Manual Wilcom65

WILCOM
ES VERSION 5.0
Users Manual
Copyright 1990-96 by WILCOM 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 Pty. Ltd. (A.C.N. 001 971 919) 146-156 Wyndham Street, Alexandria (Sydney) New South Wales, 2015, Australia Phone:+61 2 9 319 3866 Fax:+61 2 9 319 1672 The Stitch Processor (SP) portion of this product is covered by the following patents: US Patent N 4,821,662 European Patent N 0221163 (pending) Japanese Patent N 2029491 TrueView and Point & Stitch are Trademarks of Wilcom Pty. Ltd. WILCOM PTY. LTD. MAKES NO REPRESENTATION OR WARRANTIES WITH RESPECT TO THE CONTENTS OF THIS PUBLICATION & SPECIFICALLY DISCLAIMS ANY IMPLIED WARRANTIES OF MERCHANTABLE QUALITY OR FITNESS FOR ANY PARTICULAR PURPOSE. Further, Wilcom Pty. Ltd. reserves the right to revise this publication and to make changes in it from time to time without obligation of Wilcom 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 PTY. LTD. SPECIFICALLY DOES NOT WARRANT THAT THE SOFTWARE WILL MEET THE PURCHASER'S REQUIREMENTS OR OPERATE WITHOUT INTERRUPTION OR ERROR. P/N 8010005 Rev 4. 7 Nov 96
ii
ES
Contents
About this manual
ix
PART I. Basics 1
Chapter 1. Introduction
to ES
Overview of ES 4 A brief introduction to key concepts 8 More about the key concepts of ES 12 What is different from DOS-based ES versions
18
Chapter 2. ES Installation Instructions
27
Installing the Trysoft security card 28 Installing the scanner (21D, 45, 65 only) 28 Installing the ES software 29 Installing the on-line Users Manual 30 Setting up the peripheral devices 30
Chapter 3. Basic procedures
31
Starting ES Designer 32 Creating and opening a design 33 Using commands 35 Using the design window 38 Saving a design 45 Printing a production worksheet 48 Embroidering a design 48 Closing a design and exiting ES Designer
50
PART II. Digitizing designs 51
Chapter 4. Overview of embroidery design process

Choosing suitable artwork 54 Planning an embroidery design 55 Selecting embroidery machine 58 Preparing electronic or enlargement drawing Digitizing a drawing 61 Auto start and end 65
53
59
ES
Contents
iii
Chapter 5. Basic digitizing
techniques (all except 5, 10, 21L/E)
75
Run and Triple Run (all except 5, 10, 21L) 76 Input A method (21D, 25, 45, 65) 80 Input B method (25, 45, 65) 84 Input C Method (25, 45, 65) 86 Complex Fill method (21D, 25, 45, 65) 91 Manual and Triple Manual (21D, 25, 45, 65) 104 Changing between ll and outline stitching (21D, 25, 45, 65) 106 Empty stitch (all except 5, 10) 107
Chapter 6. Selecting stitch type and density (all except 5, 10)

Object properties (all except 5, 10) 110 Values of outline stitch types (all except 5, 10, 21L) Values of ll stitch types (all except 5, 10) 117 115
109
Chapter 7. Improving the embroidery quality (all except 5, 10)

Pull compensation (all except 5, 10) 136 Stitch shortening (all except 5, 10) 138 Fractional spacing (all except 5, 10) 139 Automatic underlay (all except 5, 10) 143
135
Chapter 8. Advanced & specialized digitizing techniques (25, 45, 65)

Circle(65) 150 Ring (65) 152 Star(65) 154 Backtrack and repeat (25, 45, 65)
149
155
Chapter 9. Artistic stitch types and effects(24, 45, 65)

Accordion spacing(65; opt. 45) 158 Jagged edge (25, 45, 65) 161 Trapunto style(25, 45, 65) 163 Contour Stitch(65) 165 User Dened Split(65; opt. 45) 172 Program Split (65; opt. 45) 174 Combining various artistic effects(65; opt. 45) Sample designs(65) 186
157
185
Chapter 10. Working
with motifs (25, 45, 65)
189
Making your own motifs (25, 45, 65) 190 Selecting motifs (25, 45, 65) 191 Inserting or using a motif (25, 45, 65) 192 Deleting a motif (25, 45, 65) 196 Motif Run (25, 45, 65) 197 Motif Fill (25, 45, 65) 200 Sample Designs (65, opt. 45) 214
iv
Contents
ES
Chapter 11. Thread colors (all products)
215
Working with colors (all products) 216 Selecting color for new objects (all except 5, 10) 216 Recoloring existing objects (all except 5, 10) 217 Inserting a color change machine function (all except 5, 10) 219 Creating a custom color palette (all products) 222
Chapter 12. Automatic connectors (all except 5, 10)

Using automatic connectors (all except 5, 10) 226
225
Chapter 13. Embroidery machine formats & functions (all products)

Summary of working with machine formats and functions (all except 5, 10) Machine format (all products) 233 Digitizing a design for a selected machine format (all except 5, 10) 233 Outputting designs for stitching on different machines (all products) 234 Working with machine functions (all except 5, 10) 235 Customizing machine format values (all products) 245 Checking the control commands (all products) 254
231
232
Chapter 14. Styles and templates (all except 5, 10)

Styles (25, 45, 65) 256 Design templates (all except 5, 10) 260
255
Chapter 15. Using a digitizer tablet (21D, 45, 65)
265
Creating an enlargement drawing (21D, 45, 65) 266 Registering the enlargement drawing and menu chart (21D, 45, 65) 267 Changing the drawing scale (21D, 45, 65) 269 Shifting the enlargement drawing and menu chart (21D, 45, 65) 269 Digitizing an enlargement drawing (21D, 45, 65) 270
Chapter 16. Using a backdrop
for on-screen digitizing (21D, 45, 65)
277
Using a drawing as a backdrop (21D, 45, 65) 278 Bringing a drawing le into ES (21D, 45, 65) 279 Scanning artwork (21D, 45, 65) 280 Preparing a drawing for digitizing (21D, 45, 65) 282 Viewing a backdrop during digitizing (21D, 45, 65) 285 Deleting a drawing from the design (21D, 45, 65) 286 Saving a drawing (21D, 45, 65) 287
Chapter 17. Point&Stitch
(opt. 21D, 45, 65)
289
Working with drawing objects (opt. 21D, 45, 65) 290 Creating drawing objects using the drawing tools in ES (opt. 21D, 45, 65) 290 Bringing drawing objects into ES from other applications (opt. 21D, 45, 65) 292 Adding embroidery properties to drawing objects (opt. 21D, 45, 65) 294
ES
Contents
PART III. Modifying designs 297
Chapter 18. Modifying objects (all products)
299
Working with objects and stitches (all except 5,10) 300 Select objects to scale and transform (all except 5,10) 301 Scaling and preserving stitch density (all products; whole design only in 5, 10) 307 Transforming objects (whole design only in 5,10; lettering only in 21L) Arranging objects (all except 5,10) 315 Reshaping objects (all except 5,10; lettering only in 21L) 316 Distort objects using envelopes (25, 45, 65; opt. 21L/E/D) 326
309
Chapter 19. Combine objects

21L) 331
& designs (all except 5,10; letters only in
Copying, cutting and pasting objects (all except 5,10) 332 Duplicating objects (all except 5,10) 333 Copy and paste between designs (all except 5,10, 21L) 334 Inserting another design into the current design (all except 5,10) Resequencing objects in a design (all except 5,10, 21L) 335
334
Chapter 20. Modifying stitches (all products)
339
Travelling through stitches (all except 5, 10) 340 Selecting objects while travelling (all except 5, 10) 342 Selecting stitches (all except 5, 10) 344 Editing selected stitches (all except 5, 10) 345 Remove small stitches automatically (all products) 347
Chapter 21. Stitch Processor (all products)
349
Processing expanded designs (all products) 350 Splitting Manual objects (all except 5, 10, 21L) 353 Scaling and transforming an expanded design (all products) Adjusting the stitch density (all products) 356
354
PART IV. Lettering 359
Chapter 22. Creating
lettering (all except 5,10)
361
Typing and formatting letters (all except 5,10) 362 Editing text (all except 5,10) 365 Re-coloring individual letters (all except 5,10) 366 Selecting a baseline (all except 5,10) 367 Laying out letters numerically (all except 5,10) 373 Typing symbols and special letters (all except 5,10) 375 Selecting stitch types, values and effects for letters (all except 5,10) Using lettering templates (all except 5,10) 378
377
vi
Contents
ES
Chapter 23. Modifying
lettering objects (all except 5,10)
381
Fitting the letters in a specied space (all except 5,10) 382 Changing the lettering baseline (all except 5,10) 383 Changing the letter and line spacing (all except 5,10) 388 Distorting letters using an envelope (25, 45, 65; opt. 21L/E/D) 392
Chapter 24. Creating
custom alphabets (65; opt. 21D, 45)
395
Digitizing alphabets (65; opt. 21D, 45) 396 Preparing drawings for digitizing letters (65; opt. 21D, 45) 396 Creating a new alphabet (65; opt. 21D, 45) 398 Digitizing special characters (65; opt. 21D, 45) 401 Modifying custom alphabets and letters (65; opt. 21D, 45) 403
PART V. Production and management 407
Chapter 25. Outputting designs for stitching (all products)

Checking the design before stitching (all products) 410 Printing or plotting a worksheet (all products) 413 Capturing the current screen (all products) 417 Sending designs directly to the embroidery machine (all products) Saving designs to embroidery disk (all products) 419 Punching paper tape (all products) 425
409
417
Chapter 26. Reading and
converting designs (all products)
427
Reading other design formats (all products) 428 Convert condensed designs into .EMB (all products) 434 Converting tape format les and expanded designs to different formats (all products) 437 Convert .EMB designs to Melco .CND (all products) 438
Chapter 27. Managing Designs with ES Librarian (all products)

Starting ES Librarian 444 Listing designs 446 Sorting Designs 447 Selecting designs 448 Opening a design from ES Librarian 450 Cut, Copy, Paste, and Delete designs 451
443
Chapter 28. Working with the
Database (10, 65; opt. 21L/E/D, 25, 45)
455
Starting the Database 456 Listing the designs in the Database 457 Sorting the designs in the Database 458 Selecting designs 459
ES
Contents
vii
Viewing information stored about designs 461 Adding new records to the Database 462 Categorizing designs 467 Modifying a record 467 Copy and paste designs 468 Searching for designs 469 Using designs from the Database 472 Printing reports from the Database 473 Online and ofine designs 475 Deleting a record from the Database 476 Setting preferences 477 Protecting your records 480
PART VI. Personalizing your system 485
Chapter 29.
Entering information about the hardware (all products)

488
487
Hardware Setup (all products) 488 Setting up peripheral devices (all products)
Chapter 30. Personalizing ES
501
Selecting options (all products) 502 View Design options (all products) 502 Displaying a design in TrueView (all products) 504 Grid options (all products) 505 Color options (all products) 508 General options (all products) 510 Displaying the position of the pointer (all products) 510 Selecting the preferred measurement system (all products) Selecting security options (all products) 513
512
PART VII. Appendices 517

A - Quick Reference Guide and Menu Chart 519 B - Alphabets, motifs and program splits 523
Alphabet styles and size information Motif details (25, 45, 65) 526 524
C - Troubleshooting 533
Check if your PC meets the requirements Security device messages 535 General problems 539 534
D - Installing a GPIB scanner (21D, 45, 65) 543

Installing a scanner with a GPIB interface Base Address Tables 549 Troubleshooting 552 544
viii
Contents
ES
About this manual

Welcome to ES, the revolutionary software application for digitizing and working with designs expressly for the embroidery industry. The ES software is a Windows 95-based product and incorporates many of the computer conventions with which most of todays computer users are already familiar.
First-time usersUsing this manual

If you are new to ES, youll be pleased with its exible digitizing capabilities, the ease with which you can create and edit designs, and how simple it is to add or create your own lettering. Naturally you are anxious to start using ES as quickly as possible, but before you begin working with the product, be sure to read the Introduction to ES starting on page 3. This chapter presents an overview of the basic concepts of digitizing with ES and provides you with important guidelines on how to use this software to achieve the best results. We also recommend that you familiarize yourself with the chapter called Basic procedures starting on page 31. Here you will learn how to start the application, create or open a design, print production work sheets, and how to use all the tools and features that ES provides. Overview of embroidery design process (Pro & Jr only) on page 53 gives you additional important information about ES. Tutorial We feel that the best way to learn how ES works is to use it as quickly as possible. While all of the products features are presented in an easy-to-follow, step-by-step style throughout the Users Manual, you can gain a quick overview of the products functions by using its tutorial exercise. Whether you are new to digitized embroidery or an experienced professional, this exercise will provide you with an enjoyable way to produce a design while you become familiar with this multi-featured product. The step-by-step exercise is located at the end of the Overview of embroidery design process (Pro & Jr only) chapter. It only takes a few minutes to complete, but as it includes most of the products frequently-used features, it provides a fast and easy introduction to ES.
Upgrade usersUsing this manual

ES is a greatly-enhanced version of our earlier products. It has many new and expanded features which make digitizing even easier and more efcient. This manual contains revised step-by-step instructions that show you how these features are incorporated. As many of the digitizing methods are more advanced, we suggest that you read the chapter on Basic procedures starting on page 31 to familiarize yourself
ES
About this manual
ix
quickly with the scope of these improvements. Also, read What is different from DOSbased ES versions on page 18, for an overview of the main feature differences. The following table lists some of the new (or changed) features, and indicates where to nd information about them in the manual.
For new information about See
Changes in digitizing techniques

Curve & corner points See Marking reference points with Run and Triple Run (all except 5, 10, 21L) on page 77 for details. Values for input methods Input C options Complex Fill input options Complex Fill Generate Lettering values Stitch/Unstitch text Backtrack and repeat Program split Needles In/Out, Bores In/Out
Object properties (all except 5, 10) on

page 110
Input C Method (25, 45, 65) on page 86 Complex Fill method (21D, 25, 45, 65) on
page 91
Generating stitches on page 65 Selecting stitch types, values and effects for letters (all except 5,10) on page 377 Generating stitches on page 65 Backtrack and repeat (25, 45, 65) on
page 155
Program Split (65; opt. 45) on page 174 Jump (all except 5, 10) on page 236, Boring (all except 5, 10) on page 241 To type letters in a dialog box and select formatting options on page 363 Travelling through stitches (all except 5, 10)
on page 340
Changes in lettering
Lettering defaults and styles
Changes in editing techniques

Selecting & travel through a design Changing stitch type, values & effects Autospacing Clearing trims
To change the stitch type of an existing object on page 113 Automatic stitch spacing (all except 5, 10)
on page 120
Specifying conditions for automatic tie in, tie off and trim (all except 5, 10) on
page 229,
Thread trim (all except 5, 10) on page 236
ES
For new information about
See
Scanning & loading images

Scanning Images or drawings
To scan artwork from within ES on page 281 To insert a drawing le on page 279 To zoom in and out on page 38
General changes
Display scale versus zoom factor
Using ES documentation
ES provides you with a number of ways to access information about the software and how to use it.
Users Manual
The Users Manual is produced in a printed form and an abbreviated version can also be accessed from the Help menu. The printed manual is complete with hundreds of step-by-step instructions as well as illustrations and screen dumps to guide you most productively through the application. As a convenience to ES users, information on all ES products is contained in this manual. Because you can pick an ES product to t your needs, and add options and upgrades as your business grows, the most efcient way to present you with everything you need to know about your system is to keep it in a single Users Manual that is applicable to all ES products. The rst four chapters in this manual contain general information that should be of interest to all readers. To help you identify the information that is specic to your ES model and any options you may have selected, the major headings in subsequent chapters have labels telling you to which product the topic applies. For example, if a heading is written: User Dened Split (65; opt. 45) This means that the topic information applies to model ES-65 and to model ES-45 if you have purchased that option. Similarly, the label (all except 5, 10) indicates that the feature is available for all ES products, except ES-5 and ES-10.
On-line Help
The On-line Help is accessed from the Help menu in ES. The On-line Help is a version of the Users Manual and contains the same text and instructions that are in printed manual, but for the sake of brevity, illustrations and screen dumps have been omitted.
ES
About this manual
xi
Installation Instructions
Instructions for setting up ES on your computer are found in the chapter ES Installation Instructions on page 27. These easy-to-follow instructions show how to set up ES properly on your system. A copy of these instructions has also been printed separately as a convenience to the person responsible for the installation.
Quick Reference Guide

ES has provided you with a Quick Reference Guide containing the keyboard shortcuts. This single-sheet guide can be kept near your computer as a convenient reference.You will also nd these keyboard shortcuts listed in Appendix A of your Users Manual.
Digitizer Menu Chart

If you are using a digitizer, a menu chart is also provided, which you will need to place on your digitizer tablet. The menu chart has color boxes, with labels. You can choose commands by clicking on the appropriate box with the digitizer puck. A copy of the menu chart is included in Appendix A.
Command conventions
In this manual, 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 and windows

Most of the dialog boxes used in ES are from Windows 95. Dialog boxes are shown in the manual only if they give important information on using ES. Standard dialog boxes are not generally shown.
xii
ES
Keyboard conventions
Instructions for mouse actions:
Instruction Click Symbol Action Click the left mouse button.
Click the right mouse button.
Double click Shift-click Click OK
Click the mouse button twice without moving the mouse. Hold down SHIFT and click a mouse button. Click OK with the mouse or press the ENTER key on the keyboard to complete the action.
Key combinations for shortcuts:

Shortcut
CTRL+S CTRL+SHIFT+H
Description While holding down the Control key (CTRL), press the lowercase letter S key While holding down the Control key (CTRL), press SHIFT and the H key
For a complete list of keyboard shortcuts, refer to the Quick Reference Guide.
ES
About this manual
xiii
xiv
ES
PART I
Basics
ES
ES
Chapter 1.
Introduction to ES
ES V5.0 gives embroiderers the fastest, easiest and most exible way of creating, editing and managing embroidery designs. Some key concepts underlay the new features and capabilities of ES V5.0. It is important that you understand these concepts in order to maximize benet from the system, and to minimize the learning curve. If you are new to embroidery and other computer systems, you may wish to read only the brief introduction, and review the more detailed information after you have some experience. If you are new to ES but are experienced in other embroidery or drawing applications, you may wish to also read the detailed information at the start. If you have been using DOS-based ES systems (V4.5 and earlier), also read the second part of this chapter which points out the major differences between these older versions and the new Version 5.0. If you are new to ES, you may skip that section.
ES
Overview of ES
ES is a Windows 95 application, which allows you to create, edit and manage embroidery designs which then can be stitched on various types of embroidery machines.
ES applicationsDesigner and Librarian

ES includes two main applications which have their own shortcut icon on the Windows 95 Desktop.
s
ES Designer ES Designer allows you to digitize new designs and modify existing ones. Once a design is open, you can output it for stitching. You can also read old designs from paper tape or embroidery disk, which are then opened in new windows. The Designer application for ES-5 and ES-10 only provides a few commands, to do those simple operations possible in these products. ES-65 Designer has all the commands available. Other products have different sets of commands to suit each product. ES Librarian ES Librarian allows you to list designs by picture as well as by text, view them and output to any machine format. With the Librarians database you can record and crossreference thousands of designs, then quickly nd one particular design, or a group of designs which satisfy specied criteria. You can open a design from either application. You can start ES Librarian from the Windows 95 task bar, while running ES Designer. When a design is sent to a machine for stitching, you will see the Stitch Manager, similar to the Windows Print Manager.
ES products and recommended reading paths for users

ES is available in a range of products. Each product is designed to suit different types of embroidery business and different budgets. Most products have optional features providing even greater exibility in customizing the products to suit the specic needs of individual customers. Each section heading in this manual indicates which products include the described feature, so that you can easily identify which sections to read and which ones to skip. This section provides a brief description and a recommended reading path for each product.
Chapter 1. Introduction to ES
ES
ES-5 librarian
ES-5 allows you to list your design les as icons or text. It is similar to the standard Windows 95 Explorer, except that in the design librarian each le icon shows a reduced picture of the design, making it easier to nd designs. Once you located a design, you can view it on the screen, print a production worksheet, send it to an embroidery machine for stitching, write it to an embroidery disk, or punch a paper tape. You can also change the size and the stitch density of designs in .EMB, .CND, .INP format, as well as design on paper tape and embroidery disk. To do any of these operations, you have to open the design rst. When you open a design, the ES Designer application is started automatically from within ES Librarian, then the design is displayed in the ES Designer window. The ES Designer window in ES-5 only provides a few commands, to do those simple operations possible in this product. Once a design is open, you can pan, zoom and set the view options, display the design in TrueView. You can select different thread colors from the default, or from your own custom thread charts. You can read and convert old designs from embroidery disk, paper tape or DOS disk, and change their size and density. If you are using an ES-5 system, we recommend that you read the chapters of this manual in the following order: 27. Managing Designs with ES Librarian, 3. Basic procedures, 25. Outputting designs for stitching, 26. Reading and converting designs, 11. Thread colors, 21. Stitch Processor, 18. Modifying objects, 13. Embroidery machine formats and functions. For a denition of the stitch types see 6. Selecting stitch types and density.
ES-10 design with database

ES-10 has all the features of ES-5, and it also allows you to store designs in a database with your own cross-referencing. You can nd designs instantly by any search criteria including theme, customer, stitch count, price, date, etc. If you are using an ES-10 system, we recommend that you read the chapters of this manual in the following order: 27. Managing Designs with ES Librarian, 28. Database, 3. Basic procedures, 25. Outputting designs for stitching, 26. Reading and converting designs, 11. Thread colors, 21. Stitch Processor, 18. Modifying objects, 13. Embroidery machine formats and functions. For a denition of the stitch types see 6. Selecting stitch types and density.
ES
Overview of ES
ES-21L lettering system

ES-21L is a professional lettering system which allows you to add custom lettering to any design, from a variety of alphabets. It provides several useful features for creating and editing lettering. If you are using an ES-21L system, we recommend that you read the chapters of this manual in the following order: 3. Basic procedures, 22. Creating lettering, 23. Modifying lettering objects, 18. Modifying objects, 19. Combining objects and designs, 11. Thread colors, 12. Automatic connectors, 6. Selecting stitch type and density, 7. Improving the embroidery quality, 14. Styles and templates, 13. Embroidery machine formats and functions, 20. Editing individual stitches, 25. Outputting designs for stitching, 26. Reading and converting designs, 21. Stitch Processor, 27. Managing designs with ES Librarian, 28. Database.
ES-21E editing system

ES-21E has all the lettering versatility of ES-21L, and offers design editing functions too. You can modify a design or combine different designs smoothly with this system. It allows you to reshape and transform elements of the design interactively on the screen, like in a graphic application. You can also ll shapes with different stitch types, such as Satin, Zigzag, Tatami, change the stitch density and re-sequence the design elements. You can also edit individual stitches for ne tuning the quality of your designs.You can read old design and convert new or old designs into various embroidery machine formats. If you are using an ES-21E system, we recommend that you read the chapters of this manual in the following order: 3. Basic procedures, 18. Modifying objects, 19. Combining objects and designs, 11. Thread colors, 6. Selecting stitch type and density, 7. Improving the embroidery quality, 12. Automatic connectors, 14. Styles and templates, 20. Editing individual stitches, 13. Embroidery machine formats and functions, 22. Create lettering, 23. Modifying lettering objects, 25. Outputting designs for stitching, 26. Reading and converting designs, 21. Stitch Processor, 27. Managing designs with ES Librarian, 28. Database.
ES
ES-25 advanced editing system

ES-25 is perfect for embroiderers who do not digitize designs, yet want the exibility and control of digitizing inside editing. You can change anything, from the size and density of the overall design, to the nest detail of individual stitches. You can create new design elements using the existing design as a guide, and learn digitizing as you edit. Lettering is also included. If you are using an ES-25 system, we recommend that you read the chapters of this manual in the following order: 3. Basic procedures, 18. Modifying objects, 19. Combining objects and designs, 11. Thread colors, 6. Selecting stitch type and density, 7. Improving the embroidery quality, 12. Automatic connectors, 14. Styles and templates, 20. Editing individual stitches, 13. Embroidery machine formats and functions, 22. Create lettering, 23. Modifying lettering objects, 25. Outputting designs for stitching, 5. Basic digitizing techniques, 26. Reading and converting designs, 21. Stitch Processor, 27. Managing designs with ES Librarian, 28. Database.
ES-21D professional digitizing system for beginners

ES-21D offers editing, lettering, and basic yet powerful digitizing features. You can create embroidery shapes with turning or parallel stitching, using the same tools which professional designers use. The digitizing tools include Input A and Complex Fill without holes. In-built quality features such as automatic stitch spacing, pull compensation and stitch shortening ensure that your designs compare with those of experts. You can use a digitizer tablet for creating new designs. As an alternative, you can use a scanner and digitize designs on-screen. ES-21D has all the editing and lettering features provided in ES-21E. If you are suing an ES-21D system, we recommend that you read the chapters of this manual in their original order, leaving out those chapters which describe advanced and artistic digitizing features, not available in your system.
ES-45 advanced digitizing system

Offering several quality and productivity features ES-25 is a popular production system. It includes fully integrated digitizing, editing, lettering and stitch processing. You can choose from a range of digitizing toolsInput A, Input B, Input C and Complex Fill with holes. With ES-45 you can digitize almost anythingfrom scanned or imported artwork or using a tablet. If you are suing an ES-45 system, we recommend that you read the chapters of this manual in their original order, leaving out those chapters which describe features not available in your system.
ES
Overview of ES
ES-65 top digitizing system

ES-65 is the ultimate in digitizing and editing. It has all the features of ES-25 and ES45, and more. It has additional digitizing tools, such as automatic circle, ring and star. Using its artistic, decorative ll patterns you can add elegance, originality and style to your designs. You can produce color shades and blends automatically, add 3D effects to enhance sports designs, or use logos as custom split effects. Advanced production tools also give you extra control and exibility where you need it. If you are suing an ES-65 system, we recommend that you read the chapters of this manual in their original order.
A brief introduction to key concepts

ES V5.0 is developed specically for the Windows 95 operating system. The display of toolbars and their operation is consistent with Windows 95 applications. The toolbars are arranged in logical groups, and their display can be customized. There are also multiple levels of Undo and Redo.
Object based embroidery and interactivity

ES introduces a new approach, object-based embroidery, which delivers a whole new group of capabilities to embroiderers, with the emphasis on creating and modifying embroidery designs interactively. Designs are composed of embroidery objectseach of these is a separate piece of the design created individually. The whole design can be readily scaled or modied in any way. Individual objects can be selected and manipulated graphicallyfor example scaled or moved. You can also change any properties or values that these objects havefor example the stitch values and effects, or even the color. Traditional digitizing is very much a linear processyou planned the design, then digitized from start to end in one sequence. This is still and always will be the most efcient way of creating a design, but for many new users the discipline is difcult to follow. ES is designed to support the high productivity and efciency of professional long-term digitizers, while also allowing novices and less frequent users to interactively nd their way. And even the most experienced and professional embroiderers will also nd this versatility incredibly useful.
ES
Embroidery objects
Designs created with ES are comprised of embroidery objects. These are simply shapes which contain information about the input method (the way they were created) and the stitching values. All this information about each object the properties is stored permanently with the object, so that it can be reviewed or edited at any time. Embroidery objects are created by using an embroidery tool (for example, Input A or Lettering) to dene the shape, with a stitch type (for example, Satin) to dene the stitching information.
Working with object outlines (or shapes) and stitches

Objects can be selected with a click of the mouse and modied individually, or in groups. Object transformations include move, scale, rotate, skew, mirror, cut, copy, paste, duplicate. Individual Objects can also be reshapedthe actual outline of the object is modied to change its shape. Reshape transformations will always cause the stitches to be regenerated from the new outline. Stitches can be modied at the object level, such as changing the stitch type. Individual stitch edits can also be done, although these edits are usually minor and done as netuning.
Machines and functions

The object based embroidery approach now makes it even easier to create and modify designs without having to deal directly with embroidery machine functions. Designs can be output for stitching on any supported embroidery machine without any additional changes being necessary.
Colors in the design

Color is treated as a property of an object. You simply set each object to be the color that you want it to be, and when the nished design is output to disk, tape or sent to a machine for stitching, the appropriate machine color change functions are automatically inserted where required.
Machines
When you create a design, you do not need to think about the machine it will stitch on, but what the stitched design will look like. All the machine-specic details are setup behind the scenes, and ES manages the necessary functions and codes when you output the design to a specic machine format.
ES
Drawing objects and drawing les

Drawing objects
Drawing objects are similar to embroidery objects. They have outlines with corner and curve points, but have no stitching information. Drawing objects can be selected and manipulated in the same manner as embroidery objectsbut stitches can never be generated for drawing objects. A selection of Drawing Tools is available, which work in exactly the same manner as the tools to create embroidery objects. The drawing tools can be a valuable aid in adding clarity to fuzzy images. They are not intended as a full drawing application for creating artwork designs from scratch. A professional drawing application is more costeffective, and offers a wider range of features for this purpose.
Drawing Files
There are two main classes of drawing les which can be inserted into ES for use as a backdrop for digitizing. Bitmapped drawings are a series of dots or bits, which make up a picture. Typical examples are PCX and BMP les. Bitmaps can be selected, moved and scaled. Several bitmapped drawings can be placed side by side. Bitmaps can also be created by scanning. You can use any scanner supported by the Windows 95 TWAIN scanner driver. You can scan an artwork from within ES, or from the application which came with the scanner. Vector les are a series of shapes and can be created from many Windows 95 applications, particularly from drawing, vectorizing or auto-trace applications. When a vector le is inserted into ES, the vectors are converted into drawing objectsas if they were created by the ES drawing tools. Typically, vector drawings are used as a backdrop for on-screen digitizing in the same manner as bitmap drawings are used.
Reading other embroidery designs

Some other embroidery formats can be read into ES, as well as designs from tape or embroidery disk. The Condensed formats of Wilcom CED/Stations .INP les and Melco .CND les contain shape information which can be read directly, with conversion of stitch types into the closest ES equivalent. The object outlines are available for manipulation as if they had been originally created in ES V5.0. Embroidery stitch or Expanded data formats such as embroidery disk les, tape format les and Melco .EXP can also be read into ES. Here, Stitch Processing plays an important role. Stitch Processor is used to interpret the raw stitch data and convert
10
ES
this into objects that ES can recognize. These objects behave exactly the same as if they were created in ES, and therefore designs read from tape or disk can be modied in the same way. Of course, ES les from previous DOS-based ES versions are also read into ES as objects. There are some limitations to recognition of stitch types in non-outline formats, however you can easily and quickly assign new ES V5.0 stitching information if this level of exibility is required. See Reading other embroidery format designs on page 17 for details.
Outputting designs
Writing to embroidery disk, punching paper tape and direct connects to embroidery machine are all available. ES V5.0 provides improved disk handling for outputting embroidery designs. In addition, auto detect of unknown disks is provided.
Display capabilities
ES V5.0 provides a wide range of display choices. You can choose to display stitches or outlines or both. Other options are to display needle penetrations, stitch angles, connectors and functions. Also, you can display your design applying the TrueView effect at any time to see it as if it were stitched. Even add a scanned bitmap of fabric behind the embroidery! Zooming and panning is available, with the option of auto-scroll.
The EMB all-in-one le

ES V5.0 uses a new embroidery le format, which is the heart of the new capabilities of object-based embroidery. The .EMB is like a super-le which combines all the advantages of condensed les and expanded les together, and better. EMB designs can be scaled and modied with more exibility than any other format, and can be output to all the popular machine formats.
ES
11
More about the key concepts of ES

Embroidery objects
Object properties
An object has properties, which include the input method used to create it, the stitch type, the stitch parameters and effects, the size and location of the object in space, its color and its sequence in the design. All changes to object properties are immediateso you can see the result. Changes can also be undone if you make a mistake. Most of the time, you will be working with objectseven when you are modifying stitching. The object outlines always have priority over the stitches. You can interactively change the stitch type of any objectincluding the values and effects and the stitches are re-generated directly from the object outlines.
Modifying object outlines

Any action which changes the outline of the object will cause new stitches to be regenerated from the new outlines. For digitized objects, the actual input points which created the outline are available for reshaping. Input points can be moved, added, deleted, or changed from corner to curve or vice versa. The start and end point for stitching a digitized object can also be moved, as well as the Complex Fill stitch angle. Lettering objects have special reshape capabilities for text. Because the stitches are re-generated from the outlines, there is tremendous exibility in modifying the design, such as scaling up or down by a large percentage, and in reshaping outlines.
Generating stitches when you want them

When creating new objects in a design, the stitches are usually generated at the same time as the object is created. With lettering objects, it is much faster to initially create the outlines only, and generate the stitches later when you have nished any ne-tuning of the lettering object outlines. This technique can also be used for digitizing. You may wish to work only in outlines, and generate all the stitches later, or any combination for various objects. You can even remove stitches from objects, and all the information about stitching is still kept with the object and used to regenerate them later. Individual stitches or groups of stitches can be moved or deleted, but will not change the object outline . Individual Stitch edits will mostly be used to do minor ne tuning for production purposes.
12
ES
Fill stitch and outline stitch

Objects are either lled (like an Input A with Tatami) or outline (like Run or Motif Run). Lettering objects are a special case of lled objects and have additional properties, such as alphabet and baseline. Manual stitch objects are a separate type from either outline or ll.
The design sequence

The design sequence is the order in which objects are created and therefore the order in which they are stitched. You can change the sequence of objects in the design to improve sewingfor example to minimize color changes.
Templates, defaults, current values, object properties

Every new design uses a template which gives you an initial set of values for the design, and may also include some sample objects such as lettering. Most designs will use the Normal template. When you open a new design in ES, every parameter has a default value, as set by the template. As you work, you will be changing values for stitch types, input methods etc; these changes become the current values and are used as the properties of new objects created. There may be three sets of valuesthe defaults, the current values for new objects, and the properties of currently selected object(s).
Object styles
These are designed as a productivity tool for more advanced users. An Object Style is a set of parameter valuesall those that can be accessed from the Object Properties dialog box. This includes all values of stitch types, effects, lettering, Complex Fill, Input C and other properties. Each property in a style can have two states: Set to a value, or dened. These values become current values when the Style is used. Set to undened. This is like a blank or hole in the style. When an Object Style is used, all of the values which are dened by the style become the new current values, with the undened values or holes being lled by the current values. If the style is applied to an existing object, the dened values are applied to that object, and the objects existing properties are used to ll the holes. You can create many styles with custom namesfor general or very specic purposes.
s s
ES
13
Connectors, trim, tie-in and tie-off

ES automates the management of connectors as much as possible so that you can just deal with objects. Connectors between objects can be set to Trim, Tie off, and Tie in, or any combination under specied sets of conditions. The connectors will automatically adjust every time an object is moved, scaled or transformed in any way. It is benecial to use the automatic features as much as possible, since this maximizes the productivity and exibility of ES during editing and scaling of designs. For example, if the design is scaled up, connectors may become long enough to trigger an automatic trim set for a specied length, and tie in and tie off can be automatically inserted. Similarly, if the start or end point of an object is moved, an automatic tie in and tie off will move with it, whereas a manual tie in or tie off will not. As with color changes, trims, tie in and tie off stitches can still be inserted manually.
Colors
Color is a property of objects, very similar to how color is treated in drawing applications. You can change the current color or the color of selected objects with a single click of the mouse. New objects are created with the current color. You do not need to worry about color change machine functions. ES detects whether there is a change in color from one object to the next, and will insert a color change function if necessary. As you insert or delete objects of different colors, or change the sequence of the design, ES automatically keeps track of where color changes are required. This eliminates the problem of stray, misplaced or extra color changes that were previously a frequent by-product to cut and paste editing.

One benet of ESV5.0 is that the designs it creates can be stitched on any supported embroidery machine without changes. When creating a design, you are concerned primarily with the logical design, what it looks likenot on the details of how any one particular embroidery machine will perform. In Object Based Embroidery, we distinguish between what is a logical part or property of the embroidery design, versus what is a control command the machine needs to execute to provide us with the embroidery design. One analogy is to think of creating a document in a word processor or a graphical drawing package without worrying which printer it will be printed on.
14
ES
Working with machines and functions

You create a design for a specic machine format, however you can easily switch the design to any other machine format. None of the functions are ever lost from the design, even if there are functions which are foreign to the new machine that is functions which are not representable in that machine. If you later change to a machine type which supports these functions, they will again be effective. Functions are inserted into a design in two ways:
s s
automatically by the software because of changes in object properties manually by the user explicitly asking for them. The common functions, color change, trim and jump can be handled completely automatically, with signicant benets to the user. ES provides a great deal of exibility for you with multiple machine types. In addition to the standard machines, you can create your own custom-named machine formats, with user-dened handling of color change, trim, start and end of design, borers in. The property is changed simply by clicking the toolbar button.
Geometry of drawing objects

The underlying geometry used in ESV5.0 to describe embroidery objects provides for great exibility and productivity in allowing any graphical shape to be used in any context. For example, an embroidery object such as a complex ll can be selected and its outline recorded as a Program Split pattern. In the same way, an object can also be used for Motif Run and Motif Fill.
Drawing objects and drawing tools

Drawing objects have no stitching information, yet which share the same underlying geometry as embroidery objects. The drawing tools are used in exactly the same way as the digitizing tools to create corner and curved points. There are also tools for simple graphic shapesrectangles and ovals. Drawing objects can be selected and manipulated in the same manner as embroidery objectsthey are similarly to un-stitched embroidery objects, but stitches can never be generated for drawing objects. The drawing tools can be a valuable aid in adding clarity to fuzzy images. Examples are marking clear boundaries, dening borders, indicating stitch angles, etc. They are not intended as a full drawing application for creating artwork designs from scratch. A professional drawing application is more cost-effective, and offers a wider range of features for this purpose.
ES
15
Drawing les
There are two main classes of drawing les which can be inserted into an ESV5.0 design.
Bitmapped drawings and scanned images

Bitmapped drawings are a type of drawing object with limited capabilities. They can be selected, moved and scaled. Several bitmapped drawings can be placed side by side. Bitmap drawings can be locked into the background to prevent accidental movement during digitizing. You can also reference the bitmap drawing with your design.
Vector drawings
Windows 95 vector les can also be inserted into an ES V5.0 design. These les can be created from many Windows 95 applications, particularly from drawing, vectorizing or auto-trace applications. The vectors are converted to the same format as the drawing objects created by the integrated ES drawing tools. This allows the individual vector drawing objects to be selected and manipulated, for example, scaling, cut-copypaste and reshaping. Typically, vector drawing are used as a backdrop for on-screen digitizing in the same manner as bitmap drawings are used. They can be locked into the background for this purpose.
Point&Stitch
This new capability allows suitable drawing objects to be selected, and converted to a Run, Triple Run, Motif Run, Input C, or Complex Fill embroidery object. Effectively, you are adding the missing embroidery information to the object. The drawing objects can be ones created in ES, or objects inserted via a vector drawing le. Several objects can be converted to a Complex Fill with multiple boundaries, providing the rules for valid boundaries are followed. You can mix-and-match Point&Stitch of drawing objects and using them as a backdrope.g. in multimedia designs where some drawing objects may represent the screen-print part of a design.
16
ES
Reading other embroidery format designs

Other embroidery outline formats can be read into ES. Wilcom CED and Stations .INP les can be read directly into ES, with conversion of stitch types into the closest ES equivalent. Similarly, Melco .CND les can be read directly. The outlines are available for manipulation as if they had been originally created in ES V5.0. Embroidery stitch or expanded data formats such as embroidery disk les, tape format les and Melco .EXP are converted to embroidery objects using Wilcoms patented Stitch Processor. Again, this allows all the ES object based embroidery operations to be carried out on these designs. The limitations to recognition of stitch types applies for non-outline formats, however you can easily and quickly assign new stitching information.
Outputting designs
Writing to embroidery disk, punching paper tape and direct connects to embroidery machine are all available. ES V5.0 provides improved disk handling for outputting embroidery designs. In addition, auto detect of unknown disks is provided.
Display capabilities
ES V5.0 provides a wide range of display choices for viewing your design on-screen. You can choose to display stitches or not (this is independent of whether stitches are generated or not). Other options are to display outlines, needle penetrations, stitch angles, connectors and functions. Also, you can now create and edit your design in TrueView if you wish. Zooming and panning is available, with the added option of auto-scroll during digitizing. Multiple windows can be opened, on the same or different designs, with the standard Windows 95 features for resize, tile, split and cascade. You can save time by using the New Window command to open a second window for a design. For example, you can work on a zoomed in version of a design in one window while viewing the entire design in a second window. All modications done in the zoomed window will be automatically reected in the overview window.
ES
17
What is different from DOS-based ES versions

This section provides a quick guide for users of the previous DOS-based ES versions who are updating to ES V5.0. While most of ES V5.0 will be very familiar, there are numerous changes in operation, some small and some large, resulting from the implementation of object-based embroidery, and to a lesser extent from Windows 95 standard methods of operation. This section does not attempt to list all the smaller changes in operation which will be noticed by users of previous versions, but does provide information on many of these.
Several applications
ES V5.0 includes several applications which are integrated. The Librarian application replaces the Design Manager and Design Library in DOS-based ES, while the Designer application is the same as the Punch/Edit window. You can now start straight away into the Designer, and exit directly from it. You can also start with the Librarian, by clicking its button on the Windows 95 task bar.
Screen layouts
ES V5.0 screen layouts have been improved in several ways. Tools and buttons are placed in logical groupings, which can easily be displayed or not, according to the users needs. Wherever appropriate, Windows 95 standards have been followed, so that users can maximize the productivity of working in one way only. Similarly within ES, related actions are made consistent.
Change to object-based operation

Version 5.0 gives you object-based embroidery, where you will work mostly with objects rather than with individual stitches. Users of DOS-based ES are already familiar with objects from the way lettering works in these earlier versions. Object-based embroidery means that you now have all the exibility of scaling, reshaping and changing values for digitized objects and designs, that you have been using for lettering objects. Object-based embroidery combines aspects of traditional digitizing and editing applications with those of modern graphical drawing applications, all in one system in an integrated way. In addition to the typical operations you perform when using drawing applications, such as select, move, scale, reshape objects etc., you can interactively change any of the embroidery values as well.
18
ES
You can still digitize designs in the traditional way, but with the added capability of working interactively like in a drawing application. You can create new embroidery designs as well as modify existing ones efciently. And when the design is complete, you can easily stitch it on any embroidery machine.
Modifying stitches in object-based embroidery

You can still edit individual stitches or groups of stitches with the Stitch Edit tool. You can move, insert and delete stitches as before, but these techniques are intended to be secondary, and used as a safety netlast resort approach to editing the design. Stitch edits will mostly be used to do minor ne tuning for production purposes. Stitch edits will be largely unnecessary, rstly because of the quality of ES automatic stitching, and secondly because outline editing is a far more efcient and exible method of editing in most cases. When you edit the stitches, the object outline does NOT change, because it has priority . Any modication which causes stitches to be re-generated from the outlines will cause stitch edits to be lost.
The design sequence

The design sequence is the order in which objects are sorted and therefore the order in which they are stitched. Unlike lettering objects in DOS-based systems, removing then re-generating stitches for objects does NOT change their place in the stitching
Connectors, trim, tie-in and tie-off

Connectors for all objects can now be managed automatically, similarly to the lettering in DOS-based versions. Trims, tie-in and tie-off stitches can be set to always occur, or conditionally occur depending on the object environment. Conditional connectors will automatically adjust every time an object is moved, scaled or transformed in any way. It is benecial to use the automatic connector features as much as possible, since this maximizes the productivity and exibility of ES during digitizing, and also for editing and scaling of designs. As with color changes, trims, tie in and tie off stitches can still be inserted manually.
Colors
There is a major change in how color is treated in ES V5.0. Color is a property of objects, very similar to how color is treated in drawing applications. When the design is output, ES automatically detects whether there is a change in color from one object to the next, and will insert the correct machine color change function. This eliminates the problem of stray, misplaced or extra color changes that were previously a frequent by-product to cut and paste editing.
ES
19
Color change functions can still be inserted in the old manner, but this is meant as a safety net for unusual circumstances such as a color change inserted inside an object, and is not encouraged for general practice.

Working with machines
In ES V5.0 you will still select which machine format you wish to create your design inhowever this becomes much less signicant when thinking logically. Functions are never lost from the design, even if there are foreign functions that is functions which are not representable in a new machine to which youve changed. Of course those foreign functions will cause no visual effect on screen, and they will be ignored when the design is output to this machine type. However, if you later change to a machine type which supports these functions, they will again be displayed and output according to the rules of that machine type.
Working with functions

s s
Functions are inserted into a design in two ways: automatically by the software because of changes in object properties manually by the user explicitly asking for them. ESV5.0 now automates the handling of the common functions, color change, trim and jump, and there are signicant benets to utilizing the automatic capabilities of the system.
Reading other embroidery designs

The Condensed formats of Wilcom CED/Stations .INP les and Melco .CND les contain shape information which can be read directly, with conversion of stitch types into the closest ES equivalent. The object outlines are available for manipulation as if they had been originally created in ES V5.0. Embroidery stitch or Expanded data formats such as embroidery disk les, tape format les and Melco .EXP are converted to embroidery objects using Wilcoms patented Stitch Processor. Of course, .ESD les from previous DOS-based ES versions are also read into ES as objects. There are some limitations to recognition of stitch types in non-outline formats, however you can easily and quickly assign new ES V5.0 stitching information if this level of exibility is required.
20
ES
Inserting objects and les into your design

V5.0 treats all les and objects as much alike as possible, so that users only have to learn one method of working. Embroidery objects and les are inserted into the design at the current position in the sequence. Similarly, objects can be pasted from the Windows clipboard. Both bitmap and vector les are now called drawings rather than images. The. PCX and .DXF formats are still supported, with additional le types also being available.
Changes in digitizing
Curve and corner points
ES V5.0 includes very powerful outline shape editing features. To allow this to work correctly, input points need to have the same meaning no matter from which direction the stitching is done. This has required a small change to how users describe shapes during digitizing. The left mouse button (button 1 on the digitizer puck) creates sharp or corner points (also known as cusps) rather than a straight line from the previous point; and the right mouse button (button2 on the digitizer) creates smooth points (curves in both directions) rather than a curved line from the previous point.
Complex Fill Generate, and Stitch/Unstitch Text

In ES V5.0 object based operation, all digitized and lettering objects have a wide range of stitch generation and editing capabilities. A consistent method of operation for all object types allows for fast learning and efcient use of the system. This has meant a few changes in operation. All objects, both digitizing and lettering, can have stitches generated or removed same as Stitch and Unstitch for DOS-based lettering objects. New objects may be created with stitches generated immediately, or created as outlines only with stitches generated at a later time. Stitches can be generated or removed from selected objects. Generate and Remove Stitches is a toggle which is turned on and off by three different methods: Generate Stitches item on the Stitch pull down menu can be checked or unchecked, button on the Stitch TypesLettering toolbar can be up or down, shortcut key G when pressed toggles the state.
s s s
ES
21
For example, if the button is up, new objects will be created with outlines onlylike lettering. If the button is down, new objects will have stitches immediately generated. If existing objects are selected, pressing the button down will generate stitches for those objects, while popping the button up will remove stitches.
Note The (quote) and (SHIFT-quote or double-quote) shortcut keys for Stitch and Unstitch Text are no longer used in ES V5.0. They are replaced by G, which is used for all objects. As in ES V4.5, when you create a new lettering object, it will be Un-stitched. This is to allow fast object editing and reshaping on lettering outlines. Tip The shortcut key G in ES V4.5 was not a toggle, and therefore it allowed the generation of multiple layers of stitching for a single Complex Fill. To do this in ES V5.0 for Complex Fill or any other object, simply duplicate the object, and change the stitch parameters as required for the duplicate. Values for Input Methods
Some Input C values, Complex Fill values and Lettering values are now stored as object properties. You can pre-set these properties, or change them later through the Object Properties dialog box.
Backtrack and Repeat

These actions are now designed to work on objects. As before, the main use is during digitizing where the last object created is backtracked or repeated. However you can also select any object in the design to operate on. If several objects are selected, they will be operated on one after the other. If you select stitches, the last object which has its stitches partially or completely selected will be backtracked/repeated. You can backtrack or repeat any object even lettering, although clearly the use is intended primarily for run stitch. For ll objects, any underlay will also be stitched in the repeat or backtrack.
Program Split
Creating and editing Program Split stitching is now as exible as for any other ll stitch type. Editing or reshaping objects with program splits causes the stitching to be regenerated from the object properties. You can change to a new pattern, or change the values of the existing pattern.
22
ES
The program split layout is now easier, with the reference patterns being highlighted in a different color from the remaining layout patterns. Layout changes can be done repeatedly and in any order. The patterns can be resized, rotated and skewed. The aspect ratio (height to width) of the patterns can now also be changed. Satin-in-Tatami and Tatami-in-Tatami combination split patterns are selected by buttons in the Program Split tab. New Program Split patterns are created by selecting any object(s) (with or without stitches generated) and choosing Make Program Split... from the Special menu.
Auto Spacing
AutoSpacing values are treated as Object Properties of Satin stitch type. Instead of adjusting the values up or down by a percentage, you can now change the percentage to greater than or less than 100%.
Needles In/Out, Borers In/Out

These are treated as Object Properties. You can digitize an object with any input method or any stitch type and then make that object be either needles out, or needles in. Likewise, an object can have Borers in or out. An object cannot have both Needles In and Borers In. Needles In/Out and Borers In/Out are controlled by buttons on the Stitch Type toolbar.
Object enveloping
All object types, not just lettering can now be enveloped. This is particularly useful for enveloping of digitized lettering in designs read from tape or disk, which is not recognized as text.
Changes in lettering
Lettering defaults and styles
Users frequently require different stitching values for lettering, particularly small lettering, than they use for digitized objects. Lettering in V5.0 uses a pre-dened special default style, however Object Styles can also provide a quick and easy way of customizing defaults for lettering and other special purposes. By choosing Use Style from the Stitch menu, the dened values for the chosen style are overlaid on the current values. For example, a small lettering style may include AutoSpacing reduced to 90% and Pull Compensation increased to 0.2.
ES
23
Color changes between letters

The special key hat or caret ^ (Shift-6) is no longer use to insert color changes between letters in text. Instead, select the letters with the I-beam, and click the color you want them to be.
European and other special characters

These characters have been added to all standard alphabets except Greek and Old English. They are accessed via a graphical selection from within the Lettering dialog. The previous DOS-based method of using ALT-nnn keys is no longer available.
Changes in editing techniques

The biggest changes from DOS-based systems are in editing. Previously, most editing operations were done on stitches, whereas they are now done on objects.
Selecting and travelling through the design

Selecting an object is done with the Select Object tool, and this selects both the objects outline and its stitches. A click with the left mouse button selects one object, and deselects any others. Selecting a range or multiples follows Windows 95 standards, for use with the SHIFT and CTRL keys. To select several individual objects, hold the CTRL key while clicking the objects. The SHIFT key allows a range of objects (according to the design sequence) to be selected. Objects can also be selected by dragging a bounding box around them. Travel icons are duplexedclick the button with the left mouse button to travel back, and with the right mouse button to travel forward. There is a new toolbar icon for Travel by Object. Alternatively, the TAB key will travel forward by one object and SHIFT+TAB travels back by one object. If the Select Object tool is active, travel by object selects the current object. This is useful for complex designs where there are objects on top of each other. Holding the CTRL key while travelling will select multiple objects. Travel by stitches is similar to before but is very much less used, since edits are primarily done on objects not on stitches. The Stitch Edit tool acts as both the GOTO and a stitch selector. Multiple stitches can be selected by holding CTRL or SHIFT while clicking, or by dragging a box.
24
ES
Changing stitch type, values and effects

All stitch types, values and effects are object properties. Fill and outline stitch types can be changed at any time. To change stitch type, values or effects, rst select the object(s) to be changed. Then open the Object Properties dialog box to the appropriate tab, select a different stitch type, and edit the values of that stitch type. Click the Effects button to go to the Effects dialog box for changing any effects values.
Clearing Trims
Trims are treated as Object Properties in ES V5.0 rather than as machine functions. A trim belongs to the previous object. To remove a trim from an object, open Connectors tab in the Object Properties dialog, and change the Trim condition to Never Trim. Alternatively, change to Trim if Connector longer than x mm, where x mm is longer than the current connector.
Changes in scanning and loading images

Images are called Drawings in ES V5.0; both bitmap and vector les can be used.
Scanning
Scanning cannot be done via the Direct method, using integrated ES scanning. It can only be done via TWAIN, by using the Windows 95 standard scanner driver. Any scanner which is supplied with a TWAIN driver can be used.
Images or Drawings
Bitmap drawing les are inserted into the design. Several bitmaps can be inserted and joined. Vector drawing les are copied via the Windows 95 Clipboard and pasted into the design. Both types of drawing can be moved and scaled.
ES
25
General changes
Display Scale versus Zoom Factor
The term scale was used in ES V4.5 for both the size of the embroidery relative to artwork, and for the degree to which the display was zoomed in or out. In ES V5.0, scale is used exclusively in the rst sense, and zoom factor is used for display zoom. The display zoom factor can be changed by several shortcut keys, or via the View pull down menu.
Note To draw a zoom box in ESV5.0 you must click-and-drag the box instead of clicking twice.
ESC
key is consistent
The ESC always acts to cancel the last (incomplete) action. In some cases in DOSbased, it acted as End Input, such as entering text directly to the screen. It does not do this anywhere in ES V5.0.
26
ES
Chapter 2.
ES Installation Instructions
You can install ES on any 486 or Pentium compatible computer, which satises the requirements of the Windows 95 operating system. 16 MB of RAM is highly recommended for signicant improvement in speed. ES requires standard serial and parallel ports, depending on the number of peripheral devices you are using. The ES software requires the Windows 95 operating system. If you have difculties with the installation, see Troubleshooting on page 533 of the Users Manual.
1. 2. 3.
s s s s
Install the Trysoft security card in the PC. See Installing the Trysoft security card on page 28 of the Users Manual for details. If you are using a scanner, install it before installing ES. See To set up the scanner using TWAIN on page 496, or To install a GPIB interface scanner on page 544. Install the ES software, and optionally the on-line Users Manual. Insert installation disk #1 in the A: or B: drive, or insert the CD in the CD-ROM drive. Click the Start button on the Windows 95 task bar, then choose Run from the menu. Depending on the drive into which you inserted the disk, type A:\setup.exe, or B:\setup.exe, or D:\setup.exe in the Run dialog box, and click OK. Then follow the instructions on the screen. See also To install the on-line Users Manual on page 30. Start ES. See To start ES Designer on page 32. Set up and connect other peripheral devices, then enter information about their settings through the Hardware Setup dialog box. See Setting up peripheral devices (all products) on page 488 for details.
4. 5.
ES
27
Installing the Trysoft security card

The Trysoft card must be installed before installing the ES software. The installation program checks if the Trysoft card is present. If the Trysoft is not installed, the installation program automatically stops. If you have problems, see Troubleshooting on page 533.
To install a Trysoft security card
1. 2. 3. 4. 5.
Turn off the computer and all attached equipment. Remove the cover of the computer. Insert the Trysoft security card into an ISA slot on the mother board of the computer. Replace the cover of the computer. Turn on the computer and all attached equipment.
Installing the scanner (21D, 45, 65 only)

If you intend to use a scanner with ES, make sure that you install it rst, before installing the ES software. If your scanner uses the standard Twain driver, see To set up the scanner using TWAIN on page 496 for details. If you have a Sharp scanner with GPIB interface, see To install a GPIB interface scanner on page 544 for details.
28
ES
Installing the ES software

Install ES in the same way as any other Windows 95 application. If you have problems, see Troubleshooting on page 533.
To install the ES software
1. 2. 3. 4.
Close any Windows 95 applications you have running. If you are installing ES from floppy disks, insert Installation Disk #1 in the A: or B: drive. If you are installing the software from CD-ROM, insert the CD in the CD-ROM drive. Click the Start button on the Windows 95 task bar, then choose Run from the menu. When the Run dialog box appears, type A:\setup.exe or B:\setup.exe in the box, depending on into which drive you inserted the floppy disk. If you are installing the software from a CD-ROM, type D:\setup.exe. If your CD-ROM drive has a different name, replace D with the correct letter. Click OK. The start-up screen is displayed showing information about the product, its version number, and copyright. A message box appears, indicating that the program which guides you through the installation process is starting. Please wait. When the Welcome dialog box appears, read the instructions carefully, and click the Next> button. If you did not close all the running applications before starting to install ES, exit the installation, close the application, then start again. When the Choose Destination Location dialog box appears, click the Next> button to install the software in the folder suggested by ES. If you want to install the program in a different folder, click the Browse button, then select the required folder. The Setup dialog box appears, informing you that ES is copying program files onto the hard disk. When the Setup Needs The Next Disk dialog box appears, insert the second installation disk in the drive, and click OK. (This dialog box is not displayed if you are installing ES from a CD-ROM). The Setup dialog box appears, informing you that ES is copying program files onto the hard disk.
5.
6.
7.
8.
ES
Installing the ES software
29
9.
When the Setup Needs The Next Disk dialog box appears again, insert the next installation disk, and click OK. (This dialog box is not displayed if you are installing ES from a CD-ROM). Continue in the same manner until program files from all disks are copied. Setup is complete. You may run the installed program by double-clicking on the program icon.
10. When the Information message box appears, click OK.
Installing the on-line Users Manual

If you install the electronic version of this manual, you can read it on your screen by choosing On-line Manual from the Help menu.
To install the on-line Users Manual
1. 2. 3. 4.
Insert installation disk #1 in the A: or B: drive. Click the Start button on the Windows 95 task bar, then choose Run from the menu. Depending on the drive into which you inserted the disk, type A:\setup.exe, or B:\setup.exe in the Run dialog box. Click OK.
Setting up the peripheral devices

s s s s s
After installing the software, set up and connect the peripheral devices. Then start ES, and enter the correct settings in the Hardware Setup dialog box. For details see To set up the digitizer on page 490, To set up the embroidery machines on page 493, To set up the paper tape punch and reader on page 495, To set up the printer on page 497, To set up the plotter on page 498. If you have any difculties, see Troubleshooting on page 533.
30
ES
Chapter 3.
Basic procedures
ES allows you to produce high quality embroidery through its easy-to-use commands and tools. Once you master the basics of ES, you can learn more about its creative tools. This chapter shows you how to create and open designs and how to work with commands, dialog boxes, and windows. It also covers setting up the design window, viewing the design in different ways, saving design les, then printing a production worksheet and writing the design onto embroidery oppy disk. Finally, you will learn what to do when you nish working with a design or with ES.
ES
31
Starting ES Designer
There are two ES shortcut icons on the desktop, one for ES Designer, and one for ES Librarian. Use ES Designer to create and edit designs, use ES Librarian to manage your designs. See To start ES Librarian on page 444 for details.
To start ES Designer
s
Double click the ES Designer shortcut icon on the Windows 95 desktop. Alternatively, choose Programs>Wilcom ES> ES Designer from the Start menu on the Windows 95 task bar. The ES Designer application window appears. A new le is automatically created.
title bar menu bar General tool bar Stitch Types toolbar design window
Color toolbar stitch count or active stitch Status Line Prompt Line XY co-ordinates, length, angle stitch type, values color zoom factor
Pointer toolbar Input Methods toolbar
Drawing toolbar Travel toolbar
32
ES
Creating and opening a design

When you start ES Designer, a new le named Design1 is automatically created. You can create new designs yourself, or you can open existing designs. When you create a new design, you can use a template which already denes several embroidery parameters and visual elements of the design, or you can start with a plain new le equivalent of a blank piece of fabric. Both methods allow you to create a design which looks exactly like the design you want. See Design templates (all except 5, 10) on page 260 for details.
To create a new design

s
Choose New from the File menu. Alternatively click the New button on the toolbar. A new design is created. Its le name consists of the word Design and a sequential number. If this is the second design you created in this session, it is named Design2. The numbering starts from 1 after you restart ES.
To create a new design from a template
1. 2.
Choose New from the File menu. In the New dialog box, select a template from the list.
3.
Click OK. A copy of the selected template is created. The new design is given a new le name. If this is the third new design you created in this session, it is named Design3. The numbering starts from 1 each time you exit and restart ES.
ES
Creating and opening a design
33
To open an existing design
1. 2.
name of current folder
Choose Open from the File menu. Select the name of the design you want to open.
click here to change folder
click here to list all les or les with a common extension
To open a design in one step, double click its name in the list. If the design you want to open is not in the list, change to another folder. For example, click Aerobics.EMB.
3.
Click Open. The selected design opens.
34
ES
Using commands
Once you start ES, you use commands and dialog boxes to complete your tasks. You choose commands in ES in the same was as in other Windows 95 applicationsfrom pull down menus or toolbars. Keyboard shortcuts are also available for the most frequently used commands. See the Quick Reference Guide for a complete list of shortcuts. You can undo and redo most commands. If you need help on a command, choose a command from the Help menu, click a Help button or start context sensitive help.
Using toolbars
Toolbars give you easy access to frequently used commands. To increase your working area, you can hide those toolbars which are currently not in use.
To hide and show toolbars

s
You can hide or display toolbars using buttons on the ES window. These buttons provide a quick way to show and hide the Pointer, Input Method, Travel and Drawing toolbars.
Pointer toolbar Input Method toolbar
Drawing toolbar Travel toolbar
To use toolbars
s s s
To nd out what each button does, rest your pointer over the button. A box appears, displaying the name of the button. To choose a command from a toolbar, click its command button with the left mouse button. To change the settings of a command, click its command button with the right mouse button. A dialog box appears allowing you to make adjustments to the settings before you start using that command.
ES
Using commands
35
To move a toolbar, move your pointer over an unused area on the left side, or between tools, than drag the toolbar to a new position. It is faster and easier to choose commands when the toolbar is close to the part of the design you are working on. You can move toolbars around if they in your way, but they always oat above the design window. After you have nished working with a toolbar, drag it back in its original position, or hide it by clicking on the close button at its upper right corner.
Selecting embroidery objects

ES provides tools on the Pointer toolbar that you can use to select objects and stitchesthe Select Object tool, Reshape Object tool and the Stitch Edit tool. Use the Select Object tool to select objects for moving or resizing, just as in other applications. You can select one object, or several. See Select objects to scale and transform (all except 5,10) on page 301 for details.
To select an embroidery object
1. 2.
Click the Select Object tool on the Pointer toolbar
Click the object you want to select. Click inside the object if it is on the top. Click the outline of the object if it is underneath other objects.
Eight sizing handles appear around the selected object. You can drag the selected object to a new position. When you drag a handle, you resize the object.
36
ES
Undoing and redoing commands

You can undo the effects of most commands. If you change your mind, you can redo it again. ES remembers the last few commands you used. You can undo several commands in sequence.
To undo and redo a command

s
To undo the last, second last, third last, etc. commands, choose Undo from the Edit menu repeatedly. Alternatively, click the Undo button on the General toolbar. When ES does not remember more commands, the Undo button is dimmed.
Tip
s
You should rarely undo more than 3 or 4 commands. If you need to do so, it is more efcient to modify the design.
To redo a command, choose Redo from the Edit menu. Alternatively, click the Redo button on the General toolbar.
Getting on-line help

The ES Help is a guide to the parts of ES you work withdialog boxes, controls, tools and commands, and provides quick access to step-by-step instructions. If you need more detailed explanation on a topic which include graphic illustrations, you can easily look up the same topic in the on-line manual. The on-line manual is identical to the printed manual.
To get on-line Help

s s
To get Help, choose Help Topics from the Help menu. ES Help contains a list of topics for which help is available. To read this manual on the screen, choose On-line Manual from the Help menu. The on-line manual is published in the form of .PDF files which can be viewed by using the Adobe Acrobat Reader application, which is supplied with ES. If ES is not running, you can access the on-line manual by double clicking the dsnedit.PDF file in the ESWin folder. To get information on how to use Acrobat Reader, choose Acrobat Reader Help from the Help menu.
ES
Using commands
37
Using the design window

Once you create or open a design, you work in a design window in which you can view the stitches of the design. For each design, you can change the way the design window looks according to your preferences and needs.
Zooming in and out

You can magnify your view of the design to focus on individual stitches or other details, or zoom out to display more of the design in the window. Changing the zoom factor does not affect the size of the nal embroidery, it only effects the appearance of the design on the display screen. The current zoom factor is shown at the lower right corner of the screen.
To zoom in and out

s s s
s s
To make stitches appear two times larger , choose Zoom in 2X from the View menu. ES zooms in on the center of the window. To make stitches appear two times smaller and to t more in the window, choose Zoom Out 2X from the View menu. To magnify a selected part of a design, choose Zoom Box from the View menu and drag a box around the stitches you want to zoom in on. ES fits the selected area to the window. To display stitches at a particular scale, choose Zoom Factor from the View menu. In the Zoom Factor dialog box, enter the required scale in the text box and click OK. The design is displayed at the selected zoom factor. The current zoom factor is displayed at the lower right corner of the screen. To display the design in the size of the nal embroidery, choose Zoom 1:1 from the View menu. To display the entire design in the window, choose Show All from the View menu.
38
ES
Panning a design
If a window is not large enough to display the entire design, use the scroll bars at the side or bottom of the window, just as in other applications. In addition to the scroll bars, the Pan command provides a quick way to view portions of the design which are not currently visible in the window. Pan is typically used after zooming in on an area.
To pan a design
1.
Open the design Aerobics.EMB and Zoom in on an area of the design.
zoom in on this area of the design Aerobics.EMB
2. 3.
Choose Pan from the View menu. A box representing the size of the window appears. It is attached to the mouse pointer. Move the box.
the pan box represents the design window
ES
39
When you move the mouse pointer outside the boundary of the window, the window is automatically scrolled.
4.
Click the left mouse button when the box is in the correct position. ES centers the window around the point you clicked.
the design window is moved to the new position
Restoring the previous view

After completing a task in a different view, for example, at a larger display scale, you can easily return to the previous view. This is like undoing the last view command. After certain operations, such as editing, it may be necessary to redraw the screen for clear display of the design.
To return to the previous view

s
Choose Previous View from the View menu. The design is displayed as it was before you chose the last view command.
To redraw the screen

s
Choose Redraw from the View menu.
40
ES
Measuring a distance or length on the screen

You can measure the distance between two points on the screen, for example, the width and height of the design, the width of a satin column, or the length of a connector. You can also measure a rotation angle. The measured distance and angle are displayed in the status line in actual size, regardless of the current display scale. For accurate results, zoom in to a larger display scale before measuring a distance.
To measure a distance on the screen
1. 2. 3.
Choose Measure from the View menu. Position the pointer over the point from which you want to measure a distance, and click the left mouse button. Move the mouse. In the status line read the length and the rotation angle of the imaginary line which connects the fist point you clicked and the current position of the pointer. To continue measuring the distance between points, repeat steps 2 to 3. To cancel using the measure tool, press the ESC button on your keyboard, or click Cancel on the Pointer toolbar.
Using design window guides

To assist you in creating and modifying embroidery designs, you can optionally display various guides in addition to the stitch lines. You can show and hide the object outlines, needle penetration points, connectors, stitch angles and machine function symbols, as well as the stitches. You can display any combination of the design window guides. For example, while modifying object outlines, you can hide the stitches and connectors. When inspecting the placement of individual stitches, you can show the stitch end points and connectors, and hide the object outlines. If you want to check what the nal embroidery will look like, you can display the stitches in TrueView.
ES
41
To use design window guides

s
Choose Options from the Special menu. In the Options dialog box, click the View Design tab, and check the design window guides you want to display, uncheck the others, then click OK.
check the design window guides you want to display
As an alternative, click these buttons in the General toolbar to turn on the design window guides.
TrueView show function symbols show stitches show connectors show outlines show needle points show stitch angles s
To hide a design window guide, click the button which displayed it, again.
42
ES
Viewing a grid
The grid lines provide visual cues to help you accurately place embroidery objects.
To view a grid and change the grid spacing
1. 2.
Choose Options from the Special menu and click the Grid tab. In the Grid Setup dialog box, check Show Grid.
3.
If required, check Set Reference Point. Check this if you want a significant point of the design to be aligned with a grid line or grid point. For example, you can set the grid reference point at the design center. Setting or changing the grid reference point is easier and faster than moving the design. If required, type a new horizontal and vertical grid spacing. Click OK. If you checked Set Reference Point, click the point where you want to place a grid point. This grid point determines the position of the entire grid. Once you click the reference point, the grid appears. This shortcut button on the General toolbar provides a quick way to show and hide the grid.
show grid
4. 5. 6.
ES
43
Opening an overview window

