How to Start out in Embroidery Digitizing

To start something in embroidery digitizing, it is indeed necessary to first have an embroidery machine, a disc of designs and perhaps some Embroidery Digitizing Software. However this does not end the list of requirements to start embroidery digitizing. There is much more needed to enter the world of embroidery digitizing.

When investing in embroidery digitizing software, it is important that your computer matches its minimum system requirements. It is only if the computer's specifications meet the specifications of the embroidery digitizing software that it is possible to run the embroidery digitizing software, and use it in the computer.

Manufacturers of embroidery digitizing software generally recommend using an IBM PC or any other compatible computer having a USB port. Regarding the mouse, there are no specifications by embroidery digitizing software. However, it is generally better to use a comfortable, optical and non-roller ball mouse. This is because it is not possible to do precise imaging with a roller ball mouse.

Regarding the processor, it is better to use a fast processor for embroidery digitizing as embroidery digitizing involves imaging and not typing of letters. It is better to have extra memory in the computer as there is never too much of memory space in a computer. Moreover, memory is cheap and provides better embroidery digitizing as more designs can be stored in the computer.

Embroidery digitizing calls for lots of hard disk free space. Basically, 100 MB of space is enough to install embroidery digitizing software. However, once you have creations to store, you are going to need much more hard disk free space. Using a 32 bit color monitor
is better for embroidery digitizing as it makes differentiating of thread colors easier.

These are the basic requirements to start out in embroidery digitizing. However, if required, you can also invest in a graphic printer, CD-ROM drive, CD-ROM Recorder Drive and many other accessories.

Embroidery

Embroidery is the art or handicraft of decorating fabric or other materials with designs stitched in strands of thread or yarn using a needle. Embroidery may also incorporate other materials such as metal strips, pearls, beads, quills, and sequins.

Embroidery is classified according to its use of the underlying foundation fabric. One classification system divides embroidery styles according to the relationship of stitch placement to the fabric:

In free embroidery, designs are applied without regard to the weave of the underlying fabric. Examples include crewel and traditional Chinese embroidery.

In counted-thread embroidery, patterns are created by making stitches over a pre-determined number of threads in the foundation fabric. Counted-thread embroidery requires an even-weave foundation fabric such as embroidery canvas, aida cloth, or specially woven cotton and linen fabrics. Examples include needlepoint and cross-stitch.
A second division classifies embroidery according to whether the design is stitched on top of or through the foundation fabric:

In Surface embroidery, patterns are worked on top of the foundation fabric using decorative stitches and laid threads. Surface embroidery encompasses most free embroidery as well as some forms of counted-thread embroidery (such as cross-stitch).

In Canvas work, threads are stitched through a fabric mesh to create a dense pattern that completely covers the foundation fabric. All canvas work is counted-thread embroidery.
Category: Embroidery (styles and materials), Embroidery stitches

The origins of embroidery are lost in time, but examples survive from ancient Egypt, Iron Age Northern Europe and Song Dynasty China.

Elaborately embroidered clothing, religious objects, and household items have been a mark of wealth and status in many cultures including ancient Persia, India, Byzantium, medieval England (Opus Anglicanum or "English work"), and Baroque Europe.

Choosing An Embroidery Digitizing Company

When you go online to choose an embroidery digitizer, what do you use as a criterion?There are many companies that advertise online as offering embroidery digitizing services. So many in fact, that you may find it difficult to decide on a company at first.Currently, if you do a search on Google for embroidery digitizers, your search will return somewhere around 449,000 entries for this one subject. This number includes the sponsored links that come up. Though many would click first on one of the sponsored links, Google hasn't done any research on the company; the company has simply paid for advertising on Google.Now, some of your results will be links to companies that sell embroidery digitizing software. If you have no interest in trying to digitize your own embroidery patterns, then you have no need for the links to the software companies. Ignoring those will bring down the number of companies that you will can consider when you choose an embroidery digitizing company.Where you will want to start with your comparison of the embroidery digitizing companies is with the prices and the turnaround. Some companies will offer a fast turnaround (starting at 24 hours). Some will not advertise a turnaround at all for their embroidery digitizing services. You may need to email the company to find out what their turnaround rate is. Just because they don't advertise it on their website does not mean that it is going to be a longer turnaround time than some of the other companies that do advertise their turnaround time on their website.The next place you will want to look is at how much the company is charging for their embroidery digitizing service. Prices can vary greatly, and you need to decide on what you feel is a fair price for you to pay. You will probably want to comparison shop to come up with the price you are willing to pay. In some cases, you may get a bulk discount. For example, if you have four images that you are wanting to have digitized into embroidery patterns, then the company may give you a discount for having them do all four of the patterns.The final thing you will want to look at when choosing an embroidery digitizing company is at the quality of their work. Most companies have examples of the items they have digitized on their website. If their examples aren't up to the standards you want for your digitized embroidery pattern, then you should probably look at a different embroidery digitizing company to digitize your embroidery pattern.Keep in mind, once you decide on the company that you are going to use for your current project, you may still want to comparison shop each time that you have another embroidery pattern digitized.

