to select, hold down system such as Chromatone or Pantone.
the left mouse button, move the cursor and
release. Column: Narrow, long, curving shape.

COM port: A standard serial port used as a or jumps. You can use automatic settings to
connection point for peripherals. Other ports generate connectors, trims and tie-offs, or add
may be present if the appropriate internal them manually.
option cards have been installed. The computer
must be informed which port is being used by Connectors: Hardware devices to connect
which peripheral—e.g. COM1, COM2, etc. cables to ports. If the connection is male, the
port is female, and vice versa. The wiring
Combination Split: Use of different configuration of each device is determined by its
combinations of Satin and Tatami stitches in function.
Program Split to create various effects with the
same pattern. There are three Combination Copy: To place a copy of a selection onto the
Split options—Satin in Satin, Satin in Tatami and clipboard. See also Duplicate.
Tatami in Tatami.
Control points: Control points are used to
Command: An instruction issued to the modify object shapes, stitch angles and entry
software in order to carry out an action. It may and exit points. You can change the shape of an
be as simple as ‘paste an object’ or as complex object by moving, adding or deleting control
as ‘regenerate stitches’. It is usually activated points on the outline. For most objects, you can
via a menu item, toolbar icon, or command also change control points from corner points to
button in a dialog. curves.
Command button: A button in a dialog Contour stitch: Contour is a curved fill

which executes or cancels the selected action. stitch type—stitches follow the contours of a
Two common command buttons are Cancel and shape, creating a curved, light and shade effect.
OK. It only works on columnar shapes. There are
two types—Standard and Spiral—both of which
Complex Fill: Input method, used to digitize can be applied to Input A, Input B, Input C or
large and complex shapes. Allows holes to be Ring objects. Standard Contour can also be
designated at the same time the object outline applied to Circle objects.
is digitized. The object is thus digitized as one
fill area, instead of being broken down into Copyright: A right granted by the
multiple sections. Objects so created are known government or by international agreement
as Complex Fill objects. giving the owner the exclusive privilege to
publish and sell artistic work during the life of
Condensed file: See Outline file. the creator plus 50 years.
Configuration: The size and type of Cover stitch: The cover stitch is the Satin
computer hardware. Can also be used to mean border around an appliqué shape. You can
the options provided with your software. change the width of the cover stitch, and offset
it to the inside or outside of the digitized outline.
Confirmation message: A message
displayed by the software asking you if you are Crest: An embroidered motif like an emblem,
sure you want to proceed—e.g. when you want an insignia or a Coat of Arms.
to delete a design.
Cross-stitch: Regular Bean stitch
Connector stitches: Connector stitches movements that cross at the center to form an
link objects in a design. They can be run stitches X. Laid in rows or within a box shape to form

geometric designs. Creates a handmade new settings. See also Current property
appearance. settings and Default property settings.
CSD: POEM/Singer/Huskygram file format Defects: See Stitching defects.
Current property settings: Current Density: See Stitch density or Thread

property settings override the template density.
defaults. Unless you deliberately change them,
these take the default values. You generally Design: A ‘design’ is a file in the native
change them to save time when digitizing. For embroidery format—e.g. EMB, JAN, ART—of
example, you may preset Tatami stitch spacing embroidery digitizing software. The design
to use a specific density for all new Tatami source may be a stitch format design. The
objects you create. See also Object design contains stitching information such as
properties. fabric type in addition to stitched shapes.
Custom alphabets: Custom alphabets are Design card: Disk containing computerized
made up of letters, numbers or symbols you embroidery designs read by the embroidery
digitize. machine’s computer.
Custom designs: Designs created by Design file: See File.

digitizing artwork or manipulating existing
patterns. Design library/catalog: Computer
program which catalogs a collection of digitized
Cut: An editing function. To remove a selection designs kept by embroidery shops that allows
from a design. The cut selection is stored in an embroiderer to access the design by subject,
memory (on the ‘clipboard’) and can be pasted stitch count, number of colors or icon.
into the same or different design.
Design object: See Objects.
Cut appliqué: See Back appliqué.
Design properties: Designs themselves
Cutter: See Appliqué cutter. have properties, some of which can be modified,
others not. The most important design property
DAT: DAT is the stitch file extension used with is its source—Native Design, Imported Outlines,
Hiraoka, Laesser, and Wilcom SPES formats. Processed Stitches, or Imported Stitches. Other
properties include the software version number,
Default object properties: Default or stitch count, and so on. Colorways too are
starting property settings are the ones stored properties of the whole design.
with the design template. These are
automatically applied to any newly created Design segment: See Segments.
objects in the design. See also Object
properties. Design sequence: See Stitching
sequence.
Default values: Pre-defined settings which
determine object properties such as stitch Design source: While embroidery files are
spacing, as well as certain system settings. broadly classified as ‘outline’ (condensed) or
These are stored in the design template. They ‘stitch’ (expanded), ES Designer internally tags
remain ‘current’ unless you override them with files as belonging to one of four types–Native

Design, Imported Outlines, Processed Stitches, Digitizer: Usually refers to the person
or Imported Stitches. See also Design punching or digitizing the design. Digitizer can
properties. also refer to the digitizing tablet used by the
digitizer. See also Digitizing tablet.
Design template: See Template.
Digitizing: Process of encoding a design.
Design window: The design window is Artwork is converted into a series of
where designs are displayed for viewing and ‘embroidery objects’ to be read and
modification. manipulated by a specialist CAD/CAM
application. Before outputting to embroidery
Design Workflow Administrator: It is machine, it is converted into ‘stitch data’. See
the DW Administrator who is generally also Punching.
responsible for the high-level setup of Design
Workflow databases. The DW Administrator Digitizing puck: With a digitizing tablet,
determines who gets access to databases, what you generally use a puck instead of a mouse to
users can see and do, and who defines the mark reference points and select commands
categories under which information will be from the menu chart.
stored. The DW Administrator is generally the
manager of the company’s design section. This Digitizing tablet: Design device used by
person has the necessary background digitizers to plot needle penetrations for
knowledge and authority to control what goes embroidery designs. Sometimes used as an
into databases and how the information is to be alternative to digitizing directly on-screen.
used. Typically, a pencil drawing of the design is
enlarged and then taped to this tablet. The
Desktop: MS Windows terminology for the digitizer then uses a device known as a puck to
screen background on which program icons are indicate stitch types, shapes, underlay and
displayed. actual needle penetrations.
Destination folder: The folder (directory) Digitizing tool: Digitizing tools, sometimes
where you intend to copy or move one or more referred to as ‘input methods’, are similar to
files. drawing tools except that the end result is an
embroidery object rather than a vector object.
Detail: An outline, a border, a pickout run, or Different digitizing tools are suited to creating
a small area of the design you want to be different shapes or design elements.
stitched out last when using Smart Design.
Disk: See Floppy disk.
Diagonal backstitch: The backward rows
are diagonal, directly connecting the forward Disk drive: Computers usually have three
rows. Diagonal backstitch is suitable for turning types of disk drive: a hard disk (or fixed disk)
shapes, and gives good results with Jagged which usually supports the mass storage of
Edge. See also Backstitch. information and applications, a floppy disk
drive, and a CD ROM drive.
Dialog: An on-screen box that either requests
or provides information. Many dialogs present Display: A screen used to display the output
options to choose among before a command is of a computer. Also known as the monitor.
carried out. Some dialogs present warnings or
explain why a command cannot be completed.

Dithering: A software technique which DSB: Barudan file format. Basically the same
combines existing colors in a checkerboard as the T03 tape file but wit a ‘header’ in front so
arrangement of pixels. It is typically used to that it can be written to floppy disk – i.e. it is the
simulate colors that are missing from an image floppy disk version of the T03 file.
palette. A type of optical illusion created by
placing two pixels of different color next to each DST: Stitch file format native to Tajima
other. The human eye automatically resolves machines.
the two colors into a third color.
DSZ: ZSK stitch or ‘expanded’ file format.
Dongle: A security hardware device required
to run protected software. Some are attached to Duplicate: When an object is duplicated, it is
a parallel port, others to a USB port. not copied to the clipboard. This leaves the
clipboard free for you to cut or copy other
Dots Per Inch (DPI): A measurement of objects.
screen or printer resolution; the number of dots
in a line of 1". DXF: AutoCAD vector image format.
Double Split Alternate: A variant of E Stitch: Widely used for tacking down
Tatami split. See User Defined Split. appliqués as a decorative border. The stitches
form a comb pattern.
Double-click: Click the left mouse button
twice without moving the mouse. Edge Run underlay: Edge Run underlay
Double-clicking carries out actions such as places stitches around the edge of an object.
opening a program from an icon. Use Edge Run together with the Zigzag or
Tatami underlays when digitizing large shapes.
Download: The process of transferring a
copy of a file from a remote computer or the Editing: Changing aspects of a design via a
internet to a computer or other device such as computerized editing program. Most programs
an embroidery machine. allow you to scale designs up or down, edit
stitch-by-stitch or block-by-block, merge
Drag: An operation of the mouse. Holding the lettering with the design, move aspects of the
(left) mouse button while moving the mouse. design around, combine designs and insert or
Typically used for moving something on the edit machine commands.
screen.
Element: An element, in software terms, is a
Drawing object: See Vector object. color block consisting of sequential, same-color
objects. You can assign names to elements
Drawing package: Software application which then appear on the production worksheet.
that creates or allows you to edit vector images The operator generally uses these to make sure
made up of separate individual vector objects. colors are correct during production. See also
Vector images can be scaled with no loss of Production worksheet.
sharpness. Examples of vector editing programs
are Adobe Illustrator, MacroMedia Freehand and EMB: Outline file format native to Wilcom ES.
Corel Draw. See also Graphics application. EMB designs contain a complete set of design
information in a single ‘all-in-one’ file – object
Dropdown list : A single-line dialog box outlines and properties, actual stitches and
control that opens to display a list of choices. machine functions, thread colors, a picture icon

and comments. Even the original design bitmap regenerated or the design is resized. See also
image can be included in EMB format. Only Empty stitch.
native EMB files provide 100% perfect scaling
and transformation. Empty jump: You create empty jumps (0,0)
manually in ES Designer by digitizing with
Emblem: Embroidered design with a finished Penetrations Out. This prevents the needle from
edge, applied to a garment after stitching, penetrating the fabric, forcing the machine to
commonly an insignia of identification. Also move across the design in a series of jumps.
known as a ‘crest’ or ‘patch’. Also, use empty stitches or empty jumps when
required by the selected machine format. See
Embroidery: Decorative stitching on fabric. also Empty stitch.
Generally involves non-lettering designs, but
can also include lettering and/or monograms. Empty stitch: Empty stitch is a tight (zero
Evidence of embroidery exists during the reign length) lockstitch, used together with, or as an
on Egyptian pharaohs, in the writings of Homer alternative to, tie-in and tie-off stitches,
and from the Crusaders of the 12th century. Has particularly in objects filled with light density
evolved from hand-work to manual sewing stitching where standard tie-ins and tie-offs
machines and from hand-looms and Schiffli may be visible. Also, use empty stitches or
machines with hundreds of needles to empty jumps when required by the selected
high-speed, computerized multihead machines. machine format. See also Empty jump and
Empty function.
Embroidery disk: Embroidery disks are
specially formatted floppy disks used to transfer EMX: Wilcom Cross Stitch file format.
designs from computer to embroidery machine.
You can format embroidery disks and save End X/Y: The coordinates of the last stitch.
designs to them from within ES Designer. The
format you use will depend on the selected Enlargement drawing: The technical
embroidery machine. You can also open designs drawing, usually six times larger than the
from embroidery disk directly into ES Designer. original design, indicating the stitches to be
digitized. When you digitize with a tablet, you
Embroidery object: See Object. use an enlargement drawing to trace the shapes
and outlines of the design in the same way you
Embroidery thread: See Thread. use backdrops on-screen. Before you start, you
need to prepare the enlargement drawing. See
EMF: Enhanced Metafile vector image format. also Digitizing tablet.
Empty function: An ‘empty stitch’, or Enlarger: The draftsman or designer who

non-data stitch, is an industry term for any draws the technical drawing for the puncher to
stitch with a zero movement (0, 0). However, follow.
Wilcom ES distinguishes between intentional
empty stitches related to the machine Entry point: The entry point is the point
functioning, and unintentional empty stitches, where the thread enters the embroidery object.
which can occur in small or pointed parts of This should coincide with the exit point of the
shapes. An empty function is an empty stitch preceding object.
that the system processes as a machine
function. It is not removed by the small stitch Lettering Art: Special effect which makes
filter and is preserved when stitches are objects bulge or arch, stretch or compress.

Lettering Art is typically applied to lettering warping, and shearing are reduced by suitable
objects, but can also be applied to other types underlay for the stitch type and fabric.
of embroidery object.
Fabric stretch: Embroidery stitches pull the
EPS (Encapsulated PostScript): A fabric inwards where the needle penetrates.
standard file format for importing and exporting This can cause the fabric to pucker, and gaps to
PostScript language files among applications in appear in the embroidery. Use automatic pull
a variety of environments. An ESP file is a compensation to counter this effect by
PostScript file which describes a single page, ‘overstitching’ outlines of filled shapes.
usually an illustration. In general, the purpose
of the EPS file is to be included (encapsulated) Facing: See Topping.
in another PostScript file and can contain any
combination of text, graphics and images. EPS Factory settings: These are the initial
files normally include a small, low-resolution system settings as installed. They are a
TIFF, or vector-based Windows metafile image standard known setting that you can return to.
preview as it will appear on a printed page. Some customers want to create custom settings
tailored to the exact fabric they are using most
ESD: Native DOS format of Wilcom DOS frequently. The ‘My Fabric’ settings are those
ES—contains stitch data, like stitch types and retained in the design and can be saved to the
densities, which permits better processing. ESD template file.
in later versions contains lettering objects with
outlines. FDR: An embroidery disk format native to
Barudan machines.
Exit: To leave a current window or application.
File: A named collection of specifically related
Exit point: The exit point is the point where information stored on a disk. Designs that have
thread leaves the embroidery object. This been saved are stored as files.
should coincide with the entry point of the next
object. File extension: The dot and three letters at
the end of a filename such as ‘.BMP’. The
EXP: Stitch or ‘expanded’ file format native to extension identifies the file as a certain type,
Melco machines. readable by certain applications.
Expanded file format: See Stitch file. Filename: The name of a file, including the
extension, e.g. Cat.BMP.
Expanded tape: An expanded tape which
has every stitch of the design punched. Fill stitch: Series of running stitches
commonly used to cover large areas. Different
Extension: See File extension. fill patterns can be created by altering the angle,
length and repeat sequence of the stitches. Also
Fabric: Fabrics have many properties, the known as Geflect stitch.
main one being elasticity or ‘fabric stretch’.
Surface texture, if present, is another property Filled Holes: This feature creates filled
that requires different underlay types. The objects from the outlines of selected Complex
system can automatically compensate for the Fill objects.
pull-push effect of different fabrics. Push,

Finishing: Processes done after embroidery Folder: A collection of files and sub-folders
is completed. Includes trimming loose threads, that are stored together on a disk. Part of
cutting or tearing away excess backing, structure for organizing files on a disk.
removing facing or topping, cleaning any stains,
pressing or steaming to remove wrinkles or Font: A set of characters, including letters,
hoop marks and packaging for sale or shipment. numbers and other typographic symbols, of the
same design and style. Also called Alphabet,
Fixed Line baseline: A Fixed Line baseline even if it includes non-letter characters.
has a fixed length which you can digitize or
specify numerically. If the text is longer, the Fractional spacing: Fractional spacing is
letter spacing is decreased and the letters may used to place stitches more evenly in curved
overlap. The letter width is not changed. With shapes, producing better quality embroidery
Fixed Line, you need to mark two points to with fewer stitches. Fractional spacing is
define the base. See also Baseline. particularly useful for columns of Satin stitches
with sharp turns.
Flagging: Up and down motion of fabric
under action of the needle, so named because of Frame: Holding device to secure fabric under
its resemblance to a waving flag. Often caused an embroidery head for stitching. May employ a
by improper framing of goods. Flagging may number of means to maintain stability during
result in poor registration, unsatisfactory stitch the embroidery process, including clamps,
formation and birdnesting. vacuum devices, magnets, or springs. See also
Hoop.
Flexi Split: Flexi Split is a decorative effect
where one or more lines of a Program Split Frame-out position: When you stitch out
pattern are used in the object fill. The pattern appliqué objects, you can set a frame-out
follows the stitch angle and may be scaled to fit position. This shifts the hoop out from under the
the width of the object. There are four different needle, making it easier to place and trim the
Flexi Split effects. You can use an existing appliqué shapes. The frame out settings
pattern for Flexi Split or create your own. determine the distance and direction of the
hoop movement.
Floppy disk: A flexible disk permanently
sealed in a square plastic jacket—e.g. HD/DD Free Line baseline: Free Line is the only
3.5" floppy disk. Used for information storage type of baseline which does not have a fixed or
‘off-line’ for security and/or infrequently used pre-determined length. When you choose Free
data. Also used for transferring punched Line, the baseline will extend as long as you
embroidery design (stitch file) data from keep adding letters. You only need to mark its
computer to embroidery machine. start point. See also Baseline.
Florentine Effect: With Florentine Effect French knot: A stitch featuring a raised
you can curve Complex Fill along a digitized line knotted center.
to create flowing stitch effects. The stitches
follow the digitized line but maintain uniform Fringe: Threads that are cut and hang loosely
density and needle penetration patterns. from the edge of a design.
FMC: An embroidery disk format native to Function: See Machine Function.

