Make “Uneditable” EXP/DST Designs Editable in Design Shop Pro+: Convert to Wireframe Without Ruining Tie-Offs

When a customer sends you a stitch file and says, “Can you just make it a little lighter… and maybe tweak the shape?”—that’s the moment most digitizers realize the painful truth: expanded stitch data is basically “flat.” You can run it, you can recolor it, but true editing (density, shape, clean overlaps) usually requires wireframe objects.

Think of expanded data like a baked cake: you can’t easily take the eggs out. Wireframe data is the recipe: you can still change the ingredients.

This post rebuilds the exact workflow shown in Design Shop Pro+ and adds the shop-floor checks that keep you from creating a design that looks fine on screen but unravels after the first trim.

Wireframe vs. Expanded Stitch Data in Design Shop Pro+: Stop Fighting “Flat” Files

In the video, the presenter starts with a design that shows only Expanded data in the Project Tree—typical of many stitch files (DST, PES, EXP) you receive from clients or purchased sources. In that state, you’ll often feel stuck: you can’t reliably reshape a pear, adjust fill behavior, or make density changes the way you would with native objects.

A practical way to think about it:

• Wireframe objects behave like “intent” (columns, fills, walks) that the software can recalculate based on math.
• Expanded stitch data behaves like “history” (needle penetrations already decided).

So if you’re trying to do real production edits—lighter fills for thin garments, reshaping to fit a pocket, or cleaning up lettering overlaps—you need to convert.

One note the presenter makes (and it matters): this feature is software-level dependent. Some lower-tier versions of Design Shop may not offer the conversion command.

The “Hidden” Prep Before You Convert: What I Check So the Edit Doesn’t Backfire

Before you right-click anything, do two quick checks that experienced digitizers treat like muscle memory. Converting files is a destructive process—meaning the software is guessing the geometry based on stitch points. It’s not always right.

1) Confirm what you’re selecting in the Project Tree The video shows selecting the specific expanded color layer/element in the tree (not just clicking randomly on stitches). That selection discipline prevents converting the wrong piece and ending up with a messy object list.

2) Decide what you actually need from the conversion Conversion is best when your goal is:

• Adjusting density (e.g., the original is uselessly thick, often feeling like cardboard).
• Making moderate shape edits (moving a node or two).
• Breaking lettering into editable stitch columns (removing a loose thread or serif).

It’s not magic time travel back to the original digitizer’s clean single object.

Hidden Consumables Alert: Before you start editing for a specific fabric, ensure you have the right stabilizer on hand. If you lighten density significantly, you might need a sturdier cutaway to support the structure, whereas the original heavy density might have relied on tearing the backing.

Warning: Converting and then aggressively editing can create stitch paths that are safe on-screen but risky on the machine. If you’re unsure, run a stitch simulation and test-sew on scrap before you commit to production. Never put a client’s garment on the machine for the first run of a converted file.

Prep Checklist (do this before converting)

• Backup: Save a copy of the file (e.g., Design_Original_Backup.ofm) so you can revert if the object breakup gets ugly.
• Tree Check: Confirm the design is showing Expanded data in the Project Tree (not already wireframe).
• Selection: Identify the exact element/color layer you need to edit (don’t convert the whole design unless you must).
• Goal Setting: Plan your goal: Density change? Reshape? Or Lettering modification?
• Inventory: Verify you possess generic scrap fabric and backing aimed at mimicking your final product for the test sew.
  

The Right-Click Move That Unlocks Editing: “Convert Object to Wireframe” (Expanded Data)

Here’s the exact operation demonstrated to turn "baked cake" back into "ingredients":

1. In the Project Tree, select the specific expanded element (often a color layer).
2. Right-click to open the context menu.
3. Go to Operations.
4. Choose Convert Object to Wireframe.

Expected outcome (as shown in the video): the single Expanded layer “bursts open” into multiple sub-objects such as Walk Normal Stitch and Complex Fill.

What you should see (Checkpoint)

• Checkpoint: The Project Tree changes from one Expanded entry to a list of stitch-object types. You will see icons representing satins (columns) and tatami (fills).
• If you don’t see that: Your software level may not include the feature, or you didn’t select the correct expanded element.

