Multiple production jobs in one order

If a customer order requires multiple production jobs, separate EMB

design files are created for each one. You can handle this in one of two
ways. Either define a different internal order number for each job with a
common stem. For example:

Job Order # File Name

1 12345-1 DesignFile
2 12345-2 DesignFile

Alternatively, use the same order number and distinguish the job by file
name. For example:

Job Order # File Name

1 12345 DesignFile-1
2 12345 DesignFile-2

Design status
Design Status is managed by company staff who change the status
manually when relevant. Designs can be searched, grouped, and
managed by status. The droplist contains the following default values:

Status Usage
1-Requested Customer Service or Sales requests a new design to be
digitized.
2-Assigned Digitizing manager assigns to an embroidery digitizer.
3-Digitized Digitizer finishes – design is ready for internal review.
4-Not Ok Digitizing was checked and found faulty – needs to be fixed.
5-Ok Digitizing was checked and found ok – Sales rep to send to
customer for checking and approval.
6-Sent to Sales rep has sent the design to customer for approval.
Customer
7-Approved Sales rep records customer approval.
8-In Production Production manager indicates the job is in production.
9-Job Done Production manager signs off when production job is done.

A staff member sets the status to indicate what he has done, not what is
to happen next. Other staff monitor status via the Design Library in
order to know when they are supposed to take subsequent action, and
update status when they have done so.

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 Grouping & sorting production jobs
Company staff can use Design Library to see all jobs related to one
order by searching or sorting by order number. You can also:
 Group by: Design Status, Customer, Order, Order Date, Order Due,
Product Type
 Sort by: Design Status, Customer, Order, Order Date, Order Due,
Product Type

Order tracking
Order tracking typically involves some or all of the following steps:
 Staff enter basic order details and status in EmbroideryStudio and
save as an EMB design file:
 Either a new file which serves as a design request to be digitized, or
 An already digitized EMB design which is to be used for the new
order.
 Design Library automatically indexes order and design details for
quick search and find.
 Staff use Design Library to view and manage designs as well as
quotes, orders, and approvals. Browse, list, or search for designs by:
 Customer
 Order
 Date
 Size
 Design name
 Description, etc
 Order details are printed on approval sheets and emailed for customer
approval.
 Order details are printed on production worksheets for production
staff.
 Staff use design status to track and manage order workflow, including
list of designs:
 To be digitized
 Awaiting customer approval
 Ready for production, etc.

Order tracking by job role

Various job roles within the organization may be involved in preparing
and managing orders.

C h a p te r 4 0 Design Management 1000

All staff
All staff who have access to Design Library can:
 Easily search and view designs
 Manage and modify design information
 Create design requests
 Create or modify actual designs
 Update design status.

Sales & customer service staff

Embroidery sales and customer service staff will use this kind of
workflow:
 Create new design requests and enter order details in new or existing
designs.
 Determine stitch estimates to help determine pricing for quotations.
 Visualize artwork or digitized design on the product to be
embroidered.
 Estimate design run-time and job-time.
 Email approval sheets to customers for approval.
 Track status of designs and customer approvals.
 Release approved jobs for digitizing and/or production.

Digitizing managers & staff

Digitizing managers and staff will use this kind of workflow to plan and
manage the design process:
 Review orders by customer, order, or date.
 Use ‘design status’ for digitizing and approvals. Staff update status
manually as necessary.
 Designs can be searched, grouped, and managed by status.
 Track and manage internal checking status of newly digitized or
modified designs.
 Track and manage previous and new designs by customer, order, date
and other job details.

Production managers & staff

Production managers and staff will use this kind of workflow to plan and
manage production jobs:
 Review orders which have been approved for production.
 Check order details including:
 which designs to use for which order
 how many pieces to embroider on what products and in what
position
 color/size/quantity details.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1001

  Estimate design run-time and job-time.
 Help plan production schedules from order-due date, design statistics,
and job quantities.

Converting designs

Use Manage Designs > Convert Selected Designs to convert the design
selected in the embroidery library into different machine file types.

By default EmbroideryStudio saves designs to its native EMB format. This

contains all information necessary both for stitching a design and for later
modification. The Design Library conversion function allows you to
batch-convert to and from all EMB and other supported design file types.
It also batch-converts many machine file formats such as DST, EXP, SEW.

To convert designs
 Select the file(s) to be converted and click the Convert Selected
Designs icon. The dialog lists all machine file formats supports by the
software.

Select target
folder

Select machine
file formats to
convert

 Select the file types you want to convert to.

 Click Browse to locate a destination folder for the converted designs.
 Click Convert to start the conversion. The converted designs will be
stored in the nominated folder.

Related topics...
 Send designs to Connection Manager
 Machine Files

C h a p te r 4 0 Design Management 1002

  Embroidery file formats

Outputting selected designs

Send designs to machine for stitching via Connection Manager. Create
hard copy reports of a selected designs using a printer or plotter. Report
types may include production worksheets, appliqué patterns, color films,
as well as catalogs and lists of selected designs.

Sending designs to machine

Use Manage Designs > Send to Connection Manager to stitch out the
design selected in Embroidery Library.

EmbroideryStudio supports various machine models. Some can be

connected by cable directly to your PC via USB port. Others require files
to be placed in a specific network location or ‘watching folder’. Older-style
machines do not support direct connection but they do read ATA PC cards
and/or USB memory sticks. Connection Manager provides a method of
connection to machines that appear as removable media or make use of
third-party connection software. Once set up in EmbroideryStudio, a
single click is sufficient to send the design to machine.

Note: You can only send one design at a time via Connection Manager.

Related topics...
 Setting up machines for Connection Manager
 Machine Files
 Machine Formats

Print selected designs

Use Manage Designs > Print Selected to print designs selected in the
embroidery library.

You can print worksheets for selected designs, and include thumbnails of
each in the worksheet. Unlike Print Designs, this option can provide
design and sewing information.

To print selected designs

 Sort the designs to be printed using Sort.
 Select a design and click the Print Selected icon. The Print Design
dialog opens.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1003

 To customize the printout, click Options.

 Set design report options to include the information you want in the
format you require.

Option Function
Approval sheet This is intended for the customer, not production staff.
Customers can see what they are ordering and approve
accordingly.
Production This is intended for production staff. All production-related
worksheet information, such as bobbin length, design size, garment
fabric, etc, is provided.
Production This provides two summary tables of the design and
summary associated colorways – a Colorway Summary together with a
Design Summary.
Appliqué This shows appliqué patterns – cutter information – isolated
patterns from the design. These can be used as a guide to cutting out
fabric pieces. They also show which appliqué pieces are to be
included.
Color film Provides a list of colors in the design, together with color and
stitch information for each color layer. This helps the machine
operator to see each stitch color in order of stitchout.

 The Worksheet type panel provides options for further

customization.
 Click OK and ensure correct printer settings in the Windows Print
Setup dialog. The dialog and the settings available vary from printer
to printer. See your printer manual for details.

C h a p te r 4 0 Design Management 1004

 Related topics...
 Printing design reports
 Customizing design reports

Print design catalogs

Use Manage Designs > Print Selected to Catalog to print selected designs
to a catalog.

Printed catalogs contain thumbnails plus limited text details. You can
prepare catalogs of your designs to suit your needs.

To print a design catalog

1 Open Design Library and filter designs as desired.

2 Select the designs you want to include in the catalog.

3 Select Manage Designs > Print Selected to Catalog. The Print
Catalog Options dialog opens.

Choose thumbnails
with or without design
details

4 Adjust settings as preferred:

 Change Scale (%) to adjust thumbnail size.
 Select a catalog format – thumbnails with or without design details.
 Choose output target – PDF file or actual printer.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1005

5 Click Print. The Print Design dialog opens.

6 Click Preview to view the catalog.

7 To print the design, choose an option:

Option Purpose
Print now Click to send the design report to your local printer.
Save as PDF Click to save the report as a PDF document. You are prompted
to save to the hard drive or network location.
Send PDF via Click to send the report – usually an approval sheet – as a PDF
email attachment to your local email client. The PDF is automatically
identified by customer name, order number, and current date.

C h a p te r 4 0 Design Management 1006

 Tip: If the catalog requires more than one page, you can select which
page to print in the MS Windows® Print Setup dialog.

Related topics...
 Group & sort designs
 Printing design reports

Export design lists

Use Manage Designs > Export Design List to export selected files to Tab
and CSV (Comma Separated Value) formats suitable for use by most
spreadsheets.