Earning A Living With Embroidery Digitizing

You originally bought an embroidery machine to embroider your own items and to make gifts. Then you buy an embroidery digitizing program as you couldn't find your patterns already digitized. With the cost of the program, the only way you could justify the purchase is to start an embroidery digitizing business.You make sure you get plenty of practice. Not wanting to leave anything to chance, you learn to hand punch your own design so you can make sure the program is doing the embroidery digitizing the best way possible. After you are sure you know the embroidery digitizing program inside and out, you start embroidering the digitized patterns. You want to have plenty of samples to prove you know how to digitize embroidery patterns.Once you are satisfied with your digitizing skills and once you feel you have plenty of samples to show, you start thinking about beginning your business.However there is more to consider. To start a crafting business, you need the same information you need for any other business. You need to write a business plan. That's where you sort out what your plans are for the business. You need to consider advertising, you need to consider what you are going to charge, and you need to have a plan in place for bookkeeping. Like any small business, you need to look at how much competition you will have.When you consider advertising, you may come up with many ideas. You can find a web designer with skills at search engine optimization. As your embroidery digitizing business is driven by digital files, it will not matter if your customer is not local to you. You can put a business card up at a local coffee shop or other local gathering place. You might decide you want to embroider some items and get a booth at a craft fair. Not only will you be able to sell your embroidered items, you can put out your business card for your embroidery digitizing business. You may decide to start small. You can join an embroidery forum and post there, offering embroidery digitizing services in your signature line with each post.There are any numbers of other advertising ideas you may decide to follow. Once you have the business plan and advertising ideas in place, you may be surprised to find that your business can grow by leaps and bounds. There are many people out there who do digital embroidery. A good portion of these people are not going to want to learn to digitize their own embroidery patterns. That's where your business comes in.One final thought, statistics show that when starting a business, the first five years are the toughest to get through financially. Some days it may seem too difficult to stick with it, but if you do, your business will be a money maker.

Machine Embroidery Designs (四)

The basic indexes of industrial embroidery machines1. Speed of embroidery. It is expressed through quantity of stitches per minute. The embroidery speed can be adjusted both manually and automatically while embroidering. The optimal embroidery speed of modern machines oscillates between 700-900 stitches per minute. Maximum speed reaches 1200-1400 stitches per minute. 2. Number of working heads. In modern multihead machines the head numbers come to 2-4 heads.3. The size of working area or the maximum size of used frame. This index is concerned with possible size of performed embroidery. It is expressed through correlation of length and width of the working area in millimeters and is regulated for flat and cylindrical frame (used for caps, sleeves, etc). There are spread the correlations 800x600, 500x400 and other-for flat frame; 360x75, 400x350 and other for cylindrical frame.4. Needle quantity. It is equal to the number of needles on one head. It is defined by maximal possible number of thread colors used at one run of embroidery. The possible needle number in modern machines is from 1 to 12. The most spread are the machines with 9 needles. Other important indexes are the noise and vibration level, the compatibility of machine with different standard embroidery programs, the presence of accessories, error of linear measurements of embroidery elements.The accessories can be presented through different additional hinged device for automatic let-off of decorative cord or ribbon, broadened control terminal, systems of laser and video navigation of working area, additional laser trimers (device for thread cutting) and other.The concomitant equipment can be presented through devices of embroidery evaporation, various press equipment for adhesive chevron and braid production, special cloth-cutting machine in the form of laser cutter-machines, that can automatically cut of or drift on markings on cloth, which is widely used at combined with embroidery applique’works production.