You can open several windows, on the same or different designs, with the standard Windows 95 features for resize, tile, cascade and split. You can save time by using the New Window command to open a second window for a design.
To open a second, overview window on a design
1. 2. 3. 4. 5.
Create a new design or open an existing one. For example, open Aerobics.EMB. Choose New Window from the Window menu. A second window is opened, named Aerobics.EMB:2. The original window is named Aerobics.EMB:1. Reduce the second window, and move it to the top left corner of the screen. While the second window is still active, choose Show All from the View menu. Click the first window to make it the active window. Resize the first window, and move it to the right side of the screen. Change the view in the first window as required. For example, turn on the grid, zoom in, etc.
You can work on the zoomed in version of a design in the first window while viewing the entire design in the second window. All modifications done in the zoomed window will be automatically reflected in the overview window.
44
ES
Saving a design
As you work, save your design early and often. Do not wait until you nish working. You can also save a design when you close it or when you exit ES. When you save a design, you can change its name and location. When you change a designs name or location, you create a copy of your design. It is recommended that before starting to modify a design, you save a copy under a new name and keep the original, in case you want to discard all your changes and start again. As an added precaution, ES can save your design periodically while you work. Using ES preference settings, you can choose to save your work automatically at regular intervals as a backup le. This can protect you from losing work in the event of a hardware or software failure. Before saving a design automatically, ES displays a message asking whether you want to save the changes. Backup les are for emergency use. It is still a good idea to save your design periodically with the Save command from the File menu.
To save a design
1. 2.
Choose Save from the File menu. If this is the first time you save the design, ES displays the Save As dialog box. Type a new name for the design and click Save.
ES
Saving a design
45
To change a designs name, location and format
1. 2.
Choose Save As from the File menu. In the Save As dialog box, select a new folder to hold the design, and type a new file name.
Folder which will contain the design.
design name
format dropdown list
To save the design in a different folder or disk drive, navigate through the folder until the correct one is displayed.
3. 4.
Choose a file format from the Save as type drop-down list. Click Save. ES saves the design.
46
ES
To save automatically
1. 2.
Choose Options from the Special menu. In the Options dialog box, click the General tab.
3. 4. 5.
Check Save Design to turn on automatic save. Decide how frequently you want to save your designs, and type the number of minutes in the text box. Click OK. Your design is saved in a directory called Backup which is part of your ES program. The file is saved with the same name as your original file, but with a .BAK file extension. For example, Mydesign.BAK.
Warning The automatically saved files remain in the Backup directory until you delete them. It is important, therefore, that you delete old backup les to prevent the directory from taking up too much space on your hard disk.
ES
Saving a design
47
Printing a production worksheet

The production worksheet is a document which contains essential production information about a design, necessary for the embroidery machine operator to stitch the design correctly. It is printed or plotted by the designer and is handed over to the embroidery machine operator together with the design le. The production worksheet shows a picture of the design. It indicates the overall size of the design, so that the machine operator can select a suitable hoop. It indicates the color sequence, which is necessary for the operator to insert the required threads, and then select the correct needle number for each thread color or color stop on the embroidery machine. The production worksheet also includes general information and special instructions, for example, for producing applique designs. See To print or plot a production worksheet on page 413 for details. Before you print a production worksheet the rst time, you may want to check the printer selection and choose the printing options you want to use. See To set up the printer on page 497 for details.
Embroidering a design
Traditionally, designers punched a paper tape when a design was complete, then inserted the tape into the paper tape reader of the embroidery machine. Nowadays most embroidery machines are equipped with a 3.5 oppy disk drive, therefore oppy disk is the most popular media for transferring designs between the computer and the embroidery machine. Before you can output a design, you need a 3.5 disk of the correct density, formatted for a selected embroidery machine. See To format an embroidery disk on page 421 for details. Some new embroidery machines can also be connected directly to the computer via a cable.
48
ES
To save a design to an embroidery disk
1. 2. 3. 4.
Open the design you wish to write to an embroidery disk, for example, Aerobics.EMB. Insert a correctly formatted embroidery disk into floppy disk drive A: or B: . Choose Embroidery Disk>Save As from the File menu. When the Save to Embroidery Disk dialog box appears, change the file name and machine format if required.Click Save.
click here to change to the B: drive
the contents of the disk is shown here
you can type a new le name click here to select a different machine format
ES
Embroidering a design
49
Closing a design and exiting ES Designer

When you have nished creating or modifying a design, you can close it to remove the design from your systems memory. When you have nished using ES, you can exit it to end the current session.
To close a design
s
Choose Close from the File menu. If changes made to the design have not been saved, ES asks whether you want to save the changes or cancel closing the document.
To exit ES Designer
s
Choose Exit from the FIle menu. If any modified designs are open and have not been saved, ES asks whether you want to save the designs.
50
ES
PART II
Digitizing designs
ES
51
52
ES
Chapter 4.
Overview of embroidery design process
This chapter introduces the basic embroidery design techniques and explains step by step how to implement them, by using the ES software. Designing embroidery, like any other skill, requires some practice. These worked-out examples will help you to build your experience. To create a new design,
1. 2. 3. 4. 5. 6. 7.
Choose an artwork suitable for embroidery. Plan the embroidery shapes and sequence. Start a new design. Select embroidery machine. Register enlargement drawing or insert electronic drawing. Digitize the drawing on screen or on tablet. Center the design.
ES
53
Choosing suitable artwork

It is very important to choose artwork which is suitable for embroidery. Much artwork needs to be simplied.
How to choose artwork

The ideal artwork is a black and white line drawing which consists of a few clean, welldened, large shapes. It can also have narrow columns, like ribbons and borders, and a few lines which can highlight the outlines of shapes, or can add extra detail, such as eyes and mouth on a face or veins on a leaf. Do not choose artwork which is complicated, has too much ne detail, many small shapes, or several shades of different colors. However, if you have good drawing skills, you may simplify complicated artwork and turn it into a more technical black and white line drawing, which you can use as a pattern for your embroidery. Experienced designers can work with more complex or unclear artwork.
Where to nd artwork
There are various books available on the market which provide embroidery patterns of many different styles. You can also browse through needlework and fashion magazines, children's story books, etc. Printed table cloths, tea towels, embroidered garments, badges, business cards, photographs, post cards, wrapping papers often have simple, easy-to-embroider designs. Check the clip art library of your word processor or graphic application, for example Microsoft Word for Windows, WordPerfect or CorelDraw. The advantage of using this artwork is that it is already in electronic form. You may draw your own artwork from scratch, either by hand or by using a graphic application program on your computer.
54
ES
Planning an embroidery design

Before you start creating an embroidery design based on the artwork, plan the design carefully.
Final size
First decide at what size you want to stitch the design. Once you know the height and width of the nal embroidery, you can calculate how many times the drawing is larger or smaller. This ratio is the drawing scale. Before starting to digitize a design, you will need to specify this ratio so that the computer calculates the correct sizes and number of stitches.
Planning the embroidery shapes

Drawing, even simple line drawings, do not translate directly to embroidery. The embroidery shapes often differ from the original artwork shapes. Artwork may need to be modied to make more regular shapes which are easier to ll with stitches, compensate for the distortions which occur during stitching. Embroidery stitches pull the fabric inwards, while the excess fabric is pushed out in a direction which is at right-angles (90) to the stitches. Due to these effects, the shapes are slightly narrower and longer on the nal embroidery than they look on the screen. The amount of pull depends on the fabric and the stitch type you use to ll in the shape. For example, T-shirts can stretch more than other fabrics, Satin stitch pulls the fabric more than Tatami. You can reduce the extent of the pull and push effects by applying a rm backing material and using underlay stitching to x the fabric. See Pull compensation (all except 5, 10) on page 136 for details. To compensate for the pull and push effects on the drawing: overlap the shapes, distort the shapes before digitizing.
s s
s s
ES
55
To dene embroidery shapes
1.
Divide the design into shapes which can be easily lled with stitches. Large, irregular shapes often have to be divided into several smaller, regular shapes which are easier to fill with stitches. The best shape has a relatively constant width, a smooth edge, has no sharp turns and does not have small parts protruding. On the other hand, you can join shapes which are drawn separately on the artwork and digitize them as one shape. This saves you time and ensures uniform stitching. You can also avoid unwanted gaps between the shapes. Cut pointed edges. Very narrow parts of a shape (such as pointed edges) should not be filled with stitches. Too many small stitches in one place will create a hard spot in the fabric. They may also cause damage to the fabric or break the needle. If there is a shape with a a pointed edge in your artwork, cut its edge and digitize the flat corner instead. Insert one stitch with Manual input method to preserve the sharp corner.
2.
pointed edge is cut
only one stitch is placed in pointed edge
3.
Overlap adjoining shapes to compensate for pull. During stitching the fabric is moved and stretched. Both hand and machine embroidered stitches pull the fabric towards the inside of the shape. Therefore what you see on the screen, is not exactly what the final embroidery will look like. If you digitize the shapes exactly as they are drawn on the artwork, there will be gaps between most of the adjoining shapes. To compensate for the pull effect, slightly overlap the shapes where they join. Usually, a 3mm overlap is sufficient. Always add the overlap to the shapes which are covered by other shapes, and digitize the shapes which are on the top without distortion. You can draw these overlaps on the artwork before scanning or loading it into ES. However, simple artwork can easily be digitized without guidelines for overlaps. You can also use the automatic pull compensation effect which is sufficient in most cases. See Pull compensation (all except 5, 10) on page 136 for details. If required, distort shapes to compensate for pull and push. Usually, you can digitize the shapes as they are drawn on the artwork, without any distortion. There are only a few special shapes which need to be distorted, so that the final embroidery looks correct. These special shapes include perfect circles, perfect squares, diamonds.
4.
56
ES
For example, to stitch a perfect circle, digitize an oval.

push stitch angle stitch angle
pull
push
if you digitize a perfect circle, it will look like an oval on the nal embroidery
digitize an oval to compensate for pull and push
You will need to stitch the circle to see if the distortion compensates for the pull and push. If not, delete the circle, and digitize it again by distorting the circle a bit more or less. You can also use the automatic pull compensation effect which is sufficient in most cases. See Pull compensation (all except 5, 10) on page 136 for details.
Planning the stitching sequence

When digitizing the shapes of the drawing, you are not only describing the shapes, you are also giving stitching instructions to the machine. The machine will stitch the shapes in the same order in which you digitize them. Before you start digitizing, carefully plan the sequence in which you will digitize the shapes. The more planning you do, the easier and faster it will be to turn the drawing into stitches, and the more professional your embroidery will look. The sequence of shapes also effects the time required to stitch the design. The sequence of shapes in an embroidery design depends on the visual order , i.e. which shapes are in front of and which are behind other shapes, the number of different colors used in the design. Even though digitizing the shapes of a design in their correct, nal order will always be the most efcient way of creating new designs, ES provides you with the extra exibility of changing the sequence at any time. This is particularly useful when combining designs, or copying and pasting design elements. See Resequencing objects in a design (all except 5,10, 21L) on page 335 for details.
s s
ES
57
To plan the stitching sequence
1.
Establish which shapes are at the front and which ones are behind. A piece of drawing may have several layers of shapes. You begin with the shapes at the back (behind the others) and work your way forward, layer by layer. You would follow the same sequence if you embroidered the design by hand. Decide how many different colors to use. Select colors which best suit the drawing. Also keep in mind, that the more colors you use in a design, the longer it will take to stitch it and thus the more it will cost. The embroidery machine slows down and stops before changing needle. Also, before each color change the thread needs to be trimmed. Some embroidery machines trim the thread automatically. If a machine is not equipped with an automatic trimmer, you need to trim the thread manually. If the drawing has too many different colors, simplify it. For example, instead of two different shades of blue, you might use one. Or, if your drawing has flowers of six different colors, you may decide to stitch all of them in the same color. Decide on the final order of the shapes. It is practical to stitch all the shapes which have the same color at one time, then continue with the next color, etc. This reduces the number of stops, thread trims. If the drawing contains several layers, you may need to use a thread twice to make sure that the shapes on the top are stitched last. Within the same layer, try to digitize the shapes in a sequence which needs very few connecting stitches.
2.
3.
Selecting embroidery machine

Each design has an initial machine format. You only need to change it if you want to stitch your design on a different machine. You can change the machine format at any time later if you wish. You can also change the machine format when outputting the design to paper tape, embroidery disk, or sending it directly to the embroidery machine. You can customize the values of each machine format to suit the particular embroidery machine on which you will stitch the design. See Customizing machine format values (all products) on page 245 for details.
58
ES
To select embroidery machine format
1. 2.
Choose Select Machine Format from the Machine menu. Select a machine format from the list.
select a machine format
3.
Click OK.
Preparing electronic or enlargement drawing

If you are using a digitizer tablet, prepare an enlargement drawing of the artwork and place it on the digitizer tablet. Typically, an enlargement drawing is three times larger than the nal embroidery. See Creating an enlargement drawing (21D, 45, 65) on page 266 for details. Before you can start digitizing, you need to mark two reference points on the drawing and the menu chart, to tell the computer where the drawing and the menu chart are located on the tablet. You can digitize a drawing in several sessions, and you can also add new elements to old designs if you still have their drawings. See To set up the digitizer tablet on page 267 for details. You digitize the shape outlines by using the digitizer puck. You select commands and tools from the menu chart which you also need to place on the tablet. See Digitizing an enlargement drawing (21D, 45, 65) on page 270 for details.
ES
Preparing electronic or enlargement drawing
59
Alternatively, you can scan the artwork or create a drawing by using a computer graphic application. Then you display the electronic drawing on the screen as a backdrop and digitize its shapes and lines over the drawing by using the mouse. See Preparing a drawing for digitizing (21D, 45, 65) on page 282 for details.
To insert an electronic drawing for on-screen digitizing
1. 2. 3. 4. 5. 6. 7. 8.
Choose Drawing File from the Insert menu. In the Open dialog box, change to the folder where you store your electronic drawing. You can only insert an electronic drawing if it is stored in a le format which ES can read. See Preparing a drawing for digitizing (21D, 45, 65) on page 282 for details. Click the name of the drawing you want to use as backdrop for on-screen digitizing and click OK. The drawing appears on the screen. Select the drawing with the Select Object tool. Reduce or enlarge the drawing to the size of the final embroidery. Use the grid or the Measure tool to make sure that the size of the drawing is correct. Move the drawing to its final position. While the drawing is selected, choose Lock from the Arrange menu. This will prevent you from unintentionally changing the position of the drawing during digitizing. Draw guidelines, such as stitch angles by using the drawing tools. These guidelines will assist you in accurate digitizing.
60
ES
Digitizing a drawing
While digitizing a drawing, you create embroidery objects. The Input Method tool bar and the Insert>Embroidery Object menu contain tools which you can use to create various embroidery objects. Depending on their shape, embroidery objects can be divided into two major groups: lines and closed shapes. Lines are stitched going from one end to the other, by using various stitch types. Closed shapes are lled with stitches. A shape can be lled in several different ways using various input methods and stitch types. Regardless of which type of object you are creating, digitizing an object is a simple series of clicks. As you digitize, ES displays the outline of the object, so you can experiment with the shape before generating stitches. After you digitize an object, it has the current embroidery propertiesthe properties which are stored in the Object Properties dialog box. You can change the embroidery properties before you start digitizing objects, or you can change the embroidery properties of existing objects later. Embroidery properties include all the information necessary to stitch the digitized line or shape, such as stitch type, density values, stitch effects. See Object properties (all except 5, 10) on page 110 for details.
To digitize embroidery objects
1. 2. 3.
Choose a stitch type. For digitizing closed shapes, choose an input method. Digitize the outline of the object. You click at reference points in various order to digitize an object with the left or right mouse buttons. You can change these points and the position of the object later. The following chapters explain exactly how to digitize each type of object. Press the ENTER key to generate stitches. Stitches are generated along the digitized line or inside the digitized shape.
4.
ES
61
Stitch types
You have decided which shapes you are going to stitch and in which order. Now you can decide on the stitch types. Learning to select the best stitch type for each shape of a drawing is what turns a skilled ES user into an artist. There are three basic types of stitches available for lockstitch embroidery machines Run, Satin and Tatami. All the other stitch types are variants of these three basic stitch types. Which stitch you choose will depend on:
s s s
the shape is its outline open or closed, simple or complex? the size how big or small is it? the appearance what embroidery effect are you trying to create?
Run
Run is used for stitching the outlines of shapes. These outlines can be open or closed. The needle penetrations are placed along the outline in a consecutive order. You can vary the length of Run stitches to follow sharp curves tightly. To make an outline thicker, use Triple Run. You can also repeat a motif along the outline of a shape.
Satin
Satin is used for small, narrow shapes, like columns. When stitching with Satin, the needle penetrates one side then the other side, laying the thread across the column. You can vary the spacing between the stitches for better coverage. Satin stitches are turning to follow turn in the shape. Zigzag and E Stitch can also be used for lling narrow shapes.
Tatami
Tatami is used to ll large, wide, and irregular shapes. Tatami consists of specially arranged Run stitches. The needle penetrations are placed along stitch lines going back and forth between the two sides of the shape. The needle penetrations are slightly offset for each stitch line, to distribute the stitches evenly and avoid split lines. You can vary the spacing between the stitch lines and the length of the stitches for better coverage. Variations of the Tatami stitch type are Program Split and Contour Stitch, which you can use to create artistic effects in your embroidery design. You can also ll a wide shape by repeating a motif along the stitch lines going back and forth.
62
ES
Input methods
Stitching outlines
To embroider outlines, you choose Run, or another stitch type which is a variation of Run, and digitize the shape. When digitizing the shape, you only need to mark a few reference points, enough for the computer to calculate the shape. Use the left mouse button to mark a corner point, and the right mouse button to mark a curve point.
Filling shapes
To ll a shape with stitches, you need to choose an input method as well as a stitch type before you can start digitizing the shape. A shape can be lled with stitches in several different ways, therefore the computer needs more information than in the case of outline stitching. Columns To ll columns, you can use Input A, Input B or Input C. Typically, columns are lled with Satin, Zigzag, E Stitch, or Contour stitch, but you can also use Tatami or Program Split to create the required stitch effect. Input A is used for columns the two sides of which are almost parallel. Input A allows you to control the stitch angles precisely. Input B is used for columns the two sides of which are of different shape and complexity. The stitch angle turns evenly throughout the entire shape. Input C is used for columns of constant width. Input C allows also you to control the stitch angles within the shape. Large shapes To ll large shapes with parallel stitches, use Complex Fill. Typically, Tatami or Program Split is used with Complex Fill, however you can select any other ll stitch type to create the desired effect.
ES
63
Digitizing lines and shapes

Once you have selected a stitch type and input method, you can start digitizing the line outline of the object. To digitize an outline, you only need to digitize a few reference points, where the outline changes shape. Use the left mouse button to mark a corner point, and the right mouse button to mark a curve point. The points are connected with straight or smooth curved lines on the screen to provide you visual feedback on the shape which will be calculated based on the points you mark. If a line does not match the drawing, delete the reference point by pressing the BACKSPACE key, and marking a new one.
mark corner points with the left mouse button
mark curve points with the right mouse button
Generating stitches
When you have marked all the reference points of an object outline, press the ENTER key on your keyboard. If Generate Stitches is currently turned on, ES calculates stitches for the digitized object immediately after you press ENTER. If Generate Stitches is turned off, ES only calculates the object outlines. It is recommended that you display the object outlines, so that the objects are visible on the screen. Otherwise the digitized outlines disappear when you press the ENTER key. If you turn off Generate Stitches while one or several objects are selected, the stitches will be removed from those objects. To re-generate the stitches for selected objects, turn on Generate Stitches.
64
ES
To turn immediate stitch generation on and off

s
Choose Generate Stitches from the Stitch menu to turn immediate stitch generation on and off. When a check mark is displayed beside Generate Stitches, stitches will be generated immediately for each new object you create. Alternatively, click the Generate Stitches button on the Stitch Types toolbar. If the Generate Stitches button is pressed down, stitches will be generated immediately for each new object you create.
To remove and re-generate stitches for an object
1.
Select one or several objects with the Select Object tool. If the selected objects have stitches, a check mark is displayed beside Generate Stitches, or the Generate Stitches button is pressed down indicating the status of the selected objects. Turn Generate Stitches OFF or ON. If you turn off Generate stitches, the stitches will be removed from the selected objects. If you turn on Generate Stitches, the selected objects will be filled with stitches. As the stitching information is stored as object properties, the stitches will be placed in exactly the same way each time you regenerate them.
2.
Auto start and end

Before stitching a design on some embroidery machines, you may need to position the starting needle exactly above the rst needle penetration point. If a design starts at its geometric center, it is easy to decide where the rst stitch should be on the fabric, and it makes it easy to center a design within a hoop. If a design is not centered, the needle may hit the hoop and break. To avoid this problem, always start and nish your designs at the same point, for example at their geometrical center. Center a design after you have completed digitizing. This will connect the rst and last stitch to the geometric center of the design.
ES
Auto start and end
65
To center the design
1. 2.
Choose Auto Start and End from the Stitch menu. When the Auto Start/End dialog box appears, check Use Auto Start/End and choose a method. For Auto Center, specify how to match the inserted connecting stitches.
check Use Auto Start/End
start
nish
return to start point
auto center: match on horizontal, match on vertical
auto center: match on horizontal
auto center: match on vertical
3.
Click OK. A connecting stitch will be inserted before the first and after the last stitch of the design .
66
ES
Exercise 1: Creating a simple design

In this exercise you will create a simple design. If you are new to embroidery, this short exercise will get you started. Detailed explanations of the tools and techniques used in this exercise will be provided later in this manual. The design consists of simple shapes, which you can create without an electronic drawing as a backdrop. It looks like this.
1. leaf- green 2. stem- green 3. ower- red 4. border- red 5. text- red 5 1 2
4 3
You can embroider this design by using basic stitch typesRun, Satin and Tatami. The letters are generated automatically, you only need to type the text. Two colors are used in the designgreen and red. First digitize the green shapesleaf and stem. Continue with the red shapesower, border around the ower, and add the text last. When you digitize the ower, slightly overlap the shapes to avoid gaps.
To digitize the simple design TULIP.EMB
1. 2. 3. 4.
Start ES by double clicking the Wilcom ES shortcut icon on the Windows 95 desktop. A new design called Design1 is automatically created. Choose Zoom Factor from the View menu. In the Zoom factor dialog box, type 1.5 in the text box beside Scale and click OK. Turn on the grid if it is not displayed already. Click the Grid button on the General toolbar. Turn on Generate Stitches so that the shapes you digitize are stitched immediately. If a check mark is not displayed beside Generate Stitches on the Stitch menu, click the item to place a checkmark next to it to turn the stitch generation on. Alternatively, check that the Generate Stitches button on the Stitch Types toolbar is pressed down, and click it if necessary.
ES
67
5. 6. 7. 8.
Click the dark green color button (color 7 in the default thread chart) on the color toolbar. From the Insert menu, choose Embroidery Object>Input A, or click the Input A button on the Input Method toolbar. From the Stitch menu choose Stitch Type>Satin, or click the Satin button on the Stitch Types toolbar. Digitize the leaf. You only need to mark a few reference points to describe the shape. With Input A mark reference points on the two sides of the shape in a zigzag pattern. The number of reference points should be the same on both sides. Keep the order in which you started marking the points, for example, topbottom, topbottom, or leftright, leftright. While you are digitizing, rubber bend outlines are displayed to assist you in marking the points in the correct order. If you make a mistake, press the BACKSPACE key on your keyboard to delete the last reference point. See To digitize columns with Input A on page 80 for details. The position of the reference points also effects the angle of the stitches. ES places a stitch at each pair of reference points. Stitches between the reference points turn evenly. The order in which you mark the points also determines the direction of the stitching. The first stitch will be placed at the first reference point, and the last stitch will be placed at the last reference point. To digitize the leaf, mark eight reference points as shown in the diagram. Use the right mouse button to for curve points. When you have finished digitizing the shape, press the ENTER key to generate stitches. = use the right mouse
button to mark curve points 1 2 rst stitch
3 4
press ENTER
5 7 6 8
last stitch
9.
Using the right mouse button, digitize the stem. The last selected tools, Input A and Satin are still active, so that you can continue using them. A connecting stitch is automatically inserted between the last stitch of the leaf and the first stitch of the stem.
68
ES
To digitize the stem, mark eight reference points as shown in the diagram. Use the right mouse button for curve points. When you have finished digitizing the shape, press the ENTER key to generate stitches. = use the right mouse
button to mark curve points 7 5 8 6 last stitch press ENTER
3 1
4 rst stitch 2
10. Click the red color button (color 3 in the default thread chart) on the color toolbar. 11. From the Insert menu choose Embroidery Object>Complex Fill, or click the Complex Fill
button on the Input Method toolbar.
12. From the Stitch menu choose Stitch Type>Tatami, or click the Tatami button on the
Stitch Types toolbar.
13. Digitize the flower.

When using Complex Fill, mark reference points around the boundary of the shape in consecutive order. To digitize the flower, mark the points as shown in the diagram. The last point does not have to be on the top of the first, because the shape will be closed automatically. To finish digitizing the boundary press the ENTER key.
ES
69
Press ENTER again to generate stitches for the flower. When you press ENTER the second time, you are requested to digitize the entry and exit points, then another two points to define the stitch angle. Immediately after you mark the second point for the stitch angle, the shape is filled with Tatami stitches.
exit point 1 14 2 13 4 6 3 5 7 8 9 press
ENTER, ENTER
16 17
12
10
15 18 entry point
11
left button: corner point
right button: curve point
14. From the Insert menu choose Embroidery Object>Run.
70
ES
15. Digitize a border around the flower.

To describe the shape, mark exactly the same reference points in the same order as for Complex Fill, as shown in the diagram. When you have completed digitizing the border, press the ENTER key. Run stitches are generated along the outline of the shape.
1 14 2 13 4 6 3 5 7 8 press ENTER 9
12
10
11
16. Choose Zoom 1:1 from the View menu to make room for the next design element on the
screen. Notice that the design looks smaller on the screen now.
17. Click the Lettering button on the Input Method toolbar. 18. Position the mouse pointer to the left side of the screen, where you want to start the text,
then click a mouse button. The pointer is shaped as a thin line indicating that you can start typing text for the lettering object.
ES
71
19. Type the word Holland.
20. Click the Select Object button on the Pointer toolbar. The lettering object automatically
becomes selected. The text outlines turn white and eight handles appear around the letters.
21. Drag the lettering object closer to the flower.
72
ES
22. While the lettering object is still selected, choose Generate Stitches from the Stitch
menu, or click the Generate Stitches button on the Stitch Types toolbar. Stitches are generated for the letters. Notice that a long connecting stitch has been automatically inserted between the last stitch of the Run border and the first stitch of the lettering. The stitches are displayed in white because the lettering object is still selected with the Select Object tool.
23. To deselect the lettering object, click an empty spot on the background not occupied by
other objects. The handles disappear and the stitches are displayed in the selected color, which is red.
24. Choose Auto Start and End from the Stitch menu. 25. In the Auto Start and End dialog box, check Use Auto Start and End, click Auto Center
then click OK. ES calculated the center of the design, then inserts a connector from the center to the fist stitch of the leaf, then another connector from the last stitch of the text to the center.
ES
73
74
ES
Chapter 5.
Basic digitizing techniques
(all except 5, 10, 21L/E)
You can create new designs in a variety of ways. The traditional way to create a design is to use an enlargement drawing on a digitizer tablet. You describe the drawing to the computer by marking reference points with the digitizer puck. This method is still suitable for cases where you want the most accurate result and have an enlargement drawing available. Now you have the alternative of working directly on the computer screen using a bitmapped or vector image as a backdrop, and using the mouse to mark reference points and communicate with the computer. Even without a scanned image to use as a template, you can create simple shapes directly on the screen by using the integrated drawing tools. These can be used to modify existing designs even if you do not have a scanner or a digitizer tablet. You can also copy a vector drawing into ES from a drawing package, such as Corel Draw, via the Windows 95 Clipboard. You can convert the graphic objects into embroidery objects by applying embroidery properties to them. Once you have decided what method you will use, the process of digitizing the design is basically the same. You digitize the design as a series of lines and closed shapes, called embroidery objects. For each line and shape you select a stitch type and input method which determine how they will be stitched. You can change the properties of the embroidery objects and specify automatic machine functions where needed. This chapter explains the basic digitizing techniques and shows you how to create embroidery objects with the input methods provided in ES.
ES
75
Run and Triple Run (all except 5, 10, 21L)

Run is the basic stitch type available for embroidering lines and outlines. Use Run to add extra detail to your embroidery. If you want to stitch thicker lines, for example borders around lled shapes, use Triple Run. It places three layers of Run stitches along a digitized line, going forward, backward, then forward again. The Run and Triple Run stitch types are bound with the simple input method used for digitizing lines, so that you only need to choose one tool. When digitizing lines which have tight, sharp curves, reduce the Run length so that the stitches closely follow the line. ES distributes the stitches evenly along a digitized line by slightly adjusting the selected Run length.
To digitize lines with Run and Triple Run
1. 2.
Choose Embroidery Object>Run or Embroidery Object>Triple Run from the Insert menu. Alternatively, click the Run or Triple Run button on the Input Methods toolbar. Digitize the line you want to stitch with Run or Triple Run by marking reference points with either the left or the right mouse button. Click the left mouse button to mark a corner point. Click the right mouse button to mark a curve point. See Marking reference points with Run and Triple Run (all except 5, 10, 21L) on page 77 for details. As you mark reference points, ES displays the calculated object outline. If you make a mistake, press the BACKSPACE key to delete the last reference point. You can press the BACKSPACE key repeatedly to delete several reference points in sequence. Run or Triple Run is still in use, so that you can continue digitizing. You can also reshape the object outline later.
15 1 2 14 3 right button: curve point 4 5 13 11 9 8 12 10 7 press
ENTER
3.
Press the ENTER key to finish digitizing the line. If Generate Stitches is turned on, ES places Run stitches along the digitized outline
76
Chapter 5. Basic digitizing techniques (all except 5, 10, 21L/E)
ES
immediately. To see the generated stitches and the object outline on the screen, turn on Show Stitches and Show Outlines. The length of the Run stitches is determined by the current object properties. You can change the Run length before or after digitizing the shape outline. See To select Run values on page 115 for details.
Marking reference points with Run and Triple Run (all except 5, 10, 21L)
s s s
Mark a reference point where: a curved outline changes curvature, the outline has corners, the outline changes from a straight line to a curve. Two points marked with the left mouse button are always connected with a straight line. When digitizing a line which is composed of several straight lines, mark the corners with the left mouse button.
corner point 1 corner point 2 1 3 2 4
To digitize a perfect circular arc, you only need to mark as few as three points with the right mouse button. Mark more points to describe a sharp curve, and fewer points to describe a shallow curve.
4 2 3 curve point 1 curve point 2 1 6 7 6 7 1 9 8 5 5 4 3 2 10 3 curve point
Mark enough reference points for the software to be able to calculate the outline. If you mark too few points, the outline the software calculates will not match the outline you are digitizing. However, do not mark more reference points than required, because the shape will take longer to digitize and may not be accurate.
ES
77
A curve can join directly to a straight line or to another curve. These are also corner points, therefore mark them with the left mouse button. See To pan a design on page 39 for details.
corner point corner point
corner point
corner point
corner point
ES will set a horizontal, a vertical, or an angled (30. 45, 60) line for you, much more accurately than is possible by hand. To do this, mark the rst point with a click of the mouse button. Then move the mouse while holding down the CTRL key. The movement of the mouse pointer is constrained to 0, 15, 30, 45, 60, 75, 90, etc. Click again to mark the reference point when the correct angle and position has been achieved.
90 60 45 30 180 0 hold down CTRL
270
78
ES
Exercise 2: Digitizing lines

In this exercise you will practice digitizing lines with Run. You will learn how many points to mark and where, and which mouse button to use. After doing this exercise it will be easier for you to understand the more complicated input methods suited for lled shapes. In ES, you can bring a drawing le into your design and use it as a backdrop for onscreen digitizing. For this exercise, you will use the drawing le named Run.BMP, which has several practice lines you can digitize.
To practice digitizing lines with Run and Triple Run
1. 2. 3. 4. 5. 6. 7.
Choose New from the File menu to start a new design. Alternatively, click the New button on the General Toolbar to start a new design. Choose Drawing File from the Insert menu. When the Open dialog box appears, choose Run.BMP from the list, and click Open. This will insert a bitmapped drawing in your design. In this exercise you will use it as a backdrop for on-screen digitizing. Choose Show All from the View menu. This will center the backdrop in the middle of the screen. Select the backdrop with the Select Object tool then choose Lock from the Arrange menu. This will prevent the backdrop from moving while you are digitizing over it. Choose Embroidery Object>Run from the Insert menu, or click the Run button on the Input Methods toolbar. Digitize the lines one after the other. Press the ENTER key after each line. Mark reference points where indicated on the drawing. The blue points indicate corner points, so click these using the left mouse button. The red points indicate curve points, so click these with the right mouse button. Notice that a connecting stitch is automatically inserted between the Run objects. Choose Save from the File menu. In the Save As dialog box type a new file name and click OK.
8. 9.
ES
79
Input A method (21D, 25, 45, 65)

Use Input A for digitizing shapes or columns, the two sides of which are of the same complexity. This method allows you to control the stitch angles.
To digitize columns with Input A
1. 2.
Choose Embroidery Object>Input A from the Insert menu, or click the Input A button on the Input Methods toolbar. Choose Stitch Type>Satin from the Stitch menu, or click the Satin button on the Stitch Types toolbar with the left mouse button. Input A is often used with Satin. However, you can choose any other fill stitch type, such as Zigzag, E Stitch, Tatami, Program Split and Contour Stitch. See Values of fill stitch types (all except 5, 10) on page 117 for details. You cannot use Input A with Motif Fill. If you do not select a stitch type, the currentlast selected fill stitch type is used. The current stitch type is checked in the Stitch>Stitch Type menu, and its button is pressed down on the Stitch Types toolbar.You can change the stitch type later. Digitize the column by marking reference points on alternate sides of the column with either the left or right mouse button. Similar to the zigzag pattern of Satin and Zigzag stitching, click on one side of the column, then on the other side, always alternating the sides. Depending on the shape, follow a top-bottom, or a left-right, pattern. If you click twice on the same side of the column, the stitches will be twisted. Mark the same number of reference points on both sides. Each pair of reference points defines a stitch angle. Stitches between the defined angles turn evenly. If a point is on a sharp corner, click on it with the left mouse button. If a point is on a curve, click on it with the right mouse button.
1 5 3 2 6
3.
press ENTER or SPACEBAR
The completed part of the object outline is displayed to assist you in digitizing. The stitch angle lines are also displayed.
80
ES
If you make a mistake, press the BACKSPACE key to delete the last reference point. You can press the BACKSPACE key repeatedly to delete several reference points in sequence. Input A is still in use, so that you can continue digitizing the shape. See How to mark reference points with Input A on page 81 for details.
4.
Press the ENTER key (or the SPACEBAR) to finish digitizing the column. Alternatively, click the Keep Last Stitch/Omit Last Stitch tool on the Input Methods toolbar with the left or right mouse button. If you press the ENTER key, the exit point is placed on the opposite side of the column, exactly where you marked the last reference point. Typically, the start point is at the upper left corner and the exit point is at the lower right corner of the column. Instead of pressing ENTER, you can click the Keep Last Stitch/Omit Last Stitch tool with the left mouse button. If the column runs into an adjoining column, you need to finish it close to the start of the adjoining column, which is typically at the top right corner. To do this, press the SPACEBAR, OR click the Keep Last Stitch/Omit Last Stitch tool with the right mouse button. It will omit the last stitch, so that the two columns join smoothly.
start press ENTER nish OR start press SPACEBAR nish
If Generate Stitches is turned on, ES fills the shape with Satin stitches immediately. To see the generated stitches on the screen, turn on Show Stitches. The number of stitches ES generates to fill the shape depends on the current properties of the selected stitch type. You can change the properties before or after digitizing the shape. See Object properties (all except 5, 10) on page 110 for details.
How to mark reference points with Input A

s s s s s
Mark a pair of points where the column: starts to change width, changes direction, changes curvature shallow or sharp, changes from a straight to a curved column, one of the outlines changes curvature.
ES
81
See Marking reference points with Run and Triple Run (all except 5, 10, 21L) on page 77 for details. You need to mark enough reference points for the software to be able to calculate the shape. On the other hand, do not mark more reference points than required, because the shape will take longer to digitize and may not be accurate. Two pairs of points which were marked with the left mouse button, always produce a perfectly straight column. Three consecutive pairs of points which were marked with the right mouse button always produce a perfect circular column. If you mark more points, the straight or circular column may not be accurate.
circular arc left button: corner point 3
straight lines 3
4 1 2 6 5
4 1 2 6 5
Mark more points to describe a sharp curve, fewer points to describe a shallow curve. You need to mark an extra pair of points even if only one side of the column changes curvature. Follow the guidelines given for digitizing lines with Run stitch. Wherever you mark a pair of points, you not only describe the shape, but dene the stitch angle as well. The stitches will turn evenly between the stitch angles you dene. Therefore you must mark the pairs of reference points very carefully. There are no hard and fast rules for dening stitch angles. Usually, the stitches can be at right-angles to the sides of the shape. If a column is very narrow, dene slant angles for longer stitches. Avoid generating stitches shorter than 1mm, because they may cause thread or needle breakage. You may mark extra pairs of points just to control the stitch angle, however make sure that you place them accurately so that they do not distort the shape.
stitches change their angle gradually through the entire shape stitches remain parallel between parallel stitch angles
82
ES
Dene stitch angles which turn evenly to achieve a smooth slope ll. Do not dene stitch angles which point in different directions, unless you want to achieve special effects.
use irregular angles only for special effects
To mark the reference points faster and more accurately, draw the Tip stitch angles on the artwork before scanning or loading it into ES.
ES
83
Input B method (25, 45, 65)

Use Input B for digitizing shapes or columns in which one side is different from the other, especially if it requires more reference points. The stitches turn evenly throughout the entire shape.
To digitize asymmetrical columns with Input B
1. 2.
Choose Embroidery Object>Input B from the Insert menu, or click the Input B button on the Input Methods toolbar. Choose Stitch Type>Satin from the Stitch menu, or click the Satin button on the Stitch Types toolbar with the left mouse button. Input B is often used with Satin. However, you can choose any other fill stitch type, such as Zigzag, E Stitch, Tatami, Program Split and Contour Stitch. See Values of fill stitch types (all except 5, 10) on page 117 for details. You cannot use Input B with Motif Fill. If you do not select a stitch type, the currentlast selected fill stitch type is used. The current stitch type is checked in the Stitch>Stitch Type menu, and its button is pressed down on the Stitch Types toolbar. You can change the stitch type later. Digitize the firsttop or leftside of the column by marking reference points with either the left or right mouse button, then press the ENTER key.
2 5 3 1 4 7 6 press
ENTER
3.
Digitize a side of a column in the same way as you digitize lines with Run. If a point is on a straight line or sharp corner, click on it with the left mouse button. If a point is on a curve, click on it with the right mouse button. See Marking reference points with Run and Triple Run (all except 5, 10, 21L) on page 77 for details. The completed part of the object outline is displayed to assist you in digitizing. When you press the ENTER key, an elastic line is displayed attached to the mouse pointer indicating that this is a closed shape. If you make a mistake, press the BACKSPACE key to delete the last reference point. You can press the BACKSPACE key repeatedly to delete several reference points in sequence. Input B is still in use, so you can continue digitizing the shape.
84
ES
4. 5.
Digitize the secondbottom or rightside of the column by marking reference points with the left and right mouse button. Press the ENTER key (or the SPACEBAR) to finish digitizing the column. Alternatively, click the Keep Last Stitch/Omit Last Stitch tool on the Input Methods toolbar with the left or right mouse button. If Generate Stitches is turned on, ES fills the shape with Satin stitches immediately. To see the generated stitches on the screen, turn on Show Stitches.
stitches turn evenly press ENTER or SPACEBAR 9 10
The first needle penetrationentry pointis always placed where you marked the first reference point. However, you can choose the position of the last needle penetration exit point. If you press the ENTER key or click the Keep Last Stitch/Omit Last Stitch tool with the left mouse button, the exit point is placed on the opposite side of the column, exactly where you marked the last reference point. If you press the SPACEBAR, or click the Keep Last Stitch/Omit Last Stitch tool with the right mouse button, the exit point is placed on the same side as the entry point. See To digitize columns with Input A on page 80 for details. The number of stitches ES generates to fill the shape depends on the current properties of the selected stitch type. You can change the properties before or after digitizing the shape. See Object properties (all except 5, 10) on page 110 for details.
How to mark reference points with Input B

ES calculates the starting and nishing stitch angle by connecting the ends of the two digitized lines. Stitches inside the shape turn evenly, regardless of the number and position of the reference points. If the two reference points on one or both ends of the shape are marked in the same position, they cannot be connected with a line, therefore the starting or the nishing stitch angle is not dened. In this case ES calculates a line in the middle of the shape and places the stitches at approximately 90 to this middle line.
ES
Input B method (25, 45, 65)
85
To control the stitch angle more precisely, cut the pointy ends of the shape and mark the rst and last reference points further apart from each other. You can achieve parallel or slope ll stitching this way.
90
turn ll
parallel ll
slope ll
Input C Method (25, 45, 65)

This method is suited to columns of constant width. It is typically used for digitizing borders, and outlines of shapes lled with Tatami stitches.
To digitize thick lines with Input C
1. 2.
Choose Embroidery Object>Input C from the Insert menu, or click the Input C button on the Input Methods toolbar. Choose Stitch Type>Satin from the Stitch menu, or click the Satin button on the Stitch Types toolbar with the left mouse button. Typically, Input C is used with Satin. However, you can choose any other fill stitch type, such as Zigzag, E Stitch, Tatami, Program Split and Contour Stitch. See Values of fill stitch types (all except 5, 10) on page 117 for details. If you do not select a stitch type, the currentlast selected fill stitch type is used. The current stitch type is checked in the Stitch>Stitch Type menu, and its button is pressed down on the Stitch Types toolbar. You can change the stitch type later. If required, specify on which side of the digitized line you want to place the stitches, and specify the width of the column numerically. See Marking reference points with Input C (25, 45, 65) on page 88 for details.
3.
86
ES
4.
Digitize the centre line of the column by marking reference points with either the left or right mouse button.
2 3 1 4 5 6 7 press
ENTER
Digitize a side of a column in the same way as you digitize lines with Run. If a point is on a straight line, click on it with the left mouse button. If a point is on a curve, click on it with the right mouse button. See Marking reference points with Run and Triple Run (all except 5, 10, 21L) on page 77 for details. The completed part of the center line is displayed to assist you in digitizing. If you make a mistake, press the BACKSPACE key to delete the last reference point. You can press the BACKSPACE key repeatedly to delete several reference points in sequence. Input C is still in use, so that you can continue digitizing the shape.
5.
Press the ENTER key (or the SPACEBAR) to finish digitizing the column. Alternatively, click the Keep Last Stitch/Omit Last Stitch tool on the Input Methods toolbar with the left or right mouse button. If you press the ENTER key or click the Keep Last Stitch/Omit Last Stitch tool with the left mouse button, the first and last stitchentry and exit pointwill be placed on the opposite sides of the column. If you press the SPACEBAR, or click the Keep Last Stitch/Omit Last Stitch tool with the right mouse button, the exit point is placed on the same side of the column as the entry point. See To digitize columns with Input A on page 80 for details. Mark two points to define the column width.
6.
8 9
You can digitize the column width anywhere on the screen, at any angle. To digitize the column width accurately, mark the two points along the grid lines. Alternatively, check the value displayed for length (L=) in the Status bar. Mark the second point when this value matches the desired column width. You can change the column width graphically by using the Reshape tool. See Arranging objects (all except 5,10) on page 315 for details.
ES
87
To use the last selected column width, press the ENTER key instead of marking two points. Notice that in this case you press the ENTER key two times: once to finish digitizing the centre line, and once to use the specified column width.
Marking reference points with Input C (25, 45, 65)

Digitizing the centre line of a column with Input C is similar to digitizing a line with Run. See Marking reference points with Run and Triple Run (all except 5, 10, 21L) on page 77 for details. In Input C objects the rst and last stitch is always perpendicular to the digitized line. The stitches are perpendicular to the digitized line wherever possible. You can digitize a closed shape with Input C. For example, you can digitize a Satin stitch border around a large shape lled with Tatami, or around the outline of an appliqu. To join the start and end of the column smoothly, mark the last reference point of the centre line exactly on the top of the rst reference point. The two points snap together and the stitches follow the line smoothly. For accurate results, mark the last reference point with the same mouse button which you used for the rst point. For example, if you mark the rst and last reference point at a corner, the stitches will turn evenly around the corner point.
last point rst point
stitches are perpendicular to the centre line last point is exactly on the top of the rst
stitches turn around the corner
88
ES
Selecting Input C options (25, 45, 65)

Before you start digitizing an object with Input C, you can select options which affect how the object is created. The selected input options become properties and are stored with the object, therefore you can change them later at any time. For Input C objects you can
s s s
specify the exact column width numerically, decide on which side of the digitized line you want to place the stitchesleft, right or centre, specify the corner fraction.
To select Input C options
1.
Choose Object Properties from the Stitch menu. If you want to specify how the new Input C objects will be created, make sure that no object is selected. To change an existing Input C object, select it with the Pointer tool, then click it with the right mouse button. When the Object Properties dialog box appears, click the Input C tab. Select options which affect how the Input C object is created. Column width You can specify the exact column width numerically. To use this value, press the ENTER key when ES prompts you to digitize the column width. Side The stitches can be placed on the left or right side of the digitized line, or can be centered around it. ES determines the right and left side of the digitized line based on the direction in which you marked the reference points.
2. 3.
left
right
center
ES
89
Corner fraction The stitches are perpendicular to the digitized line throughout the column wherever possible. In tight curves, and around corners the stitches turn evenly. The corner fraction determines how many stitches will turn. The larger the value, the more stitches will turn. Initially, the corner fraction is 0.5 (1/2). Usually, this value gives good results. If you set the corner fraction to 1.0, all stitches will turn evenly.
corner fraction = 0.5
4.
Click OK.
90
ES
Complex Fill method (21D, 25, 45, 65)

Complex Fill is suitable for digitizing wide, large and irregular shapes. The shapes may have holes inside which are not lled with stitches. Most shapes can be digitized with Complex Fill.
Note With ES-21D you can only digitize simple shapes with NO holes.
However, there are a few rules which you have to keep when digitizing shapes with Complex Fill, so that ES can generate stitches correctly. The boundaries of the holes should not overlap or intersect each other, or the outside boundary of the shape. A boundary should not overlap itself, and should not have a second boundary inside (hole within a hole). These shapes cannot be digitized with Complex Fill.
boundaries overlap
boundary overlaps itself
hole within a hole
To create an embroidery object with Complex Fill, rst digitize the outside boundary of the shape, then the boundaries of the holes. You can digitize the boundaries in the same way as you digitize lines with Run. When the boundaries are complete, mark the position of the rst and last stitch, and mark two points to dene the stitch angle. Objects created with Complex Fill are lled with parallel stitching. If necessary, ES breaks complex shapes into smaller segments. ES connects the segments with Run stitches called travel Run. A shape digitized with Complex Fill forms a single object, even if it has several boundaries and is stitched in several segments.
ES
91
To ll large shapes using Complex Fill

This example shows how to digitize a smiling face. The outside boundary of the shape is an oval. There are three holes inside the shape, the eyes and the mouth.
1. 2.
Choose Embroidery Object>Complex Fill from the Insert menu, or click the Complex Fill button on the Input Methods toolbar. Choose Stitch Type>Tatami from the Stitch menu, or click the Tatami button on the Stitch Types toolbar with the left mouse button. Complex Fill is often used with Tatami. It is effective with Program Split, as it produces parallel stitch rows, and thus the patterns are clear throughout the shape. Complex Fill is the only input method which can be used with Motif Fill. You can also select Satin for Complex Fill. However, use Satin sparingly for shapes wider than 10mm. Long stitches tend to move and do not cover the fabric properly. Zigzag and E Stitch are open ll stitch types, and are generally not recommended for Complex Fill, because they reveal the travel Run stitches which connect the internal segments generated inside a Complex Fill object. Contour Stitch is not suitable and cannot be selected for with Complex Fill. You can use various effects with Complex Fill, including Accordion Spacing and User Dened Split.
92
ES
3.
Digitize the outside boundary of the shape by marking reference points with the left and right mouse button, then press the ENTER key.
16 press 15 14
ENTER
2 3
13
12 11 10 8 9 7
If the boundary overlaps itself, ES displays a message. See Reshaping an overlapping or intersecting boundary (21D, 25, 45, 65) on page 100 for details.
ES
93
4.
Digitize the second boundary by marking reference points with the left and right mouse button, then press the ENTER key. This is the first hole inside the shapethe left eye.
press
ENTER
1 2 3
8 7 6 5
5.
Digitize the third boundary by marking reference points with the left and right mouse button, then press the ENTER key. This is the second hole inside the shapethe right eye.
press
ENTER
1 2 3
8 7 6
94
ES
6.
Digitize the fourth boundary by marking reference points with the left and right mouse button, then press the ENTER key. This is the third hole inside the shapethe mouth.
1 2 6 7 8 9 3 4
5 10 press
ENTER
7. 8.
When all the boundaries are complete, press the ENTER key. After digitizing the last boundary, you press the ENTER key two times: once to finish the boundary, and once to finish the entire shape. The shape will fill with stitches. Mark the entry point on the outside boundary of the shape with the left mouse button. Mark the entry point close to the previous object. You do not need to mark the entry point exactly on the boundary. If you mark it inside or outside the shape, ES will snap it to the boundary automatically. Mark the exit point on the outside boundary of the shape with the left mouse button. ES will place the last stitch where you mark the exit point. Usually, mark the exit point close to the entry point of the next object. You do not need to mark the exit point exactly on the boundary. If you mark it inside or outside the shape, ES will snap it to the boundary automatically.
9.
ES
95
10. Mark two points to define the stitch angle.

You can mark the two points anywhere on the screen. The distance between the digitized points does not affect the stitch angle.
4 1 entry point stitch angle
exit point
If Generate Stitches is turned on, the shape is filled with stitches as soon as you mark the second point for the stitch angle.
96
ES
To digitize the stitch angle accurately, mark two points along the grid lines, or watch the value displayed for angle (A=) in the Status Bar. To constrain the stitch angle to a multiple of 15 (0, 15, 30, 45, 60, 75, 90, etc.), mark the first point, then hold down the CTRL key, then mark the second point. It is recommended that you digitize the stitch angle approximately perpendicular to the imaginary line which connects the entry and exit points. See Defining entry and exit points and stitch angle (21D, 25, 45, 65) on page 98 for details.
Marking reference points with Complex Fill (21D, 25, 45, 65)
Mark reference points with Complex Fill in the same way as with Run. See Marking reference points with Run and Triple Run (all except 5, 10, 21L) on page 77 for details. ES closes Complex Fill boundaries automatically by connecting the last reference point to the rst one. If you mark the last reference point with the left button, it will be connected to the rst point with a straight line. If you mark the last reference point with the right mouse button, it will be connected to the rst point with a curve. It is recommended that you leave a gap between the rst and last reference point and let ES close the boundary for you. If you mark the last point close to the rst point, but not exactly at the same position, there may be an unwanted corner point where the rst and last points are connected. For example, to digitize a perfect circle with Complex Fill, mark as few as four reference points with the right mouse button. The circle is more accurate when it is closed automatically by ES. If you mark ve points, and the fths point is not exactly on the top of the rst, the circle may not be accurate.
circle 1 shape is closed automatically 4 3
ES
97
Dening entry and exit points and stitch angle (21D, 25, 45, 65)
As a general rule, digitize the entry point closest to the previous shape or line, and digitize the exit point where the next shape or line will start. This will minimize the length of connectors. Also keep in mind that depending on how you digitize the entry and exit points and the stitch angle, ES divides the complex shape into fewer or more segments. The segments are connected by Run stitches, which ES generates automatically. These travel Run stitches are hidden under the cover stitches, so that they are not visible on the nal embroidery. If possible, all segments inside the shape are stitched in the same direction.
segment 1
direction of stitching
travel Run segment 2
travel Run
segment 3 travel Run
segment 4
However, if a shape is irregular, has too may holes, or you digitize the entry and exit points and the stitch angle incorrectly, some segments may be stitched in the opposite direction. Due to the pull and push effect, on the nal embroidery there may be a gap between some segments, and some segments may overlap, especially if they are stitched in the opposite direction.
98
ES
To avoid unsightly gaps and overlaps, minimize the number of segments by digitizing the entry and exit points and the stitch angle correctly. Fewer segments are more likely to be stitched in the same direction. Fewer segments require less travel Run stitches. For best results, place the entry and exit points opposite each other on the outside boundary, and digitize the stitch angle perpendicular to the line dened by the entry and exit points. This may vary depending on the shape.
direction of stitching 1
1. Entry and exit points are opposite each other. Result: 2 Tatami segments, same stitching direction, 1 travel Run segment;
entry
exit 2 entry 1
2. Entry and exit points are the same. Result: 2 Tatami segments, same stitching direction, 2 travel Run segments;
exit 2 exit 3 1
3. Entry and exit points are on different sides of the shape. Result: 3 Tatami segments, different stitching directions, 3 travel Run segments;
entry
ES
99
Reshaping an overlapping or intersecting boundary (21D, 25, 45, 65)

If the last digitized Complex Fill boundary overlaps itself or intersects another boundary, ES prompts you to correct it by using the Reshape tool. This error may occur when you try to mark the last reference point of a boundary on the top of the rst one. It is difcult to mark two points at the same position accurately by hand. Often the last reference point falls on the opposite side of the rst one, and thus the boundary overlaps itself. To avoid this error, leave a gap between the rst and last reference points and let ES close the boundary automatically.
rst point
last point is not accurate
rst point
errorboundary overlaps itself
last point
boundary is closed correctly
After reshaping a boundary you must generate stitches for the Complex Fill shape. After the stitches have been generated, you can add more boundaries if required. When all boundaries are complete, regenerate the stitches.
To reshape an overlapping Complex Fill boundary
1. 2.
Digitize a boundary or several boundaries with Complex Fill. See To fill large shapes using Complex Fill on page 92 for details. If a boundary overlaps itself or intersects another boundary, ES displays a message asking if you want to reshape it. Click Yes.
If you click No, the digitized boundaries will be preserved. However, when you try to generate stitches for this shape, the same message will be displayed again.
100
ES
3.
When another message is displayed reminding you to click Complex Fill after reshaping the boundary, click OK.
The Reshape tool automatically becomes selected. The Reshape button on the Pointer toolbar is pressed down now to indicate the change. All the boundaries you have digitized f or the current shape are highlighted, and the reshape control points are displayed.
4.
Drag the control points to reshape the boundaries. See Arranging objects (all except 5,10) on page 315 for details. If a boundary overlaps itself, you must reshape this boundary. If the last digitized boundary intersects other boundaries, you may reshape any of them to make the shape suitable for Complex Fill. Make sure that the boundaries do not overlap, intersect, or touch. The internal boundaries must be fully within the outside boundary of the shape. The internal boundaries cannot have holes. When all boundaries are correct, click the Complex Fill button on the Input Methods toolbar to generate stitches. Mark the entry point and the exit point on the outside boundary of the shape with the left mouse button. Mark two points to define the stitch angle. ES generates stitches for the object. After generating stitches, you can digitize additional boundaries for the object, then regenerate the stitches. See Adding boundaries to a Complex Fill object (25, 45, 65) on page 102 for details.
5. 6. 7.
ES
101
Adding boundaries to a Complex Fill object (25, 45, 65)

You can digitize additional boundaries after generating stitches for a Complex Fill object. You may need to do this after reshaping an overlapping or intersecting boundary.
To add boundaries to a Complex Fill object
1. 2.
Click the Select Object button on the Pointer toolbar. Click a Complex Fill object with the left mouse button.
Eight sizing handles appear around the object, and the stitches inside the object turn white.
3.
Click the Complex Fill button on the Input Methods toolbar. To indicate that you are returning to digitizing, ES displays the stitches in color, and displays the reference points which you marked when digitizing the boundaries. Then ES prompts you to mark the first reference point on the next boundary.
102
ES
4.
Digitize the rest of the boundaries as usual, on the top of the stitches. Press the ENTER key after each boundary.
Tip If you are using an electronic drawing as a backdrop, it is hard to digitize the additional boundaries if the drawing is hidden underneath the stitches. If the artwork is hidden underneath the stitches, turn Generate Stitches off to remove the stitches from the object, or turn Show Stitches off to hide the stitches, so that you can see the drawing better.
5. 6. 7.
When all boundaries are correct, press the ENTER key. Mark the entry point and the exit point on the outside boundary of the object. Mark two points to define the stitch angle. ES regenerates the stitches for the modified Complex Fill object. The new boundaries are now filled with stitches.
ES
103
Manual and Triple Manual (21D, 25, 45, 65)

You can digitize each individual stitch using the Manual input method. A stitch will be placed each time you click a mouse button. For thicker lines, use Triple Manual. It will place three layers if threads between the stitch end points going forward, backward and forward again. You may use Manual to insert a few stitches when modifying existing designs. However, use this input method sparingly, because Manual stitches do not scale well. When you scale a design, the number of Manual stitches remains the same. If a stitch exceeds the maximum stitch, it is converted into Jumps. Manual stitches form an embroidery object. In a Manual object the stitches and the object outline look the same. You can generate and remove stitches in the same way as for other objects. Since you dene each individual stitch, ES does not need to store any information about how to generate them. Therefore, manual objects have fewer properties than other objectsGeneral and Connectors.
To digitize stitches with Manual and Triple Manual
1. 2. 3.
Choose Embroidery Object>Manual or Triple Manual from the Insert menu, or click the Manual or Triple Manual button on the Input Methods toolbar. Mark the first stitch end point with the left mouse button. Mark the second, third, fourth, etc. stitch end point with the left mouse button.
2 4 1 3 use the left mouse button 5 9 7 6 10 8 press
ENTER
11
Notice that ES does not display a small rectangle when you mark a point. This is because you mark the actual stitch end point as opposed to reference points. See Marking stitch end points with Manual or Triple Manual (21D, 25, 45, 65) on page 105 for details.
4.
When all the stitches are marked, press the ENTER key.
104
ES
Marking stitch end points with Manual or Triple Manual (21D, 25, 45, 65)
If the distance between two needle penetration points exceeds the maximum frame movement the embroidery machine can make, ES converts the stitch into a jump by breaking it into several frame movements shorter than the maximum stitch. Each frame movement is of the same length. A jump is displayed as a dotted line. A needle point along a dotted line indicates that the frame stops, but the needle does not penetrate the fabric.
maximum stitch
long stitch is broken into smaller frame movementsjumps
Before making a jump, the embroidery machine slows down, then it slowly moves the frame two or more times without penetrating the fabric. After the last frame movement, when the frame is in the correct position, the needle penetrates the fabric to make the stitch. After completing a jump the embroidery machine gradually speeds up again. When the frame moves slowly, the embroidery machine has enough time to pull more thread, therefore the long stitch will be loose and will not pull the fabric. This is important if a long stitch is not trimmed. You can achieve jumps by marking the needle penetration points with the right mouse button. In this case all stitches will become jumps, regardless of their length. If a stitch is shorter than the maximum stitch, it will not be broken into smaller frame movements. However, the embroidery machine will slow down before making that stitch, so the thread will be looser.
use the left mouse button for Manual stitches
use the right mouse button for jumps
ES
Manual and Triple Manual (21D, 25, 45, 65)
105
Changing between ll and outline stitching

(21D, 25, 45, 65) Before digitizing a lled shape, insert travel stitches with Run or Manual inside the shape to its entry point. By hiding the travel stitches under the ll stitches you can eliminate trims, and reduce the time required to stitch the design. When digitizing certain elements of a design, you often need to change between Run or Manual, and the last selected ll input methodInput A, Input B, Input C or Complex Fill. For increased productivity, you can use a shortcut key instead of clicking a button on a toolbar or choosing an item from a pull-down menu. Press the ENTER key to switch between Manual and the last selected ll input method. Press the SPACEBAR to switch between Run and the last selected ll input method. The ll input method uses the current stitch type.
Manual Run
ENTER SPACEBAR
ll input method, stitch type ll input method, stitch type
For example, when digitizing a ower which has ve petals, you may need to switch between ll and outline stitching several times. You may digitize a few travel stitches with Manual, then the petal with Input A and Satin. When digitizing the other petals, you can press the ENTER key to switch between Manual and Input A.
ENTER
ENTER
Manual
ll input method
[Manual]
[ll input method]
ENTER
[Manual]
106
ES
Empty stitch (all except 5, 10)

Empty stitch is a needle penetration without frame movement. It is mainly used after tie off stitches to prevent the thread from coming off when a garment is washed. Empty stitch is a standard lock stitch, as the bobbin thread goes through a loop formed by the top thread underneath the fabric. However, Empty stitch is very tight, because there is no frame movement. You can also use Empty stitches instead of tie in and tie off for objects lled with light density stitching, such as Trapunto style Tatami or Accordion Spacing, because standard tie in and tie off stitches would show on the nal embroidery. Insert at least two Empty stitches, or more. Traditionally, Empty stitch was also used in old embroidery designs for timing purposes. For example, some old embroidery machines required several Empty stitches before a color change function, to allow enough time for the machine to prepare for the color change. An empty stitch does not form an embroidery object.
To insert an empty stitch

s
Click the Empty Stitch button on the Pointer toolbar. Notice that the stitch count displayed in the Status Bar increased by one.
ES
Empty stitch (all except 5, 10)
107
108
ES
Chapter 6.
Selecting stitch type and density

(all except 5, 10)
When you open a new design in ES, every parameter has an initial value, as set by the template. As you work, you will be changing values for stitch types, input methods etc.; these changes become the current values and are used for new objects created in that design. Each object also stores the set of values used to create it the input method, stitch type and density, stitch effects, etc.these are the object values or properties. If you scale an object, or reshape its outline, the stitches are re-generated perfectly according to the embroidery properties of the object. Embroidery objects and lettering objects each have their own set of template vales. For example, if you change the current value for embroidery objects, the current value for lettering objects remains unchanged until you choose to change them.
ES
109
Object properties (all except 5, 10)

When you create a new embroidery object, ES records all the commands you choose and stores them as properties of that object. The stitches are generated according to the object properties. You can change any of the properties later and re-generate the stitches accurately. Embroidery objects have general properties, embroidery properties, embroidery machine related properties. General properties include the dimensions, rotation angle and orientation of the object. You dene these properties by digitizing the outline of the object, and you can modify them later. See Modifying designs on page 297 for details. An object can only be stitched if it has embroidery properties in addition to general properties, such as stitch type, density values, stitch effects and connectors. These properties determine how the stitches are placed along or inside the digitized object outline, and how an object is connected to the neighboring objects. Lettering objects have additional properties which determine the appearance and layout of the letters, such as alphabet, baseline, letter spacing, connection method, etc. The embroidery properties can be viewed and changed through the Object Properties dialog box. Embroidery machine related properties include thread color, position of the objects in the stitching sequence, use of needles, borer, sequins, etc. You can modify these properties later. See Working with machine functions (all except 5, 10) on page 235 for details. ES stores three sets of object properties: default object properties, current object properties, and properties of existing objects. The default object properties are stored in the template you select when opening a new design. Each design has a template. If you do not select a specic template, the default template named NORMAL is used. Using templates you can store several sets of default values. See Using a template (all except 5, 10) on page 261 for details. In the new design you can change the initial values before you start digitizing, or later. These values are only used in the design you are currently working on, and are called current object properties. The current properties will be used for new objects. If you change some properties before creating an object, the new values overwrite the current properties and will be used for the next object. You can think of the current properties as the last selected values in the current design. If you wish to use the current object properties in all the new designs you will create from the current template, save them to overwrite the default object properties.
s s s
s s s
110
ES
You can change the properties of existing objects at any time. Changing the properties of selected existing objects does not affect the current properties.
To preset all object properties at one time

Before starting to digitize a new design, it is practical to adjust the values and effects of all stitch types to suit the type of fabric and threads you will use. You can access the embroidery properties of all types of objects, including lettering objects, through a single pull-down menu command.
1. 2. 3.
Make sure that no object is selected. Choose Object Properties from the Stitch menu. The Object Properties dialog box appears. Several tabs are available, providing you access to all the possible object properties, so that you can change them at one time. In the Object Properties dialog box, change the density values and effects of the various fill and outline stitch types, change the lettering values and specify the connectors.
choose a stitch type from the list
These values are explained in various other chapters. See Basic digitizing techniques (all except 5, 10, 21L/E) on page 75, Improving the embroidery quality (all except 5, 10) on page 135, Advanced and specialized digitizing techniques (25, 45, 65) on page 149, Creating lettering (all except 5,10) on page 361 for details.
4.
Click OK. The initial properties of the newly created embroidery objects will match the values you selected here.
ES
111
To preset the density values of a certain stitch type

If you only want to change the density values of one particular stitch type, you can quickly access the relevant values with a single mouse click.
1.
Click a stitch type button on the Stitch Types toolbar with the right mouse button. The Object Properties dialog box appears. It only displays one tab, providing quick access to the values of the selected stitch type. For example, if you click the Satin tool with the right mouse button, only the Satin stitch values are displayed. You cannot change other properties now.
2. 3.
In the Object Properties dialog box, change the values of the selected stitch type. Click OK. The new values will be used for new embroidery objects.
112
ES
Properties of an existing object (all except 5, 10)

You can change the stitch values, effects, lettering parameters, connectors of existing objects at any time. For example, if you scale a design to a larger size, you may want to stitch some objects with Tatami instead of Satin for better coverage. You may also want to add artistic effects to certain objects, such as User Dened Split.
Note Changing the properties of existing objects does not affect the current
properties. The changed properties will only be applied to the selection, not to the newly created objects.
To change the stitch type of an existing object
1.
Select one or several objects with the Select Object tool. For example, click an object created with Satin using the left mouse button.
original stitch type: Satin
The button of the stitch type used for the selected object is pressed down on the Stitch Types toolbar to show the status of the selected object.
2.
Click a stitch type button on the Stitch Types toolbar using the left mouse button. For example, click the Tatami button.
new stitch type: Tatami
The selected object is re-stitched using the new stitch type.
ES
113
To change the properties of an existing object
1. 2. 3.
Select one or several objects with the Select Object tool. For example, click an object created with Satin. Click the selected objects with the right mouse button. As an alternative, double click the selected objects using the left mouse button. When the Object Properties dialog box appears, select a different stitch type if required, then specify the values and effects, and the connectors. Notice that only those tabs are displayed which include relevant values to the selected objects. Other tabs are hidden. For example, the Lettering tab is only displayed if the selection includes a lettering object. For closed shapes only the Fill Stitch and Connectors tabs are displayed. If the selected objects were created with different stitch types, initially no values are displayed in the Object Properties dialog box. You need to choose a stitch type first before you can start changing the values. This stitch type will be applied to all selected objects. Click OK. The selected objects are re-stitched using the new stitch type, values, effects, and connectors.
4.
Default object properties (all except 5, 10)

If you want to use a certain set of values in all the newly created designs, overwrite the default object properties. You can change the default values of one particular stitch type, or you can change all the default object properties.
To save object properties as default for use in new designs
1.
s s s
Depending on what combination of default properties you want to change, do one of the following: While no object is selected, choose Object Properties from the Stitch menu, or click a stitch type button on the Stitch Types toolbar with the right mouse button, or double click a selected object with the left, or click it with the right mouse button. In the Object Properties dialog box, change the values and effects as required. Click Save. The new default values will be used for new embroidery objects you create in any design from now on.
2. 3.
114
ES
Values of outline stitch types (all except 5, 10, 21L)

Using an outline stitch type you can place stitches along a digitized line. For outline stitch types you can only change the stitch length, which is the distance between two consecutive needle penetrations. The stitches should be shorter where the digitized line has tight curves, otherwise the stitches do not follow the line closely.
Run stitch values (all except 5, 10, 21L)

Run is suitable for embroidering thin lines which add extra detail to your embroidery. It is also used for underlays, and for hidden travel stitches.
length Run 1 2 3 4 5 6
You can select two different values for the cover Run and travel Run stitches through the Object Properties dialog box. You can also select a different value for underlay Run stitches through the Stitch Effects dialog box.
To select Run values
1. 2. 3. 4.
Choose Object Properties from the Stitch menu, or click the Run tool on the Input Methods toolbar with the right mouse button to select properties for newly created objects. Alternatively, click a selected Run object with the right mouse button. Click the Outline Stitch tab in the Object Properties dialog box. Choose Run from the available outline stitch types. Type a new value in the Run Length text box. Run length is the distance between two consecutive needle penetrations.
Run length
Run length stitches follow the curve closely
not enough stitches to follow tight curve
Run length
ES
Values of outline stitch types (all except 5, 10, 21L)
115
The default value is 2.2mm, which is suitable for most lines and outlines. If a line has tight, sharp curves, reduce the Run length to 1.8mm so that the stitches follow the line closely. For straight lines you can increase the Run length up to 2.5mm. It is recommended that you keep the Run length within this range.
5.
Type a new value in the Travel Run Length text box. This value is only used for automatically generated travel Run stitches which connect segments inside a Complex Fill or lettering object. These stitches are unproductive, as they are not visible on the nal embroidery. To reduce the stitch count, select a larger value for travel Run length. Usually, 2.5mm is suitable for most designs. Make sure that you have enough stitches to follow tight curves, so that the travel stitches stay inside the lled shapes. This value is not used for underlay Run stitches. You can specify a different length for underlay Run in the Stitch Effects dialog box. See Stitch shortening (all except 5, 10) on page 138 for details. Click OK. The selected objects are re-stitched using the new stitch values. If no objects were selected, the new values will be used for new embroidery objects.
6.
Triple Run stitch values (all except 5, 10, 21L)

