Q: How do I place an order? How do I download the designs I have purchased?
Unfortunately I don't have instant download; you will receive the designs by e-mail attachment within 24 hours of placing your order. Given that limitation, I have tried to make ordering as straightforward as possible by pricing nearly all the designs at a single price for each of the three sizes -- all 5" designs are $6 each, all 4" designs are $5 each, and all 3" designs are $4 each. There is a 20% discount on packs of five in all sizes, and you can mix and match designs from any of the catalog pages. The process is simple enough: Order the size and number of designs you want using the order forms on each page, then send me your list, and I will e-mail the designs to you within 24 hours of receiving the notice from Paypal. The exceptions to this pricing are few: in-the-hoop designs, alphabets, freestanding lace, and custom designs are priced separately. You can find order forms in the upper right of each page, and there is more detailed information about how to order, along with generic order forms, at this link. If you're still confounded, you can send me a list of the designs you want and I will let you know the amount to send via paypal.
Q: I didn't receive the designs I ordered. What happens now?
If you don't hear from me within 24 hours, please e-mail me. I check my e-mail multiple times a day, every day, and I process orders as they come in. This means you should *always* receive a response within a few hours of placing an order. You will receive the designs themselves (if I have your list) or an e-mail query asking for the names of the designs you wanted.
If you haven't heard from me in that time, please click here for more information.
Q: What does it mean to "digitize" a logo or design for embroidery? Why can't I just send the image directly to my machine for stitching?
A: Embroidery machines cannot read image formats, and so cannot use jpgs, pngs, gifs, or other image files. Logos and other images must be "translated" into a language the machine can understand, using specialized software that the digitizer uses to create a kind of stitch map for the machine to follow. This process is known in the trade as digitizing.
Digitizers set this "map" down stitch-by-stitch in the software, either by working freehand or by following the contours of an existing image or logo. The design isn't "converted" from an image; instead, it is recreated by hand as a digitized design file and saved in one of the many formats that embroidery machines use. An effectively digitized design has to accommodate the limitations and features of the embroidery process and the technical demands of the embroidery machine, while also satisfying the client's visual and aesthetic expectations, so a digitizer has to adjust and adapt the image so that it can be portrayed with thread. This means taking into account size, proportion, stitch order, underlay, cuts and jumps, stitch direction, pull compensation, and any special stitch effects that may be required. Embroidery has some technical limitations that don't exist in image software, particularly with respect to fine lines, small lettering, and cross-hatching/shading effects. These elements would have to be re-interpreted by the digitizer in making an embroidery design.
Digitizing programs are typically very complex and very challenging to learn, just like any other complex program. If you have experience with programs like AutoCAD or Photoshop, you will have some idea what's involved in learning a complicated piece of software. Like these programs, the software for digitizing can take years to master.
Q: What embroidery software do you use? How did you learn to digitize?
A: I work in Embird Studio, which I have been using for about 20 years. All of the designs on the site were produced with Embird.
Like most beginners, I started out digitizing simple designs with the software that I purchased along with my first embroidery machine -- in my case, Brother's PE Design. However, I never did get very far, because I found the program difficult to use. Likely my disappointment with the results was due to my limited experience, but I wasn't especially satisfied with these early designs, and I found that I still had to "clean up" the finished work in Embird Editor in order to get something usable. This was a painstaking process, and though it did improve the designs considerably, it wasn't anything like the equal of digitizing by hand.
When I was ready to progress to manual digitizing, I opted for Embird's digitizing software, mainly because I had already been working with their editor program and had become comfortable with it. The digitizing program, Embird Studio, is a separate add-on, and like any complex program, it has a steep learning curve. I consulted the tutorials for the program and began with simple designs. With persistence and patience, and hours and hours of practice, I have been able to get the results I wanted for my own work.
Becoming a competent digitizer, like mastering any other skill, takes hundreds of hours of application; currently, I spend approximately 5 hours a day on digitizing, and have done for 18 years. In that time, I have digitized thousands of designs, many of which are featured on this site; I continue to work at my craft and add designs to the site each week.
