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Advanced Features

Maestro
This section will focus on how to work with the advance digitizing tools and features of
Maestro only.
At this point, you should be comfortable in the Tajima DGML Software environment and well-versed in all of the basic functions and
processes. You should have already attended the Basic Embroidery Training Class which covered Lettering and Editing as well as
Basic Digitizing. In addition, you should have spent time mastering those skills as digitizing will make use of many of the Lettering,
Editing and Basic Digitizing Functions. Therefore, the instructions and exercises in this chapter will be more condensed in regards
to step-by-step details. If you have questions or are unsure of a process, please feel free to ask the Instructor.

NOTE: The software is officially recognized as Tajima DGML by Pulse Microsystems. However, it may be referenced
in this manual as Tajima DGML by Pulse, Tajima DGML or DGML

Section 8.1 Vector


8.1.1 Vector File Import
8.1.2 Copying Vector Import
8.1.3 TrueType Font Import
8.1.4 Image Vectorizer
8.1.5 Shape Artwork Tools
8.1.6 Applying Stitch Types
Section 8.2 Draw Fusion
8.2.1 What is Draw Fusion?
8.2.2 Accessing Draw Fusion
8.2.3 Draw Fusion Settings
Section 8.3 Automatic Functions
8.3.1 Automatic Overlap
8.3.2 Auto Breakup
8.3.3 Auto Sequence
8.3.4 Auto Start/Stop
8.3.5 Auto Satin
Section 8.4 Fonts
8.4.1 Additional Fonts
8.4.2 Font Creator
8.4.3 True Type Font Converter
Section 8.5 Intricate Stitch Types
8.5.1 Wave Fill
8.5.2 Fireworks Run
8.5.3 Satin Swirl
8.5.4 Fractal Fill

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Section 8.6 Presets


8.6.1 What Are Presets?
8.6.2 Creating Presets
8.6.3 Using Presets
Section 8.7 Advanced Segment Settings
8.7.1 Push and Pull Compensation
8.7.2 Quality Control-Critical Zone

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Section 8.1 Vector


Vector art is object based artwork that can be manipulated and changed. Working with
vector art enables you to quickly create embroidery segments without having to trace or
redraw the elements of a design. It is much cleaner than bitmap type of artwork
because there are actual lines drawn to create the art rather than pixels.
8.1.1 Vector File Import
This is an extremely useful feature that will allow you to import artwork that has been
created in another drawing program, such as Adobe Illustrator or Corel Draw. The
vector file must be imported and cant be just opened or merged. The software will
allow you to assign stitches to the pre-existing outlines, therefore eliminating the need to
retrace the design. You will still need to be aware of quality embroidery, such as
overlapping, etc. You may also need to break an existing path into separate shapes in
order to apply stitches correctly. This can be done using the Slice tool.
Vector Formats Supported
When using the Import Vector file the following formats are supported:
CorelDraw (*.CDR type of file)

Supports CorelDraw Version 5 files.

Corel Presentation Exchange (*.CMX)

When exporting files in AI format from CorelDRAW, turn


off Simulate Complex Filled Curves for the file to output
correctly. Export files as AI Version 7.0.

Adobe Illustrator (*.AI)

File size is limited. Use files less than 2 MB in size.

Encapsulated PostScript (*.EPS)

Text is interpreted as Saved as Curves.


No support for embedded clipart, gradient fillings,
transparencies and compound path objects.
Support Adobe Illustrator up to and including Version
8.0 files. However, some color information may be
omitted in AI Version 8.0 files.

Enhanced Windows Metafile (*.EMF)

There is currently no text support. However, converting


text to curves is supported.

Windows Metafile (*.WMF)

There is no support for wide and non-standard pens,


embedded bitmaps, gradients, and new graphic
commands and parameters in Windows 2000.

Hewlett-Packard Graphics Language (HPGL)

Currently supports basic drawing (Pen Up/Down, Plot


Absolute/Relative), text (Label-LB, Symbol-SM) and
configuration commands (DF,IN,IP,SC). Please see any
HPGL Reference Manual for details.

AutoCAD (*.DXF)

Currently support the following DXF entities: point, line,


polyline, circle, arc, trace, curves, and solid. Text entries
are not supported.

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Importing Vector Files


Use the Import Artwork tool to load vector files as artwork segments. Importing is
different from loading a bitmap type of file. You are able to work with the segments and
dont have to punch on top of the image. You can use the Combine and Breakup tools
to join or separate the parts of the vector segment as needed.
Before you import a vector file, you may want each artwork segment color to be
assigned its own thread color. To do so, do the following:
Go to Tools, Configuration, and User Settings.
Left click on Import Artwork on the Left side of the Window.
In the Add to Palette when Importing Artwork area, select one of the following:
Never add to Palette Imported artwork segment colors will never be assigned
thread colors.
Always add to Palette Imported artwork segment colors will always be assigned
thread colors. The Ask if number of colors exceeds options are only available
when this setting is selected.
Ask if number of colors exceeds -When selected, you can enter a specific
number of colors in the box. If the number of colors in your imported artwork
segments exceeds the number of colors specified, a dialog box will appear
asking if you want to add these colors to the palette.
Click OK.
Removing the Fill Color:
After you import, you can remove the fill color from the artwork segment, leaving only
the outline of the vector artwork in place. To do so, do the following:
Select the segment or multiple segments that you want to remove the fill from.
Click the Remove Fill Color icon from the Artwork Tool Bar or the Artwork Drawer of the
Tool Cabinet.
Importing the Artwork:
In the Artwork toolbar or the Artwork drawer of the Tool Cabinet, click the Import
Artwork tool. You will see the Load Artwork box.
In the Look in list, select the directory folder where your file is located.