Triple Run is a variation of Run stitch. It places three layers of stitches along the digitized line going forward, backward, then forward again.
3 Triple Run 1 2 6 4 5
You cannot see the difference between a Run and Triple Run object on the screen as the stitches cover each other. To check that an object is stitched with Triple Run, travel through the stitches by using the Travel 1 Stitch tool or by pressing the LEFT ARROW or RIGHT ARROW key on your keyboard. The default Triple Run length is slightly larger than the Run length. It is suitable for most lines and outlines. Reduce the length to follow tight curves. You can increase the Triple Run length to create special effects.
116
ES
To select Triple Run values
1. 2. 3. 4.
Choose Object Properties from the Stitch menu, or click the Triple Run tool on the Input Methods toolbar with the right mouse button to select properties for newly created objects. Alternatively, click a selected Triple Run object with the right mouse button. Click the Outline Stitch tab in the Object Properties dialog box. Choose Triple Run from the available outline stitch types. Type a new value in the Triple Run Length text box. The default value is 2.5mm which is suitable for most lines and outlines. Reduce the value to 2.0mm or 1.8mm to follow tight curves. See To select Run values on page 115 for details. Increase the Triple Run length only if you want to create a special effect.
Tip
You can mimic hand made embroidery with Triple Run by setting the length to 4.0mm.
5.
Click OK. The selected objects are re-stitched using the new stitch values. The new values will be used for new embroidery objects.
Values of ll stitch types (all except 5, 10)

Various ll stitch types have different values, depending on how the stitches are laid out to ll a shape. However, the purpose of changing these values is the sameselecting the optimal density. When selecting the density, your aim is to cover the background fabric completely and evenly with the fewest possible stitches, or to create a special effect. The following factors determine the stitch density. Thickness of the thread The optimal stitch density primarily depends on the thickness of the thread you are going to use to stitch the design. The initial density values in ES are set for average embroidery thread, most commonly used for multihead embroidery machines. Therefore, the initial values are suitable for most designs. Increase the density by 10% - 15% if you use metallic thread, as it is slightly thinner. Decrease the density by 10% - 15% if you are using cotton thread, as cotton threads are thicker than the average embroidery thread.
ES
117
Color of the thread and background fabric If the color of the thread contrasts the color of the background fabric, you need more stitches to cover. For example, you need to increase the density when stitching a design with white thread on black fabric. Texture of the fabric Increase the stitch density by 10%-15% when stitching a design on soft, thick fabric, for example golf shirts, towels, etc. Stitches sink in these fabrics and some elements of the design may be hardly visible on the final embroidery. In addition, use topping and backing to prevent the stitches from sinking in the fabric. Special effects you want to create You may use very light Trapunto style stitching to cover large areas, such as the background of the design. Preferably, use the same color thread as the fabric.
Satin stitch (all except 5, 10)

Satin stitch is used to ll narrow, long, curving shapes, also called columns. The needle penetrates one side then the other side of the column, laying the thread across in a tight pattern. The rst stitch and all the following odd stitches go straight across the column, thus they are approximately parallel. Every second stitch is slanted. As the stitches are almost parallel, Satin provides good coverage.
straight column
turning column
Where the column is wide, more stitches are required to cover the fabric. Long stitches are loose, tend to move and thus do not cover the fabric properly. This is why Satin stitch is not suitable for wide and large shapes. Where the column is narrow, the stitches are tight, thus fewer stitches are required to cover the fabric. Where the column is very narrow, the stitches should be more open, because too many needle penetrations may cause damage to the fabric. The density is determined by the stitch spacing value. The larger the spacing between the stitches, the lower the density. The smaller the spacing, the higher the density. For Satin stitch you can select a xed spacing value, or you can use automatic spacing. When you use automatic spacing, ES varies the stitch spacing where the column changes width. If the column is too wide and the stitches exceed the maximum length, you can apply automatic split. In this case ES breaks the long stitches into shorter stitches and distributes the needle penetrations smoothly so that they do not form a sharp line in the middle of the shape.
118
ES
To use xed spacing with Satin stitch
1. 2.
Click the Satin button on the Stitch Types toolbar with the right mouse button, or choose Object Properties from the Stitch menu. Alternatively, click a selected Satin object with the right mouse button. When the Object Properties dialog box is displayed, click the Fill Stitch tab, then choose Satin from the Stitch Type list.
choose Satin from the list
uncheck Auto Spacing
3.
Type the required value in the Stitch Spacing text box, or click on the up or down arrow key repeatedly until the required number is displayed. This is the spacing between two consecutive needle penetrations on the same side of the column. To increase the density, select a smaller value. To reduce the density for more open stitching, select a larger value. Specify the satin spacing value in millimeters, in actual size (1:1 scale).
Satin spacing Satin spacing
4. 5.
Uncheck Automatic Spacing.
Note If Auto Spacing is checked, the fixed stitch spacing value is not used!
ES
119
Automatic stitch spacing (all except 5, 10)

Automatic stitch spacing can be used with Satin and Zigzag stitch. Using automatic stitch spacing you can digitize columns of varying width without having to stop and change the spacing values. The spacing between the stitches is calculated based on the stitch length, therefore the density will depend on the column width. The shapes are lled evenly with fewer stitches.
spacing 2
spacing 1 length 2 length 1
automatic stitch spacing
xed stitch spacing
Based on many years of experience and experimentation, we dened the key stitch length values where the spacing should change. We assigned certain spacing values to these length values. These values are suitable for most designs. You can customize these values for special fabrics, or types of embroidery, or to create special affects. You can save these values for just the current design, or for all newly created designs. If you change your mind, you can revert to the factory-set values.
To use Automatic Spacing with Satin Stitch
1. 2. 3. 4.
Click the Satin button on the Stitch Types toolbar with the right mouse button, or choose Object Properties from the Stitch menu. Alternatively, click a selected Satin object with the right mouse button. When the Object Properties dialog box is displayed, choose Satin from the Stitch Type list. Check Auto Spacing. Specify the amount of adjustment to make to the resulting spacings. You can change the stitch density when automatic stitch spacing is used. However, instead of specifying a fixed value, adjust the spacing globally to a percentage.
120
ES
Initially, the automatic spacing values are used at100%, which means that the resulting values are used without adjustment. To increase the spacing for more open stitching, increase the percentage to 110% -115%. To reduce the spacing for more dense stitching, adjust the resulting spacing values to 90% - 85%.
adjust: larger than 100% (e.g. 115%) fewer stitches
adjust:100% no adjustment
adjust: smaller than 100% (e.g. 85%) more stitches
Tip
To produce very high quality embroidery, for example badges, adjust the automatic spacing values to 75%. This will provide excellent coverage. Remember, if you increase the stitch count, the design will take longer to stitch, and thus will be more expensive.
5.
To change the Automatic Spacing values
1. 2. 3.
Click the Satin button on the Stitch Types toolbar with the right mouse button, or choose Object Properties from the Stitch menu. Alternatively, click a selected Satin object with the right mouse button. When the Object Properties dialog box is displayed, choose Satin from the Stitch Type list. Click the Values button beside Auto Spacing.
ES
121
4.
When the Auto Spacing dialog box appears, change the stitch length, stitch spacing and spacing offset values.
Stitch Length (mm) The length values determine how rapidly the stitch spacing changes. The smaller the length values, the faster the stitching changes from open to dense. The first stitch length value must be 0. Every stitch length value must be different. Every stitch length value must be greater than the previous one. Stitch Spacing (mm) The spacing values determine how much the spacing changes. Spacing Offset You can increase the resulting spacing values by a fixed value, called spacing offset. As the offset is added to the stitch spacing, it affects the dense stitching placed in wide sections of the column considerably more, than the open stitching placed in narrow sections. You can select four spacing offset values suitable for different types of threadA, B, C, and D. Thread type A is the average embroidery thread. The default spacing offset is 0 for thread type A, which means that the original spacing values are used without modification.
122
ES
Select a larger value, such as 0.03mm for thick threadthread type B. Select negative values, for example, -0.03mm and -0.06mm, for thin and ultra thin threadthread type C and D. A negative offset increases the density, as it is subtracted from the calculated spacing values. When setting up the thread colors, you can select density A, B, C, or D for each thread in the Edit Thread dialog box. These letters correspond to the thread types you define in the Auto Spacing dialog box. For example, if you select density B for a thread, the automatic spacing values will be increased by 0.03mm.
5.
When all values are correct, click OK. The new values are applied to all existing Satin and Zigzag objects and will be used for all newly created objects in the current design.
Note The new automatic spacing values are used for the whole design. If you change the automatic spacing values halfway through the design, then ES regenerates the stitches for the existing Satin and Zigzag objects applying the new values.
If you change your mind, click the Reset button to revert to the factory-set values.
Automatic split (all except 5, 10)

The length of Satin stitches depends on the digitized shape. If the shape is wide, some Satin stitches may exceed the maximum stitch the embroidery machine can produce. Long Satin stitches need to be divided into smaller frame movements, which can be done with or without needle penetrations. A frame movement without needle penetration is called a jump. If you turn on the Auto Jump effect, ES converts long stitches into jumps. Jumps slow down the embroidery machine, and also, very long stitches do not cover the fabric properly. See Using automatic jump on page 237 for details. If you turn Auto Jump off, without using automatic split the long Satin stitches are split into smaller stitches of equal length. These stitches cover the fabric better than jumps, however, depending on the width of the column, the needle penetrations form one or more well dened lines in the middle of the shape. These split lines affect the appearance of the embroidery, and may be considered undesirable.
ES
123
Using automatic split, the stitch length is varied, and thus the split lines are less noticeable.
Auto Jump ON
Auto Jump OFF
Auto Jump on or off
Auto Split OFF
Auto Split OFF
Auto Split ON
You may use automatic split if you want to preserve the Satin effect, and if only a few stitches exceed the maximum stitch length by only a few millimeters. For example, automatic split can be applied to medium size letters stitched with Satin, especially when using a serif alphabet. Serif letters have a few wide columns.
Auto Split
Auto Split
Auto Split
For wide and large shapes you may digitize lines with User Dened Split, or change the stitch type to Tatami or Program Split for better results. You may also divide the shape and digitize it as two separate objects. If a Satin stitch column is only a few millimeters wider than the maximum stitch, it is recommended that you reshape the column.
124
ES
To use Automatic Split with Satin stitch
1. 2. 3.
Click the Satin button on the Stitch Types toolbar with the right mouse button, or choose Object Properties from the Stitch menu. Alternatively, click a selected Satin object with the right mouse button. When the Object Properties dialog box is displayed, choose Satin from the Stitch Type list. Check Auto Split and select the length and minimum stitch value.
check Auto Split
Length Length is the maximum stitch used for automatic split. A stitch longer than this is not generated. The split length can be smaller than the maximum stitch generally used in the design. Setting the length to 7.00mm you can preserve the Satin effect. The shorter the length, the more stitches are generated. Minimum stitch Minimum stitch is the shortest stitch generated for an object using automatic split. This value should be at least 0.40mm.
4.
Click OK. If an object was selected, ES regenerates the stitches for that object applying the new values. If no object was selected, then the new values will be used for newly created objects.
ES
125
Zigzag stitch (all except 5, 10)

Zigzag stitch is similar to Satin. The needle penetrates one side then the other side of the column, laying the thread across in an open zigzag pattern. All stitches are slanted, therefore half as many stitches are generated compared to Satin. Zigzag is primarily used for underlays or borders, when fewer stitches are required.
straight column
turning column
The density is determined by the stitch spacing value. See Satin stitch (all except 5, 10) on page 118 for details. Automatic split and automatic stitch spacing are not available for Zigzag. You can specify a spacing value for cover Zigzag through the Object Properties dialog box, and a different value for underlay Zigzag through the Effects dialog box.
To select Zigzag stitch density
1. 2. 3.
Click the Zigzag button on the Stitch Types toolbar with the right mouse button, or choose Object Properties from the Stitch menu. Alternatively, click a selected Zigzag object with the right mouse button. When the Object Properties dialog box is displayed, choose Zigzag from the Stitch Type list. Type a value in the Stitch Spacing text box and uncheck Auto Spacing to use fixed spacing with Zigzag. As an alternative, check Auto Spacing and type a percentage value in the Adjust text box to use automatic stitch spacing. See Automatic stitch spacing (all except 5, 10) on page 120 for details.
Zigzag spacing Zigzag spacing
4.
Click OK. If an object was selected, ES regenerates the stitches for that object applying the new values. If no object was selected, then the new values will be used for newly created objects.
126
ES
E stitch (21D, 25, 45, 65)

E stitch is similar to Satin. The needle penetrates the rst side then the second side of the column, laying the thread straight across the column. Then the needle penetrates the second side again, laying the thread along the side of the column. The stitches form a comb pattern. Usually, the E Stitches are more open than Satin or Zigzag.
straight column
turning column
E stitch is often used to stitch borders around appliques. To closely follow the boundary of an applique, insert a few Runs between the E Stitches.
To select E Stitch density
1. 2. 3.
Click the E Stitch button on the Stitch Types toolbar with the right mouse button, or choose Object Properties from the Stitch menu.Alternatively, click a selected E Stitch object with the right mouse button. When the Object Properties dialog box is displayed, choose E Stitch from the Stitch Type list. Type a value in the Stitch Spacing text box, and specify the number of Runs between the E Stitches.
1 Run
E Stitch spacing
If you do not want Runs between the E stitches, set the Number of Runs to 1. See To digitize applique boundaries with E Stitch on page 128 for details.
4.
Click OK. ES regenerates the stitches for the selected objects. The new values will be used for newly created objects.
ES
127
To digitize applique boundaries with E Stitch
1. 2. 3.
Choose Object Properties from the Stitch menu while no object is selected. When the Object Properties dialog box appears, click the Fill Stitch Tab. Choose E stitch from the Stitch Type list, set the number of Runs between E Stitches to 3, then click OK. To closely follow the boundary of an applique, insert a few Runs between the E Stitches. The number of Runs depends on the stitch spacing. For 5.00mm stitch spacing select 3 Runs.
3 Runs
E Stitch spacing
The Runs are evenly distributed between the E Stitches. Their length is calculated by dividing the E Stitch spacing by the number of Runs. The number of Runs is the same between each pair of E Stitches, except in tight curves. If the length is too small, fewer Run stitches are generated than the specified value to avoid very small stitches.
4. 5.
Click the E Stitch button on the Stitch Types toolbar. Click the Input C button on the Input Method toolbar. Input C provides constant column width. You may choose Input A or Input B, however these methods are not recommended. You can specify the column side and width, and adjust the corner fraction for Input C in the Object Properties dialog box. Digitize the boundary of the applique. Make sure that you digitize the last reference point exactly on the top of the first one, so that they snap together to form a closed shape. The direction of the E Stitches depends on the order in which you mark the reference points of the center line. If you mark the points from left to right (in clockwise direction), the E stitches will point down. If you mark the points from right to left (in counter clockwise direction), the E Stitches will point up.
6.
points are marked from left to right (in clockwise direction)
points are marked from right to left (in clockwise direction)
128
ES
This feature is useful for appliques which have holes inside them. Digitize the outer boundary in clockwise, and the boundaries of the holes in counter clockwise direction.
2
4 1 5 5 1 2 3 3
7.
Press the ENTER key to generate stitches.
ES
129
Tatami (all except 5, 10)

Tatami is useful for covering large, irregular shapes of a design. It is composed of specially arranged Run stitches. The stitches are laid in vertical rows going back and forth across the shape. The vertical rows can be parallel or slightly turning. The stitches are laid with an offset in each row to eliminate horizontal split lines, and are close enough to give the appearance of a solid eld of stitching.
To select Tatami stitch density and backstitch
1. 2.
Click the Tatami button on the Stitch Types toolbar with the right mouse button, or choose Object Properties from the Stitch menu. Alternatively, click a selected Tatami object with the right mouse button. When the Object Properties dialog box is displayed, click the Fill Stitch tab, then choose Tatami from the Stitch Type list.
130
ES
3.
Specify the stitch spacing, length and minimum length. Stitch spacing is the distance between two rows going in the same direction. Stitch length is the distance between two consecutive needle penetrations in a row. Stitches smaller than the minimum stitch length are not generated for Tatami objects.
forward backward stitch length
offset fraction
stitch spacing
4.
Choose a backstitch type. Backstitch is the term used for every second row of stitches, which go backwards in the shape.There are three types of backstitch available for Tatami.
standard backstitch
borderline backstitch
diagonal backstitch
Standard backstitch Standard backstitch is suitable for dense ll. Using standard backstitch the forward and backward rows are approximately parallel. Every second row of stitchesbackstitchis shorter, in order to avoid too many small stitches on the edge of the shape, which may damage the fabric. Because the rows are of different lengths, the connecting stitches are not parallel with the boundary. This is not visible on the nal embroidery when the stitch spacing is small.
ES
131
Borderline backstitch Borderline Tatami is suitable for very open fill, called Trapunto style. Using borderline backstitch the rows are approximately parallel. Each stitch row goes to the edge of the shape, thus the stitches connecting the rows follow the boundary, providing a smooth, well defined edge. See Trapunto style(25, 45, 65) on page 163 for details. If the stitch spacing is less than the minimum stitch length, the connecting stitches may not always follow the boundary of the shape, depending on the angle between the stitch rows and the boundary. Where the stitch rows are perpendicular to the boundary, the connecting stitches are adjusted to be longer than the minimum stitch.
minimum stitch stitch spacing connecting stitches follow the boundary
connecting stitches are adjusted
Diagonal backstitch Diagonal backstitch is suitable for turning shapes. Using diagonal backstitch the forward rows go straight across the shape. There is no connecting stitch between the rows. Instead, the backward rows are diagonal, and connect the forward lines directly. Diagonal backstitch is suitable for turning shapes, and gives good results with the Jagged Edge effect. See Jagged edge (25, 45, 65) on page 161 for details.
132
ES
5.
Specify the offset fraction. The stitches on each row are offset by a percentage of the stitch length to eliminate split lines. Offset Fraction A is used for the forward rows, and Offset Fraction B is used for backward rows. The two offset fractions can be the same or different. Setting both offset fractions to 0.25 produces even stitching, suitable for most shapes.
A=0.25, B=0.25
forward backward row row
offset fraction B offset fraction A
offset fraction B offset fraction A
By varying the offset fractions you can achieve hundreds of different embroidery effects.
A=0.00, B=0.00 A=0.50, B=0.25
A=0.50, B=0.50 A=0.30, B=0.60
A=0.25, B=0.25 A=0.40, B=0.00
Setting both offset fractions to 0.00 or 1.00 produces sharp horizontal split lines on the final embroidery. The distance between the split lines equals the stitch length.
ES
133
Setting both offset fractions to 0.50 produces twice as many horizontal split lines, the distance of which equals half the stitch length. These split lines are not too sharp, because the needle penetrations on the forward and backward rows are placed by alternating between two consecutive lines. Setting both offset fractions to a value other than 0.00, 0.50 and 1.00 eliminates the horizontal split lines. The needle penetrations are placed along slant lines, which are less visible on the final embroidery. The offset fractions determine the angle of the lines and the distance between them. You can achieve interesting effects by setting just one of the offset fractions to 0.00. In this case the needle penetrations on the forward and backward line are always placed close to each other.
6.
Specify the random factor. By using a random factor you can eliminate the pattern formed by the needle penetrations and distribute the stitches evenly inside the shape. For example, you can use this effect to imitate fur, grass, leaves, etc. You can specify a random factor between 0% and 100%. A value around 50% gives good results.
random factor=20% offset fraction A=0.25, B=0.25
7.
Click OK. ES regenerates the stitches for the selected objects. The new values will be used for newly created objects.
134
ES
Chapter 7.
Improving the embroidery quality
(all except 5, 10)
Using automatic pull compensation, stitch shortening, fractional spacing and underlays you can improve the quality of your designs. These stitch effects provide smooth, even placement of stitches and eliminate unsightly gaps. You can turn on and off these stitch effects by clicking the appropriate button on the Stitch Types toolbar, or through the Effects dialog box. For some effects you can specify specic values to accommodate a certain fabric, shape or ll stitch type. The stitch effects are object properties, thus you can apply and remove them, or change their values at any time. For example, after stitching a sample, you may decide to apply heavier underlays, increase the pull compensation factor, or apply stitch shortening to some objects.
ES
135
Pull compensation (all except 5, 10)

Designers usually add an overstitching allowance to the outlines of the lled shapes to compensate for the shrinkage which occurs when a design is stitched. Embroidery stitches pull the fabric inwards, while the excess fabric is pushed out in a direction which is at right-angles (90) to the stitches. Due to these effects, the shapes are slightly narrower and longer on the nal embroidery than they look on the screen, and thus the nal embroidery may show gaps. See Planning the embroidery shapes on page 55 for details. Automatic pull compensation calculates any necessary overstitching automatically. This allows you to digitize the original outlines of the shapes without having to modify them on the artwork rst. After digitizing, the design can be automatically adjusted for shrinkages of different fabrics by changing the pull compensation factor. In addition to using automatic pull compensation, you can reduce the effect of pull by applying extensive underlay stitching, and applying an appropriate backing and topping.
To use pull compensation
1. 2. 3.
While no object is selected, check if the Pull Compensation button on the Stitch Types toolbar is pressed down. If the button is not pressed down, click it with the left mouse button. Choose a fill input method and stitch type. Digitize the outline of the shape, and press the ENTER key to generate stitches. The stitches go slightly beyond the outline of the object. The current pull compensation value is used.
To apply pull compensation to existing objects
1. 2. 3.
Select one or several lled objects. Check if the Pull Compensation button on the Stitch Types toolbar is pressed down. Initially, the status of the button shows the setting of the selected objects. If the Pull Compensation button on the Stitch Types toolbar is not pressed down, click it with the left mouse button. The selected objects are re-stitched by using the current pull compensation value.
136
ES
To select pull compensation value
1.
Click the Pull Compensation button on the Stitch Types toolbar with the right mouse button, or choose Stitch Effects from the Stitch menu, and click the Pull Compensation tab. As an alternative, click the Effects button in the Object Properties dialog box. In the Effects dialog box click the Others tab, check Pull Compensation, and type the required overstitch allowance in the text box.
2.
digitized outline calculated outline pull compensation
The correct amount of compensation depends on the fabric. The default value is suitable for most designs and fabrics. Use the values in the following table as guidelines only. Experiment with various fabrics and work out your own values.
Table 1: Recommended pull compensation values

fabric drills, cotton T-shirt eece, jumper lettering (especially Serif2) pull compensation mm 0.1 0.2 0.25 - 0.3 0.2 - 0.3
Tip
The primary use of this effect is to compensate for pull. However, you can also use it to make a column wider than originally digitized. For example, if a column is too narrow on the drawing, you can still digitize its original outlines for better accuracy, and apply a larger pull compensation value afterwards to make it wider. In this case the value depends on the column width you want to achieve. Generally, it is not recommended to create a Satin column narrower than 1mm.
3.
Click OK in the Effects dialog box. The selected objects are re-stitched using the new pull compensation value. The new value will be used for newly created objects.
ES
Pull compensation (all except 5, 10)
137
Stitch shortening (all except 5, 10)

When a shape takes a sharp turn, the spacing of stitches on the inside of the shape decreases rapidly, while on the outside it is increased. This results in bunching on the inside and gaps on the outside of the shape; the longer the stitch, the worse the problems. Automatic stitch shortening solves these problems of sharp corners. It provides up to ve levels at which short stitches can be distributed when a shape makes a sharp turn. This caters for even the longest stitches and the sharpest corners. Eliminating thread bunching reduces thread breakages in production, saving time and money. The embroidery has smooth, even stitch spacing throughout, and is more professional.
shortening ON shortening OFF
To use stitch shortening
1. 2. 3.
While no object is selected, check if the Shortening button on the Stitch Types toolbar is pressed down. If the button is not pressed down, click it with the left mouse button. As an alternative, check Stitch Shortening in the Shortening tab of the Effects dialog box. Choose a fill input method and stitch type. Digitize the outline of the shape, and press the ENTER key to generate stitches. The stitches in tight curves and corners are shortened to avoid bunching.
138
ES
To apply stitch shortening to existing objects
1. 2. 3.
Select one or several lled objects. Check if the Shortening button on the Stitch Types toolbar is pressed down. Initially, the status of the button shows the setting of the selected objects. If the Shortening button on the Stitch Types toolbar is not pressed down, click it with the left mouse button. The selected objects are re-stitched by applying stitch shortening.
Fractional spacing (all except 5, 10)

Fractional spacing is used to place stitches more evenly in curved shapes, producing better quality embroidery with fewer stitches. Standard stitch spacing is calculated at the outside edge of the shape. For sharply turned shapes, the spacing which provides adequate coverage on the outside edge may generate too many stitches for the inside edge, causing bunching of stitches. Fractional stitch spacing causes the spacing to be calculated at some point between the outside and inside edges of the shape. The calculated spacing is an average of the ideal spacing for each of the edges; the result is more even stitch spacing throughout the shape. You can vary the fractional spacing offsetpoint between the two edges where the spacing is calculatedto suit the particular shape. The optimum number of stitches for producing the best embroidery effect is always generated.
fractional spacing ON fractional spacing OFF
ES
139
To use fractional spacing
1. 2. 3.
While no object is selected, check if the Fractional Spacing button on the Stitch Types toolbar is pressed down. If the button is not pressed down, click it with the left mouse button. Choose a fill input method and stitch type. Digitize the outline of the shape, and press the ENTER key to generate stitches. Fewer stitches are generated for the object to avoid bunching along the inside edge.
To apply fractional spacing to existing objects
1. 2. 3.
Select one or several lled objects. Check if the Fractional Spacing button on the Stitch Types toolbar is pressed down. Initially, the status of the button shows the setting of the selected objects. If the Fractional Spacing button on the Stitch Types toolbar is not pressed down, click it with the left mouse button. The selected objects are re-stitched by using the current offset fraction.
To select fractional spacing offset
1.
Click the Fractional Spacing button on the Stitch Types toolbar with the right mouse button, or choose Stitch Effects from the Stitch menu, and click the Fractional Spacing tab. As an alternative, click the Effects button in the Object Properties dialog box, then click the Fractional Spacing tab. In the Fractional Spacing tab of the Effects dialog box, check Fractional Spacing, and type the required Offset Fraction in the text box.
2.
140
ES
Fractional spacing is particularly important for Satin columns with sharp turns.Offset Fraction is a percentage of the column width measured from the outside edge. It determines the point between the two edges of the column where the spacing is measured.
offset fraction: 0.00 0.33 0.66 1.00 outside edge
See How to select offset fraction on page 142 for details.
3.
Click OK. The selected objects are re-stitched using the new pull compensation value. The new value will be used for newly created objects.
ES
141
How to select offset fraction

If the offset fraction is set to 0, the spacing is measured along the outside edge. This has the same effect as turning fractional spacing off. Offset fraction 0.33 produces fewer stitches, and thus less bunching along the inside edge. This value is suitable for most designs. Offset fraction 0.66 eliminates the bunching of stitches along the inside edge, but may not produce enough stitches to cover the fabric.
offset fraction 0.00
204 stitches
179 stitches
151 stitches
To achieve the optimum stitch density, combine stitch shortening and factional spacing.
fractional spacing ON stitch shortening ON
fractional spacing ON stitch shortening OFF
142
ES
Automatic underlay (all except 5, 10)

Although underlays are not visible on the nal embroidery, they play an extremely important role. You can only produce good quality, professional-looking embroidery, if you create the right type and amount of underlay for each lled shape. Trying to save on stitch count by cutting out underlay will only result in poor quality embroidery. Underlays are open lls of Run stitches. The purpose of underlays is to: stabilize the fabric, and thus considerably reduce the pull effect, raise the stitches so that they do not sink into thick or soft fabric. Underlay is a stitch effect which you can turn on and off for selected existing objects and for newly created objects. The underlay values are stored as object properties. The additional stitches generated for underlay are part of the object, just like the cover ll stitches. Various fabrics and ll stitch types require different amount and type of underlay stitching.
s s
To use automatic underlay
1. 2. 3.
While no object is selected, check if the Auto Underlay button on the Stitch Types toolbar is pressed down. If the button is not pressed down, click it with the left mouse button. Choose a fill input method and stitch type. Digitize the outline of the shape, and press the ENTER key to generate stitches. In addition to the cover stitches, underlay stitches are generated for the object automatically. The current underlay values are used.
To apply automatic underlay to existing objects
1. 2. 3.
Select one or several lled objects. Check if the Auto Underlay button on the Stitch Types toolbar is pressed down. Initially, the status of the button shows the setting of the selected objects. If the Auto Underlay button on the Stitch Types toolbar is not pressed down, click it with the left mouse button. The selected objects are re-stitched by using the current auto underlay values.
ES
143
To select automatic underlay values
1. 2.
Click the Auto Underlay button on the Stitch Types toolbar with the right mouse button, or choose Stitch Effects from the Stitch menu, and click the Auto Underlay tab. As an alternative, click the Effects button in the Object Properties dialog box. In the Auto Underlay tab of the Effects dialog box, check Underlay.
3.
Select a stitch type for the first and second layer of underlay, then specify the stitch spacing and length, the underlay margin and the stitch angle. Stitch types You can apply two layers of underlay to an embroidery object. Choose two different stitch types from the lists. The second list provides more stitch types than the rst. If you want only one layer, choose None for the second underlay. Note than you cannot choose None for the rst underlay. See How to select suitable underlay on page 145 for details.
144
ES
Stitch spacing and length The stitch spacing and length values you specify for underlays in the Effect dialog box do not affect the cover stitches. For example, the Run length you specify here is only used for underlay, and does not affect cover Run and travel Run stitches. For each stitch type you only need to specify the relevant density values. Underlay margin Underlay margin is the distance between the outline of the shape and the edge of the underlay. It should be approximately 0.2mm to prevent the underlay stitches from becoming visible on the nal embroidery. Underlay margin is not relevant to Run underlay, as it is placed along the centre line of the shape.
underlay margin
Underlay angle For Tatami, the underlay angle should be approximately perpendicular to the cover stitch angle.
4.
Click OK. The selected objects are re-stitched using the new auto underlay values. The new values will be used for newly created objects.
How to select suitable underlay

The suitable underlay depends on the type of fabric, the size of the shape and the ll stitch type. Larger areas and softer or stretchier fabrics require more underlay than smaller areas and rmer fabrics. For example, knitwear and pique fabrics will need additional stabilization, whereas drill, badge material and leather are fairly stable. Different stitch types also require different types of underlay.
ES
145
Run
For very narrow columns2-3mm wideuse center Run underlay. This will place Run stitches along the centre line of the column. Though one line is sufcient, sometimes ES places another line of travel Run stitches, simply to arrive at the correct end of the column, where you marked the entry point. If a column has sharp turns, ES automatically shortens the underlay Run stitches so that they follow the tight curve and do not show on the nal embroidery.
Satin with Run underlay
Edge Run
To support wider columns, use Edge Run underlay. This will place Run stitches around the edges of the column. You may place Run stitches along both the center line and the edges of the column.
Zigzag and Double Zigzag

For stronger support of wide columns, use Zigzag or Double Zigzag underlay in addition to center Run or Edge Run.
Satin with Run and Zigzag underlay
146
ES
Tatami
For the best support of large shapes, use open Tatami in addition to Edge Run. Use Tatami underlay for Complex Fill objects. Set the stitch spacing to 4mm. To reduce the stitch count, increase the stitch length to 4mm. The angle of the underlay should be approximately perpendicular (+90) to the cover stitches. This will prevent unnecessary push on the fabric in one direction.
Tatami with Edge Run and Tatami underlay
direction of cover stitching
direction of underlay
Underlay used for lettering

Underlays also inuence the quality of lettering. If not enough underlay is applied, the lettering will have a feathery look. Too much underlay will cause the letters to look distorted and bulky. The following table contains guidelines on which type of underlay to use for various size of lettering. Remember to consider the type of fabric as well.
Table 2: Underlay used for lettering

letter height 4mm - 7mm 8mm - 12mm 12mm and larger underlay centre Run edge Run Zigzag or Double Zigzag
Use centre Run or Zigzag underlay for lettering to be stitched on caps. Edge Run underlay may push outside the letters.
ES
147
148
ES
Chapter 8.
Advanced and specialized digitizing techniques

(25, 45, 65)
This chapter explains advanced digitizing techniques which increase your productivity. They include automatic circle, ring and star ll, backtrack and repeat, and empty stitch. You will also learn how to create appliqu designs. The second part of the chapter provides guidelines on how to decorate designs with boring and sequins. You can only stitch these designs if your embroidery machine is equipped with special attachments.
ES
149
Circle(65)
Circle is a ll input method you can use to digitize a circle or oval with a few mouse clicks. You can use any ll stitch type with Circle, including Satin, Tatami, Contour Stitch, Program Split, Motif Fill. The digitized circle is lled with parallel stitching.
circle with Satin
circle with Tatami
circle with Program Split
Use Contour Stitch only for ovals which are relatively long and narrow. Selecting spiral effect does not affect the path of the stitch rows. If you want to ll a circle with spiral Contour Stitch, digitize the circle with Input A, Input B, Input C, or Ring leaving a very tiny hole inside the circle.
To create a circle or oval

The Circle input method allows you to digitize a circle or an oval. You are required to mark two points to create a circle, and three points to create an oval.
1. 2. 3.
Choose Embroidery Object>Circle from the Insert menu. Click a stitch type button on the Stitch Types toolbar. For example, click the Tatami button. Mark the center point of the circle or oval with the left mouse button.
150
Chapter 8. Advanced and specialized digitizing techniques (25, 45, 65)
ES
4.
Mark one reference point on the circumference to create a circle, or two reference points to create an oval. Hold down the CTRL key to constrain the stitch angle to horizontal, vertical, 45, etc.
2 reference point
90
2
90
reference point
hold down CTRL for constrained angle
1 center stitch angle
center
reference point
press ENTER
press ENTER
As you are moving the mouse, the circle is growing. When its size is correct, click the left mouse button. If you are creating a circle, the reference point on the circumference determines the radius, the stitch entry point, and the stitch angle. The first needle penetration will be placed where you mark the first reference point on the circumference. The stitch angle will be perpendicular to the line which connects the center point and the first reference point. If you are creating an oval, the first reference point determines the height of the oval, the rotation angle of the oval, the stitch entry point, and the stitch angle. The second reference point determines the width of the oval. You can mark the second point anywhere on the circumference. Just click the left mouse button when the size of the oval is correct.
5.
Press the ENTER key to generate stitches. Notice that you are required to press ENTER after the first reference point to create a circle, and after the second point to create an oval. If Generate Stitches is turned on, the stitches are generated immediately for the object.
ES
Circle(65)
151
Ring (65)
Ring is a ll input method you can use to digitize a ring with a few mouse clicks. You can use any ll stitch type, including, Contour Stitch, Satin, Tatami and Program Split. These ll the digitized ring with turning stitches which point toward the center of the ring.
circle in circle
ring with Satin
ring with Tatami
ring with Contour Stitch
If a ring is lled Contour Stitch, the stitch rows run around the circle in a spiral pattern. Spiral Contour Stitch is very effective with Ring. To ll a full circle, leave a very tiny hole inside the ring. To create a ring, you are required to dene two circles or ovals, in any combination. You can create various rings: circle in circle, circle in oval, oval in circle, oval in oval.
circle in oval
oval in circle oval in oval
152
ES
To create a ring
1. 2. 3. 4.
Choose Embroidery Object>Ring from the Insert menu. Click a stitch type button on the Stitch Types toolbar. For example, click the Satin button. Mark the center point of the ring with the left mouse button. Define the inside boundary of the ring. Mark one reference point on its circumference and press ENTER to define a circle. As an alternative, mark two reference points to define an oval. As you are moving the mouse, the circle is growing. When its size is correct, click the left mouse button. The first needle penetration will be placed on the inside boundary where you mark the first reference point. It is best to stitch a ring If the outside boundary is a circle, the reference point determines its radius. If the outside boundary is an oval, the first reference point determines its height and the rotation angle, and the second reference point determines its width. You can mark the second point anywhere on the circumference. Just click the left mouse button when the size of the oval is correct.
hold down CTRL for constrained angle reference point 2 3 reference point
reference point 4
press
ENTER
center
5.
Define the outside boundary of the ring. Mark one reference point on the circumference and press ENTER to define a circle. As an alternative, mark two reference points and then press ENTER to define an oval. If Generate Stitches is turned on, the stitches are generated immediately for the object.
ES
Ring (65)
153
Star(65)
Star is a special decorative element, also called a French dot. The Star input method allows you to create a circle or oval which is then lled with Zigzag stitches turning around the center point. The stitches are raised in the middle of the circle or oval. As Zigzag places relatively few needle penetrations along the circumference, the nal embroidery looks like a star. The Star input method is bound with Zigzag stitch, because this is the only stitch type which produces a French dot. To ll a circle or oval with a different type of stitch, use the Circle input method.
To create a star (French dot)
1. 2. 3.
Choose Embroidery Object>Star from the Insert menu. Mark the center point of the circle or oval with the left mouse button. Mark one reference point on the circumference to create a circle, or two reference points to create an oval.
reference point 2 2 1 center press

ENTER
reference point 3 reference point press

ENTER
1 center
As you are moving the mouse, the circle is growing. When its size is correct, click the left mouse button. If you define a circle, the reference point determines its radius, and the stitch entry point. The first needle penetration will be placed where you mark the first reference point on the circumference. The last stitch will be placed just before the first stitch. If you define an oval, the first reference point determines its height and rotation angle, and the stitch entry point. The second reference point determines its width. You can mark the second point anywhere on the circumference. Just click the left mouse button when the size of the oval is correct.
4.
Press the ENTER key to generate stitches. Notice that you are required to press ENTER after the first reference point to create a circle, and after the second point to create an oval. If Generate Stitches is turned on, the stitches are generated immediately for the object.
154
ES
Backtrack and repeat (25, 45, 65)

Backtrack and repeat allow you to quickly duplicate an object, by reversing or keeping the original stitching direction. Typically, these functions are used to make Run stitch outlines thicker. Use Backtrack for open shapes and Repeat for closed shapes.
use backtrack for open shapes
use repeat for closed shapes
If you use Repeat for open shapes, a connecting stitch will be inserted from the end to the start of the object which needs to be trimmed.
do not use repeat for open shapes unwanted connecting stitch
During digitizing you can backtrack or repeat the last created object without having to select it. You can also select one or several objects in the design and then choose backtrack or repeat. The duplicate object is placed after the original object in the stitching sequence, and has the same color as the original. If you select several objects, they will be duplicated one after the other. You can backtrack or repeat any object even lettering, although clearly the use is intended primarily for Run stitch. For lled objects, any underlay will also be stitched in the duplicate object created by using repeat or backtrack.
ES
Backtrack and repeat (25, 45, 65)
155
To repeat and backtrack an object
1. 2.
Create a new object. As an alternative, select one or several existing objects with Select Object tool. Click Backtrack/Repeat button on the Pointer toolbar with the left mouse button to backtrack, or with the right mouse button to repeat the object. Notice that the stitch count displayed in the Status Bar increased. Otherwise the result of the operation is not visible on the screen, as the duplicate object is placed exactly on top of the original.
156
ES
Chapter 9.
Artistic stitch types and effects

(24, 45, 65)
Using the various artistic stitch types and effects you can make your embroidery look unique and outstanding with no extra effort. Some new artistic effects even require fewer stitches than the traditional stitch types. You can use accordion spacing, jagged edge, contour stitch, Trapunto style, user dened split and program split. You can also combine these effects.
ES
157
Accordion spacing(65; opt. 45)

Accordion Spacing gradually changes the stitch spacing between dense and open ll producing effects similar to halftones. It allows you to automatically create many different high quality shading and color effects which are extremely difcult to do manually. For example, you can create color blends, perspective effects and other three dimensional shadings with a single color, or by layering and interleaving several colors. There are eight different Accordion Spacing effects available which you can apply to most ll stitch types. When you use Accordion Spacing, the currently set spacing values are ignored for the selected stitch type.
Linear Increasing min. Linear Decreasing max. Convex min. Concave max. min. max. max. min. min. max.
Exponential Increasing min. Exponential Decreasing max. Wave Increasing max. Wave Decreasing min. max. min. min. max.
158
Chapter 9. Artistic stitch types and effects (24, 45, 65)
ES
To ll a shape using Accordion Spacing
1.
Click the Accordion Spacing button on the Stitch Types toolbar with the right mouse button. As an alternative, choose Stitch Effects from the Stitch menu, then click the Accordion tab in the Effects dialog box.
check Accordion Spacing
choose spacing effect
select spacing values
2.
Check Accordion Spacing, click a spacing effect button, then select the maximum and minimum spacing values. To achieve the selected effect, the stitch spacing is smoothly varied between the minimum and maximum spacing value across the shape. The spacing is always calculated half way along the length of the stitch. By changing the minimum and maximum spacing, you can increase or decrease the stitch density and the contrast between the open and dense fill.
ES
Accordion spacing(65; opt. 45)
159
When you use According Spacing, the standard stitch spacing value is ignored. Automatic Spacing and Fractional Spacing are also ignored. Other stitch values are used as usual. For example, when you apply Accordion Spacing to Tatami , the current stitch spacing value is ignored, but other values, such as stitch length, minimum length, offset fraction A and B, backstitch and random factor are used.
3. 4.
Click OK. The Accordion Spacing button on the Stitch Types toolbar is pressed down, indicating that the effect is turned on. Choose a fill stitch type. You can choose Satin, Tatami, E-Stitch, Zigzag and Program Split. For example, choose Satin.
Note Accordion Spacing does not work with Contour Stitch.

Most stitch effects, including Short Stitches, Pull Compensation, Auto Split, User Defined Split and Jagged Edge work with Accordion Spacing. It is recommended that you turn off Automatic Underlay. Even though Accordion Spacing affects the underlay stitches, they still may be visible where the cover stitching is open.
5.
Choose a fill input method. You can choose Input A, Input B, Input C, Circle, Ring, or Star. Accordion Spacing cannot be applied to objects digitized with Complex Fill, as these objects may consist of several segments. For example, choose Input A. Digitize the shape, then press ENTER or the SPACEBAR to generate stitches. For example, digitize a simple column by marking pairs of reference points with the right mouse button.
6.
press ENTER
160
ES
You can use Accordion Spacing to create color blending effects. Tip There are various ways of achieving color blending effects. You can stitch the two colors with opposite Accordion Spacing effects, for example Linear Increasing and Linear Decreasing. The top layer should be more open, so that the dense sections do not mask the lower layer completely. To do this, increase the minimum spacing value for the top layer. Another solution is to stitch the bottom layer with standard stitching, and use Accordion Spacing only for the top layer, on the same angle. You can also experiment with standard and borderline Tatami.
Jagged edge (25, 45, 65)

Using Jagged Edge you can create shading effects, or imitate fur and other uffy textures with embroidery.
To ll a shape using jagged edge
1.
Click the Jagged Edge button on the Stitch Types toolbar with the right mouse button. As an alternative, choose Stitch Effects from the Stitch menu, then click the Jagged Edge tab in the Effects dialog box.
check Jagged Edge select values
2.
Check Jagged to turn on the Jagged Edge effect.
ES
Jagged edge (25, 45, 65)
161
3.
Choose which side of the shape should be jagged, then specify the roughness and the range of jagged stitches. The stitches can be jagged on first, or on the second, or on both sides of the shape. You can select a value for roughness between 1 and 10. If you select a larger value, the stitch length is varied more randomly. Usually, a value between 2 and 5 gives good results. The range determines the margin in which the stitches are varied. Half of the selected range falls inside, and the other half falls outside the digitized object outline. Click OK. Choose a fill stitch type. You can choose Satin, Tatami, E-Stitch, Zigzag and Program Split. Jagged Edge does not work with Contour Stitch. For example, choose Satin.
4. 5.
Tip
If you use Tatami with Jagged Edge effect, choose Diagonal backstitch. See page 132.
6. 7.
Choose a fill input method. You can choose Input A, Input B, Input C or Complex Fill. For example, choose Input A. Digitize the shape, then press ENTER or the SPACEBAR to generate stitches. For example, digitize a simple column by marking pairs of reference points with the right mouse button.
press ENTER
range
both sides are jagged
rst side is jagged
162
ES
Trapunto style(25, 45, 65)

Trapunto is a general term for very open ll used to cover the background of the design or other large areas. It requires considerably fewer stitches than traditional ll stitching, especially if the thread color matches the color of the fabric. You can easily create Trapunto style ll with Tatami by increasing the stitch spacing and selecting borderline backstitch.
Tatami with standard backstitch
Trapunto style Tatami with borderline backstitch and large spacing
s s
If you digitize the shape with Complex Fill, check Trapunto in the Others tab of the Effects dialog box. When Trapunto is checked: The travel stitches are generated along the boundaries of the shape, to prevent them being visible through the open ll. The stitching is uniformly spaced in all sections. Otherwise the stitch spacing would be slightly different in each segment, because it is adjusted in order to distribute the stitch rows evenly, and thus avoid a gap at the end of the shape. This is not visible when the stitching is dense. However, for Trapunto ll it is essential that the spacing is consistent throughout shape. The sections do not overlap, regardless of the currently selected number of overlapping rows.
travel stitches are generated along the boundaries
Complex Fill with Tatami Trapunto effect is OFF
Complex Fill with Tatami Trapunto effect is ON
ES
Trapunto style(25, 45, 65)
163
When you use another ll input method, such as Input A, Input B, Input C, Circle or Ring, turning the Trapunto effect on or off does not have any impact on how the stitches are generated. With these input methods the digitized shape is simply lled with one stitch segment going from the entry point towards the exit point, thus no travel stitches are generated. As the primary purpose of the Trapunto effect is to eliminate travel stitches inside the shape, it is only relevant to Complex Fill.
To create Trapunto ll with borderline Tatami
1. 2. 3.
Click the Tatami button on the Stitch Types toolbar with the right mouse button. When the Object Properties dialog box appears, change the Tatami stitch spacing to 3.00mm, click the borderline backstitch button, then click OK. Tatami becomes the current stitch type, so you do not need to select it again. Check if the Trapunto button on the Stitch Types toolbar is pressed down. If it is not pressed down, click it with the left mouse button to turn on Trapunto effect. When the Trapunto effect is on, the travel stitches will be generated along the boundaries of the shape so that they are not visible on the final embroidery. You can also turn on the Trapunto effect through the Effects dialog box. Click the Others tab, then check Trapunto. Click the Complex Fill button on the Input Methods toolbar. Complex Fill is the most suitable input method for Trapunto style, because it produces parallel stitching. Also, Complex Fill is generally the best for digitizing large and irregular shapes, typically stitched with Trapunto. Digitize the boundaries of the shape. Press the ENTER key after each boundary. Press the ENTER key to generate the stitches. You are prompted to mark the entry and exit points, and another two points to define the stitch angle. In Generate Stitches is turned on, the shape will be filled with Trapunto style Tatami stitches.
4.
5. 6.
164
ES
Contour Stitch(65)
Contour Stitch is a decorative ll stitch type. The stitches follow the contours of the shape, creating a curved light and shadow effect. Contour Stitch is similar to Tatami. The main difference is that the stitch lines are perpendicular to the digitized stitch angle, going across the shape from end to end. 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.
Contour Stitch
Tatami
Contour Stitch is suitable for curved, long shapes of approximately constant width. You can achieve a three dimensional effect, or other effects like movement or twist.
constant width
irregular shape
To ll a shape with Contour Stitch
1. 2. 3.
Set the Contour Stitch values. See To select Contour Stitch values on page 167 for details. Click the Contour button on the Stitch types toolbar using the left mouse button. As an alternative, choose Stitch Type>Contour from the Stitch menu. Do NOT turn on any of the stitch effects, as they are not applicable to Contour Stitch. Choose an input method. You can choose Input A, Input B, Input C, Circle or Ring. Complex Fill and Star are not suitable for Contour Stitch. For example, choose Input C.
ES
Contour Stitch(65)
165
4.
Digitize the shape, then press ENTER or the SPACEBAR to generate stitches. For example, using Input C, digitize a simple centre line by marking reference points with the right mouse button.
press
ENTER
Tip
When you digitize shapes with pointed ends, such as leaves, diamonds, stars, etc., digitize the shape on a slant angle to prevent the stitches from building up. As an alternative, you may cut off the sharp ends.
3 4 5 Input B 6 7 8 2 1 Input B 5 6 7 8 3 4 9 10 too many stitches
2 1
166
ES
To select Contour Stitch values
1.
Click the Contour button on the Stitch types toolbar using the right mouse button.
choose Contour
click standard or spiral
select density values and variable length
click standard or borderline
2.
When the Object Properties dialog box appears, choose the direction of stitching by clicking the standard or spiral button. Spiral stitch is a special variation of Contour stitch. See Filling a shape with spiral Contour stitch on page 170 for details.
ES
Contour Stitch(65)
167
3.
Select the density values.

offset fraction stitch spacing
length
Stitch Spacing Stitch spacing is measured like Tatami stitch spacing. It is the distance between two rows of stitches going in the same direction. The stitch spacing varies depending on the width of the shape. The value you enter here is the maximum spacing, which will be used at the widest part of the shape. The spacing will gradually be reduced where the shape becomes narrower. Stitch Length Stitch length is the distance between two needle penetrations in a row of stitches. It is similar to Tatami stitch length, except that it is not constant throughout the shape. Contour stitch length is adjusted for each row to distribute the stitches evenly and avoid generating a half stitch at the end of a line. Offset Fraction Offset Fraction is similar to Tatami Offset A. It allows you to control the pattern of needle penetrations to achieve even visual distribution of stitches and to prevent needle penetrations to line up across the shape. Since the Length is not constant and the stitch lines are not straight, the effect of Offset Fraction is not the same as for Tatami.
4.
Choose the type of backstitch by clicking the standard or borderline button. Using borderline backstitch the stitches closely follow the object outline. If the spacing is small, borderline backstitch is not applied, because the large number of small stitches along the sides of the shape would damage the fabric.
standard backstitch
borderline backstitch
168
ES
5.
Select values for variable stitch length. Variable Stitch Length When Variable Stitch Length is checked, the stitch length is automatically varied to follow the contour of the shape more closely, without generating too many stitches. As the curve becomes tighter, the Contour stitch length will gradually be reduced. As the curve becomes more gentle, the length will be increased. Variable Length Variable length is the minimum stitch length. It is the shortest stitch which will be used to follow tight curves when Variable Stitch Length is checked. Chord Gap Chord Gap specifies how far the stitches can be from the stitch lines when Variable Stitch Length is checked. The stitch lines follow the contour of the shape. The chord represents the thread between two needle penetrations. If you want the stitches to follow the stitch lines more closely, reduce the chord gap to a very small value. There will be more, shorter stitches in tight corners.
chord gap
chord gap
the stitch length is reduced to follow the curve more closely
Variable Length takes priority over the Chord Gap. Stitches shorter than the Variable Length are not generated, even if the specified Chord Gap cannot be achieved. To follow tight curves more closely, reduce both the Variable Length value and the Chord Gap value. You cannot set any of these values to zero. If you type 0.00mm by accident, ES will replace it with 0.01mm automatically. Random Factor Random Factor has the same effect on Contour Stitch as on Tatami. The stitch length is varied randomly everywhere in the shape to prevent needle penetrations to line up on consecutive stitch lines. The Random Factor is only applied when Variable Stitch Length
ES
Contour Stitch(65)
169
is checked. The effect is measured in percentages. When the Random Factor is set to 0%, the stitch length is regular, and only varied in tight curves. A medium value around 50% gives good results in most cases.
regular stitch length
variable stitch length, random factor 50%
6.
Click OK. Stitches are regenerated for selected objects using the new values. The new values apply to newly created objects.
Filling a shape with spiral Contour stitch

Spiral Stitch is a variation of Contour Stitch designed to ll closed shapes evenly, without a gap. Typically, it is used for rings and borders, however, it is also suitable for non-regular shapes. When you ll closed shapes with Spiral Stitch, the stitching spirals around the shape in one continuous line without changing direction. This prevents gaps or a split line forming along the join of the shape.
spiral stitch ON
spiral stitch OFF
170
ES
Only closed shapes can be lled with spiral Contour stitch. Closed shapes are columns, the ends of which are joined together. Closed shapes have two outlines. For example, a ring is a closed shape, but a circle is not. If a shape is not properly closed, it will be lled with regular Contour Stitch. The stitch lines will be going back and forth, causing material distortion and a gap at the join. Make sure that the shape you digitize is closed. You can easily digitize closed shapes with Ring. You can also use Input A, B and C. To join the ends of the column, digitize the last point of each outline exactly on the top of its rst point. You may need to zoom in to digitize the last point accurately. You can digitize both corner and curve points. To ll a solid shape with Spiral Stitch, leave a very tiny hole at the centre of the shape. Do not use Circle, because a circle can only be lled with regular Contour Stitch. Make sure that the shape is stitched from the inside towards the outside. Stitching from the outside in will cause fabric distortion. With Input A and B digitize the rst point on the inside outline. With Input C digitize the centre line in counter clockwise direction. With Ring draw the large circle rst, then draw the small circle in the middle of the large circle.
Input A: 10 2 Input B: 10 6
9 8 7
5 1 3 4 9 4 3 1 2 7
6 Input C: Ring: column width 6 1 2 3 5 4
8 3
2 1
ES
Contour Stitch(65)
171
User Dened Split(65; opt. 45)

User Dened Split allows you to digitize split lines inside lled objects. When generating stitches for the object, ES places additional needle penetrations where the split lines and the standard stitches intersect. It is recommended that the split lines are approximately perpendicular to the stitch angle. You can use split lines to add detail to lled shapes without cutting them into smaller parts or using Run and a different color thread. For example, you can digitize split lines to illustrate the veins of a leaf. This way you can also eliminate unwanted Jumps in wider parts of a column.
To create a new object with User Dened Split
1.
Check that the User Dened Split button on the Stitch Types toolbar is pressed down. If it is not pressed down, click it with the left mouse button to turn on User Dened Split. As an alternative, choose Stitch Effects from the Stitch menu. When the effects dialog box appears, click the Others tab, check User Defined Split, then click OK. Choose a fill input method. You can choose any input method, for example Input A. Choose a fill stitch type. For example, choose Satin. Satin is the most suitable stitch type for User Defined Split, as initially there are no needle penetrations inside the shape. Digitize the outline of the object, and press the ENTER key. Digitize the first split line, and press the ENTER key.
2. 3. 4. 5.
press
ENTER
press
ENTER
digitize object outline
digitize split line
generate stitches
172
ES
6.
Digitize the second, third, etc. split lines. Press ENTER after each split line. Split lines will not be part of the object outline. When you click the object with the Reshape tool, the split lines are not displayed, thus you cannot reshape them. However, the User Defined Split lines become properties of the object, and are preserved when the stitches are regenerated, even if you apply a different stitch type to the object. When all split lines are complete, press the ENTER key to generate the stitches.
7.
To apply User Dened Split lines to an object subsequently
1.
Digitize one or several embroidery or graphic objects on the top of a lled object. Run is very useful for digitizing lines for User Defined Split. For best results, digitize lines over an object filled with Satin stitch. You can create an embroidery object with any outline or fill input method and stitch type. The objects may be filled with stitches, as only the object outlines will be used for User Defined Split. You can also create a graphic object by using the graphic tools included in the Drawing Toolbar. As an alternative, you can copy and paste a vector drawing via the Windows 95 clipboard. If you want to use existing objects for User Defined Split, move them on the top of a filled object. Select the objects you want to use for making User Defined Split lines, with the Select Object tool. Choose Make User Defined Split from the Special menu. Press the DEL key to delete the objects which you used for making User Defined Split lines. Select the embroidery object to which you want to apply the User Defined Split lines you just made. Turn on the User Defined Split effect. ES regenerates the stitches for the selected object, applying the User Defined Split lines.
2. 3. 4. 5. 6.
Tip
Turn on TrueView to see the effect of User Defined Split.
ES
User Dened Split(65; opt. 45)
173
Program Split (65; opt. 45)

Program Split is a decorative stitch type. Use program Split to ll wide and large areas if you want to achieve unique artistic effects while keeping the appearance of a solid eld of stitching. Program Split is composed of specially arranged Run stitches. The stitching is similar to Tatami with standard backstitch, except that in Program Split the needle penetrations form a tile pattern. The pattern is repeated along a grid which you can customize to achieve various effects. You can choose one of the several standard patterns provided in ES, or you can create your own patterns.
To ll shapes with Program Split
1. 2.
Click the Contour button on the Stitch types toolbar using the right mouse button.Choose Program Split from the Stitch Type list on the General toolbar. Choose an input method. You can Choose Input A, Input B, Input C, Complex Fill, Circle, or Ring. For example, choose Input A. The current stitch spacing and the name of the currently selected tile pattern are displayed in the status bar. Initially, the first pattern in the listnamed ARROWHDis selected.
174
ES
3.
Digitize the outline of the shape, then press the ENTER key or the SPACEBAR to generate stitches. For example, mark eight points with the right mouse button. For best results, it is recommended that you digitize a shape which does not have sharp curves, so that the rows of stitches are approximately parallel. If Generate Stitches is turned on, the object is filled with stitches. Turn on TrueView to see the effect of Program Split clearly.
3
5 4 6 8 7 press
ENTER
Input A:
turn on TrueView
To design the layout of Program Split patterns graphically

You can change the size of the patterns, the grid along which they are laid out, and the position and rotation angle of the patterns. If you wish, you can skew the patterns as well. When you modify one pattern, all patterns will be changed. The standard procedure is to dene the layout of the patterns before digitizing the object outline. However, if it is important to align the patterns with the object outline, you can create the object by using the standard outline, and modify the layout afterwards.
1. 2. 3.
Click the Program Split button on the Stitch Types toolbar with the right mouse button. As an alternative, choose Object Properties from the Stitch menu, click the Fill Stitch tab, then choose Program Split from the Stitch Type list. When the Object Properties dialog box appears, choose a pattern from the Pattern list. For example, choose the pattern named BIRD. Click the Layout button. Twenty five patterns arranged according to the standard layout appear in the centre of the screen. This sample gives you a good idea about what the final fill pattern would look like.
ES
175
The patterns are displayed in yellow, except three in the middle which are blue. These are special patterns which you can select and modify to design the layout. Each blue pattern changes different parameters of the layout. You can select and modify them in any order. Initially, the blue pattern in the middle is selected.
change row spacing and offset, scale patterns move, rotate, skew, scale patterns change column spacing and offset, scale patterns
4.
Move the patterns. Drag the blue pattern in the middle to move all the patterns together to a new position. This pattern is selected initially.
drag
5.
Rotate and skew the patterns. If you click the blue pattern in the middle again with the left mouse button, the rotate and skew handles are displayed. Drag a handle in a corner to rotate the pattern. Move the circle in the middle of the pattern to change the anchor of rotation. Drag a handle shaped as a diamond to skew the pattern. All the other patterns will change in the same way as you modify the selected pattern.
176
ES
See Transforming objects (whole design only in 5,10; lettering only in 21L) on page 309 for details.
rotate anchor skew
6.
Scale the patterns. Select any of the three blue patterns by clicking on it with the left mouse button. When a pattern is selected, eight sizing handles are displayed around it. Drag a handle in a corner to scale the pattern proportionally. Drag the other handles to scale the pattern just horizontally or vertically.If you scale the selected pattern, all the other patterns will be scaled. See Transforming objects (whole design only in 5,10; lettering only in 21L) on page 309 for details.
scale proportionally
scale horizontally scale vertically
ES
177
7.
Change the column spacing and offset. Select and drag the blue pattern on the right hand side. Move the pattern left-right to change the spacing between the columns. Move the pattern up-down to change the column offset. Changing the offset you distort the perpendicular grid, so that the columns will be slanted rather than vertical.
change column spacing
change offset
8.
Change the row spacing and offset. Select and drag the blue pattern at the top left hand side. Move the pattern up-down to change the spacing between the rows. Move the pattern left-right to change the row offset. By changing the offset you distort the perpendicular grid, so that the rows will be slanted rather than horizontal.
change row spacing change offset
9.
When you are satisfied with the layout, press the ENTER key. Before you press ENTER, you can select any of the three blue patterns in any order again and make adjustments. After you press the ENTER key, the new size and layout values will become the current values of the selected pattern.
178
ES
If you want to revert back to the original values of the pattern, open a new design using the template named Factory Copy of Normal, check its measurements, then enter them in the Program Split tab of the Object Properties dialog box in the current design.
10. Choose an input method.

