Professional Documents
Culture Documents
Maestro
This section will focus on how to work with the advance digitizing tools and features of
Maestro only.
At this point, you should be comfortable in the Tajima DGML Software environment and well-versed in all of the basic functions and
processes. You should have already attended the Basic Embroidery Training Class which covered Lettering and Editing as well as
Basic Digitizing. In addition, you should have spent time mastering those skills as digitizing will make use of many of the Lettering,
Editing and Basic Digitizing Functions. Therefore, the instructions and exercises in this chapter will be more condensed in regards
to step-by-step details. If you have questions or are unsure of a process, please feel free to ask the Instructor.
NOTE: The software is officially recognized as Tajima DGML by Pulse Microsystems. However, it may be referenced
in this manual as Tajima DGML by Pulse, Tajima DGML or DGML
AutoCAD (*.DXF)
If you are looking for a specific file format, you can change the Files of type to that
specific format. *If DXF is selected you will be prompted to choose the units of
measurement for the design. You can choose imperial or metric units.
Select your file and click Open.
Left-click to place the artwork on the design workspace. Each time you click you are
placing another copy of the artwork.
Enter to stop importing.
Training Exercise-Importing a vector file
1. Start a new file.
2. Select the Import Artwork Tool from the Artwork drawer of the
Tool Cabinet or from the Artwork Toolbar.
3. Change the Look In directory to Class Artwork, select Golf5
4. Point to the workspace, Left-click and then tap Enter on the
keyboard. This will place the vector artwork.
8.1.2 Copying Vector
You can now copy one or more vector objects from CorelDraw or Adobe Illustrator and
paste these objects into Tajima DG/ML by Pulse. Vector objects pasted into Pulse are
automatically converted into artwork segments.
To copy vector objects:
In CorelDRAW or Adobe Illustrator, select one or more vector objects you want to copy.
To copy the selected vector object(s), press Ctrl+C on your keyboard.
In Pulse, press Ctrl+V on your keyboard to paste the copied vector object(s). The color
and shape of objects will be preserved.
8.1.3 Importing TrueType fonts
Use the Import TrueType tool to import TrueType fonts as a variety of segment types.
You can edit artwork segments to create shapes that are appropriate for embroidery by
using the Slice tool. Satin Path segments require special consideration since angle
lines need to be assigned to individual segments. By selecting segment types other
than artwork, you can apply stitch types immediately. You can also use the Auto
Breakup command to slice a segment and add angle lines for Satin Path segments.
By clicking the Transform button you can Flip Horizontally, Flip Vertically, Rotate 90
degrees clockwise or counter clockwise as well as rotate 180 degrees. To crop the
image you will adjust the frame that surrounds the image with the boxes in each corner
or on each side. To restore the original image, press the Select All button. Click Next.
The Image Vectorizer Color Reduction
box will appear. You can reduce or add
the number of colors that you are going
to generate. To delete a color, select the
color you want to eliminate and left click
on the Delete button.
You can preview the change by selecting
the Show Preview button. To get out of
the preview, press the Show Preview
button again.
To add colors zoom in with the zoom tool, select the dropper tool and in the select
colors area, click on new colors to include in the color palette. You see each new color
appear in the color palette. Click Next.
The Image Vectorizer Vectorize window will appear. You can adjust color tolerance
by adjusting the slider. Click Update Outlines to update the outlines on the image when
you change the tolerance.
You also have the ability to include the background color in the resulting design file. To
do so, check the box Generate artwork for background color to create an additional
artwork segment for the background color. To change the background color, click on
the image and the color will show in the box beside the instruction.
Click Finish to view the design file in the active design window. To view the vector art
without the bitmap behind it, go to Image, Show. Repeat this step to bring the image
back.
8.1.5 Shape Artwork
Shape Artwork tools give you the options for editing artwork
segments. They can be applied whenever two or more
overlapping segments are selected. You can choose the
Unite, Exclude, Intersect or Clip tools to edit your artwork.
The Shape artwork tools can be accessed by the Artwork Tool
Bar, the Artwork Drawer of the Tool Cabinet or by selecting
the pieces you want to work with, Right Click and then choose
Shape, Shape Artwork from the menu. You will see the
Shape Artwork Dialog box.