Machine Embroidery Designs (三)

Technical constituent of machine embroideryDuring the cycle of machine embroidery manufacturing is applied different means and tools. However, starting from the availability of two basic stages of manufacture, it can be market two fundamental corresponding tools of machine embroidery. They are:1. The computer with appropriate program maintenance and peripherals on the construction stage of manufacture.2. Automatic embroidery machine with concomitant supplementary equipment on the technological stage of manufacture.Let us list the fundamental information of industrial automatic embroidery machines and some supplementary special concomitant equipment.Industrial automatic embroidery machines according to fulfilled activity and principle of operation can be divided in two groups:1. Universal automatic embroidery machines.2. Special automatic embroidery machines.To special automatic embroidery machines can be attributed the machines using not quite standard embroidery methods, machines that are able to perform embroidery on out-of-the-way places of complete products and on materials that are difficult for embroidery. To one of the most commonly used type of special automatic embroidery machines can be attributed the so called Schiffli, machines that allow making embroidery with the utilization of decorative cord, to cut through material and at the same time to process the cut by embroidery. These machines are mostly used for finishing of light and thin, translucent, fashioned and other smart cloth and articles made out of it. For instance, Schiffli machines are often used at wedding dresses decoration.
Quite recently it appeared a new interesting kind of automatic special embroidery-the so called no-thread-embroidery and automatic no-thread embroidery machines. The principle of operation of such machines has a remote conformity with principle of producing of needle-punched fabrics. It consists in the fact that the machine with a set of needles (24 needles) runs through the structure of the main (working) material the locks of fibers of special auxiliary material. The auxiliary material is laid under the main material. After the auxiliary material removing on the main material remains an effective, specific pattern (picture).
Nowadays the leader in production of no-thread embroidery machines is the Japan Company Tanaka. In 2001 fashion show in Berlin and Paris were presented impressive collections made with the help of no-thread –embroidery on “Vari-O-Matic” machine of this company. To universal automatic embroidery machines are related the machines of lock-stitch with coordinate displaced frame holder which is meant for manufacture of embroidery with threads on classical and most widespread materials and articles. The use of such machines supposes some limitations in properties of used materials and constructions of complete products.
But these limitations are constantly growing narrower due to constant modernization and improvement of universal automatic embroidery machines and due to use of manifold auxiliary facilities and special devices. All known universal automatic embroidery machines are of lock-stitch type of machines and the structure of many parts of the mechanism has many similarities with lock-stitch embroidery machines.
The main parts of single-head universal automatic embroidery machine are column, case, frame holder and head. The case is fixed on column and consists of pole and cantilevered arm. Inside the upper part of column is installed the stitch mechanism. Inside the case is installed the main shaft mechanism. On the head is disposed a set of needle mechanisms with thread takeup and thread guide mechanisms. The head is able to shift from case in the horizontal position, engaging with the main shaft stirring up the needed needle mechanism. This enables the machine to make the shift of the thread color at one embroidery run.
The frame holder mechanism is able to shift the frame holder in a horizontal level in four directions from the active needle. The shift is made in step-type on coordinate according to given embroidery program. In this way the machine can make loch-stitches on material of different length and in any given order and direction, executing if needed the shift of working needle with the thread of the definite color. The industrial automatic embroidery machines can be both single-headed and with few heads and with corresponding number of necessary working mechanisms. The last are called many headed or multihead automatic embroidery machines.
Under normal conditions of embroidery all the heads and frame holders mechanisms works synchronously.

Machine Embroidery Designs (一)

Machine embroidery is a special type of embroidery, performed by special automatic machines, functioning according to the man’s adjusted program.
This man is designer, constructor. He creates the embroidery program (design) - the machine operation algorithm, which can be in consequence repeated unlimited number of times. The machine following the given program, automatically executes the embroidery on material. In this way, the main features of machine embroidery are the absence of manual labor at the stage of outright embroidery, and the possibility of embroidery samples duplication. The machine embroidery is a recent kind of activity, in contrast to manual embroidery, existing for thousands of years.