If you’re running a Melco workflow and you’re also thinking about production efficiency, this is where many shops start pairing clean digitizing edits with faster hooping systems. Once you can edit files confidently, you’ll want to run more jobs per day. In commercial setups, people often match Melco machines with faster fixturing like melco magnetic hoops to reduce hooping time and rework caused by "hoop burn" on the very garments you just optimized the file for.

Make Density Changes That Actually Show Up: Editing the Density Field to “20”

Once the object is converted, the presenter demonstrates a simple but powerful proof: density becomes editable.

1. Select the newly converted element.
2. In the top property bar, click into the Density field.
3. Type 20 and press Enter.

Crucial Note on Values: In the video, setting it to 20 (points) creates a "crazy loose" density with wide gaps. This is done for demonstration so you can visually see the lines separate on the screen.

• Demo Value: 20 points (approx 2mm spacing) → Too loose for sewing, good for viewing structure.
• Production Sweet Spot: 3.5 to 4.5 points (approx 0.35mm - 0.45mm) → Standard coverage for most fabrics.
  
  
  

Why this matters in real jobs (expert reality check)

In production, you won’t usually set density to 20 just to run garments. But the demonstration proves the core point: wireframe objects recalculate stitches when you change parameters.

From a material-science standpoint, density is not just “how filled it looks.” It affects:

• Audit: How much thread is forced into the fabric.
• Feel: How much the fabric is compressed (too high = bulletproof patch feel).
• Safety: How likely you are to cut the fabric fibers or break a needle.

Generally, if you’re stitching on lighter or more flexible fabrics (like performance wear), overly tight density causes tunneling or rippling—so being able to adjust density is a real quality lever. Always confirm your final settings against your machine and thread recommendations; your manual and test sew-outs are the authority.

The Circle Trap: Why Stitch-File Conversion Can Break a Shape into Segments

The video’s circle example is the best “don’t panic” lesson you can learn about conversion.

In a native wireframe circle, the software understands the circle as one object with a planned entry/exit. The presenter shows how the stitch path travels up, fills down, travels down, then fills back up to exit where requested.

Then he saves the design as a stitch file (EXP is shown in the Save As dialog), reopens it, and converts that stitch file back to wireframe.

After conversion, the circle is no longer recognized as “a circle.” It becomes segments: travel stitch, fill, travel stitch, fill. Why? Because the software is making its best estimate based on stitch behavior (needle penetrations), not the original geometry.

The “Why” (so you don’t waste hours trying to force perfection)

Conversion is an interpretation engine:

• If it sees stitches going one after another, it guesses walk.
• If it sees back-and-forth penetrations, it guesses fill.
• If it sees rapid side-to-side behavior typical of columns, it may guess satin/column logic.

So yes—conversion gives you editability, but it may not restore the original digitizer’s single clean object. You might have to edit three separate "chunks" of a circle instead of one.

Setup Checklist (right after conversion)

• Tree Expansion: Expand the Project Tree and identify how many objects you now have (walks, fills, columns).
• Simulation: Run a quick stitch simulation (Slow Draw) to confirm the travel/fill order still makes sense.
• Decision: If a shape breaks into messy segments, decide whether to (a) accept it and edit locally, or (b) delete it and rebuild the object cleanly in wireframe using the drawing tools.
• Exit Check: Keep your edits minimal until you confirm the stitch path still exits where you expect.

Turn Lettering into Editable Shapes: Converting a Letter “L” to Wireframe (and the One-Way Door)

The presenter then switches to lettering: two large letters “L” and “B.” The goal is a monogram-style overlap, but the serif/foot of the L interferes visually.

To make that serif editable, he converts the lettering object to wireframe:

1. Select the L lettering object.
2. Right-click → Operations → Convert Object to Wireframe.
   

Expected outcome: the Project Tree changes so the “Lettering” entry becomes a folder/group containing items like Walk Normal Stitch and Columns.

Here’s the irreversible tradeoff the presenter calls out: once converted, it’s no longer “text.” You can’t change spelling or font—only the shapes.

If you’re building a repeatable monogram workflow for customers, keep a clean text-based version saved separately. That’s how shops stay fast when a client says, “Same logo, but initials are different.”

Clean Up a Serif Fast: Deleting Wireframe Nodes (and Why Points Move in Pairs)

Now the satisfying part: removing the serif.