Unite
Advanced Features- Maestro X2
The Untie tool merges all selected artwork into one segment. The shape of the new
segment combines all of the segments selected. All overlapping areas will be removed
from the new segment. If one or more of the selected segments are overlapping and
contain a hole, the holes will be united together. For example you can use this function
if you want to create a Steil or a Run border around a number of overlapping segments.
Instead of manually digitizing the border, you can use the Unite tool to create a new
segment that will outline the selected segments.
BEFORE
AFTER
Exclude
When you use the Exclude tool, all overlapped areas of selected segments are deleted
and the remaining areas are preserved. The artwork segments remain separate.
BEFORE
AFTER
The center piece has been moved to show how the Exclude tool completely eliminated
the sections that were overlapping into the circle.
Intersect
The Intersect tool preserves the overlapped area of selected artwork segments and
deletes the remaining areas. The overlap area is now one segment. In order for the
Intersect tool to work, all of the selected segments must overlap in the same area.
BEFORE
AFTER
Clip Tool
The selected segments remain separate after you use the Clip tool. This tool will delete
any outline of a segment that is behind in the layering. For example if the first segment
is behind the second segment in the sequence, any area of the first segment that lies
underneath the second segment will be removed from the first segment. The Clip tool is
useful if you have objects overlapping each other and you want to remove extra
stitching already covered by the top layer.
BEFORE
AFTER
The sequence is very important with this tool. The Yellow Circle was the last piece in
this sequence which created the trims of each petal on the flower.
Allowing Overlap in Shape Artwork:
The overlap distance is a new setting for Shape Artwork, applying exclusively to the Clip
Tool. When clipping two artwork shapes, it is sometimes desirable to have the two
shapes overlap along the line where they come into contact. This way there will be
some overlapping stitches generated when artwork is converted (to a fill segment, for
example).
An option on the Shape Artwork dialog box allows you to retain some overlap when
clipping combined shapes. Simply type a value in the box to determine the amount of
overlap that will be left between the two shapes after clipping.
To access this option, select the pieces that you want to clip. Right click and select
Shape, Shape Artwork to bring up the dialog box. You will see at the bottom of the box
the option for overlap distance.
Enter in the value that you wish to remain after the clip. Then left click on Clip.
click OK.
To join open segments and create a continuous closed path, check the Close Shapes
box and click OK.
To sequence the segments without combining them into a single segment, deselect the
Combine Shapes option and click ok.
When the Combine Shapes box is unchecked, you will see that two other options
become available.
You can check the Preserve Colors box to have the segments retain their identity and
the original color. If the segments you are connecting are of different stitch types, you
can check the Preserve Segment Types button to maintain each as its own individual
type after they have been connected.
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The illustration shows how removing the overlapped portion of the green on the black
solid piece has cut a piece into the black where the remove overlaps was selected, yet
the bottom green piece that was not selected still has the solid black behind where it
goes.
8.1.6 Applying Stitch Types
When you use the Artwork tools to create segments or you import
Vector Art segments, you must apply a stitch type to the segment
because artwork segments contain no stitch information/properties.
Where as when you create segments using the digitizing tools such
as the complex fill tool or the satin path tool, they have stitch types
assigned to them.
To apply Stitch types:
Select the artwork segment.
Do one of the following:
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Click the Convert button from the ribbon
Right-click and choose Covert Segment To from the shortcut
menu.
Press the = (equal) key on the keyboard.
Choose the stitch type you want to apply to the segment. When converting a colored
art segment to a stitch segment, the stitch segment retains the same color as the
Advanced Features- Maestro X2
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artwork segment. A color change is added if the color is different from the previous
segment.
Adding multiple stitch types to segments:
You can add multiple stitch types to one segment. For example you can have a
complex fill with a steil border around it. By combining the complex fill and steil in the
same segment, you save time because you do not have to create two separate
segments. In the sequence view it will show up as a Multiple type of segment.
To add a stitch type:
Select the segment. Be sure that the segment already has some type of stitch type
applied to it and that it is not an art segment.
Right click and choose Properties from the
shortcut menu. You will see the stitch type
dialog box.
Left-click on Add stitch typeand choose the
secondary type of stitch that you want in regard
to the segment selected. You can repeat this
step if desired.
If you want to adjust the properties for the new stitch type, left-click on Properties.
Stitch lengths, densities, thread color, etc. can be adjusted this way.
The sequence of the stitch types can also be adjusted by left-clicking on the Move
earlier or Move later buttons.
Left-click Done.
To delete a stitch type:
Select the stitch type of segment.