Barudan machines.

Fusion Fill: Fusion Fill™ is an input method Hard disk: A device for mass information
used to digitize complex shapes with turning storage. Usually the disk is fixed inside the
stitches. Many shapes can be digitized with this system unit, and a second hard disk can be
tool. Create objects using left and right clicks to added. When you store information on the hard
mark reference points to form the boundary disk it will remain there until you delete it. As it
outlines. By digitizing boundaries within shapes, has a finite capacity, file management is
you can create filled objects with holes. required.
Fusion Fill Trapunto: Fusion Fill Trapunto Hardware: Computer componentry,

is open fill stitching that turns according to including monitor, keyboard, digitizing tablet,
user-defined stitch angles. As with Complex Fill, printer, scanner, sewing machine, etc.
Trapunto effect forces travel runs to the edges
of objects so they do not show through open or Heirloom embroidery: Embroidered
loose stitching. Since the Trapunto lines are goods designed to be passed down from
generally not parallel, lines do not connect on generation to generation.
either side of holes. The spacing between lines
can be average or maximal. Hoop: Device made from wood, plastic or
steel used to tightly grip fabric and stabilizer
Geflect stitch: Geflect refers to light or between an inner and outer ring. Designed to
heavy stitching used to fill in an area of a design hold fabric taut against the machine bed for
with run stitches. It is also known as Ceeding or embroidering, it attaches to machine’s frame.
Tatami. See also Fill stitch.
I-beam: One shape taken by the PC pointer,
Graphics application: Software it indicates that text can be input at the point
application that creates or allows you to edit selected. The shape is like the capital letter ‘I’.
bitmap images and/or vector images. See also
Paint package and Drawing package. Icons: Miniature pictures used in the screen
display instead of, or as well as, text. The file list
Grayscale: A grayscale picture is made up of can be displayed as icons with the filenames
254 different shades of gray, plus solid black underneath; the toolboxes which appear in the
and solid white for a total of 256 different tones. left of the screen are composed of icons.
Black and white photographs are grayscale.
Image editing program: See Graphics
Grid: Grid lines provide visual cues to help you application.
accurately place a design. When you start the
software for the first time, grid lines appear by Image preparation: Method of improving
default. or clean up artwork. Outlined and non-outlined
images require different methods of
Guide run: Series of stitches used to align preparation. Cleaning up scanned images may
embroideries in multi-hooping situations or to involve any one or a combination of the
assist in fabric placement for appliqué. It is the following techniques: reducing the number of
first appliqué layer stitched and is used to colors, adding or emphasizing outlines,
position the appliqué fabric on the background removing noise, dithering or anti-aliasing,
material. See also Appliqué. eliminating unnecessary detail, cropping
sections or eliminating backgrounds.
Handle: See Selection Handle.

Imported outlines: Designs read from Jump: A frame or hoop movement without a
non-EMB outline—CND or PCH—where stitches needle penetration, commonly used to get from
have been generated in ES Designer (or one point in a design to another.
equivalent) from original outlines and stitching
data. Jump function: Jump(M) functions cause
frame movements without needle penetrations
Imported stitches: Designs read from and are used to move smoothly from one part of
stitch or ‘expanded’ files, with or without outline a design to another.
recognition, but stitches have not been
regenerated through stitch processing. Note Lacework: Lacework involves the use of
that if you change a stitch design—e.g. add a threads to produce overall embroidery of
lettering object—the status changes to full-length fabrics. Most often used to embellish
‘Processed Stitches’ even though the imported women's apparel and home fashions. Such work
stitches may not have been regenerated. typically uses boring. It is the most widely used
application for Schiffli machines.
INP: Wilcom condensed file format.
Lettering: Embroidery using letters or
Turning Angle Fill: Input A is an input words. Lettering commonly called ‘keyboard
method used to digitize columns of varying lettering’ may be created from pre-defined
width and stitch angle. Digitized pairs of alphabet styles or fonts, allowing variance of
reference points define the outline, while lines size, height, spacing, density and other
connecting the pairs define the stitch angles. characteristics.
Input B: Input B is an input method used to Line art: A drawing with only two
digitize shapes where one side is different to the colors—usually black and white.
other, especially where one side requires more
reference points than the other. Stitches turn List box: A single-line dialog that opens to
evenly throughout the entire shape. You can use display a list of choices.
any fill stitch type except Motif Fill.
Lock stitch: Commonly referred to as a
Border: Input C is an input method used to lock-down or tack-down stitch, a lock stitch is
digitize columns of fixed width. It is typically formed by three or four consecutive stitches of
used for digitizing borders and outlines of larger at least a 10-point movement. It should be used
shapes. You can digitize columns to create thick at the end of all columns, fills and at the end of
lines or borders. Border is typically used with any element in your design where jump stitches
Satin stitch. will follow, such as color changes or the end of
a design. May be stitched in a triangle, star or in
Input method: See Digitizing tool. a straight line. Lock stitch is also the name of
the type of stitch formed by the hook and needle
Jagged Edge: Technique for creating rough of home sewing machines, as well as
edges, to create shading effects, or to imitate computerized embroidery machines.
fur or other fluffy textures in your design.
Lockstitch machines: Both Schiffli and
JPG: JPEG file interchange bitmap image Multihead machines are lockstitch machines,
format. forming stitches in the same way as a home
sewing machine. Lockstitch operations involve
two threads—top and bottom. The top thread is

driven by a needle, the bottom by a shuttle. The measured between needle penetration points.
bottom thread ‘locks’ the top thread in place, They are governed by the minimum and
hence the name ‘lockstitch’. See also Multihead maximum frame movements that the machine
lockstitch machine. can make.
Logo: Name, symbol or trademark of a Maximize button: For Windows, the small
company or organization. Short for logotype. box in the center of the group of three at the
right of the title bar. Click the Maximize button
Looping: Loops on the surface of embroidery to enlarge a window to its maximum size.
generally caused by poor top tension or tension
problems. Typically occurs when polyester top Memory: The place in the computer’s system
thread has been improperly tensioned. unit that stores information while you are
working with it. If you exit without saving
Machine format: Different embroidery information in memory, it will be lost.
machines understand different languages. They
have their own control commands for the Menu bar: The menu bar contains dropdown
various machine functions. Before you can stitch menus of commands. Some of the same
a design, it must be in a format which can be commands are available on the toolbar.
understood by the target machine. Common
formats include Barudan, Brother, Fortran, Menu chart: The menu chart provided with
Happy, Marco, Meistergram, Melco, Pfaff, the software lets you select commands directly
Stellar, Tajima, Toyota, Ultramatic and ZSK. from the digitizing tablet using the puck. You
need to ‘register’ it before use.
Machine function: Machine functions are
commands for a specific embroidery machine. Minimize button: For Windows, the small
These include color changes, thread trims, box to the left of the group of three at the right
jumps, machine stops, needles in/out, and of the title bar. Click the Minimize button to
boring begin/end. reduce a window to its minimum size.
Machine setup: Before you can send Minimum stitch length: The minimum
designs for stitching, you must configure the movement of the hoop. It is measured between
machine in ES Designer. You can add machines, needle penetration points. See also Max/Min
change settings for machines already set up, or stitch.
delete machines that are no longer required.
Mirror: Duplication of an object in the Y
Manual object: When you open a stitch and/or X axis. The location and orientation of
format file without outline recognition, it the mirrored stitches are determined by location
becomes a single ‘manual’ object. This object and angle of the axis of reflection relative to the
consists of a series of individual needle position of the original stitches.
penetration points and has only general and
connector properties. When you transform Mirror-merge: Mirror-Merge Array can
(scale, rotate, mirror) a manual object, the create multiple copies of designs, such as
original stitch density does not change. badges, spaced in rows and columns for faster
stitchouts. Mirror-Merge Reflect can duplicate
Max/Min stitch length: The minimum and mirror designs simultaneously. You can use
and maximum stitch lengths allowable in a it to quickly create borders or merge duplicates
design determine the outside limits as into a symmetrical object such as a heart.

Mirror-Merge Wreath can duplicate objects Mouse: A device, equipped with control
around a center point. The Kaleidoscope tool buttons and designed to roll about on the table
works like Wreath but mirrors objects as well. next to the keyboard. As the mouse moves, its
circuits relay signals that move a pointer on the
Mitre Corner: A type of Smart Corner. Mitre screen.
Corners create a sharp line at the intersection of
the two columns. They are designed primarily Multihead lockstitch machine:
for corners between 75° and 90°. See also
Multihead lockstitch machines have a horizontal
Smart Corners.
frame. The needles are vertical, and are
grouped in heads. They are mainly used for
Modeless dialog: Dialogs which stay on the stitching individual items—e.g. badges,
screen and are available for use at any time but garments, which are stretched in separate
permit other user activities. In contrast, ‘modal’ hoops attached to the frame under each head.
dialogs require the user to respond before A multihead machine can have up to 24 heads,
continuing the program. and each head can have up to 20 or more
needles. Thread change and trims can be done
Modem: Unit to telegraphically send automatically. See also Lockstitch machine.
computer information from one computer to
another. Nap: A fuzzy or downy surface of fabric
covering either one side or both, produced by
Monitor: The screen on which punching or brushing loosely twisted yarns.
stitching progress can be followed, stitch by
stitch. Native designs: Native designs refer to
designs created in Wilcom ES software (or
Monogram: Embroidered design composed equivalent).
of one or more letters, usually the initials of a
name. Native file format: A design saved in the
original format of the application you are
Moss Stitch: Chenille-type stitch. See working with is said to be the ‘native’ file format.
Chenille. It can also refer to the stitch file format required
by a specific embroidery machine. When saved
Motif: Pre-defined design elements, such as to another format, it is known as a non-native
hearts, leaves or border patterns, that can be format.
quickly inserted into a design. Motifs generally
consist of one or more simple objects, and are Needle: Small, slender piece of steel with a
stored in a special motif set. hole for thread and a point for piercing fabric. A
machine needle differs from a handwork needle;
Motif Fill: Motif Fill is a decorative fill stitch the machine needle’s eye is found at its pointed
with which you can fill Complex Fill objects. You end. Machine embroidery needles come with
can also create special or three dimensional sharp points for piercing heavy, tightly woven
effects. fabric; ball points which glide between fibers of
knit; and variety of specialty points, such as
Motif Run: Motifs which are linked together wedge points, which are used for leather.
along a digitized line. You can create decorative
outlines using any motif from the list. Needle In/needle Out function: The
Needle In and Needle Out functions instruct the
machine whether or not to use needle

penetrations. You can enter these functions There are other, more specific properties of
automatically using the Penetrations tool. objects which depend on the object type.
Needle points: You can view needle points Object recognition: See Outline
in a design to check density or, for instance, to recognition.
select stitches for editing.
Object type: An object has a type, shape,
Nesting: Nesting lets you create or insert an thread type and color, stitching settings and a
object at an exact point of the stitching position in the stitching order. The object type
sequence. You can ‘nest’ an object in the middle may or may not determine the intended final
of another object’s stitching sequence to appearance of the stitching.
prevent long connectors being generated.
Offset Object: Software function used to
Network: To link embroidery machines via a create new outlines from the outlines of selected
central computer and disk-drive system, usually objects.
via a modem or network card. A group of
machines linked via a central computer. Options: Options provide software with extra
functionality that can be purchased by
Noise filtering: Noise filtering means registered owners of the product.
restoring the solid color blocks of original
artwork in scanned images. This is achieved by Outline file: Outline or ‘condensed’ files are
merging different shades into one solid color. high-level formats which contain object
Noise filtering is important for automatic outlines, object properties and stitch data.
digitizing because it makes it easier for the When you open an outline file in ES Designer,
software to identify solid color blocks which corresponding stitch types, input methods and
become embroidery objects in the resulting effects are applied. Outline files can be scaled,
design. It also cleans up blurred or mottled transformed and reshaped without affecting
areas of color. stitch density or quality. See also Stitch file.
NORMAL template: Default template. See Outline recognition: When you convert a
also Template. stitch file to outline format, ES Designer reads
the data stitch-by-stitch according to the needle
Object: In embroidery design terms, an penetration points. The software then
object is an individual ‘element’ of a design. An ‘recognizes’ stitch types, spacing and length
object has many properties, such as its size, values, stitch effects, and can determine object
color, sequence in the design, stitch type and outlines.
values, including the rules for stitching. See also
Vector image, Vector object. Outline stitch: Stitch such as Run or Satin
used to outline an embroidery object.
Object outline: See Outline file.
Overall embroidery: Overall embroidery is
Object properties: All embroidery objects embroidery which covers the entire fabric. This
in ES Designer contain defining settings or includes lacework where the backing fabric is
‘values’. The values stored with an object actually removed after manufacture. Overall
become its ‘properties’. All objects have certain embroidery is typical of Schiffli manufacture,
properties in common such as size and position. less common with Multihead.

Overview window: Use the Overview used, like Tatami Offset Fractions, to create
window to view a thumbnail of the design. The needle penetration patterns or textures in
window is updated whenever you make a stitched embroidery.
change, and can be used to zoom in or pan
across the design window. Paste: To insert an object, which has
previously been placed on the clipboard by
Paint package: Software application that cutting or copying selected objects, into a
creates or allows you to edit image files. You can design. You can paste from the clipboard as
create lines and filled areas as well as edit the many times as you like.
image pixel-by-pixel using paintbrushes,
erasers and spraypaint tools. Examples of Pattern: The design, card, punching, tape,
image editing programs are Adobe Photoshop, disc, or enlargement.
Jasc PaintShop Pro and Corel Photo-Paint. See
also Graphics application. PCH: Gunold Outline Design or ‘condensed’
file format.
Pan: Use Pan to view parts of a design which
are not currently visible in the design window. PCX: PC Paintbrush bitmap image format.
Paper tape: Traditional recording media PDF: Portable Document Format. Used to view
used in the embroidery industry is the paper the Online Manual in Acrobat Reader.
tape. The tape coding process produces the final
design in stitch format—a stitch-by-stitch Pattern outline: See Motif Run.
interpretation of the design—exactly as the
embroidery machine will read it. Now largely
Pause function: The Pause function is a
replaced by floppy disk, tapes are still used by
conditional Stop, always on an empty stitch. It
older machines. More specifically, stitch data
is interpreted by the machine according to the
paper tapes are eight-channel paper tapes
machine operator preferences.
which, in effect, are hard copies of 8 bit binary
code.
Pencil rub: Low-cost way of producing an
Parallel port: A connection on a computer, embroidery design sample. Consists literally of
a piece of tracing paper placed over a stitchout
usually LPT1, where you plug in the cable for a
and rubbed lightly with a pencil to produce an
parallel printer and/or a dongle. Parallel ports
impression of the embroidery.
are used to connect some embroidery
machines. They are named LPT1, LPT2, etc.
When you set up a parallel machine connection, Penetrations: The Needle In and Needle Out
select the parallel port and the required functions instruct the machine whether or not to
protocol, and complete the machine setup use needle penetrations. You can enter these
procedure. functions automatically using the Penetrations
tool.
Partial appliqué: Technique to create
appliqué objects with partial cover stitching to Peripheral: Any device connected to a
create an overlapping effect without computer which is to some degree controlled by
doubling-up borders. the computer—e.g. an embroidery machine or
printer.
Partition Lines: Partition Lines is a method
for offsetting needle penetrations in Tatami fills, Photo Click: Technique for creating
embroidery designs directly from photographs

and other grayscale bitmap images. Photo Click Position: The Position indicator shows
designs consist of rows of Satin or Contour position of the design (X, Y) in the design
stitches of varying spacing. The effect window.
resembles the output of a line printer.
Process: The Process feature lets you adjust
Pixel: A dot. For example, dots of light that the density of one or more stitch types across
make up the picture on a computer screen. The the whole or selected parts of a design. Change
more pixels there are in a given area—that is, stitch density in order to stitch on a different
the smaller and closer together they are—the fabric or with a different thread. Alternatively,
higher the resolution. you may want to make production cheaper by
reducing the overall stitch count. Processing a
Pixilation: An effect which occurs when a stitch file is similar to converting it to an outline
bitmap image is enlarged so that the individual file when opening except that you can process
pixels are obvious to the eye. only selected objects or stitches.
PMU: PMU is a Proel stitch or ‘expanded’ file Processed stitches: Designs read from
format. stitch or ‘expanded’ files where stitches have
been regenerated by processing.
PNG: Portable Network Graphics vector image
format. Production worksheet: The production
worksheet is the link between the designer and
Point & Stitch: Toolset used to create the embroidery machine operator. It contains a
embroidery designs by automatically digitizing design preview as well as essential production
blocks of color in electronic images, or information, including the design size, the color
converting vector outlines directly to sequence and any special instructions.
embroidery objects. See also Smart Design.
Program: A computer program or
Pointer: A part of the screen display, the ‘application’ is generally used for a particular
pointer can take various shapes. It is moved by kind of work, such as word processing or
moving the mouse and can be used to point to database management.
anything on the screen to make selections and
indicate points for input. It also indicates when Program Split: A decorative fill stitch which
the computer is working and no input is can be applied to various object types where
possible. needle penetrations form a tiled pattern.
Different preset patterns are available for use.
Point: Unit of measurement, with 10 points
equal to 1 mm. Properties: See Object properties.
Port: A connection on a computer where you Protocol: The communications protocol

plug in the cable that carries data to another depends on the connection type between the
device. Ports which are used to attach computer and the embroidery machine. This will
peripherals have names like COM1 or LPT1 so be one of: standard serial, parallel, serial to
that you can specify where the peripherals are parallel converted (DCi), or interface card.
attached.
PS: Postscript vector format.
Puck: See Digitizing puck.