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If you are looking for a specific file format, you can change the Files of type to that
specific format. *If DXF is selected you will be prompted to choose the units of
measurement for the design. You can choose imperial or metric units.
Select your file and click Open.
Left-click to place the artwork on the design workspace. Each time you click you are
placing another copy of the artwork.
Enter to stop importing.
Training Exercise-Importing a vector file
1. Start a new file.
2. Select the Import Artwork Tool from the Artwork drawer of the
Tool Cabinet or from the Artwork Toolbar.
3. Change the Look In directory to Class Artwork, select Golf5
4. Point to the workspace, Left-click and then tap Enter on the
keyboard. This will place the vector artwork.
8.1.2 Copying Vector
You can now copy one or more vector objects from CorelDraw or Adobe Illustrator and
paste these objects into Tajima DG/ML by Pulse. Vector objects pasted into Pulse are
automatically converted into artwork segments.
To copy vector objects:
In CorelDRAW or Adobe Illustrator, select one or more vector objects you want to copy.
To copy the selected vector object(s), press Ctrl+C on your keyboard.
In Pulse, press Ctrl+V on your keyboard to paste the copied vector object(s). The color
and shape of objects will be preserved.
8.1.3 Importing TrueType fonts
Use the Import TrueType tool to import TrueType fonts as a variety of segment types.
You can edit artwork segments to create shapes that are appropriate for embroidery by
using the Slice tool. Satin Path segments require special consideration since angle
lines need to be assigned to individual segments. By selecting segment types other
than artwork, you can apply stitch types immediately. You can also use the Auto
Breakup command to slice a segment and add angle lines for Satin Path segments.

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To import a TrueType font:


In the Artwork toolbar or the Artwork drawer of the
Tool Cabinet, click the Import TrueType tool. You will
see the Text Entry dialog box.
In the Text box, enter the text for the design.
In the Segment Type list, choose the segment type. Art Segment, Run Segment,
Complex Fill Segment, Satin Path, etc.
To choose the style of font for your segment, click the
Fonts.button. Select your desired font and size. OK.
To complete the lettering, click OK.
Left-click to place the text artwork. Enter to complete
the segment.
8.1.4 Image Vectorizer
The Image Vectorizer is a wizard-based tool that helps convert Bitmap images into
Vector Artwork. It creates vectorized images which you can then easily convert the
artwork segments; you can then easily convert these into embroidery by selecting stitch
types.
To use the Image Vectorizer do the following:
Go to Tools, Image Vectorizer. The
Image Vectorizer Wizard window will pop
up.
Click on the Select Image box to browse
for the image that you want to turn into
vector art. When you have found the file,
select it and left click Open. You will be
back at the wizard screen, left click Next.
This will take you to the Image Vectorizer
Image Transformation options. You can
transform images by croping, rotating and resizing them.
In the Set new image size area you can enter a width or height to change the image
size proportionately. You can also change the way you are measuring the artwork in
the Units option from inches to millimeters or centimeters.
If you want to go back to the original size you started with, click Reset size.

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By clicking the Transform button you can Flip Horizontally, Flip Vertically, Rotate 90
degrees clockwise or counter clockwise as well as rotate 180 degrees. To crop the
image you will adjust the frame that surrounds the image with the boxes in each corner
or on each side. To restore the original image, press the Select All button. Click Next.
The Image Vectorizer Color Reduction
box will appear. You can reduce or add
the number of colors that you are going
to generate. To delete a color, select the
color you want to eliminate and left click
on the Delete button.
You can preview the change by selecting
the Show Preview button. To get out of
the preview, press the Show Preview
button again.
To add colors zoom in with the zoom tool, select the dropper tool and in the select
colors area, click on new colors to include in the color palette. You see each new color
appear in the color palette. Click Next.
The Image Vectorizer Vectorize window will appear. You can adjust color tolerance
by adjusting the slider. Click Update Outlines to update the outlines on the image when
you change the tolerance.
You also have the ability to include the background color in the resulting design file. To
do so, check the box Generate artwork for background color to create an additional
artwork segment for the background color. To change the background color, click on
the image and the color will show in the box beside the instruction.
Click Finish to view the design file in the active design window. To view the vector art
without the bitmap behind it, go to Image, Show. Repeat this step to bring the image
back.
8.1.5 Shape Artwork
Shape Artwork tools give you the options for editing artwork
segments. They can be applied whenever two or more
overlapping segments are selected. You can choose the
Unite, Exclude, Intersect or Clip tools to edit your artwork.
The Shape artwork tools can be accessed by the Artwork Tool
Bar, the Artwork Drawer of the Tool Cabinet or by selecting
the pieces you want to work with, Right Click and then choose
Shape, Shape Artwork from the menu. You will see the
Shape Artwork Dialog box.
Unite
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The Untie tool merges all selected artwork into one segment. The shape of the new
segment combines all of the segments selected. All overlapping areas will be removed
from the new segment. If one or more of the selected segments are overlapping and
contain a hole, the holes will be united together. For example you can use this function
if you want to create a Steil or a Run border around a number of overlapping segments.
Instead of manually digitizing the border, you can use the Unite tool to create a new
segment that will outline the selected segments.

BEFORE

AFTER

Exclude
When you use the Exclude tool, all overlapped areas of selected segments are deleted
and the remaining areas are preserved. The artwork segments remain separate.

BEFORE

AFTER

The center piece has been moved to show how the Exclude tool completely eliminated
the sections that were overlapping into the circle.
Intersect
The Intersect tool preserves the overlapped area of selected artwork segments and
deletes the remaining areas. The overlap area is now one segment. In order for the
Intersect tool to work, all of the selected segments must overlap in the same area.

BEFORE

AFTER

Clip Tool

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The selected segments remain separate after you use the Clip tool. This tool will delete
any outline of a segment that is behind in the layering. For example if the first segment
is behind the second segment in the sequence, any area of the first segment that lies
underneath the second segment will be removed from the first segment. The Clip tool is
useful if you have objects overlapping each other and you want to remove extra
stitching already covered by the top layer.