For example, choose Complex Fill. Complex Fill is best suited to Program Split, as it produces parallel rows of stitches.
11. Digitize the outline of the object, then press the ENTER key to generate stitches.
With Complex Fill you may digitize one or several boundaries. For example, digitize a simple box. If Generate Stitches is turned on, stitches are generated immediately for the object.
Note Define the stitch angle carefully when using Program Split. The needle penetration points are placed where the lines of the pattern intersect the stitch rows. If the stitch rows are mainly parallel with the lines of the pattern, they will rarely intersect, and thus the Program Split patterns may not come out very well on the nal embroidery. For example, when you use the pattern named BRICK, make sure that the stitch angle is 45. If the stitch angle is horizontal or vertical, either the horizontal or vertical lines of the pattern disappear. Generally, a 45 stitch angle is suitable for most patterns. If you cannot change the stitch angle, rotate the patterns.
ES
179
To modify the layout of Program Split patterns graphically
1. 2.
Click the Select Object button on the Pointer toolbar. Select a filled object by clicking it with the left mouse button. The object can be filled with any type of stitch, such as Satin, Zigzag, Tatami, etc.
3. 4.
Click the selected object again with the right mouse button to display its properties. When the Object Properties dialog box appears, first choose Program Split stitch type in the Fill Stitch tab, then choose a pattern from the Pattern list. If the object was filled with Program Split, you can leave the original pattern unchanged, or you can chose a different one. For example, choose the pattern named HEART. Click the Layout button. 25 sample patterns appear in the middle of the screen, allowing you to change the layout graphically. Initially, the sample patterns are laid out in the same way as inside the selected object. If you modify the sample patterns, the patterns in the selected object will also change. If the object was originally filled with a different stitch type, or with a different Program Split pattern, then initially the patterns are arranged according to the standard layout. If the object was filled with the same Program Split pattern, the patterns keep their original layout.
5.
180
ES
6. 7.
It is recommended that you turn off Show Stitches and Show Needle Points. If these buttons on the General toolbar are pressed down, click them with the left mouse button. Drag the sample patterns over the top of the object outline, then design the layout. See To design the layout of Program Split patterns graphically on page 175 for details.
drag the patterns over the top of the object outline
design the layout
8. 9.
Press The ENTER key when you are satisfied with the layout. The stitches inside the object outline are regenerated using the new Program Split pattern and layout. Click the Show Stitches and Show Needle Points buttons on the General toolbar to view the generated stitches.
You may also turn on TrueView to see the effect of Program Split more clearly.
ES
181
To use Combination Split
1.
Click the Program Split button on the Stitch Types toolbar with the right mouse button. As an alternative, choose Object Properties from the Stitch menu, click the Fill Stitch tab, then choose Program Split from the Stitch Type list. You can also click a selected Program Split Object with the right mouse button. When the Object Properties dialog box appears, choose a pattern from the Pattern list. Click a Combination Split button. Satin in Satin Click the first button to choose Satin in Satin. This is the standard Program Split stitch type, which produces the fewest number of stitches. The needle penetrates the fabric only where the patterns intersect the stitch rows. Satin in Tatami Click the second button to choose Satin in Tatami. Using this type of Combination Split the background of the object is filled with Tatami. There are no needle penetrations inside the patterns, so they look as if they were filled with Satin. Use Satin in Tatami to avoid long stitches if the patterns are small, and when the column and row spacings are very open. Tatami in Tatami Click the third button to choose Tatami in Tatami. Using this type of Combination Split the background of the object as well as the patterns are filled with Tatami. Use Tatami in Tatami for large objects and patterns to avoid long stitches.
2. 3.
4.
Click OK. ES regenerates the stitches for the selected objects.
182
ES
To select Program Split layout and density values
1.
Click the Program Split button on the Stitch Types toolbar with the right mouse button. As an alternative, choose Object Properties from the Stitch menu, click the Fill Stitch tab, then choose Program Split from the Stitch Type list. You can also click a selected Program Split object with the right mouse button. When the Object Properties dialog box appears, choose a pattern from the Pattern list.
2.
3.
If required, specify the size of the pattern, the row and column spacing and offset numerically. If you are using a digitizer board, you may design the layout of the Program Split patterns by marking guide lines on the enlargement drawing. In this case it is easier to specify the layout values numerically. Size X is the width, Size Y is the height of the unrotated pattern.
ES
183
The column and row spacing values determine the distance between the vertical and horizontal grid lines. The patterns will be placed in the grid points where the vertical and horizontal grid lines intersect. The center of each pattern is aligned with a grid point. The column and row offsets determine the angle of the grid lines. If both offsets are set to 0, the grid lines are perfectly vertical and horizontal. You can enter positive or negative values for right and left angles.
size X size Y column offset negative positive +
column spacing row spacing
0 positive + row offset negative
row offset 0 column offset (positive)
4.
Specify the stitch density values. Stitch spacing is the same as for Tatami. It is the distance between two rows of stitches which go in the same direction. See Tatami (all except 5, 10) on page 130 for details. Minimum stitch length is the smallest stitch generated for Program Split objects. Click OK. ES regenerates the stitches for the selected objects. The new size and layout values will become the default values of the selected pattern in the current design. If you want to revert back to the original values of the pattern, open a new design using the template named Factory Copy of Normal, check its measurements, then enter them in the Program Split tab of the Object Properties dialog box in the current design
5.
184
ES
To make your own Program Split patterns
1.
Create one or several embroidery or graphic objects. You can create an embroidery object with any outline or fill input method and stitch type. The objects can be filled with stitches, as only the object outlines will be used for the Program Split pattern. You can also create a graphic object by using the graphic tools included in the Drawing Toolbar. As an alternative, you can copy and paste a vector drawing via the Windows 95 clipboard. If you want to use existing objects to make a Program Split pattern, you may skip this step. Select the embroidery or the graphic objects with the Select Object tool. Choose Make Program Split from the Special menu. When the Make Program Split dialog box appears, type a new pattern name in the text box, and click OK. Click the Program Split button on the Stitch Types toolbar with the right mouse button. When the Object Properties dialog box appears, the name of the new pattern is displayed in the Pattern list, indicating that it became selected automatically. The original width and height of the pattern are displayed in the Size X and Size Y text boxes. The column and row spacing match the width and height of the pattern. The offsets are set to 0. Click the Layout button or the OK button to use the new pattern. Continue as usual. See To fill shapes with Program Split on page 174 for details. Copy the objects you used to make Program Split Patterns into a design le. You can keep all your original patterns in one le, so that you can easily locate them. If you want to modify a pattern, make changes to the original, then make a new Program Split pattern. To overwrite the original pattern, type its old name in the New Pattern dialog box.
2. 3. 4. 5. 6.
7.
Tip
Combining various artistic effects(65; opt. 45)

You can create unique and artistic embroidery designs by combining the various artistic stitch types and effects. For example, you can apply Accordion Spacing and User Dened Split to a shape which is lled with Program Split. You can also combine Jagged Edge with Program Split and Accordion Spacing.
ES
Combining various artistic effects(65; opt. 45)
185
Sample designs(65)
We used Wave Increasing spacing effect with Satin stitch to digitize the birds. We digitized the circle with Exponential Decreasing accordion spacing to create a color halftone effect. To illustrate the reection of the sun in the water, we used the opposite spacing effectExponential Increasing accordion spacing. This spacing effect also gives a perspective effect. We used the same color as for the sunorange. We used Program Split with a suitable pattern to imitate the waves in the water. For the water, you may use Motif Fill with a Perspective 3D Warp.
Wave Increasing
Exponential Decreasing
Exponential Increasing
186
ES
We used Accordion Spacing for the shading on the cherries to achieve a three dimensional effect.
Accordion Spacing
We used Trapunto style Tatami to ll the background of this design.
shape is digitized with Complex Fill; borderline Tatami with Trapunto effect
ES
Sample designs(65)
187
In this design we used Contour Stitch to ll the leaves of the plant. The leaves look three dimensional and they look as if they were moving in the water.
contour stitch
188
ES
Chapter 10.
Working with motifs
(25, 45, 65)
Motifs are usually small and simple design elements, or symbols that are used repeatedly in several designs. Building your own motif library you can avoid redigitizing the same symbols several times. You can also create a design quickly by using existing motifs. Motifs are stored on your hard disk. Motifs are ordinary designs, except that they have two reference points that allow you to position, scale, rotate and mirror them accurately without having to choose other menu commands or tools. Using motifs is more efcient than cutting and pasting design elements. You can repeat motifs along a digitized line, and you can also ll shapes with motifs. The shapes must be digitized with the Complex Fill input method. Various three dimensional effects are available for shapes lled with motifs, such as perspective, globe in and globe out. These effects allow you to create high quality, unique embroidery designs with fewer stitches.
ES
189
Making your own motifs (25, 45, 65)

A motif a small design or a design element that has two reference points for easy positioning and scaling, and is stored in a special way for quick access. A motif can consist of one or several embroidery objects of various colors, and can include machine functions.
To make a motif
1. 2. 3.
Select one or several embroidery objects with the Select Object tool. For example, digitize a small leaf, then select it. Choose Make Motif from the Special menu. When the New Motif dialog box appears, type a new name and click OK.
4.
Digitize the left reference point, then the right reference point using the left mouse button. The points you mark now will be positioned along the digitized line when you use Motif Run. Also, these points will be a positioned along the stitch lines when you use Motif Fill. Therefore, mark these points carefully. In this example, mark the reference points in the corners of the leaf, so that the leafs are laid out horizontally along a line. If you mark the reference points on the sides of the leaf, the leafs will be perpendicular to a Motif Run or Motif Fill line.
2 right reference point
1 1 left reference point
The motif is available now for using. The motif you just made is automatically selected. You only need to select it if you exit and restart ES.
190
Chapter 10. Working with motifs (25, 45, 65)
ES
Selecting motifs (25, 45, 65)

You need to select a motif rst before you can use it.
To select a motif
1. 2.
Choose Select Motif from the Special menu. When the Symbol Selection dialog box appears, choose a motif from the list by clicking its picture or name with the left mouse button.
For example, choose the motif named leaf. The name of the selected motif appears in the box below Selection. You can change the appearance of the list of motifs by clicking the buttons at the top of the dialog box. You can display just the pictures, or just the names of the motifs, or both.
3.
Click OK. The selected motifs are available for use now.
ES
Selecting motifs (25, 45, 65)
191
Inserting or using a motif (25, 45, 65)

Inserting a motif is more efcient then copying and pasting selected objects. The motif has two reference points that allow you to rotate and mirror it quickly, just in one step. You can also scale the motif by holding down the SHIFT key as you drag it to a new size. You can insert several motifs without having to choose the insert motif command again.
To insert or use a selected motif at its original size and orientation

If you select several motifs in the Symbol Selection dialog box, the motif you select first will be used.
1. 2. 3. 4.
Select or create a motif. For example, select the motif named leaf. See page 191 and page 190 for details. Choose Use Motif from the Special menu. The outline of the motif appears attached to the mouse pointer. Move the motif in the correct position. Press the ENTER key to insert the motif.
press
ENTER
Another motif appears attached to the mouse pointer. Repeat steps 3 and 4 to insert more motifs.
5.
To finish inserting motifs, press the ESC key.
192
ES
To scale and rotate a motif while inserting or using

If you select several motifs in the Symbol Selection dialog box, the motif you select first will be used. You can scale, rotate and mirror a motif when inserting it. 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.
1. 2. 3.
Select or create a motif. For example, select the motif named scallop. See page 191 and page 190 for details. Choose Use Motif from the Special menu. The outline of the motif appears attached to the mouse pointer. Move the motif in the correct position and mark the anchor point with the left button. Move the mouse to rotate the motif around the anchor point. If you want to scale the motif, hold down the SHIFT key and drag the motif to the desired size.
Motif is rotated and scaled. Hold down the SHIFT key to resize the motif. Use the CTRL key to constrain angles in rotation.
4.
Click the left mouse button to create the rotated and scaled motif.
anchor point
This motif is inserted at the new size and rotation angle. Another motif appears attached to the mouse pointer. Repeat steps 3 and 4 to insert (and scale) more motifs. You can rotate, scale and mirror a motif in any combination while using it. See Rotating, scaling and mirroring motifs (25, 45, 65) on page 194 for details.
5.
To finish inserting motifs, press the ESC key.
ES
193
Rotating, scaling and mirroring motifs (25, 45, 65)

To rotate a motif, mark both the anchor point and guide point with the left mouse button. Before marking the guide point, move the mouse to rotate the motif.
Motif is rotated. Click left mouse button to mark guide point.
If you want to rotate the motif and scale it, mark the anchor point, then press the SHIFT key and drag to a new size and rotation before marking the guide point.
Press SHIFT and drag to a new size and rotation.
Motif is rotated and scaled.
If you want to mirror as well as rotate and scale the motif, place the anchor point, then press the SHIFT key and scale and rotate the motif. Press the right mouse button to mirror the motif.
Press the SHIFT key and drag the motif to the new size and rotation.
Click the right mouse button to mark guide point and mirror the motif.
Motif is rotated, scaled and mirrored
Or you can choose to mirror the motif before you scale and rotate it. To do this, press the right mouse button when you place the anchor point, then press the SHIFT key and scale and rotate the motif. To complete the motif, press either the right or left mouse button.
194
ES
If you want to mirror and rotate the motif, but you want to keep its original size, click the right mouse button when the rotation angle is correct.
Click right mouse button to mirror motif. Motif is rotated and mirrored. Click left mouse button and rotate motif.
If you want to mirror a motif without rotating, mark its anchor point with the left mouse button, then press the right button
Motif is mirrored. Click right mouse button to mirror motif.
Table 3: Rotating, scaling and mirroring motifs

Guide Point Anchor Point Action Left Right
drag
rotate
rotate mirror
no change
mirror
SHIFT
rotate, scale
drag
rotate, scale mirror
SHIFT CTRL
drag
scale, constrained rotation
scale, constrained rotation mirror
ES
195
Deleting a motif (25, 45, 65)

Delete those motifs that you do not use frequently or no longer need. You can only delete a motif after selecting it through Select Motif from the Special menu.
To delete a motif
1. 2.
Choose Select Motif from the Special menu. When the Symbol Selection dialog box appears, choose the motif to delete from the available motifs.
3. 4.
Click the Delete button. The selected motif is deleted from the hard disk. Repeat steps 3 and 4 to delete more motifs. Click OK to exit the dialog box.
196
ES
Motif Run (25, 45, 65)

Motif Run is a decorative outline stitch type. Using Motif Run you can repeat a selected motif along a digitized line. You can mirror the motif, scale it, and change the spacing between motifs.
To preset Motif Run values
1. 2.
Choose Object Properties from the Stitch menu. When the Object Properties dialog box appears, click the Outline Stitch tab and choose Motif Run from the Stitch type list.
3. 4.
Click the Select button. The Symbols Selection dialog box is displayed. Choose a motif from the available motifs. See Selecting motifs (25, 45, 65) on page 191 for details. After you have chosen a motif, the Object Properties dialog box with the Outline Stitch tab reappears.
ES
Motif Run (25, 45, 65)
197
5.
Type the spacing value, and decide if you want to keep the first and last motif. Spacing Spacing is the distance between the same points of two consecutive motifs repeated along a baseline.
spacing
initial spacing
Initially, the spacing displayed in this dialog box equals the distance between the left and right reference points that you marked when you originally made the motif. See To make a motif on page 190 for details. Therefore, if you do not scale the motifs, and do not change the spacing value, there will be no spacing, or very small spacing between the motifs when they are repeated along the digitized baseline. If the motifs do not fit the baseline exactly, ES varies the spacing between the motifs. The motifs will not be scaled. If the space remaining at the end of the baseline is less than half a motif, ES distributes this extra space evenly between the motifs. If the space is larger than half a motif, ES inserts an extra motif, and slightly overlaps the motifs in order to distribute them evenly along the baseline. The difference in spacing is hardly noticeable. If you are not satisfied with the result, reshape the baseline. See To reshape an object created with Motif Run on page 200 for details. If you want to have a space between the motifs, add the required space to the initial spacing value, which is generally the width of the motif, and type this value in the text box beside Spacing. Keep First Motif, Keep Last Motif If you intend to digitize adjoining lines with Motif Run, you may want to omit the last motif of the current object, or the first motif of the next object. Otherwise the motifs may overlap where two lines join.
6.
Click OK.
198
ES
To repeat a motif along a digitized lineMotif Run
1. 2. 3.
Preset the Motif Run values. See To preset Motif Run values on page 197 for details. Click the Motif Run button on the Input Method toolbar. As an alternative, choose Embroidery Object>Motif Run from the Insert menu. The name and size of the selected motif appears in the Status Line. Digitize the baseline along which you want to repeat the selected motif and press ENTER. Digitize the line in the same way as with Run. See Run and Triple Run (all except 5, 10, 21L) on page 76 for details. The outlines of the motifs appear along the digitized line. The first motif is highlighted, and the mouse pointer is attached to its guide point. As you move the mouse, the highlighted motif is scaled. Press the ENTER key to repeat the motif along the baseline at its original size. If you want to mirror the motifs, mark the guide point of the motif with the right mouse button. If you want to scale the motifs, drag the motif to the desired size. When you mark the guide point, all motifs are resized. You can move the mouse again, scale the highlighted motif, and mark the guide point again several times. When you are satisfied with the result, press the ENTER key. The motifs will be rescaled, but the original spacing will remain. If you want to scale the motif and have it placed evenly along the baseline, press the SPACE bar. When you press either ENTER or SPACE, the stitches are generated for the Motif Run object. If you want to change the motif spacing, click the motif run object with the right mouse button using the Select Object tool, and change the values in the Outline Stitch tab of the Object Properties dialog. If desired, you can also choose a different motif design. As an alternative you can reshape the original motif object. See To reshape an object created with Motif Run on page 200 for details. Table 4: Working with Motif Run
Guide Point Key Action
SPACE ENTER
4.
scale, with new even spacing Left scale, new even spacing, mirror
scale with original spacing
Right
scale, original spacing, mirror
ES
Motif Run (25, 45, 65)
199
To reshape an object created with Motif Run
1. 2.
Click the Reshape button on the Pointer toolbar, then click a Motif Run object. Change the width and height of the motifs proportionally or unproportionally, change their spacing, or reshape their baseline. Reshaping Motif Run objects is similar to reshaping lettering objects. See Modifying lettering objects (all except 5,10) on page 381 for details. When you are satisfied with the result, press the ENTER key to restitch the Motif Run object.
3.
Motif Fill (25, 45, 65)

Motif Fill is a decorative stitch type that allows you to ll a shape with motifs. The motifs are repeated in parallel rows going left and right or up and down in the shape. You can select different motifs for the forward and backward rows. You can design the layout of the motifs either interactively on the screen, or numerically through the Object Properties dialog box, in the same way as for Program Split. To apply Motif Fill, you must digitize the shape with the Complex Fill input method. If a different input method is selected, the Motif Fill button is dimmed.
200
ES
To ll a shape with motifs using Motif Fill
1. 2.
Click the Complex Fill button on the Input Method toolbar. As an alternative, choose Embroidery Obejct>Complex Fill from the Insert menu. Click the Motif Fill button on the Stitch Types toolbar with the right mouse button. As an alternative, choose Object Properties from the Stitch menu, click the Fill Stitch tab, and choose Motif Fill from the Stitch Type list.
3. 4.
Click the Select button under Motif 1. When the Symbol Selection dialog box appears, click the picture or name of the motif you want to use for the forward lines, and click OK. For example, select the motif named leaf. The name of the selected motif appears in the Object Properties dialog box. If you select several motifs, the first selected one is used, and the others are ignored. Click the Select button under Motif 2. When the Symbol Selection dialog box appears, click the picture or name of the motif you want to use for the backward rows, and click OK.
5. 6.
ES
Motif Fill (25, 45, 65)
201
For example, select the same named leaf again. You may select a different motif for the backward rows for special effect. Motifs repeated in the backward rows are automatically flipped left-right, to preserve the original orientation of the motif. Therefore, if you select the same motif for the forward and backward rows, all motifs will point in the same direction throughout the shape.
7.
Change the size, column spacing, row spacing and offset, and the rotation angle if required. The values displayed in the dialog box show the original size of the motif. The initial values define a simple grid. The column and row spacing values equal the width (size X) and height (size Y) of the motif, thus there is no space between the rows and columns. The row offset and rotation angle are set to 0.00mm, thus the columns and rows are perfectly vertical and horizontal. The rotation angle defines the orientation of the entire motif fill pattern, and overrides the stitch angle you will mark when digitizing the shape with Complex Fill. You can change the size of the motif and the size and orientation of the grid numerically in the same way as for Program Split. If you change the column or row spacing, decide if you want to scale the motifs to fit the grid. You can check only one of these options at a time. Decide if you want to clip the motifs that do not fit the shape. If you check Clip Motifs to Fit Shape, each motif that does not fit the shape, will be clipped, providing a clean edge to the shape. If you uncheck it, the motifs will not be clipped. If more than half of a motif is outside of the boundary of the shape, it will be omitted. The edge of the shape may not be well defined.
8. 9.
10. When all values are correct, click OK. 11. Digitize an object with Complex Fill.
For example, digitize a simple rectangle. You may digitize complex shapes that have several internal boundaries (holes). The stitch angle you digitize now does not affect the orientation of the motifs or the layout in any way. The orientation of the motif fill pattern is determined by the value you typed for Rotation Angle in the Object Properties dialog box.
202
ES
12. Press the ENTER key to generate stitches.
The shape is filled with the selected motifs.
To design the Motif Fill layout graphically

Designing the layout graphically for Motif Fill is very similar to designing the layout of Program Split patterns. You can change the size of the motifs, the grid along which they are laid out, and the position and rotation angle of the entire motif ll pattern. If you wish, you can skew the motifs as well. When you modify one motif, all motifs will be changed. The standard procedure is to dene the layout of the motifs before digitizing the object outline. However, if it is important to align the motifs with the object outline, you can create the object by using the standard outline, and modify the layout afterwards.
1. 2. 3.
Click the Complex Fill button on the Input Method toolbar. As an alternative, choose Embroidery Object>Complex Fill from the Insert menu. Click the Motif Fill button on the Stitch Types toolbar with the right mouse button. As an alternative, choose Object Properties from the Stitch menu, then click the Fill Stitch tab, and choose Motif Fill from the Stitch Type list. When the Object Properties dialog box appears, select a motif for the forward and backward rowsMotif 1 and Motif2. For example, select the motif named leaf for both.
ES
Motif Fill (25, 45, 65)
203
4.
Click the Layout button. Twenty five motifs arranged according to the standard layout appear in the center of the screen. This sample gives you a good idea about what the final motif fill pattern would look like. The motifs are displayed in yellow, except three in the middle that are blue. These are special motifs that you can select and modify to change the layout. Each blue motif changes different parameters of the layout. You can select and modify them in any order. Initially, the blue motif in the middle is selected.
Change row spacing and offset, scale motifs. Move, rotate, skew, scale motifs.
Change column spacing, scale motifs.
5.
Move the motifs. Drag the blue motif in the middle to move all motifs together to a new position. This motif is selected initially.
drag
6.
Scale the motifs. Select any of the three blue motifs by clicking on it with the left mouse button. When a motif is selected, eight sizing handles are displayed around it. Drag a handle in a corner to scale the motifs proportionally. Drag the other handles to scale the motifs just horizontally or vertically. If you scale the selected motif, all the other motifs will be scaled.
204
ES
See Transforming objects (whole design only in 5,10; lettering only in 21L) on page 309 for details.
scale horizontally scale vertically
7.
Change the column spacing. Select and drag the blue motif on the right hand side. Move the motif left or right to change the spacing between the columns.
change column spacing
ES
Motif Fill (25, 45, 65)
205
8.
Change the row spacing and offset. Select and drag the blue motif at the top left hand side. Move the motif up or down to change the spacing between the rows. Move the motif left-right to change the row offset. Changing the offset you distort the perpendicular grid, so that the rows will be slanted rather than horizontal.
change row spacing change offset
9.
Rotate the entire motif fill pattern. Click the blue motif in the middle two times. When the rotate handles appear, drag a handle to rotate the motif. See Transforming objects (whole design only in 5,10; lettering only in 21L) on page 309 for details.
rotate anchor skew
206
ES
10. When you are satisfied with the layout, press the ENTER key.
Before you press ENTER, you can select any of the three blue motifs in any order again and make adjustments. After you pressed the ENTER key, the new size and layout values will become the current Motif Fill values, so that you can digitize several objects using the same Motif Fill layout.
11. Digitize the outline of the object, then press the ENTER key to generate stitches.
With Complex Fill you may digitize one or several boundaries. For example, digitize a simple box. If Generate Stitches is turned on, stitches are generated immediately for the object.
To specify the Motif Fill layout numerically
1. 2.
Click the Complex Fill button on the Input Method toolbar. As an alternative, choose Embroidery Object>Complex Fill from the Insert menu. Click the Motif Fill button on the Stitch Types toolbar with the right mouse button. As an alternative, choose Object Properties from the Stitch menu, then click the Fill Stitch tab, and choose Motif Fill from the Stitch Type list.
ES
Motif Fill (25, 45, 65)
207
3. 4.
Select a motif for the forward and backward rowsMotif 1 and Motif2. For example, select the motif named leaf for both. Change the size of the motif. The values displayed in the dialog box show the original width (size X) and height (size Y) of the motif. You can change any of these values for one or both motifs in any combination. The new size will only be used for this Motif Fill object, the original motif stored on your hard disk will not be scaled. For example, change the height (size Y) of both motifs to 7.34mm. Change the column spacing, row spacing and offset. The initial values define a simple grid. The column and row spacing values equal the original width (size X) and height (size Y) of the motif, so there is no space between the rows and columns. The row offset is set to 0.00mm, so the columns and rows are perpendicular. To define a space between the columns, add the required space to the width of the motif, and type the resulting value in the column spacing text box. To define a space between the rows, add the required space to the height of the motif, and type the resulting value in the row spacing text box. Change the Rotation Angle. The rotation angle defines the orientation of the entire motif fill pattern, and overrides the stitch angle you mark when digitizing the shape with Complex Fill. For example, change the rotation angle to 45. If you change the column or row spacing, decide if you want to scale the motifs to fit the grid. You can check only one of these options at a time. When you check an option, ES recalculates the relevant values in the dialog box immediately. In this example, we changed the height of the motif (size Y) from 4.81mm to 7.34mm. Decide if you want to clip the motifs that do not fit the shape. If you check Clip Motifs to Fit Shape, each motif that does not fit the shape, will be clipped, providing a clean edge to the shape. If you uncheck this option, the motifs will not be clipped. If more than half of a motif is outside of the boundary of the shape, that motif will be omitted. The edge of the shape may not be well defined, however half motifs are not created.
5.
6.
7.
8.
9. When all values are correct, click OK. 10. Digitize the object outline with Complex Fill.
The stitch angle you digitize now does not affect the orientation of the motifs or the layout in any way. The orientation of the motif fill pattern will be 45, because you typed this value for Rotation Angle in the Object Properties dialog box.
208
ES
11. Press the ENTER key to generate stitches.
The shape is filled with the selected motifs. Notice that the motifs are higher than their original size, and the entire motif fill pattern is rotated by 45. You can change the properties of the Motif Fill object at any time later by selecting it with the Select Object tool, then clicking it with the right mouse button. When the Object Properties dialog box appears, it shows that particular object. You can change any values, and you can also select different motifs.
ES
Motif Fill (25, 45, 65)
209
Using 3D Warp effects with Motif Fill (65, opt. 45)

3D Warps are additional effects that can be applied to Motif Fill. They allow you to represent three dimensional scenery in embroidery quickly, and with fewer stitches. Shapes lled with regular stitching look at on the nal embroidery, even if they are drawn in perspective on the artwork. They should be lled with three dimensional stitching. When you apply a 3D Warp, the motifs and their layout are distorted to achieve a three dimensional visual effect. The digitized boundaries are not changed. The following 3D Warps are available:
without 3D Warp
Globe In
Globe Out
without 3D Warp
Perspective
The warp is independent of the size and shape of the digitized object outline it can be the same, smaller or larger. Remember, objects to be lled with motifs have to be digitized with the Complex Fill input method. It is recommended that you turn on the grid when you use Motif Fill with a 3D Warp.
210
ES
To use 3D Warp effects with Motif Fill
1. 2. 3.
Click the Complex Fill button on the Input Method toolbar. As an alternative, choose Embroidery Object>Complex Fill from the Insert menu. Click the Motif Fill button on the Stitch Types toolbar with the right mouse button. As an alternative, choose Object Properties from the Stitch menu, click the Fill Stitch tab, and choose Motif Fill from the Stitch Type list. Select a motif for the forward and backward rowsMotif 1 and Motif2, and change other values of required. For example, select the motif named leaf for both. See To specify the Motif Fill layout numerically on page 207 for details. Click the Effects button. When the Effects dialog box appears, click the Others tab, check 3D Warp, choose an effect from the drop-down list, then click OK. In the Object Properties dialog box, either click the Layout or the OK button. If you click the Layout button, design the layout graphically, then press the ENTER key. You may digitize a complex shape that has several internal boundaries (holes). Draw guidelines for the selected 3D Warp. For Globe In and Globe out, draw a circle or oval on the top of the digitized object. For Perspective, ES displays a box around the outside boundary of the object, with reshape control points in the corners. Drag the control points to reshape the box.
4. 5. 6.
7.
ES
Motif Fill (25, 45, 65)
211
Globe In and Globe Out For Globe In and Globe Out draw a circle or oval on the top of the digitized shape. To do this, mark the center point rst, then move the mouse. As you move the mouse, the circle grows. Mark one point on the circumference and press ENTER to create a circle, or mark two points on the circumference to create an oval.
press ENTER 2 Complex Fill boundary 1 2
3 1
press
ENTER
Globe Out 3D warp circle
Globe Out 3D warp oval
The circle or oval will be warped inwards or outwards. The motifs and the distance between them will be reduced or enlarged around the center to achieve the selected visual effect. The globe can be smaller or larger than the outer boundary of the shape, and its center can be either inside or outside. All these combinations will produce different effects.
globe is smaller, center is inside
globe is smaller, center is inside
globe is larger, center is outside
212
ES
Perspective Perspective gradually reduces the size of the motifs and the distance between them. The smaller motifs appear to be further away, whereas the larger ones appear to be closer. You can control the perspective effect by editing a frame displayed around the shape. Initially, the frame is a rectangle indicating that the motifs have not been distorted yet. If you move two control points on the same side of the frame closer to each other, the motifs will be reduced along that side. If you move them apart, the motifs will be enlarged. The Perspective frame cannot cross the outer boundary of the shape, and cannot be inside the shape. Typically, you would make the top side of the Perspective frame narrower.
Complex Fill boundary Perspective frame
move control points to make top side narrower
motifs along the narrow side are smaller
motif Diamond
8.
Press the ENTER key to generate stitches.
Tip Small stitches may be generated along the edge of the Globe. To remove the undesirable small stitches automatically, choose Small Stitches from the Stitch menu.
ES
Motif Fill (25, 45, 65)
213
Generating several layers of Motif Fill of different colors (65, opt. 45)
You can generate several layers of different color motifs by duplicating the object then selecting a different color motif for the duplicate. See Duplicating objects (all except 5,10) on page 333 for details. For example, after lling in a shape with circles, you can create a second layer with cross shaped motifs, using Globe Out.
motif Circle - red motif Cross - blue two layers of Motif Fill with Globe Out
Sample Designs (65, opt. 45)

In the following design we used Globe Out on Motif Fill to stitch the cherries.
Globe Out
214
ES
Chapter 11.
Thread colors
(all products)
The object based embroidery approach makes it very easy to create and modify designs without having to deal directly with color change functions. You select colors for new and existing objects in ES by clicking a button on the color palette, like in any graphic application. You can choose colors from pre-set thread color charts, or you can mix your own colors. In ES the representations of commercial thread charts are approximate, and the computer simulations are not intended to exactly match the identied thread color. The colors and descriptions are provided as a guide only. You can insert explicit color change machine functions in the stitching sequence manually. However, we recommend against it, because if you modify a design, you have to locate the manually inserted color change functions and change them one by one. Whereas those functions which are inserted automatically by ES, are maintained automatically.
ES
215
Working with colors (all products)

In ES you select a color for each new object you create, like in other graphic applications. Each embroidery object sores the selected thread color as its property, whether the stitches are generated or not. Treating color as a property makes it very easy to manage color changes in the design. You should think only about what color each part of the design is to be stitched in, not about how the machine will do the color change. You do not need to worry about the commands which cause the embroidery machine to change thread. When the design is output, these commands are automatically inserted wherever there is a change from one color to another. New objects are created with the current color. You can change the current color for new objects, or the color of existing selected objects with a click of the mouse. ES inserts or deletes color change functions as necessary. As you add or delete objects of different colors in the design, or change the stitching sequence, each object still retains its own color. Using object colors eliminates the problem of accidental, misplaced or extra color changes in the design.
Selecting color for new objects (all except 5, 10)

When you create a new embroidery object, it has the current color. The current color is always Color 1 when a new design is created. You can choose a different color for the next objects, and you can also re-color existing objects later. When you output the design to an embroidery machine formatwrite to embroidery disk, punch paper tape or send directly to the machineES adds any necessary color change machine functions to the output data. Wherever there is a change in color from one object to the next, a Color Change machine function is automatically inserted, as required by the type of embroidery machine output format.
216
ES
To select a color for creating new embroidery objects

s
While no objects are selected, click the Next Color button on the Pointer toolbar using the left mouse button. The current color is automatically changed to the next numbered color. Or click any color button on the Color toolbar. This color is now the current color for new objects. See To hide and show toolbars on page 35 for details. Alternatively, click with the right mouse button on Next Color, and click a color square. The Color Toolbar is temporarily opened for selecting any color as current color.
Tip
This is useful if you do not wish to take up space on the screen by having the Color toolbar displayed permanently.
Recoloring existing objects (all except 5, 10)

To re-color existing objects, simply select them, then choose a different thread color. If you want to re-color several consecutive objects of the same color, select the rst one, then set the thread color. All object objects until the next color change will be recolored.
To re-color selected objects
1. 2.
Select one or several objects. You can re-color one or more objects at the same time. Click any color button on the Color toolbar. The objects are now stitched in the new color.
Note The current color is not changed when selected objects are recolored.
ES
Recoloring existing objects (all except 5, 10)
217
To set the color for consecutive or selected objects
1.
Select the rst object you want to recolor.
blue
blue
green
2. 3.
Choose Set Color from the Machine menu. When the Set Color dialog box appears, choose which objects you want to re-color.
If you selected one object, you can change its color alone if you click on Selected object only. If you choose All consecutive objects of the same color, you will change the color of the selected object and any consecutive objects of the same color until you reach a color change. If you selected more than one object, you can only change the color of the selected objects. In this situation, you do not have the option of choosing All consecutive objects of the same color.
4.
Choose a color from the Colors list.
218
ES
5.
Click OK. If you selected one object, and choose to re-color all consecutive objects of the same color, all objects until the next color change are re-colored.
red red
green
Inserting a color change machine function

(all except 5, 10) Most users will never need to insert a color change machine function. When object colors are used throughout the design, ES handles all the color changes automatically, no matter what changes you make to the design. Even though usually it is not necessary, you still can insert explicit color change machine functions into the design. You may insert color change functions manually if you want to stitch an object in two or more colors, and it would be too difficult or impractical to redigitize the shape as several objects. However, we recommend against it, because explicitly inserted color change functions are not automatically removed if they become unnecessary after making changes to the design. See Inserting machine functions manually (all except 5, 10) on page 243 for details.
Note Inserting a color change machine function inside an object does not
change the color property associated with that object. The stitches may be displayed in a thread color different from the object color.
ES
Inserting a color change machine function (all except 5, 10)
219
To insert a color change function
1.
Travel to the position in the design where you want to insert a color change function. You can travel to the first stitch of an object, or to any stitch inside an object. Do not travel to the last stitch of an object. See Travelling through stitches (all except 5, 10) on page 340 for details. Choose Insert Function from the Machine menu. When the Insert Function dialog box appears, choose Color Change from the list of available functions, and click OK. When the Color Change dialog box appears, type the number of the thread color to change to.
2. 3. 4.
5.
Click OK. A color change function is inserted into the design at the stitch that you traveled to. Another color change function is inserted automatically at the end of the object if the color of the next object is different from the one you just inserted. Therefore, the explicitly inserted color change function only affects the current object.
explicitly inserted red color change
green green
red green
automatically inserted green color change
220
ES
If you insert a color change function inside an object, only the stitches after the function to the end of the object will be changed. The stitches before the function will still be stitched in the color you originally selected. If you change the color of the object, the color change function you inserted manually will not be cleared, only the stitches before the function will be re-colored. The selected color becomes the current color in the design and will be used for newly created objects. If you want to recolor all objects until the next color change, use Set Color instead of inserting explicit color change functions. See To set the color for consecutive or selected objects on page 218 for details.
6.
Travel to the end of the design to see the effect of the color change function you just inserted. This is necessary as all stitches after the current stitch are displayed in gray.
To clear a color change function
1. 2.
Travel to the position of the function by using the Travel by Function command. See Travelling through stitches (all except 5, 10) on page 340 for details. Choose Clear Function from the Machine menu, then choose the function you want to clear. The Color Change function is removed. All stitches are stitched in the original color selected for that object.
ES
Inserting a color change machine function (all except 5, 10)
221
Creating a custom color palette (all products)

Before you start digitizing a new design, it is recommended that you set up a customized color palette. Decide how many different color threads you are going to use in the design and in which order. You can use a thread repeatedly. You can choose colors from the pre-dened thread charts, or you can mix your own.
To select colors from a thread chart
1.
Choose Thread Colors from the Edit menu.
total number of different colors colors used in the current design
colors you can choose from
2.
Type the total number of threads you will use in the Threads in Design text box. The list now shows this number of different threads. You can use a maximum of 100 different threads in a design.
222
ES
3.
Choose a thread chart from the drop-down list. The DEFAULT thread chart shows the 20 colors used when a new design is opened. Other charts show the actual colors in some commercially available thread charts. The representations of commercial thread charts are approximate, and the computer simulations are not intended to exactly match the identied thread color. The colors and descriptions are provided as a guide only. In the top half of the dialog box, click the thread number the color of which you wish to change. Click on a thread color from the chart and click the Assign button. This color is assigned to the selected thread number. Repeat until all threads have been assigned the colors you intend to use in the design. Click OK.
4. 5. 6. 7.
ES
Creating a custom color palette (all products)
223
To mix new thread colors
1. 2.
In the Thread Colors dialog box, select a Thread and click the Edit button. When the Edit Thread dialog box is displayed, type the Code, Brand and Description for the thread.
Code is the identification number of that thread color in the brand.
3.
Select the Density for the thread. This value determines which Auto Spacing table is used. See Satin stitch (all except 5, 10) on page 118 for details. Different thread density systems are used by different thread manufacturers. Density A is normal embroidery thread (density 120/2, or 40). Density B is thicker, Density C is ner, and Density D is very ne. Choose RGB or HLS color system. Slide the scroll bars to mix the desired color. Click OK. Repeat for other colors to be mixed.
4. 5. 6.
224
ES
Chapter 12.
Automatic connectors
(all except 5, 10)
A connector refers to the stitching which is automatically generated between embroidery objects, in order to get from one object to the other. This is very convenient, because during digitizing you only need to concentrate on the embroidery shapes you want to create, and ES automatically handles how to get from one object to the other, according to the values and conditions you have chosen. ES automates the management of connectors as much as possible, so that you can just deal with objects. You can choose to trim, tie in and tie off connectors under specied conditions. The connectors will automatically be adjusted every time you move, scale or transform an object in any way. For maximized productivity and exibility during editing and scaling of designs, it is strongly recommended that you use the automatic features as much as possible.Avoid digitizing connectors manually, because you then have to edit and maintain them manually. Also, avoid inserting trim functions, tie in and tie off stitches manually. You can do it if you wish, however, we strongly recommend against it. If you modify a design, you have to nd and change them manually, one by one.
ES
225
Using automatic connectors (all except 5, 10)

When you create a new object in a design, ES automatically generates a connector to connect it to the previous object. An automatic connector is not a separate object. Embroidery objects have properties which determine how automatic connectors are generated. Connectors can be trimmed, and tie in and tie off stitches can be inserted. You can apply these functions to all connectors, or only to those which are longer than a specied value. You can also turn these functions off completely. Auto Jump is always applied to connectors. See Using automatic jump on page 237 for details. For example, you can choose to trim the thread after an object, if the next connector is long. A trimmed connector is displayed as a dotted line, with two small triangles at its ends. You can apply tie in and tie off stitches to prevent the thread from coming off. Tie in stitches are inserted at the beginning of an object if the previous connectorthe one which belongs to the objectis trimmed. Tie off stitches are inserted at the end of an object, before the next connector is trimmed.
tie off object 1 trim connector tie off tie in object 3 tie in connector trim object 2
You can pre-set and change the connector properties just like any other embroidery properties. Automatic connectors will be adjusted every time you move, scale or transform an object in any way, to conform to the selected properties. For example, if you enlarge a design, some connectors may become long enough to be trimmed. If you specied a maximum length for connectors, those which are longer, will automatically be trimmed. Similarly, if you move the start or end point of an object, automatic tie in and tie off stitches will move together with it, whereas tie in or tie off stitches created using Manual will not.
226
ES
To pre-set automatic connectors before starting to digitize
1. 2.
Choose Object Properties from the Stitch menu. When the Object Properties dialog box is displayed, click the Connectors tab.
3.
Specify conditions for tie in, tie off and trim. You can choose to insert trim, tie in and tie off always, never, or only if a connector is longer than a specified value. These functions are related, therefore make your choices carefully. See Specifying conditions for automatic tie in, tie off and trim (all except 5, 10) on page 229 for details.
ES
227
4. 5.
Select a tie off method. Click the Values button.
6.
When the Tie In / Tie Off Values dialog box appears, specify the length and number of tie in and tie off stitches, and click OK. The number of stitches indicates the number of returning stitches. Depending on the width of the column, fewer or more stitches are required to prevent the stitches from unraveling. See Selecting tie in and tie off values (all except 5, 10) on page 229 for details. Click OK. Connectors for all newly created objects in the current design will be generated according to the new properties. To use these connector properties in new designs created from the save template, click the Save button before you click OK.
7.
To change connector properties of selected existing objects
1. 2. 3. 4. 5. 6.
Click the Select Object tool on the Pointer toolbar. Select an object by clicking it with the left mouse button. As an alternative, select several objects by holding down the CTRL key. Click the selected object (or objects) with the right mouse button, or choose Object Properties from the Stitch menu. When the Object Properties dialog box is displayed, click the Connectors tab. Change the values for tie in, tie off and trim. Click OK. The selected object (or objects) are re-stitched using the new connector properties. These changes do not affect the current connector properties.
228
ES
Specifying conditions for automatic tie in, tie off and trim
(all except 5, 10) First decide if you want to trim the connectors. If your embroidery machine is equipped with an automatic trim mechanism, you can choose to automatically trim the connectors. For increased productivity, minimize the number of trims within each design. Performing a thread trim slows down the embroidery machine, and you may need to re-thread the needle if it does not pick up the thread correctly afterwards. To avoid unnecessary trims, choose the option which allows you to trim a connector only if it is longer than a specied value. Then specify the maximum length a connector can be. Usually, connectors shorter than 3mm are not visible on the nal embroidery, so this value is suitable for most designs and objects. You may need to specify a smaller value for individually selected objects, for example, if the thread color contrasts with the background color. You can choose to automatically tie in and tie off those connectors which were trimmed. Choose the option Tie In If, and check After Trim. Then choose Tie Off If, and check Before Trim. If your embroidery machine does not have an automatic trimmer, or its trimmer is too slow and you prefer not to use it, choose the option Never Trim. In this case you will need to trim the connectors manually after the machine has completed stitching. You can still apply automatic tie in and tie off to long connectors even if they are not trimmed. Choose Tie In If, check Previous Connector Longer Than, and specify 3mm maximum length. Then choose Tie Off If, check Next Connector Longer Than, and specify 3mm maximum length. When trimming the connectors manually, make sure that you leave those which are shorter than the maximum length you specied, because the neighboring objects are not secured with tie in and tie off stitches.
Selecting tie in and tie off values (all except 5, 10)

Only one tie in method is available. Tie in stitches are inserted inside the shape on the second stitch.
tie in with 2 stitches
ES
229
You can choose between two tie off methods. The rst method inserts tie off stitches along the last stitch. This method is suitable for large shapes lled with Tatami. An alternative method is available to prevent bulging of stitches at the edge of shapes. It inserts the tie off stitches between the last two stitches. This method is recommended for Satin stitch columns and for lettering
tie off method 1 with 2 stitches
method 2 with 1 stitches
tie off method 2 with 2 stitches
For narrow shapes or columns, for example in small lettering, where there is insufcient space for the requested number of stitches to t, use only one tie off stitch. You may also decrease the length of stitches. Changing the length and number of stitches affects both tie in and tie off stitches. You cannot change their values separately. As their use depends on the size of the shape, it is practical to change them together.
230
ES
Chapter 13.
Embroidery machine formats and functions
(all products)
While creating a design in ES, you only need to concentrate on what the nal embroidery should look like, you do not need to think about the various functions the embroidery machine needs to perform while stitching the design. ES will insert most machine function commands automatically. Your choices affecting the appearance of the embroidery are stored as object properties. You do not need to be concerned with the control commands required by the embroidery machine, because ES inserts these automatically according to the object properties. If you modify or transform the design in any way, ES adjusts these control commands automatically. One analogy is to think of creating a document in a word processor or a graphical drawing package without worrying about on which printer it will be printed. You can insert and clear machine functions manually. However, we strongly recommend against it, because you will need to nd and change manually inserted functions one by one if you modify or transform a design in any way. Various types of embroidery machines understand different languagesthey have their own control commands and code system. The designs ES creates can be stitched on any supported embroidery machine without changes. You select a machine format before starting to digitize, then you can change it at any time. Depending on the values stored in the selected machine format, ES translates the logical meaning of the functions selected during digitizing, into specic control commands the embroidery machine needs to perform those functions. This happens in the background, and usually you do not need to know about the detailed control commands. However, if you wish, you can check them by travelling through the stitches. If you arrive at a stitch which has a machine function attached to it, you can read its details in the Status Line.
ES
231
Summary of working with machine formats and functions (all except 5, 10)
s s s
s s s
In object based embroidery it is easy and convenient to work with machine formats and functions. Following is a summary of the main steps you need to perform. Select a machine format. Check the machine format values if required. Digitize the design. The stitches and functions are calculated and displayed according to the current machine format. Concentrate mostly on the design, and on the object properties, and ES will automatically insert the machine functions when needed. If really necessary, insert machine functions manually. It is recommended that you only insert a function manually, if it cannot be specified as object property. If required, you can change the machine format at any time. If required, you can change the machine format values at any time. If required, you can change the machine format while outputting the design for stitchingsave it to embroidery disk, punch paper tape or send it directly to the embroidery machine. When you output a design for stitching you are prompted to select a machine format. You can select the same machine format for which the design was created originally, or you can select a different one. Only the data on the disk, paper tape or embroidery machine will be in the new format, the original design will remain unchanged.
232
Chapter 13. Embroidery machine formats and functions (all products)
ES
Machine format (all products)

Various types of embroidery machines speak different languagesthey have their own control commands and code system. This is called embroidery machine format. Before stitching a design, it needs to be translated into a format which can be understood by the embroidery machine. Most popular multihead embroidery machines, for example, ZSK, Melco, Barudan, Tajima, Toyota, have their own format. New embroidery machine models may understand more than one format. For example, Barudan machines understand Tajima format as well as Barudan designs. There are some differences between various models of the same type of embroidery machines, mainly depending on the age of their electronic controller . Newer models may have more functions, such as automatic trim mechanism, sequin attachment, borer, Chenille needle, etc. Also, users may set up their embroidery machines in different ways. For example, some embroidery machines interpret three jumps, whereas others interpret ve jumps as a trim command.
Digitizing a design for a selected machine format (all except 5, 10)

In object based embroidery you will still create a design in a selected machine format, however this becomes much less signicant. You can change to another machine format at any time later, after completing digitizing, or even halfway through the design. You can also change the machine format when outputting the design to paper tape, embroidery disk, or sending it directly to the embroidery machine. You can also customize the machine format values at any time.
To select embroidery machine format
1. 2. 3.
Choose Select Machine Format from the Machine menu. Select a machine format from the list. If you want to check the default values of the selected format, click the Values button. When the Machine Format Values dialog box appears, check the values, then click the Close button. See Customizing machine format values (all products) on page 245 for details. Click OK in the Select Machine Format dialog box.
4.
ES
Machine format (all products)
233
Outputting designs for stitching on different machines (all products)

Once a design is complete, you can output it for stitching on any supported embroidery machine. You can change the machine format while the design is open. As an alternative, you can preserve the original format of the design, and select a different machine format only while saving it to embroidery disk, or punching a paper tape, or sending it directly to the embroidery machine. When you ask to change to another machine, none of the functions are lost from the design, even if there are foreign functionsthat is functions which are not available for that machine. Of course those foreign functions will cause no visual effect on screen, and they will be ignored when the design is output to this machine type. However, if you later change to a machine type which supports these functions, they will again be displayed and output according to the rules of that machine format.
To change the machine format

s
Do one of the following. Choose Select Machine Format from the Machine menu and select a different machine format. This will change the machine format of the original design. You can select any machine format. Choose Stitch to Machine from the File menu, then choose a different format from the list below Output as Machine Format. You can only select one of the valid formats defined for the target machine in the Hardware Setup dialog box. This will not change the format of the original .EMB design file. Only the file which is sent to the embroidery machine will be in the new format. Choose Embroidery Disk>Save As from the File menu, then choose a different machine format from the drop-down list. You can only select one of the valid formats defined for the target machine in the Hardware Setup dialog box. This will not change the format of the original .EMB design file. Only the file which is saved to the embroidery disk will be in the new format. Choose Punch to Tape from the File menu, then choose a different machine format from the drop-down list. You can only select one of the valid formats defined for the target machine in the Hardware Setup dialog box. This will not change the format of the original .EMB design file. Only the file which is sent to the paper tape punch will be in the new format.
234
ES
Working with machine functions (all except 5, 10)

s s
Machine functions are inserted into a design in two ways: automatically by ES because of changes in object properties, manually by inserting them at the current needle position. ES automates the handling of the common functions. While these can be inserted manually, there are signicant benets to utilizing the automatic capabilities of the system. If you specify the logical meaning of the machine functions as object properties in your design, ES automatically inserts and clears the actual commands required for the embroidery machine to perform the requested tasks.
Color change (all except 5, 10)

If you want the embroidery machine to stitch a part of the design with a different color thread, you need to insert a color change machine function in the stitching sequence. Color change functions can be inserted either automatically or manually.
Using automatic color change functions

In ES you work with colors in the same way as in a graphic package. You just click a color on the color tool bar, and the new objects you create will have the selected color. The color is stored as a property of the object. If you want to change the color of existing objects, you just click them with the Select Object tool, click a color on the color toolbar, and the selected objects are re-colored. While creating or modifying a design, you do not need to think about how many color change commands are required and where in the stitching sequence, because ES inserts and clears the required color change commands automatically. For example, if two consecutive objects have two different colors, yellow and green, and now you change both objects to red, ES will automatically clear the redundant color change command before the second object. Similarly, if three consecutive objects have the same color, for example, green, then you change the middle one to red, ES automatically inserts two color change commands for the machineone before the selected object to change from green to red, and another one after the object to change back from red to green. See Thread colors (all products) on page 215 for details.
Inserting a color change function manually

You can insert an explicit color change function at the current needle position. However, in object based embroidery there is no need for inserting color change functions manually, unless you want to stitch an object in two or more different colors. As a quick
ES
235
solution, you may insert color change functions inside the object, however it is better to re-digitize the shape as two or more objects. See Inserting a color change machine function (all except 5, 10) on page 219 for details.
Thread trim (all except 5, 10)

Some embroidery machines are equipped with a trim mechanism. If you want the embroidery machine to trim the thread, for example a long connector, you need to insert a trim machine function in the stitching sequence. Trim functions can be inserted either automatically or manually.
Using automatic trim functions

In object based embroidery you can specify to trim a connector if it is longer than a certain value. This condition is saved as a property of the object. If you modify the design, for example scale the entire design, or move the object, and some connectors exceed the specied maximum value, ES automatically inserts trim functions where appropriate. If you modify the design again, and some trim commands become unnecessary, ES automatically clears them. The trim function is marked by two triangles placed at the ends of the trimmed thread. The trimmed thread between the triangles is displayed as a dotted line. See Automatic connectors (all except 5, 10) on page 225 for details.
Inserting a trim function manually

You can insert an explicit trim function at the current needle position. However, in object based embroidery there is no need for inserting trim functions manually. It is better to specify conditions for automatic trim in the form of object properties. Then ES will automatically insert and remove trim functions where appropriate. See Inserting machine functions manually (all except 5, 10) on page 243 for details.
Jump (all except 5, 10)

Jump is a frame movement without needle penetration. The embroidery machine moves the frame to the position of the next stitch, but the needle is prevented from penetrating the fabric. The embroidery machine needs to slow down before performing a jump, then it needs to speed up again. You can include jumps in a design in two different ways: automatically and manually.
236
ES
Using automatic jump

You can specify the maximum stitch length allowed in the current design. Longer stitches will be divided into smaller frame movements, which can be done with or without needle penetrations. Using automatic jump,ES converts a long stitch into jumpssmaller frame movements without needle penetrations. This will cause the machine to stop a few times while moving the frame slowly to the next needle penetration point. Jumps are displayed as dotted lines, providing you with an instant visual feedback. If you want to eliminate unwanted jumps in an object, for example, in a Satin column, you can reshape its outline, or use another effect. See Satin stitch (all except 5, 10) on page 118 for details. Without using automatic jump, ES divides long stitches into smaller stitches of uniform length, by inserting extra needle penetrations between the original stitch end points. These extra needle penetrations may affect the appearance of the nal embroidery, especially Satin stitch columns. See Automatic split (all except 5, 10) on page 123 for details. Automatic jump is a stitch effect, and its status is stored as an object property. You can change its status and values at any time for selected or newly created objects. Automatic jump is always applied to connectors.
To turn Auto Jump on and off

s
Click the Auto Jump button on the Stitch Effects toolbar with the left mouse button to turn the effect on and off. If the button is pressed down, Auto Jump is turned on. If no object is selected, the status of the button shows the current setting of Auto Jump, which will be used for new objects. If an object is selected, the status of the button shows the property of the selected object.
To select Auto Jump values
1. 2.
Choose Stitch Effects from the Stitch menu. As an alternative, click the Auto Jump button on the Stitch types toolbar with the right mouse button. When the Effects dialog box appears, click the Auto Jump tab.
ES
237
3.
Check Auto Jump, then type the maximum stitch and jump length values, and choose a calculation method.
Maximum Stitch This is the maximum frame movement that you want in the current design. This value must be smaller than or equal to the maximum stitch length possible for the selected machine format. See Customizing machine format values (all products) on page 245 for details. You might set this value less than the maximum stitch the machine can produce in order to prevent really long stitches or movements, which can be harder on the machine, or which cause the machine to slow down too much. All stitches longer than the maximum stitch will be divided into smaller frame movements without needle penetration.
238
ES
Note Be careful to set the maximum stitch larger than the longest Satin stitch
you want to allow in the design, otherwise some Satin stitches will be split into two or more stitches. Jump Length Jump length controls the length of the smaller frame movements when a long stitch is divided into jumps. Depending on the jump length, long stitches will be divided into fewer or more jumps. The jump length can be smaller than the maximum stitch you allow in the current design. This is commonly used to avoid really long movements when jumping, which tend to be jerky, and can pull the joining thread harder than normal. Length Calculation On some machines the maximum stitch is measured as the distance between two consecutive needle penetrations. Other machines are limited to a maximum X (horizontal) and Y (vertical) movement. Check the technical specification of your embroidery machine and choose the correct calculation method.
Y
maximum stitch
maximum stitch X maximum stitch
measured along radius
measured along axis
4.
Click OK.
ES
239
Digitizing jumps manually

You can digitize jumps manually. However, in object based embroidery it is better to use automatic jumps as part of automatic connectors. See Using automatic connectors (all except 5, 10) on page 226 for details. Jumps are displayed as dotted lines indicating that the needle does not penetrate the fabric. If you turn on TrueView, these lines are not displayed, as they do not represent real stitches, just frame movements. However, jumps are included in the stitch count, unless trimmed. You can easily digitize jumps with Manual by marking points with the right mouse button. Another way of digitizing jumps is to create objects with needles out, using any input method and stitch type. All stitches, regardless of their type and length, will be converted into jumps. The embroidery machine will move the frame to the position of the stitch end points, but will prevent the needle from penetrating the fabric. For example, you can digitize Run objects with needles out to move from one part of the design to another. The embroidery machine will move the frame smoothly, in several small steps. This is often used to avoid long movements which tend to be jerky.
Run stitch, needles IN
Run stitch, needles OUT
Usually, you digitize objects with needles in, which will generate stitches with needle penetrations at each stitch end point. The status of the Needles In button on the Stitch Types toolbar indicates the status of the needlesif it is pressed down, the needles are in, if it is popped up, the needles are out. To check the status of the needles, you can also pull down the Machine menu. A check mark displayed beside Needles In indicates that the needles are in. Click the menu item to remove the check mark and thus change its status. The status of the needles is stored as a property of the object, so you can change it at any time later.For example, if an object was originally digitized with Needles In, click it with the Select Object tool, then click the Needles In button. The status of the Needles In button on the Stitch Types toolbar is now popped up, and it shows the status of the selected object. The stitches in the selected object are displayed as dotted lines, indicating that they are converted into jumps. As soon as you select another object, which was digitized with Needles In, the button is pressed down again. To set the current status of the Needles In button, click it when no object is selected.
240
ES
As an alternative, while no object is selected, choose Needles In from the Machine menu. Each access to Needles In switches between needles in and needles out. A checkmark displayed indicates needles in while no checkmark indicates needles out.
To select Needles In
s
Click the Needles In button on the Stitch Types toolbar with the left mouse button to switch between needles in and needles out. If the button is pressed down, the needles are in. If no object is selected, the status of the button shows the current status of the needles, which will be used for new objects. If an object is selected, the status of the button shows the property of the selected object.
To digitize objects with needles out
1. 2. 3. 4.
Choose an input method and stitch type. For example, choose Run. If the Needles In button is currently pressed down, click it with the left mouse button. Now the button is popped up, indicating that the needles are out. Digitize one or several objects with needles out. Press the ENTER key after completing each object. All stitches are displayed as dotted lines, indicating that they are converted to jumps. After completing all objects with needles out, click the Needles In button again. The button is pressed down now, indicating that the needles are in.
Boring (all except 5, 10)

If your embroidery machine is equipped with a borer, you can digitize objects with Borers In. In this case, each needle penetration point becomes a borer hole regardless of the stitch type. It is practical to digitize the borer holes with Run. To do this, just click the Borer In button on the Stitch Types toolbar. The status of this button indicates the status of the borerif it is pressed down, the borer is in use, if it is popped up, the borer is out. To check the status of the borer, you can also pull down the Machine menu. A check mark displayed beside Borer In on the Machine menu indicates that the borer is in use. Click the menu item to remove the check mark and thus change the Borer status.
ES
241
Note The needles and the borer cannot be used at the same time.
The status of the borer is stored as a property of the object, therefore you can change it at any time after an object has been created. For example, if an object was originally digitized with Needles In, click it with the Select Object tool, then click the Borer In button or choose Borer In from the Machine menu. The status of the Needles In button is now popped up, and the Borer In button is pressed down indicating the status of the selected object. A diamond is displayed at each needle penetration point in the selected object indicating the borer holes. As soon as you select another object, which was digitized with Needles In and Borer Out, the button is pressed down again and the check mark on the Machine menu changes to reect that status. To set the current status of the Borer, click the Borer In button when no objects are selected. When you change the status of the borer, ES automatically inserts Borer In and Borer Out commands where appropriate.
To select Borer In
s
Click the Borer In button on the Stitch types toolbar with the left mouse button to switch between borer in and borer out. If the button is pressed down, the borer is in. If no object is selected, the status of the button shows the current status of the borer, which will be used for new objects. If an object is selected, the status of the button shows the property of the selected object.
To digitize boring points (cuts)
1. 2.
Click the Borer In button on the Stitch Types toolbar to press it down. ES will automatically insert a machine function to switch from stitching to boring. Digitize shapes using the desired input method and stitch type, for example, Run. Where a point is displayed, the borer will pierce the fabric. The boring points are connected with dotted lines, because they do not represent stitches, or thread. The dotted lines are not displayed when you turn on TrueView. Click the Borer In button again so that is pops up. ES will automatically insert a machine function to resume stitching with the same thread color you were using before. If you wish, choose a new thread color. Continue digitizing shapes with needles in.
3. 4. 5.
242
ES
Stop (all except 5, 10)

If you want the embroidery machine to stop for a special reason while stitching a design, you need to insert a stop function in the stitching sequence. For example, you may insert a machine stop to allow the operator to place an appliqu on the fabric. You can only insert a stop machine function manually.
To insert a machine stop

You may insert a machine stop function for a special reason, for example to allow the operator to place an appliqu on the fabric.
Tip
If you insert a machine stop function, write instructions for the operator on the production worksheet.
1.
Travel to the position in the design where you want to insert a machine function. You can travel to the first or last stitch of an object, or to any stitch inside an object. You can also travel to the end of the design. See Travelling through stitches (all except 5, 10) on page 340 for details. Choose Stop from the Machine menu. A machine Stop function is inserted at the current needle position. Its name appears in the Status bar.
2.
Inserting machine functions manually (all except 5, 10)

Whenever possible, specify machine functions as object properties. Only insert obscure machine functions manually, which cannot be selected as object properties, for example, Stop, Auto Frame, etc. You can insert a selected machine function at the current needle position. Those machine functions which are inserted manually, are not cleared automatically by ES if they become redundant when the design is modied. You need to nd them one by one and clear them if necessary. A function which was manually inserted anywhere inside an object, keeps its geometrical position within that object when you scale the design, or transform the object in any other way. After the stitches are regenerated, the function will be inserted again. Therefore, manually inserted functions are never lost when the design is modied.
ES
243
To insert a function manually
1. 2. 3.
Travel to the position in the design where you want to insert a machine function. You can travel to the first or last stitch of an object, or to any stitch inside an object. See Travelling through stitches (all except 5, 10) on page 340 for details. Choose Insert Function from the Machine menu. In the Insert Function dialog box, choose one of the functions available for the currently selected machine format.
the available functions vary depending on the current machine format
4.
Click OK. The selected function is inserted on an empty stitch or added to the current stitch, and its name appears in the Status Line. For details on inserting a Color Change function, see page 220 and page 218.
To clear a function
1.
Travel to the position of the function by using the Travel by Function command. See Travelling through stitches (all except 5, 10) on page 340 for details. When you arrive at machine function, its name appears in the Status Line. Choose Clear Function from the Machine menu. The function is removed.
2. 3.
244
ES
Customizing machine format values (all products)

ES provides you with standard machine formats, for example, Melco, Tajima, Tajima Chenille, Barudan, etc. The values stored in the standard machine formats are suitable for most machines. If your machine is different, you can modify the default values. If you have different models of the same type of embroidery machine, which have different functions and require different values, you can create custom formats and store them under unique names. For example, you may create a custom format for Melco Star/Superstar, and another one for the Melco Network Peripherals. Therefore, you need to work out the default values only once for each machine, and then you can save them under different names. The custom formats are listed under the available machine formats in the Select Machine Format, and in the Hardware Setup>Direct Machine Connection dialog box. This allows you to select a custom format when starting a new design, or when connecting an embroidery machine to the computer.
To modify the values of an existing machine format

When modifying the values of a selected machine format, you can decide if you want to use the new values in the current design only, or in all new designs digitized for that machine format.
1.
Choose Machine Format Values from the Machine menu. As an alternative, choose Select Machine Format from the Machine menu, choose an available machine format in the dialog box, then click the Values button.
choose a format
click Values
ES
245
2.
When the machine format Values dialog box appears, change the values included in the Standard tab, and in the Advanced tab. Initially, the dialog box shows the default values of the selected machine format. As soon as you change any of the values, ES displays the design name in the caption of the Machine Format Values dialog box, to indicate that the values selected in the current design are different from the default values of that machine format. In the Select Machine Format dialog box, the modified values appear under a new name in the list, consisting of the original format name and the design name. Standard tab The Standard tab includes values related to basic embroidery machine functions. Various types of embroidery machines have different functions, therefore the Standard tab is different for each machine type. For example, Melco has only trim values, whereas Barudan has trim, boring and color change values. Type a descriptive comment which helps you identify the machine format, for example No Trim, or Trim = Code and 3 Jumps. Advanced tab The Advanced tab includes further technical details. Only change these values, if you are familiar with the codes used by your embroidery machine. These values may vary depending on the age of the electronic controller of the embroidery machine. For example, some older models of embroidery machines expect a certain number of empty stitches and empty jump codes before a color change function, etc.
Note The text boxes in the Advanced tab do not show the number of control commands inserted by ES automatically. They only show any extra codes you want to be inserted in addition to the default values. Therefore, you cannot remove codes which are essential for a certain machine by accident.
See Selecting machine format values (all products) on page 248 for details.
3.
If you want to overwrite the default values, click the Save button. Notice that ES displays Default in place of the design name in the caption of the dialog box to indicate that the new values are saved under the new name. Skip this step if you want to use the new values in the current design only. Click OK. If you did not click Save, modified values will still be displayed in brackets after the format name when next time you open the Machine Format values dialog box.
4.
246
ES
To create a new custom machine format
1. 2. 3. 4.
Choose Select Machine Format from the Machine menu. When the Select Machine format dialog box appears, choose an available machine format from the list, which can be the basis of the new format you are creating. Click the Create button. When the Machine Format Values dialog box appears, type a new name and a comment in the text boxes. Give the new format a descriptive name, for example, Melco Star. You may rename the other Melco format to Melco Network Peripheral. In the comment text box type additional information which helps you identify the machine, for example, no trim. Specify the standard values, then the advanced values. See Selecting machine format values (all products) on page 248 for details. Click Save in the Machine Format Values dialog box. The new format is now displayed in the Available Machine Formats drop-down list. Click OK in the Select Machine Format dialog box.
5. 6. 7.
To remove a custom machine format
1. 2.
Choose Select Machine Format from the Machine menu. When the Select Machine format dialog box appears, choose a custom machine format from the list. Choose a custom format which you created previously.
Note You cannot remove a standard machine format. You can only remove a custom format, which you created.
3. 4. 5.
Click the Remove button. When the message box appears asking you to confirm that you wish to remove the selected format, click Yes. The selected custom machine format is not displayed in the drop-down list now. Click OK in the Select Machine Format dialog box. The selected machine format is removed now and is no longer available for selection in the ES system.
ES
247
Selecting machine format values (all products)

Tajima
Maximum stitch This is the maximum frame movement possible for the Tajima machine format. It is 12.1mm. You can only type a smaller value in the text box. If you type a larger value, ES will automatically replace it with the maximum stitch value. Trim Decide whether or not you want to output trim commands for the embroidery machine. If you want output trim commands, decide how to format them. Newer Tajima machines are already equipped with an automatic trim mechanism, but some older models are not. If your machine has a trimmer, check Output Trims, otherwise leave it unchecked. For historical reasons, the Tajima system does not have a specic code assigned to the trim command. Instead, Tajima machines interpret multiple jumps as a trim command. If you checked Output Trims, type the required number of jumps (usually 3, 5 or 7).
Note You can still have trims in your design. The trim functions will not be lost, they will just be ignored when the design is output for stitching.
Boring Some Tajima machines are equipped with a borer. The borer replaces one of the needles. The borer is not aligned with the needles, it is offset usually by12.00mm. Before the machine starts using the borer, it moves the frame so that the borer is in the correct position. This extra frame movement compensates for the borer offset. Some models require a borer offset of -12.00mm in the stitch data. This means that the X and Y component of each borer movement needs to be modied by -12.00mm. For these machines type -12.00 in the Boring Offset text box. Be careful, because other Tajima machines automatically adjust the stitch data when they read a Borer In command in order to compensate for the borer offset. For these machines type 0.00mm in the Boring Offset text box, so that the stitch data is not adjusted, otherwise some parts of the design will be shifted during stitching. On newer Tajima models you can choose whether or not you want the machine to compensate for the borer offset. These machines can stitch all types of boring designs regardless of how they were output. Check the specication of your Tajima machine to nd out what your machine requires. Color Change Sequence ES does not insert any empty stitch or empty jump codes before and after color change functions. By default. 0,0 means empty stitch, 0,0 Jump means empty jump.
248
ES
Newer Tajima machines do not require additional codes to be inserted in the design before color change functions. You can leave the initial 0 value in all text boxes for these machines. If you have an older model, check its requirements and type the number of additional codes in the text boxes. Start of Design, End of Design ES inserts 2 empty stitch codes (and 0 empty jump code) at the start of the design by default. It does not insert any empty stitch or empty jump codes at the end of the design. Some Tajima machines may require several empty stitch or empty jump codes to be inserted and at the start and end of the design. Check the requirements of your machine, and type the number of additional codes in the text boxes. Remember, these text boxes show the number of extra codes, you want to insert in addition to the default values.
Tajima Chenille and Tajima Chenille multi-stop

The Tajima Chenille machines have three functionschain, moss and color change. The Tajima code system does not have specic codes assigned to these machine functions; it uses empty stitch (non-data) and stop codes instead. There are two different types of Tajima Chenille machines, which use different combinations of empty stitch (non-data) and stop codes to indicate these machine functions. The stitch data you output from ES must be different depending on which type of machine you are using.ES provides two different Tajima Chenille machine formats, so that you can easily output a Chenille design for stitching on either machine. The olderTajima TMCEmodel uses different combinations of multiple stop codes and empty stitch (non-data) codes for the chain, moss and needle height functions. As each Chenille function is coded differently, this machine can recognize them. The old Tajima TMCE machine is often referred to as the multi-stop Tajima Chenille machine. If you intend to stitch a design on one of these machines, make sure that you select the Tajima Chenille multi-stop machine format. The chain, moss and needle height functions will be automatically converted to the correct combinations of empty stitch and stop codes used by these machines.
ES
249
Table 5: Multi-stop codes used by the Tajima TMCE Chenille machine

From Chain Chain Chain Chain Chain Chain Chain Moss Moss Moss Moss Moss Moss Moss Change Color x x x x x x Change Needle Height x x x x x x To Chain Chain Chain Moss Moss Moss Moss Moss Moss Moss Chain Chain Chain Chain Function Codes stop stop stop-empty-stop stop-stop stop-stop-stop-stop stop-stop stop-stop-stop-stop stop-stop stop-stop stop-stop-stop-stop stop-stop stop-empty-stop stop stop-empty-stop Machine Setup For Needle Height set new height set new height 2 set new height set new height 2 set new height set new height 2 set new height set new height 2
The new Tajima TMCE-S Chenille machine only uses single stop codes for switching between chain and moss stitching. These machines cannot distinguish between the functions, so you need to select a function for each stop at the machine, in the same way as you select needle numbers for color stops. If you are using one of these machines, select the Tajima Chenille machine format. Each chain, moss and needle height function will be output as a single stop code. Start as Choose the starting stitch type. When starting with chain stitching, an empty stitch (non-data) code will automatically be inserted at the start of the design When starting with Moss stitching, an empty stitch (non-data) and a stop code will be automatically inserted at the start of the design. Do not digitize two Empty Stitches at the beginning of the design, as this will affect registration. Avoid using Empty Stitches elsewhere in the design. Other Tajima Chenille values are the same as the standard lock stitch Tajima machine values. See Tajima on page 248 for details.
250
ES
Barudan
Maximum stitch This is the maximum frame movement the embroidery machine can make. For Barudan it is 12.7mm. You can only type a smaller value in the text box. If you type a larger value, ES will automatically replace it with the maximum stitch value. Trim Most Barudan machines are equipped with an automatic trim mechanism and understand the trim code. For these machines check Output Trims. Most machines understand the specic Trim code, others can only interpret multiple jumps as a trim command. Some Barudan machines understand both. Depending on the capabilities of your machine, you may check both Code and Jumps at the same time. If you check Format Trim as Jumps, type the required number of jumpsusually 2, 3, 5 or 7. If your machine does not have a trimmer, uncheck Output Trims.
Note You can still have trims in your design. The trim functions will not be lost, they will just be ignored when the design is output for stitching.
Boring Some Barudan machines are equipped with a borer. The borer replaces one of the needles. Type the number of this needle, which will be replaced by the borer, in the text box. The borer is not aligned with the needles, it is offset usually by12.00mm. Before the machine starts using the borer, it moves the frame so that the borer is in the correct position. This extra frame movement compensates for the borer offset. Some models require a borer offset of -12.00mm in the stitch data. This means that the X and Y component of each borer movement needs to be modied by -12.00mm. For these machines type -12.00 in the Boring Offset text box. If the machine itself compensates for the borer offset by adjusting the stitch data, type 0 in the text box. Color Change Various Barudan machine models can interpret the color change function differently either as a needle number command, or as a stop command. Older models performed automatic color change on needle number commands. The thread numbers you select in ES correspond to needle numbers, therefore you must rethread the embroidery machine before stitching if the threads are in the wrong needles. For these machine choose Needle No from the drop-down list and type the number of needles. Newer models can take either needle numbers, or stop commands. It is better to use stop commands, because it gives more exibility to the machine about which colors are threaded on which needles. For these machines, choose Stops from the drop-down list.
ES
251
Some new Barudan models can group two heads together, allowing you to stitch a design which has 18 different colors without having to re-thread the machine. The rst head will have threads from 1 to 9, (or from 1 to 7), the second head will have threads from 10 to 18 (or from 8 to 14). Using group addressing, the machine moves the hoop from the rst head under the second head and continues stitching. For these machine check Use Group Addressing, and type the number of needles. Color Change Sequence ES does not insert any empty stitch or empty jump codes before and after color change functions. By default. 0,0 means empty stitch, 0,0 Jump means empty jump. Newer Barudan machines do not require any additional codes. You can leave the initial 0 value in all text boxes for these machines. If you have an older model, check its requirements and type the number of additional codes in the text boxes. Start of Design, End of Design ES inserts 1 empty stitch code (and 0 empty jump code) at the start of the design by default. It does not insert any empty stitch or empty jump codes at the end of the design. Some Barudan machines may require several empty stitch or empty jump codes to be inserted and at the start and end of the design. Check the requirements of your machine, and type the number of additional codes in the text boxes. Remember, these text boxes show the number of extra codes, you want to insert in addition to the default values. Speed Some Barudan machines must slow down before switching to the borer. If you check Boring Auto Speed Changes, ES will automatically insert a slow command before the borer in command, then a fast command after the borer out command. You can choose fast or slow starting speed. According to your choice, ES will insert a slow or a fast command at the beginning of each design. On some Barudan machines there is a speed switch. Depending on the position of that switch, fast is assigned to either Speed1 or Speed2. Check the status of your embroidery machine, then choose the correct value from the drop-down list beside Fast. For example, if you choose Speed1, each fast speed function will be translated into a Speed1 command.
252
ES
Melco
Maximum stitch This is the maximum frame movement the embroidery machine can make. For Melco it is 12.7mm. You can only type a smaller value in the text box. If you type a larger value, ES will automatically replace it with the maximum stitch value. Trim Decide whether or not you want to output trim commands for the embroidery machine. If you want output trim commands, decide how to format them. Newer Melco machines are equipped with an automatic trim mechanism. For these machines check Output Trims. Some machines do not understand the specic trim code, and interpret multiple jumps as a trim. If you have one of these machines, choose Format Trim as Jumps, and type the required number of jumps (usually 3 or 5). If your machine understands the trim code, choose Format Trim as Trim Code. Some older Melco models do not have an automatic trim mechanism and do not understand the trim command. Uncheck Output Trims if you have one of these machines. These machines shift the design each time they read a trim code, because they do not know how to interpret this command.
Note You can still have trims in your design. The trim functions will not be lost,
just will be ignored when the design is output for stitching. Color Change Sequence ES does not insert any empty stitch or empty jump codes before and after color change functions. By default. 0,0 means empty stitch, 0,0 Jump means empty jump. Newer Melco machines do not require any additional codes. You can leave the initial 0 value in all text boxes for these machines. If you have an older model, check its requirements and type the number of additional codes in the text boxes. Start of Design, End of Design ES inserts 1 empty stitch code (and 0 empty jump code) at the start of the design by default. It does not insert any empty stitch or empty jump codes at the end of the design. Some Melco machines may require several empty stitch or empty jump codes to be inserted and at the start and end of the design. Check the requirements of your machine, and type the number of additional codes in the text boxes. Remember, these text boxes show the number of extra codes, you want to insert in addition to the default values.
ES
253
Checking the control commands (all products)