Puckering: Result of the fabric being Random factor: You can eliminate
gathered by the stitches. Many possible causes unwanted patterns and distribute stitches
include incorrect density, loose hooping, lack of evenly within a shape using a random factor.
backing, incorrect tension or dull needle. Apply random factors to Tatami Partition lines or
Program Splits. You can use this effect to imitate
Pull compensation: Digitizing technique different textures such as fur, grass, leaves, etc.
that takes into account the distortion of a design
that will occur because of the interaction of Raster image: See Bitmap image.
thread with fabric. ‘Push and pull’ will cause a
circle digitized perfectly round to sew with the Read: To open a design which has been
sides pushed out, resulting in an egg shape. written on a design card or to an embroidery
Generally, it is necessary to extend horizontal machine.
elements and reduce vertical elements. See also
Automatic pull compensation. Recognition: See Outline recognition.
Puncher: The skilled programmer who Redraw: The screen display is refreshed. This
makes the apes for embroidery machines. is useful when parts of the display have become
obscured in the course of editing. See also Slow
Punching: Conversion of artwork into a Redraw.
series of commands to be read by an
embroidery machine’s computer or controller. Image Preparation: The Image
The term refers to an earlier method of machine Preparation feature automatically reduces color
embroidery whereby designs are ‘punched’ to blocks in bitmap images to a single color,
paper tape. A part of the machine, called an removing anti-aliasing and noise. You can let
automat, reads the paper tape or Jacquards the software reduce the color count
punched with holes representing stitches, automatically or specify a precise number. The
pantograph movements and other commands. latter is useful if you want to match design
While still capable of producing paper tape, colors to an exact number of thread colors.
many digitizing systems now store this
information on disk formats. See also
Reference point: A point that can be
Digitizing.
aligned with the grid. For example, you can set
the grid reference point to the design center.
Push-Pull: When any stitch is sewn into This is easier and faster than moving the whole
fabric, the tension in the thread between needle design.
penetrations can build up and result in a
‘push-pull’ effect. This can cause distortions in
Refresh: See Redraw.
your sewn designs, poor stitch registration and
even the bunching of the fabric. The degree of
distortion can be affected by the following Registration: Correct registration is
factors: stitch density, fabric type, underlay, achieved when all stitches and design elements
backing type, thread type and garment line up correctly.
orientation. See also Stitch-Pull.
Relative Pointer Setting: This setting
RAM: Random Access Memory, computer chip shows the pointer position as an absolute value
maintaining memory. from the first needle point of the design. Useful
for checking that the design fits a given area.

Relative: The distance the pointer is from a Satin stitch: Type of fill stitch. Formed by
previously marked point, or from the previous closely arranged zigzag stitches, it can be
stitch point. stitched at any angle and with varying lengths.
The thread is laid across a shape with a zigzag
Resequence: You can change the position of sewing action where two stitches form a
a selected object by cutting it, then pasting it column. Hence it is only suitable for small or
somewhere else in the stitching sequence, or by narrow shapes. As the stitches are almost
using the Resequence command. You can also parallel, Satin provides good coverage. It is
resequence objects by color or using the often used for lettering, outlining, and details.
Color-Object List. Because there are generally no needle
penetrations breaking up the fill, Satin stitch
Resizing: See Scaling. creates a glossy effect.
Resolution: Resolution determines the Save: To store (design) information in a file.

number of dots per inch (dpi) used to create an Each time you save a design, you replace the
image. The higher the value, the clearer the previous version using the filename. You should
image, but the more storage space required. A save your design frequently.
resolution of 75 dpi generally produces good
results. Scale factor: This option allows you to
automatically scale CND designs as you load
RGB: RGB stands for red, green, and blue. It them. For example, to scale the imported design
is the system used by computer monitors to to 120% of the original, you would enter a scale
create color. factor of 1.2.
Right-click: To press and release the right Scaling: Ability to enlarge or reduce a design
mouse button. See also Click. in size. In stitch or ‘expanded’ format, most
scaling is limited to ±5% because the stitch
count remains constant despite final design
Rotation handles: When you select an
size. In outline or ‘condensed’ formats, scale
object, selection handles display at its
changes may be more dramatic because stitch
extremities. If you click the object again,
count and density are recalculated.
rotation and skew handles appear around the
object. Rotation handles appear at the corners
of the object and an anchor point displays at the Scanner: A device that converts physical
object’s center. Skew handles are images into digital form so that they can be
diamond-shaped and appear at the center-top stored and manipulated by computer. Scanning
and bottom of the object. See also Selection allows you to take scanned images as a basis for
handles. embroidery design.
Run stitch: Run stitch (also called Walk Scanning resolution: Most scanners
stitch) places a single row of stitches along a require you to enter scanning resolution
digitized line. The needle penetrations are information. Resolution determines the number
placed in consecutive order. Run is generally of dots per inch (dpi) used to create a drawing.
used for stitching outlines and connector The higher the value, the clearer the image but
stitches. Run stitch length can be set to larger the file. For digitizing purposes, use a
automatically vary in order to follow tight maximum resolution of 300 dpi (dots per inch).
curves. A resolution of 72 dpi (screen resolution) will
usually be sufficient. Generally speaking, the

smaller the source image and/or more detail it Sequence: See Stitching Sequence.
contains, the higher the resolution needs to be.
Sequin attachment: Sequin attachments
Schiffli machine: Commercial embroidery are computerized or manual machine devices
machine that utilizes the combination of needle which apply sequins by stitching, glue or heat.
and shuttle to form a stitch. Massive in size.
Some schiffli machines—also known as Sequin mode: Sequin mode enables quick
looms—weigh 10 tons and have up to 1024 digitizing of Drop Sequin functions. See also
needles. Most Schiffli machines do not have Drop Sequin functions.
automatic thread trim or automatic color
change. Excellent for emblem production, the Serial port: A connection point on a
creation of lace, embroidery production on
computer where you plug a serial
oversized items and production orders of very
communications device such as a modem. PC
large quantities.
serial COM ports are male connectors, and can
be either 9-pin or 25-pin. They are named
Screen calibration: You need to calibrate COM1, COM2, COM3, etc. The number of
your monitor so that designs at 1:1 scale appear available ports limits the number of devices you
at real size. Do this when you first install ES can connect. If additional ports are required,
Designer, whenever you change your monitor, you can add them. Multi-port serial cards can
or adjust your monitor’s horizontal or vertical also be used.
controls.
Serial Port Setup: Here you can adjust
Screen resolution: See Pixels. Baud, Data Bits, Stop Bits, Parity values. These
settings must be identical to those of the
Scroll bar: The bar at the bottom and right embroidery machine. The type of handshaking
edge of a window whose contents are not must match the type of cable you are using.
entirely visible. Each scroll bar contains a small
box, called a scroll box, and two scroll arrows to Sharpen Edges: Tool used to prepare
allow different types of scrolling. outlined images for automatic digitizing.
Sharpen Edges automatically sharpens outlines
Security code: Options in ES Designer are and reduces noise. Areas enclosed by a black
controlled by a security device installed on the outline are reduced to a single color. Outline
computer. Security access codes entered into sharpening makes it easier for the software to
the software are sent to this security device. recognize distinct areas in the artwork. These
Each security device has a unique serial number areas then become the embroidery objects of
and identity code. the finished design. Use it particularly if the
outlines are blurry, fuzzy or indistinct.
Security Device: See Dongle.
Short stitch: Digitizing technique that
Select: To highlight an object or group of places shorter stitches in curves and corners to
objects for the purpose of editing. Only selected avoid an unnecessarily bulky build-up or
items can be edited. stitches.
Selection handles: Eight small squares Shortcut key: A key stroke or a series of
that appear symmetrically at the corners and keystrokes you can use to perform a task
edges of a selected object. Use them to position instead of using the mouse. For example, Ctrl+C
and resize objects. See also Rotation handles. actions the Copy command.

Sizing handles: See Selection handles. Input B, and Input C tools, if Satin or Tatami, or
Program Split is the selected stitch type.
Skew handles: See Rotation handles.
SPI: Stitches per inch; system for measuring
Slow Redraw: Use to redraw your design density or the number of Satin stitches in an
slowly. Slow Redraw lets you view the stitching inch of embroidery.
and color sequence of a design in slow motion.
SPM: Stitches per minute; system for
Small stitches: Use the Small Stitch Filter measuring the running speed of an embroidery
to remove unwanted small stitches from a machine.
design automatically.
SR/SD: Melco Star format. ‘Star’ and
Smart Corners: Sharp points in a shape ‘Superstar’ are types of Melco machine (quite
may cause a bunching of stitches and needle old now).
penetrations which can create a hard spot in the
embroidery and may damage the fabric or Stabilizer: Also know as ‘backing’, stabilizers
needle. Smart Corners helps you control sharp are woven or non-woven materials used
corners in Input A and Input C objects. See also underneath the item or fabric being
Mitre Corner and Cap Corner. embroidered to provide support and stability. It
can be hooped with the item or placed between
Smart Design: Toolset used to create the machine throat plate and hooped garment.
embroidery designs by automatically digitizing Available in various weights and types such as
electronic images. Smart Design automatically cut-away, tear-away and wash-away (soluble).
converts bitmap images to fully digitized The more stitches your design has, the more
embroidery with little or no intervention. See backing you will need. Professional
also Point & Stitch. embroiderers use tear-away stabilizers for
woven fabrics and cut-away stabilizers for knits.
Software: Programs, such as MS Windows See also Topping.
and Wilcom ES, which run your computer.
Standard backstitch: The rows are
Specialty threads: Threads designed for approximately parallel, with every backstitch
effects such as shine, glitter, iridescence or row slightly shorter than the forward row.
thickness. The threads often are made from Because the rows are different lengths, there
synthetic materials including rayon, mercerized are fewer small stitches at the edge of the
cotton, metallics and textured nylon. shape, reducing possible damage to the fabric.
Standard backstitch is suitable for high density
fills. See also Backstitch.
Spiral Contour: Spiral Contour creates a
single, continuous line of stitching that spirals
around to fill the shape. Typically, it is used for
Standard Contour: Standard Contour
rings and borders, but it is also suitable for creates rows of stitches across the shape,
other closed shapes. See also Contour stitch. perpendicular to the digitized stitch angle. The
number of stitch lines is constant, so the
stitching is denser where the shape is narrower,
Split Alternate: Split Alternate is a variation
and more open where the shape is wider. See
of Tatami split. See also User Defined Split.
also Contour stitch.
Split object: You can split embroidery

objects that were created with the Input A,

Status bar: Provides information about the are not regenerated during rescaling. See also
whole design: number of stitches, position of Outline file.
the design (X, Y), number of colors (C), number
of stops (S), etc. Stitch length: The distance between two
needle penetration points. For maximum stitch
STC: Gunold stitch or ‘expanded’ file format. length, the length is measured according to the
X and Y co-ordinates, whichever is greater. Run
Stemstitch: Stemstitch is an input method stitch length can be set to automatically vary in
which gives a thicker outline than backstitch and order to follow tight curves. See also Max/Min
can be used to mimic hand-sewn embroidery. It stitch length.
is used for stems and vines with other
decorative stitches, or as an outline for Satin or Stitch List: The Stitch List displays stitch
Motif fills. number, stitch coordinates, stitch length, stitch
function, stitch color. When you select a stitch in
Stitch: A stitch is one needle penetration; the list, it is simultaneously selected in your
also used to refer to the thread laid down from design.
one needle penetration to the next.
Stitch processing: The calculation of stitch
Stitch angle: The stitch angle is the angle information by means of specialized software,
the overall stitching follows within a shape. The allowing scaling of expanded format designs
shape may have a fixed stitch angle—e.g. 45° to with density compensation.
the horizontal—or multiple stitch angles.
Stitch Processor: A patented software
Stitch bunching: Standard stitch spacing is feature developed by Wilcom International P/L.
calculated at the outside edge of a shape. With Stitch Processor is a function of the software
sharp curves, spacing which provides adequate which interprets ‘raw’ stitch data and converts it
coverage on the outside edge may cause into objects that the software can recognize.
bunching along the inside edge. This may cause
thread breakage when stitching out. Stitch-Pull: When any stitch is sewn into
fabric the tension in the thread between needle
Stitch count: Stitch count refers to the penetrations can build up and result in
number of stitches in a design. In ES Designer Stitch-Pull. Stitch-Pull can cause distortions in
one stitch is considered one machine revolution. your sewn designs, poor stitch registration and
See also Design properties. even the bunching up of fabric. The amount of
Stitch-Pull that results in your design can be
Stitch density: The number of stitches per affected by the following factors: Stitch Density,
Fabric Type, Underlay, Backing Type, Thread
given area (or stitch lines per distance in a fill).
Type and Garment Orientation. See also
Push-Pull.
Stitch editing: Digitizing feature that allows
one or more stitches in a pattern to be deleted
Stitch type: Three basic stitch types are
or altered.
available with lockstitch machines—Run, Satin
and Tatami (Weave). Wilcom ES provides many
Stitch file: Stitch or ‘expanded’ designs are variants of these.
low-level formats for direct use by embroidery
machines. They contain only stitch coordinates
Stitch shortening: When a shape takes a
and machine functions. Stitch designs are
sharp turn, the spacing of stitches on the inside
generally not suited to scaling because stitches

of the shape decreases rapidly. This results in Stop code: Stop codes are interpreted as
bunching on the inside and gaps on the outside ‘explicit stops’. The machine stops stitching.
of the shape; the longer the stitch, the worse
the problem. Automatic Stitch Shortening Stop function: If you want the embroidery
solves this problem by eliminating thread machine to stop for any special reason while
bunching. The embroidery has smooth, even, stitching a design, you need to insert a Stop
stitch spacing throughout. It also reduces function in the stitching sequence. If there are
thread breakages during production. Stops in a design, these can be read into ES
Designer as either a Color Change function or a
Stitch spacing: Spacing between two Stop function.
consecutive needle penetrations on the same
side of a column. The smaller the value, the Straight stitch machine: Machine, which
greater the stitch density. For more open features needles that move up and down in one
stitching, use larger values. spot. The pantograph pushes the design along.
The majority of commercial embroidery
Stitching defects: Stitching defects may machines use this type of needle movement.
appear in the form of gaps between filled areas,
fabric show-through and thread breaks. These STX: Datastitch stitch or ‘expanded’ file
are often caused by incorrect stitching format.
settings—e.g. setting pull compensation too
small for the fabric stretchiness.
Style: A style is a group of property settings
stored under a unique name. You can save any
Stitch-To-Machine: The software lets you combination of settings to a style. This makes it
send a design directly to the embroidery easy to apply these settings to selected
machine for stitching if it is connected to your embroidery and lettering objects. When you
computer. apply a style to an object, the style settings
replace its current properties. Any properties
Stitching direction: Stitching direction can not specified in the style, retain their current
affect embroidery quality because of the settings.
Push-Pull effect. Only closed embroidery objects
can be reversed. Tablet: See Digitizing tablet.
Stitching sequence: The embroidery Tacking: Used to fix appliqué shapes to a