BEFORE

AFTER

The sequence is very important with this tool. The Yellow Circle was the last piece in
this sequence which created the trims of each petal on the flower.
Allowing Overlap in Shape Artwork:
The overlap distance is a new setting for Shape Artwork, applying exclusively to the Clip
Tool. When clipping two artwork shapes, it is sometimes desirable to have the two
shapes overlap along the line where they come into contact. This way there will be
some overlapping stitches generated when artwork is converted (to a fill segment, for
example).
An option on the Shape Artwork dialog box allows you to retain some overlap when
clipping combined shapes. Simply type a value in the box to determine the amount of
overlap that will be left between the two shapes after clipping.
To access this option, select the pieces that you want to clip. Right click and select
Shape, Shape Artwork to bring up the dialog box. You will see at the bottom of the box
the option for overlap distance.
Enter in the value that you wish to remain after the clip. Then left click on Clip.

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Connecting Multiple Artwork Segments:


The Connect Shapes tool allows you to automatically connect multiple artwork
segments together and form a smaller number of connected segments. Artwork
segments can be processed in different ways using the Connect Shapes tool. You can
join all selected artwork segments into a single segment. Closed segments will be
skipped when connecting shapes together. Open segments will be sequenced to
minimize the distance from one path to another when segments are joined from end-toend. During this process, a path will not connect directly to itself. You can also select
Close Shapes from the Connect Shapes dialog box and create one or more closed
shapes from all selected artwork segments. (If you use the Connect Shapes tool on
non-artwork segments, the segments will be converted into artwork segments).
To connect multiple artwork
segments.
Select the artwork segments you want
connected together.
Click on the Connect Shapes tool in the
Artwork Tools or you can press Ctrl+C.
You can also go to Segment from the
Menu Ribbon at the top of the screen
and select Auto, Connect Shapes. The
Connect Shapes dialog box
will appear.
To join open segments and
skip all closed segments
when connecting shapes,

click OK.

To join open segments and create a continuous closed path, check the Close Shapes
box and click OK.
To sequence the segments without combining them into a single segment, deselect the
Combine Shapes option and click ok.
When the Combine Shapes box is unchecked, you will see that two other options
become available.
You can check the Preserve Colors box to have the segments retain their identity and
the original color. If the segments you are connecting are of different stitch types, you
can check the Preserve Segment Types button to maintain each as its own individual
type after they have been connected.

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Removing Overlapped Artwork segments:


It is easier to work with imported artwork that has many overlapping vector objects. You
can easily remove the underneath portion of two or more overlapping artwork segments.
This only works for Filled artwork segments.
To remove overlapped artwork, select one or more filled artwork segments.
Right-click and select Shape, Remove Overlapped Artwork from the menu. The
overlapped portions of selected artwork will be removed accordingly.

The illustration shows how removing the overlapped portion of the green on the black
solid piece has cut a piece into the black where the remove overlaps was selected, yet
the bottom green piece that was not selected still has the solid black behind where it
goes.
8.1.6 Applying Stitch Types
When you use the Artwork tools to create segments or you import
Vector Art segments, you must apply a stitch type to the segment
because artwork segments contain no stitch information/properties.
Where as when you create segments using the digitizing tools such
as the complex fill tool or the satin path tool, they have stitch types
assigned to them.
To apply Stitch types:
Select the artwork segment.
Do one of the following:
.
Click the Convert button from the ribbon
Right-click and choose Covert Segment To from the shortcut
menu.
Press the = (equal) key on the keyboard.
Choose the stitch type you want to apply to the segment. When converting a colored
art segment to a stitch segment, the stitch segment retains the same color as the
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artwork segment. A color change is added if the color is different from the previous
segment.
Adding multiple stitch types to segments:
You can add multiple stitch types to one segment. For example you can have a
complex fill with a steil border around it. By combining the complex fill and steil in the
same segment, you save time because you do not have to create two separate
segments. In the sequence view it will show up as a Multiple type of segment.
To add a stitch type:
Select the segment. Be sure that the segment already has some type of stitch type
applied to it and that it is not an art segment.
Right click and choose Properties from the
shortcut menu. You will see the stitch type
dialog box.
Left-click on Add stitch typeand choose the
secondary type of stitch that you want in regard
to the segment selected. You can repeat this
step if desired.
If you want to adjust the properties for the new stitch type, left-click on Properties.
Stitch lengths, densities, thread color, etc. can be adjusted this way.
The sequence of the stitch types can also be adjusted by left-clicking on the Move
earlier or Move later buttons.
Left-click Done.
To delete a stitch type:
Select the stitch type of segment.
Right-click and choose Properties from the shortcut menu. Again you will see the stitch
type dialog box.
Left-click on the specific stitch type that you want to eliminate and then left-click on
Delete. Left-click Done.
You can also separate the stitch types by selecting the Breakup tool from the Artwork
tools.

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Section 8.2 Draw Fusion


This section will explain how integrating vector art and Corel Draw a vector art
program with the Tajima DG/ML by Pulse software can be both quick and easy.
8.2.1 What is Draw Fusion?
If you own CorelDRAW 12 or 13 software, you can now combine the drawing
capabilities of CorelDraw with the stitch generation of Tajima DG/ML by Pulse in the
same window. The Draw Fusion feature converts partial or entire artwork designs to
stitches in one step by assigning stitch types and stitch directions automatically. Draw
Fusion tools allow you to edit artwork and embroidery segments within Tajima DG/ML
by Pulse. All changes made in Tajima DG/ML by Pulse will appear in Draw Fusion and
vice versa.
8.2.2 Accessing Draw Fusion
Draw Fusion is accessed by activating the Draw Fusion Tool

in the artwork tools.

8.2.3 Draw Fusion Settings


To access the settings for Draw Fusion you need to do the following:
Choose Tools, Configuration, and User Settings
Choose the Draw Fusion property page from the Menus at the left of the screen.