The machine embroidery began its existence nearly 50 years ago and in 1980-ies the demand of the profession of machine embroidery designer began to grow. Nowadays the demand is actually as well. During the period of machine embroidery existence, its creation technology has changed beyond recognition. The machines that once used as source of information the punched card, limited in speed and quality of embroidery, were replaced by microprocessor-based, highly productive, multihead machines with advanced technology equipment, optimizing the embroidery process. The process of machine embroidery technologically consists of two closely associated stages:1. The embroidery designing stage, or the construction stage of machine embroidery- represents the process of creation of embroidery machine program. At this stage are developed the construction components of machine embroidery.2. The technical stage represents the direct embroidery manufacture by means of machine. At this stage are developed the technical components of machine embroidery.Both this stages are at the same time quite independent from the point of view of manufacture, which helps to differentiate them and to mark out two different basic types of industrial activity accordingly. It is a question of enterprises that are specialized directly in program creation, or in materially embroidery creation. Each of these manufacture branches develops round itself a branching infrastructure system.
For example, nowadays there are a great number of producers of special program maintenance for machine embroidery, of embroidery machines and special concomitant equipment producers, of outlay materials producers, used for embroidery manufacture. Many companies, in accordance with machine embroidery branch needs are adjusting the directions of its activity. For example, the producers of textile dye stuff make special adjustments of qualities and spectrum, the clothing producers change the construction, adjusting it to the technology of machine embroidery manufacture.

Stitch types

The interesting thing about stitch types, it that there is really only one type of stitch. That’s right It doesn’t matter what the stitches are forming or how they are being formed, the needle cycles down the same way each time. There is nothing special or different about the way the rotary hook picks up the bobbin or the way the pantograph moves for a satin stitch, compared to a run stitch, A stitch, is a stitch, is a stitch, The designer determines the positioning of each stitch placement and there are certain combinations which have been given names for the ease of description

For example, a run stitch is simply one stitch after another forming a line of stitch in embroidery. A fill stitch is nothing more than subsequent rows of run stitches placed next to one another. From one single stitch type we create all others, but the way the thread lays between these stitches can vary, and that is what we are going to talk about.

Stitch types come in many different colors and flavors. Most types have several names, like Fill, Ceeding and Tatami, which all mean the same thing. The various names have evolved from either early embroidery, manufacturer’s terms or modern references. In most cases people adopt the term that is first introduced to them. My goal is not to persuade you into using the terms I feel most comfortable with, but to discuss the characteristics of each type. I will however use the term I’m Most comfortable with during the discussion, I think you’ll be understanding to this.

Points of embroider needle

There are six point types commonly used in embroidery needles. The properties of your fabric will determine which point is best suited for your design.

The shape of the needle has little influence on the resistance of the fabric to the penetration of the needle. Ball point needles will not pierce the threads of the material, but are deviated by them into the gaps between the fabric’s threads. The thicker a fabric, the more need for the point to be rounded Don’t forget, round means sharp. Needles with cutting points are only used for sewing leather or similar thick objects, like some caps.

Most textile fabrics can be sewn well with needles having a slightly rounded point. Therefore, the normal needles for textiles are manufactured with a light rounding of the point (*) These needles don’t have a point designation like the others. The SPI point is a very acute round and is sure to penetrate the fabric threads in embroider. The increased danger of cutting the fabrics threads can be overcome by using the smallest possible needle size.

Textile fabrics which are susceptible to damage (knitted material) require the light balled points. SES point is the best choice. Elastic materials with rubber or elastomeric threads mostly require needles with heavy ball points such as the SUK,SKL or SKF which do not penetrate the elastic threads, but push them aside.

You must be careful thought with these needles, if the fabric is one that doesn’t push aside easily, the needle will flex and risk breaking

Type of embroider needle

The type of needle is more of a personal preference than the size or the points, which are a bit more regimented.

The stepped blade has a telescope style blade that is reinforced and less flexible. This extra firmness is great for thick materials like caps where a straight blade is more likely to flex enough to hit the needle plate and break.

If you’re experiencing a lot of broken needles when you embroider caps, you should consider changing to a stepped blade needle.

In contrast, the stepped needle causes a larger hole and can cause small letters to look more jagged than they need to. The straight blade has a constant lade diameter, creating a smaller hole. This makes them good for knits and improved letter crispness. Needles with larger eyes don’t require your machine to be re-timed, as some people may tell you, because it’s the eye that ‘s larger, not the scarf. Larger eyes are especially good for metallic threads which tend to create more friction with needles with small eyes.

Overlapping in digitizing

Fills whose boundaries overlap cam cause a problem in the way they rest against one another. The challenge is for there to be a clean change from one color to the next. In many cases the seam between two fills will be covered by a satin column that cleans up the edge, much the same way as described in the borders section above. Other times there won’t be anything sewn above the adjoining fills and their edges will have to be constructed as cleanly as can be.