objects in a design form a stitching sequence. background fabric before cover stitching is
Initially, objects are stitched in the order in applied.
which they were created. You can change the
position of a selected object by cutting it, then Tape: See Paper tape.
pasting it somewhere else in the sequence, or
by using the Resequence command. You can
Tassels: Group of long stitches, which dangle
also resequence objects by color or with the
from a design. Most often used to decorate
Color-Object List.
home decor.
Stock designs: Embroidery designs readily
Tatami stitch: Series of run stitches,
available on disk or proprietary embroidery
commonly used to cover large, irregular shapes.
card. Digitized embroidery designs that are
Stitches are laid in rows traversing back and
commercially available for general use by
forth across the shape. These can be parallel or
embroiderers.
slightly turning. Different fill patterns can be

created by varying the stitch length, angle or embroidery threads come in rayon (high sheen),
sequence. Also known as Weave stitch. cotton (duller finish), polyester (strong and
colorfast), metallics (synthetic core wrapped
Tatami offset fractions: With Tatami fills with metal foil or thin slivers of metal foil) and
you can specify how each row is offset in order acrylic (sheen similar to rayon).
to create patterns formed by needle
penetrations. You do this by adjusting either Thread chart: Thread charts are lists of
offset fractions or partition lines. By adjusting pre-defined thread colors. They may be based
offset fractions, you can create textured fills on commercially available thread charts, or
where the stitch penetrations are more clearly charts you define yourself. You can copy colors
visible. between different thread charts to create your
own charts from existing colors. See also Color
Tatami partition lines: With Tatami fills palette.
you can specify how each row is offset in order
to create patterns formed by needle Thread code: Code is the identification
penetrations. Partition lines, with up to eight number of a thread color in a brand.
offsets, can create more patterns.
Thread density: Different thread density
Tatami underlay: Tatami underlay is used systems are used by different thread
to stabilize large, filled shapes. It resembles an manufacturers. Density A is normal embroidery
extremely open Tatami fill stitch, where rows of thread (density 120/2, or 40). Density B is
stitches are placed across the object to create thicker, Density C is finer, and Density D is very
the underlay. fine.
Team Names: The Team Names feature lets Thread thickness: See Thread density.
you create designs with multiple names. For
example, you can use the same logo with Thread type: Embroidery thread varies in
different names for sports teams or corporate thickness. Types are A, B, C and D. Stitch
uniforms without having to create multiple density should be set according to the thread
copies of the same design. type. See also Thread thickness.
Template: Special files used to store styles Tie-ins: Tie-in stitches are inserted at the
and default property settings. Use templates start of objects to prevent stitches from
when digitizing frequently-used design types to unraveling. They are inserted inside the shape
save time re-adjusting the current property on the second stitch. You generally use them
settings. when the previous connector is trimmed.
Tension: Tautness of thread when forming Tie-offs: Tie-offs are generally placed before
stitches. Top thread tension, as well as bobbin trims to prevent stitches from unraveling. You
thread tension, need to be correctly set. Proper can adjust connector settings to automatically
thread tension is achieved when about one third add tie-offs under certain conditions, or add
of the thread showing on the underside of the them manually. You can also include trim
fabric on a column stitch is bobbin thread. functions so machines with trimmers cut the
thread automatically.
Thread: Fine cord or natural or synthetic
material made from two or more filaments Title bar: The horizontal bar located at the
twisted together and used for stitching. Machine top of a window and containing the title of the

window. On many windows, the title bar also appears as a dotted line. You can adjust
contains the Control menu box and Maximize connector settings to automatically add trims,
and Minimize buttons. or add them yourself.
Toolbar: Toolbars provide quick and easy Trimmers: Devices built into an embroidery
access to ES Designer commands. Click a machine to automatically trim or cut remaining
toolbar button to activate a command or, where thread when the design jumps from one area to
applicable, right-click to view and adjust its another or performs a color change.
settings.
Trimming: Action of cutting loose thread,
Topping: Material hooped or placed on top of removing backing, etc, from the final
fabrics that have definable nap or surface embroidered product.
texture, such as corduroy and terry cloth, prior
to embroidery. The topping compacts the wale Triple Run stitch: Triple Run repeats each
or nap and holds the stitches above it. It Run stitch three (or more) times for a thick line.
includes a variety of substances, such as plastic Typically used to add borders and pickout runs
wrap, water-soluble plastic ‘foil’ and to designs.
open-weave fabric that has been chemically
treated to disintegrate with the application of Triple Satin: Triple Satin is often used for
heat. Also known as ‘facing’. See also folk designs to mimic handmade embroidery
Stabilizer. that uses thicker thread. If you require thicker
stitches, set the Satin stitch to repeat itself
Trapunto: Trapunto is a general term for multiple times.
very open fill stitching, often used as a
background or for filling large shapes. In ES TrueType Font: Digital font technology
Designer, Trapunto effect forces travel runs to designed by Apple Computer and now used by
the edges of objects so they do not show both Apple and Microsoft in their operating
through open or loose stitching. systems.
Travel run: Travel runs are typically used to TrueView: TrueView provides you with a
connect segments of complex shapes. They can preview of how your embroidery will look when
also connect adjacent objects. Because runs are stitched out. It gives the screen image a three
not trimmed, they may be visible in the final dimensional look.
embroidery. For this reason, they are less
commonly used as connectors between objects
TWAIN: Industry standard which allows
than jumps. If objects are adjacent and
devices (such as scanners) to communicate
connectors will be hidden, they can be used.
directly with design and layout programs. Both
device and program must be TWAIN-compliant.
Traveling: You generally check a design’s This lets you use any TWAIN-compliant scanner
stitching sequence by ‘traveling’ through it by with your software.
stitches, segments, functions or objects.
U?? Stitch file format native to Barudan
Trims functions: If you are using a machines.
machine with an automatic trimmer, the trim
code causes the thread to be cut after a tie-off.
UDL file: Design Workflow uses the Microsoft
In the software, trims are represented by a
Data Link (UDL) format to link to its databases.
triangle with a small circle at the point where
UDL files are similar to Windows shortcuts, but
stitching starts again. The trimmed connector

they contain more information about where the of geometric shapes and lines that combine to
actual database and all of its attendant files are make an image. Rather than pixels, such data is
located. Copies of UDL files can be shared, recorded as a set of mathematical formulas.
renamed and relocated so that many people can Vector images are scalable without distortion,
use the information. In effect, every user with and are small files. See also Bitmap image.
Design Workflow can have their own UDL link to
the same database. Vector object: Vector objects are derived
from vector images and can be created in ES
Underlay: Stitches sewn before other design Designer or imported. In ES Designer they can
elements to help stabilize fabrics. The stitching be converted to and from embroidery objects.
action that will attach the backing to the fabric You can set general properties such as size and
being embroidered. It also supports the top position, and arrange and transform them in the
embroidery for a more lofty, dimensional look. same way as other objects. See also Vector
Underlay stitches are made up of a series of image.
single run stitches, usually with a very short
stitch length, and are digitized manually or Weave stitch: See Tatami stitch.
placed automatically under the column (satin)
or fill stitch areas of your embroidery design. Weight: When referring to T-shirts, the three
standard weight divisions are mid-weight/value,
Underlay margin: The distance between an heavyweight/premium, and super heavyweight.
object outline and the edge of the underlay.
Increase this margin to prevent underlay WMF: Windows Metafile vector format.
stitches from extending outside the cover
stitches.
Write: To send design information to an
embroidery disk, design card or embroidery
User Defined Split: User Defined Split lets machine for immediate stitchout or storage.
you add detail to filled objects by digitizing lines
of needle penetrations called ‘split lines’. Split
X/Y coordinates: The horizontal (X) and
lines are stored as object properties. They are
vertical (Y) distances on a graph or computer
preserved when stitches are regenerated even if
screen. Use X values to measure width, and Y
you apply a different stitch type.
values to measure height.
Values: The actual settings—letters and

XXX: Compucon stitch or ‘expanded’ file
numbers—that you enter into dialogs. See also
format in the professional market.
Object Properties.
Zigzag stitch: Zigzag stitch is similar to
Variable sizing: Ability to scale a design to
Satin but is generally used where fewer stitches
different sizes.
are required. The needle penetrates each side of
the column, laying the thread across in an open
Variable stitch length: The software can zigzag pattern. The density is determined by the
automatically calculate the best length for each stitch spacing setting. The settings for Zigzag fill
stitch with the Variable Run Length option. A stitches are stored separately from Zigzag and
chord gap value controls how closely the Double Zigzag underlay settings.
stitches follow the digitized lines.
Zigzag underlay: Zigzag and Double
Vector image: Unlike raster images, vector Zigzag underlay stitching is used to support
images contain vector data. This is a collection wide columns.

ZSK: ZSK1 format is for older ZSK machines,
generally those older than 1991. ZSK2 is for
newer ZSK machines, those characterized by a
single top thread trimmer. The trim is the most
significant differentiating factor between the
two types.

Index
Numerics modifying custom letter 677

preparing drawings 668
Make Same Width and
Height 333
3D Warp tool 527, 529 user-refined 661 Space Evenly Across 325
Zurich 1030, 1069, 1070 Space Evenly Down 326
See also lettering Ungroup 326
anchor points, rotation 334 Unlock All 327
A angles arranging objects
rotating by exact angle 335 grouping 326
accessing designs, databases and
rounding sharp corners, locking 326
folders 800
Input C 217 Array tool 345
Accordion Spacing setting for partition lines 453 artwork
Accordion Spacing tool 484, 485 skewing by exact angle 339 anti-aliased images 258
applying 485 Tatami underlay stitch bitmap images 256
overview 484 angle 197 converting bitmaps to
selecting types 485 See also stitch angle vectors 235–285
setting values 485 anti-aliasing 258 converting to vector
spacing values 485 Any Shape baselines, drawings 284
Active Thread Charts dialog 156, reshaping 602 dithered images 257
170 any shape, drawing lines 229 enlargement drawings 846
Add Color To Palette tool 156, 159 appliqué preparing for automatic
Add Thread dialog 174 adding appliqué 24 digitizing 270
Add To Favorites dialog 405 cover stitch values 442 preparing for scanning 258
adding guide run values 439 scanned images 257
Empty Stitch/Empty Jump 188 offsetting cover stitches 442 scanning 258
folders 822 outputting shapes 749 vector drawings 228
stitch angles to Complex/Fusion partial cover 444 artwork, sequins 551
Fill 367 smart corners 437 Auto Appliqué 24, 437
tie-offs 186 tacking values 441 Auto Appliqué tool 349, 437
trims 187 using Input C Offset 113 converting to Complex Fill 355
adjusting See also Auto Appliqué cover stitch values 442
Satin stitch spacing 133 Apply Current Properties tool 400, guide run values 439
stitch angles 365 498 tacking values 441
Align Bottom tool 325 Apply Style tool 403 Auto Appliqué tool 355, 437, 439,
Align Horizontal Centers tool 325 archived design files, 440, 441, 442, 444
Align Left tool 324 handling 819 Auto Center 223
Align Right tool 325 Arrange menu Auto Jump
Align Top tool 325 Remove Overlaps 421 applying 426
Align Vertical Centers tool 324 Remove Overlay Stitching 421 Auto Jump tool 425
aligning objects 324 Arrange toolbar connectors 426
Align Bottom 325 overview 425
alphabets 620
Align Horizontal Centers 325 setting values 427
converting TrueType 654 Align Left 324 Auto Scroll 860
converting TrueType fonts 649 Align Right 325 Auto Spacing
converting TrueType to
Align Top 325 dialog 136
embroidery fonts 649
Align Vertical Centers 324 setting values 135
creating new 672
Group 326 spacing offset 136
digitizing from artwork 666
Lock 327 stitch length 136
letter kerning 657
Make Same Height 333 stitch spacing 136
merging files 679
Make Same Width 333 Auto Split 423
modifying 675

Auto Start and End dialog 223 digitizing with backdrops 255 supported file types 263
Auto Start and End tool 223 dimming 857 using as backdrops 262
Auto Trace tool 284 inserting bitmap images 263 Borderline backstitch 142
Auto Underlay inserting vector drawings 233 borders
applying 192 locking and unlocking 327 digitizing with Input C 111
Auto Underlay tab 192 pasting bitmap images 264 offset objects 429
Auto Underlay tool 192, 320 pasting vector drawings 236 offsetting Input C stitches 113
Center Run 194, 622 saving as separate files 264 setting width 114
Double Zigzag 195 scanning 261 Borders tool 435
Edge Run 194, 622 smoothing bitmap images 268 boring
selecting a type 192 smoothing vector drawings 237 Borers tool 556
setting margins 199 using bitmap images 262 changing borer display color 89
Tatami 197 backdrops, displaying 97 digitizing boring holes 555
Zigzag and Double Zigzag 195 Back-Front tool 249 oval holes 556
Auto Underlay tool 622 backgrounds round holes 556
automatic changing colors and fabrics 88 boundaries
backup 862 printing on production Complex Fill 124
borders 435 worksheets 740 digitizing for appliqué 437
branching 317 scanning 261 digitizing for rings 419
color matching 156 Backstitch digitizing with Complex Fill 120
connectors, See connectors adjusting settings 147 bounding outline, selecting
digitizing 284 backstitch objects 58
jumps, See Auto Jump Borderline 142 branching 317
pull compensation 202 Diagonal 142, 143 applying 318
save 862 selecting for Contour fill 492 applying two-layer outline
spacing, See Auto Spacing selecting for Tatami 142 stitching 321
split, See Auto Split Standard 142, 142–143 Branching tool 317
trims 185 types 142 using auto underlay 320
underlay 191 Backstitch tool 102, 106, 146, 147, using Color-Object List 319
borders, See also lettering 352 Branching tool 318
automatic digitizing Backtrack/Repeat tool 420
Auto Trace 284 brands, thread 174
backtracking objects 420 Browse for Folder dialog 790, 818
cleaning up images 271
color reduction 271 Barudan FDR-II machine 726 browsing
converting grayscale baselines designs, slide show 800
images 297 adjusting 601 for designs 790
cropping images 265 any shape 575 bunching
image preparation tools 274 arc 572 reducing with fractional
noise filtering 274 changing 568 spacing 211
outline sharpening 273 circular 574 reducing with stitch
Photo Flash 284 custom 575 shortening 207
Point & Stitch™ 284 horizontal 570
preparing images 270 moving letters along 582
reshaping 602
Smart Design 284
automatic letter kerning 657 vertical 571 C
automatic stitching 290 baud rate, setting 831 cap corners 213
adjusting shape tracing bitmap images Capture Design Bitmap
options 294 anti-aliasing 258 dialog 748
adjusting values 297 automatic digitizing 256 Capture Design Bitmap
creating embroidery converting to vectors 285 command 747
designs 291 dimming 857 catalogs
object sequencing 296 displaying 97
exporting in CSV format 816
Automatic Stitching Values dithered 257 exporting in Tab delimited
dialog 294 inserting 263 format 816
outputting designs as 747 printing 813
pasting 264 publishing 815
saving separately 264 Center Out, letter sequencing 618
B scanned 257
Center Run underlay 194, 622
scanning 261
backdrops 12 centering object, with cross-hair
smoothing 268