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When adding artwork from Draw Fusion:


Convert everything to artwork: When this is checked no stitches will be created,
but instead everything will be converted to artwork segments.
Convert fill shapes to: With this selection you have a choice of the following:
Artwork. Filled shapes automatically become Artwork segments.
Complex Fill. Filled shapes automatically become Complex Fill segments.
Satin Path. Auto-breakup is performed on filled shapes to improve the quality
of segments during conversion. Filled shapes automatically become Satin
Path segments.
Satin Path or Complex Fill. Filled shapes automatically become Satin Path or
Complex Fill segments. The software chooses the best option for segment
type based on the vector shape.
Convert outline shapes to: With this selection you have a choice of the following:
(shapes with only an outline and no fill color)
Artwork. Outline shapes automatically become artwork segments.
Run. Outline shapes x automatically become run segments.
Convert thick outline shapes to: With this selection you have a choice of the
following: (You must now define the thick border)
Artwork. Outline shapes with a thick border automatically become artwork
segments.
Steil. Outline shapes with a thick border become steil segments.
Appliqu. Outline shapes with a thick border automatically become appliqu
segments.
Treat outline as thick when thickness is more than: There is a list of thicknesses
under this selection. Select a thickness value, this thickness value determines when
the outline shapes are defined as thick.
Transaction Options
From Draw Fusion:
Selection Only: When selected this setting is activated. Only the changes made to
the objects which are selected will be applied when switching back to the Tajima
window from the Draw Fusion window. When this setting is unselected, changes will
be made to the entire design.
Re-Synchronize: (Only available when Selection Only is not selected). All the
segments in the Tajima window will be replaced with objects from the Draw Fusion
window. Segment types will change according to the settings in the When adding
artwork from Draw Fusion
To Draw Fusion:
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Refresh Draw Fusion: All objects in the Draw Fusion window are removed and
replaced with objects matching the segments in the Tajima window. When this is
not selected, no changes will be made to the Draw Fusion window.
Show this during transactions: When this is selected, the settings window will
appear each time a switch is performed.
Training Exercise 1
1. Start a new file. Select a recipe if so desired. (The computer system you are
working on must have CorelDraw 12 or 13 installed on it)
2. From the Artwork toolbar, select the Activate Draw Fusion Tool. (You can have only
one design window open to use the Draw Fusion function.)

Notice that the design window has been split. When you are highlighted on the Draw Fusion window you
are working as though you were in CorelDRAW. When you are highlighted on the Tajima DG/ML by
Pulse window you are working as though you were in Pulse. It is most helpful if you are already versed in
Corel as that is a separate product which is not covered in this training.

3.
4.
5.
6.
7.

Left click on the Corel side of the windows.


Go to File and select Import. From the Class Artwork file, import the Sailboat.ai file.
Resize the design to 3.5 inches high.
Go to Arrange and select Ungroup.
The following should be fixed before switching:
a. Select the inside and outside border lines of the sun, Tap Ctrl+L to combine.
b. Select the inside and outside border lines of the small sail, tap Ctrl+L to combine.
c. Choose all lines that make up the outside border of the large sail, Ctrl+L to
combine.
8. Select the entire design (Ctrl+A)
9. Go to File, Switch.
10. Fill objects should be Complex Fills or Satins.
11. On the Pulse side of the window, resequence and edit the pieces as needed. For
example:
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a. Insert run stitches between the yellow rays of the sun.


b. Branch (Ctrl+L) for the orange rays and band around the sun.
c. Change the large outside sail border to a satin path, slice and add angle lines.
d. Change the pink sails from a satin pattern to a complex fill pattern.
e. Be sure to check all of the starting and stopping points and move them to the
closest point if needed.
Select the settings to your preference and click OK. You will now have a design in the
Pulse window. If you choose to edit the design in the Pulse window and you want to
reflect the changes you made into the Corel window, be sure to select all the pieces and
select Activate Draw Fusion again. This will perform the changes on the vector image.
Training Exercise 2
1. Start a new file. Select a recipe if so desired. (The computer system you are
working on must have CorelDraw 12 or 13 installed on it)
2. From the Artwork toolbar, select the Activate Draw Fusion Tool. (You can have only
one design window open to use the Draw Fusion function.)

Notice that the design window has been split. When you are highlighted on the Draw Fusion window
you are working as though you were in CorelDRAW. When you are highlighted on the Tajima DG/ML
by Pulse window you are working as though you were in Pulse. It is most helpful if you are already
versed in Corel as that is a separate product which is not covered in this training.

3.
4.
5.
6.
7.

Left click on the Corel side of the windows.


Go to File and select Import. From the Class Artwork file, import the Sailboat.ai file.
Resize the design to 3.5 inches high.
Go to Arrange and select Ungroup.
The following should be fixed before switching:
f. Select the inside and outside border lines of the sun, Tap Ctrl+L to combine.
g. Select the inside and outside border lines of the small sail, tap Ctrl+L to
combine.

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h. Choose all lines that make up the outside border of the large sail, Ctrl+L to
combine.
12. Select the inside portion of the sun.
13. Go to File, Switch. Change Convert Fill Shapes to: to Complex Fill.
14. Select the wavy rays of the sun.
15. Go to File, Switch. Change Convert Fill Shapes to: to Satin Path.
16. Continue on with each portion of the design as you wish to create the pieces.
If you select more than one piece it will convert all the pieces you have selected at one
time but will put the pieces in a random sequence so be sure to double check the
sequence. To avoid this you can select each piece one at a time and convert them
individually which will create the sequence as you go.

Section 8.3 Automatic Functions


This section will explain the automatic functions that are available at the Maestro level
of the software. These functions take the tedious manual steps out of the digitizing
process.
8.3.1 Automatic Overlap
This function determines how branched or combined satin segments are joined. Its
now possible for you to set these segments to have a certain amount of overlap, which
is generated automatically by the software. This function is found on the Quality Control
tab and is not selected as a default.

When checked, the Overlap distance value can be entered therefore creating an
automatic amount of segment that is overlapped.