The Export Design List option can be used to print design lists for
selected folders. This option allows you to create a simple design report
which can easily be imported into a spreadsheet. You may want to use
this in order to manage designs by file name.

To export a design list

 Preset the measurement units you want to use – metric or U.S.

 Open the Design Library and select a design folder.

 Sort and filter the designs to export.

 Select all files to include in the export list.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1007

 Click the Export Design List icon and choose a location to save the
list. Choose whether to save as a tab-delimited or comma-separated
text file.
 Open the text file in a spreadsheet for further sorting and printing.

Tip: Designers frequently want to distribute designs for viewing in real

colors, in TrueView™ or otherwise, with or without fabric backgrounds.
Screen images can be captured in PNG format and send as email
attachments.

C h a p te r 4 0 Design Management 1008

Chapter 41
Asset Management

EmbroideryStudio allows you to create files or ‘assets’ of various kinds

during normal use. The most important of these are your actual
embroidery designs. But there are other assets you may create, such as
design templates, custom motifs and fonts, etc. These are preserved
from installation to installation, whether installing a new version of
EmbroideryStudio or a software update.

It’s a good idea to familiarize yourself with the locations and file names
of your custom assets for various reasons...
 In the first instance, you should back up your custom assets in case of
computer crash.
 Also, you may want to share assets with other EmbroideryStudio
users, or install third-party assets such as custom fonts.
 Finally, if you want to install your software to a new computer, you will
need to manually copy the contents of your asset folders to the new
locations.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1009

 Tip: If you are installing your existing setup to a new PC, it’s a good idea
to create a single ZIP file of all your custom data and pre-install it to the
new computer before installing EmbroideryStudio.

Custom assets in EmbroideryStudio

The table below summarizes the custom assets you will create and need
to manage in EmbroideryStudio...

Design files

Assets Description
Embroidery The built-in Design Library makes it easy to search, sort and
designs browse all embroidery designs on your network. Any folder
containing embroidery designs can be included in the
navigation tree. See Design Management for details.
Machine files Similarly, the Design Library makes it easy to search, sort and
browse all machine files on your system. See Design
Management for details.
Artwork Artwork files may also be managed with the Design Library.
Sample files are installed by default to the standard Windows
‘Pictures’ library. See Design Management for details.
Recovery files The Auto Save function creates a temporary file with the
extension EMA in the RECOVER folder. This is automatically
restored when EmbroideryStudio is restarted after a computer
crash. You can access these files manually by browsing to the
folder and renaming files from EMA to EMB.
Backup files If the Backup Copy option is activated, a backup copy of the
current design file is automatically created in its previously
saved form. The backup copy is saved in the BACKUP folder
with the original file name and native file format.

Design presets

Assets Description
Design Templates are special files used to store fabrics, objects and
templates default settings. Use templates when digitizing frequently-used
design types so that you do not have to adjust current settings
every time. See Working with templates for details.
Styles A style is a group of property settings stored under a unique
name. This makes it easy to apply them to selected embroidery
and lettering objects. Define new styles for a design template,
either from scratch or based on an existing style or object. See
Working with styles for details.

C h a p te r 41 Asset Management 1010

Assets Description
Auto fabrics Normally you choose a fabric when you start a design although
you can change it at any stage. Fabric settings affect all object
types other than motif fills, appliqué, and run stitches. In addition
to predefined fabric settings, you can create your own custom
fabrics to suit particular needs. See Working with fabrics for
details.

Lettering assets

Assets Description
Fonts EmbroideryStudio provides methods for defining custom and
‘user-refined’ embroidery fonts. You can digitize letters from
backdrop images, convert vector objects, or digitize freehand
using any of the input method tools. See Custom Lettering for
details.
Monogram You build monograms using the Monogramming docker. The
templates simplest way to get started is to select a monogram template
from the Designs tab. The Custom folder contains your custom
templates. See Monogram designs for details.
Teamname A teamname design may include names from predefined teams
teams which can be used any number of times. You can even combine
members from different teams. See Managing teams for details.
Teamname When creating teamname designs, you can use a preset layout
templates or a custom layout based on artwork you may have received.
Typically, you will receive a brief and possibly artwork from a
customer. This design can be saved for reuse as a teamname
template. See Create custom templates for details.
Kiosk templates EmbroideryStudio provides an easy-to-use lettering ‘kiosk’
capability for cap and other embroidery. The kiosk is primarily
intended for retail outlets where fast and simple personalization
is required. The kiosk provides a set of predefined design
layouts. You can create your own layouts for use in the kiosk.
The default banner can also be customized. See Lettering Kiosk
for details.

Stitch presets

Assets Description
Motifs Motif stamps are ready-made design elements, such as hearts,
leaves or geometric patterns which are contained in libraries or
‘sets’. You can define your own stamps for individual use or for
use in motif runs or fills. See Custom motifs for details.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1011

Assets Description
Program splits Program Split is a decorative fill stitch where needle
penetrations form a tiled pattern. Make your own patterns to use
in Program Split fills. The same patterns can also be used with
Flexi Split effects. See Creating patterns with custom splits for
details.
Carving stamps The Carving Stamp feature allows you to select object outlines
from the design window and apply them directly as stamps or
save them to a library for future reference. You can use vector
or embroidery objects as a basis for stamps. See Add stamps to
a library for details.

Other assets

Assets Description
Hoops The software allows you to define your own hoops and save for
later use or associate with a custom machine type. Custom
hoops are needed because new hoops become available for
sewing machines more frequently than the software is updated.
See Creating custom hoops for details.
Machine formats EmbroideryStudio provides standard formats for most
machines. However, if your machine is different, you may need
to customize the machine format settings. See Custom machine
formats for details.
Products EmbroideryStudio lets you choose a garment or product
backdrop on which to position your decoration. Use it to display
location, size and overall appearance for visualization and
approval purposes. It is possible to create custom product
backdrops for use in your business. See Product Visualizer
Templates for details.
Thread charts The thread charts contained in the software represent the many
different brands and colors of thread available. You can modify
thread charts to reflect the threads you are currently using. You
can even create your own. See Create & modify thread charts
for details.

Note: In order to preserve any custom assets, do not uninstall your

existing version of EmbroideryStudio. Any new updates can be installed
over top of your existing installation. If you want to move your
EmbroideryStudio to another PC, you will need to manually transfer any
custom assets you have created or received from third parties.

C h a p te r 41 Asset Management 1012

Custom asset locations
Custom data – including custom fabrics, templates, motifs, borders, and
fonts – is stored in dedicated folders. In EmbroideryStudio, custom
locations divide into two broad categories – program data and user data.

Note: Some data folders will only be created when the software is
opened for the first time after restarting your system.

Program data
Program data is written the Windows ‘ProgramData’ folder whenever you
modify a standard EmbroideryStudio asset such as auto fabrics. This
folder is located here: C:\ProgramData\Wilcom\EmbroideryStudio.
Asset files are then located in the following sub-folders...

Custom asset Location File types

Auto fabrics ..\RES\AutoFabric userdefined.autost
Backup files ..\BACKUP *.EMB
Borders ..\BORDERS *.ESA
Carving stamps ..\STAMPS *.ESA
Fonts ..\Fonts *.ESA
Hoops ..\RES\Hoops USRHOOPS.DSC
Kiosk ..\Kiosk *.EMB, *.PNG
Machine formats ..\RES\Machines UserMachineModels.txt
Motifs ..\MOTIFS *.ESA
Program splits ..\TEMPLATE *.EMT
Recovery files ..\RECOVER *.EMA
Styles ..\TEMPLATE *.EMT
Templates ..\TEMPLATE *.EMT
Thread charts ..\RES\ThreadCharts *.TCH

Embroidery data
Embroidery data includes any design or machine files. Theoretically, this
data can be housed anywhere on your network. By default, it is installed
here: C:\Users\Public\Public Embroidery. Files are then classified
into the following sub-folders...

Custom asset Location File types

Embroidery designs ..\EmbroideryStudio e4 *.EMB, *.ART,
*.JAN, etc

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1013

 Custom asset Location File types
Machine files ..\Machine Files *.DST, *.U??,
*.TAP, etc
Monogram templates ..\EmbroideryStudio e4\Monogram *.EMB
Template Designs\Custom
Teamname teams ..\EmbroideryStudio e4\Teamname *.TXT
Teams
Teamname templates ..\EmbroideryStudio e4\Teamname *.EMB
Template Designs\Custom

Image data
Image data includes any artwork files. Theoretically, this data can be
housed anywhere on your network. By default, it is installed here:
C:\Users\Public\Pictures. Files are then classified into the following
sub-folders...

