Logo Size Does Matter When Digitizing

Design dimensions impact the entire digitizing and sewing process. Follow these tips to get it right the first time.
Aug 1, 2008

When resizing the Blue Jay logo to sew at 2.5 inches tall, you can see that column widths are reduced overall. Pay care

Corporate logos might seem to be among the easiest of embroidered designs to digitize because they are so well-designed from a graphics standpoint. However, that's only true to a certain point. As the size and placement of a logo changes, you have to make some critical choices in types of stitches and fills needed to make the final sewout look exactly as it should.

For instance, different styles and sizes of caps, shirts and jackets present unique challenges that require some forethought when you're digitizing a logo.

SIZE LIMITATIONS
On a constructed baseball cap, the maximum logo height on finished caps is generally 21/2 inches. On most unconstructed caps, the max logo height is just 2 inches. These limitations are based on the average curve on the crown of the cap, as well as the space limitations on embroidery machines.

However, the width of a cap design may be greater than a shirt design. In fact, with the 270-degree cap frames, you would think the width would be seemingly endless. However, a cap design looks best if it can be read in one glance. A wearer should not have to turn his head from side to side for you to view the whole top of the cap.

An adult left-chest shirt design should not be larger than 41/2 to 5 inches wide nor taller than 31/2 inches. A 41/2-inch-wide logo is about the maximum width that will fit across the center of a 15 cm hoop. You may have larger hoops available, but fitting an 18 cm hoop in between the placket and armhole of most shirts can be an issue. Keep in mind that the 41/2-inch width is at the widest part of the hoop. Elements of the design that will sew lower than the center of the design may need to be sewn smaller to accommodate the curve of the hoop.

A youth-sized, left-chest design should be no wider than 31/2 inches. Youth-sized designs need to be smaller, as a 12 cm hoop is the largest that will fit comfortably between the placket and armhole. Also, larger logos would appear overpowering on a small shirt.

A sleeve design should be no wider than 31/2 inches. This width is based upon using a 12 cm hoop. A 15 cm hoop is too large to fit in the sleeves of smaller shirts so the design should be made to fit in all size sleeves. You want the whole sleeve logo to be able to be viewed at a glance too. You wouldn't want to have to walk around the wearer's body to read the logo on the sleeve.

The size of a jacket back design depends upon whether it is intended for a youth or adult jacket. It also may be influenced by the size of the jacket back hoops you own. Digitize the design so that no part of the logo will fall below the wearer's waist. Also, be sure that the design is not so wide that it will fall underneath the wearer's arms.

These maximum heights and widths are guidelines for when you are deciding what size a logo should be. However, the differences in the visual layout of a logo also will impact your design. The Cardinals and Blue Jays logos are both digitized to sew at 2.84 inches tall.

Due to its horizontal layout, the Cardinals logo will look fine as a left-chest position on a shirt. However, the Blue Jays logo may look too large as a left-chest design because of its overall square shape and heightened letters on the outside. You would want to resize the Blue Jays logo for a left-chest placement based upon some of the following sizing factors.

RESIZING FONTS
Small fonts can be digitized at 5 mm when they are to be embroidered directly on the garment if the columns are relatively equal in width. Fonts as small as 4 mm in height can be embroidered on top of fills if the letter columns are relatively equal in width.

Fancy fonts with thick and thin columns should be bolded or sewn large enough for the thinnest columns of the letters to be at least 1 mm wide.

The sizes of the holes in letters — such as the size of the opening in an "e," "o" or "a" — will affect your digitizing too. These holes need to be at least 1 mm wide or they tend to close up when sewn.

RESIZING STITCH TYPES
The size of design elements will determine what types of stitches are applied to the design. So when you look at a logo and know that you want a particular area to be embroidered in satin stitches, make sure the columns in that area meet the following requirements:

• Any elements less than 1 mm wide should be digitized in running stitches.
• Elements that are 1 mm to 8 mm wide can be satin stitches.
• Elements that are 8 mm to 10 mm wide can be digitized in split satin stitches.
• Elements that are 3 mm or wider can be digitized in tatami stitches.