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BEFORE

AFTER

Notice on the After example the rays of the sun are overlapping into the ring around the
sun.
8.3.2 Auto Breakup
The auto-breakup function is a quick way to create the separate pieces of a complex
shape so that it can be functional as a satin type of segment. For example when
importing TrueType fonts, before the lettering can be seen as satin stitches the columns
must be separated. The Auto-Breakup function will break apart the shape and add
angle lines so that when generated the satin stitches are in place.
To use the auto-breakup function:
From the Artwork tools, left-click on Import True Type Font.
Choose Comic Sans at a size of 72
Choose Satin Path for the Segment
Type
Type in the word GREAT.
Left-click and then tap the enter key to place the artwork on the screen.
The lettering will appear on the workspace with
starting and stopping beads but the pieces are
not separated so the stitches dont work properly.
Right Click and choose Auto, Breakup. Auto
Breakup slices and adds angle lines to any Satin
Path in one step. Refresh with G.
8.3.3 Auto Sequence
You can set the sewing sequence for
segments in one step. The Auto
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Sequence command takes the segments you select and, depending on the settings you
choose, determines the sequence order, trims, stops and starts, and lock stitches for
the segments.
To use the Auto-Sequence:
Select all the letters, right-click and choose Auto, Sequence. The Auto-Sequence
dialog box will appear.
In the Sequencing order box, choose between the following:
None-This will not change the sewing sequence of the segments selected.
Minimize jump-This will change the sewing sequence of the segments based on
the distance they are from each other. Re-sequencing the segments so that they
are sewing in the order that is closest to each other.
Minimize color change-This will change the sewing sequence of the segments
based on their color keeping the sequence so that the same colors sew together.
In the Start/Stop box you have the option by checking the box to move the starting and
stopping beads so that they are in conjunction with each other. This will prevent a lot of
jumping around for the machine.
In the Trim box, choose from the following:
Never-No trims will automatically be added to the segments.
Always-Trims will be added at the stop/end point of every segment.
Trim at-Trims will only be added based on the value that is put on this option.
For example if the value is set to 3.0 mm than if the distance between the
segments is 3.0 mm or more a trim will be added. If the distance is less than 3.0
mm than no trim will be added.
In the Lock stitch box, choose from the following:
Never-No lock stitches will be automatically added to the segments.
Always-Lock stitches will be added to the stop/end point of every segment.
Around trim-Lock stitches will only be added when a trim command is on the
segment.
Type-Choose from Basic or Line.
Click OK to finish.
8.3.4 Auto Start/Stop
The Auto-Start/Stop function allows you to move the starting and stopping points of
each of your segments so that they are sewing at the closest point. This function allows
you to set them without going through the Auto-Sequence functions.
To use the Auto Start/Stop:

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Select the segments.


Right-click and choose Auto, Start/Stop.
8.3.5 Auto Satin
Use the Auto Satin tool to automate the process of creating Satin segments. This will
take two separate pieces and combine them, convert them to satins segments and add
the angle lines.
To use the Auto-Satin tool:
Select two separate art segments. One segment must be contained within the other.
Right-click and choose Auto, Satin. The segment will be broken where necessary and
the satin stitches automatically generated.

Section 8.4 Fonts


This section will reveal the list of additional fonts that are included only on the Maestro
level of the software as well as how to use the Font Creator and TrueType Font
Converter functions.
8.4.1 Additional Fonts
The Maestro level of the software includes an additional font package.
Symphony II Font Pack
Bellbottoms
Beverly
Caveman

Chariot
Josephine
Judo Kick

Nottingham
Olde Manor
Rebecca

Saloon
Serpentine
Shadow Block

Shining Star
Teacher
Varsity

The Symphony II Font Pack is part of the Maestro package. It is not yet available for individual purchase.

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8.4.2 Font Creator


Font Creator allows you to create custom embroidery keyboard type fonts. Each
individual letter must first be digitized in the Pulse software. Then the Font Creator is
used to name and save the entire new font. You can categorize two-color fonts,
monogram fonts as well as designs. The fonts are not limited to a single-color standard
alphabet with symbols.
When you create the font you can also use the first or the last segment of the font as
the extent which gives you better control of how the letters fit together. This is useful for
Script and Italic fonts. Each letter created using this option must have an extra
artwork segment that is the first or last segment in the sequence of the letter. That
segment is what would represent the border of the font. When you create lettering in a
design and use fonts with the first segment, the extra segment will be removed.
You can also have multiple POF or PXF files for a single character (used for right to left
sewing sequence) and you can Mass load POF or PXF files. The PXF files can be used
with recent versions of Tajima DG/ML by Pulse but cant be used with Version 9 or
lower. The POF files, however, if used when creating the font can be used in Version 9.
To create a custom font:
Digitize all the individual letters, symbols and designs and save them to a folder. (The
default folder is: Documents and Settings\All Users\Application Data\Tajima\DGML by Pulse\Designs).

Go to Tools, Font Creator. You will see the Font Creator dialog box.
Click on the New Font File button to create a new font file.
new font file name dialog box.

You will see the Enter

Select the Fonts folder (Documents and Settings\All Users\Application Data\Tajima\DGML by


Pulse\Designs) to save the fonts.
In the file name box, enter the name that you want to call the font. Click Save. You will
see the Font properties dialog box.

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In the Font Name type in the name of your font again.


In the Version box type the version number of this font that you are creating.
In the Font Space box type in 3. This represents 1/10th of the width of the letter you
select as a reference letter. The reference letter is usually the letter that is widest in the
characters you are creating.
For the type, left click on the drop down arrow to see that you have the choice between:
Normal
Design
Two Color
3 Letter Monogram.
In the Author box type your name.
The Spacebar size refers to the amount of spacing that will be entered when a tap of
the spacebar is inserted. Type 5. This also represents 1/10th of the width of the letter
you select as a reference letter. OK.
Check the box next to Use segments for extents. Once this option is enabled, choose
one of the following:
First: The first segment in each letter is used as the extent.
Last: The last segment in each letter is used as the extent.
Check the box for v9 compatible if the font you are creating will be used with the Pulse
Version 9 software.
Contains Outlines is checked to include an outline border on the individual letters and/or
symbol in the custom font. You do this by including either a run or Steil stitch outline in
the digitized letter or symbol.
Click OK.
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Next, the Pick Reference letter box will come up. This is the widest character in the
letters or designs you digitized for this font.
Left click on the character file you digitized and click Open.
Left click on the
Click on the

Save button.
Add Letters button to add additional letters to your font.