Custom asset Location File types

Artwork ..\EmbroideryStudio e4 *.JPG, *.BMP, *.PNG, *.CDR, *.AI,
*.EPS, etc
Fabric patterns ..\Fabrics *.JPG, *.BMP

Product backdrops
EmbroideryStudio allows you to choose a garment or product backdrop
on which to position decorations. The Product Visualizer feature is used
to display location, size and overall appearance for visualization and
customer approval purposes. You can add your own single-color and
multi-color product templates to the software. See Product Visualizer
Templates for details.
As assets, product backdrops fall between the stools. They are PNG
artwork files but they are considered ‘program data’. They have their own
dedicated location here:
C:\Program Files\Wilcom\EmbroideryStudio\Products

Navigating to assets
Using File Explorer, you can navigate to the precise location of your
EmbroideryStudio assets with the navigation tree on the left of the

C h a p te r 41 Asset Management 1014

 window, or simply by typing or copying the path name into the address
field and pressing Enter.

Navigate folder
structure via
navigation tree or
address bar

Whenever you install updates or upgrades to your existing software, the

above folder structure, together with any custom assets, will be
preserved. However, if you install your software to another PC, you will
need to manually copy the contents of these folders to the new location.

Note: The C:\ProgramData folder may be hidden on some PCs

depending on the permissions of the user who is logged in. See Showing
hidden folders for details.

Personal designs & artwork

Amongst your most important assets are of course your embroidery
designs and any artwork files you may use. These can potentially be
saved anywhere on your system. By default however...
 Any designs, cutting files, or machine files that you save from
EmbroideryStudio will be saved by default to the ‘Public Embroidery’
folder at this location ...
C:\Users\<USER>\Public Embroidery\EmbroideryStudio\
 Similarly, any artwork you save from EmbroideryStudio will be saved
by default to the ‘Pictures’ folder at this location...

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1015

 C:\Users\<USER>\Pictures\EmbroideryStudio\

Whenever you install updates or upgrades to your existing software, the

folder structure will be preserved. However, if you install your software to
another PC, you will need to manually copy the contents of the
‘Embroidery’ and ‘Pictures’ folders to the new location.

Showing hidden folders

If you need to manually copy the contents of your asset folders to a new
location, you may find that the C:\ProgramData folder is hidden on
your PC, depending on the permissions of the login you are using.

C h a p te r 41 Asset Management 1016

To show hidden folders
 Open the View tab in File Explorer as shown.

Tick to show
‘ProgramData’ folder

 Tick the Hidden files option. This will reveal the ‘ProgramData’ folder
and all its contents.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1017

Chapter 42
Product Visualizer Templates

EmbroideryStudio allows you to choose a garment or product backdrop

on which to position decorations. The Product Visualizer feature is used
to display location, size and overall appearance for visualization and
customer approval purposes. Production worksheets provide an option to
print approval sheets with or without garment backdrops.

Choose colors for each product type. The software provides a library of
garments of common brands and styles. Most garments use only one
color but multi-color products with up to three layers are supported. You
can add your own single-color and multi-color product templates to the
software by following the method outlined in this section.

Preparing samples
This topic deals with the technique of preparing source images for
deployment in EmbroideryStudio as product templates for Product
Visualizer. The most common scenario when creating product templates
is a single-color product image.

Choose suitable source images

A lot depends on the quality of the source image you choose for use as a
product backdrop. As a starting point, you need high resolution photos of
the garment you want to use – e.g. front and back. While images are

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1018

intended mainly for onscreen viewing, they may also be printed on
approval sheets.

Size
If you take a small product image and blow it up to actual size, it will not
gain in quality or resolution. There needs to be enough image data (DPI)
to display the image satisfactorily at actual size. For optimum quality you
need an image with:
 Real-world dimensions that represent the garment at actual size – e.g.
60 cms wide x 90 cms high
 Minimum of 96 DPI, ideally closer to 160 DPI.

Check physical size

and DPI setting

Color depth
Make sure you are using an RGB (24 bit color) photo. Commonly used
formats include RAW, PNG, TIFF or JPG.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1019

 Note: As well as reasonably high resolution photos, you need a good
photo editor. Most screenshots in this document are taken from Corel
PhotoPaint which is bundled with EmbroideryStudio.

Crop the image

Remove unnecessary border pixels by cropping. This makes it easier to
set the correct real-world size.

Set image size

Scale the image to real world size using a tool such as the Resample
dialog below.

Scale image to
real world size

Set DPI to 96 screen

resolution

Indicative settings:

C h a p ter 4 2 P rod u ct V is u a lizer Te mpla te s 1020

  Untick the ‘Maintain original size’ checkbox.
 Make sure ‘aspect ratio’ is locked.
 Change either width or height to match the physical size of the
garment or article. For example, height = 50cm. The new size needs
to be equal to or less than original. If not, the resolution will be too
low and the image will be pixelated.
 Change the resolution to 96 DPI or higher. Packaged product images
are set to 96 DPI for standard screen resolution. However, new
monitors are capable of higher resolutions such as 160 DPI.
 Ideally, the original file size (total number of pixels) should be
maintained so the image does not lose data (quality).

Note: Simply increasing the DPI to 96 will not add resolution to a low-res
image. It will only duplicate existing pixels.

Set transparency
Because you want product images to display correctly on any color
background, you need to make the image background transparent. Make
sure anti-aliasing is activated. Image edges will appear smoother. The
transparent background usually appears as a gray checker pattern. If you
are using Corel PhotoPaint, follow these steps…

To set the transparency

1 Choose Magic Wand Mask.

Choose Magic
Wand Mask

2 Click the background to select the whole area.

3 If needed, click the + button to add more area until you have selected
the whole background.

Click to add
more area

4 Adjust the ‘Tolerance’ setting to limit the range of colors included in

the transparency. If the background is too similar to the foreground,
this can become problematic.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1021

5 Click Invert Mask. The garment alone will be selected.

Click to select
garment alone

6 Select Object > Create > Cut Selection.

7 In the Object Manager, select the background and click Delete.

Select and
click Delete

8 The garment will be appear on a gray and white checker pattern. This
means the background is transparent.

Background is
transparent

C h a p ter 4 2 P rod u ct V is u a lizer Te mpla te s 1022

Converting to grayscale
Product images which are added to the software need to be grayscale, as
shown below. These are then colored in EmbroideryStudio according to
user requirements.

Convert to grayscale
Convert the selected image to grayscale making sure that transparency
is preserved.

Convert to
grayscale

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1023

 Tip: With some photo editors, grayscale images have a limited set of
tools that make it difficult to perform the subsequent tasks. It is
preferable to ‘desaturate’ the image. Another advantage of desaturation
vs grayscale is that you preserve all image data. Hence, you are less
prone to lose image information like textures, shadows and highlights.

Adjust image brightness and contrast

Generally speaking, the middle gray becomes the selected color and
lighter and darker grays become shades of that color. For this reason we
need to ensure that the image is correctly balanced in terms of brightness
and contrast.

Balance
brightness and
contrast

Use a luminance histogram to assess where brightness and contrast lie

on the graph. You want to have a good spread of dark and light shades

C h a p ter 4 2 P rod u ct V is u a lizer Te mpla te s 1024

 of gray, providing good contrast. The histogram curve should be centered
around the middle.

Histogram curve
should be centered
around the middle

Save as PNG
Finally, save as PNG format. This format supports transparency.

Save as PNG
format

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1025

Preparing multi-color samples
Most garments use only one color but you will find products with two or
even three colors. This topic deals with the technique of preparing source
images for deployment in EmbroideryStudio as multi-color product
templates for the product visualizer.

You follow exactly the same procedure as for single-color designs, except
that you need to separate your multi-color image before converting to
grayscale.

Prepare the layers

In order for EmbroideryStudio to detect the number of colors used in your
garment, you need to separate the photo into different layers for each.
The typical photo tool used to separate colors is the masking tool.

Use mask tool to

separate colors

Tip: Some graphics packages refer to ‘objects’ rather than ‘layers’.

C h a p ter 4 2 P rod u ct V is u a lizer Te mpla te s 1026

Resulting layers
For example, let’s say you need to separate a T-shirt which employs two
colors. The resulting layers (or objects) would look like this:

Make sure the background of each layer is transparent.