Machine functions have a logical meaning, which describes the task the embroidery machine should perform during stitching, such as a color change or thread trim. When a machine function is inserted in the design, either automatically, or manually, ES stores its logical meaning. Then, depending on the selected machine format and its values, ES translates the logical meaning of the functions into a specic control command required by the embroidery machine. If you change the machine format later, some functions which cannot be performed by the new machine, will simply be ignored. Other functions may be translated into different control commands according to the values of the selected machine format. For example, to perform a thread trim logical function, some embroidery machines expect a trim command, whereas others may expect three jump control commands. If required, you can check the actual control commands by travelling through the stitches. It is practical to use the Travel by Function button on the Travel toolbar. When you arrive at a machine function, its name appears in the prompt line followed by the control commands in brackets. For example, Trim (Jump). For some functions extra information may be displayed in brackets after the name of the function. For example, if you travel to a color change function in a design digitized for Barudan, Color Change (3) (needle 3) is displayed in the prompt line if you chose Use Needle Numbers in the Machine Format Values dialog box. The needle number does not appear for other machine types. When you change to a different machine format or change the machine format values, only the specic commands displayed in brackets will change, but the name of the logical function remains the same. If a function is not applicable to the new machine format, the word Ignored is displayed in brackets after the function name. For example, Borers In (Ignored), Borers Out (Ignored) . If a function was originally inserted on an empty stitch, that empty stitch is automatically removed when the function is ignored.
254
ES
Chapter 14.
Styles and templates
(all except 5, 10)
When you open a new design in ES, every parameter has a default value, as set by the template. It is important to know that embroidery objects have a separate set of default values from lettering objects. This allows you to change the values for lettering, for example, without disturbing any values which have been set for embroidery objects. As you work, you will be changing values for stitch types, input methods etc.; these changes become the current values and are used for new objects created. Each object also stores the set of values used to create it the input method, stitching, etc.these are the object values or properties. You can increase your productivity considerably by using object styles and design templates. Templates are particularly useful for lettering designs.
ES
255
Styles (25, 45, 65)

A style is a set of embroidery informationobject propertiesstored under a unique name. You can save any combination of values and effects in your styles, which you can then use for different purposes. For example, you can create a style for small lettering in which you select Satin stitch, auto spacing adjusted by 90% and Run underlay. If you use a certain alphabet and letter height very often for small letters, you may include this information in the style as well. You create a style through the Object Properties dialog box. When dening styles, all the tabs are available in the Object Properties dialog box. There are no initial values displayed in the dialog boxthe text boxes are empty, none of the items are checked or selected. You only need to specify those properties, which you want to store in a particular style. When you use a style to create a new object, the properties specied in the style replace the current object properties. When you apply a style to an existing object, the properties specied in the style replace the original properties of that object, while its other properties remain unchanged. You can create new styles from scratch or use existing styles. You can also modify and delete styles. Styles can be accessed from all designs, not only from the one in which they were originally created.
Creating a new style (25, 45, 65)

Plan which combination of values you want to include in a new style. Select values which you use often and give your style a descriptive name which indicates the purpose of that style. This will make it easier to select the right style when creating designs. You can create a new style from scratch. The stitch type and other values and effects you specify in the new style do not overwrite the current object properties. You can create a new style by adding or removing information from an existing style, then giving it another name. Preferably, choose a name which indicates the relationship between the two styles. For example, Satin and Satin+ Underlay.
256
ES
To create a new style
1. 2.
Choose Dene Style from the Stitch menu. In the Define Object Style dialog box, type a new style name in the text box.
3. 4.
Click the Properties button. In the Object Properties dialog box, click a stitch type button in the Fill Stitch or Outline Stitch tab, then enter new values if required. The name of the selected stitch type appears on the left side of the toolbar, and the relevant text boxes and other controls appear. There are no initial values in the dialog box. If you change your mind, leave all text boxes empty and click another tab. Enter new values in the Lettering tab, if required. Enter new values in the Connectors tab, if required. Click OK when all values are correct in the Object Properties dialog box. Click OK in the Define Style dialog box.
5. 6. 7. 8.
To create a new style based on an existing style
1. 2. 3. 4.
Choose Dene Style from the Stitch menu. In the Define Object Style dialog box, type a new style name in the text box. Click the Add button. Choose an existing object style from the drop-down list and click OK.
ES
Styles (25, 45, 65)
257
You are returned to the Define Object Style dialog box. Notice that the new style name you entered in the Define Object Style dialog box has not changed.
5.
Click the Properties button. Those values which you specified in the object style, are displayed as initial values in the appropriate tabs. You can change or delete the initial values, or you can specify values for more properties. See To create a new style on page 257 for details. Click OK when all values are correct in the Object Properties dialog box. Click OK in the Define Style dialog box.
6. 7.
Using a style (25, 45, 65)

When you use a style, the values specied in that style overwrite the current object properties. When you use a style, the values specied in that style overwrite the current object properties.
To use a style to create new objects
1. 2.
Choose Use Style from the Stitch menu. Choose an object style from the Object Style list and click OK.
If a stitch type is specified in the selected object style, the button of that stitch type is pressed down now in the Stitch Types toolbar indicating that a new stitch type is selected.
3. 4.
If required, select an input method. Digitize the object outline and press the ENTER key. The new object is stitched according to the properties specified in the selected object style. Those properties which are not specified in that style, are substituted with the current object properties.
258
ES
To apply a style to existing objects
1. 2. 3.
Select one or several objects you want to change. Choose Use Style from the Stitch menu. Choose an object style from the drop-down list and click OK. The selected objects now have the properties specified in the selected style. Those properties of the selected objects which are not specified in that style, remain unchanged.
Modifying a style (25, 45, 65)

You can modify existing styles at any time. The new values will be used in all newly created designs. If you are not using a style, you can delete it so that you can locate the frequently used styles more easily.
To modify a style
1. 2. 3. 4. 5.
Choose Dene Style from the Stitch menu. In the Define Object Style dialog box, choose an existing style name from the drop-down list. Click the Properties button. In the Object Properties dialog box, change the required values and click OK. A warning message is displayed asking you to confirm that you want to override an existing style. Click OK to confirm. The changes will be applied to new objects only. Those objects which were created with that style remain unchanged. To apply the modified style, select the appropriate objects, then choose Use Style from the Stitch menu.
ES
Styles (25, 45, 65)
259
To delete a style
1. 2. 3. 4.
Choose Dene Style from the Stitch menu. In the Define Object Style dialog box, choose an existing style name from the drop-down list. Click the Delete button. A warning message is displayed asking you to confirm that you want to delete a style. Click OK to confirm. To check that the style is deleted, click the arrow beside the list of style names. The name of the deleted style is missing from the drop-down list
Design templates (all except 5, 10)

A template is usually an empty design in which the initial values are specially selected to suit a certain type of embroidery job. A template may include embroidery objects as well. Practically, by creating templates you can store several sets of default values under unique names. Using templates increases your productivity. If you create a new design from a template, you can start digitizing immediately, without having to change the initial values rst. For example, the template for a certain lettering job may include a badge, and two lettering objects with circular baselines above and below the badge. When creating a new design from that template, you only need to re-type the text. Other templates may have special density and pull compensation values, underlays, etc. suited for various types of fabrics, such as towels, lycra, or golf shirt. You may also create templates for designs stitched on caps. The only difference between templates and ordinary designs is that you cannot overwrite a template by accident. Each time you create a new design from a template, ES opens a duplicate of the template. When you save your design the rst time, ES displays the Save As dialog box allowing you to save the design under a new name.
260
ES
Using a template (all except 5, 10)

When you choose New from the File menu, ES allows you to choose a template from which the new design will be created. See To create a new design from a template on page 33 for details. If you click the New button on the General toolbar, the Normal template is applied automatically.
Creating a template (all except 5, 10)

To create a new template
1. 2. 3. 4.
Start a new design or open an existing design. Adjust the object properties, styles, and other options as required. If you are creating a lettering template, you may digitize a baseline, and type sample letters. You may add create other objects as well. When all values are correct, choose Save As from the File menu. When the Save As dialog box is displayed, change to the ESWin\Template folder.
Note You must save your templates in the ESWin\Template folder, otherwise
ES will not nd them.
5. 6. 7.
Choose Design Templates (*.emt) file type from the drop-down list. Type a new file name. For ease of use, give your template a descriptive name. Click Save. The template is available now in the New dialog box.
Deleting a template (all except 5, 10)

Using the standard Windows 95 commands, delete the redundant template les from the ESWin\Template folder just as you delete other les.
ES
261
Modifying a template (all except 5, 10)

If you make changes to the values in the Object Properties dialog box, you can click the Save button. This will overwrite the properties in the template, from which you created the design. Therefore, when you open a new design from the same template, the new properties will be used. Existing designs are not affected by clicking the Save button in the Objects Properties dialog box. However, if you have a large number of modications that you want to make to a template, generally it is better to open the template, make the changes, then save the template. You can save the template under a different name or replace the original one.
To modify a template by saving object properties
1.
s s s
Depending on what combination of default properties you want to change, do one of the following: while no object is selected, choose Object Properties from the Stitch menu, or click a stitch type button on the Stitch Types toolbar with the right mouse button, or click an existing object with the right mouse button. In the Object Properties dialog box, change the values and effects as required. Click the Save button. The new values will be saved in the template from which you created the design. The new values will be used for new embroidery objects in any design you create from the same template.
2. 3.
To modify a template
1. 2. 3. 4. 5. 6.
Choose Open from the File menu. When the Open dialog box appears, change to the ESWin\Template folder, then choose Design Templates (*.emt) file type from the drop-down list. All the available templates are listed in the window now. Click the template you want to modify, then click Open. When the template is open, modify the object properties and other values as required. Choose Save As from the File menu. When the Save As dialog box appears, change to the ESWin\Template folder, choose Design Templates (*.emt) file type from the drop-down list.
262
ES
7. 8.
Click the template in the list which you want to replace. When the message appears asking you to confirm that you want to replace the existing file, click Yes. The modified version of the template is available now for creating new designs.
Reverting to the original version of the Normal template

(all except 5, 10) If you modify the Normal template originally supplied with ES, you can revert to its original factory version. A factory copy is always maintained so that the Normal template can be restored.
To revert to the original version of the Normal template
1. 2. 3. 4. 5.
From the Windows 95 taskbar, choose Run from the Start menu. Click Browse and locate the ESWin\bin folder. Highlight Revert.exe and click Open. In the Run dialog, click OK. In the Revert to Factory Template dialog, click OK. The original setting for the Normal template is restored.
ES
263
264
ES
Chapter 15.
Using a digitizer tablet
(21D, 45, 65)
Digitizing is the art of turning an artwork into embroidery. Traditional embroiderers prefer to use a digitizer tablet and an enlargement drawing to produce very high quality embroidery, such as badges. The rst step in creating good quality embroidery is good artwork. The original artwork can be a sketch, photograph, magazine cut-out, letterhead. etc. To create good quality embroidery, the artwork has to be converted into a technical drawing, which is clear enough to allow exact digitizing of reference points, and large enough to ensure accuracy of the nal embroidery. For best results, an enlargement drawing should be three times larger than the nal embroidery. The technical drawing is corrected for the particular characteristics of embroidery compared to printing. For example, the shapes are cut into parts which can easily be lled with stitches. The shapes also overlap and sometimes are distorted to compensate for the pull and push effects. The drawing also includes guidelines for digitizing, such as stitch angle lines. See Planning the embroidery shapes on page 55 for details. Once the enlargement drawing is complete, it needs to be registered on the digitizer tablet. Then you use the digitizer puck instead of the mouse to digitize the shapes and lines to be lled with stitches. For convenience and efciency, you can choose input methods, stitch types and other commands from a menu chart which is also registered on the digitizer tablet. You can take a drawing off the tablet, then put it back again and continue digitizing later, if you register the drawing correctly.
ES
265
Creating an enlargement drawing (21D, 45, 65)

The enlargement drawing is a technical drawing which must be very precise in order to achieve a good nal embroidery. The enlargement drawing is not the only consideration, but does require a signicant proportion of the time required to produce a nal embroidery. Sound preparation of the enlargement drawing will result in an effective and efcient nal embroidery. Not every design will make a successful nal embroidery because of the special characteristics of the medium. ES makes more designs successful by the calculation of embroidery object outlines to allow for pull compensation, etc. The initial artwork is converted to a technical drawing which is then scaled to a larger size. Typically, an enlargement drawing is three times larger than the nal embroidery. You can use a transparency projector or a photocopier to enlarge the technical drawing. If you use a graphic application to prepare the technical drawing, you can easily plot or print an enlargement drawing at any scale. Mark two reference points on the enlargement drawing: the point of origin and a rotation reference point. ES uses these two reference points to determine the location and orientation of the enlargement drawing om the digitizer tablet.
rotation reference point
name scale ower 3:1 origin
Important When producing an enlargement drawing, include on the actual

drawing, the name of the design, the exact drawing scale, the point of origin and the rotation reference point. This information is essential if the enlargement drawing is to be used more than once.
266
ES
Registering the enlargement drawing and menu chart (21D, 45, 65)
The enlargement drawing can be placed anywhere at any angle on the digitizer tablet. To register the drawing on the tablet, digitize its origin and rotation reference point, and enter the drawing scale in ES. The menu chart allows you to choose commands on the digitizer tablet. It is divided into squares which, when selected with the digitizer puck, give instructions to the computer. It contains many of the same items as the toolboxes and drop-down menus, but is more convenient to use if you are working on the digitizer tablet. To register the menu chart on the digitizer tablet, digitize three reference points. You can reduce or enlarge the size of the menu chart on a photocopier, if you wish, as these three points dene the position and the size of all the squares. The menu chart can also be placed in any position and angle on the digitizer tablet for the same reason. The menu chart should not overlap the drawing.
To set up the digitizer tablet
1.
Draw two reference points on the enlargement drawing. These two points define the origin, and the rotation angle of the drawing. If you take the drawing off the tablet and then put it back again, you will need to digitize the same points accurately.
rotation reference point
ower 3:1
origin
2. 3.
Place the enlargement drawing and the menu chart on the digitizer tablet. Use adhesive tape to hold them in place. Choose Tablet from the Special menu.
ES
Registering the enlargement drawing and menu chart (21D, 45, 65)
267
4.
When the Tablet Setup dialog box appears, type the drawing scale.
To calculate the drawing scale, divide the height of design on the enlargement drawing by the height of the final embroidery. Most enlargement drawings are prepared at drawing scale 3.00.
5. 6. 7.
Check Register Drawing. Check Register Menu. If you do not move the menu chart, you do not need to register it again next time when you start digitizing. In this case uncheck Register menu. Check Save as defaults to save the setup information. Next time when you switch on the computer, you do not need to re-register the drawing again if you do not change its position on the digitizer tablet. This is especially useful if you had to shift the drawing during digitizing. Click OK. Digitize the origin of the drawing. Place the cross hairs of the digitizer puck over the origin and press button 1.
8. 9.
268
ES
10. Digitize the rotation reference point of the drawing. Place the cross hairs of the digitizer
puck over the rotation reference point and press button 1.
11. Digitize the three menu reference points in the order shown on the menu chart. Click the
first button on the puck.
Changing the drawing scale (21D, 45, 65)

You can change the drawing scale halfway through the design. In this case ES will resize the object outlines and re-generates the stitches to t the new size.
To change the drawing scale halfway through the design
1. 2. 3. 4. 5. 6.
Choose Tablet from the Special menu. Type the new drawing scale in the box. To calculate the drawing scale, divide the height of the design on the enlargement drawing by the new height of the final embroidery. Check Resize Design to Match Drawing. Check Register Drawing. Click OK. Digitize the point of origin and the rotation reference point. The existing part of the design will be resized to match the enlargement drawing.
Shifting the enlargement drawing and menu chart (21D, 45, 65)
If the drawing is larger than the digitizer tablet, you need to shift it during digitizing. You need to draw two additional reference points on the enlargement drawing, which must be on the digitizer tablet both before the move and after. If you need to shift the enlargement drawing during digitizing, because it is larger than the tablet, you may need to shift the menu chart as well, so that it is not covered by the drawing.
ES
Changing the drawing scale (21D, 45, 65)
269
To shift the enlargement drawing if it is larger than the tablet
1.
Draw an additional origin and rotation reference point on the enlargement drawing. Some thought should be given to the way the points are drawn onto the design so that when the enlargement drawing is moved, the reference points remain on the digitizer tablet. If you are shifting the drawing up or down, draw the additional reference points horizontally. Following the same logic, if you are shifting the drawing left or right, draw the two additional reference points vertically. Choose Tablet from the Special menu. Uncheck Register Drawing. Check Shift Drawing. Uncheck Register Menu. Click OK. Digitize the additional origin and rotation reference point of the enlargement drawing. Shift the enlargement drawing so that the part of the artwork you want to digitize next, is within the active area of the digitizer tablet, and does not overlap the menu chart. Digitize the additional origin and rotation reference point again. The drawing is re-registered in the new position.
2. 3. 4. 5. 6. 7. 8. 9.
To shift the menu chart during digitizing
1. 2. 3. 4. 5. 6. 7.
Choose Tablet from the Special menu. Uncheck Register Drawing. Check Register Menu. Click OK. Digitize reference point 1 of the menu chart. Digitize reference point 2 of the menu chart. Digitize reference point 3 of the menu chart. The menu chart is re-registered in the new position.
Digitizing an enlargement drawing (21D, 45, 65)

270
Chapter 15. Using a digitizer tablet (21D, 45, 65) ES
When digitizing a drawing placed on a digitizer tablet, you can choose stitch types, input methods and other commands from a menu chart which is also placed on the tablet. It has colored squares, each of which has a different label on it, indicating a function. Instead of the mouse, you use the digitizer puck to mark reference points on the drawing, and choose commands from the menu chart. To do this, position the cross-hair of the puck over a point on the drawing, or over a menu square, and click a button. Position the cross hairs on a point on the enlargement drawing or a menu square, and press one of the four buttons on the digitizer puck depending on what you wish to do. See Table 6, Digitizer puck buttons, on page 271 for details. For example, digitize a point by positioning the cross hairs of the digitizer over the point and clicking button 1. See Table 7, Digitizer actions, on page 272 for details. Table 6: Digitizer puck buttons
Mouse or Keyboard Equivalent left mouse button right mouse button
SPACEBAR
Button
Description
Sound*
1 2 3
Used to input points which describe straight lines and corner points in outlines. Used to input curve points. Used to indicate the end of input with the last stitch omitted, i.e. ll is terminated on the opposite side to the last input point, or to change from a ll stitch type and input method which is being used, to Run, and back to ll. Used to indicate the end of input with the last stitch included. i.e. ll is terminated on the same side as the last input point, or to change from a ll stitch type and input method which is being used, to Manual, and back to ll.
Single beep Double beep Single beep
ENTER key
Double beep
* The sound associated with each button will depend on your PC.
ES
271
Table 7: Digitizer actions

Function Digitize a point Select a menu chart option Complete an input action Cancel an action Description position the cross hairs of the digitizer over the point and click button 1 position the cross hairs of the digitizer over the menu square and click button 1 click button 4 click button 3
Table 8: ES Menu chart icons (some commands are not available in all ES models)
Icon Function Icon Function Icon Function
save
information
undo
show all
previous view
redo center current stitch auto start/end
select all
redraw screen
de-select all
zoom box
zoom in 2x zoom out 2x TrueView
zoom 1:1 pan
zoom factor
Postshow
drawing show outline
show stitches
= optional
272
ES
Icon Function show needle points remove small stitches exit Icon Function show stitch lines show function symbols Icon Function
show connectors show grid
Satin
Tatami
Zigzag
E-Stitch
Program Split
Motif Fill
Contour
auto jump
stitch shortening auto underlay User Dened Split Coil
pull compensation Jagged Edge
fractional spacing Trapunto
Accordion Spacing Straight
3D
3 D Warp
Perpendicular Fill
Island Coil
Compound Chenille = optional
Chain
Moss
ES
273
needle height select object Input A 1. travel to start 2. travel to end Input B travel by object 1. backward 2. forward travel by segment 1. backward 2. forward travel by color 1. backward 2. forward travel by function 1. backward 2. forward
reshape object
stitch edit
Input C Complex Fill
1. keep last stitch 2. omit last stitch tie off
lettering
trim
Run
100
travel by 100 stitches 1. backward 2. forward travel by 10 stitches 1. backward 2. forward travel by 1 stitch 1. backward 2. forward
empty stitch next color
Triple Run
10 1
Motif Run
1. backtrack 2. repeat circle
Manual
ring
star
= optional
274
ES
make motif 1. spacing 1 2. spacing 2 3. spacing 3 4. spacing 4 generate stitches
select motif
use motif
1 4 3 2
auto spacing
auto split
needles in/out
borers in/out
fast
slow
auto frame
drop sequin
Stepp
Blatt
STOP
stop
1. insert function 2. delete function shift drawing
SPACE
shift menu
RETURN
TAB
DELETE
BACKSPACE
Cancel
No
Yes
= optional
ES
275
276
ES
Chapter 16.
Using a backdrop for on-screen digitizing

(21D, 45, 65)
With ES you no longer need to digitize exclusively from enlargement drawings. You can now digitize designs on-screen using an electronic drawing as a backdrop. The main advantage of on-screen digitizing is that you do not need to produce an enlargement drawing, so you can save considerable time and effort. Depending on the quality of the electronic drawing, you can produce the same high quality embroidery, as by using a digitizer tablet. Therefore, spending some extra time improving your electronic drawing is a worthwhile investment. There are two basic types of electronic drawingsvector drawings and bitmapped drawings. Vector drawings are generally better suited for digitizing. They have clear outlines, which remain thin even after zooming in to a small area, so that you can digitize the outlines very accurately. Bitmapped drawings can also be used, however, they are usually not as clear as vector drawings. You can insert a drawing le into ES. Several various le types can be used with ES. You can also copy and paste drawings into ES via the Windows 95 Clipboard. Several clip art libraries are available on the market, which provide suitable drawing les. As an alternative, scan artworks, or create your own. A vector or bitmapped drawing is treated by ES as a drawing object. It has general properties, but does not have embroidery properties, so it cannot be stitched. Before you start digitizing, scale the vector or bitmapped drawing to the size of the nal embroidery. You can modify it, if necessary, in the same way as any other objects. You can save a drawing with the design, or as a separate drawing le.
ES
277
Using a drawing as a backdrop (21D, 45, 65)

You can use two types of electronic drawingsvector drawings and bitmapped drawingsas backdrop for on-screen digitizing. Once the electronic drawing is complete, insert the entire le into ES, or copy and paste selected elements into ES via the Windows 95 Clipboard. A vector or bitmapped drawing is treated by ES as a drawing object. A drawing object only has general properties, such as size and orientation, but does not have embroidery properties, such as input method, stitch type and density, and therefore, drawing objects cannot be stitched. You can modify a drawing in the same way as other objects. Before you start digitizing, scale the backdrop to the size of the nal embroidery. Then lock it in place so that you do not move it accidentally during digitizing. You can also dim or hide it to see the stitches more clearly. You can save the modied drawing, and you can save it in your design, so that it is in place when you open the design next time.
Vector drawings
Vector drawings are generally better suited for digitizing. They have clear outlines, which remain thin even at a large zoom factor, so that you can digitize the outlines very accurately. Vector drawings may consist of several objects. You can scale, rotate, skew, group, ungroup, and even reshape drawing objects either in ES, or in the graphic application in which they were originally created. For best results, the vector drawing should be a black and white line drawing, corrected for the particular characteristics of embroidery in the same way as an enlargement drawing. For example, cut the shapes into smaller parts which can easily be lled with stitches, distort and overlap the shapes to compensate for the pull and push effects, and draw guidelines, such as stitch angles. You can obtain vector drawings from various clip art libraries, or you can create your own by using an object based graphic application, such as CorelDraw.
Bitmapped drawings
Bitmapped drawings can also be used as backdrops for digitizing. They consist of color dots or pixels. When you zoom in on a small area, the outlines become thick, and are displayed as a series of large, different color squares. Bitmapped drawings cannot be scaled, or rotated to a large extent.
278
Chapter 16. Using a backdrop for on-screen digitizing (21D, 45, 65)
ES
You can obtain a bitmapped drawing by scanning an artwork, or by selecting it from a clip art library. You can also create your own by using a pixel based paint program, such as Corel PhotoPaint, or Windows 95 Paint. If the bitmapped drawing is not clear enough, modify it in a paint program.
Bringing a drawing le into ES (21D, 45, 65)

A number of different types of drawing les can be inserted into ES, for example, *.DXF, *.BMP, *.PCX. Those le types which have been tested and approved to work correctly with ES are listed in the Open dialog box. You can try to insert any other type of le. Some will work with ES, others may not be displayed correctly, or may not be inserted at all. Drawings, or selected parts can be copied from their original application and pasted into ES via the Windows 95 Clipboard. Clip art designs are available for most computer graphic Tip applications. Many of these clip art designs are suitable for embroidery. Use the techniques described here to bring this clip art into ES.
To insert a drawing le
1. 2. 3. 4. 5. 6.
Open a new or existing design. Choose Drawing File from the Insert menu. When the Open dialog box appears, choose the folder where you keep your drawing files, and choose the correct file type. Choose the type of file you want from the drop-down list. Select a file by clicking its name in the list, or by typing the file name in text box. Click OK. The contents of the selected drawing file is inserted in the design.
To paste a drawing into ES via the Windows 95 Clipboard
1. 2.
ES
Start a graphic application, for example, CorelDraw 5.0 and create a drawing, or open a previously saved drawing le. Select the entire drawing, or the portion you want to paste into ES.
Bringing a drawing le into ES (21D, 45, 65)
279
3. 4. 5. 6.
Use the Copy command in the graphic application to place the selection on the Windows 95 Clipboard. Switch to the ES application using the standard Windows 95 commands. Open a new or existing design in ES. Choose Paste from the Edit menu. As an alternative, click the Paste button on the General toolbar. The file from the Clipboard is pasted into the ES design window. You may need to choose Show All to view the entire drawing.
Scanning artwork (21D, 45, 65)

Scanning produces a bitmapped drawing that you can use as a backdrop for on-screen digitizing in ES. You can scan practically any type of artwork: line drawing, photograph, color illustration, magazine cut-out, drawing from a clip art book, gift wrapping paper, card, letter head, business card, badge, existing embroidery, hand sketch, etc.
Tip
When scanning an object with a high gloss, such as a photograph or enamel badge, for better results, cover it with thin tracing paper. If you are scanning a small metallic object, you may want to cover the surface with a matte-nish transparent tape.
You can use any type of scanner supported by the Windows 95 operating system. You can scan an artwork from within ES, or in the application which came with your scanner.
Note Before you scan an artwork, make certain that your scanner is connected
to your computer and that it is operating correctly. See To set up the scanner using TWAIN on page 496 for details. See the documentation of your scanner for instructions on how to use it.
280
ES
To scan artwork from within ES
1. 2.
Choose Scan from the File menu. If your scanner is not setup, choose Scanner Setup from the File menu to choose the scanning application you want to use. When the next dialog box appears, which is different depending on the type of scanner you are using, select the options as required. You may select the following options, depending on the scanner you are using. Scanning resolution Most applications allow you to select the scanning resolution. Scanning resolution is the number of dots per inch (dpi) used to describe the image. The higher the number, the clearer the image. However, high-resolution images take longer to scan and take a great deal of disk storage space. For speed and disk-space economy, use the lowest acceptable resolution that gives you sufcient clarity when digitizing the design. Good results can be obtained with 75 dpi. Use the following table as a guide for setting the resolution. Table 9: Recommended scanning resolution
type of artwork business cards, letter heads hand sketches large photos and pictures commercial art, line drawing scanning resolution 300 dpi 150 dpi 100 dpi 50 dpi
Color mode Depending on your scanner, you may choose between black and white, grey scale and color image. Choose black and white if the original artwork is a black and white line drawing, because this will produce the best quality image and the smallest file size. For color artworks choose color scanning mode. For black and white photographs and illustrations choose grey scale scanning mode. Color and grey scale images are of the same complexity, and require approximately the same storage space on your hard disk.
3.
Scan the artwork. The scanned image appears on your screen. It is a bitmapped drawing, and it is treated by ES as a drawing object.
ES
Scanning artwork (21D, 45, 65)
281
Preparing a drawing for digitizing (21D, 45, 65)

You can scale, transform and arrange an inserted drawing interactively on the screen, or through the General tab of the Object Properties dialog box, in the same way as other objects.
Note Before you start digitizing, scale the inserted vector or bitmapped drawing
to the exact size of the nal embroidery. Move the vector or bitmapped drawing where you want to place the new embroidery objects in the design. This is important if you add new elements to an existing design, and want to use a backdrop for on-screen digitizing. Move the drawing in the same way as you would move other objects. You can rotate and mirror the drawing. This feature is useful if the original artwork was not straight, or was scanned upside down, or if the nished design is to be at an angle. Drawings can be rotated in one-degree increments. Within ES, drawings can be cut, copied and pasted in the same way as other objects. Multiple copies of a drawing can be used to digitize a complex design. Finally, lock the drawing to hold it in place during digitizing. Locking the drawing prevents it from being moved accidentally.
Scaling a drawing to the size of the nal embroidery

You can scale vector or bitmapped drawings in the same way as you scale embroidery objects. You can either scale a selecting drawing interactively on the screen by dragging a sizing handle, or you can type its exact measurements in the Properties dialog box. You can also scale a drawing by digitizing two signicant points on it, and specifying the required distance between them numerically. This method is specially designed for sizing drawings accurately to the size of the nal embroidery, however all drawing and embroidery objects can be scaled using this method.
To scale a drawing interactively on the screen
1. 2.
Select the drawing with the Select Object tool. Eight sizing handles appear around the extents of the drawing. Drag a sizing handle to reduce or enlarge the drawing. See Scaling and preserving stitch density (all products; whole design only in 5, 10) on page 307 for details.
282
ES
To specify the size of a drawing numerically
1. 2.
Select a drawing with the Select Object tool and click it with the right mouse button. When the Object Properties dialog box appears, click the General tab and type its measurements or the required change in percentage in the text boxes. If you want to scale the drawing proportionally, and it is important to achieve a certain size, type either the height or width in millimeters first, and check what the change is in percentage. Then change the other dimension by the same percentage. See To transform an object by specifying values numerically on page 312 for details. Click OK.
3.
To scale and rotate a drawing by digitizing two reference points
1. 2.
Select the drawing you wish to scale or rotate. This method is specially designed for scaling drawings which you intend to use as backdrop for on-screen digitizing. Choose two significant points on the drawing, then decide how far apart they should be on the final embroidery. For example, if you scan a badge which has lettering on the top and bottom on circular baselines, it is practical to digitize the centre of the circle, then a point on the circumference of the circle, because these two points define its radius. Then decide how many millimetrers the radius of the circle should be on the final embroidery. For example, you can think like this: the line which connects these two points should be 35mm on the final embroidery.
the line which connects these two points should be 35mm on the final embroidery
ES
Preparing a drawing for digitizing (21D, 45, 65)
283
3. 4.
Choose Set Scale and Angle from the Edit menu. When the Set Size and Angle dialog box appears, check Size, then specify what the distance should be between the two reference points after the drawing is scaled.
5. 6.
If you want to rotate the drawing as well, check Angle, then specify by how many degrees the line defined by the two reference points should be rotated. Digitize the two reference points. To constrain the line to increments of 15 degrees hold down the CTRL key. The distance between the two points changes to the specified size. The angle is changed so that the reference line is oriented to the specified angle.
To rotate a drawing for digitizing

s
To rotate and mirror a vector or bitmapped drawing, do one of the following. Select the drawing with the Select object tool, and click it one more time with the left mouse button. If required, move the anchor of rotation, then drag a rotate handle. See To rotate an object on page 311 for details. To rotate a drawing more accurately, or to mirror it, select it with the Select Object tool, then click it with the right mouse button. When the Object Properties dialog box appears, type the required rotation angle, and check Mirror in X or Mirror in Y in the General tab. See To transform an object by specifying values numerically on page 312 for details.
284
ES
To move a drawing
s s
Select the drawing with the Select Object tool, then drag it to its nal position. See To move an object on page 309 for details. As an alternative, press the UP, DOWN, LEFT or RIGHT ARROW keys to nudge the drawing for accurate placement. See To nudge an object on page 310 for details.
To lock and unlock a drawing
1. 2. 3.
Select the drawing to be locked. Choose Lock from the Arrange menu. See To lock an object on page 315 for details. To unlock the drawing, choose Unlock from the Arrange menu.
Viewing a backdrop during digitizing (21D, 45, 65)

You can hide or dim a drawing temporarily to see the object outlines and stitches more clearly during digitizing.
To show and hide a drawing

s s
To display the drawing, click the Show Drawing button on the General toolbar so that it is pressed down. To hide the drawing, click the Show Drawing button again. As an alternative, choose Options from the Special menu, and check or uncheck Drawing Objects in the View Drawing tab of the Options dialog box.
check
ES
Viewing a backdrop during digitizing (21D, 45, 65)
285
To dim a drawing
1. 2.
Choose Options from the Special menu. When the Options dialog box appears, click the View Drawing tab, check Drawing Objects, then check Dimmed.
check check
3.
Click OK. Now all drawing objects are dimmed. To display them properly again, uncheck Dimmed in the same way.
Deleting a drawing from the design (21D, 45, 65)

After completing digitizing, you can delete the electronic drawing from the design. If you insert the same drawing into the design again, you have to position it again.
To delete an image from a design
1. 2.
Select the drawing you want to delete from the design with the Select Object tool. Press the DEL key, or choose Delete from the Edit menu. If you delete a bitmapped drawing you have not saved after scanning, you will not be able to insert it again. Be sure to save any drawings you might want to use again. See To save a bitmapped drawing as a separate le on page 287 for details.
286
ES
Saving a drawing (21D, 45, 65)

If you scan an artwork from within ES, you need to save it on your hard disk as a separate le, otherwise you lose the scanned image. See To save a bitmapped drawing as a separate le on page 287 for details. When you save a design in ES after inserting or pasting a bitmapped drawing in it, ES only saves a reference to the drawing le and information about its position, but it does not incorporate the bitmapped drawing in the .EMB le. This is benecial because bitmapped drawings are large in le size, and thus your designs would require considerably more disk storage space. See To save a drawing with the design on page 288 for details. If you make changes to the bitmapped drawing, for example, scale it, the changes are not saved when you save the .EMB design. To preserve these changes, save the modied bitmapped drawing under a new name, then save the design. ES saves a reference to the new drawing le with the .EMB design. See To save a bitmapped drawing as a separate le on page 287 for details. When you open a design next time, it will be in the same status as it was when you last saved it. The bitmapped drawing will be in the correct position, and at the correct scale, so that you can continue digitizing. When you save a design after inserting or pasting a vector drawing into it, the vector drawing becomes part of the .EMB le. The objects of the vector drawing look similar to un-stitched embroidery objects, except that they do not have embroidery properties. However, you can add embroidery properties to them and stitch them, as explained in the chapter Point&Stitch (opt. 21D, 45, 65) on page 289.
To save a bitmapped drawing as a separate le
1. 2. 3. 4.
Select the bitmapped drawing you want to save with the Select Object tool. Choose Save Image As from the File menu. When the Save As dialog box appears, choose the folder where you want to place the new bitmapped drawing, choose the correct file type from the drop-down list, and type a new file name in the text box. Click OK. The bitmapped drawing is saved in the chosen format. When you save the .EMB design, ES will save a reference to this new bitmapped drawing with the .EMB design.
Note Bitmapped drawings require a good deal of disk storage space. Save only those drawings that you will reuse. Delete unneeded les after the design is digitized.
ES
Saving a drawing (21D, 45, 65)
287
To save a drawing with the design

s
Choose Save from the File menu. If you have inserted one or more bitmapped drawings into the design, a reference to these drawings will be saved with the .EMB file. If you have inserted or pasted vector drawings into the design, they will become part of the .EMB design.
288
ES
Chapter 17.
Point&Stitch
(opt. 21D, 45, 65)
One of the most convenient and time-saving features of ES is the capability to create embroidery objects from drawings made up of vector objectswithout the need for digitizing. This can be accomplished in two waysyou can either create vector objects in ES using one of the drawing tools, or you can insert or paste vector drawings from graphic applications such as CorelDraw. You can also use a combination of these two techniques in the same design. You can transform and reshape drawing objects, then you can convert them into to embroidery objects by applying an input method and a stitch type to them. For successful conversion, a drawing object must be a closed shape for ll stitching, or an open or closed shape for outline stitching. Using drawing objects does not replace traditional digitizing completely, as most clip art drawings, for example CorelDraw drawings are not suitable for stitching directly. These drawings were originally designed for printing, and have several overlapping objects, or open shapes which are not suitable for embroidery. It is recommended that you simplify these drawings using the graphic application in which they were originally created, before you insert or paste them in ES. However, for complex drawings, it is faster to insert the drawing as is, and re-digitize it in ES. Sometimes it is practical to combine the two methods: digitize complex parts of a design, then convert its simple objects into embroidery objects. Currently, not all types of stitches can be directly assigned to a drawing object.
ES
289
Working with drawing objects (opt. 21D, 45, 65)

Drawing objects have an object outline and general properties, such as size and position. They can be converted to embroidery objects by adding the missing embroidery properties by applying an input method and a stitch type to them. Drawing objects can be created directly in ES using one of the drawing tools, or they may be inserted or pasted from a graphic program via the Windows 95 Clipboard. An advantage of using vector objects is that it increases the exibility in the design process. It permits you to use drawing to create shapes rstwithout thinking about the stitching. After the artistic design is formed, the drawing objects can be converted to embroidery objects. You can also combine vector drawings with traditional digitizing, using whichever technique is most suitable.
Creating drawing objects using the drawing tools in ES (opt. 21D, 45, 65)
The drawing tools are very similar to the corresponding input methods.
To draw a single straight line
1. 2. 3.
Choose Drawing Object>Line from the Insert menu. Alternatively, click the Line button on the Drawing toolbar. With the left mouse button, click where you want the line to start, then click where you want the line to end. Press ENTER to finish the object. To constrain the line vertically, horizontally or in 15-degree angles, hold down the CTRL key as you mark the last point.
290
Chapter 17. Point&Stitch (opt. 21D, 45, 65)
ES
To draw a polyline
1. 2. 3.
Choose Drawing Object>Polyline from the Insert menu. Alternatively, you can click the Polyline button on the Drawing toolbar. Click where you want the line to start. If you want to draw several connecting lines , click the left mouse button to mark corner points, or the right button to mark curve points. Press ENTER to finish the object.
To draw a polygon
1. 2. 3.
Choose Drawing Object>Polygon from the Insert menu. Alternatively, click the Polygon button on the Drawing toolbar. Click where you want the line to start. To draw several connecting lines, click the left mouse button to mark corner points, or the right button to mark curve points. To constrain any portions of the shape, hold down the CTRL key as you mark a point. Press ENTER to close the shape and finish the object.
To draw a rectangle or square
1. 2.
Choose Drawing Object>Rectangle from the Insert menu. Alternatively, click the Rectangle button on the Drawing toolbar. Click to place the corner of the rectangle. Hold down the left mouse button as you drag diagonally across the area in which you want the object to appear.
Note To form a symmetrical square, hold down the CTRL key as you drag out the rectangle.
3. 4.
Click the mouse button when the rectangle is the correct size. Press ENTER to finish the object.
ES
Creating drawing objects using the drawing tools in ES (opt. 21D, 45, 65)
291
To draw a circle or oval
1. 2. 3. 4. 5. 6.
Choose Drawing Object>Circle from the Insert menu. Alternatively, click the Circle button on the Drawing toolbar. Place your pointer on the screen where you want the center of the circle. Hold down the left mouse button as you drag out a circle or oval to the desired size. When the desired diameter is reached, mark the diameter point with the left mouse button. If you want a symmetrical circle, press the ENTER key. If you want an oval, drag the object to the correct shape, then mark a point to determine the oval. Press ENTER to finish the oval.
Bringing drawing objects into ES from other applications (opt. 21D, 45, 65)
You can only convert objects of vector drawings into embroidery objects. Make sure that you create or select a vector drawing, as bitmapped drawings cannot be converted into embroidery objects. You can insert an entire drawing le in a design, or you can copy and paste drawing objects from a graphic application via the Windows 95 Clipboard.
To paste a vector drawing into ES
1.
Open a vector-based graphic application, such as CorelDraw, and create a new drawing, or open an existing drawing le.
vector-based drawing objects created in CorelDraw.
292
ES
2. 3. 4. 5.
Select the entire drawing, or that portion you want to paste into ES. Choose Copy from the Edit menu in the graphic application to place the selection on the Clipboard. Switch to the ES application using the standard Windows 95 commands, and open a new or existing design. Choose Paste from the Edit menu in ES. Alternatively, click the Paste button on the General toolbar. The drawing from the Clipboard is pasted into the ES design window.
drawing objects pasted into ES
Tip
In some clip art libraries a drawing may be available in both vector and bitmapped format. It is useful to insert or paste both of them into the design, either on the top or next to each other, especially if the vector drawing is complex. Use the bitmapped drawing as a guide for selecting colors, and deleting unnecessary objects from the vector drawing.
6.
Ungroup the vector drawing into individual drawing objects, if necessary. Now you can apply embroidery properties to the suitable drawing objects.
ES
Bringing drawing objects into ES from other applications (opt. 21D, 45, 65)
293
Adding embroidery properties to drawing objects (opt. 21D, 45, 65)

To convert a drawing object to an embroidery, you need to add embroidery properties to the object. To do this, apply a suitable input method, stitch type and thread color to the selected object. The objects will be stitched in the order as you convert them. For example, you can apply Run, Triple Run, Motif Fill, or Input C with Satin stitch to a line or polyline. Or you can apply Complex Fill and Tatami to a closed shape or polygon. This procedure is very similar to digitizing objects, except that you do not need to mark reference points. Apart from this, you need to make the same selections as during digitizing.
Tip
You can also convert an embroidery object to a different type by applying a different input method to it. For example, you can convert a Run object into Input C, and vice versa.
Before you start converting drawing objects into embroidery objects, it is recommended that you familiarize yourself with the basic digitizing techniques.
To convert drawing objects to embroidery objects
1. 2. 3.
Select the drawing object you want to convert with the Select Object tool. For Complex Fill, you may select several drawing objects, if they satisfy the rules of Complex Fill boundaries. Choose a thread color for the object by clicking a thread number on the color toolbar. Choose a a suitable input method by clicking the appropriate button on the Input Method toolbar. If the selected drawing object is an open shape, line, choose Run, Triple Run, Motif Run or Input C. You can apply these input methods for closed shapes as well, if you want to stitch their outlines. If the selected drawing object is a closed shape, choose Complex Fill. For the ll input methods,Complex Fill and Input Cthe last selected stitch types and properties will be used. Depending on the selected input method, ES may prompt you to provide additional information. For Complex Fill mark the entry and exit points, and two reference points to define the stitch angle. For Input C, mark two points for the width.
4.
294
ES
If Generate Stitches is turned on, the shape is lled with stitches immediately.
converted to Input C
converted to Complex Fill
digitized with Input A
The stitches are generated according to the current properties of the selected input method. For ll input methods, the current properties include the stitch type as well.
Tip Before you apply an input method to a drawing object, select the correct properties. For Complex Fill and Input C, select a stitch type, and turn on the desired effects.
ES
Adding embroidery properties to drawing objects (opt. 21D, 45, 65)
295
296
ES
PART III
Modifying designs
ES
297
298
ES
Chapter 18.
Modifying objects
(all products)
A design is made up of a series of embroidery objects of different types. Once created, objects can be modied in a variety of ways. Before changes can be made to an object, it must be selected. ES provides a number of ways of selecting objects. Changes can be made to individual objects or to a group. You can modify an object interactively on the screen using handles and control points, or numerically by typing the precise values in the General tab of the Object Properties dialog box.
ES
299
Working with objects and stitches (all except 5,10)

A design is dened in terms of objects and stitches. When creating a design, you create a series of embroidery objects by digitizing their outlines and dening their embroidery properties. Then the digitized outlines are lled with stitches, according to the properties of the objects. You can modify a design by
s s s
transforming objects: scale, move, rotate, skew, mirror, reshaping the outline of the objects, or distorting their outline by using an envelope, editing the resulting stitches. ES provides different selection tools for each of these operations, which allow you access to different parts of the object. Select an object with the Select Object tool for transformations, or if you want to change its properties, or Reshape tool if you want to reshape its outline or envelope. Select individual stitches with the Stitch Edit tool. When you transform an object, or reshape its outline, the stitches are re-generated according to its properties to ll the new outline. When you edit the resulting stitches, your changes are only temporary. If you modify that object later, and the stitches are re-generated, all the changes you made to the stitches before, will be lost. See Editing selected stitches (all except 5, 10) on page 345 for details.
s s
Note It is recommended that you modify the outline or the properties of an

object, rather than the resulting stitches.
300
ES
Select objects to scale and transform (all except 5,10)

Before you can move, scale, rotate and skew an object, you must select it rst using the Select Object tool. You can select a single object, several individual objects, or a range of consecutive objects. To cancel a selection, press the ESC key, or click the Cancel button on the Pointer toolbar, or select another object. You can also click on an empty area of the background which is not occupied by other objects.
Selecting a single object (all except 5,10; lettering only in 21L)

To select an object, simply click on it with the Select Object tool. You can easily select the next and previous object, or the rst and last object in a design.
To select an object
1. 2.
Click the Select Object tool on the Pointer toolbar. Click the object you want to select using the left mouse button. An object becomes selected if you click a point within its extents, even if that point is outside its actual shape outline.The object changes color to indicate selection and eight sizing handles are displayed showing the extents of the object.
left button: click object to show sizing handles
If you want to select an object which is behind other objects, click a point on its outline. Zoom in to see its outline clearly. If you click the outline of an object, it becomes selected, even if there are other objects in front of it. If there are several overlapping objects, it may be difficult to click on a particular outline. In this case position the pointer over the object, hold down the number 2 key, and click the left mouse button repeatedly until the required object is selected. Each click will select the next overlapping object.
ES
301
To select the rst or last object in the design
1. 2. 3.
Make sure that no objects are selected. See To select or deselect all objects of a design on page 302 for details. Click the Select Object tool on the Pointer toolbar. Press the TAB key to select the first object, or SHIFT+TAB to select the last object in the design.
To select the next or previous object
1. 2. 3.
s s
Click the Select Object tool on the Pointer toolbar. Click an object to select it. Do one of the following: Press the TAB key to select the next object in the stitching sequence. Press SHIFT+TAB to select the previous object in the stitching sequence. See To select objects while travelling through the design
on page 342 for details.
Selecting all objects in a design (all products)

You can use the Edit menu to select or deselect all the objects of a design. This is an effective way to ensure that the entire design is either selected or deselected.
To select or deselect all objects of a design

s s
Choose Select All from the Edit menu to select all objects. Sizing handles are displayed around the entire design. Choose Deselect All from the Edit menu to deselect any currently selected objects.
302
ES
Selecting several objects (all except 5,10; lettering only in 21L)

You can either click each object you want to select, or you can drag a box called bounding outline around them. The objects which are covered by the bounding outline become selected. Another way of selecting multiple objects is to travel through the design while holding down the CTRL key. See To select objects while travelling through the design on page 342 for details.
To select several individual objects
1. 2. 3.
Click the Select Object button on the Pointer toolbar. Click an object with the left mouse button. Hold down the CTRL key and click another object with the left mouse button. As each object is selected, sizing handles are displayed around the objects as a group. If you click a selected object while holding down the CTRL key, that object is deselected without affecting the other selected objects.
click an object with the left mouse button
CTRL
hold down CTRL and click another object with the left mouse button
When you select another object, any previously selected objects are deselected. To cancel a selection, click the Cancel button on the Pointer toolbar or press the ESC key.
ES
303
To select a range of consecutive objects
1. 2. 3.
Click the Select Object button on the Pointer toolbar. Hold down the SHIFT key and select the first object of the range using the left mouse button. Select the last object of the range and release the SHIFT key. Eight sizing handles are displayed around the objects selected.
click the rst object with the left mouse button
SHIFT
hold down SHIFT and click the last object with the left mouse button
When you select another object, any previously selected objects are deselected. As an alternative, hold down the CTRL key, then press TAB or SHIFT+TAB repeatedly to add the next or previous objects to the selection. To cancel a selection, click the Cancel button on the Pointer toolbar or press the ESC key.
304
ES
To select objects using a bounding outline
1. 2.
Choose the Select Object tool from the Pointer toolbar. Hold the left mouse button down and drag the bounding outline over the design. Start at a point on the design window which does not contain any objects. This prevents any accidental object move. A bounding outline (dotted rectangle) is formed from one corner to the diagonally opposite corner. Release the button to select the objects within the bounding outline. Eight sizing handles are displayed around all the objects selected. When you select another object, any previously selected objects are deselected. To cancel a selection, click the Cancel button on the Pointer toolbar or press the ESC key.
3.
two objects are selected left button: drag a bounding outline around the objects
Note Only the objects wholly within the bounding outline will be selected.
ES
305
Selecting objects by their color (all except 5,10)

You can select all objects stitched with the same thread with a single command. For example, if a thread contrasts the color of the background fabric, more stitches may be required to cover the fabric properly. In this case it is practical to select all objects which use that thread and adjust their stitch density at the same time.
To select objects by color
1. 2.
From the Edit menu, choose Select by Color. When the Select by Color dialog box appears, choose one or more thread colors from the list.
To select more than one color, hold down the CTRL key as you select colors. To select a range of colors, select the first color, then hold down the SHIFT key and click the last color in the range that you want to select. All colors between the first and last selected color become highlighted.
3.
Click OK. All objects the color property of which matches a chose thread color, will become selected.
Note If an object has a manually inserted color change function, it will not be
selected, even if its stitches are displayed is a matching thread color. Inserting a color change function manually does not change the color property of an object, even though its stitches are displayed ia different thread color. For example, if you select letters or words in a lettering object with the I-beam, then re-color them, the color property of the entire lettering object does not change.
306
ES
Scaling and preserving stitch density

(all products; whole design only in 5, 10) When an object is scaled, all its embroidery properties, including stitch density are preserved. When the modication is complete, the stitches are re-generated according to the properties of the object to ll the modied outline. You can select one or several objects for scaling. You can even select the entire design. Before scaling several objects, it is recommended that you group them. See Grouping objects (all except 5,10, 21L) on page 315 for details. You can enlarge or reduce objects horizontally, vertically, or equally in both directions (proportionally). You can scale objects interactively on the screen by dragging the resize handles, or by specifying their new size numerically in the General tab of the Object Properties dialog box. See To transform an object by specifying values numerically on page 312 for details.
To scale an object preserving the stitch density

As an object is reduced or enlarged, the stitch count changes respectively to preserve the stitch density.
1. 2.
Select one or several objects with the Select Object tool. Eight sizing handles are displayed at the extent of the object. Drag a sizing handle to change the scale of the object using the left mouse button. Dragging away from the object increases the object scale. Dragging toward the center of the object reduces the object scale. A shadow outline of the object and cross-hairs show the size of the scaled object.
ES
Scaling and preserving stitch density (all products; whole design only in 5, 10)
307
The sizing handles in the corners scale the object proportionally. The opposite corner is anchored and the object is scaled proportionally from the anchored point. Hold SHIFT while dragging to anchor the center of the object and scale proportionally about the center.
drag
scale proportionally about the center
SHIFT + drag
Sizing handles at the center top and center bottom of the object scale the object vertically. The opposite corner is anchored and the object is scaled proportionally from the anchored point. Hold SHIFT while dragging to anchor the center of the object and scale vertically equally from the center.
drag scale vertically in both directions about the center
scale vertically drag

SHIFT + drag
308
ES
Sizing handles at the center sides of the object scale the object horizontally. The opposite corner is anchored and the object is scaled proportionally from the anchored point. Hold SHIFT while dragging to anchor the center of the object and scale vertically equally from the center.
drag
SHIFT
+ drag scale horizontally scale horizontally scale horizontally about the center
3.
Release the mouse button to place the new object outline.
Transforming objects (whole design only in 5,10; lettering only in 21L)

You can move, rotate and skew one or several selected objects. You can also delete selected objects if required. After transforming an object, the stitches are re-generated according to the object properties to ll the modied outline. You can transform objects interactively on the screen, or by specifying their new position and orientation numerically in the General tab of the Object Properties dialog box. Using the dialog box, you can also mirror selected objectsip up/down, or left/right. See To transform an object by specifying values numerically on page 312 for details.
Moving objects (all except 5,10)

You can move an object in two different ways: you can either drag it using the mouse, or you can press the ARROW keys to nudge it by small amounts for precise placement.
To move an object
1. 2. 3.
ES
Select one or several objects with the Select Object tool. Position the pointer on the top of the selected object or objects. Hold the left mouse down and drag the object to the new position.
309
A shadow outline of the object and cross-hairs are provided for accurate positioning.
4.
Release the mouse button to place the object at the new position. ES automatically re-generates the connectors, and depending on the object properties, modifies the trims, tie-in and tie-off stitches if necessary.
To nudge an object
1. 2. 3.
Select one or several objects with the Select Object tool. To make very ne adjustments, zoom in on the object to achieve greater accuracy. Press the UP or DOWN, or LEFT or RIGHT ARROW key repeatedly to move the selected objects by small increments in the desired direction. The actual distance the object moves depends on the current zoom factor. For precise placement, zoom in on a signicant point.
Deleting objects (all except 5,10)

To delete an object
1. 2.
Select one or several objects with the Select Object tool. Press the DEL key. As an alternative, choose Delete from the Edit menu. The selected objects are deleted. ES automatically re-generates the connectors, and depending on the object properties, modifies the trims, tie-in and tie-off stitches if necessary.
Note The deleted object can be restored using the Undo function. See To
undo and redo a command on page 37 for details.
Rotating and skewing objects (whole design only in 5,10; lettering only in 21L)
When you click an object with the Select Object tool, the sizing handles appear. If you click on the same object again, new handles appear, which you can drag to rotate or skew the selected object.
310
ES
To rotate an object
1. 2.
Select one or several objects with the Select Object tool. Click a second time on the object using the left mouse button. Rotation handles appear at the corners of the object and an anchor point is displayed at the center of the object.
skew handle rotation handle
anchor point
rst clickwith left button displays sizing handles
second click with the left button displays rotation handles
Note The two clicks should be done slowly. A rapid double click of the left mouse button displays the Object Properties dialog box.
3. 4.
Select the anchor of rotation. To change the anchor of rotation, drag the anchor point from the center to the desired position. Rotate the object. To rotate the object, drag a rotation handle in a corner clockwise or anti-clockwise. A shadow of the object and cross-hairs are provided as a guide to accurate rotation.
drag a corner to rotate about the anchor point
drag the anchor point
drag a corner to rotate about the anchor point
5.
Release the mouse button when the angle is correct.
ES
311
ES automatically re-generates the connectors, and depending on the object properties, modifies the trims, tie-in and tie-off stitches if necessary.
To skew an object
1. 2. 3.
Select one or several objects with the Select Object tool. Click a second time on the object. Skew handles appear at the center of the top and bottom of the object. Drag the skew handles to the left or to the right to skew the object. The object skews along the horizontal plane. The shadow outline of the object and cross-hairs show the changed shape of the object.
drag a skew handle to skew the object
4.
Release the mouse button when the angle is correct. ES automatically re-generates the connectors, and depending on the object properties, modifies the trims, tie-in and tie-off stitches if necessary.
Specifying size and orientation numerically

(whole design in 5,10; letters in 21L) In General tab of the Object Properties dialog box you can specify the position, size, rotation angle and orientation of selected objects numerically. You may prefer this method if you want to position or size and object precisely. The General tab of the Object Properties dialog box also allows you to mirror selected objects, which cannot be done interactively on the screen.
To transform an object by specifying values numerically
1. 2.
Select one or several objects with the Select Object tool. Click the selected objects with right mouse button. As an alternative, choose Object Properties from the Stitch menu.
312
ES
3.
When the Object Properties dialog box appears, click the General tab.
Dimensions Change the dimensions of an object by typing the height and width in mm, or by typing the required change as a percentage.
Note After the dimensions have changed, the new object size is 100%. On subsequent changes to the dimensions of the object, changes are made as if the current size is 100%.
Position Change the position of the object by typing the X co-ordinate and the Y co-ordinate of the center point of the selected object (or objects) in the text boxes. When you start a new design, ES automatically defines the 0,0 point of the design. The values you type for position are absolute co-ordinates, which indicate the horizontal (X) and vertical (Y) distance of the center point of the selected object from the 0,0 point of the design. Transform To flip the object up/down, check the In X box. To flip the object left/right, check the In Y box. To rotate the object, type the angle in degrees in the Rotate By text box. To skew the object, type the angle in degrees in the Skew By text box.
4.
Click OK.
ES
313
Mirroring objects (whole design only in 5,10; lettering only in 21L)

You can ip object left/right, or up/down using the General tab of the Object Properties dialog box.
To ip an object left/right
1. 2. 3. 4. 5.
Select one or several objects with the Select Object tool. Click the selected objects with the right mouse button to display the Object Properties dialog box. Click the General tab. Check Mirror in X. Click OK. The object is flipped left/right. You may need to modify the entry and exit points of the object by using the Reshape tool. See Reshaping objects (all except 5,10; lettering only in 21L) on page 316 for details.
To ip objects up/down
1. 2. 3. 4. 5.
Select one or several objects with the Select Object tool. Click the selected objects with the right mouse button to display the Object Properties dialog box. Click the General tab. Select Mirror in Y. Click OK. The object is flipped up/down. You may need to modify the entry and exit points of the object by using the Reshape tool. See Reshaping objects (all except 5,10; lettering only in 21L) on page 316 for details.
314
ES
Arranging objects (all except 5,10)

Locking objects
Objects can be locked to prevent unintentional modication. It is useful to lock a drawing le which you are using as a backdrop for on-screen digitizing. Locked objects can be unlocked for modication.
To lock an object
1. 2.
Select the object to be locked with the Select Object tool. Eight sizing handles are displayed at the extents of the object. Choose Lock from the Arrange menu. The resize handles disappear indicating that the object cannot be selected now. This prevents you from moving or modifying the object in any way by accident.
To unlock an object
You cannot unlock individual objects, because once an object is locked, you cannot select it any more. Therefore, you can only unlock all locked objects together. Choose Unlock from the Arrange menu. All locked objects are unlocked now. There is no visual feedback about the changed status of the objects. To check that an object is unlocked, try to select it. When you click on a previously locked object with the Select Object tool, eight resize handles should appear at its extents now.
Grouping objects (all except 5,10, 21L)

When individual objects are grouped, they behave like a single object. A group of objects can be transformed, re-colored, and distorted with an envelope. The objects which belong to that group, can be reshaped individually. However, you cannot change the embroidery properties of grouped objects. If you want to change their embroidery properties, ungroup the objects rst.
ES
Arranging objects (all except 5,10)
315
Several objects, and even the entire design can be grouped. For example, within a fruit bowl, all the objects making up an apple can be grouped and then the entire collection can be grouped. If the entire design is ungrouped, the apple, in this case remains grouped until individually ungrouped.
To group objects
1. 2.
Select the objects to be grouped with the Select Object tool. The sizing handles show the extents of the entire group. Click the Group tool on the General toolbar. As an alternative, choose Group from the Arrange menu. The Group tool on the General toolbar is dimmed indicating an object group.
To ungroup objects
1. 2.
Select a group of objects to be ungrouped with the Select Object tool. The sizing handles show the extents of the group. The Group tool on the General toolbar is dimmed indicating that the selected objects are already grouped. Choose the Ungroup tool on the General toolbar. As an alternative, choose Ungroup from the Arrange menu. The objects are separated into the individual objects and remain selected.The Ungroup tool is dimmed. To cancel the selection, click on an empty part of the Designer window, or click the Cancel tool on the Pointer toolbar, or press the ESC key. As an alternative, choose Deselect All from the Edit menu.
Reshaping objects (all except 5,10; lettering only in 21L)

You can modify the outline of an object by using the Reshape tool. The reference points you marked when digitizing the object become the reshape control points. Control points are displayed on the object outline and are used to reshape the object. Most control points can be added, removed, moved or changed (to either corner or curve points). Some control points have a specic function and cannot be deleted, for example the entry point marker.
316
ES
As modications are made to an object, a shadow outline of the object is displayed showing the proposed outline. You can make any number of modications before accepting the changes and re-generating the stitches. Different types of objects are reshaped differently, depending the input method in which they were created.
Tip When reshaping the outline of filled shapes, it may be useful to hide the stitches temporarily until the reshape is complete. Once the modication is complete, show the stitches again. To reshape an object
1. 2.
Click the Reshape button on the Pointer toolbar. Click the object you want to reshape with the left mouse button. The reshape control points are displayed on the object outline.
entry point entry point exit point corner point corner point curve point exit point control points
Note If the object was previously selected with the Select Object tool, the object will be automatically selected when you click the Reshape button on the Pointer toolbar.
3.
Select one or several control points . To select a single control point, click the control point with the left mouse button. To select multiple control points, press CTRL and click each control point with the left mouse button. To select a range of control points, press SHIFT and click the first in the range and the last in the range with the left mouse button. To select control points with a bounding outline, drag the mouse from one corner to the diagonally opposite corner. A dotted rectangle is displayed. All the control points wholly within the bounding outline are selected. The control point changes color indicating selection.
ES
317
4.
Modify the selected control point to reshape the outline of the object. To move the control point, drag it to the new position. To move multiple control points, select the control points to move, then drag one of the control points. All selected points move together in the same direction. This is useful when modifying Satin or Zigzag columns. To change the type of the control point, press the SPACEBAR. If you select a corner point, it becomes a curve point. Similarly, if you select a curve point, it becomes a corner point. To delete the control point, press the DEL key. To add a corner point, click on the object outline with the left mouse button. To add a curve point, click on the object outline with the right mouse button. The shadow outline shows the new object outline as you modify the control points. Objects created with some input methods have special control points. For example, objects created with Input C have a control point which can be used to modify the width of the object. Move the entry and exit points if required. Press the ENTER key to accept the new outline and re-generate the stitches. If you change your mind, press ESC to cancel the action.
5. 6.
Reshaping objects having different input methods (21E/D, 25, 45, 65)
You need to follow the same basic steps to reshape all types of objects. However, objects created with different input methods have some special properties, therefore they are reshaped slightly differently.
Run and Triple Run objects (21E/D, 25, 45, 65)

Both Run and Triple Run objects are reshaped in the same way. When you click a Run or Triple Run object with the Reshape tool, the reshape control points are displayed on the object outline. Control points can be added, removed, moved or changed to modify the object outline. See To reshape an object on page 317 for details. If all the control points are deleted, the entire object is removed. You can swap the entry and exit points of Run and Triple Run objects.
318
ES
Input A objects (21D, 25, 45, 65)

Input A objects are created by marking pairs of reference points, therefore the object is reshaped in relation to pairs of control points.
Tip It is useful to show the stitches while reshaping an Input A object, to see the effects of any stitch angle changes.
When you click an Input A object with the Reshape tool, the reshape control points are displayed on the object outline. Each pair is joined by a single line which indicates the stitch angle. The entry point is indicated by a diamond, and the exit point by a cross.
entry point stitch angle exit point
Control points can be added, removed, moved, or changed. See To reshape an object on page 317 for details. When you add or remove a control point, the control point on the opposite side of the column is added or removed respectively.
Note If an object has only four control points, deleting one of these will delete the entire object.
The stitch angle is determined by the slope between each pair of control points in relation to the next pair of control points. To adjust a stitch angle, move a control point along the object outline. A shadow outline of the object shows the changes. You can move the entry point and the exit point to any position. If you move the exit point to the same side of the column where the entry point is, the last stitch will be omitted.
Input B objects (25, 45, 65)

Input B objects are created by marking reference point on the first, then on the second outline of the column. The stitch angle is determined by the two lines connecting the first and last reference points on the two sides of the column. The stitches turn evenly throughout the shape.
ES
319
When you click an Input B object with the Reshape tool, the reshape control points are displayed on the object outline. The entry point is indicated by a diamond and the exit point by a cross.
entry point
exit point
Control points can be added, removed, moved, or changed type. See To reshape an object on page 317 for details.
Note If an object has only four control points, deleting one of these will delete the entire object.
The shadow outline of the object shows the changes. The entry point and the exit point can be moved to any point. If you move the exit point to the same side of the column where the entry point is, the last stitch will be omitted.
Input C objects (25, 45, 65)

Input C objects are created by marking reference points on the center line of the column, then marking two points to define the column width. When you click an Input C Object with the Reshape tool, the reshape control points are displayed on the object outline. The entry point is indicated by a diamond and the exit point by a cross.
column width
entry point
Control points can be added, removed, moved, or changed. See To reshape an object on page 317 for details. The shadow outline of the object shows the changes.
Note If an object has only two control points, deleting one of these will delete the entire object.
You can change the entry and exit points of Input C objects. The column width control points can be moved, but not deleted. The column side and the corner fraction, as well as the column width, can be changed through the Input C tab of the Object Properties dialog box. See Selecting Input C options (25, 45, 65) on page 89 for details.
320
ES
Complex Fill objects (25, 45, 65)

Complex Fill objects are created by marking reference points around the outside boundary of the shape. If the shape has holes, internal boundaries can also be digitized. When you click a Complex Fill object with the Reshape tool, the reshape control points are displayed on the boundaries. The stitch angle line is indicated by a line with control points at each end. The entry point is indicated by a diamond and the exit point by a cross.
entry point
exit point stitch angle
Control points can be added, removed, moved or changed. See To reshape an object on page 317 for details. The shadow outline of the object shows the changes. To change the stitch angle, drag the end points of the stitch angle line. To change the entry and exit points, move the diamond and the cross. You can also add extra boundaries to a Complex Fill object subsequently. See Adding boundaries to a Complex Fill object (25, 45, 65) on page 102 for details. If required, you can also remove boundaries subsequently from a Complex Fill object. See To remove boundaries from a Complex Fill object (25, 45, 65) on page 322 for details.
ES
321
To remove boundaries from a Complex Fill object (25, 45, 65)
1. 2.
Click a Complex Fill object with the Reshape tool. The reshape control points are displayed on the object outline. Select all the control points on the boundary to be removed. Drag a bounding outline around the boundary to select all of its control points. See To reshape an object on page 317 for details.
drag a bounding outline around the control points you want to delete
3. 4.
Choose Delete from the Edit menu or press the DEL key. The boundary is removed from the object. Press the ENTER key to accept the new outline and re-generate the stitches. If you change your mind, press ESC to cancel the action.
322
ES
Manual and Triple Manual objects (Manual: all except 5, 10; Triple Manual:
21D, 25, 45, 65) Manual and Triple Manual objects are reshaped in the same way. Manual and Triple Manual objects are created by marking each needle penetration point. Reshaping the object outline gives the same result as editing individual stitches. When you click a Manual or Triple Manual object with the Reshape tool, the object outline changes color to indicate selection. The reshape control points are displayed on the object outline. Each control point is a needle penetration point. The entry point is indicated by a diamond.
control point
entry point
Control points can be added, removed or moved. See To reshape an object on page 317 for details. You can also change the type of the control points. In a Manual object, a point can indicate either a needle penetration, or a jump. Switch a selected control point between a needle penetration or a jump by pressing the SPACE key. A jump is connected to the previous point with a dotted line.
ES
323
Circle and Star objects (65)

The Circle input method is used to create circles and ovals which are lled with parallel stitching. Using the Reshape tool you can change the position, the radius and the stitch angle of a Circle object. When you click a Circle object with the Reshape tool, two reshape control points and the stitch entry point (shown as a diamond) are displayed on the object outline. The center point of the circle is also displayed.
entry point
90 center point control point stitch angle
To move the object, drag the center point to a new position. The entire object is moved with the center point. The shadow outline of the object is provided for accurate positioning. To change the entry point, move the diamond along the circumference of the circle. This will also affect the stitch angle, because the stitch angle is always perpendicular to the line which connects the entry point to the circle center. To change the radius of the circle, move the control point on the top of the circle up and down, or move the control point on the right side of the circle left and right. You may hold down the CTRL key to constrain the movement to perfectly horizontal. It is easy to change a circle to an oval, or an oval to a circle this way. If you are reshaping an oval, you can rotate it about its center, as well as changing its radius, by moving the control point on the right side of the oval along the circumference. In this case do not hold down any key. A shadow outline of the circle or oval shows the sizing of the object. If you want to scale a perfect circle without changing it to an oval, select the object with the Select Object tool and drag a sizing handle in a corner. This will scale the circle proportionally. Reshape objects created with the Star input method in the same way as you reshape Circle objects. The only difference is that Star objects are lled with turning stitches. The stitch angle is turning evenly around the center point, thus moving the diamond only changes the stitch entry point, but does not affect the angle of the stitches.
324
ES
Ring objects (65)