To simulate how fill objects interact with one another, hold your hands out in front of you flat on a table and spread your fingers. Now slide your hands together so that your fingers interlock with one another. Notice how your two hands remain on the same plane, that of the table and all fingers are completely visible. Now take one hand and rest it on top of the other so the top fingers are perpendicular to the bottom fingers. The fingers are no longer on the same plane and the bottom fingers are blocked from view by the top fingers. These relationships are important to understand, because they illustrate well, how two fills should be constructed depending on what digitizing effect you’re trying to achieve. Let’s take a closer look.

When the stitch direction of the two fills are in the same direction, the ends of the stitches, like the fingers here, extend into one another. The change in color between the two fills will appear a little jagged, but because both fills rest on the same plane, the transition from one fill to the other will be very smooth. This method is best suited when a satin stitch object will be sewn over the seam where the two fills meet, because the jagged color change will be covered by the satin object and the satin will rest nicely on a single plane, than if there was a ridge to contend with.

When the stitch direction of the two fills are perpendicular to one another, the top fill will block out the bottom fill and a fairly crisp change in color will result. The disadvantage to this method is that the top fill will ride

How to use underlay

Underlay should be applied, when we digitize a artwork.

The border can be wider than 1mm if your taste is such, but the border should still remain around 80% on the fill and 20% off the fill.

At times, this might require the fill to extend to the outside edge of the border instead of to the inside edge of the border. As long as the border cleans up the edge of the fill, this will look good. If the border sits too much on the fabric, one side of the border will look different than the other. The 80% / 20% rule will place just enough on the outside of the fill to ensure the fill won’t be seen, but place the majority on the fill for a uniform look.

How to solve the lose registration

It’s typical when the border is a different color than the fill when we digitize something, for the border to appear thinner in some areas, and exactly how you intended for it to look in other areas.

This is because when the satin boarder stitches line up the fills stitch direction, the border’s stitches sink into the fill, making the border appear thinner than it is.

When the border’s stitches are more perpendicular to the fill stitches, they bite into the fill and stand out better. This can be corrected by first adding center run underlay, and if this doesn’t correct the problem enough, a double zigzag

How to solve the lose registration

It’s typical when the border is a different color than the fill when we digitize something, for the border to appear thinner in some areas, and exactly how you intended for it to look in other areas.

This is because when the satin boarder stitches line up the fills stitch direction, the border’s stitches sink into the fill, making the border appear thinner than it is.

When the border’s stitches are more perpendicular to the fill stitches, they bite into the fill and stand out better. This can be corrected by first adding center run underlay, and if this doesn’t correct the problem enough, a double zigzag

Knowledge

Knowledge is a treasure, and we should value our treasures, for if we don’t, nothing, not even life itself will be of any use to us. I’m intrigued with knowledge, and I use to share so much of what I thought I knew, until I discovered much of it wasn’t completely accurate. I decided I wouldn’t speak out of turn, and if I spoke, it would be on a subject I knew well. I began listening. At that point I became a walking sponge, soaking up any bit of knowledge that came my way. I was doing this for my own pleasure, it never dawned on me this philosophy would be a valuable business quality.

Listening more than talking sounds easy enough to do, but actually putting this into practice can be difficult. Being motivated to succeed in the embroidery industry gave me the patience to put this into practice, and I was amazed at the results. Listen to what knowledgeable people have to say, take it all in, and you’ll have their knowledge to fall back on. Listen to what the customer has to say and use the knowledge you’ve obtained to formulate a action plan to solve their dilemma.

When you’ve obtained enough knowledge about a particular subject that you can accurately solve other peoples problems, you will find they will come back to you for more assistance in other situations. If you have knowledge, you should offer it, you may decide to charge for it, however if you’re not knowledgeable, then you should say so. It is always best to admit when you’re not able to assist in a given area, than to offer poor advice. In these situations, you can retain your status as a person of knowledge by knowing where to look for the information they are seeking.

Archiving of Digitizing

There are many different views on what responsibility a designer has to archive their customer’s work. My views on this topic might seem contradictory, because I draw a line between what I should be expected to do, and what I’m willing to do as a service to our customers. As with most other industries, when you walk out the door with your product, it is yours to have and to hold. If you lose it or drop it, that’s extremely poor luck, but you can’t return to where you purchased it and say, “I’m really sorry, but I lost the (blank) I purchased from you, can I have another one?” On the other hand, I feel a designer is best suited to safeguard embroidery files, even though their customers should value their own investments enough to safeguard them.