Layer rules
The following rules apply to a multi-color shirt. Variations on the same
approach should be applied to other products such as multi-color caps.
 The body color should always be the layer 1 file.
 Sleeves / collar, if present, should always be the layer 2 file.
 Any other trims and tipping should always be the layer 3 file, unless
there is no layer 2.
 Each layer must be saved as a separate grayscale PNG file.
 Each PNG file needs to have identical dimensions, DPI, etc.

Tip: it is important to first create the layers / masks, objects, etc, and
then convert the resulting images to grayscale / desaturated.

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Convert to grayscale
Convert the resulting objects to grayscale making sure that transparency
is preserved. Remember, you want to have a good spread of dark and
light shades of gray, providing good contrast.

The layers can then be colored separately in EmbroideryStudio.

Save your layers

Once you have finished separating the photo into different layers, you will
need to save each as a separate file and copy all resulting files in a
particular folder.

File format
Each layer must be saved in PNG format. If you have worked your layers
correctly, each will have a transparent background that usually appears
as a gray checker pattern.

File naming
Naming conventions:

C h a p ter 4 2 P rod u ct V is u a lizer Te mpla te s 1028

  Layer1 file name needs to take the form ‘FileName.png’ – e.g.
‘Vest.png’.
 Layer2 file name takes the form ‘FileName2.png’ – e.g. ‘Vest2.png’.
 Layer3 file name takes the form ‘FileName3.png’ – e.g. ‘Vest3.png’.

Note: The first name doesn’t need a number and will be name that
identifies the garment in Product Visualizer.

Deploying product templates

Having created your product images, you are now ready to deploy and
test them. There’s no need to restart EmbroideryStudio. Open Product
Visualizer and select your new product in the Products tab.

Copy to folder location

All image files need to be saved in the same location...
 Navigate to the following location:
C:\Program Files\Wilcom\EmbroideryStudio_e4.x\Products
Garments are organized by number of colors and garment type – e.g.
2 colors, Caps, Kids, etc.

 Create your own sub-folders as necessary and copy in your prepared

image files.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1029

 Note: The file name will be the name that identifies the garment in
Product Visualizer.

Related topics...
 Custom asset locations

Test product templates

Use Color > Product Visualizer to choose a garment or product backdrop

on which to position your decoration.

Click View > Show Product to toggle current product display. Right-click for
Product Visualizer settings.

Use Zoom > Zoom to Product to view the entire product in the design
window.

While you can create separate templates for different garment sizes,
EmbroideryStudio assumes a ‘Large’ size garment. This can be further
scaled within EmbroideryStudio to arrive at an exact size for display
purposes.

Scale image to
real world size

Apply different colors and see how they look on screen. For best results,
try the first two rows of the color selector. These less saturated colors

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usually color well. Highly saturated colors like bright red, cyan, and
magenta tend to wash out the product image.

Try first two rows

to start with

Try selecting product colors on-the-fly using the Color Palette flyout:

Select color
product backdrops
on-the-fly

Related topics...
 Visualize products

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Chapter 43
Standard Fonts

The tables below display all embroidery fonts that are standard with
EmbroideryStudio.

Roman fonts
Roman character fonts include:

3D fonts Created especially for use with foam – commonly used on caps as
foam is not suitable for washing.
Appliqué fonts Created especially for appliqué, containing all the required outline,
tack and cover stitches. Great for use on large scale and to reduce
stitch count.
Bling fonts Created especially for rhinestone and diamantes. They are vector
format.
Block fonts San-serif typeface style, very common with names and business
logos. A great style for embroidery as it is clear and easy to read.
Chenille fonts Created especially for chenille embroidery but only suitable if your
machine supports it. Commonly used for sport and street wear.
Faux chenille It is possible to modify Stipple Stemstitch Fill settings for a denser
fonts coverage. Combined with a thicker yarn such as Madeira’s
Burmilana thread, it is possible to achieve a chenille effect. These
dedicated fonts utilize this proven technique to create ‘faux chenille’
lettering.
Fancy fonts Anything that is not ‘blocky’ can be used in a decorative way,
depending on the style of logo.
Monogram fonts Especially designed for monogramming purposes – commonly
used for creating initials popular with gifts such as towels and linen.
Outline fonts Commonly used for sports wear, on back of jackets. Work best at
larger scale.
Run stitch fonts Commonly used for small lettering, anything under 5mm and where
satin column are not suitable.
Script fonts Fluid strokes where characters connect, resembling a hand written
style.

C h a p te r 4 3 S t a n d a rd Fo n t s 1032
Serif fonts Older style font which includes an embellishment at the ends of the
stroke, popular with sportswear.
Small fonts Fonts which are 6mm and below, including satin stitch columns with
push and pull adjustments.
Special fonts Graphical, multi-colors and fill effects are some of the things that are
associated with special fonts. Commonly used for decorative
purposes.
Two-color fonts Each character contains two colors. Commonly used for sports
wear, on back of jackets. Work best at larger scale.

Non-Roman fonts
Non-Roman character fonts include:
 Cyrillic fonts
 Hebrew fonts
 Japanese fonts

Minimum & maximum sizes

For best results when stitching, do not exceed the recommended
maximum or minimum sizes. Note, however, that recommended
maximum and minimum heights refer to UPPER CASE letters. Most
embroidery fonts are digitized from an original TrueType Font (TTF), some
of which have lower-case letters – e.g. ‘a’ and ‘c’ – which are about 70%
the height of a capital letter. As a result, these letters may be too small
to embroider neatly. You may need to increase the size of the lower-case
characters to suit the embroidery.

TrueType Font
Embroidery Letters
Special characters
You can create special characters in each font by holding down the Alt
key on your keyboard and typing 0 (zero), its code, using the numbers
on the keypad. For example, to type ê with the code 234, type
Alt+0234. The accented letter will appear when you release the Alt key.
See also Adding special characters.

Note: Not all characters are available in all fonts.

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1033

 Join method
The lettering join method is preset to give the best results for each font.
Options include:

Join Purpose
Bottom join BJ Letters are joined along the baseline. Use it when stitching on
towelling – joins are hidden in the pile.
Closest join CJ Letters are joined at the closest point. Use it to minimize trims.
As digitized AD Letters are joined as they were digitized. Use it with fonts
combining different fill stitch types or special effects.

Roman fonts

Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm
3D fonts

3D Block2 ^ 0.6 15 1.2 30 AD

3D Brush
^ 0.8 20 1.6 40 AD
Script

3D Emphatic ^ 0.8 20 2.4 60 AD

3D Futuro ^ 0.8 20 1.0 25 AD

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1034
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

3D London ^ 0.8 20 1.2 30 AD

3D
^ 0.8 20 1.2 30 AD
Monoglyceride

3D
^ 0.55 15 0.8 20 AD
Sofachrome

Appliqué fonts

College
1.0 25 3.2 80 AD
Appliqué

Crest Appliqué - - - - AD

Glory Appliqué 1.2 30 4.0 100 AD

Bling fonts

Bling Block - - - - AD

Bling Hollow - - - - AD

Bling Script - - - - AD

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1035

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm
Block fonts

Advent ^ 0.4 10 2.0 50 CJ

Albert ^ 0.4 10 0.8 20 CJ

Angle Block 0.4 10 4.0 100 CJ

Architect 0.4 10 2.0 50 CJ

Arial Rounded 0.3 7 1.8 45 CJ

Art Block 0.4 10 3.0 75 CJ

Athletica 0.4 10 3.0 75 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1036
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Avant Garde 0.2 5 2.4 60 CJ

Avatar 0.4 10 2.0 50 CJ

Bauhaus 0.4 10 2.0 50 CJ

Block1 0.25 6 1.8 45 CJ

Block2 0.25 6 2.4 60 CJ

Block2-Auto 0.2 5 2.2 55 CJ

Block Caps 0.2 5 2.0 50 CJ

Bounty ^ 0.4 10 1.2 30 CJ

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1037

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Bravo ^ 0.32 8 3.0 75 CJ

Castle 0.25 6 2.0 50 CJ

Folio
0.3 7 2.0 50 CJ
Condensed

Futura 0.25 6 2.4 60 CJ

Goudy Sans 0.25 6 1.6 40 CJ

Gypsy ^ 0.25 6 1.0 25 CJ

Handel Gothic 0.3 8 2.0 50 CJ

Helvetica 0.25 6 2.4 60 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1038
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Impress 0.3 7 1.6 40 CJ

Informal 0.25 6 1.2 30 CJ

Jolt 0.4 10 12.0 50 CJ

Kabel 0.25 6 2.4 60 CJ

Lazer 0.25 6 2.0 50 CJ

Legal Block 0.25 6 2.0 50 CJ

Lydian 0.3 7 2.0 50 CJ

Meister Block 0.4 10 2.2 55 CJ

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1039

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Microgramma 0.25 6 2.4 60 CJ