RESIZING DENSITIES
Digitizing programs compute density differently, and each has its own default density setting that may or may not work for any particular design. Adjust density based upon the size of the columns.

As you do this, you will want to keep in mind that:

• The smaller the column, the lighter the density.
• Columns 3 mm or wider may require more density than normal.
• Large fill areas may require higher density settings.
• Small tatami areas may need much lighter densities.

RESIZING FOR UNDERLAY
The size of the design elements also will determine what types of underlay will be used in those elements.

Small columns of 1 mm in width will suffice with just a running stitch underlay. When columns are 2 mm or wider, they will benefit from the addition of an edge walk underlay. Columns that are 3 mm or wider may need zigzag underlay added to the center walk and edge walk underlay.

RESIZING STITCH LENGTHS
Running stitch lengths generally default to 2 mm in most digitizing programs, but when using the running stitch tool to create underlay for small lettering, you may be better served by choosing stitches of 1.8 mm to 1.5 mm. The shorter stitch length will keep the underlay from poking out from under the small letters.

A shorter running stitch length also will let you achieve greater detail when outlining a design. However, too short a stitch length in a tatami fill may cause an unacceptably high stitch count and create pull on the fabric. Longer stitches in a tatami fill will cause less pull on the fabric but may separate when small lettering is sewn over it. Bean stitches (triple run stitch) will look better when the stitch length is longer than 2.2 mm.

SIZE IMPACTS THREAD CHOICE
Thread weight is calculated by how many meters of thread it takes to weigh one gram. It is not a measurement of the thickness of the thread but a good indication that the higher the number, the thinner the thread will be.

By experimenting with the different weights of threads you can create uniqueness in your designs:

• 12-weight threads are often used for decorative and home décor purposes and need designs that are specifically digitized for their use.
• 20-weight and 30-weight threads are often metallic and have unique design properties. Designs using these threads need to be digitized with lighter stitch densities and longer stitch lengths. These threads can be used to fill a large area with a fewer number and longer stitches.
• 40-weight thread is the most common size and what you will use in most everyday embroidery, whether it is poly or rayon.
• 50-weight metallic threads will let you achieve very small lettering. 50-weight thread also is available in cotton and is a great choice for fine monogramming.
• 60-weight thread is even thinner and enables the digitizer to put greater detail into a design. Designs digitized specifically for 60-weight thread must incorporate greater density to achieve proper coverage.

SIZE IMPACTS NEEDLES
Experimenting with the various thread weights will expand your knowledge in various needle sizes. The smaller the needle number, the finer the needle. Needles are listed by two numbers — the first number is the European needle number — the second is the American needle size classification:

• 65/9 needles are appropriate for fine threads such as 60-weight rayon or poly or 50-weight cotton threads. A size 65/9 needle also is appropriate for fine work performed on heirloom fabrics or silks.
• 70/10 needles are the needles of choice for my daily embroidery work. It might be more common to use 75/11 needles for general work on light- to medium-weight fabrics, but I think I can achieve sharper detail and lettering with a 70/10 needle.
• 75/11 needles are commonly shipped with most new embroidery machines. They are good when used on most constructed caps, computer bags and heavier materials.
• 80/12 and 90/14 needles are best with 35-weight through 20-weight threads. Which size you choose will depend upon the metallic or smoothness of the thread and the product on which you are embroidering.
• 100/16 needles are great with bulky, wool-look threads, as well as other 20-, 15- and 12-weight threads.

SIZE MATTERS WHEN VIEWING ARTWORK
Considering all the above options, it is imperative that you convert your artwork to the desired finished size of the design before you begin the digitizing process.

By careful analysis of each element, such as the fonts shown here (above), you will know which areas you want to digitize in satin, tatami or running stitches. You can select your densities and methods of underlay. You also can determine if there are any areas in which you may want to use specialty threads and be sure you have the needle sizes required for those threads.

Pat Williams of Image Embroidery in Sierra Vista, Ariz., is an award-winning digitizer with experience in accounting and small business management. For more information or to comment on this article, e-mail Pat at Pwilliams22@cox.net or visit www.imageemb.com.

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