Right-click and choose Properties from the shortcut menu. Again you will see the stitch
type dialog box.
Left-click on the specific stitch type that you want to eliminate and then left-click on
Delete. Left-click Done.
You can also separate the stitch types by selecting the Breakup tool from the Artwork
tools.
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Refresh Draw Fusion: All objects in the Draw Fusion window are removed and
replaced with objects matching the segments in the Tajima window. When this is
not selected, no changes will be made to the Draw Fusion window.
Show this during transactions: When this is selected, the settings window will
appear each time a switch is performed.
Training Exercise 1
1. Start a new file. Select a recipe if so desired. (The computer system you are
working on must have CorelDraw 12 or 13 installed on it)
2. From the Artwork toolbar, select the Activate Draw Fusion Tool. (You can have only
one design window open to use the Draw Fusion function.)
Notice that the design window has been split. When you are highlighted on the Draw Fusion window you
are working as though you were in CorelDRAW. When you are highlighted on the Tajima DG/ML by
Pulse window you are working as though you were in Pulse. It is most helpful if you are already versed in
Corel as that is a separate product which is not covered in this training.
3.
4.
5.
6.
7.
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Notice that the design window has been split. When you are highlighted on the Draw Fusion window
you are working as though you were in CorelDRAW. When you are highlighted on the Tajima DG/ML
by Pulse window you are working as though you were in Pulse. It is most helpful if you are already
versed in Corel as that is a separate product which is not covered in this training.
3.
4.
5.
6.
7.
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h. Choose all lines that make up the outside border of the large sail, Ctrl+L to
combine.
12. Select the inside portion of the sun.
13. Go to File, Switch. Change Convert Fill Shapes to: to Complex Fill.
14. Select the wavy rays of the sun.
15. Go to File, Switch. Change Convert Fill Shapes to: to Satin Path.
16. Continue on with each portion of the design as you wish to create the pieces.
If you select more than one piece it will convert all the pieces you have selected at one
time but will put the pieces in a random sequence so be sure to double check the
sequence. To avoid this you can select each piece one at a time and convert them
individually which will create the sequence as you go.
When checked, the Overlap distance value can be entered therefore creating an
automatic amount of segment that is overlapped.
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BEFORE
AFTER
Notice on the After example the rays of the sun are overlapping into the ring around the
sun.
8.3.2 Auto Breakup
The auto-breakup function is a quick way to create the separate pieces of a complex
shape so that it can be functional as a satin type of segment. For example when
importing TrueType fonts, before the lettering can be seen as satin stitches the columns
must be separated. The Auto-Breakup function will break apart the shape and add
angle lines so that when generated the satin stitches are in place.
To use the auto-breakup function:
From the Artwork tools, left-click on Import True Type Font.
Choose Comic Sans at a size of 72
Choose Satin Path for the Segment
Type
Type in the word GREAT.
Left-click and then tap the enter key to place the artwork on the screen.
The lettering will appear on the workspace with
starting and stopping beads but the pieces are
not separated so the stitches dont work properly.
Right Click and choose Auto, Breakup. Auto
Breakup slices and adds angle lines to any Satin
Path in one step. Refresh with G.
8.3.3 Auto Sequence
You can set the sewing sequence for
segments in one step. The Auto
Advanced Features- Maestro X2
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Sequence command takes the segments you select and, depending on the settings you
choose, determines the sequence order, trims, stops and starts, and lock stitches for
the segments.
To use the Auto-Sequence:
Select all the letters, right-click and choose Auto, Sequence. The Auto-Sequence
dialog box will appear.
In the Sequencing order box, choose between the following:
None-This will not change the sewing sequence of the segments selected.
Minimize jump-This will change the sewing sequence of the segments based on
the distance they are from each other. Re-sequencing the segments so that they
are sewing in the order that is closest to each other.
Minimize color change-This will change the sewing sequence of the segments
based on their color keeping the sequence so that the same colors sew together.
In the Start/Stop box you have the option by checking the box to move the starting and
stopping beads so that they are in conjunction with each other. This will prevent a lot of
jumping around for the machine.
In the Trim box, choose from the following:
Never-No trims will automatically be added to the segments.
Always-Trims will be added at the stop/end point of every segment.
Trim at-Trims will only be added based on the value that is put on this option.
For example if the value is set to 3.0 mm than if the distance between the
segments is 3.0 mm or more a trim will be added. If the distance is less than 3.0
mm than no trim will be added.