To properly archive files requires a quality backup system, time and attention to detail. When the customer calls in a panic, hoping we have a copy of their file, we tell them it’s highly likely, because we do archive all of our customers work as a service to them. There is a fee to retrieve a file though, because there is a considerable amount of time involved in locating the file, restoring it to disk, saving it to a disk and mailing the disk or in most cases emailing it. These are all small tasks, but together they can take 15-30 minutes to complete. We safeguard our customer files, but we also charge for this service when the customer needs to use it. Customers understand this and are so grateful we have a copy of their file, that they never question our services.

THE PUNCH ZONE

So how do you get in “The punch zone”? I’m not sure. I’m really not, but I do know it wouldn’t be possible without an open mind and a creative spirit. I’m not a doctor, I haven’t spent years researching this topic and I certainly can’t put my finger on scientific evidence supporting my statements. In fact, I made up the term, “the punch zone”. I couldn’t think of a better way to describe the phenomenon I have experienced time and time again.

Please don’t misunderstand. This isn’t some new age thinking, where if you think positively you can do anything you want. “Get in the zone and you’ll be a great puncher” is positively goofy. However, I can’t emphasize enough how important I believe this is to punching: not the getting into “The punch zone”, but being creative.

Serious runners experience what is referred to as a runner’s high. The runner’s high wasn’t the goal, but after months of training, one day they find themselves in this mental state, where they feel they can run forever. The first time you experience this you’re taken by surprise. You then thirst for the sensation and begin to recognize when you’re experiencing it.

The punch zone is much the same way in that you shouldn’t make it a goal. After you have developed your creativity and learned to apply it to your technical knowledge one day it will hit you that you were in the zone. Then over time you will know the sensation enough to know when you are there and you too will begin to thirst for this high.

I doubt there are champion runners or Ironmen that have not experienced a runner’s high, but it’s certainly not a requirement to being a runner. The punch zone is not a requirement to becoming a puncher either, but it takes you to new levels and keeps the fire inside alive. The fire not only produces champion designs, but brings you back to your digitizing station hungry each day.

Creativity

Most of my talent I attribute to creativity. There is plenty of technical background found in every design I punch, but it’s the creativity that sets the designs apart. The most technically perfect design can be flat, lifeless and void of any “pop”. For this reason, I place as much importance on the development of creative talents as I do technical talents.

I’ve punched designs that were so exciting I jumped around the room as their first sew outs were completed; designs that I was in awe of myself, so beautiful I couldn’t believe I had punched them. As I would look at these first runs I would wonder,” How did you I do that? What was I thinking? This could be my best ever!”

As I look back at those designs, I still don’t know the answers to these questions, but I have come to the conclusion that I enter a zone. A “punch zone”, where my creative mind applies my technical knowledge and the result is a masterpiece in thread.

Digitizers

You may be a digitizer “wanna be”, a digitizer looking for a solid foundation, or an embroidery company thinking of expanding into digitizing. You’ll find professionally designed instruction along with thought provoking ideas that are sure to open your eyes to the digital side of embroidery.

If you ask, “What is digitizing for embroidery?” you’ll get back as many answers as people you ask the question. What is more interesting is the wide range of answers you’ll receive. This is mostly due to the various levels of embroidery knowledge of those involved in the computerized embroidery industry, ranging from digitizers, to embroiderers, to sales people.I like to reflect on the caller that insisted he had their company logo digitized and have it on disk, only to produce a graphic image. This isn’t an unusual tale for embroiderers, and honestly it isn’t as far from the truth as embroidery professionals may think. The use of the term “digitize” as embroiderers would know it, is restricted to the field of computerized embroidery. It’s not that the caller didn’t have their logo digitized, but that it hadn’t been digitized for embroidery. This is where a digitizer comes in.

Your next question may be, “What is a Digitizer?” Is it a machine? Is it a computer? Is it a piece of software? Is it a person? The answer to those questions would all be “Yes”. Foremost, a digitizer is a person, and he must have a machine, a computer and a piece of software. There’s more to it than that though. To be a good digitizer you must have much more than big ticket purchases. You must also have talent, skill and passion. Not the easiest of things to put your finger on and something most digitizers may claim to possess, but the proof is in their work. I prefer to call the person who possesses these qualities a designer.