Q:I have heard of something called "auto-digitizing", which automaticallyturns an image into an embroidery design. Can I make my own designs that way?
A: Most embroidery software packages do include an automatic digitizing function, which reads a line drawing and produces a stitch map. However, because digitizing is a delicate process that requires both artistry and skill, designs made this way are rarely good enough to satisfy most embroiderers. They can look amateurish, and will almost always have issues with stitch quality.
Like most embroiderers who want to digitize their own designs, I started out by using the auto-digitizing feature in my software. But like most embroiderers, I was far from satisfied with the results I achieved.
The illustrations below show examples of auto-digitized designs and hand-digitized versions of the same images.
This "Love" patch at right was one of the first designs I ever tried, way back when I first tried my hand at digitizing. The top one was created using the auto-digitizing function in PEDesign.
As an illustration, I left it just as it came out of the auto-digitizing function, without any touch-up. If you look closely you will see many pock-marks on the lettering, plus a gap in the bottom of the E. As you can imagine, it didn't sew out at all the way I had envisioned and the stitch coverage was very poor. Possibly I could have improved this design somewhat if I had corrected it stitch by stitch using an editing program such as Embird Editor, and I did do that with a number of my early designs, but even then it would never sew out as well as a hand-digitized design.
The bottom picture shows a much later hand-digitized version, made with Embird Studio. As I created this design, I kept to the original idea but slightly changed the shape of the letters. The difference in stitch quality is obvious even in these screen simulations, and this design sews out much more satisfactorily than the first attempt.
As in the previous example, you can easily see the difference between auto-digitizing and hand-digitizing when you look at a design, but the difference isn't only in appearance. The quality of the stitching is also at issue. Auto- digitizing tends to have many more color jumps and more problems with registration. Fine details are also more difficult to manage neatly.
You can quickly spot these differences if you look closely at Don's hands and face (left) or at the windows and lettering on the space ship (below).
At right, the two versions of my elementary school may look similar, but the hand-digitized version stitches out more neatly, with far fewer jump stitches.
Like many digitizers, I like to minimize the use of outlines in my hand- digitized designs because they are so often the cause of registration problems (when the outline doesn't quite line up with the rest of the stitches). This is not only due to the regular push-pull effect of the fill stitching, but can also be the result of variations in hooping, stabilizer, or fabric choice.
I also think the look is neater without the outlines, which clutter the first (rejected) version of the design.
By the time I first digitized the Arrow design (far left), I had become proficient enough to obtain what I thought was a reasonable result using PE Design auto, as long as I also did some pretty extensive corrective editing in Embird Editor. Starting with a clear, high-quality line drawing also helps to improve an auto-digitized design.
Although at the time I first completed it, I was mostly satisfied with the Avro Arrow design (above, left), my standards changed once I learned to digitize by hand, and I found myself re-digitizing the whole thing. If you look closely, you will see the differences in the maple leaf and the jet itself; the design is hugely improved and gives a much cleaner and more professional stitch-out.
Q: What are the limitations of embroidery digitizing? Is there anything that can't be stitched out?
A: Although most illustrations can be digitized, some may need to be altered or simplified to accommodate the technical limitations of the process.
For example, very small lettering and very fine lines do not generally reproduce well with embroidery. Subtle shading and hatching are also difficult to achieve with stitching. Embroidery techniques can also vary depending on the material to be stitched; machine embroidery needs a firm foundation, so is more compatible with sturdy woven fabrics than with soft knits or fleece, which tend to distort during the stitching process. However, even these materials can be embroidered if the design is suitable and proper stabilizer is used. Embroidery Library has some really good tutorials on embroidering on these and other challenging materials, and they're worth checking out.
Q:Why is the 4" design I downloaded actually only 3.9"?
A:Although your embroidery hoop is nominally 4x4", this measurement is only an approximation. The actual stitching field is smaller -- about 3.9", in fact. Therefore, a design sized to exactly 4" in the digitizing software would be too large to fit into the hoop. Similarly, the stitch field for a 5x5" or 5x7" hoop is slightly smaller than its nominal dimensions. For this reason I have sized my 4" designs to approximately 3.9" across the widest dimension, and my 5" designs to approximately 4.9" at their widest or tallest, so as to ensure that they will stitch satisfactorily within the actual sewing field. The difference of 1/10 of an inch is so slight that you won't notice it in the finished stitch-out.