cursor 324 Color dialog 89, 175, 538 selecting the current color 153
Change Locale command 793 color film, printing 742 setting for consecutive
changing locale (language) 793 color matching 156 objects 154
thread colors 152
Character Map dialog 627 automatic 166
traveling by 83
charts, See thread charts Color Merge utility 702
Colorway Options dialog 740
checking sequence 80 Color Palette Editor 156
colorways 155
Chenille Combination machine Color Palette Editor dialog 170
Add Colors to Palette 291
format 726 Color Palette Editor tool 156, 159, basing on existing 158
Choose Locale dialog 793 161, 164, 168, 169, 170, 172, changing backgrounds 88
Choose Read Tape Type 173, 175 changing display colors 89
dialog 767, 838 color palette, selecting thread changing display settings 87
Choose Write Tape Type colors 154 creating 158
dialog 711, 768, 840 color reduction default settings 159
chord gap 108 automatic digitizing 271 Match Colors to Palette 291
circle objects images 293, 294 modifying 159
changing entry point 368 Color toolbar multiple 155
moving 362 Add Color To Palette 156, 159 printing 740
reshaping 362 Color Palette Editor 156, 159, viewing 87
Circle/Star tool 417 161, 164, 168, 169, 170, 172, Colorways dropdown 87
circles 173, 175 column spacing, Program
Circle/Star tool 418 Colorways 87 Split 460
digitizing 417 Compact Palette 156, 159 column width
drawing 232 Multi-Colorway Box 158, 159, adjusting 203
in circles (Ring) 418 164 Pull Compensation tool 203
in ovals (Ring) 418 Split Palette Color 164 columns
Clear Function command 386 Color-Object List digitizing with Input A 116
clearing, machine functions 386 dialog 65, 316, 328 digitizing with Input C 111
clipart displaying hidden objects 65 offsetting Input C 113
link to Design Workflow 785 grouping/locking objects 328 setting width 114
printing color film 742 columns, sorting 796
search and sort 775
resequencing objects 315 combination splits
view / select 772
Clipart toolbar selecting objects 64
Satin in Satin 459
tool 64, 319, 328
Manage Keywords 781, 783 Satin in Tatami 459
Color-Object List tool 315
Record to Clipart 778 selecting 458
Show Clipart 772, 775, 776, 779 colors Tatami in Tatami 459
clipart, recording 778 adding to thread charts 173 types 458
clipping motifs to fit shapes 519 changing background 88 Combine tool 246
changing borer display 89 combining
cloning
changing for an object 153 designs 310
objects 308
changing grid display 89 objects (branching) 304
closed shapes, drawing 230
changing object outlines 89 objects (nesting) 309
CND changing stitch display 89
CND files, color merging 702 objects and designs 305
Color palette 152 styles 407
compatible input methods 927 copying across thread
conversion options 699 Comma Separated Value files, See
charts 172
conversion tables 922 CSV files
creating thread charts 168
saving to 924 commands
deleting thread charts 169
CND format, saving as 751, 753 popup menus 40
display colors 89
codes registering the menu chart 844
matching images to threads 166
thread 174 undo/redo 43
merging Melco CND files 702
color using 37
modifying colorways 159
change functions 714 using toolbars 39
modifying thread charts 168
Color Blending Compact Palette tool 156, 159
modifying thread values 161,
adjusting settings 489 170 compensating for stretch, See pull
applying 487 removing from thread compensation
Color Blending tool 487 charts 161, 170 Complex Fill
color blocks, printing 742 resequencing by 314 adding boundaries 124
selecting for an object 152 adding stitch angles 367
color blocks, split 164
selecting objects by color 63 changing stitch angle
ES 2006 Index 1158

on-screen 365 selecting 57 PCH conversion table 928
Complex Fill tool 120 setting colors 154 converting outline designs
converting to Auto Appliqué 355 Continuous Input 205 EMB conversion limitations 751
creating borders 429 Contour EMB to CND 751
digitizing objects 120, 122 applying 491 EMB to CSD 752
digitizing the stitch angle 121, contour stitch in rings 418 EMB to ZSK 753
123 Contour stitch overview 490 converting stitch designs
entry and exit points 121, 123 Contour tool 490 recognize Jumps as Trim 688
filling holes 434 offset fraction 493 recognize Objects/Outlines 687
Motif Fill 514 selecting a backstitch 492 coordinates
offset objects 429 selecting a type 492 length 50
open stitching 482 setting stitch values 493 setting for objects 324
overlapping rows 127 Spiral 491 Copy From dialog 172
removing boundaries 124 Standard 490 copying
stitch angle 126 control commands, checking 725 and pasting designs 822
Trapunto 482 control points 103 cloning objects 308
Complex Fill tool 102, 120, 124, colors across thread charts 172
changing 356
126, 127, 354, 496–501, 514 reshape objects 356 Copy tool 305
complex shape drawing conversion tables designs 822
objects 241 digitizing for CND format 927 duplicating objects 307
Condensed File Input Values opening CND files 922 object properties 399
dialog 700–704 opening Gunold PCH files 928 objects 305
condensed files 699 saving to CND format 924 corner fraction value 115
See also outline files supported stitch file corner points 103
connection settings formats 917, 919 corners
ethernet 830 Conversion Values dialog 650–656 appliqué 437
Melco StarLAN 829 Convert cap 213
network 829 Auto Appliqué 349 corner fractions, Input C 115
parallel ports 829 Backstitch 350 mitre 213
peripheral devices 827 Complex Fill 349 rounding, Input C 217
serial ports 827 Drawing 351 smart corners 213
connectors Fusion Fill 349 corrupt files, deleting 1120
add Empty Stitch/Empty Input C 349 cover stitches
Jump 188 Motif Run 350 offsetting 442
adding tie-offs and trims 186 Run 349 setting values 442
Auto Jump 426 Stemstitch 350 CPU/RAM specifications 1107
automatic 179 Stitch Angles 349 Create a Zip Archive dialog 819
digitizing with Needles Out 189 Triple Run 350 create lettering
displaying 79 Convert Options dialog 818 letter height 667
hiding 79 Convert Selected Designs tool 817 letter shapes 667
inside objects 181 convert sequin artwork 551 letter width 668
jumps 177 Convert True Type Font creating baselines
jumps (automatic) 179
command 654 any shape 575
minimizing with nesting 309 Convert TrueType Font arc 572
Runs 178
dialog 655 circular 574
runs (automatic) 181 converting horizontal 571
setting automatic tie-in
between objects 348 vertical 572
values 182
setting automatic tie-off bitmaps to vectors 285 Crop Bitmap command 265
values 184 designs 805 Crop Bitmap with Polygon
setting automatic trim drawing objects to command 265
values 185 embroidery 349 cross stitch, adding 24
show/hide 854 embroidery > drawing 351
cross-hair cursor 324
tie-ins 178 file types 817
photos to designs 297 CSD format, saving as 752
tie-offs 178 CSV files
travel runs 189 See also conversion tables
See also converting file formats Comma Separated Value
trims 178 converting file formats files 816
types 177 exporting catalogs as 816
CND conversion options 699
consecutive objects current color, changing 153
CND conversion tables 922

current needle position marker 81 deselecting viewing in databases 805
current object properties stitches 376 viewing records 797
applying 400 deselecting objects 55 DesignStyles 402
changing 399 design elements, naming 162 details lists, sorting 807
make current 399 Design Explorer device connections,
curve points 103 opening 787 troubleshooting 1111
curved fills Design Explorer icon 787 Device Manager dialog 1124
adjusting settings 500–503 Design Explorer toolbar devices, security messages 1107
applying to existing objects 497 Show/Hide folders 790 Diagonal backstitch 142, 143
applying to multiple objects 498 design formats dialogs
Contour 490 Gunold PCH 683 Active Thread Charts 156, 170
creating 495 old format ESD 683 Add Thread 174
creating fills with two Wilcom INP 683
curves 501 Add To Favorites 405
design lists, customizing 796 Auto Spacing 136
creating new objects 496–501 design management 32
custom alphabets Auto Start and End 223
Design Properties command 92 Automatic Stitching Values 294
saving 672
Design Properties dialog Browse for Folder 790, 818
selecting 674
custom letters Colorways 168 Capture Design Bitmap 748
deleting 676 Information 92 Character Map 627
renaming 676 Stop Sequence 96 Choose Locale 793
reshaping 677 Summary 92 Choose Read Tape Type 767,
Design Properties tool 797 838
saving 670
design templates, See templates Choose Write Tape Type 711,
custom sequin palettes 538
Design Workflow, link embroidery 768, 840
custom templates, selecting 46, Color 89, 175, 538
clipart 785
802 Color Palette Editor 156, 170
designs
Customize Worksheet dialog 739 Color-Object List 65, 316, 328
accessing 800
cut and paste Colorway Options 740
archiving 819
Cut tool 313 Condensed File Input
Auto Start and End 223
objects 305 Values 700–704
browsing 790
resequencing 313 browsing with slide show Conversion Values 650–656
Cut Appliqué command 749 buttons 800 Convert Options 818
cutting checking 92 Convert TrueType Font 655
designs 823 combining 310 Copy From 172
threads 187 converting 805 Create a Zip Archive 819
converting formats 682 Customize Worksheet 739
converting formats (tables) 917 Decoding Options 687–690, 706
converting to other file Define Stop Sequence 706
D types 817 Design Properties >
creating new 45 Information 92
Decoding Options dialog 687–690, Design Properties > Stop
706 emailing 808
Sequence 96
defaults managing 787
Design Properties >
opening 44, 800, 801
design view 795 Summary 92
opening multiple 44
Define Stop Sequence dialog 706 Device Manager 1124
opening stitch designs 687
Define Style command 404–407 Digi Test 1121
organizing 822
Delete command 309 Digitizer Setup 828–834, 1121
outputting 734, 805 Digitizer User-Defined Format
deleting planning a design 12 Setup 834
colors from thread charts 161, redrawing slowly 85
170 Disk Format Test Selection 760
renaming 823 Display 88, 89, 160
designs 824 resequencing 313
folders 822 DXF File Options 234
saving 52 Edit Function 385, 389
motifs 536 selecting 800
objects 309 Edit Thread 161, 171
sorting 805 Effects 579
styles 409 sorting using Navigation buttons
templates 415 Effects > Accordion 485
and Slide Show buttons 805
thread charts 169 Effects > Accordion Spacing 489
starting 45
density, applying fractional Effects > Auto Jump 427
stitching and punching 810 Effects > Auto
spacing 212 viewing 805
ES 2006 Index 1160

Underlay 193–201, 321 Stitch 134–145, 424, 450–466, Save to Embroidery Disk 765
Effects > Color Blending 488 470, 483, 493, 515–527 Screen Calibration 842
Effects > Curve Fill 497–504 Object Properties > Fills > Select By Color 63, 76
Effects > Flexi Split 471–473 PhotoSatin 298 Select By Stitch Type 64
Effects > Jagged Edge 480, 481 Object Properties > Fusion Select Machine Format 52, 710
Effects > Others 203–204, 212, Fill 126, 128 Select Motif 531–536
477, 527–529 Object Properties > Select Sequin Type 538
Effects > Shortening 207, 208 General 324, 331–340 Select Source 841
Effects > Smart Corners 215 Object Properties > Image 268 Sequence 618–620
Embroidery Clipart 773 Object Properties > Input Sequence By Color 315
Embroidery Machine C 113–115, 217
Sequin Palette 538
Connection 830–836 Object Properties > Outline
Stitch 108–110, 147, 149, Serial Port Setup 828
Export As 236 Set Color 154
507–511, 542
Format 763 Sharpen Edges 280
Object Properties > Special >
Format Embroidery Disk 763 Show Functions 390
Photo Flash 298
General Properties 41 Object Properties > Special > Show Stitches 392
Group Members Add 632 Vector 239 Slow Redraw 85
Group Name 631 Object Property - Lettering > Small Stitches 222
Guide Position 49 Others 592 Smart Design 291–297
Hardware Setup 828–842 Offset List 433 Smooth Drawing Curves 238
Holes 434 Offset Object 429, 433 Sort 808
Insert Function 383 Open 44, 234, 263, 687, 700, Stipple 447
Layout 584, 606–611 745, 786 Stitch List 373, 390
Length Calculation 94 Open Embroidery Disk 761 Stitch Manager 755
Machine Format Values 713–722 Open From Embroidery Stitch Options 810
Machine Format Values > Disk 761 Stitch to Stitch Manager 755,
Standard 723–724 Options 75 830
Make Letter 670–672, 678 Options > Auto Scroll 861 Symbol Selection 436, 625
Make Motif 534–535 Options > General 205, Tablet Setup 844–849, 850
Make Program Split 469 862–868 Tape Manager 768, 811,
Manage User-Refined Options > Grid 858–860 838–840
Lettering 664 Options > Reshape 862 Team Members 636, 639, 641,
Match Drawing Color 166 Options > View Design 854, 856 643, 644
Merge With Style 407 Options > View Drawing 857 Team Names 631–636
Modify Alphabet 675–676 Organize Favorites 405 Team Names Matrix 644
Modify Thread Chart 161, 168, Organize Styles 404–410 Test Disk 760
170, 171–174 Print Designs Options 814 Tie In Values 183
Move Stitch 387 Print Options 736–742, 812 Tie Off Values 184
Multi-Colorway Box 158, 160, Process 219–221, 692 Toolbars 38
164 Properties 797, 799 Transform 332–340
New 46, 802 Properties (Windows TrueView Options 856
New Alphabet 672 Explorer) 91 Use Object Style 403
New Colorway 158 Publish Options 815 User Preferences 795
New Motif Set 535 Punch Options 811 Windows Properties 803
New Object Style 404 Purge Recover and Backup Zoom Factor 69
New Thread Chart 168 Directories 1121 Digi Test dialog 1121
Object Properties 41, 400–401 Quick Names 634 Digitizer Setup dialog 828–834,
Object Properties - Recognition - Advanced
Lettering 563–580, 591, 625, 1121
Options 695
639–650, 656–674 digitizer tablets 14
Record to Clipart 778
Object Properties - Lettering > baud rate 831
Reduce Colors 277
Fill Stitch 579, 614–617 changing drawing scale 849
Rename Alphabet 675
Object Properties > Auto defining and modifying
Rename Letter 676
Appliqué 439–444 formats 834
Rename Object Style 409
Object Properties > Complex overview 844
Rename Thread Chart 170
Fill 126, 128, 129 Point mode 831
Object Properties > Revert to Factory Settings 414,
puck actions 851
Connectors 180–185 1120
registering enlargement
Object Properties > Save As 53, 411, 747, 751, 752,
drawings 846
Embroidery 190 753, 817, 819
registering the menu chart 844
Object Properties > Fill Save Options 646, 751, 752, 753

setting up 831 Divide tool 251, 253 Paste Drawing > As Vector 236
shifting the drawing 850 DOS disks, opening designs 761 Paste Vector As Bitmap 264
Stream mode 832 Double Zigzag, setting values 196 Resequence > By Color 314
user-defined formats 834 drawing objects Resequence > By Selects 314
using 851 apply input method 349 Split Object 311
using preset spacing 852 apply stitch type 349 Transform 332, 337
Digitizer User-Defined Format circles 232 Transform Special 336
Setup dialog 834 closed shapes 230 Edit Thread dialog 161, 171
digitizers, See digitizer tablets coloring 238 editing lettering
digitizing coloring fills 238 on-screen 587
appliqué 437 coloring outlines 238 with Lettering dialog 587
boring holes 555 converting bitmaps to editing objects 348
circles and ovals 417 vectors 285 reshaping 356
columns and borders 111 converting to embroidery 349 editing stitches 378
columns with Input A 116 creating complex shapes 241, deleting stitches 379
columns with Input C 111 244 inserting stitches 377
individual stitches 104 ellipses 232 moving stitches 378
input methods 101 ovals 232 removing small stitches 222
lines with Run/Triple Run 105 polygons 230 using Stitch List 387
Motif Run 506 rectangles 231 editing, machine functions 380
new motifs 534 See vector objects 228 EDS-III
ring boundaries 419 squares 231 conversion table 922
rings 418 drawing scale, changing 849 digitizing for 927
shapes with Auto Trace 284 Drawing toolbar saving to CND format 924
shapes with Complex Fill 120 Ellipse 232 effects
shapes with Input B 118 drawings Accordion Spacing 484
split lines 475 creating 228 Auto Jump 425
turning stitches 496–502 creating enlargement Auto Underlay 191
using a digitizer tablet 851 drawing 846 Color Blending 487
with backdrops 255 enlargement drawings 846 fractional spacing 211
with manual input methods 255 inserting vector drawings 233 Jagged Edge 480
with Needles Out 189 pasting vector drawings 236 pull compensation 201
with Photo Flash 255 smoothing vectors 237 smart corners 213
with Point & Stitch™ 255 See also backdrops stitch shortening 207
with Smart Design 255 duplicating
Trapunto 482
with User Defined Split 475 Duplicate command 307
Effects dialog 579
digitizing artwork objects 307
Accordion 485
Outline Run 289 DXF File Options dialog 234
Accordion Spacing 489
Pickout Run 289 Auto Jump 427
Tatami Fill 287 Auto Underlay 193–201, 321
Tatami Fill without Holes 287
Turning Satin 287 E Color Blending 488
Curve Fill 497–504
digitizing tablets, testing
E Stitch Flexi Split 471–473
connections 1121 appliqué 441 Jagged Edge 480, 481
dimming backdrops 857 E Stitch tool 144 Others 203–212, 477, 527–529
Disk Format Test Selection E Stitch tool 132 Shortening 207, 208
dialog 760 Edge Run Smart Corners 215
display setting values 194, 622 elements, naming 92, 162
changing display colors 89 underlay 194, 622 ellipses
changing display settings 87 edges, applying Jagged Edge 480 digitizing 417
grid 48 Edit Bitmap Using command 267 drawing 232
setting display options 74 Edit Function command 385 Ellipse tool 232
display adapters email attachments 745
Edit Function dialog 385
checking 1124 email designs 808
locating drivers 1125 Edit menu
Delete 309 Email Selected Designs tool 808
Display dialog 88–89, 160
Duplicate 307 embroidery clipart
distances, measuring
Envelope 628 link to Design Workflow 785
on-screen 50
Envelope > Delete 630 search and sort 775
dithering 257
ES 2006 Index 1162