You will have a choice of the following:


Upper letters-The sewing sequence results will be from left to right. Letters are
like regular letters but all Upper Case.
Upper Letters-Right- The sewing sequence results will be from right to left.
Letters are like regular letters but all Upper case.
Lower Letters The sewing sequence results will be from left to right. Letters
are like regular letters but all lower case.
Lower Letters-Right- The sewing sequence results will be from right to left.
Letters are like regular letters but all lower case.
After the above is selected, you will see the Add dialog box.
Select the upper letters you digitized by left clicking on each one while holding the Shift
key on the keyboard.
Left click on the Open button. A Font Creator box will open telling you the number of
letters that were added. Be sure to include the reference letter when you load the
letters. Left click ok.
You can scroll forward or backwards through the letters you added by left clicking on the
right or left blue arrows.

As you are scrolling, you can adjust the position or

This is helpful if
placement of the letter by clicking on the adjustment arrows.
youve loaded the letter p or the letter q so that you can adjust how it sits on the
baseline.
Left click on the X to close out of the font creator window. The above steps should be
repeated for the lower case letters.
When completed, start a new file and left click on the Font drop down arrow to find your
new font in the list.

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8.4.3 True Type Font Converter


The True Type Font Converter tool allows you to convert TrueType Fonts into
embroidery font files that can be used with the Tajima DG/ML by Pulse lettering tools.
To use the True Type Font converter:
From the Tools Menu, Select TTF Converter. The Create or Open dialog box will
appear.

Select Create a new font and click ok. The font properties dialog box will appear.

In the Font Name type in the name of your font again.


In the Version box type the version number of this font that you are creating.
In the Font Space box type in 3. This represents 1/10th of the width of the letter you
select as a reference letter. The reference letter is usually the letter that is widest in the
characters you are creating.
For the type, left click on the drop down arrow to see that you have the choice between:
Normal
Design
Two Color
3 Letter Monogram.
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In the Author box type your name.


The Spacebar size refers to the amount of spacing that will be entered when a tap of
the spacebar is inserted. Type 5. This also represents 1/10th of the width of the letter
you select as a reference letter. OK.
Check the box next to Use segments for extents. Once this option is enabled, choose
one of the following:
First: The first segment in each letter is used as the extent.
Last: The last segment in each letter is used as the extent.
Check the box for v9 compatible if the font you are creating will be used with the Pulse
Version 9 software.
Contains Outlines is checked to include an outline border on the individual letters and/or
symbol in the custom font. You do this by including either a run or Steil stitch outline in
the digitized letter or symbol.
Left Click OK.
To add characters, click on the A icon
Wizard.

. This will bring up the Character Generation

Left click Next.


Select the font you wish to convert. If you are
looking for certain characters, type these in
where it says sample text.
Click Next.
Select the characters you wish to include in
your font.
To select an individual character, click the
character.
To select multiple characters, press Ctrl on your keyboard while selecting the
characters you want to generate.
To select a range of characters, click the first character in the range. Press Shift on
the keyboard while selecting the last character in the group you want to select.
To select all characters, click Select All.
To erase your character selection, click Clear All.

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Check the options you wish the software to do automatically for you.
Create Embroidery Segments: Generates stitches for display in the font window.
This allows you to see the design as 2-D or 3-D stitches.
Include Artwork: Includes an artwork segment with the embroidery character.
This segment is identical to the TTF Character.
Create Extents Box: Creates a box representing the extents of the character.
Select this option if you plan to use the Use segments for extents feature from
the Font Properties dialog box.
Click Finish to generate the font characters. The software will auto digitize the font for
you and assign keyboard characters to each letter, number and symbol you selected.
You will see a preview of your whole font.
To edit a character, double click on it and you will be brought into the letter editor.
Make the necessary corrections and save the letter by going to File, Save.
Exit the letter editor by going to File, Exit.
Save the font making sure to name it the same name that you gave it when you created
the Font Properties. If the same name is not selected the font will not show up on your
text tool choices.

Section 8.5 Intricate Stitch Types


8.5.1 Wave Fill
The wave fill stitch type lets you apply wave stitches to complex fill segments. Wave
stitches follow the contour to the curves you create. Waves are useful to demonstrate
motion. For example this pattern type is useful for embroidering rippling water, waving
flags or simply for decorative effects. The wave pattern can be created using one or
two waves.
To create a single wave:
Start by selecting the Complex Fill tool. From the Properties ribbon at the top of the
workspace, change the Fill Type to Wave.
Go into the properties through the black arrow, and click on the Wave Property page.
In the wave number box, enter 1. The default stitch length is 4.0 mm. Click ok.
Digitize the shape that you want the wave fill to represent on the active workspace (H to
close if desired) and enter to complete the segment.
Set the Start and Stop points.
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Now, to create the wave, punch a Bezier curve to represent how the stitches will travel
through the shape. (the curve you draw should be open without overlapping).
Tap enter to complete the wave.
To add a Wave to existing complex fills:
Select the existing complex fill.
On the properties ribbon at the top of the workspace, change the Fill type from Standard
to Wave.
Left click the properties/segment settings arrow, click the Wave property page.
In the Wave Number box, enter 1. Click OK.
Create the wave by drawing a Bezier curve to represent how the stitches will travel
through the shape. (remember, the curve you draw must be open without overlapping).
To create a Wave with two wave patterns:
Select the Complex Fill tool. From the Properties ribbon at the top of the workspace,
change the Fill Type to Wave.
Go into the properties through the black arrow, and click on the Wave Property page.
In the wave number box, enter 2. The default stitch length is 4.0 mm. Click ok.
Digitize the shape that you want the wave fill to represent on the active workspace (H to
close if desired) and enter to complete the segment.
Set the Start and Stop points.
Now, to create the wave, punch a Bezier curve to represent how the stitches will travel
through the shape. (the curve you draw should be open without overlapping).
Tap the T key on the keyboard which will enable you to create a second line above or
below the first wave line and tap enter to complete the second wave.
Shift + G to generate both of the wave lines.
The stitches above the first wave will reflect the top line and the stitches below the
second wave line will reflect the second wave.

