Software is a Tool – You Control the Digitizing! Embroidery Project

In retrospect, manual digitizing – or punching, as it was called then – was a procedure that appears difficult in comparison to our current high-tech methods. I recall my first attempt at using software to create a design and the “Hallelujah! factor” I’d experienced. I was so relieved to know I’d finally be able to edit an existing punched design instead of re-punching to eliminate errors. I’d then believed these new tools would speed my work. And they did. But I’m one of the fortunate who had already acquired a bundle of information by trial and error via long hours of sweat and occasional tears. I’m grateful for those lessons now, especially as I’m continuously asked by new digitizers, “How do I get my design to sew without problems and to look as well as it looks onscreen?” These particular questions, and those similar, come from folks who have been depending only on their software to make decisions and they haven’t a clue that, as the old saying goes, “It’s not the tool; it’s how it’s used.”

So, before you begin blaming non-quality work on the type of software you own or your computer, machine or unexpected interruptions, let’s take a look at a few rules of veterans that cannot be duplicated by high-tech methods. These basics all boil down to human decision and making the right choices for each step, stitch and machine function. Most seasoned veterans have these basics embedded in their routine, because they were forced to learn by “trial and error sampling,” watching each created stitch sew as they punched, and with their “nose to the hoop” during what they hoped to be the final sew-out. By the time software became a common tool, veterans digitizing onscreen knew exactly what would occur at the machine and on various types of fabrics using various types of threads and stabilizers. Watching the machine sew a design repeatedly is possibly the fastest way to absorb this information – information that is necessary for the digitizer to remain in control. So I’ll place this at the top of the list for acquiring knowledge of the basics: digitize, sew, edit, sew, and when the design meets your approval on one type of fabric, try it on another and repeat the process.

Have patience and don’t become discouraged. Getting it right in the first sew-out is usually uncommon, with even the seasoned veteran often finding a little something that slipped by. As well, one who has a perfectionist nature always finds something to improve in the final appearance, so, learning when to quit is just as important. Simply continue watching for errors or possibilities of improvement and gradually, you’ll come to know the basics that allow you to make calculated decisions. Following are but a few of the various basics to observe that will help keep the control in your hands:

Map a Path

Whether you use automatic scanning or manually digitize each section, print out the artwork and mark the print out as to how you want the design to sew. Use arrows, jot notes, and decide stitch types and colors that will be used in what particular order. Decide how the machine can sew the design using as few color changes and jump stitches as possible; the ultimate goal is no jumps and each color sews once. If you choose to use automatic scanning functions, double check and edit the design to be sure your plan is being followed. By mapping a path before you begin you’ll also lesson digitizing time because decisions to reach your goal will already be made. The longer you digitize, the fewer notes you may need to make, but each design will have something to consider, so whether it’s a long or brief map, noting the non-routine facts will speed your process.

Lock Stitches

A locking tie-in should be the very first stitch executed. When it’s not, it’s a matter of luck as to whether the top thread will catch with the bobbin stitch and the sewing might proceed a few inches without connecting. Locking tie-offs should also be set down as the last stitch executed to avoid an unraveled design. Locks need to be digitized between colors, jumps and trims. Today’s software contains an automatic function that can be set by the user to initiate a lock stitch, but this function should be set carefully and examined to be certain the right size stitch is made with no more penetrations than needed, as well as the placement of the locking tie-off stitch. I personally prefer manually setting in the lock by using a series of stitches about .05-1.0 mm apart, one forward, one back, then forward again. The locking tie-off should be set down in an area where it might sink and hide between two stitches.

Underlay

Most every design needs a foundation, with very few exceptions, determined by the types of stitching used and type of fabric being sewn. The amount of underlay required is also determined foremost by the fabric type. You might assume that the thicker the nap, the more underlay needed, but fact is that’s not necessarily so. A thick leather might require the same amount of underlay as a thin nylon – both require minimal amounts for different reasons. The best way to know the amount necessary is to test various densities of underlay on different fabrics. Thread weights are also a factor; a thicker thread will require less underlay simply because the top stitching requires fewer penetrations for coverage. Sometimes various substrates won’t require underlay, but solid stitching will benefit from the additional, gradual coverage. The key point is, in general circumstances, never omit some sort of foundation under columns and other solid sections on any fabric type.

Compensate for Pull & Push

The area between each stitch penetration pulls the fabric. This slight pull will develop into a long pull by the time it arrives to the edge of a fill section or crosses a satin column and causes the section or column to be more narrow than intended. To compensate, either do as the veteran and over-swing by punching the object line outside of the artwork line, or set automatic compensation functions appropriately. Push is what occurs along the lines of fill stitches and at the ends of columns, and is caused by the width of thread. As each stitch is placed next to each other, the coverage results with the final line(s) of stitching being set down past the artwork line. Under-swing these sections by shortening the object lines to the inside of the artwork lines at the sides of filled stitches or ends of columns. Density is a factor, as the thicker the coverage, the more it will push and pull. The measurement to over- or under-swing depends on the size of the section or column, density, thread weight and the fabric being sewn. Practice with different parameters, using various types of fabrics and threads and follow the next suggestion.

Keep a Recipe Book As you digitize and run designs, note particular densities, stitch lengths, and other style parameters and the affects they have on particular fabrics. You might be certain that you’ll never forget, but as time goes by and different jobs pass through your hands, it will become difficult to remember all requirements or special techniques, as well as quirks that occur on various fabrics. I have just such a notebook that sits next to my monitor. It’s a small ring-bound notepad with frayed edges and after 20 years, I’m continuously inking over some of the penciled notes that have become difficult to read. I referred to it often during the first decade of my digitizing and I admit it has rarely been opened in recent years. However, not long ago, I went into a panic because I needed to check for a particular density I use for a particular blend technique on a particular fabric, and my Recipe Book was no where to be found. My only option was to search my archives for similar work, which wasted a good half hour of digitizing time. Later, I found that Recipe Book right where it was supposed to be! Obviously, it had become a “part of the furniture” in my vision. Nevertheless, I kissed it while thanking myself for keeping early records! And that’s one very important thing software will never be able to do for you!