view / select 772 fabrics adding 822
Embroidery Clipart dialog 773 changing background 88 deleting 822
embroidery clipart, recording 778 pull compensation masking file types 806
embroidery disks guidelines 202 organizing designs 822
Embroidery Disk Format fancy fill stitches refreshing/validating 794
command 763 Motif Fill 514 renaming 822
formats 763 Program Split 456 searching 805
formatting 763 favorites, assigning favorite viewing zipped designs 791
opening designs 761 styles 405 Format dialog 763
saving designs 758 FDR-II machine 726 Format Embroidery Disk
testing 760 File menu dialog 763
Embroidery Machine Connection Capture Design Bitmap 747 formats, digitizer tablet
dialog 830–836 Cut Appliqué 749 formats 834
embroidery machines Design Properties 92, 94, 95 formatting, embroidery disks 763
automatic download 835 Embroidery Disk > Format 763 fractional spacing
connections 835 New 46 applying 212
feedback 835 Paper Tape > Punch 768, 839 offset fraction 212
setting up 835 Paper Tape > Read 766, 838 overview 211
See also machine formats Print 736, 739, 740, 742 Fractional Spacing tool 212
embroidery objects Print Preview 736, 739, 740,
frame movement, Auto Jump 425
creating complex shapes 244 742, 743
Empty Function tool 188 Save Bitmap As 264 French dots, digitizing 418
Empty Stitch/Empty Jump Scan 261 Front-Back tool 249
tool 188 Scanner Setup 841 functions
Send 745 displaying 79
EMT files 411
file tree, refresh 794 End of Design 717
End of Design functions 717
file types hiding 79
enlargement drawings show/hide 854
changing scale 849 EMT 411
stitch files 917, 919 Stop 717
creating 846 traveling by 84
preparing 846 files, combining designs 310
Fusion Fill
registering 847 fill stitches
changing between fill and adding stitch angles 367
shifting 850 nominal stitch angle 126
entry and exit points, outline 349
switching between fill and offset objects 429
changing 368 overlapping rows 127
outline 104
envelopes Fusion Fill TM tool 102, 122, 124,
types 131, 132
Delete command 630 126, 127, 129, 354
filling holes, Complex Fill 434
distorting lettering objects 628
fills
Envelope command 628
adjust curved fill settings 503
types 628
adjusting curved fill
ES Design Explorer problems
troubleshooting 1110
settings 500 G
adjusting textured fill
ES Designer, starting 35 gaps, offsetting filled holes 434
settings 473
ethernet connection settings 830 applying curved fills 497, 498 General Properties toolbar 41
Exception Access Violation, creating curved fills 495–496 General tab
resolving errors 1123 creating fills with two dimensions 331
Exclude tool 249 curves 501 mirroring objects 340
Export As dialog 236 selecting textured patterns 472 positioning using
filtering stitches coordinates 324
exporting
by function 390 rotating objects 335
catalogs as CSV files 816
by stitch length 391 skewing objects 339
catalogs as Tab delimited
Flatten tool 251, 253 Generate Stitches tool 47, 562,
files 816
exporting vectors 235 Flexi Split tool 471, 472–473 563
Florentine Effect Generate toolbar
adjusting settings 500 Auto Start and End 223
Florentine Effect tool 500 Borders 435
F Florentine Effect tool 496, 497, Borers 556
Color Blending 487
498
fabric stretch, See pull Generate Stitches 47, 562, 563
folders
compensation Offset Object 429, 432

Penetrations 189 viewing the online manual 6 non-outlined 277
Penetrations with Borers on 555 See also troubleshooting outline sharpening 273
Process 218, 692 help, accessing 7 outlined vs non-outlined 271
Stipple Run 446 hidden objects outputting designs as 746
generating stitches 47 display in Color-Object List 65 pasting bitmap images 264
graphics acceleration, hiding preparation tools 274
reducing 1126 backdrops 97 saving bitmaps separately 264
graphics packages, linking 267 bitmap images 97 scanning bitmaps 261
grayscale images, converting to outlines 77 smoothing bitmaps 268
designs 297 stitches 77 Input A
grid holes adding stitch angles 365
changing display color 89 creating in Complex Fill 124 creating borders 429
display 48 digitizing boring holes 555 digitizing columns 116
setting options 858 digitizing rings 418 Input A tool 116
snap to 859 digitizing with Complex Fill 120 offset objects 429
grids, rulers and guides 48 filling holes 434 tool 556
Holes dialog 434 with Continuous Input 205
Group Members Add dialog 632
hoops, frame out (Auto Input A tool 102, 116
Group Name dialog 631 Appliqué) 440 Input B
group name, creating 631 adding stitch angles 365
Group tool 326 creating borders 429
grouping objects 326 digitizing columns 118
with the Color-Object List 328 I Input B tool 118
guide patterns offset objects 429
Motif Fill 523 icons, menu chart 909 Input B tool 102, 118
Program Split 465 image colors, matching
Input C
Guide Position dialog 49 threads 166
column width 114
guide runs Image menu corner fractions 115
offsetting 439 Crop Bitmap 265 creating offset objects 429
setting values 439 Crop Bitmap with Polygon 265 digitizing columns and
guides and rulers 48 Edit Bitmap Using 267 borders 111
Insert Drawing File 235 Input C tab 113
Gunold, opening PCH files 928
Insert File 233, 263 Input C tool 111, 217
Reverse Curves 204 input side 113
image preparation 270 offsetting stitches 113
H cropping 265
non-outlined images 277
reversing stitch direction 204
round sharp corners 217
handles, See selection handles outlined images 280 Input C tool 102, 111, 113, 114,
hard disk space, checking 1107 using tools 275 115, 352
hardware image sharpening, scanning 261 input methods 101
peripheral device settings 827 Image toolbar applying to drawing objects 349
setting up digitizer tablets 831 Auto Trace 284 Circle/Star 418
setting up display monitor 842 Line 229 Complex Fill 120
setting up embroidery Polygon 230
machines 835 Input A 116
Polyline 229 Input B 118
setting up paper tape Rectangle 231
punches 839 Input C 111
Reduce Colors 277 Motif Run 505
setting up paper tape Sharpen Edges 280
readers 838 Ring 418
Smart Design 291 Run and Triple Run 105
setting up scanner 841 images
hardware acceleration, input methods, selecting 102
bitmaps 262 Input toolbar
reducing 1126
cleaning up 271 Auto Appliqué 355, 437, 439,
Hardware Setup color reduction 271
dialog 828–842 440, 441, 442, 444
cropping 265 Backstitch 102, 106, 146, 147,
Hardware Setup command 827, dimming bitmaps 857
831, 835, 837, 842 352
displaying bitmaps 97 Circle/Star 417, 418
height, make objects same editing 267 Complex Fill 102, 120, 124, 126,
size 333 inserting bitmaps 263 127, 354, 496–501, 514
help noise filtering 274 Fusion Fill TM 102, 122, 124,
ES 2006 Index 1164

126, 127, 129, 354 overview 177 applying lettering art 628
Input A 102, 116, 556 using 382 Arc angle 608
Input B 102, 118 As Digitized join method 621
Input C 102, 111, 113, 114, 115, automatic borders 435
217, 352 Bottom Join method 621
Lettering 562, 563, 565, 568, K changing line spacing 583
587, 591, 601, 605, 608, 618, kaleidoscope Closest Join method 621
620, 624–629, 641, 650, 656, color changes between
using with wreath 343
658, 674 letters 564
Kaleidoscope tool 343
Manual 102, 104, 556 coloring 601
Keep Source Objects tool 252 coloring on-screen 601
Manual with Sequins On 555
Motif Run 352, 506, 507, 509, keep/omit last stitch converting TrueType letters 650
510, 511, 530 Input A 117 creating embroidery fonts from
Ring 418 Input B 118 TrueType 649
Run 102, 106, 108, 109, 352, Keep Last Stitch tool 369 edit envelopes 629
556 keep/omit motif (Motif Run) 511 entering on-screen 562
Stemstitch 102, 106, 146, 149, kerning letters 657 entering via dialog 563
352 generating stitches 47
Team Names 631, 632, 634, 635 I-beam 601
Triple Manual 102, 104 join methods 620
Triple Run 102, 106, 108, 109, L keeping original stitch
110, 352 values 620
Inputs A and B, converting to last stitch, keep or omit 117, 118 letter justification 580
Complex Fill 349, 354–355 layers letter spacing 584
removing extra stitching line spacing 584
Insert File command 233, 263
layers 421 making bold 578
Insert Function command 383 layout
Insert Function dialog 383 making italic 578
Motif Fills 523 moving letters along
Insert menu Program Split patterns 465 baseline 582
Filled Holes 434 Layout dialog 584, 606–611 names, See names
Offset Object 429 length removing envelopes 630
Photo Flash 297 automatic split 423 reshaping baseline 602
inserting calculation methods 427 reshaping curved baselines 602
bitmap images 263 Contour stitch 493 reshaping on-screen 598
one design into another 310 Edge Run and Center Run rotating with Reshape tool 594
one object inside another 309 stitches 194, 622 scaling with Select Object
stitches 377 nominal 500, 503 tool 593
vector drawings 233 preserving long stitches 425 selecting symbols 624
Intersect tool 249 Program Split stitch length 461 special characters and
Run and Triple Run 108 symbols 624
Tatami 140 stitching sequence 618
Tatami stitches (underlay) 197 Tilt angle 608
J travel runs 189 transforming with Reshape
variable (Run and Triple Object tool 597
Jagged Edge transforming with Select Object
Run) 109
applying 480 Zigzag and Double Zigzag tool 593
Jagged Edge tab 481 stitches 196 troubleshooting 1117
Jagged Edge tool 480 Length Calculation dialog 94 word spacing 584
setting values 481 letter kerning 657 See also alphabets
Jagged Edge tool 480, 481 See also baselines
letter spacing, changing 584
joining lettering art, applying 628
lettering
columns with underlay 199, 201 Lettering tool 562, 563, 565, 568,
objects, See connectors 2-color alphabets 620
587, 591, 601, 605, 608, 618,
joins, creating smooth joins 205 adding to designs 27
adjusting individual letters 595 620, 624–629, 641, 650,
jumps 656–674
adjusting Satin stitch
adding 189
settings 614 Line Select tool 62
adding Empty Jumps Empty
adjusting Tatami stitch line spacing, changing 584
Stitches 188 settings 616
Auto Jump 425 Line tool 229
adjusting Zigzag stitch
automatic connectors 179 lines
settings 617
digitizing with Needles Out 189 digitizing with Run and Triple

Run 105 trims 380 Merge With Style dialog 407
drawing 229 types 381 merging styles 407
split lines 475 using 383 minimum stitch, Tatami 140
Liquid Effect tool 501, 503 Machine menu Mirror Horizontally tool 340
locale, changing languages 793 Clear Function 386 Mirror Vertically tool 340
locate missing files 792 Edit Function 385
mirroring
Lock tool 327 Insert Function 383
with kaleidoscope 343
locking objects 326 Machine Format Values 724
mirroring motifs 532
Select Machine Format 51, 710,
locking objects, with the mirroring objects
723
Color-Object List 328 Set Color 154 around a specified axis 340
lockstitches, See Empty Stitch machines, See embroidery around X or Y axis 340
loopers 726 machines creating wreaths 343
Make Letter using Object Properties
command 670, 677 dialog 340
dialog 670–672, 678 Mirror-Merge toolbar
M Make Motif 535 Array 345
Kaleidoscope 343
machine connections, testing dialog 534–535
Reflect 341
tablets 1121 make objects same size 333
Wreath 343
machine format Make Program Split dialog 469
missing files, locating 792
Chenille Combination 726 Make Properties Current tool 399,
mitre corners 213
Machine Format Values 498 Modify Alphabet
command 724 Make Same Height tool 333 command 675, 676
Machine Format Values Make Same Width and Height dialog 675–676
dialog 713–722 tool 333 Modify Thread Chart
Standard 723–724 Make Same Width tool 333 dialog 161–168, 170, 171–174
machine formats Manage Keywords tool 781, 783 modifying designs 21
advanced values 718 Manage User-Refined Lettering moving objects 323
changing 711 dialog 664 with the Color-Object List 64
checking 725 managing designs 787 modifying objects
color change sequence 718
manual digitizing, sequins 549 aligning 324
creating custom 723 changing entry point in
manual objects
creating custom format 723 Circle 368
customizing for specific splitting 311
Manual tool 102, 104, 556 changing entry point in Star 368
designs 724 changing entry point of
modifying values 716 Manual, right-clicking 105
Circle 368
removing 725 margins
changing radius of Circle 362
selecting 51, 710 Jagged Edge 481
changing size of Ring 363
start of design/end of setting for underlays 199
grouping 326
design 720 masking files in folders 806
locking 326
machine functions Match Drawing Color dialog 166 mirroring 339
borers in/out 380 Match to Palette tool 286, 772 moving Ring object
boring 382 matrix of team names 644 boundary 363
checking control commands 725 reshaping Circle objects 361
maximum stitch length 500–503
clearing 386 reshaping circles 362
Measure command 50
color change 380, 381 reshaping circles to ovals 362
displaying 79 measuring
calculating stitch length 427 reshaping Ring objects 363
editing 386 reshaping Star objects 361
hiding 79 distances on-screen 50
status line 50 rotating 334
inserting manually 383 scaling 329
Jumps 382 Melco
CND conversion tables 922 skewing
jumps 380 spacing evenly 325
sequins 382 CND files, color merging 702
using envelopes 628
sequins on/off 380 digitizing for CND (tables) 927
viewing by color 76
show/hide 854 StarLAN network settings 829
monitor, setting up 842
speed 721 Melco CND format, saving as 751
Motif Fill
Stops 381 menu chart
applying 514
stops 380 icons 909
filling shapes with 514
thread trim 381 registering 844
layout motifs 523
ES 2006 Index 1166

modifying layouts See also Motif Run New Motif Set dialog 535
on-screen 523 Move Stitch dialog 387 New Object Style dialog 404
Motif Fill tool 514, 515, 518 moving circles 362 New Thread Chart dialog 168
motif size 520 moving objects New tool 46
motifs 1 & 2 521 nudging 324 noise filtering, automatic
offsets 518 positioning with X:Y digitizing 274
rotating 522 coordinates 324
selecting motifs 515 nominal stitch length 500–503
with click-and-drag 324
spacing 518 moving stitches 378 non-outlined images 277
values 518 Multi-Colorway Box dialog 158, NORMAL template
motif fills overview 410
160, 164
two-part motifs 517 reverting 414
Multi-Colorway Box tool 158, 159, using 46
Motif Run
164 nudging objects into position 324
creating offset objects 429
multiple colorways, See colorways
keep/omit motifs 511
multiple stitch angles
overview 505
Input A 365
reshaping 512
scaling 509
Input B 365 O
selecting motifs 507 object outlines
spacing 510
changing display color 89
using 506
values 509
N object properties
accessing 40
Motif Run tool 352, 506, 507, 509, name groups
apply current properties 400
510, 511, 530 adding individual members 632
changing defaults 401
motif sets adding multiple members 634
changing for an object 398
Make command 534, 535 creating 631
changing stitch type 132
making 535 names
connectors 177
Select command 536 adding to design 636
current 396, 397
motifs creating groups of 631
default 397
adjusting offsetting editing 638
defaults 396
on-screen 526 outputting designs 646
existing 397
adjusting spacing on-screen 525 viewing 638
make current 399
clipping to fit shape 519 needle penetrations
overview 131
creating new 534 applying partition lines 452
presetting 399, 400
deleting 536 decorative (Program Split) 456
saving current 399
inserting 530 digitizing split lines 475
saving new defaults 401
laying out on-screen (Motif digitizing with Needles Out 189
saving to a template 413
Fill) 523 offsetting (Tatami) 450
styles 402
mirroring 532 random factor 455
templates 410
modifying 532 random factor, Program
Object Properties - Lettering
Motif Fill 514 Split 464
dialog 563–591, 625, 639–641,
overview 505 needle points 77
reference points 534 displaying 79 650–674
remove functions 534 hiding 79 Fill Stitch 579, 614–617
rotating 532 offsetting for Contour 493 Others 592
rotating patterns on-screen 524 show/hide 854 Object Properties dialog 41,
saving 534 needle position marker 81, 313 400–401
scaling 532 nesting objects 309 Auto Appliqué 439–444
scaling (Motif Fill) 520 network settings 829 Complex Fill 129
scaling (Motif Run) 509 ethernet 830 Complex Fill/Fusion Fill 126, 128
scaling patterns on-screen 524 New Alphabet dialog 672 Connectors 180–185
select 507, 542 Embroidery 190
New Colorway dialog 158
selecting 530 Fill Stitch 134–145, 424,
selecting (Motif Fills) 515 New command 46 450–470, 483, 493, 515–527
selecting (Motif Run) 507 new designs General 324, 331–340
single 1071 creating 45 Image 268
skewing patterns on-screen 525 New command 46 Input C 113, 114, 115, 217
spacing (Motif Run) 510 starting 12 Outline Stitch 108–110, 147,
two-part 1096 new designs, creating 802 149, 507–511, 542
See also Motif Fill New dialog 46, 802 Photo Flash 298