1. Zoom in on the serif area until you clearly see the structure.
2. Select the specific wireframe points (nodes) on the serif using the reshaping tool.
3. Press Delete on the keyboard.

The video shows the serif disappearing, leaving a straight column.

The presenter also explains a key behavior: Column 1 works in pairs of points. Imagine a railroad track; if you move one rail, the other must relate to it. When you delete one point, the paired point adjusts too. That’s not a bug—it’s how the column maintains a stitchable structure.

Pro tip (production-minded)

When you delete nodes on lettering, you’re not just changing the outline—you’re changing how the column will lay thread. After node edits, it’s smart to:

• Check angles: Look for overly sharp angles (they can create thread stress).
• Check width: Confirm the column width still makes sense. A column narrower than 1mm usually requires a thinner needle (#65/9) or thinner thread (60wt).

Generally, if you’re running high-output jobs on multi-needle equipment like melco embroidery machines, small lettering issues become big time losses because you’ll see them repeated across dozens of garments. A thread break on a run of 50 shirts is 50 interruptions.

Warning: Keep your hands clear of needles and moving parts during any test sew-out, and use proper tools for trimming threads. A “quick check” can still cause needle punctures or blade injuries if you rush.

Build the Monogram Overlap: Position the “B” After the Serif Is Gone

With the L cleaned up, the presenter moves the B back and overlaps it to form the final monogram composition.

This is where wireframe editing pays off: you can customize a standard font into a brand-like mark without redigitizing from scratch.

If you’re doing this for client work, this is also where hooping accuracy starts to matter. A clean digital overlap on screen can look sloppy if the garment shifts in the hoop. Many shops that run Melco-style production hoops—like the specialized melco embroidery hoops—eventually add faster clamping systems to reduce movement and operator fatigue.

The Tie-Off Check That Saves Your Reputation: Verify “Tie In / Tie Off” After Splitting Objects

The final step in the video is the one that separates hobby edits from professional edits.

When you split objects or convert and edit, you can end up with endpoints that no longer have secure tie-offs (lock stitches). That’s how you get a design that trims cleanly—but then unravels in the wash, leaving a bird's nest or a hole in the design.

After breaking lettering into pieces and deleting nodes, the presenter opens Properties and checks the Tie In And Tie Off tab. He specifically verifies that Tie Off is enabled and set to a valid parameter (he mentions Style 1 or Default as acceptable options), and in the video it’s set to Auto.

What to do (Checkpoint)

• Checkpoint: Select your edited object → Right Click → Properties → Tie In And Tie Off.
• Visual Check: Ensure Tie Off is checked/enabled.
• Param Check: Confirm the setting is valid (Auto/Default/Style 1).

If you’re quoting jobs, this is also where your profitability lives: re-running a garment because a letter unraveled costs thread, time, and goodwill. Shops that scale often pair clean digitizing habits with production upgrades—whether that’s a faster machine platform like the melco bravo embroidery machine or workflow tools that reduce setup time.

Quick Decision Tree: When to Convert to Wireframe vs. Rebuild the Object

Use this decision tree when a client sends you a stitch file and asks for edits.

Start: What’s your goal?

• Only recolor / resize slightly (<10%)? → Keep as stitch data; avoid conversion.
• Need density changes or moderate reshaping? → Convert to wireframe and edit.
• Need a perfect geometric shape (True Circle) or major redesign? → Rebuild from scratch in wireframe using drawing tools (don't rely on conversion).

After conversion, what do you see in the Project Tree?

• One logical object (fill/column) per shape? → Proceed with edits.
• Many segments with travel stitches splitting a single shape? → Either accept segmented editing or delete and redigitize that specific shape.

After editing, what’s the risk?

• Any trims/endpoints created or moved? → Stop. Go to Properties and verify Tie-offs immediately.

Troubleshooting the Three Problems That Show Up Most After Conversion

Symptom: “I still can’t edit density or shape on a purchased design.”

• Likely cause: You’re working with a stitch file (Expanded data) and haven't converted it yet.
• Fix: Select the expanded element in the Project Tree → Right Click → Operations → Convert Object to Wireframe.

Symptom: “My circle (or fill shape) converts into multiple segments.”