Yes, a digitizer is a designer.

How to create 3D embroidery

One of the best ways that you can personalize your embroidery and make it stand out among others is to add dimension to your technique. Dimension in embroidery brings your piece to life and adds style, personality, and a 3-D quality that is uniquely your own.

And contrary to what you may think, adding dimension does not require intricate and complicated stitching such as stumpwork or other techniques used in dimensional embroidery. If you can embroider, you can add dimension to your work with just a few simple techniques.

Here's how:

Use different thread weights. Using multiple weights of thread will give your embroidered piece dimension and depth that cannot be achieved with patterns using all the same thread weight. A heavier weight thread results in denser embroidery and shadows, where a lighter weight thread results in a light, delicate pattern. By blending these two together, you can add dimension without leaving your canvas. While it may sound simple, it can take a few tries to find the perfect harmony between your threads so that the embroidery will look natural.

Use different colors of thread to create shadow. Three-dimensional images have shadows, and one of the best ways that you can make your embroidery seem three dimensional is to embroider shadows into your design. You can do this by selecting darker shades of the color of thread that you are using and graduating the darker colors on your embroidery to create the effect of natural shadow. For lighter colors, you can use two to three darker, graduated colors; for darker colors, you can use up to five darker shades of graduation. Practice using these darker shades on your sampler until you achieve a natural looking shadow. It may take a few tries, but once you get the hang of it, you will acquire an eye for placing the shadows perfectly.

Use textured threads. Wool threads, pearl threads and silk threads all achieve a different result when used in embroidery. By combining several different textures into your embroidery, you can easily achieve a dimensional image. For example: light, airy threads would be ideal for delicate patterns such as flowers, whereas coarse, textured threads would be ideal for creating structures such as buildings and houses.

In addition to these simple ways to add dimension to your embroidery, you can also use different stitches to create different effects. By closely matching your stitching style to the type of image that you want to create for each aspect of your piece, you can add a great deal of texture and dimension.

Don't be afraid to incorporate several different types of stitching, threads and patterns to achieve the desired result. By using more variations, you will create an embroidered design that is uniquely your own and full of dimension. The best pieces trick the eye and give the viewer a little surprise of detail each time they see it.

Some Stitch Types

Today, we will introduce some stitch types, for example, running stitch, zigzag stitch, satin stitch and fill stitch.
Running stitch
A running stitch is most often used for traveling from object to object, underlay, outlines and detail work.
Other variations of the run stitch are the Bean stitch also referred to as a triple stitch. Since a run stitch doesn’t have underlay, sometimes it’s difficult to keep the stitches from being lost in the fabric’s grain. This is most often the situation when the run stitch is in the same direction as the fabric grain of what it’s going on, if this is unavoidable, then three passes might be in order.

Zigzag stitch
A zigzag stitch alternates from one side to the other in an angled fashion. Zigzag stitches are used primarily for underlay, however they are the stitch of choice for securing appliqué. Zigzag is well suited as an underlay for satin stitches, because the stitches are always at an angle, which prevents them from popping through the top stitch. A variation is called double zigzag, which alternates back up the column on the opposite side as the initial zigzag stitch.

Satin stitch
Satin stitches are very similar to zigzag stitches however, the stitches alternate between a straight stitch and an angled stitch. Satin stitches can also be called blat stitches and are often referred to as column stitches because they form the look of a column. The danger in the use of the term column is that zigzag and fill stitches may also be formed in the shape of a column, therefore the use of the term column stitch does not on it’s own indicate the type of stitch being used. Satin stitches are used in letters, lines and border.

Fill stitchAlso known as a ceding or Tatami stitch, fill stitches are used to cover large areas with thread. The low profile characteristics of a fill stitch make them popular for backgrounds. A fill stitch is a series of run stitches placed side by side

The Use of Forum for Embroidery Digitizing

Do you have interest in embroidery services or want to start by putting your own ideas into embroidery designs? But you are not aware of the correct path for moving towards your destiny. Whatever may be your pattern, whether it is a cap, bag, shirt or any other clothing with entire embroidery work, you can start with variety of options.