Microscan 0.3 7 1.6 40 CJ

Monoglyceride ^ 0.4 10 2.4 60 CJ

Monoglyceride
^ 0.4 10 2.4 60 CJ
Bold

Narrow Block 0.6 15 4.0 100 CJ

Round Block 0.8 20 1.4 35 CJ

Slim Block 0.8 20 8.0 200 CJ

^
Sofachrome 0.4 10 2.0 50 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1040
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Spatial ^ 0.4 10 0.8 20 CJ

Square Block ^ 0.4 10 2.7 70 CJ

Stencil Block 0.4 10 3.0 75 CJ

Super Block 0.4 10 2.0 50 CJ

Swiss 0.4 10 2.0 50 CJ

Tahoma 0.25 6 1.6 40 CJ

Text Block 0.3 7 1.8 45 CJ

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1041

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Urbane 0.25 6 1.6 40 CJ

Utility Block 0.3 7 4.0 100 CJ

Veranda 0.25 6 2.4 60 CJ

Yama ^ 0.25 6 1.4 35 CJ

Chenille fonts

CH 2Color
2 50 5 125 AD
Numbers

CH 2inch
2 50 2 50 AD
Pennant Script

CH 3inch
3 75 3 75 AD
Pennant Script

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1042
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

CH 3.5inch
3.5 87 3.5 87 AD
Shadow Nos

CH 6inch
6 150 6 150 AD
3D-Block

CH Chenille
2 50 6 150 AD
Block

CH Playbill 4 100 6 150 AD

CH Prince
2 50 6 150 AD
Athletic

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1043

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

CH Square
2 50 6 150 AD
Block

CH Tall
3 75 4 100 AD
Pennant Script

Faux chenille fonts

Yale 2 50 4 100 AD

Vermicelli 2 50 4 100 AD

Fancy fonts

Agatha 0.4 10 1.6 40 CJ

Anaconda 0.3 8 2.0 50 CJ

Arnold 0.4 10 2.0 50 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1044
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Blacklight 0.25 6 2.4 60 CJ

Carla 0.4 10 2.0 50 CJ

Charcuterie ^ 0.8 20 2.5 60 CJ

Cheshire 0.4 10 2.0 50 CJ

Columbo 0.3 8 1.2 30 CJ

Comics 0.4 10 2.0 50 CJ

Crayfish ^ 0.4 10 2.0 50 CJ

Crevasse ^ 0.4 10 2.0 50 CJ

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1045

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Croissant 0.25 6 2.0 50 CJ

Curly 0.4 10 2.0 50 CJ

Dotti ^ 0.4 10 2.0 50 CJ

Dr Zeus ^ 0.4 10 2.0 50 CJ

Enchantment 0.4 10 1.6 40 CJ

Energy 0.3 8 2.4 60 CJ

Enviro 0.5 12 3.0 75 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1046
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Felt Tip 0.4 10 2.0 50 CJ

Flash 0.25 6 2.4 60 CJ

Flourish Light ^ 0.6 15 2.0 50 AD

Free Style 0.4 10 1.6 40 CJ

Gaelic 0.44 11 2.0 50 CJ

Hana 0.5 12 2.0 50 CJ

Handicraft 0.3 8 2.5 65 CJ

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1047

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Hobo 0.25 6 1.6 40 CJ

Kids 0.5 12 1.2 30 CJ

Kindergarten
0.4 10 3.6 90 CJ
Block

Lariat 0.48 12 1.2 30 CJ

Locker ^ 0.6 15 1.6 40 CJ

Lublik 0.4 10 3.0 75 CJ

Mandarin 0.3 8 2.0 50 CJ

Market 0.4 10 1.2 30 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1048
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Matisse 0.4 10 1.6 40 CJ

Old English 0.4 10 2.0 50 CJ

Olivia 0.3 7 1.6 40 CJ

Orient Express 0.4 10 3.0 75 CJ

Pacific North
^ 0.32 8 2.4 60 CJ
West

Pastille ^ 0.4 10 0.8 20 CJ

Pixie 0.5 12 1.2 30 CJ

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1049

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Racer 0.3 8 1.4 35 CJ

Speedy 0.3 8 1.2 30 CJ

Sports ^ 0.4 10 2.7 70 CJ

Staccato 0.4 10 0.6 15 CJ

Thriller 0.4 10 2.0 50 CJ

Toddler 0.6 15 2.0 50 CJ

Toon 0.4 10 2.0 50 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1050
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Victorian 0.3 7 1.0 25 CJ

Viking 0.35 9 2.0 50 CJ

Western 0.4 10 1.4 35 CJ

Western Serif 0.3 7 1.8 45 CJ

Westminster 0.25 6 2.4 60 CJ

Woodstock 0.3 8 2.0 50 CJ

Monogram fonts

Fancy
1.0 25 5.0 125 CJ
Monogram

Octagon
0.7 18 6.0 150 CJ
Monogram

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1051

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Point
0.7 18 6.0 150 CJ
Monogram

Seal
0.7 18 6.0 150 CJ
Monogram

Outline fonts

Detex Normal 0.4 9 2.0 50 CJ

Discoteque 0.4 10 2.0 50 CJ

Futura Outline 0.6 16 2.0 50 CJ

News Outline 1.2 30 3.0 75 CJ

Outline Block 0.75 18 4.0 100 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1052
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Petrol Shadow 0.8 20 2.0 50 CJ

Swiss Run
0.6 15 4.0 100 AD
Hollow

Swiss Run
1.0 25 3.0 75 AD
Satin

Turncoat ^ 0.8 20 3.1 80 BJ

Run stitch fonts

Run Block 0.2 5 0.25 6 AD

Run Cardigan 0.2 5 0.5 12 AD

Run Freehand 0.2 5 0.5 12 AD

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1053

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Run Liberty 0.2 5 0.5 12 AD

Run Murray Hill 0.2 5 0.5 12 AD

Run Script 0.2 5 0.25 6 AD

Script fonts

Ballantines
0.5 12 2.0 50 CJ
Script

Book Script 1.0 25 2.2 55 CJ

Cayman 0.4 10 2.0 50 CJ

Chancery 0.3 8 2.4 60 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1054
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

City Script 0.3 8 2.4 60 CJ

Crescent Script 0.6 15 1.4 35 CJ

Easy Script 0.3 7 2.4 60 CJ

Edwardian
0.6 15 3.0 75 CJ
Script

Formal Script 0.3 7 1.4 35 CJ

Handy Script 0.5 12 3.0 75 CJ

Italian Script 0.4 10 4.0 100 CJ

Karin Script 0.5 12 2.0 50 CJ

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1055

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Lila ^ 0.4 10 1.5 35 CJ

Memo Script 0.25 6 1.0 25 CJ

Moly ^ 0.4 10 2.0 50 CJ

Poetic Script 0.6 15 3.1 80 CJ

Pomander ^ 0.35 8 2.4 60 CJ

Python Script ^ 0.4 10 2.0 50 CJ

Royale 0.5 12 2.4 60 CJ

Script1 0.5 12 3.0 75 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1056
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Script2 0.3 8 2.0 50 CJ

Script3 0.5 12 4.0 100 CJ

Script4 0.8 20 3.2 80 CJ

Script5 ^ 0.4 10 2.0 50 CJ

Script6 ^ 0.4 10 2.0 50 CJ

Script7 ^ 0.6 15 2.7 70 CJ

Script8 ^ 0.6 15 2.7 70 CJ

Upright Script 0.5 12 2.0 50 CJ

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1057

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Vivid Script ^ 0.5 12 2.0 50 CJ

Serif fonts

Adelle 0.4 10 2.0 50 CJ

Algerian 0.3 8 1.2 30 CJ

Bodoni 0.3 7 2.0 50 CJ

Casual Serif 0.5 12 2.2 55 CJ

Centurion 0.5 12 2.4 60 CJ

Cheltenham
0.3 7 2.0 50 CJ
Tall

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1058
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