Reshaping objects created with the Ring input method is similar to reshaping Circle objects, except Ring objects have two boundaries. When you click a Ring object with the Reshape tool, two reshape control points and the stitch entry point (shown as a diamond) are displayed on the two boundaries.
entry point center point may not be visible
control point
To change the size of a Ring object, select a control point on a boundary and drag toward the center of the object to reduce or away from the center of the object to increase. The center point of the Ring objects may not be visible initially. This is because Ring objects have two center points on the top of each other. Click where you estimate the position of the center point. The center point becomes visible, so that you can drag it to move a boundary of the Ring object. The two boundaries are not restricted to concentricity. Each boundary can be moved independently of the other to create interesting effects. To move one boundary away from the other, position the pointer in the center of the object and drag with the left mouse button. The shadow outline of one boundary of the object, indicates the new location. Release the mouse button to place the boundary at the new location. Use the same procedure to drag the other boundary.
drag center point
now both drag center points are visible
ES
325
To change the entry point, drag the diamond to a new position. You can move the entry point from one boundary to the other. Generally, it is better to stitch a ring from inside towards the outside, otherwise the fabric is pushed towards the centre of the shape. As ring objects are lled with turning stitches, moving the diamond only changes the stitch entry point, but does not affect the angle of the stitches.
Distort objects using envelopes (25, 45, 65; opt. 21L/E/D)

Envelopes are simple geometrical shapes. When you apply an envelope to an object, its original outline is distorted to follow the new shape. In embroidery, envelopes are often used for lettering objects.
To distort an object using an envelope

To distort an object using an envelope, an envelope is applied to the object and then the object can be distorted.
1.
Select a single object with the Select Object tool. You can only select one object at a time. If you want to apply an envelope to several objects, group them first, then apply the envelope. See Grouping objects (all except 5,10, 21L) on page 315 for details. Choose Envelope from the Edit menu, then choose an envelope typeBridge, Pennant, Perspective, or Diamondfrom the submenu to apply an envelope to the selected object. For example, choose Pennant. Initially, each type of envelope is shaped as a simple rectangle. The envelope is placed around the object and reshape control points are displayed on its outline. The Reshape tool is automatically chosen. Reshape the envelope by moving its control points to distort the original outline of the selected object.
envelope drag
2.
3.
abc
apply envelope
control point
abc
reshape envelope
press
ENTER
326
ES
See Reshaping various types of envelopes (25, 45, 65; opt. 21L/E/D) on page 327 for details.
4.
Press the ENTER key to accept the new outline and re-generate the stitches.
Note You can remove the envelope from the object by choosing
Envelope>Delete form the Edit menu. The object reverts back to its original state.
Reshaping various types of envelopes (25, 45, 65; opt. 21L/E/D)

Bridge
The Bridge envelope has two control points, one at the top and one at the bottom of the envelope. When the control points are dragged, they form arcs. To drag the arcs in opposite directions, hold the SHIFT key while dragging a control point. To drag both arcs in the same direction, hold the CTRL key while dragging a control point.
drag drag
SHIFT+drag CTRL+drag
abc
abc
abc
abc
ES
327
Pennant
The Pennant envelope has four control points at the corners of the envelope. Each control point can be dragged up or down in a vertical direction.
drag drag
abc
abc
abc
abc
To drag two end control points in opposite directions, hold the SHIFT key while dragging a control point. To drag both end control points in the same direction, hold the CTRL key while dragging a control point.
Perspective
The Perspective envelope has four control points, one at each corner of the envelope. Each control point can be dragged in any direction, as long as the lines do not cross.
drag
drag
drag
abc
abc
abc
328
ES
Diamond
The diamond envelope is particularly suitable for tree letter monograms. It has six control points. Control points at each corner and a control point at the center top and center bottom of the envelope. Each control point can be dragged up or down in a vertical direction.
drag drag
abc
abc
abc
abc
To drag two end control points in opposite directions, hold the SHIFT key while dragging a control point. To drag four end control points in opposite directions, hold the CTRL key while dragging a corner control point. To drag two center control points in opposite directions, hold the SHIFT key while dragging a center control point. To drag two center control points in the same direction, hold the CTRL key while dragging a center control point.
drag drag
abc
abc
abc
abc
ES
329
330
ES
Chapter 19.
Combine objects & designs
(all except 5,10; letters only in 21L)
ES provides the ability to copy all or part of a design which may then be pasted into another design. One or more objects can be copied or cut from a design. These are copied to the Windows 95 Clipboard. Objects on the Clipboard can be pasted into a design any number of times until replaced by another copied object. An object can also be duplicated which differs from the copy and cut commands in that it does not affect the contents of the Clipboard. Designs are stitched in the order they are created. They form a stitching sequence. When an object is pasted into a design, consideration should be given to both its location in the design and its position in the stitching sequence. The needle position marker indicates the active stitch. Any pasted objects will be inserted immediately after the needle position marker in the stitching sequence. A pasted object is placed at exactly the same location it was originally cut or copied or duplicated. Both the location and the position in the stitching sequence for an object can be changed. For many of the commands, ES provides shortcut-keys. See the Quick Reference Guide for details.
ES
331
Copying, cutting and pasting objects (all except 5,10)

An object can be copied or cut and then pasted either within the same design or into another design. The copied or cut objects are placed onto the Clipboard for temporary storage. An object can be pasted any number of times until the next copy or cut command. The object is then replaced on the Clipboard by the next object which has been copied or cut. When an object is pasted into a design, it is inserted into the stitching sequence at the current needle position marker.
To copy and paste an object
1. 2. 3. 4.
Select one or several objects with the Select Object tool. Choose Copy from the Edit menu. As an alternative, click the Copy button on the General toolbar. The selected object is copied to the Clipboard. Use the Stitch Edit tool to travel through the design to position the new object at a particular point in the stitching sequence. Choose Paste from the Edit menu. As an alternative, click the Paste button on the General toolbar. The new object is pasted directly on top of the original object at the current needle position marker. The new object is now selected and can be moved to another position in the design. The copied object remains on the Clipboard and can be pasted until the next Copy or Cut command.
Note 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.
To cut and paste an object
1. 2. 3.
Select one or several objects with the Select Object tool. Choose Cut from the Edit menu. As an alternative, click the Cut button on the General toolbar. The selected object is removed from the design and copied to the Clipboard. Use the Stitch Edit tool to travel through the design to position the new object at a particular point in the stitching sequence.
332
Chapter 19. Combine objects & designs (all except 5,10; letters only in 21L)
ES
4.
Choose Paste from the Edit menu. As an alternative, click the Paste button on the General toolbar. The object is pasted at the position of the original object and is selected. The object can be pasted from the Clipboard any number of times until the next Cut or Copy.
Duplicating objects (all except 5,10)

Objects can be duplicated rather than copied. When an object is duplicated, it is not copied to the Clipboard. The contents of the Clipboard are not affected. A duplicated object is inserted into the stitching sequence at the needle position marker.
To duplicate an object
1. 2. 3.
Use the Stitch Edit tool to travel through the design to position the new object at a particular point in the stitching sequence. Select the object to duplicate with the Select Object tool. Choose Duplicate from the Edit menu. A duplicate is placed directly on top of the original object and is selected. Actions such as move or resize can be performed on the duplicated object. It is placed at the needle position marker in the stitching sequence.
ES
Duplicating objects (all except 5,10)
333
Copy and paste between designs (all except 5,10, 21L)

All or part of a design can be copied from one design into another. A pasted object or an inserted design is inserted into the stitching sequence at the needle position marker.
To copy and paste between designs
1. 2. 3. 4. 5. 6. 7.
Open the design you wish to copy from and the design you wish to paste to. Choose Tile Horizontally or Tile Vertically from the Window menu to view the two designs simultaneously. In the design you wish to copy from, select the object with the Select Object tool. To select all the objects in a design, choose Select All from the Edit menu. Choose Copy from the Edit menu. As an alternative, click the Copy button on the General toolbar. The object is copied to the Clipboard. Go to the design you wish to paste to. Use the Stitch Edit tool with the Travel by Object tool to travel through the design to position the new design at a particular point in the stitching sequence. Choose Paste from the Edit menu. As an alternative, click the Paste button on the General toolbar. The object is pasted into the design at the same position it was in the original design. The object is selected. You can transform the copied object in various ways. For example, you can move or scale it.
Inserting another design into the current design (all except 5,10)
You can insert an entire design into the current design by inserting an embroidery le. There are three categories of embroidery les which can be usedES native formats, tape formats and les in formats native to other applications (for example, ESD format). See Reading and converting designs (all products) on page 427 for details. A design is inserted into the stitching sequence at the needle position marker.
334
ES
To insert another design into the current design
1. 2. 3. 4.
In the current design use the Stitch Edit tool with the Travel by Object tool to travel through the design to position the new objects at a particular point in the stitching sequence. Choose Embroidery File from the Insert menu. In the Open dialog box, choose the file to be inserted. Click Open. The design is inserted into the current design at the same position it was in the original design. The inserted design is selected with sizing handles indicating the extents of the design. Group the design before moving it within the current design. The inserted design can then be moved intact to another location in the current design and then ungrouped. Reduce or enlarge the design to the size of the final embroidery. Use the grid or the Measure tool to make sure that the size of the drawing is correct. See To measure a distance on the screen on page 41 for details.
5. 6.
Resequencing objects in a design (all except 5,10, 21L)

The embroidery objects in a design form a stitching sequence. Initially, the embroidery objects are stitched in the same order as they were created. It may be necessary to change the original sequence of objects after creating or pasting a new object subsequently, re-coloring an object, adding lettering to the design, or combining two designs. You can change the position of a selected object by cutting it, then pasting it back somewhere else in the design. You can also resequence several objects efciently using the Resequence command. The objects will be stitched in the order as you select them. After changing the sequence of objects, ES will automatically rearrange the connectors and color changes as necessary. Removing then re-generating stitches for an object does not change its position in the sequence.
ES
335
To resequence objects using cut and paste
1. 2.
Select an object with the Select Object tool. Choose Cut from the Edit menu. As an alternative, click the Cut button on the General toolbar.
completed design with the center stitched rst
select and cut object to be changed
3. 4.
Click the Travel by Object tool to travel to the object after which you want to paste the object you cut. Choose Paste from the Edit menu. As an alternative, click the Paste button on the General toolbar.
needle position marker
travel to the end of the design
paste the object
The object is pasted into the sequence immediately after the current needle position marker.
336
ES
To resequence several objects
1.
Select an object with the Select Object tool. This object retains its original position in the stitching sequence of the design. The other objects you select will be stitched after this object, in the order as you click them with the Select Object tool. Hold down the CTRL key and select the object which you want to stitch after the first selected object. If you want to change the sequence of more than one object, continue holding down the CTRL key as you select additional objects. Be careful when selecting objects. The order of selection determines the stitching sequence. With all the objects still selected, choose Resequence from the Edit menu. The objects will be resequenced immediately after the first object in the same order as they were selected. ES will automatically rearrange the connectors and color changes as necessary. If you want to make an object into the last object to be stitched, cut Tip it and paste it at the end of the design.
2. 3.
4.
ES
337
338
ES
Chapter 20.
Modifying stitches
(all products)
You can edit the stitches which were generated for the embroidery objects in a design. However, we strongly recommend against it. If stitches for an object are re-generated, for example, after scaling, all the changes you made to the stitches will be lost. Whenever possible, modify the outline of the objects, or change their properties instead of editing the resulting stitches. You can select one or several stitches for editing. Once stitches are selected, you can move or delete them. You can delete all small stitches automatically before stitching a design. You can travel through the stitches of a design to check the stitching sequence. You can travel by machine functions, to nd all the machine functions in a design. Traveling through the design is a powerful learning tool, because you can see in which sequence the designer digitized the lines and shapes of the design. Shortcut keys are provided for most functions. See the Quick Reference Guide.
ES
339
Travelling through stitches (all except 5, 10)

The current position of the needle is indicated by a large white cross, the needle position marker. Initially, it is at the end of the design. When you travel through the stitches of the design, you move the needle position marker towards the start, and then towards the end of the design. As the needle position marker is moved, the current stitch number is displayed in the status line. As you travel backward in the design, the unsewn stitches after the needle position marker are displayed in black. By travelling towards the end of the design again, the stitches are colored as they are sewn. You can travel through a design by single stitch, every 10 stitches, every 100 stitches, color, segment, object, and you can go directly to the start or end of the design. Hold down the CTRL key while travelling through the design to select objects and stitches. The Travel tools have two functions. Click them with the left mouse button to travel back towards the rst stitch, and with the right mouse button to travel forward.
To travel by 1, 10, or 100 stitches

s
Click either the Travel by 1 Stitch, Travel by 10 Stitches, or Travel by 100 Stitches button on the Travel toolbar with the left mouse button to move the needle position marker to the previous stitch or group of stitches.
travel 1 stitch backwards
Click either the Travel by 1 Stitch, Travel by 10 Stitches, or Travel by 100 Stitches button on the Travel toolbar with the right mouse button to move the needle position marker to the next stitch or group of stitches.
To travel by segment
s s
To move the needle position marker to the previous segment, click the Travel by Segment tool on the Travel toolbar with the left mouse button. To move the needle position marker to the next segment, click the Travel by Segment tool on the Travel toolbar with the right mouse button.
340
ES
To travel to the start and the end of design

s s
To travel to the start of the design, click the Start/End of Design button on the Travel toolbar with the left mouse button. To travel to the end of the design, click the Start/End of design tool on the Travel toolbar with the right mouse button.
To travel by object
s s
To move the needle position marker to the previous object, click the Travel by Object button on the Travel toolbar with the left mouse button. To move the needle position marker to the next object, click the Travel by Object button on the Travel toolbar with the right mouse button.
To travel by color
s s
To move the needle position marker to the previous color change function, click the Travel by Color tool on the Travel toolbar with the left mouse button. To move the needle position marker to the next color change function, click the Travel by Color tool on the Travel toolbar with the right mouse button.
To travel by function
s s
To move the needle position marker to the previous machine function, click the Travel by Function tool on the Travel toolbar with the left mouse button. To move the needle position marker to the next machine function, click the Travel by Function tool on the Travel toolbar with the right mouse button.
ES
Travelling through stitches (all except 5, 10)
341
Selecting objects while travelling (all except 5, 10)

When modifying a large, complicated design which has lots of overlapping objects, it may be more convenient to select objects while travelling through the stitches. If you hold down the CTRL key while travelling by object, color or function, or to the start or end of the design, the objects you travel through become selected. If you release the CTRL key, you only move the current needle position marker, but do not select objects. You can select one or several groups of consecutive objects this way.
To select objects while travelling through the design
1. 2.
Click the Select Object tool on the Pointer toolbar. Make sure that the Select Object tool is turned ON. Otherwise you can only travel through the stitches, but cannot select objects. Travel through the design by object, color or function. Stop travelling before the first object you want to select.
stop before the rst object
3.
Hold down the CTRL key, then travel by one object. The object is highlighted indicating selection. Sizing handles show the extents of the object.
hold down CTRL, and travel by object
342
ES
4.
To add more consecutive objects to the selection, travel by object, color or function with the CTRL key held down. You may also travel to the start or end of the design.
hold down CTRL and travel by object
Sizing handles are displayed around the selected objects. The current needle position marker is moved to the end of the last selected object. If an object is already selected, it is deselected the next time you travel through it.
5.
If you want to select another group of objects, release the CTRL key and travel by object, color, or function. Stop before the first object of the second group. If the CTRL key is not held down, the next or previous object is not selected, but the previously selected group remains selected.
release CTRL and travel by object
6.
Hold down the CTRL key again, and travel by object, color or function, until you reach the last object of the second group.
hold down CTRL and travel by object
7.
Continue in the same manner, until all the objects you want are selected.
ES
Selecting objects while travelling (all except 5, 10)
343
Selecting stitches (all except 5, 10)

A stitch must be selected before you can modify it. You can select one or several stitches, or a range of consecutive stitches.
Warning
Changes to individual stitches are lost if you make a change to the object which requires the stitches to be re-generated.
The Stitch Edit tool allows you to select a single stitch, or several stitches, or a range of stitches by clicking on the needle points with the left mouse button, or by dragging a bounding outline around them. You can travel through the design to locate a particular stitch. This stitch becomes the active stitch. You can also select stitches and objects while travelling through the design. See To select objects while travelling through the design on page 342 for details. The zoom function is useful for close work. Show the needle points while working with stitches.
To select a single stitch
1. 2.
Click the Stitch Edit button on the Pointer toolbar. Click on the needle point. The needle point changes color to indicate selection. The needle position marker is moved to the selected (or active) stitch. All stitches after the needle position marker are displayed in black to indicate that the stitches have not yet been sewn.
Note The stitch at the needle position marker is selected. Pointing directly to a
needle point is the same as selecting a single stitch.
To select several stitches
1. 2.
Click the Stitch Edit button on the Pointer toolbar. Hold down the CTRL key and click the desired needle points using the left mouse button. As each stitch is selected, the needle points change color to indicate selection. If you click on a selected needle point while holding down the CTRL key, the needle point is deselected and the other stitches are unaffected.
344
ES
To select a range of stitches
1. 2.
Click the Stitch Edit button on the Pointer toolbar. Hold down the SHIFT key and click the first, then click last needle point in the range to be selected. All the stitches between the two points change color to indicate selection.
To select stitches using a bounding outline
1. 2. 3.
Click the Stitch Edit button on the Pointer toolbar. Hold the left mouse button down and drag over the needle points to be selected. A bounding outline is formed from one corner to the diagonally opposite corner. Release the button to select the stitches within the bounding outline. The needle points change color to indicate selection.
Editing selected stitches (all except 5, 10)

Individual stitches can be moved and deleted.
Warning
Changes to individual stitches are lost if you make a change to the object which requires the stitches to be re-generated.
If possible, modify the object outline or change the object properties rather than editing the resulting stitches of an object.
To move stitches
1. 2. 3.
Select the stitch or stitches to be moved. The stitches change color to indicate selection. Drag the stitch or stitches to the new position. The stitch shadow outline is displayed to indicate the new position. Press ENTER to accept the new position or press ESC to cancel the move.
ES
Editing selected stitches (all except 5, 10)
345
To delete stitches
1. 2.
Select the stitch or stitches to be deleted. Press the DEL key. The stitches are removed from the design. The undo function will restore the stitches to their original position. See Using commands on page 35 for details. If all the stitches are deleted, they can be re-generated using the Generate Stitches button on the toolbar, or by choosing Generate Stitches from the Stitch menu.
To insert stitches in an object

You can insert additional stitches inside an object to ll in gaps. The inserted stitches will be part of the original object and will have the same properties, including color. When the stitches are re-generated for that object, for example you scale the object or change the stitch type or the density, the inserted stitches are lost. This procedure is different from inserting stitches inside another object using the Manual input method. Using the Manual input method you create a separate object, which has its own properties and connectors, and is not lost when the stitches are regenerated for the original object.
1. 2. 3.
Click the Stitch Edit button on the Pointer toolbar. Zoom into the area where you want to insert stitches. Click the needle point before which you want to insert stitches, using the left mouse button.
The needle position marker is moved to the selected stitch.
4.
Move the mouse to position the pointer where you want to insert the first needle penetration point, and click the right mouse button.
click right mouse button
A new stitch is inserted.
346
ES
5.
Move the mouse to position the pointer where you want to insert the next needle penetration point, and click the right mouse button.
click right mouse button
A new stitch is inserted. Continue inserting stitches until the gap is filled.
Remove small stitches automatically (all products)

After completing a design, you can remove all the small stitches automatically. Very small stitches may cause damage to the fabric, or even thread or needle breakage. When you output a design for stitching, ES automatically prompts you to remove the small stitches.
To remove small stitches automatically
1. 2.
Choose Small Stitches from the Stitch menu. When the Small Stitches dialog box appears, type the minimum stitch length.
3.
Click OK to remove stitches smaller than the selected length.
ES
Remove small stitches automatically (all products)
347
348
ES
Chapter 21.
Stitch Processor
(all products)
Stitch Processor is a function of ES which allows you to re-use old tape format les and expanded designs in different density and at different sizes. Tape format les and expanded designs include stitches and machine functions, and are specically suited for a certain embroidery machine. However, they do not have any information about how the design was created. Stitch Processor reads the data stitch by stitch, and adds the missing information to the le. Based on the needle penetration points, it recognizes the stitch types, spacing and length values, and determines the object outlines. This information is stored in the form of object properties in ES. Stitch Processor can only recognize common stitching. Some editing may be required for unusual designs if they are scaled signicantly. Stitch Processor does not change the stitches or machine functions stored in the design in any way, it only adds more information to it. The stitches remain unchanged, until you make a change to the design which requires the stitches to be re-generated. Once information about the objects is added, you can scale and transform the design in the usual way. You can also change the stitch density generally for the whole design, or for certain stitch types only. Processing into objects can be done automatically to a whole design as it is being opened in ES, or later. You can also process any selected objects individually after an expanded design has already been opened. Although Stitch Processor is primarily intended to permit the re-use of old designs, you will nd it useful while working with new .EMB designs as well, because it is a convenient method of changing the properties of several different objects. It allows you to change the stitch density by a percentage, without having to select the objects individually. Even if the selection includes objects created with different stitch types, you can change the density of only one type of object. For example, you can select the whole design, then change the density of all Satin objects. The changes are reected in the properties of the individual objects.
ES
349
Processing expanded designs (all products)

Expanded design is a general term used for les which contain simple stitch data the co-ordinates of each needle penetration point, and control commands required for the embroidery machine to perform various functions. Usually, they are created by preparing design for stitching, or by outputting a design onto embroidery disk or paper tape. Expanded designs and tape format les only contain information about the generated stitches, however, they do not have any information about how the design was digitized. Some expanded designs can be opened in ES and saved as .EMB les. You can output these designs for stitching, edit the stitches, and add new elements to them. In this case you do not need to use the Stitch Processor to retrieve information about how the design was created. However, if you want to scale the design, edit a shape outline or change a stitch type, then the design (or selected objects in the design) must be converted into objects using the Stitch Processor. You can do this automatically for the whole design while opening it, or later. You can also split a design into objects after the design is open. The Stitch Processor reads the data stitch by stitch, and based on the needle penetration points, it recognizes the stitch types, spacing and length values, stitch effects, and determines the object outlines. The recognized stitch values and object outlines are stored as object properties in ES. The limited data in these les places restrictions on the processing that can be done.
Note Stitch Processor only recognizes Satin, Tatami, Run and Manual stitch
types. All other stitch types are recognized as one of these. If you read an .ESD design, the object outlines of Zigzag and Triple Run segments will also be determined. If a stitch type is not recognized, that segment will become a Manual object, and thus will not scale well. If a stitch type is not recognized accurately, the values in the object properties dialog box will not match the stitches initially. However, the stitches will remain the same as they were in the original design, until you make changes which require the stitches to be re-generated. If you modify the design, the stitches will be re-generated according to the object properties. For Tatami, Stitch Processor recognizes the stitch spacing and length, and applies a random factor when appropriate. However, it does not recognize the type of backstitch. Before scaling a design, select the correct backstitch in the Object Properties dialog box. All lled objects are converted into Input A objects. Use the Reshape Object tool to correct the object outlines if required.
350
ES
To improve the quality of the converted design, you may edit the stitches before using Stitch Processor. If you want to edit the stitches before using the Stitch Processor, open the design without processing. In this case ES does not call the Stitch Processor to detect the stitch types and object outlines. It interprets all stitch types as Manual, and only starts a new Manual object where it detects a machine function, such as a color change or trim. You can process the whole design automatically after editing. As an alternative, you can split some of these large Manual objects into several smaller objects, and process them individually. Designs converted from tape format les and expanded designs which have nonstandard stitch types may require editing in ES to make sure that the object outlines, stitch types, stitch density and colors are correct.
Tip
To process an expanded design into objects while opening
1.
Choose Open from the File menu. The Open dialog box appears.
click Options
2. 3. 4.
Choose the file type you want to open from the list of file types. Click the Options button in the Open dialog box. When the dialog box appears, check the Objects/Outlines option.
ES
Processing expanded designs (all products)
351
This dialog box is different depending on the type of file you want to open and convert into .EMB format. See How to select options when opening and reading old designs (all) on page 431 for details.
5. 6.
Set the other values which determine how the design will be converted to .EMB format. Click OK.
To edit the stitches of an expanded design before processing
1.
Choose Open, or Embroidery Disk>Open from the File menu and open an expanded design, or tape format le. See Reading other design formats (all products) on page 428 for details. The design consists of a few, large Manual objects. They only have general and connector properties. When the Open dialog box appears, choose the file type you want to open. Click the Options button. When the Decoding Options dialog box appears, uncheck Objects/Outlines, and click OK. Click the Stitch Edit tool on the Pointer toolbar. Edit the stitches to assist the Stitch Processor in recognizing the stitch types and object outlines more accurately. The object outlines will be more accurate and smooth, if you edit the stitches to eliminate the effect of Stitch Shortening and Jagged Edge. Remove small stitches from the design. Remove the extra needle penetrations from Satin segments created with the Auto Split effect, so that the Stitch Processor can recognize Satin. If the exit point of a column is on the same side as the entry point (it was finished by using Omit last stitch), add an extra stitch at the end so that the Stitch Processor can recognize the outline accurately. Choose Select All from the Edit menu. Choose Process from the Edit menu. When the Process dialog box appears, click OK. The Stitch Processor adds the missing information to the file, but does not change the stitches. If you want to change values, see To change the number of stitches on a whole design on page 356 for details.
2. 3. 4. 5. 6.
7. 8. 9.
352
ES
Splitting Manual objects (all except 5, 10, 21L)

If you open a tape format file or expanded design without using the Stitch Processor, it will consist of a few, large Manual objects. These Manual objects only have general and connector properties. Before scaling or changing the density, split the Manual objects into smaller objects, then process them individually. The Stitch Processor will recognize the stitch type and detect the object outline. Besides Manual, you can also split Satin, Tatami and Run objects, in either converted or new designs, then process them individually. In new designs only these types of objects can be split, as the Stitch Processor only recognizes these stitch types.
To split an object manually
1.
Open a tape format le or expanded design, without using the Stitch Processor. See To edit the stitches of an expanded design before processing on page 352 for details. As an alternative, you may open a design which was originally created in ES, or was already processed into objects. Use the buttons on the Travel toolbar to travel to the stitch where you want to split the first Manual object. Make sure that you move the needle position marker inside the Manual object, because you cannot split an object at the first stitch. In a new design, you can travel to a stitch inside a Satin, Tatami or Run object, as well as Manual. Choose Split Object from the Edit menu. The object is split into two objects at the needle position marker. Select the first new Manual object with the Select Object tool. Choose Process from the Edit menu. ES calls the Stitch Processor, which then recognizes the stitch type and detects the outline of the selected object. Now the new object has fill or outline stitch properties as well. If the Stitch Processor does not recognize the stitch type, the object remains a Manual object, and still has general and connector properties only. If you split a Tatami, Satin or Run object, ES does not call the Stitch Processor, as the stitch type and other properties are already known. Continue splitting objects as required.
2.
3. 4. 5.
6.
ES
Splitting Manual objects (all except 5, 10, 21L)
353
Scaling and transforming an expanded design

(all products) When you scale a tape format le or an expanded design, the original number of stitches is retained if the various elements of the design are interpreted as Manual objects. When enlarging a design this could mean that an area is too thinly covered with stitches. Conversely, if a design or object is reduced in size, the area could have too many stitches. To resolve this potential problem, use the Stitch Processor to process the design into objects before scaling. You can scale the design interactively on the screen, or numerically by typing its dimensions in the Object Properties dialog box. You can also rotate, mirror and skew the design. See Transforming objects (whole design only in 5,10; lettering only in 21L) on page 309 for details.
To scale an expanded design while preserving the density
1. 2. 3.
Open the tape format le or expanded design to be scaled, and use the Stitch Processor to process the design into objects. See Processing expanded designs (all products) on page 350 for details. From the Edit menu, choose Select All to select all objects to be scaled. Choose Group from the Arrange menu.
Note If the entire design is to be scaled, all objects must be grouped. If you do
not make a group of the objects, then each selected object will be scaled individually within the design, thus causing distortion.
4. 5.
Click the selected group with the right mouse button to display the Object Properties dialog box. When the Object Properties dialog box appears, click the General tab.
6.
Type either the percent or actual dimensions of Height and Width in the text boxes, and click OK. The stitches will be automatically re-generated to preserve density.
354
ES
To rotate, skew and mirror the whole design
1. 2. 3.
Open the tape format le or expanded design to be scaled, and use the Stitch Processor to process the design into objects. See Processing expanded designs (all products) on page 350 for details. Choose Select All from the Edit menu, to select all objects. Choose Group from the Arrange menu.
Note If the entire design is to be rotated, all objects must be grouped. If you do
not make a group of the objects, then each selected object will be transformed individually within the design.
4. 5.
Click the selected group with the right mouse button to display the Object Properties. dialog box. When the Object Properties dialog box appears, click the General tab.
6. 7. 8. 9.
In the Rotate By box, type the number of degrees to rotate the design. In the Skew By box, type the number of degrees to skew the design. Check Mirror in either or both the X or Y directions. Click OK. The stitches are automatically regenerated.
ES
Scaling and transforming an expanded design (all products)
355
Adjusting the stitch density (all products)

You may want to change stitch density because you want to stitch on a different fabric or with a different thread, or because you want to make production cheaper by reducing the number of stitches in a design. This feature can change the density of all stitch types (except Manual) in the whole design or in selected parts of a design. Using the Stitch Processor you do not need to select individual objects, then change their properties one by one. You can adjust the density for several objects of different types by typing values in a single dialog box. Stitch Processor also allows you to change the density by a percentage, so that you do not need to calculate the absolute stitch spacing and length values for each stitch type to achieve the target number of stitches. If a design was originally created in ES, or was converted into objects, the changes you make through the Process dialog box will change the properties of the selected objects. To check changes, click a selected object with the right mouse button to display the Object Properties dialog box.
To change the number of stitches on a whole design
1. 2. 3. 4.
Open the design to be changed in ES. Choose Select All from the Edit menu, to select the whole design. Choose Process from the Edit menu. When the Process dialog box appears, type the target number of stitches in the text box either as a percent or as an absolute value.
Initially, the current number of stitches is displayed for target stitches, which is 100%. When you type the required change as a percentage, the target number of stitches is updated automatically. Similarly, the percentage is updates if you type the required number of stitches. Click any other text box in the dialog box to view the changes. The initial 100% displayed for the spacing and length of various stitch types also changes automatically, to suit the new density. This gives you an indication of how many percent the density of various stitch types needs to be changed to achieve the target number of stitches.
356
ES
5.
Click OK. ES will re-generate the stitches for the Tatami, Satin and Run objects only, using the new object properties. If a design was converted from .ESD format, the Zigzag and Triple Run objects were also recognized, thus now these objects will also be regenerated. If there are several objects in the design created with other stitch types, the target stitch count will not be achieved, as these objects are not changed.
To adjust the density for certain stitch types

It is convenient to adjust the density of a certain stitch type by using the Stitch Processor. You do not have to select the objects individually, and you may change the density by a percentage. If the selection contains objects created with other stitch types, they will not be affected.
1. 2. 3. 4.
Open the design to be changed in ES. Choose Select All from the Edit menu, to select the whole design. As an alternative, select objects in a design. Choose Process from the Edit menu. When the Process dialog box appears, adjust the density for each stitch type.
ES
Adjusting the stitch density (all products)
357
You can select the new spacing or length as a percentage of the original spacing, from 20% to 400%. As an alternative, you can type the required stitch spacing or length in millimeters. In this case the percentage is dimmed. If you do not want to change the density of a certain stitch type, leave 100% in the text box.
5.
s
Decide if you want to use Auto Spacing. Click in the box to change its status. You can select Auto Spacing for Satin and Zigzag Stitch. Auto Spacing ON If you check Auto Spacing, Auto Spacing will be applied to all Satin and Zigzag segments throughout the whole design. Using Auto Spacing, the stitch spacing is calculated based on the stitch length (column width) . To adjust the density, change the spacing as a percentage. This will adjust the resulting spacing values by the selected percentage. When Auto Spacing is checked, the spacing value selected in millimeters is ignored. Auto Spacing OFF If the box is not checked, Auto Spacing will be removed from all Satin and Zigzag segments of the design. Those Satin and Zigzag stitch segments, which were originally created with Auto Spacing, will be changed to use fixed spacing. If the design was read from a paper tape or embroidery disk, the fixed spacing will be calculated as the average of the various spacing values used within a Satin or Zigzag segment. If the design was originally created in ES, or was already converted into objects, the spacing will be the value which was selected in the Object Properties dialog box when the object was originally created. Auto Spacing as originally selected If the check mark in the box is grey, the Satin and Zigzag segments will keep their original setting. Some segments will use Auto Spacing, whereas others will use fixed spacing, as they were originally created. If required, adjust the Pull Compensation value. You can type a positive or negative value in the first text box to increase or decrease the pull compensation. The length of each stitch will be adjusted by the selected value. This is useful if the design was read in from a paper tape or embroidery disk. If the design was originally created in ES, or was already converted into objects, you can type the required pull compensation value. The new value will be applied to all relevant objects in the design. Click OK.
6.
7.
358
ES
PART IV
Lettering
ES
359
360
ES
Chapter 22.
Creating lettering
(all except 5,10)
Lettering can be produced quickly and easily in ES. You can choose to type all the basic text information required into a dialog box before you place lettering in your design, or you can enter text directly into your design, then modify it interactively on the screen to achieve the desired effect. In ES, all text has an associated baseline. You can choose from several different baselines, which are suited for specic lettering jobs. The baseline can be either above or below the letters themselves, or you can choose to have the baseline centered so that the letters are equally above and below the baseline. You can choose between various joining methods, including closest point. You can apply embroidery properties stitch type, density, pull compensation and other effects, connectors, etc.to lettering objects in the same way as other objects. You can choose from several alphabets provided in ES, or you can create your own. After creating a lettering object, you can modify it in several different ways.
ES
361
Typing and formatting letters (all except 5,10)

You can create lettering objects in two different ways. If you know all the characteristics of the lettering you want to create, it is faster to type the letters and specify the values numerically in the Lettering tab of the Object Properties dialog box. This is the more traditional method, and is useful when adding lettering to a complex design, such as a badge, especially if you are working from an enlargement drawing. If it is not essential to t the letters precisely to a certain area, you can type the letters directly on the screen, just like in a word processor. Then you can modify the object interactively on the screen to achieve various artistic effects.
To type letters on the screen
1. 2. 3.
Click the Lettering tool on the Input Method toolbar. Move the mouse and position the pointer on the screen where you want to start typing the letters and click the left mouse button. Type the text you want to embroider, in the same way as in a simple word processor. The outlines of the letters appear on the screen as you are typing. You may press SHIFT+ENTER to start a new line. All parameters, including the appearance and layout of the letters, and the baseline, depend on the current lettering properties. These are the values which were selected last in the Lettering dialog box. When you finished typing, press ENTER. As an alternative, you can click the Select Object tool. The new lettering object becomes automatically selected. Click the Generate Stitches button on the Stitch Types toolbar. The letters are filled with stitches according to the current properties.
4. 5.
362
Chapter 22. Creating lettering (all except 5,10)
ES
To type letters in a dialog box and select formatting options
1. 2.
Choose Embroidery Object>Lettering from the Insert menu. When the Object Properties dialog box appears, type the letters in the text box in Lettering tab.
type text
select options
To start a new line of text, press SHIFT+ENTER, or the ENTER key alone. When typing text in the Object Properties dialog box, pressing the ENTER key will not close the dialog box.
3. 4. 5.
Choose the required alphabet style from the Alphabet list. An outline of a sample character of the chosen Alphabet style is displayed in the preview window. Type in the desired letter height. Change the letter width if required. The initial value is 100%, which means that the letters are scaled to the selected height proportionally. For narrower letters, type in a lower percentage.
ES
Typing and formatting letters (all except 5,10)
363
6.
Choose the required justification. For example, choose Left justification. You cannot choose Full Justified for a Free baseline, because it does not have a fixed length.
left centered right
full justied
7. 8. 9.
Choose Free Line from the list of available baseline options. Click OK. Move the mouse and position the pointer on the screen where you want to place the letters and click the left mouse button. The outlines of the letters appear on the screen. The new lettering object becomes automatically selected.
10. Click the Select Object tool. 11. Click the Generate Stitches button on the Stitch Types toolbar.
The letters are filled with stitches according to the current properties selected in the Fill Stitch and Connectors tabs of the Object Properties dialog box.
364
ES
Editing text (all except 5,10)

You can delete or add letters to a text object directly on the screen, or through the Lettering tab of the Object Properties dialog box. Editing text objects in ES is similar to editing text in any Windows 95 program.
To edit text on the screen
1. 2.
Click the Lettering tool. Click inside the lettering object you want to edit. An I-beam pointer appears between two letters, approximately where you clicked.
I-beam
s s s s
Press BACKSPACE to delete letters. Press the right or left ARROW keys to move the I-beam to a new position. Type new letters at the position of the I-beam. Press SHIFT+ENTER to start a new line. Press ENTER, or click the Select Object tool to finish editing the text.
3.
To edit text through dialog box
1. 2. 3. 4.
Select the lettering object you want to edit with the Select Object tool. Click the selected lettering object with the right mouse button. When the Object Properties dialog box appears, edit the text in the text box in the Lettering tab. Click OK. The selected lettering object changes on the screen to reflect the new text.
ES
Editing text (all except 5,10)
365
Re-coloring individual letters (all except 5,10)

You can select a color for a lettering object just as you would for any embroidery object. See Selecting color for new objects (all except 5, 10) on page 216 for details. With ES you can also change the color of individual letters within a lettering object after it has been created. You can generate stitches either before or after selecting colors.
To recolor individual letters within a lettering object
1. 2.
Click the Lettering tool on the Input Method toolbar. Select one or more letters inside a lettering object. To do this, place the pointer next to the letter you want to change, then drag the mouse over the letter to highlight it.
I-beam
highlighted letter
3. 4. 5.
With the letter still highlighted, click a color box on the Color toolbar. Repeat steps 3 and 4 until all of the letters you want to change have been highlighted and re-colored. Press ENTER, or click anywhere on the screen to finish re-coloring letters. The letters are re-colored.
366
ES
Selecting a baseline (all except 5,10)

You can choose from several different types of baseline in the Lettering tab of the Object Properties dialog box. Depending on the lettering job, you can either digitize a baseline, or you can specify its exact measurements numerically through the Layout dialog box. You can digitize a baseline on the screen, or on a digitizing tablet, if you are working from an enlargement drawing. If your design contains a good deal of lettering, you may prefer to digitize all the baselines rst, then type the text when the baselines are correct. If you have digitized a baseline, or specied a baseline in the Lettering tab of the Object Properties dialog box, that baseline setting is retained until you change it again. Whenever you click the Lettering tool, the lettering feature become active and you are ready to begin typing. The current baseline properties are assigned to the new lettering objects. You can place as many duplicate baselines as you need in your design.
To digitize the baseline when creating a lettering object
1. 2.
Choose Embroidery Object>Lettering from the Insert menu. When the Object Properties dialog box appears, type the required text in the text box in the Lettering tab.
3.
Choose the required baseline type from the Baseline list. For example, choose Fixed Line. Different baselines are digitized in different ways. See How to digitize different baselines on page 370 for details.
ES
367
Normally, the baseline is below the letters. If needed, you can change the baseline position. See To specify the layout of a lettering object numerically on page 374 for details.
4. 5.
Click the Layout button. When the Layout dialog box appears, click the baseline position you want to use for your lettering, and click OK.
baseline below baseline centered baseline above
When digitizing a badge, position the letters above a circle or arc clockwise baseline in the top part of the badge. Position the letters below a circle or arc counterclockwise baseline. If you have letters in the middle of the badge on a straight baseline, position the letters so that the baseline goes through their center.
6. 7. 8.
Click OK in the Object Properties dialog box. When the dialog box is closed, the Lettering tool becomes automatically selected. Mark the start point of the fixed baseline on the screen using the left mouse button. As an alternative, digitize the start point of the baseline on the enlargement drawing. Mark the end point of the fixed baseline on the screen using the left mouse button. As an alternative, digitize the end point of the baseline on the enlargement drawing.
Tip
Holding down the CTRL key allows you to digitize a straight line or to constrain the baseline angle to 15 degree increments.
Depending on the order in which you digitize the points, the text will be placed from left to right, or from right to left on the baseline.
368
ES
As soon as you mark the end point of the baseline, the letters appear on the screen. If you select Center Justification in the Lettering tab of the Object Properties dialog box, the text is centered on your baseline.
baseline
9.
Click the Select Object tool to select the text. The lettering object you just created becomes automatically selected. Also, the Generate Stitches button is not pressed down, indicating that the selected object has not been stitched yet. For lettering objects, Generate Stitches is turned OFF by default, because it is faster and easier to work with outlines only. After selecting the text, you can then fill the letters with stitches, change color, reshape, or move, rotate or transform them in other ways.
To create several lettering objects with the same baseline
1. 2.
Create a lettering object by typing the text in the Lettering tab of the Object Properties dialog box, and digitizing its baseline. See To digitize the baseline when creating a lettering object on page 367 for details. After placing the first lettering object, while the Lettering tool is still selected, click on the screen where you want to place the second lettering object. The baseline appears on the screen, selected with the Lettering tool, so that you can start typing the text required for that baseline. Continue in the same way. After using other input methods, click the Lettering tool, then place another baseline with the same properties.
3.
ES
369
How to digitize different baselines

ES gives you a number of baseline options. The baseline you choose depends on the type of the lettering job, and the effect you want to achieve. With all other baseline choices you set the length you want the nished lettering to be. Once you have placed a baseline, ES attempts to t all of the letters you type into that baseline without altering the length of the baseline. If the baseline becomes lled with letters, the letter spacing decreases. Eventually, the letters may overlap. If needed, you can edit a baseline so that it can include all of your letters, or you can change the width of the letters.
Free Line
The Free Line baseline is the only type of baseline which does not have a xed or predetermined length. When you choose Free Line, the baseline will extend as long as you keep adding letters. You only need to mark its start point.
Fixed Line
The Fixed Line baseline has a xed length, which you can digitize, or specify numerically. If the text is longer, the letter spacing is decreased and the letters may overlap. The letter width is not changed. Mark two points, the start and end point to dene the baseline. You can dene any angle. Depending on the order in which you mark the reference points, the text will be placed left to right, or right to left.
370
ES
Arc Clockwise (CW) and Counter-clockwise (CCW)

Use the Arc Clockwise and Counter-clockwise baselines if you want to place two lettering objects along the edge of a circle. Letters are positioned above the Arc Clockwise, and below the Arc Counter-clockwise baseline by default. The letters are center justied by default. When digitizing the arc baseline, mark the start point of the arc, mark the end point of the arc (hold down the CTRL key to constrain the line), move the pointer up or down to increase the radius of the ark, mark the third point above the rst two points for Arc Clockwise, and below them for Arc Counter-clockwise baseline.
3
s s s s
2 Arc Clockwise
Arc Counter-clockwise
Depending on the order in which you mark the reference points, the text will be placed left to right, or right to left.
ES
371
Circle Clockwise (CW) and Counter-clockwise (CCW)

Use a Circle Clockwise or Counter-clockwise baseline if you want to place letters around a full circle.
Circle Clockwise (CW)
Circle Counter-clockwise (CCW)
For a circle you need to mark two, for an oval you need to mark three reference points. The position of the second reference point determines the justication point of the text. The text will be centered about this point. When digitizing a Circle Clockwise or Counter-clockwise baseline,
s s
mark the center of the circle, mark a point on the circumference to dene the radius and the justication point,
0 justication angle 90 justication angle
1 1 2
for a perfect circle, press the ENTER key; for an oval, mark a third point. As soon as the last point is positioned, the letters from your text are positioned along the circle.
372
ES
Any Shape
Digitize this baseline in the same way as you digitize a line with Run. Mark curve points with the right, or corner points with the left mouse button. The number of reference points and the length of the baseline is practically unlimited. To nish digitizing the baseline, press the ENTER key.
4 2 1 3 press ENTER
Any Shape (gentle curves work best)
For best results, only mark curve points, and digitize lines which have shallow, gentle curves. The individual letters are always perpendicular to the baseline. If the baseline has tight curves, or sharp corners, the letters may overlap.
Laying out letters numerically (all except 5,10)

You can change your lettering directly on the ES screen or you can choose to use the layout dialog box to either create your original lettering or to edit current lettering. In the layout dialog box you can adjust:
s s s s s s
baseline type, length, radius and angle lettering angle letter spacingby percent or value line spacingby percent of height joining typeas digitized, closest join or bottom join choose baseline position(below, centered, or above) letters.
ES
Laying out letters numerically (all except 5,10)
373
To specify the layout of a lettering object numerically
1. 2. 3. 4. 5.
Choose Embroidery Object>Lettering from the Insert menu. The Object Properties dialog box is displayed showing the Lettering tab. Type the text in the text box. Choose the alphabet style you want from the list of available alphabets, specify the size of letters, and select formatting options as required. See To type letters in a dialog box and select formatting options on page 363 for details. Click the Layout button. When the Layout dialog box appears, choose a baseline type from the drop-down list and specify its values.
6. 7.
Click the required baseline position. Specify the letter spacing as a percentage of the letter height, or, if you want to minimize trims, in millimeters. The letter spacing is calculated automatically. When the justication setting is left, right or center, letter spacing is calculated based on the letter height of the previous letter. When the justication setting is Full Justied, or Fit, the letter spacing is calculated so that the letters are evenly distributed along the baseline.
374
ES
If the text is left, right or center justified, you can change the letter spacing. For Full Justified or Fit letter spacing, you must change the length of the baseline in order to adjust the letter spacing.
8. 9.
Specify the line spacing as a percentage of the letter height. Choose a joining method from the drop-down list. To minimize trims, choose closest point join if available.
10. Click OK to return to the Lettering tab of the Object Properties dialog box. 11. Click the Save button in the Object Properties dialog box. 12. Click OK. 13. Click the Lettering button on the Input Method toolbar. 14. Click on the screen where you want to place the lettering.
The text appears on the screen with your chosen baseline and other attributes. You can edit the lettering either graphically on-screen, or by re-opening the Lettering and Layout dialog boxes and entering new numerical values.
Typing symbols and special letters (all except 5,10)

Each character or symbol in an alphabet is associated with a key combination. To type a character on the screen or in the Lettering tab of the Object Properties dialog box, you need to press the correct key or keys on the keyboard. However, not all letters and symbols may be available from your keyboard. For example, the letters included in the Greek alphabet are not shown on an English keyboard.
Some alphabets include symbols, or motifs, for example, owers or sport symbols, which are also associated with a certain key combination, however, it is difcult to remember them all. ES has provided you with a convenient way to select special characters and symbols.
ES
Typing symbols and special letters (all except 5,10)
375
To type special characters and symbols
1. 2. 3.
Choose Embroidery Object>Lettering from the Insert menu. When the Object Properties dialog box is displayed showing the Lettering tab, click the Select button. When the Symbol Selection dialog box appears, choose the required alphabet or symbol set from the drop-down list.
show picture show letter show picture and letter
choose alphabet or symbol set
click symbols
selected symbols
4.
Click the symbols you want to use. When you click on a symbol, a letter or number appears in the text box at the bottom of the dialog box. This letter or number indicates which keys to press on your keyboard to type that symbol. For example, m indicates to press the M key on your keyboard, and M indicates to press SHIFT+M. Click OK in the Symbol Selection dialog box. You are returned to the Lettering tab of the Object Properties dialog box . The selected symbols are displayed in the text box.
5.
376
ES
6.
Click OK in the Object Properties dialog box. You are returned to the ES window. Continue creating the lettering object as usual. If you are digitizing a baseline, follow the prompts in the message window for creating the baseline.
Selecting stitch types, values and effects for letters (all except 5,10)
The default stitch type assigned to lettering objects is Satin. You can apply other basic ll stitch types, such as Tatami or Zigzag, or you can use Program Split and User Dened Split to achieve artistic effects. You can change the stitch values and effects either before or after you create a lettering object, by changing the object properties. See Selecting stitch type and density (all except 5, 10) on page 109 for details. If the letters are too thin, increase the column width by increasing the pull compensation value. See Pull compensation (all except 5, 10) on page 136 for details. For best quality lettering, use automatic underlay. See Automatic underlay (all except 5, 10) on page 143 for details. Usually, the values and effects you select for lettering are different from those you use for digitizing ordinary embroidery objects. Therefore, lettering object properties are stored separately from embroidery object properties. This allows you to switch easily between lettering and digitizing without the necessity of resetting values. When you change the stitch values and effects through the Object Properties dialog box by clicking the Lettering tool with the right mouse button, only those values will be changed which are used for lettering objects. Those values which are used for creating objects with other input methods, such as Input A/B/C and Complex Fill, will not be overwritten. For example, if you select a smaller value for Satin spacing for lettering objects, this value is used for lettering objects only. If you create an object with Input A, the larger Satin spacing value will be used. The lettering values are stored in the style called <PRESET_LETTERING>. This style is supplied as part of your ES software, and it is the default style used for lettering objects in the Normal template. If you want to keep your lettering values separate, make sure that you do not delete or rename the style called <PRESET_LETTERING>, which is supplied as part of your ES software. See Styles (25, 45, 65) on page 256 for details.
Tip
ES
Selecting stitch types, values and effects for letters (all except 5,10)
377
Using lettering templates (all except 5,10)

A lettering template includes all information about a certain lettering job. It saves all the text formatting, as well as baseline, layout and embroidery values, so that you can reopen the design and quickly make changes or additions, then output the new design for stitching. A lettering template can be any lettering design from a single baseline with no lettering through to multiple baselines with stitches.
To create a lettering template

You can create a lettering template in the same way as general templates. See If you click the New button on the General toolbar, the Normal template is applied automatically. on page 261 for details.
1.
Create a lettering design which includes the baselines and layout, embroidery parameters, and sample letters which you want to save. You can choose to save the baselines only, however it is recommended that you include some text which will help you quickly identify the selected alphabet and letter height.
2. 3. 4.
Choose Save from the File menu. Choose Design Templates from the drop-down list. Name the file and save it. For example, name it lettering.emt.
378
ES
To use a lettering template
1. 2. 3. 4. 5. 6. 7.
Open a new design from the lettering template you want to use. For example, open a new design from the lettering.emt template. Click the Lettering button on the Input Method toolbar. The pointer changes to an I-beam. Position the I-beam in front of the first letter of the lettering object you want to change, and click the left mouse button. Drag the mouse to select all letters in the object. Type the new text. Re-type the text of the other objects as required. See To edit text on the screen on page 365 for details. Stitch the design, and save under a new name if required.
ES
Using lettering templates (all except 5,10)
379
380
ES
Chapter 23.
Modifying lettering objects
(all except 5,10)
You can modify a lettering object at any time in several different ways. ES provides you with exible editing tools which allow you to t a lettering object to a certain area easily and quickly. You can change the alphabet, re-type the text, and change the joining method and the embroidery properties. You can transform and reshape a lettering object interactively on the screen, or numerically by typing values in a dialog box. You can modify the baseline and the letters independently, or together. After the letters are placed on the screen, you can easily modify the letter spacing along the baseline, the shape of the baseline, the height and width of the letters, and in the case of multiple lines of text, you can quickly change the spacing, uniformly, between the lines. To achieve unique artistic effects, you can distort your letters by using various envelopes. You cannot reshape the outlines of individual letters.
ES
381
Fitting the letters in a specied space (all except 5,10)

You can modify a lettering object interactively on the screen, or by changing its properties. If you select a lettering object with the Select Object tool, you can scale, rotate, mirror and skew it, in the same way as any other object. In this case the entire lettering object is transformed, including the baseline and the letters. See Scaling and preserving stitch density (all products; whole design only in 5, 10) on page 307 and Transforming objects (whole design only in 5,10; lettering only in 21L) on page 309 for details.
If you want to make changes to more than one lettering object, the objects can be selected and grouped together. You can then change the proportions of the entire group of lettering objects at the same time. When you click a lettering object with the Reshape tool, special control points are displayed, which allow you to change the baseline and the letters independently of each other. For example, if the baseline is longer than the letters, you can change the letter spacing, or the letter width. You can also re-size the baseline without changing the letters. For example, you can increase the radius of a circular baseline if the letters do not t.
change letter height change letter height and width proportionally
change letter width change letter spacing
You can also modify a lettering object numerically by entering the exact values in the Lettering tab of the Object Properties dialog box. This way you can also apply a different baseline to the lettering object.
382
Chapter 23. Modifying lettering objects (all except 5,10)
ES
Changing the lettering baseline (all except 5,10)

Baselines can be modied after they have been placed in your design. You can reshape the baseline interactively on the screen, or you can type its exact measurements in the Object Properties dialog box. Through the dialog box, you can also apply a different type of baseline to a lettering object.
To apply a different baseline and modify its values numerically
1.
Select a lettering object with the Select Object tool.
2. 3.
Click the selected lettering object with the right mouse button. When the Object Properties dialog box appears, choose a different baseline from the drop-down list in the Lettering tab. If required, type the measurements of the new baseline in the Layout dialog box. See To specify the layout of a lettering object numerically on page 374 for details. Click OK. The letters are laid out on the new baseline now.
4.
ES
383
To reshape the baseline of the letters
1. 2.
Click the Reshape tool on the Pointer toolbar. Click the lettering object you want to modify. The reshape control points appear. Lettering objects have special control points, different from other embroidery objects. These control points allow you reshape the baseline without re-sizing the letters, change the height and width of letters and their position on the baseline, change the spacing between the letters and the lines. You cannot reshape the outline of the individual letters. See How to reshape different types of baselines (all except 5,10) on page 384 for details. Drag the control points of the baseline to modify its shape. Different types of baselines have different control points. Click the Select Object tool to finish reshaping the object.
3. 4.
How to reshape different types of baselines (all except 5,10)

Different types of lettering baselines have different reshape control points.
384
ES
Free Line and Fixed Line baselines

The straight baselines have two control points. Drag the control points left and right to change the length, or up and down to change the angle of the baseline. For Free Line, the control points only define the angle of the baseline, as it does not have a definite length.
drag right or left to change baseline length
drag right or left to change baseline length
drag up or down to change angle
Any Shape baseline

Reshape this type of baseline in the same way as a Run object. Drag the control points to change the shape of the baseline. To delete a control point, select it , then press the DEL key. To add a control point, click on the baseline with either the right or the left mouse button, where there is no control point.
drag to change curvature
Circle CW and CCW, Arc CW and CCW baselines

These baselines are very similar, and have the same control points. They are both circular arcs, only difference between them is that initially one is a full circle, whereas the other one is a half circle. Drag the control points at the ends of the arc to change the length of the baseline. On a Circle CW or CCW baseline these control points are initially at the bottom on the circle, on the top of each other. When you change the length of a circular baseline, the letters
ES
385
are moved along the circumference. The exact position of the letters depends on the currently selected justification (left, center, right or full). If the baseline becomes too short, the letter spacing is reduced, and the letters may eventually overlap.
drag along circumference to change baseline length
386
ES
You can change the radius of the circle in two ways. If you have already moved the letters in their final position, drag the control point in the centre of the circle. This will increase the radius without moving the letters. If you have already positioned the centre of the circle, for example, you have aligned it with the center point of another circular baseline, drag the control point on the circumference of the circle to change its radius.
move up or down to change radius
move up or down to change radius
ES
387
Changing the letter and line spacing (all except 5,10)

Letter and line spacing can be edited after the lettering object has been placed in your design, or it can be determined before creating the object. You can edit spacing either interactively on the screen, or numerically. See To specify the layout of a lettering object numerically on page 374 for details.
To modify the letter spacing numerically
1. 2. 3. 4.
Select a lettering object with the Select Object tool. Click the selected lettering object with the right mouse button. When the Object Properties dialog box appears, click the Layout button in the Lettering tab. When the Layout dialog box appears, specify the letter spacing and the line spacing.
letter spacing
line spacing
You can specify the letter spacing either as a percentage of the letter height, or in millimeters. Specify the required value in millimeters if you want to minimize trims. The line spacing can only be selected as a percentage of the letter eight. The lines never overlap. If you type 0%, there is no spacing between the lines.
5.
Click OK. The spacing between the letters and lines changes.
.
388
ES
To change the letter spacing interactively on the screen
1. 2. 3.
Click the Reshape tool on the Pointer toolbar. Click the lettering object you want to reshape using the left mouse button. The reshape control points are displayed. Drag the control point shaped as a right arrow left or right to change spacing of all of the letters along the baseline.
drag to change spacing evenly along baseline
The letter spacing changes.
4.
Click the Select Object tool to finish reshaping the lettering object.
ES
389
To change the line spacing interactively on the screen
1. 2. 3.
Click the Reshape Object tool. Click a lettering containing two or more lines. The reshape control points are displayed. Drag the control point shaped as an down arrow up or down to change the line spacing.
drag to change line spacing
The line spacing changes.
4.
Click the Select Object tool to finish reshaping the lettering object.
390
ES
To move letters along the baseline (kerning)

You can move one or several selected letters along the baseline to improve the spacing. In the printing industry this is called kerning. The spacing between letters is calculated automatically, as a percentage of the letter height. The spacing is even between the letters. In most cases the letters look good with the original spacing. However, sometimes the spacing may appear too large or too small, depending on the shape of the neighboring letters. To compensate for this visual effect, move the letters closer, or further apart manually.
normal letter spacing
letters are moved closer to improve appearance
1. 2. 3.
Click the Reshape tool on the Pointer toolbar. Click a lettering object. The reshape control points are displayed. Select a letter by clicking the diamond shaped control point displayed in the middle of each letter. To select several letters, hold down the CTRL key while clicking on the control points.
drag to change spacing of individual letters
4. 5.
When all letters are selected, drag them left or right until they are in the correct position. Click the Select Object tool to finish reshaping the lettering object.
ES
391
Distorting letters using an envelope

(25, 45, 65; opt. 21L/E/D) Using envelopes, you can create a variety of artistic effects. You use envelopes with lettering botches in the same way that you do with other objects. See To distort an object using an envelope on page 326 for details. The following lettering samples were created using envelopes.
Bridge
Pennant
Perspective
Diamond
To distort a lettering object using an envelope
1. 2. 3.
Select a lettering object with the Select Object tool. Choose Envelope from the Edit menu, and choose an envelope type. Your letters are now in the chosen envelope. The Reshape tool becomes automatically selected. Reshape the envelope. Depending on the envelope you choose, you may have center handles, corner handles or both types of handles. Drag one or more handles to change the shape of your letters. See To distort an object using an envelope on page 326 for details.
Note You can delete an envelope from selected letters by choosing

Envelope>Delete from the Edit menu.
392
ES
To edit text inside an envelope
1. 2.
Click the Lettering tool on the Input Method toolbar. Click inside a lettering object. A duplicate of the letters appears below the selected shape. The duplicate letters are displayed in their original formon the original baseline, and without distortion. The pointer changes to an I-beam, and is automatically inserted after the last letter. Edit the text. Use the ARROW keys and BACKSPACE key to move the I-beam cursor.Type additional letters or delete unwanted ones. New letters are added at the position of the cursor.
3.
add letters at I-beam cursor
lettering returns to envelope after editing
4.
When editing is complete, press ENTER, or click the Select Object tool. The changes are made to the selected lettering object.
ES
Distorting letters using an envelope (25, 45, 65; opt. 21L/E/D)
393
394
ES
Chapter 24.
Creating custom alphabets
(65; opt. 21D, 45)
In some versions of ES you can create your own alphabet with any combination of letters, numbers, punctuation marks and other characters. You can also create a symbol alphabet, for example, owers, or sport symbols. Letters and symbols can be digitized on the screenusing an electronic drawing as a backdrop, or on a digitizer tabletusing an enlargement drawing. Because of copyright laws, you cannot select an existing letter and save it directly in another alphabet.
ES
395
Digitizing alphabets (65; opt. 21D, 45)

You can digitize almost any alphabet. You can use font books, computer fonts or your own imagination to create your artwork. Your alphabet can even include symbols such as those used for music or sports. However, when you choose your alphabet for embroidery, there are a few important points to considerespecially if you plan to use the letters or symbols at different sizes. Letters should not have too great a difference in column width. Letters should not have very ne, very wide, or curved serifs. Letters should not have tight curves and sharp corners.
s s s
differences in column width are too great sharp corner
serifs are too long and ne
It may be necessary for you to modify the original alphabet you are using as a guide in order to make it more suitable for embroidery. This is especially true for very small alphabets. Keeping this guidelines in mind, you can embroider virtually any alphabet style.
Preparing drawings for digitizing letters

(65; opt. 21D, 45) You can digitize letters and symbols on the screen using an electronic drawing as a backdrop, or using a digitizer tablet. If you are preparing artwork in a drawing package such as CorelDRAW, use A or H as your reference letter. First set the font size, then dene the baseline. Draw two horizontal linesone for the baseline, and the second showing the height of the letters.
height of letters baseline
396
Chapter 24. Creating custom alphabets (65; opt. 21D, 45)
ES
Create each of the letters in the alphabet using the same baseline and height line as a reference. Remember though, that the descenders of some letters (such as y or g) may fall below the letter baseline.
height of letters
letter width
The width (reference points 1 and 2) may be different for each individual letter. You can draw vertical lines to indicate the width of the letter. Windows 95 copy and paste feature provides an easy way to transfer your lettering outlines into ES. See To paste a drawing into ES via the Windows 95 Clipboard on page 279 for details.
To prepare electronic or enlargement drawings for digitizing
1.
Decide on the height of the alphabet. To obtain the best results, digitize your letter height consistently throughout your alphabet. A height in the range of 30 to 40 mm is considered best for letters that you plan to re-size into other heights. Establish the alphabet baseline. The baseline is used for positioning letters. It must be consistent for the whole alphabet. To determine the baseline, compare a group of the letters you plan to use as a guide. The best letters to use as a reference are A, H and T. Round letter like C and lower-case letters with descenders will generally fall below the baseline. Define the letter height and width reference points. Each letter has three reference points. Points 1 and 2 determine the width of the letter, while the 3rd reference point defines the height. The reference height is generally kept consistent when forming letters. The reference height is the maximum letter height of your capital letters. Some letters (such as most lower case letters) will fall below the reference height. The width of letter can vary. After you have created or selected the outline for the letter you want to make, you will be prompted to mark the points which determine the baseline width and the letter height (if you have not set a default height when creating the letter).
2.
3.
ES
Preparing drawings for digitizing letters (65; opt. 21D, 45)
397
4.
Determine letter spacing. You can determine the spacing between letters by either adding the spacing to the width of each letter as you digitize it, or alternatively, you can digitize the actual width of each letter then set a default spacing for the entire alphabet. For non-script alphabets, the default letter spacing is generally 10% of the height. For script alphabets, the default spacing is 0%. When you set the default spacing, the spacing is the same for all letters. Cut the letters into shapes and mark the overlaps. Digitize your letters in the same sequence as you would for a design. Break each letter into sections. Allow overlaps between joining columns. Decide on the stitch angle or angles for each section.
5.
Note You can use any input method to create your alphabet.
Watch for overlapping strokes. Some alphabets are quite complex with several strokes joining at the same point. Design your sections with only two (or three at the most) overlapping sections to avoid stitching problems.
Creating a new alphabet (65; opt. 21D, 45)

You can digitize a letter or symbol at any time and add it to your existing alphabet, or your can choose to digitize the entire alphabet, saving each letter after all the letters are created. To create a new alphabet, digitize the rst letter, create a new alphabet at the same time when you make the rst letter.
s s
To create a new alphabet
1. 2. 3.
Digitize the rst letter. See To make a new letter on page 399 for details. Select all the shapes which make up the letter. Choose Make Letter from the Special menu.
398
ES
4.
When the Make Letter dialog box appears, click the New button.
5.
When the New Alphabet dialog box appears, enter a new alphabet name and specify the letter spacing.
Type in the name for your alphabet. Set the default spacing (if desired). Generally, 10% is used for standard alphabets, such as block and serif styles, and 0% for script style alphabets.
6. 7. 8.
Click OK in the New Alphabet dialog box. When you are returned to the Make Letter dialog box, specify other values of the first letter of the new alphabet. See To make a new letter on page 399 for details. Click OK in the Make Letter dialog box.
To make a new letter
1.
s
Prepare reference material. If you are using a drawing le for digitizing, choose Drawing File from the Insert menu.
ES
Creating a new alphabet (65; opt. 21D, 45)
399
s s
If you are using letter outlines from a le created in ES, choose Open from the File menu. If you are using a drawing tablet, register your enlargement drawing on the tablet. Define your letter by digitizing or selecting the outlines you want to use.
2.
Note Do not digitize tie-in and tie-off stitches as they are automatically added
when you use the letters.
3. 4.
Select all the objects which make up the letter. Choose Make Letter from the Special menu. The selected objects will be used to define the letter. The Make Letter dialog box is displayed.
5.
Select the alphabet name. If you are adding to an existing alphabet, select its name from the list. If you are creating a new alphabet, click New to display the New Alphabet dialog box. See To create a new alphabet on page 398 for details. Type the letter name for the letter you are creating. For example, if you have digitized a capital letter H and want to save it as that letter, put H in the text box. You can also digitize and save special characters such as , or . See To digitize special characters on page 402 for details. Determine letter height. Lettering and symbols are generally created with a height of 30 to 40 mm. If you set a value in this text box, you can digitize the letter at any height and ES will automatically convert the nished letter to this set value. OR If you want to use the digitized height of the letter, click Digitize Reference Height. When you return to the ES screen, you will be prompted to mark the Reference Height on the letter you are creating.
6.
7.
s
400
ES
Note If you want to save the stitch functions with the letter, click off Remove
Functions in the Make Letter dialog box.
8. 9.
s
Click OK. You are returned to the ES screen. Prompts appear in the message bar. Mark reference points. Mark the rst and second references points for the width of your letter. It is important to follow the instructions in the prompt message as ES uses this information to calculate the spacing of your newly created letter. If clicked Digitize Reference Height in the Make Letter dialog box, you will be prompted to mark the height of your letter. When all the required reference marks are placed, the letter is complete.
Digitizing special characters (65; opt. 21D, 45)

Before you begin to create a symbol or unique character, it is generally easier to open the character map provided by Windows 95 and to locate the character from the displayed type font list. For example, if you want to create the character , open the character map le: Charmap.exe which is found in your Windows folder. If you plan to create a number of characters, create a shortcut to the Charmap.exe le and place it on your Windows 95 desktop. Refer to your Windows 95 documentation for information on how to create a shortcut.
ES
Digitizing special characters (65; opt. 21D, 45)
401
To digitize special characters
1. 2.
Digitize the shape you want to create. Select all of the objects that make up the shape.
select all objects that make up the character
3. 4. 5. 6. 7.
Choose Make Letter from the Special menu. Choose the name of the alphabet you are adding to from the list, or click the New button to create a new set of special characters. When the Make Alphabet dialog box appears, type the name for your new alphabet. Click OK. When the Make Symbol dialog appears, type the symbol or letter you are creating in the Letter text box. If you cannot type the character you are creating from your keyboard, open the Windows 95 Character Map and find the character you are making. Click on the character to highlight it, then press Select. The character appears in the upper right text box. Press Copy, then return to the ES Make Letter dialog box. Place the pointer in the Symbol text box in the Make Letter dialog box and choose Paste from the Edit menu (or CTRL+V keys). The symbol appears in the text box. Set the symbol height in the text box, or click Digitize Reference Height. Click OK. You are returned to the ES screen. Prompts appear in the message bar.
s s s
8. 9.
10. Mark the first and second references points for the width of your character.
402
ES
Note It is important to follow the instructions in the prompt message as ES uses

this information to calculate the spacing of your newly created character. If you clicked on Digitize Reference Height in the Make Letter dialog box, you will be prompted to mark the height for your symbol.
11. When all the required reference marks are placed, the symbol is complete.
You can also digitize small graphic objects and place them in alphabet or symbol sets. These designs could be sports graphics, hearts, owers, or other small shapes that you use often in your design.
Tip
To add new symbols and characters to your design

s
To type your user dened alphabet, choose Embroidery Object>Lettering from the Insert menu. See Typing and formatting letters (all except 5,10) on page 362 for details. User dened symbols and unique characters are added to your design in the same way as you would add a standard symbol or character.
Modifying custom alphabets and letters

(65; opt. 21D, 45) After you have created an alphabet, you can modify it to make any changes. For example, you can: rename a custom alphabet, delete a custom alphabet, change the default letter spacing, rename an individual letter that you have created, delete an individual user dened letter, If you ungroup an existing lettering object, it is converted into ordinary embroidery objects. The information about alphabet, baseline, etc. is lost. However, you can select and reshape the individual embroidery objects which make up the letters.
s s s s s
ES
Modifying custom alphabets and letters (65; opt. 21D, 45)
403
Note Not all system alphabets can be ungrouped. You can, however, perform
these modications to alphabets which you create.
To modify a custom alphabet
1. 2.
Choose Modify Alphabet from the Special menu. Type or choose the modifications you want to make in the Modify Alphabet dialog.
3.
Click OK.
To modify a custom letter
1. 2. 3. 4. 5. 6.
Type or select the custom letter you want to change. Select the lettering object with the Select Object tool. Choose Ungroup from the Arrange menu. The lettering object is converted into ordinary embroidery objects. Choose the Reshape Object tool and reshape the objects. As an alternative, add new objects to the letter or symbol, for example, diacritical marks to European alphabets. Select the objects which make up a letter and choose Make Letter from the Special menu. When the Make Letter dialog box appears, select the alphabet for the reshaped letter, then type the name of the letter.
404
ES
You can replace the original letter by typing the same name, or you can type a new mane to add the new letter to the alphabet.
7.
When the message asks if you want to replace the letter, click OK.
ES
Modifying custom alphabets and letters (65; opt. 21D, 45)
405
406
ES
PART V
Production and management
ES
407
408
ES
Chapter 25.
Outputting designs for stitching