In the Lock stitch box, choose from the following:
Never-No lock stitches will be automatically added to the segments.
Always-Lock stitches will be added to the stop/end point of every segment.
Around trim-Lock stitches will only be added when a trim command is on the
segment.
Type-Choose from Basic or Line.
Click OK to finish.
8.3.4 Auto Start/Stop
The Auto-Start/Stop function allows you to move the starting and stopping points of
each of your segments so that they are sewing at the closest point. This function allows
you to set them without going through the Auto-Sequence functions.
To use the Auto Start/Stop:
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Chariot
Josephine
Judo Kick
Nottingham
Olde Manor
Rebecca
Saloon
Serpentine
Shadow Block
Shining Star
Teacher
Varsity
The Symphony II Font Pack is part of the Maestro package. It is not yet available for individual purchase.
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Go to Tools, Font Creator. You will see the Font Creator dialog box.
Click on the New Font File button to create a new font file.
new font file name dialog box.
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Next, the Pick Reference letter box will come up. This is the widest character in the
letters or designs you digitized for this font.
Left click on the character file you digitized and click Open.
Left click on the
Click on the
Save button.
Add Letters button to add additional letters to your font.
This is helpful if
placement of the letter by clicking on the adjustment arrows.
youve loaded the letter p or the letter q so that you can adjust how it sits on the
baseline.
Left click on the X to close out of the font creator window. The above steps should be
repeated for the lower case letters.
When completed, start a new file and left click on the Font drop down arrow to find your
new font in the list.
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Select Create a new font and click ok. The font properties dialog box will appear.
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Check the options you wish the software to do automatically for you.
Create Embroidery Segments: Generates stitches for display in the font window.
This allows you to see the design as 2-D or 3-D stitches.
Include Artwork: Includes an artwork segment with the embroidery character.
This segment is identical to the TTF Character.
Create Extents Box: Creates a box representing the extents of the character.
Select this option if you plan to use the Use segments for extents feature from
the Font Properties dialog box.
Click Finish to generate the font characters. The software will auto digitize the font for
you and assign keyboard characters to each letter, number and symbol you selected.
You will see a preview of your whole font.
To edit a character, double click on it and you will be brought into the letter editor.
Make the necessary corrections and save the letter by going to File, Save.
Exit the letter editor by going to File, Exit.
Save the font making sure to name it the same name that you gave it when you created
the Font Properties. If the same name is not selected the font will not show up on your
text tool choices.
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Now, to create the wave, punch a Bezier curve to represent how the stitches will travel
through the shape. (the curve you draw should be open without overlapping).
Tap enter to complete the wave.
To add a Wave to existing complex fills:
Select the existing complex fill.
On the properties ribbon at the top of the workspace, change the Fill type from Standard
to Wave.
Left click the properties/segment settings arrow, click the Wave property page.
In the Wave Number box, enter 1. Click OK.
Create the wave by drawing a Bezier curve to represent how the stitches will travel
through the shape. (remember, the curve you draw must be open without overlapping).
To create a Wave with two wave patterns:
Select the Complex Fill tool. From the Properties ribbon at the top of the workspace,
change the Fill Type to Wave.
Go into the properties through the black arrow, and click on the Wave Property page.
In the wave number box, enter 2. The default stitch length is 4.0 mm. Click ok.
Digitize the shape that you want the wave fill to represent on the active workspace (H to
close if desired) and enter to complete the segment.
Set the Start and Stop points.
Now, to create the wave, punch a Bezier curve to represent how the stitches will travel
through the shape. (the curve you draw should be open without overlapping).
Tap the T key on the keyboard which will enable you to create a second line above or
below the first wave line and tap enter to complete the second wave.
Shift + G to generate both of the wave lines.
The stitches above the first wave will reflect the top line and the stitches below the
second wave line will reflect the second wave.
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In the Graduated Stitch Length Profile box, select how to vary your wave stitches:
None-The length of the run stitches will be consistent throughout the path.
Liner Increasing- The stitch length will start at the value defined in the Min. stitch
length box and will increase to the value defined by the stitch length box on the run
property page.
Liner Decreasing- The stitch length will start at the defined value defined in the
stitch length box and decreases into the value defined in the Min. stitch length box.
Convex- The convex setting will produce a run stitch where the stitch length is
longest at the middle of the path and shortest at the ends.