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Wave Stitch Effects


On the wave property page you can select the graduated stitch length profile settings to
vary the length of the wave stitches throughout the segment. You can use graduated
stitch length profile settings to create special effects in your embroidery designs. You
use the graduated stitch length profile settings to vary the stitch length and minimum
stitch length values to achieve a special look. The stitch length and minimum stitch
length values are displayed and can be changed in the segment settings.
Applying stitch effects to waves:
Select the wave fill you have created and click on the properties/segment settings
arrow.
Select the Wave tab to access the settings for the wave.
In the Min. Stitch Length box, enter the minimum stitch length required for the wave
stitches you have punched. Be mindful that the programmed fills have specific stitch lengths that
work best for that fill pattern.

In the Graduated Stitch Length Profile box, select how to vary your wave stitches:
None-The length of the run stitches will be consistent throughout the path.
Liner Increasing- The stitch length will start at the value defined in the Min. stitch
length box and will increase to the value defined by the stitch length box on the run
property page.
Liner Decreasing- The stitch length will start at the defined value defined in the
stitch length box and decreases into the value defined in the Min. stitch length box.
Convex- The convex setting will produce a run stitch where the stitch length is
longest at the middle of the path and shortest at the ends.
Concave- The concave setting will produce a run stitch where the stitch length is
shortest in the middle and longest at the ends.
Click OK.
Editing the waves:
Select the complex fill segment that contains the wave.
Right click and select Wave, and Punch.
Left click and drag the new wave line, tap enter to complete.
8.5.2 Fireworks Run
Decorative effects such as the Fireworks Run can be created using Programmed Run
stitches. In the Run property page, you can select a Stitch Length Profile that will vary
the length of the Run stitch throughout the segment. Therefore, normal Run or

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Programmed Run stitch segments can have varied stitch lengths throughout one
segment.
Creating a Fireworks Run:
Select the Run tool.
Change the Run Style from Run to Programmed.
Change the Pattern from Line to one of the patterns on the list.
From the segment settings, click the Run property page. In the Stitch Length Profile
box, select how to you want to vary your run. The Linear Increasing would be used to
create the Fireworks effect.
Linear Increasing: Gradually increases the stitch length in a selected segment
from the minimum stitch length to the stitch length value.

Linear Decreasing: Gradually decreases the stitch length in a selected segment


from the stitch length to the minimum stitch length value.

Convex: Starts gradually increasing the stitch length in a selected segment from
the minimum stitch length to the stitch length value. Then, begins gradually
decreasing the stitch length from the stitch length to the minimum stitch length
value at the center of the selected segment.

Concave: Starts gradually decreasing the stitch length in a selected segment


from the stitch length to the minimum stitch length value. Then, begins gradually
increasing the stitch length from the minimum stitch length to the stitch length
value at the center of the selected segment.

8.5.3 Satin Swirl


You can create a swirl like effect by using the Satin Swirl option. This option can be
used only with a satin type of segment. You have the option of crating a swirl effect or
even a dual swirl effect. This will give your satin stitches a new and unique effect.
To create a Satin Swirl:
Select the Satin Path tool.
Click on the Stitch Type arrow and change it from Standard to Swirl.
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Create the shape that you would like to apply the satin swirl effect to. Set the starting
point, stopping point and angle lines as usual, enter to complete. If the stitches dont
generate, tap the G key to generate the segment.
You will now see the satin swirl effect.

The density can be changed or adjusted to create more swirls or swirls that are closer
together. This will be dependent on the size and shape of your object.
Try changing from Swirl to Dual Swirl for an entirely different effect.

Adjusting the Satin Swirl:


After the segments are created and the Satin Swirl effect has been applied. Go into the
segment settings properties page and click the Satin property page.
To adjust the satin swirl settings, change one or more of the following:

In the Swirl Density box, enter a density value for the swirls. This setting
should be adjusted according to the size of the shape. The default value is 57.7 spi.
Select Auto Swirl Compression to enable this setting and allow swirl
compression to be handled automatically by the software. Only when this
setting is disabled (unselected) the swirl compression box will become active.
In the Swirl Compression box, enter a value to control the compression of
swirls. The allowed values are from 0 to 100.

Click ok when done.

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8.5.4 Fractal Fill


The fractal fill effect (also known as the vermicelli stitch) generates a random pattern of
run stitches within a complex fill segment. The effect is a good way to fill a segment
while keeping the stitch count low.
Creating a Fractal Fill:
Select the Complex Fill tool.
Change the fill type from Standard to Fractal Fill.
Create the shape you wish to have the fill applied to.
Fractal Fill Settings:
You can adjust the stitch density, stitch
length, maximum run cord gap and degree
of randomness of your fractal fill from the
segment settings property pages.
Select the segment that has had the fractal
fill stitch type applied to it. Select the
Segment settings arrow and click on the
Fractal Fill properties page.
Density: Enter the density value for
your fill stitches. When working in
inches or millimeters, lower numbers
increase the amount of density causing
the fill to be closer together and higher
numbers decrease the amount of
density causing the fill to be more open
a farther apart.
Stitch Length: In the stitch length box enter the stitch length that you want the
running stitch to be which makes up the fractal fill. Lower stitch lengths will tack
down tighter, however this will also increase the amount of overall stitches in the
design.
Cord Gap: The cord gap is a gap between the path a traveling run stitch is following
and the actual stitches when traveling around a curve. A large cord gap can cause
stitches to stitch outside of the top stitching. This setting adds additional stitches to
smooth curves and reduces stitches outside the curves.
Min. Stitch Length: This is the value that will represent the short stitches that are
created when using the cord gap.
Random Factor: The random factor is a property which changes how often the
direction of the run stitch changes in the fractal fill. The degree of randomness
varies as a percentage, with a low percentage corresponding to relatively few
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changes in the sewing direction and a large percentage corresponding to many


changes in the direction of the run stitch.