PhotoSatin 298 offsets setting for Input C outline sharpening
Special > Vector 239 objects 113 automatic digitizing 273
Object Properties tool 40, 779 Program Split columns and outline stitches, Motif Run 505
object sequencing, automatic rows 462 outlined images, sharpening 280
stitching 296 Program Split patterns
outlines 77
on-screen 468
objects changing between fill and
Program Split stitches 462
appliqué 437 outline 349
random factor (Tatami) 455
applying underlay 192 changing display color 89
using partition lines 452
backtracking 420 omit/keep last stitch control points 103
changing colors 153 creating borders around
Input A 117 objects 429
changing the object
properties 398 Input B 118 displaying 77
circles 416 omit/keep motifs (Motif Run) 511 selecting objects with 58
cloning 308 online help 4, 7 stitch types 132
connecting 177 online manual 4 switching between fill and
converting 348 open outline 104
converting drawing objects 349 Design Explorer 787 outputting designs 805
copying and pasting 305 designs 800 as bitmap images 747
creating duplicates 420 shapes, drawing 229 as images 746
deleting 309 stitching, See color blending as vector drawings 746
deselecting 55, 56 stitching, Trapunto 482 punching paper tape 768
duplicating 307 Open As tool 761 to different formats 711
editing 348 Open Design tool 801 ovals
French dots 416 Open dialog 44, 234, 263, 687, boring oval holes 556
mirroring 339 700, 745, 786 digitizing 417
moving 323 Open Embroidery Disk dialog 761 drawing objects 232
nesting 309 Open From Embroidery Disk in circles (Ring) 418
ovals 416 dialog 761 in ovals (Ring) 418
positioning 323 reshaping circles to ovals 362
Open tool 44, 745
repeating 420 overlap stitching
opening designs 801
resequencing 312 removing 421
reshaping 348 converting stitch designs 687 overlap taper angle 127
rings 416–418 from DOS disk 761 Overlap tool 253
rotating 334 from paper tape 766
overlapping
selecting 55 Open tool 44
cap corners 215
selecting colors 152 other formats 761
color blending 487
shaping 244 preview window 44
opening files Complex Fill and Fusion Fill
skewing 338 segments 127
splitting 311 object/outline recognition 686 mitre corners 215
traveling by 83 recognition limitations 687 overstitching, pull
vector 228 scaling 686 compensation 201
See also modifying objects Options
Overview Window tool 71
Offset List dialog 433 Auto Scroll dialog 861
Offset Object command 860, 861, 862, 864,
command 429 865, 866, 867, 868
dialog 429, 433
Offset Object tool 429, 432
View Drawing 857
Options dialog 75 P
offsetting Auto Scroll 861 palette
appliqué cover stitches 442 General 205, 862–868 Add Colors to Palette 291
appliqué guide runs 439 Grid 858–860 Match Colors to Palette 291
appliqué tacking 441 Reshape 862 See also color palette
View Design 854, 856 palette colors, match to
Auto Spacing (Satin) 136
Contour needle points 493 Organize Favorites dialog 405 drawing 286
creating offset objects 429 Organize Styles dialog 404–410 palettes, sequins 538
filled holes (Complex Fill) 434 organizing designs 822 panning designs 69
fractional spacing 212 outline files 682, 699 paper tape
Motif Fill patterns 518 Outline Run opening designs 766
objects 429 digitizing artwork 289 Punch command 768, 839
offset fractions (Tatami) 450 Outline Run tool 286, 289 punching 768
ES 2006 Index 1168

Read command 766, 838 Match to Palette 286 Print Preview tool 96
setting up punches 839 Outline Run 286, 289 Print Selected Designs tool 812
setting up readers 838 Pickout Run 286, 289 Print tool 735
storing designs 766 Tatami Fill 286, 288 printing
parallel ports Tatami Fill without Holes 286, backgrounds 740
connection settings 829 288 catalogs 813
Partial Appliqué command 444 Turning Satin 285, 287
multiple colorways 740
partial cover appliqué 444 Point mode, digitizer tablets 831
production worksheets 812
partition lines 452 pointer position display 863 Process
angle 453 Pointer toolbar dialog 219–221, 692
sequence 452 Backtrack/Repeat 420 tool 218, 220, 692
Paste Drawing As Vector Empty Function 188 production information 96
command 236 Keep Last Stitch 369 production worksheets
paste options Line Select 62 customizing 739
Center at Current Stitch 865, Polygon Select/Line Select 61 print options 736
866 Reshape Object 237, 356, 359, printing 735, 812
Object Property Position 865, 362, 363, 365, 368, 497, 498, printing backgrounds 740
866 512, 527, 529, 553, 581, 582, Text to Print 739
Start at Current Stitch 865, 866 583, 590, 594, 595, 597, 598, viewing 96
Paste Vector As Bitmap 660, 662, 677 Program Split
command 264 Select Object 57, 58, 60, 61, adjusting spacing on-screen 467
pasting 308, 553, 589, 593 applying 456
bitmap images 264 Stitch Angles 367 applying random factors 464
designs 822 Stitch Edit 372, 373, 375, 377, combination splits 458
objects 305 378, 379, 380 creating patterns 469
Paste tool 305, 313 Tie Off 186 editing patterns 470
vector drawings 236 Trim 187 filling shapes with 457
patterns Polygon Select/Line Select tool 61 layout patterns 465
creating patterns 469 Polygon tool 230 modifying layouts
editing 470 Polyline tool 229 on-screen 465
laying out on-screen (Motif popup menu offsetting 462
Fill) 523 Convert Auto Appliqué 349 offsetting patterns
laying out on-screen (Program Convert Backstitch 350 on-screen 468
Split) 465 Convert Complex Fill 349 Program Split tool 456, 457,
Program Split 456 Convert Drawing 351 458, 460, 461, 462, 464, 465
scaling for Motif Fill 520 Convert Fusion Fill 349 random factor 464
selecting (Program Split) 457 Convert Input C 349 rotating patterns on-screen 467
selecting for Motif Fills 515 Convert Motif Run 350 scaling patterns on-screen 467
See also motifs Convert Run 349 selecting patterns 457
Penetrations tool 189 skewing patterns on-screen 467
Convert Stemstitch 350
peripheral devices Convert Stitch Angles 349 stitch values 461
connection settings 827 Convert Triple Run 350 properties
setting up 827 using 40 Object Properties tool 179, 181,
See also hardware ports 182, 184, 185, 189, 238, 399,
perspective effects, Accordion 401, 413
parallel 829
Spacing 485 viewing 797
serial 827
perspective effects, Color position coordinates 50 See also object properties
Blending 487 preparing, enlargement Properties dialog 799
Photo Flash command 297 drawings 846 ES Explorer 797
photos, converting to Windows Explorer 91
preserving long stitches 425
embroidery 297 Properties Window tool 659
preset spacing values 852
Pickout Run properties, of objects 40
preset styles, NORMAL
digitizing artwork 289 template 410 Publish Options dialog 815
tool 286, 289 publishing catalogs 815
pictures, See backdrops Print command 736, 739, 740, 742
puck, digitizer 851
planning Print Designs Options dialog 814
pull compensation
design shapes 12 Print Options dialog 736–742, 812
applying 202
stitching sequence 12 Print Preview command 736, 739,
overstitching amount 203
Point & Stitch™ toolbar 740, 742, 743 overview 201

Pull Compensation tool 202 node 794 moving boundary 363
recommended values 202 registering reshaping objects 363
reversing stitch direction 204 enlargement drawings 847 Ring tool 418
Punch Options dialog 811 the menu chart 844 Ring tool 418
Punch Selected Designs tool 811 Remove Overlaps command 421 Rotate 45 CCW tool 335
punching Remove Overlay Stitching Rotate 45 CW tool 335
designs 810 command 421 Rotate tool 335
from ES Explorer 811 Rename rotating
paper tape 768 Alphabet dialog 675 motifs 532
See also paper tape punches Letter dialog 676 motifs in Motif Fills 522
Purge Recover and Backup Object Style dialog 409 objects 334
Directories dialog 1121 Thread Chart dialog 170 patterns on-screen 524
push-pull effect, compensating renaming Program Split patterns
for 127 designs 823 on-screen 467
folders 822 See also rotating objects
styles 408 rotating objects
thread charts 169 by an exact amount 335
Q repeating by click-and-drag 334
motifs (Motif Run) 526 from the Object Properties
Quick Names dialog 634 dialog 335
objects 420
Resequence on-screen 334
By Color command 314 using a reference line 336
using a reference line and
R By Selects command 314
resequencing angle 337
random factor 455 by color 314 roughness, Jagged Edge
Program Split 464 by selection 314 values 481
readers, See paper tape readers objects 312 rounding corners, Input C 217
reassigning colors, to stitch objects, branching 304 row spacing, Program Split 460
files 706 using cut and paste 313 rulers and guides 48
Recognition - Advanced Options using the Color-Object List 315 Run
dialog 695 Reshape Object tool 237, Backtrack and Repeat 420
recoloring objects 153 356–368, 498, 512–529, 553, chord gap 108
Record to Clipart dialog 778 581–583, 590–598, 660, 662, creating offset objects 429
Record to Clipart tool 778 677 setting stitch length 108
reshape options 861 stitch length 108
records, viewing 797
Reshape toolbar tool 556
Rectangle tool 231 underlays 194, 622
rectangles, drawing 231 Show Reshape Nodes 356, 359
Show Start/End 357, 368 values 108
Redo tool 43 variable stitch length 109
Show Stitch Angles 356, 365
redoing commands 43 reshaping objects 348, 356 Run and Center Run values 194,
redrawing designs circles 362 622
slowly 85 lettering 602 Run tool 102, 106, 108, 109, 352
Reduce Colors Motif Run 512 runs
dialog 277 Ring 363 appliqué guide runs 439
Reduce Colors tool 277 Sequin Run 553 automatic connectors 181
reference lines Star 361 overview 178
mirroring objects 340 Reverse Curve 204 setting Center Run and Edge
rotating by specified angle 337 Run values 194, 622
Reverse Curves command 204
rotating relative to 336 travel runs 189
reverse stitch direction 204 runs, sequins 540
reference points
reverse stitching
motifs 534
Backtrack and Repeat 420
origin 846, 847
Revert to Factory Settings
rotating using 336
rotating using (exact angle) 337
dialog 414, 1120
revert, to NORMAL template 414
S
rotation point 846–847
Ring objects same size, objects 333
scaling objects with 332
See also control points changing entry point 368 sample motifs, Motif Fill 523
Reflect tool 341 changing size 363 sample patterns, Program
refreshing display/folders/tree digitizing 418 Split 465
ES 2006 Index 1170

Satin setting up scanners 841 design 375
appliqué cover stitch 442 sharpening 261 with a bounding box 373
applying Auto Split 423 tips 260 with the Stitch List 373
automatic spacing 135 Screen Calibration dialog 842 selection handles
digitizing with Input C 111 security rotating 334
overview 132 device messages 1107 scaling 324
Satin tool 132, 423 segments selection tools
setting stitch count 138 Complex Fill objects 120, 122 Polygon Select/Line Select 61
spacing 134 traveling by 82 Select Object/Select Current 57
splitting long stitches 423 segments, adjusting overlap 127 Selects On 59, 375
Triple Satin 138 Select Selects On tool 59, 375
Satin tool 132, 133, 135, 136, 138, By Color dialog 63, 76 Selects On, selecting a range of
614 By Stitch Type dialog 64 stitches 375
Save As dialog 53, 411, 747, 751, Machine Format command 710, Send command 745
752, 753, 817, 819 723 sequence
Save Bitmap As command 264 Machine Format dialog 52, 710 checking 80
Save Options dialog 646, 751, 752, Motif dialog 531–536 partition lines (Tatami) 452
753 Source dialog 841 resequencing 313
Select Machine Format traveling 80
Save to Embroidery Disk
command 51 Sequence By Color dialog 315
dialog 765
Select Object tool 57, 58, 60, 61, Sequence dialog 618–620
Save to Embroidery Disk tool 711,
764 308, 553, 589, 593 sequencing objects, automatic
Save tool 52 Select Sequin Type dialog 538 stitching 296
saving selecting sequin artwork, convert 551
bitmap images as separate alphabets 565 sequin encoding 732
files 264 Tatami backstitch 142 Sequin Manual tool 549
designs 52 selecting designs 800
Sequin Palette dialog 538
designs to embroidery selecting objects
Sequin Palette Editor tool 538
disk 758–766 bounding outline 58
object properties to a Sequin Palette tool 538, 541, 542
by color 63
template 413 by stitch type 64 sequin palettes, setting up 538
Save tool 52 cancelling a selection 56 Sequin Run Auto tool 540
saving designs current object 60 Sequin Run Manual tool 540
CSD format 752 grouping 326 sequin runs, creating 540
Melco CND format 751 resequencing by selection 314 sequin runs, scale/reshape 553
ZSK-TC format 753 Select Object tool 56 Sequin toolbar
scaling selecting a range 59 Manual Sequin 549
enlargement drawing scale 849 selecting all 55 Sequin Palette 538, 541, 542
motifs 532 selecting consecutive objects 57 Sequin Palette Editor 538
motifs (Motif Fill) 520 selecting first and last 61 Sequin Run Auto 540
motifs (Motif Run) 509 selecting multiple objects 57 Sequin Run Manual 540
objects 329 selecting the next or previous Vectors to Sequins 551
Program Split patterns object 61 sequins
on-screen 467, 524 using Line Select 62 digitizing individual 549
scaling objects using point and click 57 serial devices, recommended
by click-and-drag 329 using Selects On 59 settings 827
make same size 333 using SHIFT to select a range 57
Serial Port Setup dialog 828
on-screen 329 while traveling 60
to an exact size 331 serial ports, connection
with Polygon Select 61
using Object Properties 331 with the Color-Object List 64 settings 827
using reference points 332 selecting stitches 372 Set Color
Scanner Setup command 841 command 154
by needle point 372
scanning 258–262 dialog 154
cancelling a selection 376
setting
artwork 258, 261 selecting a range 375
Always Check Design
bitmap images 261 several stitches 372
Integrity 868
color mode 259 single stitch 372
Cross Hair Cursor 867, 868
preparing artwork 258 using outline 373
Cumulative Stitch Count 868
resolution 259 using Selects On 375
design view defaults 795
Scan command 261 while traveling through a

other options 868 Show Start/End tool 357, 368 Space Evenly Down tool 326
pointer position display 863 Show Stitch Angles tool 356, 365 spacing
Run Small Stitch Filter on Show Stitches dialog 392 Accordion Spacing 484
Output 868 fractional spacing 211
Show Stitches tool 77
Show Design Source 868 objects evenly 325
Show Travel Toolbar tool 37
user preferences 795 offset, Auto Spacing 136
setting options Show Vectors tool 97, 857
open spacing (color
pointer position display 864 Show Vertical toolbar blending) 487
settings Show Image Toolbar 37 open spacing (Trapunto) 482
adjusting view 793 Show Input toolbar 37 preset 852
settings, changing display 87 Show Pointer toolbar 37 Program Split stitches 461
shading effects, Accordion Show Travel toolbar 37 Tatami underlay 197
Spacing 485 Show/Hide folders icon 790 using Auto Spacing 135
shading effects, Color Skew tool 339 Zigzag and Double Zigzag
Blending 487 skewing objects stitches 196
Shaping toolbar by click-and-drag 339 Special menu
Back-Front 249 by exact angle 339 Alphabet > Make
patterns on-screen 525 Letter 670–677
Combine 246
Program Split patterns Alphabet > Modify
Divide 251, 253
on-screen 467 Alphabet 675, 676
Exclude 249
using Object Properties Convert TrueType Font 654
Flatten 251, 253
dialog 339 Hardware Setup 827, 831, 835,
Front-Back 249
with rotation handles 339 837, 842
Intersect 249 slide show Motif > Make 534–535
Keep Source Objects 252
browsing designs 800 Motif > Select 536
Overlap 253
running 798 Options 74, 860, 861, 862, 864,
Weld 246
thumbnails and properties 798 865, 866, 867, 868
Sharpen Edges dialog 280
viewing designs 798 Tablet 844, 847, 849, 850
Sharpen Edges tool 280 Slow Redraw Spiral Contour 491
sharpening outlines 280 dialog 85 in circles 417
Shortcut to Windows Properties Slow Redraw command 85 Split Object command 311
dialog 803 Small Stitches command 222 Split Palette Color tool 164
Shortening tool 207 Small Stitches dialog 222 splitting
shortening, See stitch shortening small stitches, removing 222 combination splits 458
show smart corners lines 475
needle penetration points 77 appliqué 437 objects 311
outlines 77 applying 214 Split Object command 311
Show Connectors 854 cap 213 using Auto Split 423
Show Drawing tool 97 mitre 213 using split lines 475
Show Functions 854 round corners, Input C 217 squares, drawing 231
Show Needle Points 854 setting values 215 stabilizing, with auto underlay 191
stitches 77 Smart Corners tool 213, 214 Standard backstitch 142
Show All tool 69 Smart Design Standard Contour 490
Show Bitmap tool 97, 857 dialog 291–297 Standard toolbar
Show Clipart tool 772, 775, 776, tool 291 Branching 317, 318
779 Smooth Drawing Curves Color-Object List 64, 315–319,
Show Drawing tool 244 dialog 238 328
Show Functions dialog 390 smooth joins, creating 205 Copy 305
Show Grid tool 48, 858, 859 snap to grid 859 Cut 313
Show Image Toolbar tool 37 Sort New 46
Show Input Toolbar tool 37 dialog 808 Object Properties 40, 179, 181,
Show Needle Points tool 79 Sort tool 807 182, 184, 185, 189, 238, 399,
sorting 401, 413
Show Outlines tool 77
design lists 796 Open 44, 745
Show Pointer Toolbar tool 37
designs 805 Open As 761
Show Reshape Nodes tool 356, Overview Window 71
using details lists 807
359 Paste 305, 313
using Sort 807
Show Rulers and Guides tool 48, using View menu 806 Print 735
859 Space Evenly Across tool 325 Print Preview 96
ES 2006 Index 1172