• Likely cause: The software interprets travel stitches inside the shape as "breaks" between simple fills.
• Fix: Accept that conversion is an estimate. If the segments are too messy to edit, use the Circle tool to draw a new one over the old one, then delete the old one.

Symptom: “Everything looks fine, but stitches unravel after a trim.”

• Likely cause: Tie-offs were lost or disabled when objects were split or nodes were deleted.
• Fix: Go to Object Properties → Tie In And Tie Off tab → Check the box for Tie Off.

The Upgrade Path I Recommend After You Master This Edit Workflow (Quality + Throughput)

Once you can reliably convert, edit, and verify tie-offs, you’re ready to think like a production shop—not just a software user. Editing files is about Recall Control; upgrading hardware is about Process Control.

• Solve Hooping Fatigue: If your bottleneck is hooping time (not digitizing), consider faster fixturing. Many operators move from traditional clamping to systems like melco fast clamp pro when they’re chasing repeatability and speed.
• Solve Capacity Issues: If your bottleneck is running more heads/higher output, evaluate whether your current platform is holding you back. Some shops compare options like the melco amaya embroidery machine when planning capacity upgrades for modular growth.
• Solve Jacket Backs: If you are doing larger designs using these converted files, hoop stability is critical. People often look at options like the melco xl hoop when they need maximum coverage without the risk of the magnet slipping.

Warning: Magnetic hoops are powerful tools, but magnets can affect medical implants and can pinch skin severely (blood blisters are real). Keep strong magnets away from pacemakers/implanted devices, store them with spacers, and keep fingers clear when closing the frame.

Operation Checklist (before you export and stitch)

• Simulation: Run a stitch simulation and confirm the travel/fill order still makes sense after conversion.
• Tie-Offs: After any node deletion or object splitting, verify Tie Off settings in Object Properties.
• Density Logic: Confirm density changes are intentional—ensure you didn't leave the density at "20" (2mm) unless you meant to! Reset to ~4.0 points for standard fill.
• Version Control: Save a new version name for the edited file (e.g., Logo_v2_Edited.ofm) so you can trace revisions.
• Test Sew: Perform a test sew-out on scrap fabric/stabilizer. Listen for the rhythmic thump-thump of a smooth sew, rather than the harsh clack of a needle struggling with density issues.