(all products)
Designs for stitching can be output in a number of ways: you can save designs from your hard disk to an embroidery oppy disk; you can punch a paper tape; or you can stitch the design directly from ES if your embroidery machine is connected to the computer. You can view production information on a selected design and you can also print or plot a production worksheet.
ES
409
Checking the design before stitching (all products)

You can open an existing design or create a new one and display stitching information about the design.
To display information about the design
1. 2. 3.
Open an existing design or create a new one. Choose Information from the File menu. When the Information dialog box appears, check the Design Information, such as height and width and number of stitches and colors. This information is extracted from the design and cannot be modified.
410
ES
4.
Click the Stop Sequence tab to view the sequence of different color threads used in the design. This information is extracted from the design and cannot be modified.
5.
Click the Summary tab to check basic information about the design.
Type appropriate text in the text boxes which will help you identify the design at a later date. You can type information only in those text boxes which have a white background.
ES
Checking the design before stitching (all products)
411
Some information you type in the Summary tab will be printed on the production worksheet. See Printing or plotting a worksheet (all products) on page 413 for details.
6.
Click OK. The information you type in this tab will be saved with the design and will be shown in the Summary tab of the Windows 95 Properties dialog box. To display the Properties of a file in Windows 95, click the file icon with the right mouse button, then choose Properties from the pop-up menu.
412
ES
Printing or plotting a worksheet (all products)

The production worksheet is the link between the designer and the embroidery machine operator. It contains essential production information about the design, such as the size of the design, color sequence, stitch count, etc., and a picture of the design. You can customize the production worksheet before printing to suit your specic needs. You can use either a color printer or a plotter to produce production worksheets. If you are using a color printer, you can print a design applying the TrueView effect.
To print or plot a production worksheet
1. 2. 3.
Create a new design or open an existing one. Choose Print from the File menu. You may preview the production worksheet before printing to check if it is correct. See To preview a production worksheet before printing on page 416 for details. When the Print Options dialog box appears, choose what you want to include in the production worksheet.
Text to Print Choose what type of production information you want to print. Zoom Choose a zoom factor for printing. This can be different from the zoom factor at which the design is currently displayed. Company Name The company name you type in the text box will be printed on the production worksheet.
ES
413
Graphics to Print If you choose Standard, the design will be printed with the following view options: TrueView off, show stitches, hide outlines, hide needle points, show connectors, hide machine function symbols, hide grid, hide drawings. If you choose Custom, the design will be printed with the same view options, as it is displayed on the screen. The needle points and the grid are never printed, even if these view options are turned on.
4. 5.
Click OK in the Print Options dialog box. When the Print dialog box is displayed, choose your printer or plotter from the list of available printers and plotters.
To set up a printer or plotter for using with ES, choose Settings>Printers from the Windows 95 Start menu. See To set up the printer on page 497, and To set up the plotter on page 498 for details.
6.
If you are using a plotter, click the Properties button in the Print dialog box to set the plotter pen colors to correspond with the tread colors you used in the design. Skip this step if you are using a printer. The Properties dialog box may look slightly different depending on what type and brand of plotter you are using. See your plotter manual for information on setting up pen colors.
414
ES
7. 8.
Type the number of copies you want to print and other relevant printing information. Click OK in the Print dialog box. If the design is too large to be printed on the selected printer, it will be tiled into multiple sheets so that it can be manually joined after printing.
To customize a production worksheet before printing
1.
s s s
Create or open a design, and select the object or objects you want to display and print. This can be done a number of ways: You can select the objects using the Select Object tool. See Select objects to scale and transform (all except 5,10) on page 301 for details. You can travel through a design, selecting and deselecting objects as you go. See To select objects while travelling through the design on page 342 for details. You can select objects by one or more colors using Select by Color. See To select objects by color on page 306 for details. With the objects selected, choose Options from the Special menu. When the Options dialog box appears, click the View Design tab, check Embroidery Objects, and click Show Selected Objects in the Visibility box. See To view embroidery objects on page 503 for details. Check the required view options. These will be displayed and printed on the worksheet. If you turn on TrueView, the design will look on the production worksheet similar to the final embroidery. You can also check Stitches, Outlines, Connectors and Function Symbols. The needle points and grid lines never appear on the production worksheet, even if they are displayed. If you uncheck all of these options, only the production information will be printed on the production worksheet, but the picture of the design will not appear. Click OK. ES displays the design showing only the options you have chosen. Print the design. See To print or plot a production worksheet on page 413 for details. Make sure you click Custom Graphics to Print in the Print Options dialog box. See Graphics to Print on page 414 for details. You may preview the production worksheet before printing to check if it is correct. See To preview a production worksheet before printing on page 416 for details.
2. 3. 4.
5. 6.
ES
415
To preview a production worksheet before printing
1. 2. 3. 4.
Create or open the design you want to print. Choose Print Preview from the File menu. When the Print Options dialog box appears, choose what you want to include in the production worksheet, then click OK. See To print or plot a production worksheet on page 413 for details. When the production worksheet is displayed, check if it is correct.
click here to print the production worksheet
click here to go back to ES production information
design shown in actual size
Your design is displayed in the same format in which it will be printed. Large designs may be displayed over a number of pages. Click the Zoom In button to examine portions of the design or to read the production information on the screen.
5.
Click the Print button to print the production worksheet. If the production worksheet is not correct, click Close to return to the ES Designer window. See To print or plot a production worksheet on page 413 for details.
416
ES
Capturing the current screen (all products)

It may be useful to make a copy of a design as it appears on your screen. This type of information can be used in various graphic programs to produce images that might be used in advertising material or brochures.
To capture the current screen for use in other applications
1. 2. 3. 4. 5. 6.
Create or open a design. Display the design in the format you would like to print it. You may use the zoom and pan commands, and change the view options. Press the PRINT SCREEN key on your keyboard. This places a copy of the screen (or screen dump) onto the Windows 95 Clipboard. Open a graphic application such as Microsoft Windows 95 Paint, Corel Photopaint on your computer. From within the graphic application, open a new file and use the Paste command to place the screen dump. Use the graphic applications Print command to print the image or the Save As command to save the design in the file format you require.
Sending designs directly to the embroidery machine (all products)

You can send a design directly to the embroidery machine for stitching is the embroidery machine is connected to your computer via a cable. Make sure that the correct embroidery machine is selected and that it is connected and congured correctly. See To set up the embroidery machines on page 493 for details.
ES
Capturing the current screen (all products)
417
To stitch a design
1. 2. 3.
Create or open the design you want to stitch. Choose Stitch to Machine from the File menu. Alternatively, you can click the Stitch button on the General toolbar. When the Stitch Design dialog box appears, choose the identification name of the embroidery machine to which you want to send the design, and choose the correct machine format from the drop-down lists.
The drop-down lists include the embroidery machines and machine formats you defined through the Hardware Setup and Machine Format Values dialog boxes. See To set up the embroidery machines on page 493 for details. You can access these dialog boxes by clicking the Setup and Values buttons to change some of your settings if necessary. The .EMB design you want to stitch will be converted to the selected format for stitching. However, the original file will not be altered.
4. 5.
Click OK to start stitching. When the Initialize Machine message box appears, prepare the embroidery machine and click OK.
418
ES
6.
Click Stitch Manager shortcut on the Windows 95 task bar to check the status of the design .
You can send several designs to the embroidery machine. ES puts the designs in a queue and sends them one by one to the machine when it is available. You can check the status of your designs in the Stitch Manager window at any time. If you want to delete a design from the list, select the name of the design, then click Cancel. To exit the Stitch Manager, choose Exit from the File menu or close the window.
Saving designs to embroidery disk (all products)

Your design can be saved to a formatted embroidery disk directly from ES. You can output a design in any of the supported machine formats without changing the format of the original design. Embroidery disks are machine specic. For example, a Barudan machine will only read Barudan format disks. Therefore, embroidery disks must be formatted to suit the embroidery machine you intend to use.
To save designs to embroidery disk
1. 2. 3.
Insert a correctly formatted embroidery disk into the A: or B: drive. Open or create an embroidery design. Choose Embroidery Disk>Save As from the File menu.
ES
419
4.
When the Save to Embroidery Disk dialog box appears, choose the correct disk drive from the Look In list.
If Auto Detect is checked, ES will automatically determine the format of the disk inserted in the selected drive. If Auto Detect is not checked, choose the format of the inserted disk from the drop-down list. If the disk is not formatted, or its format is not correct, you can format it now by clicking the Format button. See To format an embroidery disk on page 421 for details. Initially, the dialog box displays the list of designs already saved on the disk.
5.
Specify the file number or file name. This will be the name of the design on the embroidery disk. Specify a number or name according to the requirements of the embroidery machine on which you want to stitch the design. For some machines you do not have to specify a file number when you save designs to a disk. In this case, the design number box appears dimmed.
420
ES
6.
Choose the required machine format of the stitch data from the drop-down list. Some embroidery machines can read designs of different formats. For example, some Tajima machines can read Barudan format designs as well as Tajima format ones. Therefore, the machine format of the stitch data can be different from the embroidery disk format. Choose a design type from the drop-down list if required. This is the type of the file saved on the embroidery disk. Usually, there is only one file type is available. Click OK to save the design to the disk. Do not remove the disk from the drive while ES is saving the design le to the embroidery disk. Wait until the light on the oppy disk drive stops ashing.
7. 8.
Warning
To format an embroidery disk
1.
Insert a 3.5" oppy disk of the correct density in the disk either the A: or B: drive.
Note Some embroidery machines use a double density (DD) floppy disks while
others require high density (HD) disks. Make sure you use the correct type of disk for your system. See How to choose the correct oppy disk (all products) on page 423 for details.
2. 3. 4.
Open or create a design. Choose Embroidery Disk>Format from the File menu. When the Format Embroidery Disk dialog box appears, choose the drive into which you inserted the floppy disk, then choose the required disk format from the drop-down lists. Notice that you can format a DOS disk as well as an embroidery disk.
5.
Click OK to format the disk.
ES
421
6. 7.
When the Format message box appears, click OK to confirm that the selected drive and disk format are correct. When the Format dialog box appears, choose Full format type to format a blank disk or to change the format of a disk.
Click to erase data from a formatted disk. Click to format a disk. Click to copy system les.
Choose quick if you only want to erase all data from an embroidery disk, but do not want to reformat it. If you have trouble with formatting a Melco embroidery disk, check if your floppy disk drive can read and write single density (SS/SD) floppy disks. See To check if Melco disk format is supported on page 540 for details.
8.
Type in a label name if required, otherwise check No Label. Tajima and Toyota embroidery disks are automatically given a volume label which indicates their format. For other machines, you can type a label in the Disk Format dialog box.
9. Click Start to start the formatting process. 10. When formatting is complete, you are asked if you want to format another disk. Click OK
to format another disk, or Cancel if you are finished formatting. Now the disk is ready for use.
422
ES
How to choose the correct oppy disk (all products)

Most new embroidery machines are equipped with a oppy disk drive. These drives are the same as those used in computers. There are different types of oppy disks, which can store different amount of data: 360K Single Sided Single Density (SS/SD) 720K Double Sided Double Density (DS/DD) 1.44Mb Double Sided High Density (DS/HD) 2.88Mb also called Double Sided High Density (DS/HD). Various types of oppy disk drives can read and write only certain capacity oppy disks. Table 10: Floppy disks used with computers
Computer Floppy Disk Drive Single Density Double Density High Density 1.44 Mb High Density 2.88 Mb SS/SD disk 360K DS/DD disk 720K formatted as SS/SD 360K DS/HD disk 1.44Mb DS/HD disk 2.88Mb
Embroidery machine manufacturers have selected different capacity disk drives and oppy disks to suit their needs for producing embroidery. The oppy disk drive in your embroidery machine may be different from the one in your computer.
Note Make sure that the floppy disk drive in your computer can read, write and
format oppy disks which you can use with your embroidery machine, so that you can transfer embroidery designs. Most computers have a High Density 1.44 Mb drive, which can read Double Density 720 K as well as High Density 1.44 Mb oppy disks. Most embroidery machines use Double Density disks, therefore usually there is not problem with transferring designs.
If your embroidery machine can only read Single Density disks, you need to install a special oppy disk controller card in your computer. Only a few special oppy disk controller cards can read Single Density disks.
ES
423
If you want to stitch a design, you must write it to a disk which is formatted for a specic embroidery machine (Tajima, Melco, Barudan, etc.). When formatting an embroidery disk on your computer, make sure that you use the correct density disk. For example, since a Tajima machine requires a Double Density (DD) disk, you must use a Double Density disk to format a Tajima embroidery disk, even though your computer has a High Density oppy disk drive. Table 11: Floppy disks used with embroidery machines.
Machine Type Barudan Melco EM peripherals Melco Star/Superstar Pfaff Tajima Toyota ZSK/Zangs formatted as SS/SD 720K SS/SD disk 360K DS/DD disk 720K DS/HD disk 1.44Mb DS/HD disk 2.88Mb
Embroidery machine manufacturers constantly improve their models. Therefore, use this table as a guide only. If you are in doubt as to which type of oppy disk to use, consult the manual for the type of embroidery machine you are using.
424
ES
Punching paper tape (all products)

Designs can be punched to tape from ES. When you punch a design to paper tape, you can choose the output format type.
To punch a paper tape
1. 2. 3.
Open or create the design to be punched to tape. Choose Punch to Tape from the File menu. When the Choose Write Tape Type dialog box appears, select an embroidery machine format from the list, and click OK.
The design is automatically converted to the selected machine format.
4.
When the Tape Manager dialog appears, check Confirm Setup to see the information about the punch connection before punching the tape. Choose the type of punch you are using from the Punch Name list. Click the Setup button and type the communication parameters. See To set up the paper tape punch and reader on page 495 for details. Then click OK to return to the Tape Manager dialog box. Check the desired direction and label options. Click the Punch button. If Confirm Setup is checked, the Punch to Tape dialog box appears showing the technical details of the punch connection. Click OK. The design is punched to a paper tape.
5. 6. 7. 8.
ES
Punching paper tape (all products)
425
426
ES
Chapter 26.
Reading and converting designs
(all products)
s s s
ES can read other design formats, which can be opened, converted to other design formats, and stored on an embroidery disk, DOS oppy disk, paper tape, or on your hard disk. Based on the type of information they include, design les can be classied into the following categories: tape format les and embroidery machine specic expanded designs (for example, *.T01, *.T03,*.DSB, *.DST, *.EXP), condensed designs created by other embroidery design applications, (for example, *.INP, *.CND), design formats created with old DOS versions of ES, for example, *.ESD. Tape format les and expanded designs include stitches and machine functions, and are suited for a specic embroidery machine. However, they do not have any information about how the design was created. When you open one of these les, they remain unchanged.You can stitch or output them to disk or tape without changes. You can also combine them with other designs, edit their stitches, and add new elements to them. If you want to scale a tape format or expanded design, or change the stitch density, use the Stitch Processor rst to reconstruct the missing information. See the chapter Stitch Processor (all products) on page 349. Condensed designs store digitized shapes and lines, selected stitch types, and stitch values and effects, but do not contain the generated stitches. After reading these designs, ES regenerates the stitches based on the information stored in the condensed le. Condensed designs scale accurately, however, the resulting stitches may differ from the original design, as different embroidery design applications use their own methods for calculating stitches. Old format *.ESD designs include the stitches, information about the selected stitch types, densities, and machine functions. They do not however, have information about the digitized shapes and lines, so ES must detect the object outlines.
ES
427
Reading other design formats (all products)

You can open designs other than .EMB directly into ES. If the design is stored on an embroidery disk or paper tape, use the Embroidery Disk>Open, or the Read from Tape command. If a design is stored on a DOS formatted oppy disk, or on your hard disk, use the Open command. If you are going to open a tape format file, expanded design or old format *.ESD file, and you intend to scale it, you should check Objects/Outlines in the Decoding Options dialog. See the chapter Stitch Processor (all products) on page 349.
To open a design from an embroidery disk
1. 2. 3.
Insert the embroidery disk into oppy drive A: or B:. Choose Embroidery Disk>Open from the File menu. When the Open Embroidery Disk dialog appears, choose the floppy disk drive into which you inserted the disk, and choose the appropriate diskette format.
4.
Uncheck Auto Detect. If you are not sure about the format of the embroidery disk, check Auto Detect to let ES determine its format. If Auto Detect is checked, the currently selected diskette format is ignored.
Note If you know the precise format of the disk, choosing the format and
unchecking Auto Detect, displays the next dialog much faster, as it will bypass the Auto Detect process.
5.
Click OK. in the Open Embroidery Disk dialog box.
428
Chapter 26. Reading and converting designs (all products)
ES
6.
When the Open From Embroidery Disk dialog box appears, choose the type of designs to list from the Designs of Type drop-down list.
The summary list changes to reflect the file type. Use the scroll bars to see the entire list. If no designs are listed, make sure that the correct drive and the correct disk format are selected. If you are not sure about the disk, check Auto Detect to let ES determine its format. If still no designs are listed, the embroidery disk is probably empty.
7. 8.
Click the Options button to set options. When the dialog box appears, complete the options as appropriate, and click OK. Options are shown for the appropriate file types. The options displayed depend on the type of file selected. See How to select options when opening and reading old designs (all) on page 431 for details.
Note Where the design file outlines are to be converted to .EMB format objects, check Objects/Outlines. See the chapter Stitch Processor (all products) on page 349.If you dont require the le to be converted into objects, uncheck Objects/Outlines. When Objects/Outlines is unchecked, a le is opened signicantly faster.
ES
429
9.
Click the Open button in the Open From Embroidery Disk dialog box. The selected design is opened in a new window.
Note When you next insert an embroidery disk, ES will keep the last selected
embroidery disk format.
To open other design formats from DOS formatted disks
1. 2.
Choose Open from the File menu. When the Open dialog box appears, choose the type if files you want to list from the drop-down list.
click Options
The list of files shown will only be of the type selected.
3. 4. 5.
Select the file to open. Click the Options button to set options. When the dialog box appears, complete the options as appropriate, and click OK. Options are shown for the appropriate file types. The options displayed depend on the type of file selected. See How to select options when opening and reading old designs (all) on page 431 for details.
430
ES
Note Where the design file outlines are to be converted to .EMB format objects,
check Objects/Outlines. See the chapter Stitch Processor (all products) on page 349.If you dont require the le to be converted into objects, uncheck Objects/Outlines. When Objects/Outlines is unchecked, a le is opened signicantly faster.
6.
Click Open. The selected design is opened in a new window. You can output the design without change. See Outputting designs for stitching (all products) on page 409 for details.
To read a design from a paper tape
1.
Make sure the tape reader is connected and congured correctly and that a tape is loaded. You can optionally convert the design into objects. See the chapter Stitch Processor (all products) on page 349. After conversion, the design can be scaled and changed.
Note Do not read the optional label which is at the beginning of the tape, as it is
not part of the stitch data.
2. 3.
Choose Read from Tape from the File menu. When the Read from Tape dialog appears, choose the format of the tape from the dropdown list. Make sure that you specify the format correctly, as it cannot be detected automatically by ES. Click OK. The design is opened in a new design window. You can output the design without change. You can also change the design and output it in its original format, or save it as an .EMB file.
4.
How to select options when opening and reading old designs
(all)
When you open or read old designs, you can choose various options which determine how the design will be converted into .EMB format. The options displayed depend on the type of file selected.
ES
431
Note Where the design file outlines are to be converted to .EMB format objects,
check Objects/Outlines. See the chapter Stitch Processor (all products) on page 349.If you dont require the le to be converted into objects, uncheck Objects/Outlines. When Objects/Outlines is unchecked, a le is opened signicantly faster. For .ESD format files, the Decoding Options dialog box provides the option for recognizing Objects/Outlines.
For .INP designs, the Decoding Options dialog box appears with a Machine Type dropdown list.
432
ES
For Melco .CND designs, the Condensed File Input Values dialog appears. Set the scaling factor, adjust the stitch density, and set the stitch effects.
For Melco .EXP designs, and Wilcom .T0* tape formats, the Decoding Options dialog appears. If applicable, a number of machine types are listed, for example, ZSK1, Zangs. Choose the Machine Type, set the number of jumps per trim, and whether or not to convert the design to .EMB format objects.
ES
433
Convert condensed designs into .EMB (all products)

Condensed design les contain some, but not all, of the information required for stitching a design. Files included in this category are Wilcom .INP les and Melco .CND les. Condensed les contain information on digitized shapes, stitch types and stitch density. Data on the actual stitching is absent from a condensed le. When an condensed le is opened, ES re-generates the stitches. ES reads the object outlines, and most of the object properties from the condensed design, then it adds the missing properties. The number and placement of stitches may differ from the original design, as different embroidery design applications use different methods for calculating stitches. You may need to change the stitch type, or apply different effects to certain objects.
Wilcom *.INP designs

.INP is a native le format of the Wilcom Computer Embroidery Design software. Wilcom .INP designs can be converted to .EMB les. However, .EMB interprets some of the stitch types differently from the .INP designs. Table 12 on page 434 contains a list of Wilcom .INP features and notes on how they are converted to .EMB format. Table 12: Reading Wilcom .INP designs
Wilcom .INP CED Block lettering CED Block, Jump out Cross Stitch Family of Curves Split .EMB Block2 Block2 Paths imported as runs only. Satin, single curve as split line. Standard Tatami Standard Tatami Tatami Perpendicular turn ll (generally fewer stitches) Non-matching Tatami Will look different but can be re-digitized in smaller sections. Notes Font can be changed after conversion. Manual edits and trimming. Runs can be changed to X Motif to generate cross stitch. Noticeably different from Satin. You can copy imported curve to get multiple curves. Alternating number is ignored. Looks different but can be edited. Can be edited.
Split Stitch Geect Split Alternate Turn ll
Matching Tatami
Complex Fill will have matching Tatami.
434
ES
Table 12: Reading Wilcom .INP designs

Wilcom .INP Borderline Tatami Scattered Tatami Circle Ring Program Stitch Motifs Tourenblat Backup Lock Tajima style Lock Underlays, 3 or 4 layers Underlaysslant Backtrack/Repeat section/marked Auto Spacing Delete Stitch .EMB Borderline Tatami Random Tatami Circle Ring Manual Stitch Patches E Stitch Satin Tie Off Tajima Tie Off Two underlays only. Normal Underlay Separate objects are added. Auto Spacing Manual only, ignored for other stitch types. Needles In/Out Connector properties Stop (with info label) Borers In/Out Slow/Fast Stepp/Blatt only, others are ignored For example, Insert Appliqu is converted to Stop. OK most of the time. Can be edited. Can be added manually. Functions are supported correctly. Values are different. Can be changed before stitching. Can be edited. Normal objects. Looks different, so that it is easy to locate and edit. Will look slightly different. Notes
Needles In/Out Trim/Tie In/Tie Out Other Multihead Machine Functions Borers In/Out Slow/Fast Schifi Functions
ES
Convert condensed designs into .EMB (all products)
435
Melco *.CND designs

.CND is a native le format of the Melco EDS-III embroidery digitizing software. The .CND le stores the digitized shapes and information about how each of these shapes should be stitched. Before stitching, an expanded (.EXP) format le is also created. The .EXP stores the actual stitches and can be stitched directly. You can open Melco Condensed (.CND) format designs in ES. ES recognizes all the Melco machine functions and stitch types, including Partition Lines Sequences and Complex Fill, and automatically converts the design into .EMB format. There are several versions of .CND les which can all be read by ES. It is important to know that there are some differences in the way a .CND design is interpreted by ES. The following table contains a list of Melco EDS-III features and notes on how they are converted to .EMB format.
Table 13: Reading Melco .CND designs

Melco .CND Walk Bean Stitch Column Fill Partition Lines Complex Fill Run Triple Run Satin Tatami Complex Fill Needle penetrations in the Tatami ll match the Melco partition lines. Complex Fill shapes in Melco .CND are recognized and mapped to .EMB Complex Fill. These underlays are generated for shapes which consist of a single segment. .EMB Notes
Underlays - Edge Walk - Center Walk - Narrow Column Complex Fill Underlay
Edge Run Center Run Zigzag Tatami
For Complex Fill shapes which consist of multiple segments, always Tatami underlay is generated. If Automatic Lock Stitch is set for every Color Change and at the start and end of the design in EDS-III, there will be Tie Off and Tie In stitches inserted at the appropriate places in the .EMB design. The same Tie In method is used as in Lettering. Added in Tie off
Automatic Lock Stitch
Tie In, Tie Off
Manual Lock Stitch Centerline Input C
436
ES
Converting tape format les and expanded designs to different formats (all products)
Once a tape format le or expanded design is open, you can output it in the same, or in a different machine format. If you have lots of old designs on paper tapes, you can read them into ES, then output them onto embroidery disk in the same machine format without changing them in any way. In this case, the stitch data on the embroidery disk will be identical to the stitch data stored on the paper tape. It is safer to store old designs on oppy disks, and they require less storage space. If your embroidery machine is not equipped with a oppy disk drive, you can still punch a design to paper tape later when you need it. You can also convert a tape format le or expanded design to a different machine format. In this case ES converts the design according to the current machine format values. When converting a tape format file, in the General tab of the Options dialog, check Run Small Stitch Filter on Output OFF, to leave tape format les unchanged.
Tip
To convert an expanded design to a different machine format
1.
Read a tape format le or expanded design into ES. See Reading other design formats (all products) on page 428 for details. The design is opened in a new window. Choose Select Machine Format from the Machine menu. The Select Machine Format dialog appears. Choose a machine format from the list. Click OK. If you wish, you can change the machine format values by clicking the Values button. See chapter, Embroidery machine formats and functions (all products) on page 231. Choose Embroidery Disk>Save As, or choose Punch to Tape from the File menu. If you choose Punch to Tape, ensure that the correct machine format is selected. Click Save to save to an embroidery disk, or click OK to punch to tape.
2. 3. 4. 5. 6. 7.
ES
Converting tape format les and expanded designs to different formats (all
437
Convert .EMB designs to Melco .CND (all products)

Designs created in ES or other le formats that have been converted to .EMB les, can be converted into Melco .CND (or .EXP) format. The best conversion results, are obtained from converting a native .EMB le created in ES. Other formats which are converted rst to .EMB, and then to .CND will vary depending on the information available in the design. It may be necessary to re-digitize some parts of a design in ES before converting to .CND format. There are also a number of features that are specic to ES that are not available in Melco EDS-III. These include stitch quality features such as Auto Spacing, Auto Split, Fractional Spacing, stitch types (such as turning Tatami), and decorative lls and effects (such as Jagged Edge, Program Split, User Dened Split, etc.) For better results, when creating a design in ES, use only those features which are compatible with Melco EDS-III. If you have designs which are created in ES using its specic features, output them in Melco .EXP format instead. For better conversion results, edit your .EMB file to remove, change or turn off any functions that do not readily convert. See Table 14, Converting stitch types, effects and functions from .EMB to Melco .CND, on page 438 for details.
Tip
Note If Object/Outline was checked OFF when a design was read into ES, all
stitch types are read as Manual, thus will be converted to Walk in Melco .CND. If a design was created in ES as an .EMB le, then the object outlines are used where possible. Table 14: Converting stitch types, effects and functions from .EMB to Melco .CND
.EMB Manual Run Triple Run Satin Satin with Auto Split Melco .CND Walk Walk Bean Stitch Column Fill Walk DO NOT USE! Turn Auto Split OFF when digitizing the design in ES. Satin with Auto Split is converted to Walk. The stitch length is equal to the Auto Split Length. Density is not preserved when the design is scaled. Only if the design is an original ES .EMB design Notes
Zigzag
Walk
438
ES
Table 14: Converting stitch types, effects and functions from .EMB to Melco .CND
.EMB E Stitch Tatami - parallel Melco .CND E Stitch Fill Stitch Notes Supported for Input A, Input B, and Input C input methods. Use Complex Fill to make sure that the stitch lines are parallel. Do not digitize pointed ends. DO NOT USE turning Tatami! Sharply turning Tatami is converted to Walk. If the stitches are slightly turning, the shape is divided into several sections, which will be lled with parallel Fill Stitch. There may be small gaps between these sections.Do not digitize pointed ends. Two MK1 points are repeated at the current position.
Tatami - turning sharply Tatami - turning slightly
Walk
Fill Stitch, several sections
Tatami - random Empty Tie In (Lettering) Tie Off Underlays - Center Run - Edge Run - Zigzag - Double Zigzag Program Split User Dened Split Trapunto Style Accordion Spacing Motif Fill Run Length Tatami Length and Spacing
Walk Walk Walk Walk Walk Walk Uses .CND Auto Underlay. Walk Walk Walk Walk Walk Walk Walk Length Fill Length and Density The length of the Walk stitches will be the same as the length of the Run stitches in ES. The length and density of the Fill Stitches will be the same as the Tatami Length and Spacing selected in ES. Any generated stitch pattern is preserved and will scale as Walk. The pattern will be lost when the design is scaled.
ES
439
Table 14: Converting stitch types, effects and functions from .EMB to Melco .CND
.EMB Auto Spacing Melco .CND xed spacing Notes DO NOT USE! Turn Auto Spacing OFF when digitizing a design. Auto Spacing is converted to equal spacing, based on the average spacing. If you wish to stitch the original .ESD design, use Process to apply Auto Spacing later. Turn Fractional Spacing on and set it to 0.5 when digitizing a design in ES. Fractional Spacing is ignored. Spacing is always measured at the center of the column. Information about the originally digitized shape and the applied Pull Compensation value is lost. The shape is output as if it was digitized larger. DO NOT USE! Turn Jagged Edge OFF when digitizing a design in ES. Shapes stitched with Jagged Edge cannot be recognized properly. Shapes are recognized better, so the design converts to .CND with better results if Shortening is Off. However, if you intend to stitch the original .EMB design without conversion, it is better to leave Shortening On.
Fractional Spacing
spacing measured at center (0.5) preserved
Pull Compensation
Jagged Edge
Walk
Stitch Shortening On/Off
preserved if ES .EMB
Color Change/Stop Trim
Color Change/Stop Trim Designs can be output without Trim functions. Uncheck Allow Trims on output in the Export or Write Disk dialog. Mainly used in Chenille designs.
Needles Up Jump
Needles Up Jump
See Table 15, Input methods compatible with Melco EDS-III, on page 440 for details. It shows which input methods to use in ES for digitizing designs for conversion to Melco .CND format.
Table 15: Input methods compatible with Melco EDS-III

Input method Usage Notes
440
ES
Table 15: Input methods compatible with Melco EDS-III

Input A, B, C End - Include Last Stitch (ENTER) End - Omit Last Stitch (SPACE BAR) Complex Fill use use do NOT use use Use with Satin only. Always nish the shapes on the opposite side. DO NOT USE! Start digitizing the next shape on the opposite side instead. Use with Tatami only. Do not digitize pointed ends, because Melco EDS cannot handle them. Cut the pointed ends off with a straight line, parallel with the stitch angle. Pointed ends of shapes are squared off by the software during the conversion process, in order to avoid problems. This is hardly recognizable when the design is stitched. The exit point will be on the wrong side. The stitches will be output as Walk.
Circle Ring Star
use not recommended not recommended
ES
441
442
ES
Chapter 27.
Managing Designs with ES Librarian

(all products)
ES Librarian provides you with a way of viewing, sorting, and accessing embroidery designs. ES Librarian can access the design les stored either on your computers hard disk, at a network location, on a CD-ROM, or on a oppy disk. It provides a convenient way to manage all of your design les.
ES
443
Starting ES Librarian
ES Librarian is started from a shortcut on the Windows 95 desktop.
To start ES Librarian
s
Double-click the ES Librarian shortcut on the Windows 95 desktop. Alternatively, choose Programs>ES> ES Librarian from the Start menu on the Windows 95 taskbar.
444
ES
The ES Librarian and the ES Designer windows appear. You can switch between them using the Windows 95 ALT + TAB feature to switch to an alternate program.
Designs in Folders open Designs in Database icons details list
Directory Folders
Split bar Design icons
Status bar
To locate a design on your computer or network
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Use the directory on the left of the window to locate the folder containing the design. When you click on a folder in the directory, the files within the folder are shown on the right side of the screen. You can list your designs in different ways. See Listing designs on page 446 for details.
2.
Starting ES Librarian
ES
445
Tip
The split bar between the folders and the icons can be dragged to the left or right to resize the partitions of the window.
Listing designs
You can show your designs in two ways: as icons, or in a list which contains le details, including name, le type, size and date. When ES Librarian is rst started, designs are displayed as icons sorted by name. The details list is the fastest way to display designs and will fit more designs in the window.
To view designs as icons
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Click the Icons button on the toolbar. Alternatively, choose Icons from the View menu. Icons for the design files are displayed. The icons are the designs in miniature, allowing you to see the designs without opening the files. The file name of the design is shown under the icon.
2.
Tip
You can resize the partitions of the window to view more icons at the one time. The split bar between the folders and the icons can be dragged to the left or right to resize the partitions of the window.
To view designs as a list
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Click the Details button on the toolbar. As an alternative, choose Details from the View menu.
2.
446
ES
All files in the current folder are listed showing the file name, the size of the file (in Kilobytes), the file type and date the file was last modified.
Sorting Designs
You can choose the order in which to display the designs. The designs can be sorted whether shown as icons or as a details list. When designs are shown in the details list, every le in the selected folder is listed, while as icons, only the recognized design les are shown.
To sort designs
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Choose Arrange By from the View menu. Choose to display by: Name The files are listed alphabetically by file name. Type The files are listed alphabetically by file type. Size The files are listed according to file size. Date The files are listed chronologically by the date the designs were last modified.
2.
Alternatively, show the design les as a details list and click either Name, Size, Type, or Date at the top of the list. See To view designs as a list on page 446 for details.
Sorting Designs
ES
447
Selecting designs
Before a design can be opened, copied, etc., it must be selected. ES Librarian provides a number of ways of selecting designs either as individual designs or a group.
Selecting individual designs

A particular design must be selected before it can be opened, copied, etc.
To select a design
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Display the designs either as icons or as a details list. See Listing designs on page 446 for details. Click on the center of the icon in the icon view, or the file name in the details list. If displayed as icons, the design icon is highlighted with a darker border, or if displayed as a details list, the file name is highlighted.
2. 3.
Tip
In a details list, every file in the folder is listed, to ensure that only valid design les are selected, display the designs as icons before opening or recording.
448
ES
Selecting multiple designs

All, groups of particular designs, or a range of designs can be selected. The selected group can be then be opened, copied, etc. A range is a series of consecutive designs.
To select or deselect all designs
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Display the designs either as icons or as a details list. See Listing designs on page 446 for details. Choose either Select All or Deselect All from the Edit menu. Choose Select All from the Edit menu to select all designs in the current folder. All designs are highlighted.
2. 3.
s
Note If the designs are shown as icons, only the recognized design files are
selected. If the designs are shown as a details list, every le in the folder is selected.
s
Choose Deselect All from the Edit menu to cancel all selected designs. Alternatively, click the white space around the designs.
To select several designs
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Display the designs either as icons or as a details list. See Listing designs on page 446 for details. Select the first design by clicking on its icon in the icon view or its file name in the details list.
2. 3.
Selecting designs
ES
449
4.
Hold down the CTRL key and click another design. Both designs are now selected. Additional designs are selected when clicked while the CTRL key is held down. If a selected design is clicked, it is then deselected. The selection is cancelled with Deselect All from the Edit menu, or clicking a file without holding down the CTRL key.
To select a range of designs
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Display the designs either as icons or as a details list. See Listing designs on page 446 for details. Select the first design. Hold down the SHIFT key and click the last design in the range. All the designs in the range are highlighted indicating selection. The selection is cancelled with Deselect All from the Edit menu, or clicking a file without holding down the SHIFT key.
2. 3. 4.
Opening a design from ES Librarian

Any design le that can be recognized and displayed as an icon by ES Librarian can be opened directly for viewing and editing in ES Designer. A blank icon is displayed for design les which are either empty, invalid, or corrupted.
To open a design from ES Librarian
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Display the designs either as icons or as a details list. See Listing designs on page 446 for details.
2.
450
ES
3. 4. 5.
Select the design to open. Any number of designs can be selected. See To select several designs on page 449 for details. Click the Open button on the toolbar. Alternatively, choose Open from the File menu. All of the selected files are opened. Alternatively, if display designs as icons, and double-click a design icon. The clicked design is displayed in the ES Designer window ready for editing.
To switch to ES Librarian from ES Designer

s s
Use the Windows 95 feature of pressing the ALT+TAB keys to switch to ES Librarian. Alternatively, click the ES Librarian taskbar button on the Windows 95 taskbar.
Cut, Copy, Paste, and Delete designs

A design can be cut, or copied, and then pasted within the same folder or to another folder. A design can be deleted from the folder. Once a selected design is copied, it can then be pasted to another location using the Paste command. A copied design can be pasted any number of times. When a selected design is cut, the design is removed from the current folder. The design can then be pasted to another location using the Paste command. If another edit operation is performed before pasting, the Cut is cancelled automatically. Delete permanently removes a le from the folder.
To copy and paste a design
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Select the design. Any number of designs can be selected. See To select several designs on page 449 for details.
2.
ES
451
3. 4. 5.
Click the Copy button on the toolbar. Alternatively, choose Copy from the Edit menu. Change to another folder using the directory if required. A design can be pasted to the same folder as the original design. Choose Paste from the Edit menu. If the selected design 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 (2). You can then change the name of the file by double-clicking the name and typing the new name. Press ENTER to complete the name change.
Note If you rename the file, ensure that the three letter extension is not altered.
The same design can be pasted any number of times into the original folder. If the new design is pasted into the original folder more than once, the designs are automatically named Copy (2), Copy (3) etc. If the design is pasted into another folder, a Conrm dialog appears if you paste a second time, prompting you to replace the existing design.
To cut and paste a design
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Select the design. Any number of designs can be selected. See To select several designs on page 449 for details. Choose Cut from the Edit menu, or click the Cut button on the toolbar. Change to another folder using the directory. Choose Paste from the Edit menu. The selected design is pasted into the new folder. If a design of the same name already exists in the folder, a Conrm dialog appears prompting you to choose whether to replace the existing design or to cancel the paste.
2. 3. 4. 5.
Note If the design is cut, but not pasted, it is not removed from the original folder. It is displayed again in the folder if you cut or copy another design, or when you next start ES Librarian.
452
ES
To delete a design from ES Librarian
1.
Start ES Librarian. See To start ES Librarian on page 444 for details. You can switch to ES Librarian if it is already running. See To switch to ES Librarian from ES Designer on page 451 for details. Select the design. Any number of designs can be selected. See To select several designs on page 449 for details. Choose Delete from the Edit menu. A message is displayed to confirm. Click Yes to delete the design, or No to cancel the delete and leave the file unchanged.
2. 3. 4.
Warning
The file is permanently removed from the folder.
To exit ES Librarian
s
Choose Exit from the File menu.
ES
453
454
ES
Chapter 28.
Working with the Database
(10, 65; opt. 21L/E/D, 25, 45)
The Database is a central storage and management application for your designs. You can store any ES design in the Database. A design is stored with both automatically generated and user-dened information. User-dened means that you can decide what information is to be associated with a particular design. The Database allows you to structure and classify your designs for easier access and retrieval. When a design is placed in the Database, you can open or display the design le directly from the Database. You can search for designs by specic category, size, thread count and other criteria. A choice of information pages for design records ensures that you can quickly nd the information you need about any design. Navigation buttons for browsing and slide show facility allows for scrolling through each design in the Database. Once you have located an appropriate design le using the Database, you can choose to view the design in more detail, print, sew the design, or add the design and design records to the Database. You can also print detailed and summary reports with design stitching information. Designs can be printed individually, or you can sort the designs into specic categories and print a number of designs on a single page. This centralized Database can be linked through a network, allowing multiple users to access the same information. An in-built security system with multi-level password access ensures that the designs will be protected from accidental changes or deletions.
ES
455
Starting the Database

The Database is accessed from ES Librarian.
To start the Database
1. 2. 3.
Start ES Librarian. See To start ES Librarian on page 444 for details. Click the Designs in Database button on the toolbar. Alternatively, choose Designs in Database from the View menu. Type your user name and password, and click OK. The Database window appears.
Designs in Database Designs in Folders view designs
open
Stored designs
Database navigation
Slide show controls
Information Search pages
Status bar
456
ES
Chapter 28. Working with the Database (10, 65; opt. 21L/E/D, 25, 45)
Listing the designs in the Database

The designs in the Database can be listed in a number of different ways: as Icons, Icons with stitching details, and in a details list. When the Database is rst accessed the designs in the Database are shown as icons. Designs can also be displayed in full screen.
To display designs recorded in the Database
1. 2.
Start the Database. See To start the Database on page 456 for details. Display the designs.
Icon and Info
Icon and le name
text details list
s s
To display the designs as icons with stitching details, click the Icon and Info button on the toolbar. Alternatively, choose Icon + Details from the View menu. A short summary of the stitching details are shown with the design icon, including number of stitches (S), number of colors used and the number of color stops (C), height (H), and width (W). To display the designs as icons, click the Icons button on the toolbar. Alternatively, choose Icons from the View menu. To display the designs in a details list, click the Details button on the toolbar. Alternatively, choose Details from the View menu. The designs are listed showing the name, number of stitches in the design, type, and the date the design was last modified.
To display designs using full screen
1. 2.
Start the Database. See To start the Database on page 456 for details. Display the designs. See To display designs recorded in the Database on page 457 for details.
Listing the designs in the Database
ES
457
3. 4.
Choose Full Screen from the View menu. The toolbars and menus are removed to maximize the screen area for display. Press the ESC key to return to normal view.
To refresh the display

s
Choose Refresh from the View menu. Alternatively, press F5.
Slide show
All the designs in the Database can be displayed as a slide show. The slide show can be run from the icon, or details list view of the designs, or from the information pages.
To run a slide show
1. 2. 3.
Start the Database. See To start the Database on page 456 for details. Display the designs in the Database as icons or as a details list, or showing the information pages. See To display designs recorded in the Database on page 457 for details. Click the Slide show in forward order button at the base of the window. Alternatively, click Slide show in reverse order button. The slide show automatically scrolls through every design in the Database. The slide show will re-start at the beginning when the end of the Database is reached, and continue until stopped. Click Stop slide show button to stop.
4.
Sorting the designs in the Database

The designs in the Database can be sorted by name, type, date, and size. The designs are arranged according to the sort selection. The designs can be sorted whether they are displayed as icons or as a details list.
458
ES
To sort the designs
1. 2. 3.
Start the Database. See To start the Database on page 456 for details. List the designs as either icons or as a details list. See To display designs recorded in the Database on page 457 for details. Choose Arrange By from the View menu. Choose to display by: Name The designs are listed alphabetically by file name. Type The designs are listed alphabetically by file type. Size The files are listed according to the number of stitches used in the design. Date The designs are listed chronologically by the date the designs were last modified.
Selecting designs
The designs must be selected before an action can be performed e.g. view or copy a design. Designs can be selected as individual designs or as a group.
Select individual designs

Before a design can be copied, opened, etc., it must be selected.
To select a design
1. 2.
Start the Database. See To start the Database on page 456 for details. Display the designs in the Database as icons or as a details list. See To display designs recorded in the Database on page 457 for details.
Selecting designs
ES
459
3.
Click the center of the icon, or the file name in the details list. If displayed as icons, the design icon is highlighted with a darker border, or if displayed as a details list, the file name is highlighted. Alternatively, use the navigation buttons to select the first, and last designs. Use the previous and next buttons to browse through the Database.
First design Previous design Last design Next design
To deselect the design, click the icon of the selected design a second time. Each click on the same design switches between a selected and deselected state.
Select multiple designs

Designs can be selected as a group, a range, or all of the designs in the Database. A group is made up of particular selected designs. A range is a series of consecutive designs.
To select or deselect all designs in the Database
1. 2. 3.
s s
Start the Database. See To start the Database on page 456 for details. Display the designs in the Database as icons or as a details list. See To display designs recorded in the Database on page 457 for details. Choose either Select All or Deselect All from the Edit menu. Choose Select All from the Edit menu to select all designs in the Database. All designs are highlighted. Choose Deselect All from the Edit menu to deselect all selected designs.
To select several designs in the Database
1.
Start the Database. See To start the Database on page 456 for details.
460
ES
2. 3. 4.
Display the designs in the Database as icons or as a details list. See To display designs recorded in the Database on page 457 for details. Select the first design. Hold down the CTRL key and click another design. Both designs are now selected. Additional designs are selected when clicked while the CTRL key is held down. If a selected design is clicked, it is then deselected. The selection is cancelled with Deselect All from the Edit menu, or clicking a file without holding down the CTRL key.
To select a range of designs in the Database
1. 2. 3. 4.
Start the Database. See To start the Database on page 456 for details. Display the designs in the Database as a details list. See To display designs recorded in the Database on page 457 for details. Select the first design. Hold down the SHIFT key and click the last design in the range All the designs in the range are highlighted indicating selection. The selection is cancelled with Deselect All from the Edit menu, or clicking a file without holding down the SHIFT key.
Viewing information stored about designs

Designs stored in the Database have additional information stored with them on a choice of information pages. If a design has been created with ES, some of the information is extracted automatically from the design le. Information for these elds is extracted from the design les when the design is recorded. You can add to or change information elds which have a white background. Each text eld can hold up to 240 characters. You can view all of the information in a eld by using the arrow keys within a eld.
Viewing information stored about designs
ES
461
To view information about a selected design
1. 2. 3. 4.
Start the Database. See To start the Database on page 456 for details. Display the designs in the Database as icons or as a details list, or showing the information pages. See To display designs recorded in the Database on page 457 for details. Select a design. See To select a design on page 459 for details. Click information page button 1, 2, or 3, you wish to view.
General Information Sewing Instructions Technical Details
1 General information The General information page contains a summary of design sewing information and design management information. The sewing details include the number of stitches, the number of colors, and the dimensions of the design. A design can be allocated a predefined catalog with a category, theme, and use. See Categorizing designs on page 467 for details. 2 Sewing Instructions The Sewing Instructions page shows sewing details, including the number of color stops, the stop sequence, and the amount of thread used. 3 Technical Details The Technical Details page contains the dimensions of the design, jump, and trim details.
Adding new records to the Database

Any design recognized by ES can be recorded in the Database. A design with its associated information pages is called a record. The information pages can contains information both automatically generated and user-dened.
462
ES
Designs can be stored into the Database either from ES Librarian or directly from the ES Designer window. When a design is stored, it is either stored automatically to a location controlled by the Database (online) or to a location specied by yourself (ofine). See To print a report of search results on page 474 for details. When a design is stored, its stitch information is read from the design le, and a record is created. The stitch and technical details extracted from the design le include number of stitches, and design height and width.
To record designs from ES Librarian
1. 2. 3. 4.
Start ES Librarian. See To start ES Librarian on page 444 for details. Select the design to record. Any number of designs may be selected. See To select several designs on page 449 for details. Choose Record Design from the Database menu. The General Information page appears with information which has been automatically detected from the first design (or the only) file. Enter additional information if required. Additional information can be entered into in the white fields of either the Sewing Instructions and Technical Details pages. The white fields indicate that the fields can be changed. See Categorizing designs on page 467 for details. Choose either Online as is or Offline only from the drop-down list. See Online and offline designs on page 475 for details. Online as is Choose Online to copy or move the design file into the Database. Subsequent access to the design is then from the Database. Offline Only Choose Offline to leave the original file at its original location. Subsequent access to the design from the Database will look for the original designs at the original location.
5.
6.
Check Prompt to display the information pages for each design when you record a group of designs. Uncheck Prompt to process all the selected designs at once without displaying the information pages each time. The information and settings chosen for the first design are then copied to the information pages for the other selected designs. Click Options to choose what action to take when a duplicate design is encountered. i.e. if you record a design where a design of the same name already exists in the Database. See To set recording options on page 466 for details.
7.
ES
463
8. Click OK. 9. Click Record. 10. If a design of that name already exists in the Database and you clicked Choose prior to
recording in the Recording Options, the Recording Option dialog is displayed. See To set recording options on page 466 for details.
11. If you have checked Prompt, the General Information page is displayed for the next
design. Follow steps 4. to 9. until all designs have been processed.
12. The Catalog Statistics dialog is displayed showing a summary of the processed designs. 13. Click OK.
A record has been created for each design. Each record contains the design and its associated information.
To record designs from ES Designer
1. 2. 3. 4. 5. 6. 7. 8.
Start the Database. See To start the Database on page 456 for details. Switch to ES Designer. Use the Windows 95 feature ALT + TAB to switch to an alternate program, or click the ES Designer button on the taskbar. Open a design for editing. Edit the design as required. Choose Record in Database from the File menu. If the design is a new design, the Save dialog appears. Save the design. The file is saved to disk. You can change the name of the file to create a second copy which will be stored in the Database. The General Information page appears. Enter additional information if required. Additional information can also be entered into the white fields of both the Sewing Instructions and Technical Details pages The white fields indicate that the fields can be changed. See Categorizing designs on page 467 for details. Choose either Online as is or Offline only from the drop-down list. See Online and offline designs on page 475 for details.
9.
464
ES
Online as is Choose Online to copy or move the design file into the Database. Subsequent access to the design is the from the Database. Offline Only Choose Offline to leave the original file at its original location. Subsequent access to the design from the Database will look for the original designs at the original location.
10. Click Options. 11. Click Update. 12. Click OK. 13. Click Record. 14. The Catalog Statistics dialog shows how the design was processed. 15. Click OK.
A record has been created for the design. The record contains the design and its associated information.
To update an existing design in the Database from ES Designer
1. 2. 3. 4. 5. 6.
Start the Database. See To start the Database on page 456 for details. Open a design from the database. See To use designs from the Database on page 472 for details. Edit the design. Choose Record in Database from the File menu. The Save As dialog appears. Either click Save to save the current design, or change the name and click Save to save the file under another name. The General Information page appears. Enter additional information if required. Additional information can be entered into both the Sewing Instructions and the Technical Details pages in the white fields. The white fields indicate that the fields can be changed. See Categorizing designs on page 467 for details. Click Options to set the recording options. See To set recording options on page 466 for details. Click Update. Click OK.
7. 8. 9.
ES
465
10. The Catalog Statistics dialog shows how the design was processed. 11. Click OK.
The design has been updated in the Database.
To set recording options
1. 2. 3.
Start ES Librarian. See To start ES Librarian on page 444 for details. Choose Recording options from the Setup menu. Alternatively, Options can also be accessed from the Options button when recording or updating a design. On the Recording Options dialog, click which action to take if a duplicate design file is encountered. Rename Choose Rename to automatically rename the duplicate design file before it is stored in the Database. Update Choose Update to update the design file and its information pages with the new version. Overwrite Choose Overwrite to overwrite both the design file and its associated information. Skip Choose Skip to ignore the design file in the Database. The design file and associated information in the Database remain unchanged. Choose prior to recording Display the Recording Options dialog when a duplicate file is encountered.
4.
Choose either to copy, or to move the files to the Database. Copy to Database Choose Copy to Database to make a copy of the design files, and place the copy in the Database. The original files are left at their original location. Move to Database Choose Move to Database to remove the original files from the original location, and move the design files to the Database.
5.
Click OK to commit the changes, or click Cancel to ignore current changes.
466
ES
Categorizing designs
s s
s s s s
Some Database elds have an option list allowing you to view and choose from the previously entered values. The advantages of option lists are: repeatedly used values can be entered without re-typing, and standard words are used ensuring accurate searching. It is therefore important that these lists are accurate. Before you enter additional information, we recommend that you plan the standard values or categories that you will enter in the elds: Theme Keywords Use Catalog By defining suitable categories for the fields you set up a classification system, which allows you to group designs with common characteristics together so that they can easily be found. For example, a simple classification system could be set up as:
Theme sport/aerobic sport/fencing animal/toy animal/cat nature/ower food etc. Keywords aerobics fencing gure bear soft toy stylized cat daisy rice bowl etc. Use emblem motif cap jacket back fashion motif etc. Catalog summer 97 olympic 2000 children 97 children 97 summer96 general etc.
Modifying a record
Designs recorded in the Database can be modied. You cannot change the information in elds that were lled in automatically when you originally recorded the design. The information in these elds is extracted from the design le and cannot be modied in the Database. These elds will be updated when you edit the design in ES Designer.
Categorizing designs
ES
467
For example, if you scale a design, the information in the Stitches, Height, and Width elds will automatically be updated when you re-save the design into the Database. You can, however, update or change all other elds which have a white background.
Note Only level 4 and 5 users can update the Database. To modify an existing record
1. 2. 3. 4.
Start the Database. See To start the Database on page 456 for details. Select the design. See To select a design on page 459 for details. Click button 1, 2, or 3 at the base of the Database window. See To view information about a selected design on page 462 for details. Enter new or correct the existing information. Click on a white field, then type the information. Only the white fields can be edited. Press the TAB key to move to the next field. Press SHIFT +TAB to move to the previous field. The information entered in the previous step is automatically saved when you perform another action, for example, change to another information page, view another record, etc.
Copy and paste designs

A design can be duplicated using the copy and paste commands within the Database.
To copy and paste a design from the Database
1. 2. 3.
Start the Database. See To start the Database on page 456 for details. Display the designs in the Database as icons. See To display designs recorded in the Database on page 457 for details. Ensure that the design is not currently open in ES Designer.
468
ES
4. 5. 6.
Select the design. Any number of designs can be selected. See To select several designs in the Database on page 460 for details. Choose Copy from the Edit menu. The design is copied. The original design is not affected. Choose Paste from the Edit menu. The copied design is pasted into the Database. The same design can be pasted any number of times. When the new design is pasted, the design is automatically named Copy (2). Any subsequent pastes of the design is called Copy (3) etc.
Searching for designs

One of the main advantages of using the Database is that you can easily and quickly nd your designs. You can search for a particular design or group of designs that have the same characteristics. For example, you can search for oral designs that are not larger than 2 inches by 3 inches, and have less than 2000 stitches, and have less than three colors. To nd a design or a group of designs, simply describe the characteristics (or criteria) on which to search. Search criteria are entered into a search form. The Database is then searched for all designs matching these criteria. Designs matching the search criteria form a matching list. Designs in the matching list can be displayed either as icons or as a details list. These are simply a subset of all the designs in the Database. The same actions can be performed on the matching list as can be performed on all designs in the Database. Designs in the matching list can be printed as a group. See To print a report of search results on page 474 for details.
To search for one design or a group of designs
1. 2. 3. 4.
Start the Database. See To start the Database on page 456 for details. Choose Search from the Database menu. Alternatively, click the Search button.Alternatively, click the Search database button at the base of the window. Enter the search criteria by typing options in the various fields in the Search form. See How to enter search criteria on page 470 for details. Choose either Add, Among, or New from the drop-down list.
ES
469
See To modify a Database search on page 471 for details.
5. 6.
When all your search criteria is entered, click the Search button. The result of your search is displayed. You can change the way the designs are displayed. See To display designs recorded in the Database on page 457 for details. You can print the results of your search. See To print a report of search results on page 474 for details. To return to the Database, clear the search matching list. See To clear a search on page 472 for details.
7.
How to enter search criteria

When you enter search criteria in a eld, you do not always need to enter the full value. Typing only the essential part of the text will avoid typing errors, to reduce the time spent specifying search criteria, or if you cannot remember the exact text. For example, assume the Database contains the designs: Henry, horse, house, mouse and moose.
If you type h* You will nd
Henry, horse, house horse, house horse, house
h*e ho?se
You can search for a range of values, for example stitch count between 500 and 4500. These ranges must be entered by typing three dots, either before, after or between the required values.
To ... Type x x or y 123 123 or 321 Example
Find a single value Find either of two values Find between (and including) x and y Find less than, and including y
x...y ...y
500...4500 ...4500
470
ES
To ...
Type
Example
Find greater than, and including x Find between one series or another Between a series except a value
Enter a single string of text Enter two strings of text Include quotation mark in the string of text Include quotation marks in two strings of text
x... x...y or u...v x...y and not z

string (string or string) strings quote (strings text or string other text)
500... 50...60 or 75...85 40...50 and not 48

brown bear (brown bear or black bear) childs toy (childs toy or childs bear)
If you are entering a string of text which includes quotation marks, substitute two single quotation marks where a single quotation mark should appear in the string of text. To nd the opposite of the criteria you have entered, use the Omit option on the Search window. See To omit an item from a search on page 472 for details.
To modify a Database search

s
On the search form, the Database choose either: Add, Among, or New from the dropdown list at the base of the Search form. Add Designs matching the new search criteria are added to the current matching list. Among The search is confined to the current matching list. Only those designs in the current matching list that match the new search criteria are returned. New Creates a new search. The matching list of a New search will displace any previous matching list displayed.
ES
471
To omit an item from a search
1. 2. 3. 4.
Start the Database. See To start the Database on page 456 for details. Display the search form. See To search for one design or a group of designs on page 469 for details. Type the criteria you want to omit. Check the Omit box on the Search form.
To clear a search
When you clear a search, all search criteria is removed from the Search form and all the designs are again available for display. Choose Clear Search from the Database menu.
Using designs from the Database

When the designs you need are displayed in the ES Database window, you can select the ones you want to use. You can select designs from the full list of records, or from the list of records matching your search criteria. The selected designs can also be opened in ES Designer and viewed, edited or used in the usual way.
To use designs from the Database
1. 2. 3.
Start the Database. See To start the Database on page 456 for details. Select a design. Any number of designs can be selected. See To select several designs in the Database on page 460 for details. Click the Open button on the toolbar. Alternatively, choose Open Design from the File menu. The designs are opened in ES Designer.
472
ES
Note For level 4 and 5, before closing the file (even if no changes are made),
update the Database record. See To update an existing design in the Database from ES Designer on page 465 for details.
Printing reports from the Database

Summary and detailed reports that contain either all or selected designs can be printed. You can also print the results of a search.
To print a report of selected designs
1. 2. 3.
Start the Database. See To start the Database on page 456 for details. The report headings can be changed. See To set report preferences on page 477 for details. Select the design. Any number of designs can be selected. See To select several designs in the Database on page 460 for details.
Note If the report is for the entire Database, it is not necessary to select any designs.
4. 5. 6.
Choose Reports from the Database menu. Type the title of the report in the Report Title box. Select the options. Scope To print only the selected designs, check Selection Only. To print the entire Database, check Entire Database. Type To print a summary list of the designs, check Summary. To print a detailed report on the designs, check Detailed. Destination To send the report to the printer, check Printer. To save the report to a file, check File.
7.
Click Preview to review the report before printing.
Printing reports from the Database
ES
473
8. 9.
s s
Click Exit to return to the Generate Reports dialog, or click the Print button. If you are printing the report (i.e. you checked Printer), click Print. If you are saving the report to a file (i.e. you checked File), Click Save As. If you clicked Print, the report is printed to your default printer. If you clicked Save As, type the name of the le, and click Save. The report is saved to a file in text format.
To print a report of search results
1. 2. 3. 4. 5. 6. 7.
Start the Database. See To start the Database on page 456 for details. The report headings can be changed. See To set report preferences on page 477 for details. Perform the search. See To search for one design or a group of designs on page 469 for details. Select all or particular designs in the matching list. Any number of designs can be selected. See To select several designs in the Database on page 460 for details. Choose Reports from the Database menu. Type the title of the report in the Report Title box. Select the options. Scope Check Selection Only. Type To print a summary list of the designs, check Summary. To print a detailed report on the designs, check Detailed. Destination To send the report to the printer, check Printer. To save the report to a file, check File.
8. 9.
Click Preview to review the report before printing. If you are printing the file, click Print. If you are saving the report to a file, Click Save As. If you clicked Print, the report is printed to your default printer.
474
ES
10. If you clicked Save As, type the name of the file, and click Save to save the report to a
file in text format.
Online and ofine designs

Designs recorded in the Database are recorded as either online or ofine. Online design are stored in the Database, while ofine designs are stored at another location, e.g. on a oppy disk. The location of ofine designs is stored on the Technical Details information page.See To view information about a selected design on page 462 for details. When you open an ofine design, the Database will look for the design le at the specied location. Storing designs ofine saves hard disk space, but is less convenient for accessing designs quickly.
To a move design online
1. 2. 3. 4. 5. 6. 7.
Start ES Librarian. See To start ES Librarian on page 444 for details. View the offline designs. See Listing designs on page 446 for details. Select the offline design. See To select a design on page 459 for details. Choose Record Design from the Database menu. Click Options on the General page. Click Update. Click either Copy to Database or Move to Database. Choose Copy to Database to copy the design file to the Database and leave the original design file unchanged. Choose Move to Database to move the design file to the Database and remove the design file from the original folder.
8. Click OK. 9. Click Record. 10. The Catalog Statistics dialog shows that one file has been updated. 11. Click OK.
Online and ofine designs
ES
475
The design has now been changed to online.
To move a design ofine
1. 2. 3. 4. 5. 6.
Start the Database. See To start the Database on page 456 for details. Select the design. See To select a design on page 459 for details. If the design file is to be moved offline to a floppy disk, insert the formatted floppy disk into your floppy disk drive. Choose Move Offline from the Database menu. Select the folder to copy the design file. Click OK. The design file is copied to the selected location. When you view the Technical Details page for the design in the Database, the location and the file name are shown. The other information associated with the design is not affected by moving the design offline.
Deleting a record from the Database

You can delete unwanted or outdated design records from the Database.
Warning
If a design is stored online, the design file is also deleted along with its record. A deleted design and its record cannot be restored. If a design is stored ofine, and is accessible at the time of the delete, it will be deleted.
To delete a design from the Database
1. 2. 3.
476
Start the Database. See To start the Database on page 456 for details. Display the designs in the Database as icons. See To display designs recorded in the Database on page 457 for details. Select the design.
ES
Any number of designs can be selected. See To select several designs in the Database on page 460 for details.
4. 5.
Choose Delete from the Edit menu. A message is displayed asking you to confirm that you want to delete the selected design. Click Yes to confirm the operation. Click No to cancel the delete and leave the design file unchanged.
Warning If you click Yes, the design and associated information pages are permanently removed from the Database.
Setting preferences
System preferences can be set to dene company information for printed reports, to dene how the design icons are displayed, set the Database password, and security information. Changing the preferences does not affect the information stored in the Database.
Note System preferences can only be set by level 5 users.
Report preferences
To set report preferences
1. 2. 3. 4. 5. 6. 7.
Start the Database. See To start the Database on page 456 for details. Choose System Administration from the Setup menu. Type the company name and the address. Click the logo. Select the bitmap file. Click Open. The selected bitmap file is shown. Click OK.
Setting preferences
ES
477
Subsequent reports will have the new information at the top of each page.
Database preferences
To set the classication names
1. 2. 3. 4. 5.
Start the Database. See To start the Database on page 456 for details. Choose System Administration from the Setup menu. Click the Classification Names tab. Modify the classification names listed. Click OK.
To set the Database preferences
1. 2. 3. 4. 5.
Start the Database. See To start the Database on page 456 for details. Choose User Preferences from the Setup menu. Click Scalable icons. Type the number of columns to display, in the box. Between 1 and 10 columns can be displayed. Click OK. The display changes to reflect the new values.
Security preferences
To set security information
1.
Start the Database. See To start the Database on page 456 for details.
478
ES
2. 3. 4.
Choose System Administration from the Setup menu. Click the Registered Users tab. Modify the user information. Add Add a new user. Type the name, select a security level from the drop-down list, type the new password (if any). Delete Highlight a name and click Delete. Modify Highlight a name and click Modify. Update the information. Table 16: Levels of access
Level 1 2 3 4 5 Access Read designs only, no update to the Database, generate reports. Same as level 1. Output of non- copyright designs. Same as level 2 with output of copyright designs. Read, output all designs, update to the Database. Same Level 4, and all system administration functions.
5.
Click OK. The security information is updated.
To change password
1. 2. 3.
Choose Change password from the Setup menu. Type the old password in the Old Password box. Type the new password in the New Password box.
Setting preferences
ES
479
4. 5. 6.
Type the new password again in the Verify New Password box to ensure that it has been typed correctly. Click OK. Your password has been changed.
Protecting your records

Your Database contains valuable information. It can hold a large number of designs which represent a substantial investment of time and effort. Check and back up the Database regularly to protect your records. Information such as Number of Designs in the Database, Number of Selected Designs, and disk free on your hard disk drive is displayed in the taskbar along the bottom of the Database window.
To display information about the Database
1. 2.
Start the Database. See To start the Database on page 456 for details. Display the designs in the Database as icons. See To display designs recorded in the Database on page 457 for details. Information about the number of designs, and free hard disk space is shown on the status bar along the base of the Database window.
Backing up the Database

Backing up your Database is an insurance against the loss of stored information. A backup is a copy of all or part of your Database and design les. If your online Database becomes unusable, for example, due to a virus or hardware failure, backup les can be used to restore your Database. It is recommended that you back up your entire system periodically. i.e. daily, weekly, or monthly. The frequency of the backup will depend on the amount of changes made to design les. New backup les should not overwrite existing backup les. This is to keep at least two other copies of the les. One copy should be kept off-site in case of re, theft or damage to the building.
480
ES
You may use any type of backup device, for example, oppy disks, tape or an optical disk, depending on the size of the Database. Contact your local computer dealer for information regarding backup devices and software.
Note Windows 95 standard installation includes Backup. This is backup software which is adequate for backing up your system. To back up the Database
Use your specialized back up software, Windows 95 Backup software, or the Windows 95 Explorer Copy command to copy les to another device, for example to tape or to oppy disks. It is important to: Copy all of the les and subdirectories of C:\ESWin\bin. Copy all of the design les on your computer hard disk. Make a second copy of all of the design les stored ofine on oppy disks.
s s s
To restore the Database

Use your specialized back up software, Windows 95 Backup software, or the Windows 95 Explorer Copy command to copy les from your backup device to the hard disk. If your Database has been damaged and will not run. Re-install the ES software. Copy the C:\ESWin\bin over the top of the installed C:\ESWin\bin.
s s
ES
481
482
ES
ES
483
484
ES
PART VI
Personalizing your system
ES
485
486
ES
Chapter 29.
Entering information about the hardware
(all products)
ES allows a number of peripheral devices to be attached to your computer, including digitizer, plotter, printer, 8 channel paper tape punch and embroidery machines. Each piece of equipment has its own setup information. While ES does a lot of the work for you by detecting what ports the computer has, and including default settings, you need to understand the precise settings required by each piece of peripheral equipment and what each port is called. This chapter describes the setup for each peripheral device and what is required for a successful system conguration. If you require any further assistance for specic features of the equipment refer to the documentation supplied with the equipment.
ES
487
Hardware Setup (all products)

ES supports a number of different types of peripheral devices. These are connected to the ports at the back of the computer and then set up through the software. Setting up of the peripheral devices is done either with the Windows 95 Control Panel, or ES Hardware Setup, or a combination of the two. For example, the printer is set up through the Windows 95 Control Panel, while the embroidery machines are set up through ES Hardware Setup. The number of devices which can be connected to a computer is limited by the number of ports at the back of the system. It is possible to attach extension devices, such as a multi-port serial device, in order to add additional devices to the system. It is important to have the hardware documentation available for reference.
Warning
Connecting equipment which is connected to a power supply may damage some equipment. It is recommended that all equipment is turned off before any new equipment is attached or changes are made. Check the documentation supplied with the equipment BEFORE connection. When connecting a new peripheral device to your computer, it is important that you know the settings required for the equipment being connected. If the settings are not exact, the equipment will not function. The setting information is usually stated in the documentation supplied with the equipment.
Warning
Setting up peripheral devices (all products)

Peripheral devices are set up by connecting to an available port at the back of the computer, conguring the port settings on the device and conguring the software settings using the Windows 95 Control Panel or ES Hardware Setup. The ports at the back of the computer are either serial or parallel. The serial ports are usually named COM1, COM2 etc. The parallel ports are usually named LPT1, LPT2 etc.
Important You must be able to identify the port name and the port type on the
computer.
488
Chapter 29. Entering information about the hardware (all products)
ES
COM1 is commonly used for either the mouse or a digitizer. COM1 requires a 9 pin connector, while the other COM ports require 25 pin connectors. If the mouse (called a serial mouse) is already connected to COM1, either add a 9-to-25-pin adapter to the connector and connect the device to COM2, or connect a bus mouse to make COM1 available for the digitizer.
Table 17: Recommended settings for serial devices

Device *Digitizer Plotter Tape Punch Tape Reader Embroidery Machine Port COM1 COM2 COM2 COM2 COM2 Baud 9600 9600 4800 4800 9600 Handshaking None Xon/Xoff Xon/Xoff Xon/Xoff Hardware Data bits 7 8 8 8 8 Stop bits 1 1 1 1 1 Parity Even None None None None
* These settings are a guide only. Digitizer settings show variation according to manufacturer. The documentation supplied with the digitizer should be checked carefully. *The digitizer applies to 21D, 45, 65.
Digitizer (21D, 45, 65)

Each system can have one digitizer connected. A digitizer connects to a serial port. Setup information for the serial port must be included to ensure that the information is transmitted correctly between the digitizer and the computer. The digitizer can be set to either Point or Stream mode. After setting up the digitizer tablet, enter the correct mode setting in ES. The default setting in ES is Point mode. The mode is changed by choosing Hardware Setup from the Special menu. See To set up the digitizer on page 490 for details.
Important Both the digitizer and the software MUST be set to the same mode,
i.e.set either both to Point mode or both to Stream mode.
Important If you make changes to the digitizer settings once it has been set up using the Hardware Setup dialog box, you must restart ES.
ES
489
Point Mode
When Point mode is used, 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 Designer window is only updated when you click a button on the digitizer puck.
Stream Mode
In stream mode, the pointer position continually updates when digitizing. When you move the digitizer puck on the tablet, the pointer moves on the screen. When moving the puck, the pointer is restricted to the design of the Designer window. In stream mode the digitizer puck will be tracked on the screen if moved 0.1 mm or greater. To run in Stream mode, the digitizer must be set to Stream mode and set to transmit at 20 packets of data per second or less. The baud rate for the digitizer must be set to 9600 baud. ES must also be set to Stream mode. Operation is unreliable at faster speeds. It is important to set up the digitizer correctly to avoid loss of data at high speed. If the digitizer can only be set to transmit at greater than 20 packets of data per second, reduce the baud rate of the digitizer from 9600 baud to 2400 baud.
To set up the digitizer
1. 2. 3. 4. 5.
Turn the power to the computer and all attached equipment off. Set up the digitizer. Use the documentation supplied with the digitizer to set the port settings. The same port settings must also be entered in the ES Hardware Setup. Connect the digitizer to an available serial port on the computer. The digitizer is usually connected to COM1. If COM1 is already in use, you may require a 9-to-25 pin adapter in order to use another serial port. Turn the power to all equipment on and start ES. Choose Hardware from the Special menu. The Hardware Setup dialog box is displayed. From here a new digitizer can be set up or the existing one changed or deleted.
490
ES
6.
Choose Digitizer from the Type list.
choose digitizer
7. 8. 9.
Choose a digitizer from the list. Initially the default digitizer, named Digitizer is displayed in the list. Click the Values button to change the values of the selected digitizer. When the Digitizer Setup dialog box appears, type the name of the digitizer, and any appropriate comment.
10. Choose the appropriate format or Auto Detect.