Properties Window 659 stitch direction, reversing 204 Flexi Split 471–473
Redo 43 Stitch Edit tool 372, 373, 375, 377, Florentine Effect 496–500
Save 52 378, 379, 380 Fractional Spacing 212
Save to Embroidery Disk 711, stitch files Liquid Effect 501, 503
764 overview 683 Motif Fill 514, 515, 518
Selects On 59, 375 Program Split 456, 457, 458,
reassigning colors 706
Show Bitmap 97, 857 460, 461, 462, 464, 465
supported formats 917, 919
Show Connectors 79 Stitch List Pull Compensation 202, 203
Show Drawing 244 Satin 132, 133, 135, 136, 138,
dialog 373, 390
Show Functions 79 423, 614
editing stitch coordinates 387,
Show Grid 48, 858, 859 Shortening 207
388, 389
Show Needle Points 79 Smart Corners 214
filtering by function 390
Show Outlines 77 Tatami 132, 139, 140, 142, 449,
Stitch List tool 373, 387, 388,
Show Rulers and Guides 48, 859 450, 452, 455, 616
389, 390, 391
Show Stitches 77 Trapunto 482
using 387
Show Vectors 97, 857 Stitch Manager User Defined Split 475, 476, 477
Stitch List 373, 387, 388, 389, deleting embroidery Zigzag 132, 143, 617
390, 391 machines 837 stitch usage, estimating total 94
Stitch to Stitch Manager 711, dialog 755 stitch values
755, 830 setting up embroidery Auto Spacing (Satin) 135
Team List 638, 641, 643 machines 835 backstitch 142
TrueView™ 78, 855 using 755 cover appliqué 442
Undo 43 Stitch menu guide runs (appliqué) 439
Ungroup 677 Define Style 404, 405, 407 length (Tatami) 140
Star objects Partial Appliqué 444 setting Tatami offsets 449
changing entry point 368 Small Stitches 222 setting Tatami values 139
digitizing 418 Stitch Options dialog 810 stitch type 132
reshaping 361 stitch recognition 687 tacking (appliqué) 441
StarLAN network settings 829 stitches 77
advanced options 694
Start/End Design tool 82 Stitch Selected Designs tool 810 adjusting density 220
starting new designs 45 stitch shortening appliqué cover stitches 442
Stemstitch applying 207 appliqué tacking 441
adjusting settings 149 customizing 208 calculating stitch length 427
Stemstitch tool 102, 106, 146, overview 207 changing display color 89
149, 352 setting values 208 Contour stitch values 493
Stipple dialog 447 Stitch to Stitch Manager deselecting 376
Stipple Run tool 446 dialog 755, 830 digitizing Run stitches 105
stippling Stitch to Stitch Manager tool 711, displaying 77
755, 830 Edge Run and Center Run
creating textures 446
length 194, 622
stitch angles stitch types
editing 378
adding to Complex/Fusion Backstitch 147
Fill 367 generating 47
changing 132
adding to Input A 365 keep/omit last stitch 117–118
Contour 490
adding to Input B 365 Manual 104
fill 132 multiple stitch counts (Triple
Complex Fill/Fusion Fill 126 Motif Fill 514 Run) 110
defining for Complex Fill 121, Motif Run 505 preserving with Auto Jump 425
123 overview 131 selecting 372
Stitch Angles tool 368 Program Split 456 selecting a stitch type 132
turning stitches, Input A 116 Satin 132 shortening 207
Stitch Angles tool 367 selecting 132 stitch types 132
stitch density Stemstitch 149 Tatami underlay 197
adjusting 218 Triple Satin 138 travel runs 189
adjusting for certain stitch Stitch Types toolbar traveling by 81
types 220 3D Warp 527, 529
stitch designs Triple Manual 104
Accordion Spacing 484, 485 Zigzag and Double Zigzag
conversion options 687 Auto Jump 426 length 196
opening 687 Auto Underlay 192, 320, 622 See also editing stitches
processing into objects 687 Contour 490, 491, 492, 493 See also selecting stitches
stitch recognition 687 E Stitch 132, 144 stitching

removing layers 421 tape, See paper tape creating 471
stitching designs taper angle, overlapping selecting patterns and
selecting machine and segments 127 options 472
options 810 Tatami textures
using Stitch Manager 755 backstitch 142 stippling 446
See also Stitch Manager Borderline backstitch 142 third-party applications 267
stitching sequence 80 Diagonal backstitch 143 thread charts
See also sequence offset fractions 450 adding colors 173
storing designs offsets 449 copying colors 172
embroidery disks 758 partition lines 452 creating 168
paper tape 766 random factor 455 deleting 169
Stream mode, digitizer setting underlay stitch modifying 168
tablets 832 angles 197 modifying threads 161, 170
strengthening setting underlay values 197 renaming 169
auto underlays 191 Standard backstitch 142 thread colors 152
styles stitch length 140 adding to thread charts 173
applying 403 Tatami tool 132 copying across thread
applying favorites 403 values 139 charts 172
assigning favorites 405 Tatami Fill tool 286, 288 creating thread charts 168
creating new style 404 Tatami Fill without Holes tool 286, matching 156, 166
deleting 409 288 matching to image 166
make object properties Tatami tool 132, 139, 140, 142, mixing your own 175
current 399 modifying threads 161, 170
merging 407 449, 450, 452, 455, 616
Tatami values See also colors
modifying 407 threads
overview 402 stitch spacing, length and
brands 174
renaming 408 minimum length 140
code 174
See also templates Team List 638, 641, 643
color matching 166
toolbar 402 Team Members dialog 636, 639,
density 174
Styles toolbar 641, 643 thickness 136
Apply Current Properties 400, team name matrix 644 type 174
498 Team Names 630 types 136
Apply Style 403 dialog 631–636 Tie In Values dialog 183
favorite styles 403 See also names Tie Off tool 186
Make Properties Current 399, team names
498 Tie Off Values dialog 184
creating 635 tie-ins
switching, between fill and creating separate designs 643
outline 104 overview 178
editing 638 setting automatic tie-ins
Symbol Selection dialog 436, 625 outputting designs 646 values 182
system preferences viewing 638 tie-offs
automatic backup 862 Team Names tool 631, 632, 634, adding 186
automatic save 862 635 methods 184
setting 854 templates overview 178
viewing options 855 creating 411 setting automatic tie-off
deleting 415 values 184
modifying 412 setting automatic trim
NORMAL 410 values 185
T overview 410 Tie Off tool 186
Tab delimited files, exporting reverting to original 414 toolbars
catalogs 816 saving object properties 413 selecting commands 39
Tablet command 844, 847, 849, using 412 showing 37
850 using custom templates 46 Styles toolbar 402
using the NORMAL template 46 Toolbars dialog 38
Tablet Setup dialog 844–849, 850
See also styles total stitch count, estimating 94
tablets, See digitizing tablets templates, using custom
tacking Transform dialog 332–340
templates 802 Transform toolbar
offsetting 441 Test Disk dialog 760
setting values 441 Mirror Horizontally 340
textured fills Mirror Vertically 340
Tape Manager dialog 768, 811,
adjusting settings 473 Rotate 335
838–840
ES 2006 Index 1174

Rotate 45 CCW 335 Triple Run applying stitch shortening 207
Rotate 45 CW 335 creating offset objects 429 Contour 490
Skew 339 repeating stitches 110 corner fractions 115
transforming letters, variable stitch length 109 digitizing with Input A 116
on-screen 597 Triple Run tool 102, 106, 108, 109, digitizing with Input B 118
transforming objects 110, 352 Input C 115
mirroring (reference line) 340 Triple Satin 138 turning-off
rotating (reference line and troubleshooting 1105 automatic tie-ins 182
angle) 337 beeping sound 1116 automatic tie-offs 184
rotating (reference line) 336 deleting files with purge automatic trims 185
scaling (reference points) 332 recovery 1120 fractional spacing 212
Transform command 332, 337 design integrity 1116 pull compensation 202
Transform Special device connections 1111 TWAIN 841
command 336 two-color alphabets 620
digitizer connections 1121
Trapunto two-part motifs 517
embroidery lettering 1117
applying (Complex Fill) 483 ES Design Explorer
overview 482 problems 1110
Trapunto tool 482 exception access
Travel by Color tool 83
Travel by Function tool 84
violations 1123, 1124 U
general problems 1113
Travel by Object tool 83 invalid access code 1108 underlays
invalid product 1109 Center Run 194, 622
travel runs 189
Missing files 1109 choosing suitable
Travel toolbar underlays 194, 622
Start/End Design 82 missing toolbars 1115
output 1114 Edge Run 194, 622
Travel 1 Stitch 81 setting Auto Underlay
Travel 10 Stitches 81 recovering backups 1117
margins 199
Travel 100 Stitches 81 reverting to factory
See also Auto Underlay
Travel 1000 Stitches 81 settings 1120 Undo tool 43
Travel by Color 83 security device messages 1107
undoing commands 43
Travel by Function 84 stitch display 1114
testing embroidery disks 760 Ungroup tool 326, 677
Travel by Object 83
Timeout warning 1109 ungrouping objects 326
Travel by Segment 82
traveling Timeout warning when starting Unlock All tool 327
ES Design Explorer 1110 unlocking objects 327
by 1 stitch 81
TrueView™ 1115 unrecoverable errors,
by 10 stitches 81
units of measurement 1114 troubleshooting 1109
by 100 stitches 81
Unrecoverable error when Use Object Style dialog 403
by 1000 stitches 81
opening design 1110
by color 83 Unrecoverable error when User Defined Split
by function 84 opening ES Designer 1110 applying 476
by segment 82 unrecoverable errors 1109 digitizing objects with 475
by stitches 81 unwanted trims 1116 User Defined Split tool 475, 476,
overview 80 TrueType fonts 649 477
selecting objects while User Preferences
traveling 60 conversion stitch methods 656
converting complete dialog 795
selecting stitches 375 setting 795
alphabets 654
traveling tools User Preferences command 795
converting to embroidery
Start/End Design 82 fonts 649 user-refined alphabets 661
Travel by Color 83 TrueView Options dialog 856
Travel by Function 84
TrueView™ 77
Travel by Object 83
selecting options 855
travel by stitches tools 81
tree node, refresh 794 thread thickness 855 V
tool 78 validating folders 794
Trim tool 187
TrueView tool 855 values
trims viewing in 78
adding 186 Auto Jump 427
Turning Satin
overview 178 automatic connectors 179
digitizing artwork 287 pull compensation 202
trim functions 714 Turning Satin tool 285, 287
Trim tool 187 Run and Triple Run 108
turning stitches
Triple Manual tool 102, 104 selecting stitch types 132
applying fractional spacing 212

Tatami underlay 197
travel runs 189
W
See also object properties Weld tool 246
variable stitch length (Run and width, make objects same 333
Triple Run) 109 WinZip tool 819
vector drawings word spacing, changing 584
automatic digitizing 228 worksheets, See production
convert to embroidery 349 worksheets
converting artwork 284 WorkWithObjectProperties 397
digitizing 349 Wreath tool 343
importing and exporting 233
wreaths
inserting 233
kaleidoscope effect 343
outputting designs as 746
objects as wreaths 343
pasting 236
reshaping 237
smoothing 237
vector objects
creating 228
X
open shapes 229 X and Y coordinates, setting 324
straight lines 229
Vectors to Sequins tool 551
View By Color command 76
View Design tab Z
setting display options 74 Zigzag
View menu underlay, setting 196
Measure 50 using with boring holes 555
Slow Redraw 85 Zigzag tool 132, 143, 617
User Preferences 793, 795 Zigzag tool 132
View By Color 76 zipped designs
view settings, adjusting 793
extracting 820
viewing viewing in folders 791
backdrops 97 Zoom 1-1 tool 69
colorways 87
Zoom Box tool 69
design properties 797
Zoom Factor dialog 69
designs 69
information online 4 Zoom Factor tool 69
objects by color 76 Zoom In 2X tool 69
options, See user preferences zoom in/out 69
slide show 800 Zoom Out 2X tool 69
viewing design options Zoom toolbar
connectors 854 Show All 69
functions 854 Zoom 1-1 69
needle points 854 Zoom Box 69
viewing designs Zoom Factor 69
connectors 79 Zoom In 2X 69
display options 77 Zoom Out 2X 69
displaying hidden objects 65 ZSK-TC format, saving as 753
functions 79
needle points 79
outlines and stitches 77
panning 69
redrawing slowly 85
setting display options 74
setting options 855
TrueView™ 78
TrueView™ options 855
zooming 69
ES 2006 Index 1176

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Embroidery Software 2006

Rev 1 April 2005

Welcome to Wilcom ES 2006, the leading software application for

Upgrade or update users

Wilcom ES product models

ES 2006 Wilcom ES Online Manual 1

21E—Lettering and Editing

Warning Screen illustrations in the user documentation are intended to be

ES 2006 Wilcom ES Online Manual 3

Quick Start Guide

User Manual supplements

Wilcom ES Machine Manager Supplement

Wilcom ES Cross Stitch Supplement

Wilcom ES Chenille Supplement

ES 2006 Wilcom ES Online Manual 5

Wilcom ES Schiffli User Manual

Viewing online documentation

To view the online documentation

Bookmarks Page turning controls Paging settings

Using online help

ES 2006 Wilcom ES Online Manual 7

Linking to the Wilcom website

To link to the Wilcom website

Conventions used in the documentation

Instruction Symbol Description

Click [ Click the left mouse button.

Right-click ] Click the right mouse button.

Double-click . Click the mouse button twice without moving the

Click OK [ or j Click OK with the mouse or press the Enter key

For a complete list of keyboard shortcuts, see Keyboard Shortcuts.

ES 2006 Wilcom ES Online Manual 9

Working with design objects

ES 2006 Wilcom ES Online Manual 10

ES 2006 Object-Based Embroidery 11

Embroidery digitizing consists of turning the basic shapes of a design into

Design shapes and stitching sequence

ES 2006 Wilcom ES Online Manual 12

design looks details are clearly

shapes are filled with stitches are angled to

lettering is clear and

The stitched-out design should also have the following characteristics:

ES 2006 Wilcom ES Online Manual 13

Working with design objects

ES 2006 Chapter 1 Digitizing with Wilcom ES 14

ES 2006 Wilcom ES Online Manual 15

large irregular shape line (Run)

narrow columns (Input C)

turning stitches (Input B)

Different tools are suited to creating different shapes or design elements.

Fill and outline stitches

Run for lines

Tatami for large

Satin for narrow

ES 2006 Chapter 1 Digitizing with Wilcom ES 16

The particular ‘colorway’ represents the actual thread colors in which a

Connecting embroidery objects

trim stitching starts

ES 2006 Wilcom ES Online Manual 17

Improving stitch quality

with underlay without underlay

Compensate for fabric stretch with pull compensation. Reduce stitch

with no effects with Auto Split with Auto Jump

Digitizing with artwork

ES 2006 Chapter 1 Digitizing with Wilcom ES 18

Customize the design window by showing or hiding the grid, changing