| Digitizing, otherwise commonly known as "punching", is | | | | length, and many others. |
| the process of converting a graphical image or | | | | Each design choice can have intentional or unintentional |
| artwork into an instruction file that an embroidery | | | | consequences on another design decision. Terrific |
| machine can read. Digitizing is undoubtedly the most | | | | digitizing takes into account all of these decisions to |
| important contributor to high quality embroidery. A | | | | yield beautiful designs that embroider well and with no |
| skilled digitizer combines knowledge of the embroidery | | | | unnecessary stitches that increase cost to the |
| process, a keen artistic flair, and intimate knowledge of | | | | customer. High quality digitizing also produces designs |
| digitizing software and productivity tools. | | | | that are "robust" or that can embroider consistently |
| Many of the best digitizers have hands-on experience | | | | well under a variety of fabric and other conditions. |
| in operating embroidery machines and, as such, a | | | | When communicating with your embroiderer about a |
| strong knowledge of the physical forces in play when | | | | potential new design, consider the following steps: |
| needle and thread interact with fabric. Digitizing involves | | | | 1) Specify the proper design size, if known. |
| many design choices which include: | | | | 2) List all of the materials that the design will embroider |
| Selection of stitch type (i.e., satin, running, or various | | | | on (pique material, leather, baby fabrics, high |
| fill stitch patterns), based on both aesthetic | | | | performance fabrics, towel, and fleece material all |
| considerations and embroidery mechanics. | | | | have different embroidery characteristics and digitizing |
| Properly "mapping" the sewing sequence, or the | | | | requirements. |
| order for the various sewing steps that form part of | | | | 3) Indicate the location for placement of embroidery on |
| the design (e.g., hats are generally embroidered from | | | | the garment (hat and visor fronts imply different |
| the center of the design outward and from the bottom | | | | requirements and limitations than a shirt sleeve, for |
| up, in order to avoid distortions such as waves or | | | | example). |
| fabric buckling). | | | | 4) Clearly identify all colors and indicate whether |
| Use of underlay or an initial layer(s) of stitches to | | | | voided areas will be embroidered or left open. |
| secure garment fabric to the backing and provide a | | | | 5) Indicate any required special effects such as color |
| foundation for top layer stitches. | | | | blending or appliqué, bearing in mind the limitations of |
| Design settings such as pull and push | | | | embroidery vs. printing (e.g., difficultyof capturing certain |
| compensation (to offset physical forces that can | | | | details such as very small lettering, multiple thin outlines, |
| create distortions in the design as it embroiders), | | | | etc.). |
| density (number of stitches in a given area), stitch | | | | |