The Auto Detect will match the format to the connected digitizer.
ES
491
11. Choose the correct input mode.

You can choose between Point or Stream. This MUST be the same as the setting on the digitizer.
12. Choose the port the digitizer is connected to from the list. 13. Click the Setup button to verify the port details. 14. When the serial Port Setup dialog box appears, specify the correct settings.
Enter Baud, Data Bits, Stop Bits, Parity. These port settings MUST match the settings on the digitizer. The type of Handshaking MUST match the type of the cable you are using. There are recommended settings listed, but these may not apply to your digitizer. See Table 17, Recommended settings for serial devices, on page 489 for details.
15. Click OK in Serial Port Setup dialog box. 16. Click OK in the Digitizer Setup dialog box. 17. Click Close in the Hardware Setup dialog box.
As an alternative, choose another device from the Type list.
18. Exit then re-start ES Designer.
492
ES
Embroidery machines (all products)

ES supports a number of embroidery machines.
Note An embroidery machine requires associated machine formats. There are

a number of standard machine formats available. New formats can also be dened and saved. It is useful to set a new machine format up before connecting the embroidery machine. See Machine format (all products) on page 233 for details.
To set up the embroidery machines
1. 2. 3. 4. 5. 6.
Turn the power to the computer and all attached equipment off. Set up the embroidery machine. Use the documentation supplied with the embroidery machine to set the port settings. The identical port settings must also be entered in the ES Hardware Setup. Connect the embroidery machine to an available serial port on the computer. Turn the power to all equipment on and start ES. Choose Hardware from the Special menu. Choose Direct Machine Connection from the Type list.
choose Direct Machine Connection
7.
Choose the machine from the list and click Values to change an existing machine or click New to set up another machine.
ES
493
8.
When the Embroidery Machine Connection dialog box is displayed, type the name of the machine and the required commend in the text boxes.
9.
Choose the Port from the drop-down list. This must match the actual port the machine is connected to. The protocol of the computer depends on the connection type between the computer and the embroidery machine. The connection type on the computer will be one of: standard serial, parallel, serial to parallel converted (DCi), or an interface card. Refer to the documentation supplied with the embroidery machine to determine the appropriate connection.
10. Choose the correct protocol for the computer connection type from the drop-down list.
11. If you chose a serial port, click the Setup button to verify the port details. 12. When the serial Port Setup dialog box appears, specify the correct settings.
Enter Baud, Data Bits, Stop Bits, Parity. These settings MUST be identical to those of the embroidery machine. The type of Handshaking MUST match the type of cable you are using. See Table 17, Recommended settings for serial devices, on page 489 for details. Refer to the documentation supplied with the embroidery machine.
13. Click OK in the serial Serial Port Setup dialog box.

494
Chapter 29. Entering information about the hardware (all products) ES
14. Choose those machine formats which your embroidery machine can understand.
Choose the appropriate format from the Available list, and click the right arrow button (>) in the middle to place the format in the For this machine list. Conversely, to remove a machine format from the For this machine list, choose the format and click left arrow button (<) to return it to the Available list. The values of the machine formats in the Available list can be changed. Choose the format to change and click the Values button. The Machine Format Values dialog box is displayed.See Customizing machine format values (all products) on page 245 for details. To add new machine formats, they must be created from the Select Machine Format dialog box. See Machine format (all products) on page 233 for details. The new formats appear in the Machine Format list.
15. Click OK in the Embroidery Machine Connection dialog box. 16. Click Close in the Hardware Setup dialog box.
17. Exit then re-start ES Designer. Paper tape punch and reader (all products)
To set up the paper tape punch and reader
1. 2. 3. 4. 5. 6. 7. 8. 9.
Turn the power to the computer and all attached equipment off. Set up the tape reader or punch. Use the documentation supplied with the tape reader or punch to set the communication parameters. The identical parameters must also be entered in the ES software. Connect the tape reader or punch to an available serial port on the computer. Turn the power to all equipment on and start ES. Choose Hardware from the Special menu. Choose Tape Reader or Punch from the Type list. Choose the device from the list and click the Values button to change an existing device, or click New to set up a device. When the Paper Tape Punch or Reader dialog box appears, type the name of the device and the require comment in the text boxes. Choose the Port from the list. This must match the actual port the device is connected to.
ES
495
10. Choose the Protocol from the list.

Set the protocol to Standard Serial.
11. Click the Setup button to verify the communication parameters.

Enter Baud, Data Bits, Stop Bits, Parity and Handshaking. See Table 17, Recommended settings for serial devices, on page 489 for details.
12. Click OK in the Serial Port Setup dialog box. 13. Click OK in the Paper Tape Punch or Reader dialog box. 14. Click Close in the Hardware Setup dialog box.
15. Exit then re-start ES Designer. Scanner (21D, 45, 65)

ES supports scanners which are connected using a SCSI interface and are compatible with a standard TWAIN driver. If you have a GPIB scanner interface card, see To install a GPIB interface scanner on page 544 for details.
To set up the scanner using TWAIN
1. 2. 3. 4. 5. 6. 7.
Turn the power to the computer and all attached equipment off. Set up the scanner. Use the documentation supplied with the scanner to install the interface card and connect the scanner to the computer. Turn the power to all equipment on. Use the Windows 95 Control Panel/ Add New Hardware icon to install the scanner driver. Refer to the documentation supplied with the scanner and the Microsoft Windows 95 documentation. Start ES. Choose Scanner Setup from the File menu. Choose the scanner source from the list to be the default scanner driver and click Select. A number of software packages have scanning capabilities, each include a scanner driver. It is necessary to specify which scanner driver to use. When the scanner driver is selected, the other scanner drivers are ignored.
496
ES
8.
Test the scanner. Some scanner drivers provide a test to check that the scanner is set up correctly. Check the documentation supplied with the scanner or try to scan an artwork by choosing Scan from the File menu. See Preparing a drawing for digitizing (21D, 45, 65) on page 282 for details.
Note If there are problems scanning after re-starting ES, there may have been a conict with previously installed scanner drivers. Re-install ES and re-test the scanner.
Printer (all products)

A printer is added to the system through the Windows 95 Printers Panel and then selected for use through the Print option in the File menu.
To set up the printer
1. 2. 3. 4. 5. 6.
Turn the power to the computer and all attached equipment off. Set up the printer. Use the documentation supplied with the printer to set up toner and ink cartridges etc. Connect the printer cable to a parallel port on the computer. Turn the power to all equipment on. Set up the printer through the Windows 95 Printers panel using the Add Printer icon. The printer will have installation instructions and software. Refer to the printer installation instructions and the Microsoft Windows 95 documentation. Start ES. Once the printer is set up through the Printers panel, it can selected through ES.
Note The printer can be set up as the default printer through the Control Panel,
Printers icon. If this is the case, the printer does not need to be set up from within ES.
7.
Choose Print from the File menu.
ES
497
8. 9.
Click Print. When the Print dialog box is displayed, choose the required printer from the Name list. The currently selected printing or plotting device details are displayed. The information indicates the current status, type of printer, the location of the printer driver, and a comment. The information is changed to reflect the selected printer. Refer to the documentation supplied with the printer to change the properties.
10. Click the Properties button to change the printer options. 11. Click OK in the Printer Properties dialog box to save the changes to the printer settings. 12. Click OK in the Print dialog box to save the new printer information. Plotter (all products)
A plotter is added to the system through the Windows 95 Control Panel and then selected for use through the ES software in the same way a printer is set up.
To set up the plotter
1. 2. 3. 4. 5. 6. 7. 8.
Turn the power to the computer and all attached equipment off. Set up the plotter. Use the documentation supplied with the plotter to set the port settings. The identical port settings must also be entered in the ES software. Connect the plotter cable to an available serial port on the computer. Turn the power to all equipment on. Set up the plotter through the Windows 95 Control Panel using the Printers icon. Refer to the plotter installation instructions and the Microsoft Windows 95 documentation. Start ES. Once the plotter is set up through the control panel, it must be selected through the ES software. Choose Print from the File menu. When the Print dialog box is displayed, choose the required plotter from the Name list.
498
ES
The currently selected printing or plotting device details are displayed. The information indicates the current status, type of printer, the location of the printer driver, and a comment. The plotter information is changed to reflect the selected plotter.
9.
Click the Properties button to change the plotter options. Refer to the documentation supplied with the plotter to change the properties.
10. Click OK in the Properties dialog box to save the changes to the plotter settings. 11. Click OK in the Print dialog box to save the new plotter information. Display monitor (all products)
When the screen calibration is correct, a design at 1:1 scale will be displayed at the same size and proportions as the nal embroidery. For an accurate image you must enter information that allows the software to adjust the display according to the size of the monitor you use. Screen calibration settings need to be entered when you install the software or if you change the monitor.
To calibrate the screen
1. 2. 3.
Choose Hardware from the Special menu. Choose Display Monitor from the Type list. Click Values.
ES
499
4.
When Screen Calibration dialog box is displayed, measure the height and width of the dialog box.
measure height
measure width
Use a clear plastic ruler. A metal ruler may distort the screen.
5. 6. 7.
Enter the measurement in millimeters into the width field and height fields. Click OK in the Screen Calibration dialog box to save the new settings. Click Close in the Hardware Setup dialog box. The new settings take effect immediately.
500
ES
Chapter 30.
Personalizing ES
ES is very exible allowing you to set up your system according to your hardware and your embroidery practice. When you start using the system, it is useful to set up your system, then make changes as you gain more experience in using the system.Preferences can be set for the design display, automatic saving options and scrolling. Access to the ES software is controlled by a security device installed or connected to the computer. See Installing the Trysoft security card on page 28 for details. Upgrades can be made easily by entering new access codes or replacing the external security device.
ES
501
Selecting options (all products)

System preferences for the grid, scrolling and color can be changed. Preferences are set using Options on the Special menu. Options contain a number of tabs for setting up preferences for various parts of the system. Options can be changed at any time and take effect immediately.
To select options
1. 2.
Choose Options from the Special menu. When Options dialog box is displayed, click the required tab to change the options.
The available tabs are:

s s s s s s
View Design View Drawing Grid Auto Scroll Color General
See page 502. See page 505. See page 505. See page 507. See page 508. See page 510.
3.
Click OK when all options are correct.
View Design options (all products)

The View Design tab provides access to the design window guides. For example, you can hide or show the stitches, machine function symbols, or display the design in TrueView. Many of these options can also be selected from the toolbar. See To use design window guides on page 42 for details. The View Design tab also allows you to display selected parts of a design.
502
ES
Displaying parts of a design (21D, 45, 65)

If you have a mixture of embroidery and drawing objects in a design, you can temporarily hide the embroidery objects. This will allow you to see the graphic objects more clearly. You can display all the embroidery objects, or just the selected ones. For example, you may select all the objects of a certain color, and show only these. This is especially useful during editing. You can hide or show the stitches, hide or show machine function symbols, or show the design in TrueView.
To view embroidery objects
1. 2.
Choose Options from the Special menu. When the Options dialog appears, click the View Design Tab.
choose how to display (and print) the design
check window control guides
3.
Check Embroidery Objects. Check Embroidery Objects if you want to show these on the screen. To hide the embroidery objects temporarily, uncheck this option.
ES
View Design options (all products)
503
4.
Select a visibility option. If you checked Embroidery Objects, you may click on Show Whole Design or Show Selected Objects. If you wish to display the design as it was before you unchecked Embroidery Objects, click on No Change. Check the window control guides you wish to display. Click OK.
5. 6.
Displaying a design in TrueView (all products)

TrueView gives you a preview of how your embroidery will look when it is stitched. You can adjust how the stitches will appear on the screen. You can vary the thread thickness and the direction of the light source which gives your embroidery a three dimensional effect.
To select TrueView options
1. 2. 3. 4.
Choose Options from the Special menu. When the Options dialog appears, click the View Design Tab. Check TrueView, then click the TrueView options button. When the TrueView Values dialog box appears, choose the thread thickness and light source options from the dropdown lists.
If you display a design at a zoom factor larger than actual size, you may want to choose thick thread. In most cases, the thread thickness you choose to display and the direction of the light source are a matter of personal preference. Try various options on different designs until you achieve the best results.
5.
Click OK.
504
ES
View Drawing options (21D, 45, 65)

Drawings which you use as a backdrop for on-screen digitizing can be shown or hidden. See To show and hide a drawing on page 285 for details. Drawings can also be dimmed or left in their original state. See To dim a drawing on page 286 for details.
Grid options (all products)

The Grid tab allows you to show and hide the grid, as well as to change the grid spacing. See To view a grid and change the grid spacing on page 43 for details. You can also use this dialog box to set you grid to a specic reference point, such as the center of the design or to align with a line of text. It is faster and easier to realign the grid than to move the design.
To set a grid reference point
1. 2. 3.
Create a new design or open an existing one. Choose Options from the Special menu. Click the Grid tab.
ES
505
4.
When the Grid dialog box opens, check Show Grid and check Set Reference Point.
5. 6.
Click OK. When you are returned to the design, click the exact point where you want the grid to be aligned. When you click the screen, the grid will move to align itself vertically and horizontally at the point where you positioned the pointer.
Auto Scroll options (45, 65)

When moving around a design during digitizing and modifying designs, the pointer can either be set to stop at the extents of the screen, or to automatically scroll the design when the pointer reaches the screen extents. This is called auto scroll. The way the design will scroll, can be set a number of ways. Recommended settings for scrolling are provided. See Table 18, Recommended scrolling settings, on page 508 for details.
506
ES
To select auto scroll options
1. 2.
Choose Options from the Special menu. When the Options dialog box appears, click the Auto Scroll tab.
3. 4. 5. 6.
Check Auto Scroll. The pointer will automatically scroll as it nears the screen extents. When not checked, the pointer will stop at the extents of the screen. Check Move Mouse After Scroll The pointer will automatically move after each scroll movement. Choose an Autoscroll Response value to control the speed of the automatic pointer scrolling. A small number will scroll faster, while a larger number will scroll slower. Choose where to position the pointer after the automatic scroll. Choose from Center, Midway and Corner. Center With each scroll movement, the pointer will be positioned in the center of the window. This is useful setting when large movements in the design are required.
ES
507
Midway After the automatic scroll, the pointer will be positioned half way between the current pointer position (before the scrolling) and the middle of the window. This setting is useful when smaller movements are required, for example, when zoomed into a small area of the design. Corner As the design is scrolled, the current pointer position is kept just visible, but does not cause signicant scrolling. Table 18: Recommended scrolling settings
Operation Auto Scroll On Move Mouse After Scroll Autoscroll Response Move Input Point To Setting ON ON 3 MIDWAY for small movements or CENTER for larger movements
7.
Click OK in the Options dialog box. As an alternative, click another tab to continue selecting options.
Color options (all products)

Certain operations change color on the screen when used. For example, when an object is selected, the object changes color to indicate that it has been selected. Other operations which use a change of color are: when the borer is used, unsewn stitches, and the background color. The colors which the operations use can be changed. For example, instead of the selected objects changing to white, they can change to black. Colors are changed using the Options dialog box. There are two methods to change the color, either using RGB (Red, Green, Blue) values or HLS (Hue, Lightness, Saturation) values. The number of colors available depends on your monitor display. The ES default color settings do not depend on the type of color palette used. See Table 19, Default color settings, on page 510 for details. The changes effect only the current design le. All other les will have the default color settings.
508
ES
Note To get the most out of ES, it is recommended that the display settings
include the 256 color palette. The color setting for the display is changed from the Windows 95 Control Panel. Refer to the Windows 95 documentation for details.
To select color options
1. 2.
Choose Options from the Special menu. When the options dialog box appears, click the Color tab.
choose window element
choose method
choose color
3.
Choose the window element from the Selection list, which you want a display in a different color. Borer When a needle is exchanged for a borer, the color of the borer points can be dened. Unsewn When travelling though the design, the color of the unsewn stitches can be dened. Selected When objects or stitches are selected, the selection color can be dened.
ES
Color options (all products)
509
Background The color of the designer background can be changed. This is useful when viewing the design in TrueView against the nal embroidery fabric color. If the grid is shown, the grid lines change to a contrasting color to the background color.
4. 5. 6.
Choose either RGB or HLS color mixing method. Change the color by moving the sliding box left or right, or by clicking the left or right arrows. The color shown in the sample box changes as you move the sliding box. Click OK. The changes take effect immediately for the current design. If you want to revert to the original colors, set the following values. You can also change the factory default values by opening a new design. Table 19: Default color settings
Window element Borer RGB R 128 G 128 B 128 R0 G0 B0 R 255 G 255 B 255 R 192 G 192 B 192 HLS H0 L 120 S0 H0 L0 S0 H0 L 240 S0 H0 L 180 S0
Unsewn
Selected
Background
General options (all products)

The open design les can be saved automatically at specied intervals. You can also choose how the values of the pointer are displayed (relative or absolute) in this option dialog box.
Displaying the position of the pointer (all products)
510
ES
As you move the mouse or the digitizer puck, the pointer on the screen also moves. You can display the values of each movement of the pointer in the status line on your screen. You can choose to display either relative or absolute values. The relative values show you how far the pointer is now from the previously marked point, or from the previous stitch point. This is useful while digitizing, or editing stitches. The absolute values show you how far the pointer is from the rst needle penetration of the design. This is useful if you want to check that the design ts a certain area. The X and Y values show the horizontal and vertical distance of the pointer from the previous point. The length value shows the length of the line which connects the pointer with the previous point.
2 length= 37.2 mm Y= 18.6 mm 1 X= 32.2 mm 2 X= -32.2 mm length= 37.2 mm
1 Y= -18.6 mm
X: horizontal
Y: vertical
L: length
A: angle
status bar
If a negative value is shown on the status bar, this indicate that the second point was placed to the left of or below the rst point. Negative angle values indicate that the angle is greater than 180 degrees (for example, an angle of -60 is equal to 300).
90 2 135 180 1 A= 30 -135 -90 45 0 -45
When measuring a stitch or jump, read the horizontal (X) and vertical (Y) distance, or the diagonal distance (Length), depending the on the length calculation method used by your embroidery machine. See To select Auto Jump values on page 237 for details.
ES
Displaying the position of the pointer (all products)
511
To show the values of the pointer
1. 2.
Choose Options from the Special menu. When the Object properties dialog box opens, click the General tab.
3. 4.
Choose relative or absolute values. Click OK.
Selecting the preferred measurement system

(all products) When working with ES, you can choose between using millimeters or inches. To do this, select Metric or U.S. measurement system using the standard Windows 95 control panels. Some values in ES are always displayed in millimeters, regardless of the measurement system you use. These include stitch spacing and length values, which are traditionally measured in millimeters, therefore it would be confusing to display them in inches.
To change units of measurements
1. 2.
If you are running ES, exit it rst. Click the Start button on the Windows 95 taskbar.
512
ES
3. 4. 5.
Choose Settings>Control Panel from the Start menu. When the Control Panel dialog box is displayed, double-click the Regional Settings icon. When the Regional Setting dialog box is displayed, click the Number tab.
choose new measurement system
6. 7. 8.
Choose the measurement system you want to use. Click OK. Start ES.
Selecting security options (all products)

The options available in ES are controlled by a security device installed in the computer. New options can be added or the products upgraded by changing the security device settings using pre-dened access codes. The software cannot be used unless a security device is installed and the access codes are correct. ES checks the security device at regular intervals, so removal or incorrect installation will be detected immediately and ES will not run. See Installing the Trysoft security card on page 28 for details.
ES
513
The security device used will be a Trysoft security card. The current version of the security card is Trysoft II. The Trysoft security card is a Printed Circuit Assembly, which plugs into an ISA slot on the motherboard of the computer. If a change is required, new access codes will be sent via secure mail.
To identify your security device
1. 2.
Choose Security from the Special menu. When the Security Device dialog appears, check the Serial Number and the Identity Code. You may also check the list of enabled options.
check check
Option 1 Option 2 Option 3 Option 4 Option 5
Note When referring to your system in correspondence or by telephone, quote the serial number and identity code.
To view the enabled options in your system

s
Choose Security from the Special menu. The Security Device dialog box lists all available features in the Enabled Options list.
514
ES
To enter new security access codes

New access codes are required when ES is updated or upgraded.You will receive new access codes via secure mail, which you enter using the ES Security function. This eliminates the need for sending new sets of installation disks when you require a change to your software. The written advice will contain your current access codes and one or more pairs of new codes.
1. 2.
Choose Security from the Special menu. When the Security Device dialog box appears, click the Set Options button.
check check
Option 1 Option 2 Option 3 Option 4 Option 5
click here
3.
Type the first two access codes in the text boxes as shown in your written advice.
type access codes; do NOT type spaces
Do not type the spaces. Use TAB or ENTER to move to the next access code.
4. 5.
Click OK in the Set Security Device Options dialog box. A message is displayed indicating the access codes were entered successfully. When you are returned to the Security Device dialog box, compare the Identity Code displayed in the Security Device dialog with the New ID code shown on your written advice. It is located immediately under the two access codes just entered. The two codes MUST be identical.
ES
515
6. 7.
If there is more than one pair of new access codes, enter them all, one pair at a time, following the same procedure for each. Click OK in the Security Device dialog box.
516
ES
PART VII
Appendices
ES
517
518
ES
Appendix A:
Quick Reference Guide and Menu Chart
519
ES
ES Quick Reference Guide

P/N 8010012 Rev 5. 4 Nov 96
Zooming and panning To Zoom in 2X Zoom out 2x Zoom in on a selected area (box) Zoom to 1:1 scale (100%) Fit design in window Specify zoom factor Pan Turn off automatic scrolling Center current stitch Return to previous view Redraw the screen Viewing designs To Turn TrueView on/off Show or hide the stitches Show or hide the outlines Show or hide the needle points Show or hide the drawing Measure a distance on the screen Press
T S L
Press
Z, SHIFT+Z, B,
or
F9 F10 F8
F2
Working with designs To do this Create a new design Open an existing design Save a design Print a design Get on-line help Exit an application Press
CTRL+N CTRL+O CTRL+S CTRL+P F1 ALT+F4
1 0, F, P,
SHIFT C, V, R,
F3 F7 F6 F5 F4
Cancelling and undoing commands To Cancel some commands Undo a command Redo a command Selecting objects To Choose Select Object tool Select multiple objects Select a range of objects Select next object Select previous object Add next object to selection Add previous object to selection Select all objects Deselect all objects Press
O
Press
ESC CTRL+Z CTRL+Y
. (period)
D M
Digitizing and lettering (not available in all models) To Delete the last input point Finish digitizing an objectkeep last stitch Finish digitizing an objectomit last stitch Finish digitizing a complex ll boundary Change between ll stitch type and Run Change between ll stitch type and Manual Turn underlay on/off Display the lettering dialog box Insert Stepp function Insert Blatt function Generate stitches Travelling through the design To travel To the start of a design To the end of a design To next color To previous color To next object To previous object To next segment To previous segment 100 stitches forward 100 stitches backward 10 stitches forward 10 stitches backward 1 stitch forward 1 stitch backward Press
HOME, END, PAGE UP, PAGE DOWN, TAB SHIFT+TAB CTRL+RIGHT ARROW CTRL+LEFT ARROW K PLUS K MINUS UP ARROW, DOWN ARROW, LEFT ARROW, RIGHT ARROW, K8 K2 K4 K6
and click the objects SHIFT and click the rst and then the last object
CTRL TAB SHIFT+TAB CTRL+TAB CTRL+SHIFT+TAB CTRL+A ESC
Press
BACKSPACE ENTER SPACE BAR ENTER ENTER
SPACE BAR
U A
[ ]
G
Cutting and pasting objects To Cut an object Copy an object Paste an object Duplicate an object Delete selected objects or the last object Modifying objects To Move an object horizontally or vertically Maintain an objects proportions while resizing Reshape an object Change the type of a reshape control point Press or click
CTRL SHIFT H
Press
CTRL+X CTRL+C CTRL+V CTRL+D DEL
or (K = keypad)
K7 K1 K9 K3
and drag the object and drag a corner handle
Click the control point, and press the SPACEBAR
WILCOM
1
ES V5.0
X
1 ? +
3D
STOP
A
100 10
1
7
4 3 2
8 5 2
9 6 3
4 1 0
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 in todos modelos; nao em todos os modelos; no in totto modelli; ces pas in toute les modelles; nicht verfgbar in allen Produkten;
P/N 8010021 Rev 4. 4 Nov 96 Copyright 1990-96 Wilcom Pty. Ltd.
522
ES
Appendix B:
Alphabets, motifs and program splits
This section contains additional details on working with alphabets and provides specic information on the motifs and program split patterns which are included in ES. Alphabets The alphabets included as part of your ES software are listed in this Appendix. You will also nd a sample of each alphabet to show you how the letters will look when they are stitched. These letters have been thoroughly tested and will give the best results if you keep within the suggested maximum and minimum height recommendations listed in the Alphabet table. See Table 20 on page 524. Motifs The table on motifs in this Appendix gives you the size of each motif when it was created. Also given are the original positions of the motifs for the motif ll. If you have altered these positions when working with motifs, you may, at a later date, want to revert back to the original ES settings. Use the motif table to locate the original settings, then replace the values in the Fill Stitch tab of the Object Properties dialog box. See Table 21 on page 526 and Table 22 on page 528. Program Splits The Program Split patterns which are included in your ES software are illustrated in this section. Also given are the sizes of the original pattern and its column and row placement. If you have changed a Program Split layout and want to revert back to the original, refer to the Program Split table for these values. Use the Fill Stitch tab of the Object Properties dialog box to change Program Split values. See Table 23 on page 529.
ES
523
Alphabet styles and size information

The alphabets shown in this table are a part of your ES program. For the best results when stitching, do not exceed the maximum or minimum sizes recommended for each of the individual alphabets. Table 20: Alphabet styles and size recommendations
Size recommendations Alphabet name Block1 Alphabet Min. (inches) .2 Max. (inches) 2 Min. (mm) 5 Max. (mm) 50
Block2
.2
50
Chancery
.25
2.4
60
Flares
.28
1.6
40
Flash
.25
2.4
60
Formal Script
.28
1.4
35
Greek
.32
35
524
ES
Table 20: Alphabet styles and size recommendations

Size recommendations Alphabet name Hobo Alphabet Min. (inches) .25 Max. (inches) 1.6 Min. (mm) 6 Max. (mm) 40
Old English
.32
50
Script1
.5
12
75
Script2
.32
50
Script3
.2
12
100
Serif1
.2
1.25
30
Serif2
.32
1.25
30
Serif3
.2
2.25
60
Small Block
.16
.25
ES
Alphabet styles and size information
525
Motif details (25, 45, 65)

Single motifs
Single motifs can be used to create a motif run or a motif ll. The values in this table are those that were originally set in ES. If you have changed any of these values, and you want to revert back to the programs original pattern, select an object that contains the motif you want to change. Use the right mouse button to display the Object Properties dialog box. Click the Fill Stitch tab and compare the values in the dialog box with those on the table. Make any necessary changes.
Table 21: Single motiftypical layout

Motif identication Size in mm X Mtf01 Mtf02 Mtf03 Mtf04 Mtf05 Mtf06 Mtf07 Mtf08 Mtf09 Mtf10 Mtf11 Mtf12 Mtf13 Mtf14 Mtf15 Mtf16 Mtf17 Mtf18 Mtf19 Mtf20 Mtf21 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 3 3.2 2 2 4 Y 4 4 4 4 4 4 4 4 4 4 4 4 3 3 3 3 5 5 3 3 5.5 Motif Run spacing in mm 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 2 2.3 2 2 3 Motif ll Column 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 2 2.3 2 2 3 Row 4 4 4 4 4 4 4 4 4 4 4 4 3 3 3 3 5 6 3 3 6 Offset 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0
526
ES

Motif identication Size in mm X Mtf22 Mtf23 Mtf24 Mtf25 Mtf26 Mtf27 Mtf28 Mtf29 Mtf30 Mtf31 Mtf32 Mtf33 Mtf34 Mtf35 Mtf36 Mtf37 Mtf38 Mtf39 Mtf40 Mtf41 Mtf42 Mtf43 Mtf44 Mtf45 Mtf46 Mtf47 Mtf48 Mtf49 Mtf50 Mtf51 Mtf52 3.8 2.2 2.6 4 4 4 4 4 4 4 4 8 4 6.8 4 4 7 4 4 8 4 6 6 6 6 6 6 6 8 8 8 Y 5.6 3.6 2 4 4 4 4 4 4 4 4 4 2.5 2 4 4 4 3 3 4 4 4 6 4 4 4 6 8 8 8 8 Motif Run spacing in mm 2.8 1.3 2.4 4 4 4 4 4 4 4 8 8 4 6.8 4 4 7 4 3 8 5 7 6 6 6 6 6 6 8 8 8 Motif ll Column 2.8 1.2 2.4 4 4 4 4 4 4 4 8 8 4 6.8 5 5 7.6 4 3 8 5 7 6 6 6 6 6 6 10 8 8 Row 6.5 3.6 1.75 4 4 4 4 4 4 4 4 5 3.5 2 5 5 3 4 4 5 4 4 6 5 5 6 6 8 8 8 8 Offset 0 0 1.2 0 0 0 0 0 0 0 4 0 0 3.35 0 0 0 2 1 4 2.5 3.5 0 0 0 0 0 3 5 0 0
ES
527

Motif identication Size in mm X Mtf53 Mtf54 Mtf55 Mtf56 6 10 8 6 Y 8 6 10 6 Motif Run spacing in mm 6 10 8 6 Motif ll Column 6 10 8 6 Row 8 10 8 6 Offset 3 0 4 0
Two-part motifs
Two-part motifs are made up of two separate motifs that have been combined to form a single pattern. Use this table to nd the original values of your two-part motifs. Table 22: Two-part motiftypical layout
Motif A Mtf101a Motif B Mtf101b Size in mm Fill pattern X a=7 b=7 Y a=5 b=3 Col 7 Row 3.5 Offset 0 Motif ll
Mtf102a
Mtf102b
a=12 b=12
a=6 b=9
12
Mtf103a
Mtf103b
a=12 b=12
a=6 b=9.2
12
Mtf104a
Mtf104b
a=9 b=9
a=8 b=3
4.5
528
ES
Table 22: Two-part motiftypical layout

Motif A Mtf105a Motif B Mtf105b Size in mm Fill pattern X a=6.4 b=6.4 Y a=4.8 b=3.2 Col 6.4 Row 3.2 Offset 0 Motif ll
Mtf106a
Mtf106b
a=4.4 b=4.4
a=2.2 b=2.4
4.4
1.9
1.09
Mtf107a
Mtf107b
a=4.8 b=4.8
a=4.2 b=1.4
4.8
2.15
1.25
Mtf108a
Mtf108b
a=11.6 b=11.6
a=4.4 b=4.4
11.2
2.9
to change. Use the right mouse button to display the Object Properties dialog box. Click the Fill Stitch tab and compare the values in the dialog box with those on the table. Make any necessary changes. Table 23: Program Splittypical layout
Pattern name Arrowhd Size in mm Pattern X 6 Y 6 Spacing 4.5 Offset 0 Spacing 6 Offset 0 Column Row
Bird
4.9
4.9
ES
529
Table 23: Program Splittypical layout

Pattern name Brick Size in mm Pattern X 6 Y 3 Spacing 6 Offset 0 Spacing 3 Offset 3 Column Row
Chevron
Circle
Cube
1.58
1.48
Diadem
10.10
6.7
10
Diamond
Diamond2
Ellipse
4.6
2.3
Flame
3.7
3.7
Greekey
Heart
6.5
6.4
Hexagon
5.2
Leaf
10
10
Metal
9.4
8.5
2.5
530
ES
Table 23: Program Splittypical layout

Pattern name Suncros Size in mm Pattern X 10 Y 10 Spacing 4 Offset -6 Spacing 4 Offset 6 Column Row
Tick
6.8
7.9
6.4
.10
Tile1
Tile2
12
12
12
12
Tile3
10
10
10
10
Tile4
Triangl
5.2
5.2
Wave
1.3
Wave2
9.9
3.2
9.9
ES
531
532
ES
Appendix C:
Troubleshooting
s s s s s s
The troubleshooting guide is grouped into three sections: Checking your PC specications, security device messages, and general problems. An explanation of the error is provided, along with suggestions to correct the error, and where appropriate, suggestions to prevent the error recurring. If you encounter a problem with your system, follow these guidelines. Check that your PC meets the system requirements.See page 534. Check any specic security device messages. See page 535. Check your on-line help. Check the manual supplied with ES. Check the Windows 95 on-line help. Call your distributor.
ES
533
Check if your PC meets the requirements
Hardware Item CPU Operating System Memory Hard Disk Size Free Hard Disk Space before installing Graphics Card
Minimum Requirement 80486 - 33MHz Windows 95 installed (Optionally with DOS/Win 3.1/WfW 3.11 co-installed) 8-16 MB 200 MB 100 MB (non-double spaced)
Recommended (for improved performance) Pentium
16-32 MB 500MB or more More than 100MB if running multiple applications 256 colors and SuperVGA resolution (800x600 or higher)
Any Windows 95 supported graphics card - 256 colors preferred, although 16 colors or monochrome can also be used. Minimum VGA resolution. Any Windows 95 monitor, 14/15, VGA Existing Sharp scanners with Win95 driver (not available for JX-300), and TWAIN supported scanners Windows 95 supported devices Any Windows 95 supported device. 2 standard ports: COM1/COM2
Monitor Scanner
17" or larger for on-screen work
Printer and/or Plotter Digitizer Serial Ports
Standard COM1 and multiport adaptors (with Windows 95 drivers).
Bus slots
One ISA/EISA slot for Trysoft. Additional ISA/EISA slots for if Melco Network card, Melco Disk controller card, Scanner interface board or Bus mouse are used. Bus, serial or PS/2 mouse PS/2 mouse with dedicated mouse port on motherboard.
Mouse
534
ES
Hardware Item CD-ROM and Sound Cards
Minimum Requirement Not required. Sound cards occasionally have interrupt conicts with other cards or PC parts.
Recommended (for improved performance) CD-ROM recommended for future distributions.
To check your PC specications

CPU/RAM
1. 2.
From the Windows 95 Start menu, choose Settings>Control Panel. Double-click the System icon. The General tab indicates the Windows 95 version, the CPU and the amount of RAM. Hard Disk Space
3. 4. 5.
From the Windows 95 Start menu, choose Programs>Explorer. Click to highlight the hard-disk drive (usually C:). Click the Properties button on the tool bar. The General tab indicates the capacity of the hard-disk as well as the free space. This must be greater than 100 MB.
Security device messages

To prevent Trysoft security device problems
1. 2. 3.
Always enter all access codes immediately after receiving them. Access codes are sent from time to time to add new features, option, or to update the system. Enter every set of access codes sent. If any are skipped, the new set will not work and ES will stop working. After entering access codes for software upgrades you must exit ES and restart the application. Refer to the access code and installation information.
ES
535
Error:
Timeout warning After starting ES, the above error message is displayed.
s
Explanation If a timeout warning is displayed, new access codes are required within the next few days. Suggestion If you have not received new access codes, take note of your identication number and serial number and contact your distributor. See To identify your security device on page 514 for details.
Error:
Security Error 510 Some files may be missing. Re-install software. Explanation Corrupted hard disk. Virus attack. Security violation. Suggestion
s s
s s s
Re-install the software. If the problem persists, further diagnose the problem. For example, run a virus checking program. Scan the disk to check that the hard disk is not corrupted.
Error:
Security Error 520 Unable to find security device. After starting ES, the error message is displayed.
s s s
Explanation Either faulty hardware or Trysoft. Security device not seated properly. There is a conict with the security device at the address 0300-0330. Suggestion Check the installation of the Trysoft security card. Ensure that it is tted correctly.
536
ES
Check the slot which the card is seated in. Try swapping the Trysoft to another slot and restarting the software. If this does not work contact your distributor with your Trysoft Serial Number. Change the security device address to 0300-0331. See To alter the security device address on page 538 for details.
Error:
Security Error 530 Incorrect security device setting. Contact your distributor/vendor. Explanation Unsupported dongle attached. Incorrect security device attached. Suggestion
s s
s s
Remove any attached dongles. Contact your distributor with your Trysoft number and ID-code. See To identify your security device on page 514 for details.
Error:
Security Error 540 Unable to run software. ES starts up, but most of the options are not available. The error message is displayed. Explanation The security device has timed out. Suggestion
s s
If you have new access codes, these need to be entered using the Security option on the Special menu. See To enter new security access codes on page 515 for details. If you do not have new access codes to enter, contact your distributor and quote your serial number and identication code. Suggestion Check the installation of the Trysoft security card. Ensure that it is tted correctly. Check the slot which the card is seated in. Try swapping the Trysoft to another slot and restarting the software. If this does not work contact your distributor with your Trysoft Serial Number.
ES
537
Error:
Security Error 550 Invalid security device for this software version. Explanation Security violation. Suggestion Contact your distributor or vendor.
To alter the security device address
1. 2. 3. 4. 5. 6. 7. 8. 9.
From Windows 95 start menu, choose Control Panel. Double click the System icon. Click the Device Manager tab. Click Computer. Click Properties. Click Input/output (I/O) button at top of window. The settings (addresses) of each piece of attached hardware is listed. Scroll to 0300-0330. Highlight this item and click Change Settings. Adjust the value to 0300-0331 to correct the problem. Otherwise consult the hardware manual supplied with the device to find other acceptable settings.
10. Click OK to accept values. 11. A message is displayed that further PnP (Plug and Play) devices installed in the future
may have difficulties being installed. You may return to this device properties at any time, move to the Resources tab and enable Use automatic settings. This will remove your settings and allow your new device to be installed correctly. After completing the installation of your new device, you will need to repeat the entire procedure up to step 10.
538
ES
General problems
Error:
s
Dimensions of design are incorrect. Explanation If the designs dimensions are too large or too small, the system units of measurement may be set incorrectly. The units of measurement are set from the Windows 95 Regional settings. Suggestion Change the units of measurement from within Windows 95. See To change units of measurements on page 512 for details.
Error:
s
When the design is displayed in TrueView the color of some of the objects change. Explanation If your design has more than 13 colors, the colors will wrap-around back to color 1 again. You are not limited when in normal view, but in TrueView, the colors are limited to those available on the embroidery machine.
Error:
s
Cannot read, write or format Melco format embroidery disks. Explanation The disk format required for the Melco Star, Starlet and Superstar Series of embroidery machines is Single Sided / Single Density (SS/SD) format which is not supported by all oppy disk controllers. If you require this format for your own embroidery machines or to supply this format to your customers, the oppy disk controllers inside your PC must support SS/SD. Suggestion To help you determine whether your PC supports the SS/SD format, a simple DOS program is available which checks your PC and reports whether or not it contains support for SS/SD. This DOS program can be run from a DOS prompt within a Win 95 DOS box. The program is titled MEL_CHK and can be found in the BIN directory of your ES installation directory.
ES
General problems
539
To check if Melco disk format is supported

You will require a blank Double Sided / Double Density (DS/DD) diskette to run the test program.
1. 2. 3.
Place the blank DS/DD diskette in your drive. From Windows 95 desktop, start a DOS window. At the prompt, type MEL_CHK and the floppy disk drive label. For example, MEL_CHK a: where a: is the drive in which you placed the blank DS/DD diskette. The program will then check the PC system and determine whether your system can support SS/SD formats. If the utility displays NO at the prompt, and you require this format please advise your PC supplier of the requirement. If the utility displays YES at the prompt, then your PC allows you to read/write or format Melco disks.
Error:
Problems when reading and punching paper tapes, sending designs to embroidery machines for stitching. Inconsistent reading and writing. Explanation Serial communications problems. Inconsistent reading and writing may be cause by wrong port settings in the operating system. Suggestion Change the port settings.
To change the port settings
1. 2. 3. 4. 5. 6. 7.
Select the Control Panel. Select the System icon. Select the Device manager tab. Click ports (show ports). Choose port used by device. Click Properties. Select the Port Settings tab.
540
ES
8. 9.
Click Advanced. Change the state of the Use FIFO buffers (requires 16550 compatible UART). This is checked ON by default in Windows 95.
Error:
No stitches are displayed in a design. Only the shape outlines are shown for the whole design, or for some objects. Explanation 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 Turn on Show Stitches. See View Design options (all products) on page 502 for details. If some objects still do not have stitches, select them, then re-generate stitches. See To remove and re-generate stitches for an object on page 65 for details.
Error
Database integrity has been compromised. Please compact the database. Explanation. The database index les have become corrupt while the database was performing either an updating or sorting operation. Once the database les have become corrupt, the message may be displayed when you either: Start the Database. Sort the designs (e.g. sorting by date, name or type). Scroll through design icons Change between the details list and icon view of the designs. Suggestion. Compact the database.
s s s s
ES
General problems
541
To compact the database
1. 2. 3.
Start the database. See To start the Database on page 456 for details. Choose Compact Database from the Setup menu. Restart ES.
Warning
Even after compacting the Database, some of the latest changes may be lost. If this occurs, restore your Database from your backup copy. See To restore the Database on page 481 for details.
542
ES
Appendix D:
Installing a GPIB scanner
(21D, 45, 65)
These instructions apply only to owners of Sharp JX-320/325/330 scanners with a GPIB interface. If you are using a different brand and type of scanner, you may skip this section.
Note Make sure that you install the scanner driver software before installing ES. If you install the scanner driver software after ES, the scanner will not work from within ES. To solve this problem, re-install the ES software.
ES
543
Installing a scanner with a GPIB interface

The scanner is connected to the computer via an interface card (also called a board). The PC communicates with the interface card using scanner driver software. Before installing the interface card and the scanner driver software, it is necessary to identify the type of your scanner interface card. These instructions cover the following scanner interface cards: GPIB-PCII GPIB-PCIIA AT-GPIB
s s s
Note It is possible to have a combined GPIB-PCII/GPIB-PCIIA scanner

interface card. If this is the case, it is indicated by the label on the scanner interface card. You should set the card to a GPIB-PCII and follow the directions for the GPIB-PCII card.
Note You can get assistance with the installation if required. See Table 28,
Getting assistance on the scanner interface installation, on page 552 for details.
Note Make sure that you install the scanner driver software before installing
ES. If you install the scanner driver software after ES, the scanner will not work from within ES. To solve this problem, re-install the ES software.
To install a GPIB interface scanner
1.
s s
Before you start, check that you have the following: Scanner interface card (may already be installed in your PC). GPIB Driver Installation disks (5 Disks) consisting of:Sharp ScanJX/Win & Driver for Windows Version 1.10 (Part No. 8060019) (1 disk), NI-488 Software for GPIB-PCII/IIA Driver Software Version 2.6 (Part No. 8060052) (2 disks), Compatibility Release for the NI-488.2 Software for Windows 95 (Part No. 8060053) (1 disk), and NI-488.2 Software for AT-GPIB Driver Software Version 2.7 (Part No. 8060054) (1 disk). Identify your scanner card. The scanner interface card type will be written on the documentation which came with the scanner interface card and on the scanner card itself.
2.
544
ES
If the scanner interface card is already installed in the computer, remove the card from the computer and note the card type written on the card. Keep the scanner interface card to hand for set up.
3.
s s s s s s s
Reserve system resources. All hardware requires memory which the system uses to communicate with the device. For the installation of the GPIB scanner interface cards it is necessary to manually reserve this memory. From your desktop, click with the right mouse button on the My Computer icon. From the desktop menu, choose Properties. Click the Device Manager tab. Click the Computer icon. Click the Properties button. Click the Reserve Resources tab Click the Input/ Output (I/O) button. If you have a GPIB-PCII card Click Add. In the Start Value box, type the start value. The default is 2B8. In the End Value box, type the end value. The default is 2BF. Click OK.
s s s s
Note If the Resource Conict Warning message is displayed the memory you
are trying to reserve is already in use. Click Cancel, choose and enter an alternative value pair from the table. See Table 24, GPIB-PCII Start and End values, on page 549 for details.
s s
A message is displayed asking if you want to restart the computer. Click No. Click OK. If you have a GPIB-PCIIA card There are eight pairs of start and end values to be entered when reserving the base address settings for a GPIB-PCIIA card. See Table 25, GPIB-PCIIA Reserved I/O addresses, on page 550 for details. After each pair of start and end values is entered, it is listed in the Computer Properties window. Table 25 on page 550, contains four columns listing eight pairs which have to be entered. The recommended column to start with is the column titled Base Address 22E1. This column is shaded in the table. For each of the eight pairs:
s s
Click Add. In the Start Value box, type the start value of the rst pair of values.
ES
545
s s s
In the End Value box, type the end value of the rst pair of values Click OK. The pair is added to the list in the Computer Properties window. Continue adding each pair of values from the column until all eight pairs have been entered.
Note If the Resource Conflict Warning message is displayed, the memory you
are trying to reserve is already in use. Click Cancel, remove all of the pairs you entered so far and select a different column from Table 25 on page 550.
s s s
When the values have been entered correctly, the Computer Properties are displayed. Click OK. A message is displayed asking if you want to restart the computer. Click No. Click OK. If you have an AT-GPIB card Click Add. In the Start Value box, type the rst value. The default is 2B8. In the End Value box, type the second value. The default is 2BF. Click OK.
s s s s
Note If the Resource Conict Warning message is displayed, the memory you
are trying to reserve is already in use. Click Cancel, choose and enter an alternative value pair from the table. See Table 26, AT-GPIB Start and End Values, on page 551 for details.
s s
A message is displayed asking if you want to restart the computer. Click No. Click OK. Install The scanner software (all cards) The following hardware and software must be installed before installing ES for correct operation of the scanner.
4.
Note If ES has already been installed, you will need to re-install ES after the
scanner installation is complete.
s s s s
Insert the Sharp ScanJX disk in oppy disk drive A. Choose Run from the Start menu. In the Open box, type a:\setup in the dialog that appears and follow the installation directions. If you have GPIB-PCII or GPIB-PCIIA card, insert NI-488 Software for PCII/PCIIA Disk 1 into oppy disk drive A.
546
ES
s s s s s s s s s
If you have a AT-GPIB card, insert NI-488 Software for AT-GPIB in oppy disk drive A. Choose Run from the Start menu. In the Open box, type a:\setup, and follow the instructions. Insert the disk labelled Compatibility Release for the NI-488-2 Software for Windows 95 in oppy disk drive A. Choose Run from the Start menu. In the Open box, type a:\setup, and follow the instructions. Choose Shutdown from the Start menu. Choose Restart the computer. Click Yes. Configure the hardware Choose Control Panel from Settings on the Start menu. Double click the GPIB icon. Click Board Type. Select the type of scanner interface card you have from the list. Click OK. Set the Base I/O Address to the value previously reserved. Set both the Interrupt Level and DMA Channel to None. The DIP switch settings are illustrated in the dialog. Set the DIP switches on the scanner interface card to the positions shown in the dialog. Ensure all jumpers are open. Remove any extra jumpers. Select OK in the GPIB-PCII / GPIB-PCIIA / AT-GPIB dialog. Select OK in the GPIB Conguration dialog. Install the hardware. From the Start menu, click Shut Down. Click Yes. Turn off your computer after the message It is safe to turn off your computer is displayed. Install the scanner interface card in the computer. Restart the computer. Test the hardware After the computer has been restarted, the hardware must be tested to verify that the card installation has been successful. The hardware is tested by running the GPIB Hardware Diagnostic Test program supplied with the scanner interface card disks.
5.
s s s s s s s s s s s s s
6.
s s s s s
7.
ES
547
Note Do not connect the scanner cable to the computer.

s s s s s s s s
Choose Programs from the Start menu. Choose Hardware Diagnostic from NI-488.2 Software. If you have a GPIB-PCII or GPIB-PCIIA, you are prompted for the card settings: When prompted for the card type, if you have a GPIB-PCII, type C, if you have a GPIBPCIIA, type A. Enter the I/O base address that you previously reserved. (PCIIA only). Enter N for the DMA channel. (PCIIA only). Enter N for the Interrupt level. (PCIIA only). Press ENTER to begin the test. If the scanner interface card has been correctly installed, a message similar to: Hardware passed diagnostic test is displayed. If there is a problem with the installation, a message similar to Hardware failed diagnostic test is displayed. See Table 27, Troubleshooting the GPIB scanner installation, on page 552 for details.
548
ES
Base Address Tables

Base address settings for GPIB-PCII
This table lists all of the permitted start and end values (called the base address) for the GPIB-PCII/PCIIA scanner interface cards. Select one entry from the table when reserving system resources.
Note The recommended values to try rst are: 2B8-2BF.

Table 24: GPIB-PCII Start and End values
100-107 108-10F 110-117 118-11F 120-127 128-12F 130-137 138-13F 140-147 148-14F 150-157 158-15F 160-167 168-16F 170-177 178-17F 180-187 188-18F 190-197 198-19F 1A0-1A7 1A8-1AF 1B0-1B7 1B8-1BF 1C0-1C7 1C8-1CF 1D0-1D7 1D8-1DF 1E0-1E7 1E8-1EF 1F0-1F7 1F8-1FF 200-207 208-20F 210-217 218-21F 220-227 228-22F 230-237 238-23F 240-247 248-24F 250-257 258-25F 260-267 268-26F 270-277 278-27F 280-287 288-28F 290-297 298-29F 2A0-2A7 2A8-2AF 2B0-2B7 2B8-2BF 2C0-2C7 2C8-2CF 2D0-2D7 2D8-2DF 2E0-2E7 2E8-2EF 2F0-2F7 2F8-2FF 300-307 308-30F 310-317 318-31F 320-327 328-32F 330-337 338-33F 340-347 348-34F 350-357 358-35F 360-367 368-36F 370-377 378-37F 380-387 388-38F 390-397 398-39F 3A0-3A7 3A8-3AF 3B0-3B7 3B8-3BF 3C0-3C7 3C8-3CF 3D0-3D7 3D8-3DF 3E0-3E7 3E8-3EF 3F0-3F7 3F8-3FF
ES
Base Address Tables
549
Base address settings for GPIB-PCIIA

This table lists the four permitted base addresses for the GPIB-PCIIA. Select one of the four base address columns. It is necessary to enter all eight start and end value pairs from the table when reserving system resources.
Note The recommended base address to try rst is 02E1.

Table 25: GPIB-PCIIA Reserved I/O addresses
Base Address 02E1 Start 02E1 06E1 0AE1 0EE1 12E1 16E1 1AE1 1EE1 End 02E1 06E1 0AE1 0EE1 12E1 16E1 1AE1 1EE1 Base Address 22E1 Start 22E1 26E1 2AE1 2EE1 32E1 36E1 3AE1 3EE1 End 22E1 26E1 2AE1 2EE1 32E1 36E1 3AE1 3EE1 Base Address 42E1 Start 42E1 46E1 4AE1 4EE1 52E1 56E1 5AE1 5EE1 End 42E1 46E1 4AE1 4EE1 52E1 56E1 5AE1 5EE1 Base Address 62E1 Start 62E1 66E1 6AE1 6EE1 72E1 76E1 7AE1 7EE1 End 62E1 66E1 6AE1 6EE1 72E1 76E1 7AE1 7EE1
550
ES
Base address settings for AT-GPIB

This table lists all of the permitted start and end values for the GPIB-PCII/PCIIA scanner interface cards. Select one entry from the table when reserving system resources.
Note The recommended values to try rst are: 2C0-2DF.

Table 26: AT-GPIB Start and End Values
Base Addresses Start 100 120 140 160 180 1A0 1C0 1E0 End 11F 13F 15F 17F 19F 1BF 1DF 1FF Start 200 220 240 260 280 2A0 2C0 2E0 End 21F 23F 25F 27F 29F 2BF 2DF 2FF Start 300 320 340 360 380 3A0 3C0 3E0 End 31F 33F 35F 37F 39F 3BF 3DF 3FF
ES
Base Address Tables
551
Troubleshooting
Table 27: Troubleshooting the GPIB scanner installation
Problem Hardware diagnostic test failure. Possible Causes DIP switches not set correctly. Solution Check the DIP setting on the card. Re-run the GPIB setup by double clicking the GPIB icon on the Control Panel. Choose another base address. Ensure that you have entered the base address accurately and that the base address is not in conflict. Re-run the GPIB setup by double clicking the GPIB icon on the Control Panel. Shut down the computer, open the cover and ensure that the card is pressed firmly into the slot and that all screws for the card are tight. Unplug the scanner cable from the computer.
Base address is incorrect.
Card not inserted into the slot correctly.
Scanner is connected (plugged in) to the computer.
Getting Help
Table 28: Getting assistance on the scanner interface installation
Who National Instruments Telephone +1-512-795 8248 Facsimile +1-800 329 7177 (fax back system) +1-800-328 2203 +1-512-794 5678 +61-2-96721208 +61-2-9319 1672 Internet gpib.support@natinst.com http:\\www.natinst.com ftp:\\ftp.natinst.com
Sharp Corporation Wilcom Technical Support
+61-008-025 509 +61-2-9319 3866
support@wilcom.com.au
552
ES
Index
Numerics
3D Warp 210, 211 Bridge 327, 392
C A
access code 515 Accordion Spacing 158, 159 alphabet 363, 395, 398 angle 32 Any Shape baseline 373, 385 appliqu 243 Arc Clockwise 371, 385 Arc Counter-clockwise 371, 385 arrange object 315 artwork 54, 83, 281 Auto Center 66 Auto Jump 123, 237 Auto Scroll 507 auto scroll options 506 Auto Spacing 119, 120, 121, 126, 358 Auto Split 123, 125 auto start and end 66 automatic connector 227, 236 automatic save 47 automatic underlay 143 calibrate screen 499 capture screen 417 center design 66 change color 219 change machine format 234 change stitch type 113 chord gap 169 Circle 150, 160, 171, 324 circle 292 Circle Clockwise 372, 385 Circle Counter-clockwise 372, 385 clear color change function 221 clear function 221, 244 clip art 54 close a design 50 color 32, 58, 216, 235, 509 color blending 161 color change 219, 235, 251 color change function 235 color change sequence 248, 252, 253, 411 color mode 281 color palette 222 Color toolbar 32 column 81, 118 column offset 178, 184 column side 89 column spacing 178, 184, 204 column stitching 63 column width 89, 124 COM1 489 COM2 489 Combination Split 182 combine designs 331, 334, 335 object 331 command using commands 35 compensate for pull, push 56 Complex Fill 63, 92, 106, 160, 164, 294, 321 Complex Fill boundary 91, 102
B
backdrop 277 background color 510 backstitch 130 Backtrack 156 Barudan 251 baseline 364, 367, 369, 383, 396 reshape 384 Baud rate 489 bitmapped drawing 278 borderline backstitch 131, 132, 164, 168 borer 509 borer in 242 borer out 242 boring 241, 248, 251, 509 boundary 91, 102 bounding outline 305
ES
Index
553
connector 227, 236 connector properties 228 connectors 42 Contour stitch 63, 165 control point 317 convert design 427, 437 convert drawing object to embroidery 294 co-ordinates 32 copy 332 CORELDraw 54 corner fraction 90 corner point 64, 77, 317 cotton 137 create new alphabet 398 create new letter 399 current object properties 111 curve 77, 81 curve point 64, 77, 317 custom alphabet 395 cut 332
edit stitches 345 edit text 365, 393 effect 377 electronic drawing 59, 60, 277, 292 ellipse 292 embroidery disk 48, 419, 428 embroidery machine 58, 254, 418, 489, 493 format 233 embroidery object 36, 61, 300 embroidery shapes 56 Empty stitch 107 enabled options 514 end of design 249, 252, 253 enlargement drawing 59, 266, 270 Enter key 106 entry point 98, 317 envelope 326, 392 exit 50 exit point 98, 317 expanded design 350, 427, 437
D
data bits 489 default object properties 114 delete motif 196 delete object 310 delete stitch 346 density 307, 354, 356, 357 density values 112 design information 410 design window 38, 42, 44 diagonal backstitch 131 Diamond 329, 392 digitize 61 digitizer 489, 490 digitizer menu chart 268, 519 dim drawing 286 dimensions of object 313 direct embroidery machine connection 418, 493 disk 48 display monitor 499 Double Zigzag underlay 146 drawing object 290 drawing scale 266, 269 Drawing toolbar 32, 35 drills 137 duplicate 333
F
ll stitch types 117 ll stitching 63 nish point Satin Column 81 Fixed Line 370, 385 xed spacing Satin 119 eece 137 ip object 313, 314 format embroidery disk 421 format letters 363 fractional spacing 140 Free Line 370, 385 French dot 154 function 243 functions 42
G
general options 510 general properties 312, 355 General tool bar 32 generate stitches 65 Globe In 210, 212 Globe Out 210, 212 go to stitch 344 grid 43 group object 316
E
E Stitch 62, 63 values 127 Edge Run underlay 146
554
Index
ES
H
hand-shaking 489 hardware setup 488 Help menu 37 hide drawing 285 hide toolbars 35 horizontal line 78
line spacing 390 lock object 315
M
machine format 58, 232, 233, 254, 495 values 245 machine function 232, 235, 243, 254 color change 219 machine stop 243 make letter 399 make motif 190 make Program Split pattern 185 make User Dened Split 173 Manual 104, 106, 323, 350, 353 mark reference point 77 maximum stitch 105, 238, 248, 251, 253 measure distances on screen 41 Melco 253 menu bar 32 menu chart 519 Microsoft Word for Windows 54 minimum stitch 125, 132 mirror 355 mirror object 313, 314 mix color 224 modify alphabet 404 monitor 499 motif 190 Motif Fill 186, 201, 210, 211 Motif Run 62, 197, 294 move letters 391 move object 309, 313 move stitch 345
I
Identity Code 514 ignored machine functions 254 immediate stitch generation 65 information 410 Input A 63, 80, 106, 160, 171, 319 Input B 63, 84, 106, 160, 171, 319 Input C 63, 86, 106, 128, 160, 171, 294, 320 input method 63 Input Method toolbar 32, 35 Input Methods toolbar 32 insert color change function 220, 235 insert design 335 insert drawing le 279 insert function 220, 235, 236, 243, 244 insert motif 192 insert stitch 346 insert trim function 236 installation 27
J
jagged edge 161, 352 jump 105, 123, 236 jump length 239 justication 364
K
keep rst, last motif 198 keep last stitch 81, 85, 87 kerning 391
N
needle points 42 needle position marker 336, 340 needles in 241 needles out 241 new alphabet 398 new design 33 new letter 399 NORMAL template 263
L
layout 175, 207, 374 left mouse button 80, 84, 87 length 32 length calculation 239 letter height 363, 396 letter spacing 388, 389 letter width 363, 397 lettering 124, 137, 147, 361 lettering template 378 line 290
O
object 300 object properties 111, 113, 228, 350 offset fraction 131, 133, 140, 142, 168 omit last stitch 81, 85, 87 on-line help 37 on-line manual 37
ES
Index
555
on-screen digitizing 60, 277 open design 34 open design from embroidery disk 428 options 502 order of shapes 58 origin 266, 267 outline stitch types 115 outline stitching 63 outlines 42 output design 48 overlap 55, 56 overview window 44
push 56
Q
Quick Reference Guide 519
R
random factor 134, 169 read design 427, 430 read design from tape 431 reader 489, 495 re-color object 217 rectangle 291 redo 35, 37 redraw the screen 40 reference point 77, 81, 190 register drawing 268 menu chart 268 remove small stitches 347 Repeat 156 reshape object 317 Circle 324 Complex Fill 100, 321 Input A 319 Input B 319 Input C 320 lettering 384 Manual 323 Motif Run 200 Ring 325 Run 318 Star 324 Triple Manual 323 Triple Run 318 return to start 66 right mouse button 80, 84, 87 Ring 153, 160, 171, 325 rotate 355 rotate object 311, 313 rotation reference point 266 row offset 178, 184, 204 row spacing 178, 184, 204 Run 62, 76, 106, 127, 294, 318, 350, 357 values 115 Run length 115 Run underlay 146
P
palette 222 pan 39 paper tape 425, 431 paper tape punch 495 paper tape reader 495 parity 489 paste 332, 336 paste drawing 279 pattern 54, 185 Pennant 328, 392 peripheral device 488 Perspective 186, 210, 213, 328, 392 plotter 489, 498 point mode 490 point to stitch 344 pointed edge 56 Pointer toolbar 32, 35 polygon 291 polyline 291 port 489 position object 313 preferences 502 preserve density 354 pre-set object properties 111 preview 416 previous view 40 print 48 print preview 416 print worksheet 413 printer 497 process design 349, 351 production worksheet 48 Program Split 63, 124, 174 pattern 185 values 183 prompt line 32 pull 56 pull compensation 56, 136, 358 punch paper tape 425, 489, 495
S
Satin 62, 63, 350, 357 values 118 Satin in Satin 182
556
Index
ES
Satin in Tatami 182 Satin stitch spacing 119 save as 46, 48 save bitmapped drawing 287 save design 45 save design to embroidery disk 48, 419 scale drawing 282 scale expanded design 354 scale object 307, 313 scan artwork 281 scanner 496 scanning resolution 281 screen calibration 499 screen dump 417 scroll 39 security access code 515 security device 514 security options 514 select color 217 select motif 191 select object 36, 301 Select Object tool 36 select stitch 344 selected stitches, color of 509 sequence 57 Serial Number 514 set color 218 set up tablet 267 shape 55 shift enlargement drawing 270 shift menu chart 270 show connectors 42 functions 42 needle penetration points 42 outlines 42 stitch angles 42 stitches 42 show drawing 285 show grid 43 show toolbars 35 skew 355 skew object 312, 313 small stitches 347 space bar 81, 85, 87, 106 spacing offset 122 special character 375, 401 speed 252 spiral Contour Stitch 170 split length 125 split object 353 standard backstitch 131 Star 154, 160, 324
start of design 249, 252, 253 status line 32 stitch 300, 345 stitch angles 42 stitch count 356 stitch density 356 stitch design 418 stitch length 122, 131, 168 Stitch Manager 419 stitch object 65 Stitch Processor 349 stitch shortening 138, 352 stitch spacing 122, 126, 127, 131, 132, 168, 357 stitch type 32, 62, 113, 377 Stitch types toolbar 32 stitch values 32 stitches 42 stitching sequence 57 stop 243 stop bits 489 stop sequence 411 straight line 77, 82, 290 stream mode 490 style 256 symbol 375, 401
T
tablet setup 267 Tajima 248 tape 425, 431 tape format le 437 Tatami 62, 63, 124, 164, 350, 357 borderline backstitch 132 values 130 Tatami in Tatami 182 Tatami underlay 147 template 33, 54, 260, 378 thread chart 222 thread color 58, 216, 235, 411 thread color palette 222 thread trim 236 thread type 122 tie in 227, 229 tie in method 229 tie off 227, 229, 230 tie off method 229 title bar 32 toolbar 32, 35 hide 35 show 35 transform object 309, 312 Trapunto ll 164 travel 336, 341
ES
Index
557
travel by 1, 10, or 100 stitches 340 travel by color 341 travel by function 254, 341 travel by segment 340 Travel Run Length 116 travel to stitch 344 Travel toolbar 32, 35 trim 227, 229, 236, 248, 251, 253 Triple Manual 104, 323 Triple Run 62, 76, 294, 318 values 116 troubleshooting 533 TrueView 41, 42, 181 Trysoft 28, 514 T-shirt 137 type letters 362, 376
X
XY co-ordinates 32
Z
Zigzag 62, 63, 357 values 126 Zigzag underlay 146 zoom 38 zoom factor 32
U
underlay double Zigzag 146 Edge Run 146 Run 146 Tatami 147 Zigzag 146 underlay angle 145 underlay margin 145 undo 35, 37 ungroup object 316 unlock object 315 unsewn stitches, color of 509 use motif 192 user dened alphabet 395 User Dened Split 124, 172
V
variable stitch length 169 vector drawing 278, 292 vertical line 78 view design 42 view design options 502 view drawing 505 view drawing options 505
W
width column 81 letter 363, 397 window 38, 42, 44 WordPerfect 54 write design to embroidery disk 48, 419
558
Index
ES

Manual Wilcom65

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Manual Wilcom65

Uploaded by

Copyright:

Available Formats

WILCOM

About this manual

Chapter 2. ES Installation Instructions

Chapter 3. Basic procedures

PART II. Digitizing designs 51

Chapter 4. Overview of embroidery design process

Chapter 5. Basic digitizing

techniques (all except 5, 10, 21L/E)

Chapter 6. Selecting stitch type and density (all except 5, 10)

Chapter 7. Improving the embroidery quality (all except 5, 10)

Chapter 8. Advanced & specialized digitizing techniques (25, 45, 65)

Chapter 9. Artistic stitch types and effects(24, 45, 65)

Chapter 10. Working

with motifs (25, 45, 65)

Chapter 11. Thread colors (all products)

Chapter 12. Automatic connectors (all except 5, 10)

Chapter 13. Embroidery machine formats & functions (all products)

Chapter 14. Styles and templates (all except 5, 10)

Chapter 15. Using a digitizer tablet (21D, 45, 65)

Chapter 16. Using a backdrop

for on-screen digitizing (21D, 45, 65)

Chapter 17. Point&Stitch

(opt. 21D, 45, 65)

PART III. Modifying designs 297

Chapter 18. Modifying objects (all products)

Chapter 19. Combine objects

& designs (all except 5,10; letters only in

Chapter 20. Modifying stitches (all products)

Chapter 21. Stitch Processor (all products)

PART IV. Lettering 359

Chapter 22. Creating

lettering (all except 5,10)

Chapter 23. Modifying

lettering objects (all except 5,10)

Chapter 24. Creating

custom alphabets (65; opt. 21D, 45)

PART V. Production and management 407

Chapter 25. Outputting designs for stitching (all products)

Chapter 26. Reading and

converting designs (all products)

Chapter 27. Managing Designs with ES Librarian (all products)

Chapter 28. Working with the

Database (10, 65; opt. 21L/E/D, 25, 45)

PART VI. Personalizing your system 485

Entering information about the hardware (all products)

Chapter 30. Personalizing ES

PART VII. Appendices 517

D - Installing a GPIB scanner (21D, 45, 65) 543

About this manual

First-time usersUsing this manual

Upgrade usersUsing this manual

About this manual

Changes in digitizing techniques

Object properties (all except 5, 10) on

Changes in editing techniques

Thread trim (all except 5, 10) on page 236

For new information about

Scanning & loading images

About this manual

Quick Reference Guide

Digitizer Menu Chart

Dialog boxes and windows

Click the right mouse button.