Concave- The concave setting will produce a run stitch where the stitch length is
shortest in the middle and longest at the ends.
Click OK.
Editing the waves:
Select the complex fill segment that contains the wave.
Right click and select Wave, and Punch.
Left click and drag the new wave line, tap enter to complete.
8.5.2 Fireworks Run
Decorative effects such as the Fireworks Run can be created using Programmed Run
stitches. In the Run property page, you can select a Stitch Length Profile that will vary
the length of the Run stitch throughout the segment. Therefore, normal Run or
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Programmed Run stitch segments can have varied stitch lengths throughout one
segment.
Creating a Fireworks Run:
Select the Run tool.
Change the Run Style from Run to Programmed.
Change the Pattern from Line to one of the patterns on the list.
From the segment settings, click the Run property page. In the Stitch Length Profile
box, select how to you want to vary your run. The Linear Increasing would be used to
create the Fireworks effect.
Linear Increasing: Gradually increases the stitch length in a selected segment
from the minimum stitch length to the stitch length value.
Convex: Starts gradually increasing the stitch length in a selected segment from
the minimum stitch length to the stitch length value. Then, begins gradually
decreasing the stitch length from the stitch length to the minimum stitch length
value at the center of the selected segment.
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Create the shape that you would like to apply the satin swirl effect to. Set the starting
point, stopping point and angle lines as usual, enter to complete. If the stitches dont
generate, tap the G key to generate the segment.
You will now see the satin swirl effect.
The density can be changed or adjusted to create more swirls or swirls that are closer
together. This will be dependent on the size and shape of your object.
Try changing from Swirl to Dual Swirl for an entirely different effect.
In the Swirl Density box, enter a density value for the swirls. This setting
should be adjusted according to the size of the shape. The default value is 57.7 spi.
Select Auto Swirl Compression to enable this setting and allow swirl
compression to be handled automatically by the software. Only when this
setting is disabled (unselected) the swirl compression box will become active.
In the Swirl Compression box, enter a value to control the compression of
swirls. The allowed values are from 0 to 100.
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90% Random
20% Random
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Left Click in the box to the left of Run to activate the preset.
Click OK to close.
8.6.3 Using Presets
You can apply presets in various ways: prior to digitizing a new segment, while
converting lettering to a segment, while converting a segment to other stitch types and
using hotkeys. Knowing how to apply presets while converting a segment to other stitch
types is especially useful when you import Adobe (*.AI) files or draw art segments; you
can automatically apply a preset right after selecting the stitch type.
When you select a preset for a tool, you will override the global recipe used in the
design and the preset will remain in the design. If you want to restore the original styles
for a tool, you can choose to apply No Presets.
To apply presets before digitizing:
When selecting the tool that you will be digitizing with, rather than left clicking like
normal, right click on the tool. You will see a shortcut menu appear.
Choose the name of the preset you want to use from the menu. The settings for your
preset are visible on the ribbon and the segment will take on the settings you defined for
that preset.
Create your segment.
To apply No Preset before digitizing:
When selecting the tool that you will be digitizing with, rather than left clicking like
normal, right click on the tool. You will see a shortcut menu appear.
Choose No Preset from the menu. The original system default settings will now be
applied.
Create your segment.
To apply presets while converting a segment to other stitch types:
Select the segment.
Click Convert on the ribbon.
Select the stitch type and then the preset available for that stitch type.
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Enter a distance in the X(+/-) to increase or decrease the horizontal pull comp.
Enter a distance in the Y(+/-) to increase or decrease the vertical pull comp.
If you have a shape that the stitches are running only left to right, the X option would be
the appropriate choice. Whereas if you have a shape that is running up and down, the
Y option would be the appropriate choice. Finally, if you have a shape that the stitches
are going both directions, you would choose both the X and the Y.
8.7.2 Quality Control-Critical Zone
To help avoid thread breaks or other sewing complications when you work with Fills,
you can remove stitches in a narrow area. For example, to prevent stitches from being
sewn 10 mm from the edge of a Fill, you would enter 10 mm in the Critical Zone
Distance text box. This then creates a smoother edge rather than having the short
stitches of the fill pushed all the way out. This will also decrease the stitch count in the
design.
To Use Quality Control:
Select the segment in your design that has a fill stitch applied to it.
Go into the segment settings and select the Quality Control properties page.
Select Critical Zone and in the Distance box enter the value that you wish to preserve at
the edge of the stitches.
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