City Medium 0.25 6 3.0 75 CJ

Civic 0.3 8 2.0 50 CJ

College 0.25 6 1.4 35 CJ

Copperplate 0.25 6 1.6 40 CJ

Dauphin 0.3 8 2.4 60 CJ

Flares 0.3 7 1.6 40 CJ

Garamond 0.3 7 2.0 50 CJ

Krone 0.3 8 1.6 40 CJ

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1059

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Matrix 0.4 10 1.6 40 CJ

Museo 0.4 10 1.2 30 CJ

Scope ^ 0.4 10 1.6 40 CJ

Schoolbook 0.3 8 2.0 50 CJ

Seagull 0.3 7 1.8 45 CJ

Serif1 0.25 6 1.2 30 CJ

Serif2 0.3 8 1.2 30 CJ

Serif3 0.25 6 2.4 60 CJ

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1060
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Serif4 0.4 10 2.0 50 CJ

Souvenir 0.25 6 1.6 40 CJ

Times Roman 0.25 6 1.6 40 CJ

Typewriter 0.5 12 2.0 50 CJ

Small fonts

Helvetica Small 0.2 5 0.3 7 CJ

Micro Block 0.2 5 0.3 8 CJ

Minature Block 0.2 5 0.25 6 CJ

Sm Cooper 2.4 6 2.0 50 CJ

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1061

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Sm HighTower 0.2 5 0.25 6 CJ

Sm Script 0.2 5 0.25 6 CJ

Small Block1 0.2 5 0.25 6 CJ

Small Block2 0.2 5 0.25 6 CJ

Small Serif 1 0.2 5 0.25 6 CJ

Times Small 0.2 5 0.25 6 CJ

Special fonts

Antique Rose ^ 1.2 30 4.0 100 AD

Crests - - - - AD

^ New to ES e4

C h a p te r 4 3 S t a n d a rd Fo n t s 1062
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Flair Script 0.75 10 3.2 80 CJ

Tusj 0.8 20 4.0 100 AD

Two-color fonts

2 Col Arial
0.6 15 2.0 50 AD
Shadow

2 Col Plain
0.5 12 2.0 50 AD
Script

Border Block 2 0.5 12 1.6 40 AD

Dextor 0.5 12 2.0 50 AD

English Village ^ 0.6 15 4.0 100 AD

^ New to ES e4

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1063

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Futura
0.65 16 2.0 50 AD
Border 2 C

Shadow Street ^ 0.6 15 4.0 100 AD

^ New to ES e4

Non-Roman fonts

Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm
Cyrillic fonts

Greek 0.3 8 2.0 50 CJ

Greek Script 0.48 12 4.0 100 CJ

Greek
0.4 10 2.4 60 CJ
Spionic

Jikharev 0.4 10 1.8 45 CJ

C h a p te r 4 3 S t a n d a rd Fo n t s 1064
 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Russian
0.3 8 1.8 45 CJ
Textbook

Hebrew fonts

Hebrew
0.3 8 1.6 40 CJ
Chaya

Japanese fonts

Japanese
0.32 8 2.7 70 CJ
Kaisho

Heisei Gosic 0.4 10 2.7 70 CJ

Heisei
0.32 8 2.7 70 CJ
Gyosho

Heisei
0.32 8 2.7 70 CJ
Kaisho

Heisei
0.4 10 2.7 70 CJ
Kantei

Heisei Maru
0.4 10 2.7 70 CJ
Gosic

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1065

 Recommended sizes
Join
Font Sample Min Max method
in. mm in. mm

Heisei
0.4 10 2.7 70 CJ
Mincho

Note: Japanese fonts (3000 characters each) are available for download
from www.wilcom.com for customers who wish to use them.

C h a p te r 4 3 S t a n d a rd Fo n t s 1066
Chapter 44
Custom Fonts

EmbroideryStudio provides options for creating custom embroidery

fonts. You can create entire embroidery fonts from converted TrueType
fonts. You can digitize letters from backdrop images, convert vector
objects, or digitize freehand using any of the input methods. You can use
artwork from sources such as calligraphy books or TrueType fonts.

In this section we show how to convert and modify TrueType fonts. We

digitize embroidery lettering from scratch for inclusion as a custom font.
We adapt an existing font to a decorative, multicolor font. We also take
a script font and turn it into a custom embroidery font.

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 Tip: Source files and sample custom fonts used in this section are
included in the Projects > Custom Fonts folder.

Font considerations
You can use artwork to create font letters in the same way as you do
other objects. Before digitizing, however, establish whether the letter
shapes are suitable for embroidery, and determine reference height and
baseline for the font.

Letter shapes
For best results, letter columns should be of similar width, without tight
curves or sharp corners, or very fine, very wide, or curved serifs.

Differences in column
width too great

Serifs too long and fine Corners too sharp

C h a p te r 4 4 C u s to m F o n t s 1068
Reference height and baseline
Reference height is the maximum height of capital letters. Although there
may be subtle differences between upper and lower case letters, it is a
useful guide for digitizing.

Letter height

Baseline

Place letters along a standard baseline to help digitize at a standard

height. Draw in the baseline if you are digitizing from artwork, or use a
grid line as your guide. Descenders in letters such as y or g generally fall
below the baseline.

Tip: Use E or H as reference letters to determine the height and baseline

for the font. These letters work well because they sit on the baseline and
do not extend above the standard cap-height.

Letter spacing and width

Letter width varies with letter shape and spacing. When you digitize
letters, you enter two reference points to mark the width.

Letter width

Letter width

Default spacing affects ‘kerning’ or spacing across all letters. This is set
when packing the font. It is not advisable to add spacing around
individual letters when digitizing reference points.

Tip: Certain digitizing rules apply when creating script fonts, mainly to
ensure that the tail of each letter joins seamlessly with the next letter.

Letter sequencing
Letter stitching sequence is based on the join type used when saving the
font. If you use Closest Join or Bottom Join, EmbroideryStudio applies
automatic branching. This determines where each stroke starts and ends,
adding travel runs as necessary.

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 However, it is good practice to digitize strokes in the direction they are
most likely to be stitched in. It is also important to specify the stroke
order as this is maintained when sequencing is calculated.
If you want to specify the stitching sequence and connectors yourself,
digitize the letter exactly as you want it stitched. You then need to select
As Digitized as the font join method.

Converting & editing TrueType fonts

The simplest option for creating custom embroidery fonts is to use the
built-in Convert TrueType Font feature. This lets you convert any
TrueType font installed on your system to an embroidery font.

The process is fully automatic. Lettering shapes are ‘cut’ into Column A
or Column B embroidery objects. Overlaps and stroke order are detected
and stitch angles defined. The result is similar to manually digitized fonts
although the quality may not be quite as good. The quality greatly
depends on the original shapes, narrower serif type fonts producing
better results than blocked fonts.

Experiment with conversion settings

Use Toolbox > Lettering to add TrueType lettering directly on-screen.

Right-click to set the formatting values for new or selected lettering objects.

The process of converting TrueType fonts to embroidery begins by

converting individual letters ‘on-the-fly’ and experimenting with
conversion settings.

C h a p te r 4 4 C u s to m F o n t s 1070
To convert TrueType letters on-the-fly
1 Right-click the Lettering icon to access object properties.

Enter text

Select TT font

Set conversion
values

2 Select a TrueType font from the droplist.

3 Enter some sample text which mixes capitals and lower-case letters,
with and without extenders.
4 Click TTF Conversion to access conversion settings.

Select lettering style

– regular, bold, etc

Select Turning
Strokes for turning
stitch angles

Select Complex Fill

for fixed stitch angle

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5 First of all, select a lettering style, if available, from the Style list –
e.g. Regular, Bold, Italic. The entire embroidery font will be created in
the selected style. This option may not be available for all fonts.

Regular

Bold

Italic

6 Specify whether to convert as Turning Strokes or Complex Fill.

This will depend in part on font type – whether serif or non-serif,
whether script or block. If you want stitching to follow letter contours,
select Turning Strokes. The Complex Fill option provides a single
fixed stitch angle.

Turning strokes Fixed angle

7 If in doubt, experiment with both settings. Create a sample of each –

fixed and turning. Because lettering is converted on-the-fly, you can
select the generated lettering and further adjust settings.

Adjust Complex Fill

stitch angle for
preferred result

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 8 With the Complex Fill option, try adjusting stitch angle and
regenerating the sample until you find the optimum angle.
9 With the Turning Strokes option, there are many more settings.
Presets are automatically adjusted according to selected font
characteristics – e.g. whether serif or sans serif, whether block or
script. Try the defaults to start with.

Return to
suggested values

10 Zoom in to study the stitching and object formation. Decide which

style to use – turning or complex fill. If unsatisfied with generated
Turning Strokes, experiment further with the settings. See below.