FAQ

• Q: In Melco DesignShop Pro+, why does a DST/PES/EXP design show only “Expanded” in the Project Tree and not allow true reshaping or density edits?
  A: This is common—stitch files usually open as Expanded stitch data, which behaves like “flat” needle penetrations, so true object edits are limited until conversion is available and used.
  • Confirm the Project Tree entry says Expanded (not already wireframe objects).
  • Select the exact Expanded color layer/element in the Project Tree (avoid clicking random stitches on-screen).
  • Check whether the installed DesignShop level includes Convert Object to Wireframe.
  • Success check: After a successful conversion, the single Expanded entry “bursts” into multiple objects like Walk Normal Stitch and Complex Fill.
  • If it still fails: Assume the feature is not included in the software tier or the wrong element was selected; re-select the correct Expanded element in the Project Tree and try again.
• Q: What are the exact steps to use “Convert Object to Wireframe” in Melco DesignShop Pro+ for Expanded stitch data?
  A: Use the Project Tree right-click path to convert the specific Expanded element into editable wireframe-style objects.
  • Select the specific Expanded element (often one color layer) in the Project Tree.
  • Right-click → choose Operations → choose Convert Object to Wireframe.
  • Expand the Project Tree to review the new object breakdown (walks, fills, columns).
  • Success check: The Project Tree changes from one Expanded entry into multiple sub-objects with stitch-type icons.
  • If it still fails: Verify the software level supports the command and confirm the selection is the Expanded element (not an already-converted object or the wrong layer).
• Q: In Melco DesignShop Pro+, why does changing Density to “20” make the fill look extremely loose after converting to wireframe?
  A: Density “20” is a demonstration value that intentionally creates very wide spacing so the stitch structure becomes obvious on screen.
  • Set Density to 20 only to visually prove the object is recalculating stitches after conversion.
  • Reset Density to a production-range value (the blog cites 3.5 to 4.5 points) before exporting/stitching.
  • Run a stitch simulation after changing density to confirm the order still makes sense.
  • Success check: You can clearly see the lines separate at Density 20, and then see normal coverage return after resetting to ~4.0 points.
  • If it still fails: Re-check that the element is truly converted to wireframe objects; Expanded data will not recalculate the same way.
• Q: In Melco DesignShop Pro+, why does converting a stitch-file circle into wireframe break the circle into multiple segments (travel + fill chunks)?
  A: Don’t worry—conversion is an interpretation of stitch behavior, so a “true circle” in geometry can come back as segmented objects based on travel and fill patterns.
  • Expand the Project Tree immediately after conversion and count how many objects the circle became.
  • Run a slow stitch simulation to confirm travel/fill order and entry/exit points still look reasonable.
  • Decide whether to edit the segments locally or delete the messy pieces and rebuild the circle cleanly using drawing tools.
  • Success check: Simulation shows a logical travel path and the fill sequence still starts/ends where expected without odd jumps.
  • If it still fails: Rebuild only that shape in wireframe rather than forcing the converted segments to behave like a single perfect object.
• Q: In Melco DesignShop Pro+, what is the one-way tradeoff when converting a Lettering object (like the letter “L”) to wireframe for monogram edits?
  A: Once a Lettering object is converted to wireframe, it is no longer editable as text (spelling/font changes are no longer available), only shape edits remain.
  • Save a separate clean version of the design that keeps the original editable text before converting.
  • Convert the Lettering object: select the letter → right-click → Operations → Convert Object to Wireframe.
  • Edit the wireframe shapes (nodes/columns) only after confirming you can’t return to font-based editing.
  • Success check: The Project Tree shows the former “Lettering” entry as a group/folder containing objects like walks and columns.
  • If it still fails: If the goal is changing initials later, revert to the saved text-based version and redo the overlap workflow.
• Q: In Melco DesignShop Pro+, how do you remove a serif quickly after converting lettering to wireframe, and why do points move in pairs on columns?
  A: Zoom in and delete the specific wireframe nodes—column points behave in paired rails, so deleting/moving one point affects its pair to keep a stitchable column.
  • Zoom in tightly on the serif so the node structure is clearly visible.
  • Use the reshaping tool to select the serif nodes and press Delete.
  • Re-check the column shape for sharp angles and unrealistic narrow widths after node deletion.
  • Success check: The serif disappears cleanly and the column remains continuous and stitchable-looking (no broken column edges).
  • If it still fails: Undo and delete fewer nodes, or rebuild that small section as a cleaner column rather than over-editing converted geometry.
• Q: In Melco DesignShop Pro+, why can a converted-and-edited design look fine on screen but unravel after trimming, and what Tie Off setting should be checked?
  A: Tie-offs can be lost or disabled after splitting objects or deleting nodes—always verify Tie Off in Object Properties before production.
  • Select the edited object → open Properties → go to Tie In And Tie Off.
  • Ensure Tie Off is enabled/checked and set to a valid option (the blog mentions Auto, Default, or Style 1).
  • Test-sew on scrap fabric and stabilizer before running a client garment.
  • Success check: Edited endpoints hold after trimming and handling (no immediate pull-out/unravel at the start/end of the object).
  • If it still fails: Re-check every object created by conversion/splitting—tie-off settings may need verification on multiple segments, not just one.
• Q: For a shop using Melco-style production, when should a workflow move from Level 1 conversion/editing to Level 2 faster hooping tools (magnetic hoops) and Level 3 capacity upgrades (multi-needle machines)?
  A: Use a staged approach: fix the file first, then fix the hooping bottleneck, then scale machine capacity once quality is stable.
  • Level 1 (technique): Convert Expanded to wireframe, adjust density carefully, simulate stitch order, and verify tie-offs after any split/node deletion.
  • Level 2 (tooling): If hooping time, garment shifting, or hoop-burn rework becomes the bottleneck, consider faster, more repeatable fixturing such as magnetic hoop systems.
  • Level 3 (capacity): If the bottleneck is overall daily output after setup is optimized, evaluate upgrading to higher-throughput multi-needle platforms.
  • Success check: Rework drops (fewer unravel/shift issues) and throughput improves without quality regressions on test sew-outs.
  • If it still fails: Pause scaling and return to Level 1 controls—run simulations and scrap tests until converted edits stitch reliably before adding speed or capacity.