I can render most of the designs on this site in larger sizes, so if you are interested in a larger version of any of the designs please send me your query.
Q:Do I really need to buy the same design in different sizes? Can't I re-size it using my embroidery software?
A: While it is technically possible to re-size a stitch file using software such as Buzz Tools or Embird Editor, the process isn't foolproof, and results can vary quite dramatically from one design to another. Some designs re-size without presenting problems, but others will be ruined. Because the process is so iffy, particularly for complex designs, most embroidery editing programs recommend that you re-size a design no more than 10% at most. However, you should know that even this small amount can affect the quality of the finished stitch-out.
Depending on the nature and complexity of the design, it may or may not come through the re-sizing process successfully, and nearly every design will suffer some changes in quality after being re-sized. At worst, enlarging or reducing a design can compromise the stitch coverage and density, rendering the design too stitch-heavy -- resulting in a "cardboard" effect when it's stitched, and possibly breaking needles -- or producing stitch-outs with very poor coverage. Both satin stitches and fills can be affected. For example, enlarging satin stitches too much can cause your machine to read them as jump stitches, resulting in a complete failure to stitch; reducing them can produce a column so narrow that it makes holes in the fabric you're stitching on. Changing the size of a design can also compromise many fancy stitch fills, and can cause show-through of the fabric underneath.
All that said, embroidery software is getting more sophisticated, and re-sizing is a safer bet now than it used to be. If you do decide to experiment with changing the size of a design, make sure to save the re-sized design with a different file name from the original (the re-sizing process isn't reversible once you've closed the design file, and if you save the design with the original name and then discover that re-sizing has compromised it, you won't be able to restore it to its original quality). It's always a good idea to test-stitch any design before attempting to apply it to a garment, but doing a test stitch-out is essential for a re-sized design. That way, if there are problems with density or coverage, you have at least avoided ruining your garment.
When I want to stitch one of my designs in a different size, I always re-digitize it rather than enlarging or reducing the size of the stitch file; if I am sewing someone else's design I would be careful to purchase the design in the size I need. Although it costs a little more, it's always better to buy the design in the correct size(s) rather than to rely on enlarging or reducing it with your software.
Q:Why does the same color stitch more than once in a single design? Can't I use the color-sort function in my software to reduce the number of color changes?
A good digitizer will set the stitch order to allow for more effective placement of portions of the design. As an example, consider this design of a hand holding a baton; although there are only two thread colors in the design, it stitches in three stages, as shown in the exploded illustration: the bottom part of the hand, then the baton, then the remaining fingers.
Though I could have digitized the design to stitch in two steps, I don't think the quality would be as good. The design is more realistic when the fingers are stitched on top of the baton, giving the impression that they are closed over it, as they would be in reality.
In a design like this one, color-sorting would be a mistake and can actually ruin your stitch-out of a design.
The picture at far left shows the design color-sorted so that both hand segments stitch first, followed by the baton.
Unfortunately, the black connecting stitch nowruns over the fingers, ruining the stitch-out. Even if the connecting stitch were removed, the baton obscures part of the thumb and fingers.
Unless the design you're using has been carelessly or inexpertly digitized, most of the time you are better to leave the color sorting as-is.
If you're not sure, try viewing the stitching sequence in your embroidery software before attempting a color-sort. In most cases, you'll discover why the digitizer chose to order the colors as they are.
Q:Why are embroidery designs, and especially custom designs, often so expensive?
You've probably seen ads for digitizing software that suggest you can simply plug in your illustration and end up with a professional-looking design. This is just not the case. Auto-digitized designs are relatively quick to produce, but the quality is very low: in my experience they almost always need hours of tedious stitch-by-stitch correction before they will sew out even halfway satisfactorily. A manually digitized design produced by an experienced digitizer will sew out as it should, and even a beginning embroiderer can immediately see the difference. However, it takes years of practice to learn how to produce a good design, and many hours to digitize each one.