90% Random

20% Random

Section 8.6 Presets


8.6.1 What are presets?
Presets are much the same as using Recipes or Styles when you start a new design.
The difference is that you can create specific settings to the digitizing tool that you are
using. For example you can create a preset on the Satin Path tool that has a lower
density for digitizing a zig-zag effect rather than a satin type of effect. You can create
different presets on the Run tool where you create a stitch length of 3.0 mm for traveling
under segments but then a separate preset that has a stitch length of 2.0 mm for
creating outline or details to a design. A preset can be created for a specific
programmed run that needs to have a particular stitch length assigned to it.
8.6.2 Creating Presets
The presets are created using the Preset Manager. The Preset Manager is accessed
by going to Tools, Presets.
Before you can begin assigning and applying presets to the punching/digitizing tools,
you must create styles for each tool you plan to use. For example, you can create 3
different presets for the Run tool: Bean 2mm, Double 3mm, and Programmed Run.
Once you create presets, you can assign them to be used in the current design. If you
do not assign presets to a design, you will not be
able to activate a preset for a tool.

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Creating a Fireworks Run Preset:


Go to Tools and select Presets.
Left click on Create New. You will see a new Presets dialog box appear.
In the Name Box, enter Fireworks Run.
In the Description area, enter the description of this Fireworks run, such as
Programmed run using the #213 Style.
In the Available Stitch Types list, select the stitch type or types you want to use for your
new preset. In this case select the Run.
In the Hot Key box, enter the hot key you want to use for your preset. (Keyboard
shortcut)
Click Select. You will see the segment settings dialog box appear with settings related
to the selected stitch types.
Enter in the specific settings for your preset.
RUN:
Run Style: Programmed
Drop Run Stitch: At Anchor
Stitch Length: 12.0 mm
Stitch Length Profile: Linear Increasing
Min. Stitch Length: 4.0 mm
PROGRAMMED FILL:
Programmed Fill Pattern: 213
Click OK. You will see a summary of your entered settings appear in the Preset
Summary area. If you need to edit the settings, click on Select again.
Click Save.
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Left Click in the box to the left of Run to activate the preset.
Click OK to close.
8.6.3 Using Presets
You can apply presets in various ways: prior to digitizing a new segment, while
converting lettering to a segment, while converting a segment to other stitch types and
using hotkeys. Knowing how to apply presets while converting a segment to other stitch
types is especially useful when you import Adobe (*.AI) files or draw art segments; you
can automatically apply a preset right after selecting the stitch type.
When you select a preset for a tool, you will override the global recipe used in the
design and the preset will remain in the design. If you want to restore the original styles
for a tool, you can choose to apply No Presets.
To apply presets before digitizing:
When selecting the tool that you will be digitizing with, rather than left clicking like
normal, right click on the tool. You will see a shortcut menu appear.
Choose the name of the preset you want to use from the menu. The settings for your
preset are visible on the ribbon and the segment will take on the settings you defined for
that preset.
Create your segment.
To apply No Preset before digitizing:
When selecting the tool that you will be digitizing with, rather than left clicking like
normal, right click on the tool. You will see a shortcut menu appear.
Choose No Preset from the menu. The original system default settings will now be
applied.
Create your segment.
To apply presets while converting a segment to other stitch types:
Select the segment.
Click Convert on the ribbon.
Select the stitch type and then the preset available for that stitch type.

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Section 8.7 Advanced Segment Settings


8.7.1 Push and Pull Compensation
You should already be versed in the effects of thread on the fabric creating the pull in on
the columns and the use of pull compensation to counter this effect on the embroidery.
As stitches are sewn, the tension from the thread on the machine can move the stitches
towards the ends of the columns therefore creating a push type of effect at the end of
the column. The Push-Comp feature creates an adjustment to the column so that the
stitches are automatically removed at the end of the columns to compensate for this
effect. The reduction of stitches can be based either on the number of lines of stitches
to remove or on the linear distance from the ends of the column.
To adjust the Push Compensation:
Select the satin piece that you want to adjust.
Click on the segment settings arrow and left click on the Push Comp tab.
Select one of the following options:
None-Makes no adjustments to push-compensation.
By number of lines-Enter a number of lines to be removed from the segment in
the value box.
By distance-Enter a value for the distance to be left between the stitching and the
edges of the segment.
Click OK.
Pull Comp Advanced Settings
Up to this point you have been able to adjust the pull compensation of segments as a
whole which increases the width of the stitch on both sides of the opposing column or
shape. The advance settings on the pull comp menu allow you to adjust the width of
the column by the x (horizontal) or y (vertical) sides.
To adjust the Advanced Settings
Select the segment that you want to make the
changes to.
Click on the segment settings arrow and left click on
the Pull Comp tab.
Left click on the Advance circle to unlock the options.
Select side A or side B or both boxes to choose the side of the segment that you want
the pull comp to be applied.
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Enter a distance in the X(+/-) to increase or decrease the horizontal pull comp.
Enter a distance in the Y(+/-) to increase or decrease the vertical pull comp.
If you have a shape that the stitches are running only left to right, the X option would be
the appropriate choice. Whereas if you have a shape that is running up and down, the
Y option would be the appropriate choice. Finally, if you have a shape that the stitches
are going both directions, you would choose both the X and the Y.
8.7.2 Quality Control-Critical Zone
To help avoid thread breaks or other sewing complications when you work with Fills,
you can remove stitches in a narrow area. For example, to prevent stitches from being
sewn 10 mm from the edge of a Fill, you would enter 10 mm in the Critical Zone
Distance text box. This then creates a smoother edge rather than having the short
stitches of the fill pushed all the way out. This will also decrease the stitch count in the
design.
To Use Quality Control:
Select the segment in your design that has a fill stitch applied to it.
Go into the segment settings and select the Quality Control properties page.

Select Critical Zone and in the Distance box enter the value that you wish to preserve at
the edge of the stitches.

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