Related topics...
 Creating lettering with CorelDRAW Graphics
 Refine turning stroke options

Refine turning stroke options

With Turning Strokes, preset values are automatically adjusted
according to selected font characteristics – e.g. whether serif or sans

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1073

serif, whether block or script. If unsatisfied with the presets, experiment
further with the below settings.

Optimize conversion
settings for Turning
Strokes

Return to
suggested values

Tip: Click Suggest Values if you need to return to suggested settings at

any time.

Match ends
Select the Match Ends checkbox to keep stitch angles parallel to the end
of the stroke. This option will override any corner detection and corner
fraction where parallel stitching applies.

Match Ends ON –
Match Ends OFF stitches parallel to
baseline

Stitch angles in strokes should normally be perpendicular to the stroke,

but the exceptions are letters like K, X, Y with short slanted strokes. In
these cases it is better to keep the stitch angle parallel to the end of the
stroke.

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Separate serifs
Select the Separate Serifs checkbox if you are converting a serif font.

Separate Separate
serifs OFF serifs ON

As the serifs are made into separate strokes, this option is better used
with larger lettering where serifs are greater than 0.8 mm in breadth.

Break angle
Select the Break Angle checkbox to apply a cap to sharp angles. This
effect is similar to Smart Corners – if the stroke bends sharply, like the
letter A or V, it will be split or capped.

Break angle OFF –

no split Break angle
87º

Corner detection
Fine-tune processing of corners with these settings:
 Corner Detection Angle specifies the angle which will identify a
corner in the letter. This is more important for getting well-defined
small letters. Note, however, that EmbroideryStudio automatically
inserts stitch angles where needed in order to obtain smooth turning
stitches. These generally occur at locations where the shape changes
significantly in direction or width.

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  Corner Fraction specifies fractional spacing at corners. It is used to
create smooth transitions of stitch angle at corners, shape ends, or
where a shape changes in width or curvature significantly.

Corner detection angle 150º Corner detection angle 30º

Corner fraction 0.6 mm Corner fraction 1.0 mm

Create overlaps
Select the Create Overlaps checkbox to prevent gaps forming between
segments. You can fine-tune the overlaps by setting values in the ‘T’
junctions and ‘O’ junctions fields.

Create Create
overlaps OFF overlaps ON

Convert entire TrueType font

Once you have arrived at conversion settings that suit your chosen
TrueType font, go ahead and convert the entire font. Custom fonts are
saved in ESA format to the ‘Fonts’ folder within the Windows
‘ProgramData’ folder. Conversion happens quickly although Asian fonts
may take longer. They can be copied and distributed for use by others.

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To convert a TrueType font
1 Select Setup > Convert TrueType Font. The Convert TrueType
Font dialog opens.

Select font
Select font
style

Set values

Enter font
name
Choose
character set

2 Select the font to be converted together with a font style – e.g.

Regular, Bold, Italic. The entire embroidery font will be created in the
selected style.
3 Enter a Font Name if you want to override the default.
4 Choose whether to convert All Characters or Extended ASCII
character sets. The standard character set contains alphanumeric
characters only. It excludes punctuation marks and other special
characters.

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5 Click Conversion Settings. As always, these can be further refined.

Select Turning
Strokes for turning
stitch angles

Optimize conversion
settings for Turning
Strokes

Select Complex Fill

for fixed stitch angle

6 Adjust settings according to your experiments with on-the-fly font

conversion.
7 Click OK. A confirmation will appear when the process is complete.

8 To check, right-click the Lettering icon to open the Object

Properties > Special > Lettering docker. The newly converted font
will be selected by default and available for use.

Test converted
TT font

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 Related topics...
 Create lettering with object properties
 Custom asset locations

Edit & repackage generated letters

Use Edit > Break Apart to split composite objects – monograms, appliqués,
lettering, etc – into component objects.

Use Reshape > Reshape Object to reshape selected objects by means of

control points.

Use Edit > Knife to cut objects along a digitized line, preserving stitch
settings and colors in resulting objects.

Use Arrange > Apply Closest Join to (re-)apply closest join to objects after
editing.

The process of TrueType font conversion is fully automatic. Lettering

shapes are ‘cut’ into Column A or Column B objects. Overlaps and stroke
order are detected and stitch angles defined. If you find that some shapes
can be improved, you have the option of editing and repackaging
individually.

To edit & repackage generated letters

1 First set up a grid and save the file for future reference. Whenever you
need to fix or edit characters, the grid helps with reference.
Set up grid spacing in the Options dialog via Setup > Options >
Grid & Guides. Turn on Snap to Guides. Set vertical spacing to
10mm and horizontal spacing to 0.50 mm.

Select to
display grid

Enter grid
spacings

Select to snap
design points
to grid

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2 Generate a sample and study the letters. The complete font set
depends on whether you have chosen to convert All Characters or
Extended ASCII. The standard character set contains alphanumeric
characters only.

Sample letters
to modify

Lettering height

Tip: You only need to generate those characters that you want to edit
and repackage. You can do this over time.
3 Note the lettering height. Normally this will default to 10mm but set it
to whatever height you prefer to work with.
4 Before you start editing, turn off underlay. When you repackage,
characters should be without underlay.

Turn off lettering underlay

C h a p te r 4 4 C u s to m F o n t s 1080
5 Break apart the font, line-by-line and letter-by-letter, until you arrive
at the component objects.
Break apart letters into
component objects

6 Zoom in to edit letter shapes with the Reshape Object and Knife
tools.
 Typically you will want to add or remove control points, adjust
overlaps, and resequence component objects.

Reshape and/or
resequence as
needed

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  Optionally, you may use the Knife tool to cut objects into smaller
overlapping strokes for better stitchability.

Cut objects into

overlapping strokes

7 When you have edited the letter to your satisfaction, select all
component objects and apply closest join.

Apply closest join to

component objects

8 Repackage the edited letter to the converted embroidery font. Select

letter components and save using the Object > Create Letter
command.

Select font
Latin Wide

Enter letter name L

Enter reference
height

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9 In the dialog, specify...

Field Action
Font name Select the converted font from the droplist.
Letter name This should be the actual character – e.g. ‘L’.
Reference height This needs to be the height of the sample letter – e.g.
10mm.

10 Click OK. The following warning will appear...

11 Click Yes to proceed and enter a reference line as prompted.

Click twice to enter

reference line

12 Add any other modified letters to your converted TrueType font in the
same way.

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 13 Test your updated font via Object Properties > Lettering. Note that
changes are preserved and underlay automatically added to the
repackaged characters. Test at different font heights.

Create text

Choose your
font

Related topics...
 Breaking apart lettering
 Splitting objects
 Reshape letters
 Apply closest join
 Create custom letters
 Save custom letters
 Save custom fonts
 Manage fonts

Digitizing custom fonts

You digitize letters for a custom font just like other embroidery objects.
Custom letters can be made up of multiple objects, and may be letters,
numbers, symbols or even pictures. We will be creating a font for a
nominal height of 20 mm.

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Set fabric, background & machine format

Use Standard > New to start a blank design based on the currently selected
template. Hold down Shift and click to open New from Template dialog.

Click View > Show Product to toggle product image on/off. Right-click to
open the Product Visualizer docker.

Open EmbroideryStudio from the desktop icon or Windows Start menu.

From the Home screen, click New from Template. Otherwise, select
File > New from Template or, holding down the Shift key, click New.
Since we are stitching out on a polo shirt, choose ‘Pure Cotton’ (the
default). Select a suitable machine format – e.g. Tajima – and click OK.

Activate auto fabrics

and choose a target
fabric

Choose a target
machine format

Set up grid & guides

First we need to set up a grid to assist when digitizing embroidery letters.
Guidelines also help when setting reference points. Set up grid spacing
in the Options dialog via Setup > Options > Grid & Guides. Turn on
Snap to Guides. Set vertical spacing to 10mm and horizontal spacing to

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1085

 0.50 mm. The narrow horizontal spacing helps to digitize more accurate
reference points.

Select to
display grid

Enter grid
spacings Click to save
for current
Select to snap template
design points
to grid

Tip: If you are planning to do more custom font digitizing, it may be

worth setting up a template dedicated to the task.

Related topics...
 Grid display options
 Working with templates

Import & size the backdrop

Use Standard > Import Graphic to import vector graphic or bitmap image
into current design

Click the Import Graphic icon or select File > Import Graphic and
navigate to Projects > Custom Fonts within the installed
C:\UsersPublic\Public Embroidery\EmbroideryStudio e4 folder. If
necessary, select BMP from the Files of Type list. Select ‘Sample

C h a p te r 4 4 C u s to m F o n t s 1086
 Font.bmp’ and click Open. Save the design to your local hard drive as an
EMB file.