Given the time and expertise required for digitizing, the real question is why embroidery designs are actually so relatively cheap! Commercial companies depend on volume sales of their stock designs to offset the heavy investment in digitizing time; for the same reason, most do not accept custom custom work because it just doesn't pay them to spend hours digitizing something that is of interest to only one customer.
This leaves a niche in the market for small businesses or individuals who have the skill and who are willing to do custom work. They may set prices according to stitch count, color changes, design complexity, or time spent, or they may offer to do a custom job for a set price (anywhere from $35 to $50 per design). To get an idea of how much of a deal this is, think about the level of skill needed and the time it takes to actually produce a design (on average, 4-5 hours for a simple design, and as much as 18-24 hours for a complex design). When you multiply that by what you make per hour at your own job, you'll easily see what a bargain you're getting when you purchase a custom design. Considering the work involved and the skill required, this is actually a terrific bargain for a complex product that most embroiderers cannot produce for themselves.
Q:Do you have any plans to add ART format? Can I use your designs in a Bernina machine?
A:I'd love to be able to offer ART format, but unfortunately I don't have a program that will write it, since it is proprietary to Bernina and not available to developers of other software. I suppose this is because -- naturally enough, I guess -- they want to sell their own digitizing programs.
Depending on the model of Bernina machine you have, there may be a work-around for you. Apparently some of the Bernina machines can also read PES (and a few can read DST, PEC, PHC, or HUS). Embroidery Library has a helpful chart with this information; they are very reliable and their information is always up to date. Or try this site for similar information.
If you have an ART-only machine, Bernina does offer a free program called Artlink that allows you to save files to a special Bernina USB or disk for use in one of their machines. It won't convert and write to a hard drive, however, so unless you have a Bernina machine and special USB, you can't use it to create ART files, so it's not an option for me to offer ART on the site. One of my clients with a Bernina machine has used the Artlink program with success. Here's what she said: "You just download the software, install and then simply open the PES files in the software program…once you’re happy with choosing hoop etc, simply save as an .ART file, and write the design to a your Bernina USB stick. Plug into the embroidery machine and Bob’s your uncle!" The link I've given is the one my client used, since unless they have recently repaired it, the link on the Bernina USA site has a glitch in it.
I have also heard that Tajima has a converter program called Ambassador that will write ART files, but I don't know much about it. It's supposed to be a free download, but the last few times I checked, the link on their site was broken and I wasn't even able to access the download page.
I understand that the magic box for Bernina could convert other files to ART, but apparently the product has been discontinued and is no longer being supported by the manufacturer, so that's out as an option unless you can acquire one second-hand and connect it to an older computer.
Finally, one of my clients reported that she was able to take embroidery files to her dealer, who could convert them for her. This obviously wouldn't work if you have lots of files to be converted but might serve in a pinch if you need one or two done.
Q: I find the ordering process cumbersome; do you have plans for an online store?
A: I'd love to have an instant download set-up but unfortunately I haven't been able to figure out how to manage one with my web hosting platform, not yet anyway. Last year I spent the money on an on-line store feature, and three months of my time painstakingly adding designs, working many hours each day. After all that work, I had managed to list only a fraction of the designs when I discovered that my quota for products had been reached! (Nothing in the site host's information spells out the upper limit, which you only discover once you've reached it. You also can't scope out how the store functions until after you have purchased it . . . Grrr.) So for the time being I abandoned the idea of a store because there wasn't room to accommodate all of the designs I have posted, and even if there were, it would take me well over a year to get them all loaded up.
Given that this site is mainly a hobby for me and that it doesn't generate enough revenue even to pay for my Internet access, putting all of these designs in an on-line catalog, in several formats and three sizes, is an incredible amount of work. I am already spending a minimum of 30 hours a week on digitizing and updates, so I think my best option for now is to leave things as they are. I do check my e-mail several times a day every day and I fill orders as they come in. You will always receive your designs within 24 hours at the most, unless there is a problem with e-mail.