Import of Vector Graphics

The main menu > Design > Export/Import > Import Vector File function opens a vector graphic file and converts it into an embroidery design automatically. It is intended to avoid redrawing a design (logo or clipart) in Studio if it is already available in a vector file. This function is available only if the user has registered the Font Engine plug-in.

Many graphic programs produce various vector file formats, and most of them can export vector graphics into SVG format.

A vector file can contain various objects (raster bitmap, fonts, shapes, curves, polygons, etc.) or links to these objects. However, Studio can import only the curves; all other objects are ignored. For best results, please convert all objects like fonts and shapes to curves before attempting to import the SVG file into Studio.

If there is a raster picture in the file, Studio ignores it. It does not auto-digitize the picture. Only the vector objects (curves) are transformed into embroidery objects.

Note: Not all vector files can be converted into good quality embroidery designs. Some vector files may be auto-traced from scanned pictures, and the resulting vector file can have thousands of tiny objects instead of a low number of solid fills or smooth lines. Such vector files are not suitable for conversion into embroidery designs.

The left-side picture shows poor quality vector graphics composed of thousands of small objects auto-traced from a scanned picture. The right-side picture shows good quality vector graphics with a low number of large solid areas.

Stitching Parameters

A design imported from a vector file usually needs some adjustments to stitching parameters and/or object layout.

Design imported from an SVG vector file. Stitches are not generated yet.

After importing the design, select all objects and use the Generate Stitches command. Studio analyzes the shape and size of individual objects and fills them with an appropriate fill type. However, it cannot identify the meaning of vector objects like a human digitizer. For example, the program cannot identify objects that belong to lettering, and it may fill each letter with a different style according to that letter's size or width. Thin elongated objects are filled with auto-column (wider objects have a pattern). Large objects use plain fill, either vertical or horizontal, according to their shape.

Design with auto-generated stitches. All objects are filled with auto-column, but some also have a pattern texture (letters m and r). The pattern is applied to wider objects to split excessively long stitches. The white fill of the bird would look better with plain fill instead of auto-column.

The user may need to adjust the fill type parameters. In this case, the length of stitches is near the threshold that turns on the pattern. This is why some letters have a pattern and some do not. We should either turn on or turn off the pattern for all letters. For the latter option, select the letters m and r and open the Parameters window. For letters m and r, switch OFF the pattern option of the auto-column fill in the Parameters window. For the white fill of the bird, select the plain fill mode instead of the auto-column mode in the Parameters window.

New parameters applied to stitches. All letters use satin auto-column stitches without a pattern. The white fill of the bird is now a plain fill, not auto-column.

Overlays in Vector Graphics and Embroidery

It is important to pay attention to layers and overlays of objects imported from vector files. Unlike graphics, embroidery is very sensitive to the use of layers. In places with multiple layers (overlays), the stitches are sewn on top of the previous stitches and may spoil the embroidery if the density becomes too high.

You should visually check the overlapped areas for too many layers. The largest part of the design should be a single layer only. Where different objects overlap, try to keep a maximum of 2 layers overlay in most places, or 3 layers overlay if it is not possible to avoid it.

Layers in this case mean dense cover stitching, not underlays or connection paths. Underlay is loose stitching that helps to stabilize the design against fabric distortion, but it does not contribute to overall density very much. Connections are stitch paths that serve to avoid trims between objects. Connections are often hidden beneath other objects. Both underlays and connections can be regarded as layers, but they are usually not significant when investigating the density of cover layers.

Illustration of overlays in an imported design.
Left: white fill (highlighted) sticks out under the black, orange, and blue objects.
Center: orange and blue objects (highlighted) overlap the white fill and stick out under the black.
Right: black objects (highlighted) overlap the white fill and, in a very small area, also the blue and orange objects.

A missing or very small overlay is an error just as much as an overly heavy overlay. The pull of the thread causes gaps between objects in places with insufficient overlay.

If there are too many layers or too large overlays in the design, they should be removed or edited to achieve a good sew-out of the design. Studio provides a quick way to check the density of stitches. Use the display mode tabs at the bottom of the Studio screen to switch to D-map (density map) or X-ray view mode to analyze the density layout. Stitches must be generated before using these view modes; otherwise, these view modes do not work and displayed area is empty.

The X-ray view mode allows you to detect areas of critical (too high) density.

Note: If you need to use the same design in a graphics software too, it is possible to export a design from Studio to a graphic vector format to avoid unnecessary redrawing the design in graphic software. Please use the main menu > Design > Export / Import > Export command.