Choose sample
font

Use the grid to size the backdrop. Remember, we are creating a font for
a nominal height of 20 mm. Use E as a reference letter to determine the
height of the font.

Use letter E as a
reference letter
when scaling

Set ruler zero point

on baseline

Related topics...
 Insert bitmap images
 Scaling objects

Digitize the letters

Use Traditional Digitizing > Column A to create columns of varying width

and stitch angle. Right-click for settings.

Use Fill Stitch Types > Satin to apply satin stitch to new or selected narrow
columns and shapes. Right-click for settings.

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 Use Outline Stitch Types > Satin to create thicker borders or columns of
even thickness. Right-click for settings.

In this project we are going to create sample letters using uppercase A,

B, C and lowercase a, b and c. Start digitizing letters using Column A
with Satin stitch. Make sure you create sufficient underlap to bind letter
strokes together. No underlay or pull compensation is required. This is
added when you create actual lettering with the custom font. Make sure
you strokes are digitized in the sequence they will be stitched out.
Generally, you don’t need to worry about connections between strokes.
This is automatically handled when packing the font.

Underlap

Stitch first

Tip: Use Vector tools to draw guidelines for more accurate digitizing.

Draw guides with

drawing tools

Related topics...
 Creating custom fonts

Save custom font & letters

When you save a new letter, you need to create a font for it, give it a
name, specify its height, and indicate whether to preserve any machine

C h a p te r 4 4 C u s to m F o n t s 1088
functions. You also need to set letter width by marking reference points
on-screen.

Create font
Select a letter and choose Object > Create Letter. Since this is the first
letter to be saved, create and name a custom font. Click Create in the
Create Letter dialog to access the Create Font dialog. Enter a font
name – e.g. ‘My Font’. Set default letter spacing – e.g. 10% – and select
Closest Join as the default join type.

Click Create

My Font Enter name

10 Set 10%

Closest Join Choose

Closest Join

Save custom letter

Back in the Create Letter dialog, enter a name for the letter – e.g. ‘A’.
Set the Reference Height to, say, 20mm. Digitize reference points.
Imagine there is a box around the letter marking the extents. Reference
points are where the box and the baseline meet.

My Font Select font

A Enter letter name

Enter reference
height

Letter extents

Baseline Digitize second

reference point
Digitize first
reference point

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 Add more letters to your custom font in the same way.

Related topics...
 Create custom letters
 Save custom letters
 Save custom fonts
 Manage fonts

Test the font

Use Toolbox > Lettering to add lettering directly on screen.

Once you have finished packing it, test your custom font by creating
embroidery lettering via Object Properties > Lettering. Choose your
custom font from the dropdown menu.

abcABC

Create text

My Font Choose your

font
Lettering
object

Tip: Compare your design with the sample ‘My Font.EMB’ included in the
Projects > Custom Fonts folder.

Related topics...
 Create lettering with object properties

Creating multicolor fonts

Lettering objects normally consist of one stitch type and one color only.
However, the As Digitized join method can be used to create special
fonts with multiple colors or special effects. We will now use this method

C h a p te r 4 4 C u s to m F o n t s 1090
 to create a variation of our custom font by adding an embellishment to
each letter.

Import the embroidery ornament

Import the embroidery ornament using the File > Import Embroidery
command. Navigate to Projects > Custom Fonts folder. If necessary,
select EMB from the Files of Type list. Select ‘Leaf.Emb’.

Select
embroidery
ornament

Edit the font

Duplicate the leaf and resize in the Property Bar. Making sure the aspect
ratio is locked, adjust heights as necessary – in this case, 15mm for
uppercase ornaments and 10mm for lowercase. Choose the colors you
want to use for leaf and letters – e.g. moon green and powder blue. Place

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1091

 the ornament as shown. Duplicate by right-clicking and dragging to the
next letter. Remove overlaps as required.

Adjust height Aspect ratio locked

Place leaf in
the middle

Remove overlaps
as required

Related topics...
 Reshaping embroidery objects

Save custom font & letters

Select all components of the custom letter and save using the Object >
Create Letter command. Create a new font for your multicolor custom
font – e.g. ‘My Special Font’. This time choose As Digitized as the default
join type. Enter letter name and reference height as before, and untick

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 the Remove Functions checkbox. We want to preserve the color
changes.

My Special Font Enter name

10
Set 10%

As Digitized Choose ‘As Digitized’

Select font
My Special Font

Enter letter name

Enter reference
height
Untick ‘Remove
Functions’

Related topics...
 Create custom letters
 Save custom letters
 Save custom fonts
 Manage fonts

Test the font

Use Toolbox > Lettering to add lettering directly on screen.

Again test your custom font via Object Properties > Lettering. Choose
your custom font from the dropdown menu.

AaBbCc

Create text

Choose your My Special Font

font

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 Notice that the lettering object preserves the ‘as digitized’ color changes
within each letter. Use the Break Apart command to resequence
like-color objects in the Color-Object List so they stitch out together.

Like-color objects
stitch out together

Tip: Compare your design with the sample ‘My Special Font.EMB’
included in the Projects > Custom Fonts folder.

Related topics...
 Create lettering with object properties

Digitizing script fonts

Now we are going to make a script font. Certain digitizing rules apply
when creating script fonts, mainly to ensure that the tail of each letter
joins seamlessly with the next letter.

Set fabric, background & machine format

Use Standard > New to start a blank design based on the currently selected
template. Hold down Shift and click to open New from Template dialog.

Click View > Show Product to toggle product image on/off. Right-click to
open the Product Visualizer docker.

C h a p te r 4 4 C u s to m F o n t s 1094
 Open EmbroideryStudio from the desktop icon or Windows Start menu.
From the Home screen, click New from Template. Otherwise, select
File > New from Template or, holding down the Shift key, click New.
Since we are stitching out on a polo shirt, choose ‘Pure Cotton’ (the
default). Select a suitable machine format – e.g. Tajima – and click OK.

Activate auto fabrics

and choose a target
fabric

Choose a target
machine format

Import & size the backdrop

Use Standard > Import Graphic to import vector graphic or bitmap image
into current design

Click the Import Graphic icon or select File > Import Graphic and
navigate to Projects > Custom Fonts within the installed
C:\UsersPublic\Public Embroidery\EmbroideryStudio e4 folder. Open the
‘Sample Script.bmp’ and set up the grid. Check the backdrop height. It

E mb ro i d e r y Stu d io e 4 Re fere n ce M a n u a l 1095

 should be 25mm which is the font size we are going to make. Save the
design as an EMB file.

Choose
sample font

Digitize the letters

Use Traditional Digitizing > Column A to create columns of varying width

and stitch angle. Right-click for settings.

Use Fill Stitch Types > Satin to apply satin stitch to new or selected narrow
columns and shapes. Right-click for settings.

Use Outline Stitch Types > Satin to create thicker borders or columns of
even thickness. Right-click for settings.

Digitize letters as you did the custom font. For script fonts, the tail of each
letter has to coincide with the initial stroke of the next in order to create
a seamless join. Drag a guideline into position to mark the ‘join line’.

Join line

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Drag a guideline to intersect the join line on the inside edge of the stroke.
Turn on ‘Snap to Guides’ in the Options > Grids & Guides tab. Make
sure reference points of adjacent letters coincide with this point.

Stroke thickness
guidelines

Join line

Guideline intersects
inside edge

The join edge should be approximately perpendicular to the slope. No

need for overlap on narrow strokes as pull compensation will provide
sufficient overlap.

Join edge perpendicular

to slope

Don’t worry about connecting stitches between objects.

EmbroideryStudio automatically handles this when you save with the
Closest Join method.

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Save custom font & letters
To define reference points for italic fonts, draw a slope angle guideline
and clone it to mark letter extents as shown. The guideline for the
reference points always intersects the inside edge of the join as shown.

Slope angle Digitized reference points coincide

guidelines at intersection of join line and
inside edge of stroke

Reference points

As before, select a letter and apply the Create Letter command. Create
and name your script font. Set default spacing to 0% and select Closest
Join as the default join type. Enter the letter name and set reference
height to 25 mm. As always, digitize reference points.

My Script Font Enter name

0 Set 0%

Closest Join Choose ‘Closest Join’

Select font My Script Font

Enter letter name A

Enter reference
height

Related topics...
 Create custom letters
 Save custom letters
 Save custom fonts
 Manage fonts

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