By the help of user friendly embroidery machine, you can design your embroidery patterns. If you are thinking of doing by your self or by knitting your self then be ready for consuming more days rather then in machine embroidery. Or else you can take the help of embroidery forum on internet. In search engine you type for ‘embroidery forum’ and enormous results will come in your way to give you proper suggestion and guide.

An embroidery forum can give you lots of information for starting up your own project. If you want to go for embroidery digitizing service then the forum will help you to decide the related programming for using in the digitizing service. Even you can get informations about companies to digitize your patterns.

For detail informations about embroidery digitizing, you need to make a lager group of friends on similar hobbies and woks, which will help you to discuss freely about your queries. You have to spend hours even days to extract the right informations for your project. Though you will get lots of informations, but those can’t come in organized manner, so you have to prepare your own table of contents according to further procedures.

May be after lots of reading also you can’t receive proper informations sometime, so it is better to open your forum account and ask questions in it. Forum is the best place for clarification of all your queries, so in embroidery forum you can get informations about different embroidery services, different machine embroideries, types of embroidery soft wares and digitizing services etc.
If you are planning for buying an embroidery machine for your embroidery digitizing service, then even that also you can ask in forum to know about which machine will properly match with your needs. Embroidery forum will help you in every step of your digitizing service, so it is wise step for you to take the help of embroidery forums.

Density in Underlay

For a embroider, it is crucial to know the use of underlay techniques can help reduce the density needed to create full looking embroidery.

Underplays are no different than normal stitches, the only difference is they are underneath serving their purpose. The underlay for a fill area is a little density fill underneath the top stitch.

A zigzag underlay is simply a lighter density satin column below the top satin column it supports. The density of an underlay object can be adjusted up or down just like the top stitches they support.

If your top stitch appears too thin, you can see the fabric showing out, you would like to increase the density of the top stitch or of the underlay? It is certainly increase underlay, because in most cases, a 10% increase in underlay density will equate to less additional stitches than a 5% increase in top stitch density. So I will suggest you to increase the density of your underlay more than the top stitch without as a change in overall stitches.

Puff 3D Embroidery

Puff 3D embroidery uses a foam underlining to achieve an extreme three dimensional effect. The foam comes in different widths and colors to accommodate an array of products and thread colors. This application also requires the thread count to double, so that the foam will not be exposed through the tread.

Puff 3D embroidery works best with block or large round shaped letters. Artwork for puff embroidery should have rounded corners so that the needle perforates the corners of the design and covers the foam completely and makes your design come alive.

Thick materials that will be washed periodically generally work best with this application, such as hats, bags, and thicker jackets.

Digitizing History

If you are interested in digitizing moving pictures (e.g., movie films, videotapes, etc.), then you will be interested in this article. The article is about the work at the Packard Campus of the Library of Congress (LOC) National Audio-Visual Conservation Center. This...

structure contains a vast number of recordings preserved on a variety of media, and in an almost limitless number of formats including, film, tape, disc, wire and cylinder.

The physical size of the complex itself is staggering—it measures in at 415,000 square feet (that’s equivalent to more than seven football fields)—and contains literally millions of items. There are actually four building components: a collections storage building, conservation building, the “nitrate vaults” and a central plant.

Although it’s still a work in progress—10 years have passed since its inception—some areas are operational and additional ones are coming on line at regular intervals. It’s currently staffed with 60 government workers; a number that will more than double when all systems are installed and running.

About Digitizing

Digitizing or digitization is representing an object, image, document or a signal (usually an analog signal) by a discrete set of its points or samples. The result is called "digital representation" or, more specifically, a "digital image", for the object, and "digital form", for the signal. McQuail identifies the process of digitalization having immense significance to the computing ideals as it "allows information of all kinds in all formats to be carried with the same efficiency and also intermingled"

Analog signals are continuously variable, both in the number of possible values of the signal at a given time, as well as in the number of points in the signal in a given period of time. However, digital signals are discrete in both of those respects, and so a digitization can only ever be an approximation of the signal it represents.

A digital signal may be represented by a sequence of integers. Digitization is performed by reading an analog signal A, and, at regular time intervals (sampling frequency), representing the value of A at that point by an integer. Each such reading is called a sample.
A series of integers can be transformed back into an analog signal that approximates the original analog signal. Such a transformation is called DA conversion. There are two factors determining how close such an approximation to an analog signal A a digitization D can be, namely the sampling rate and the number of bits used to represent the integers.