BES4 Power Pack 2 Cutting Tools: Turn Appliqué Shapes into ScanNCut Cut Files, Rhinestone Templates, and a Clean Knockout Vinyl Design

Mastering BES4 Power Pack 2: A Production-Ready Guide to Cutting, Rhinestones, and Knockouts

If you’ve ever stared at BES4 Dream Edition and thought, “I know this software can do more than stitches… but I don’t want to waste vinyl, rhinestone template material, or an entire afternoon figuring it out,” you’re exactly who this workflow is for.

As someone who has spent two decades on the production floor, I can tell you that fear of wasted materials is the number one reason embroiderers don't utilize the cutting tools they already own. Terry Maffitt’s Power Pack 2 demo provides the roadmap, but in real shops (and real craft rooms), the difference between a “cool feature” and a “profitable product” is a clean sequence, rigid checkpoints, and knowing where the hidden traps are.

Below, I will rebuild the video demonstration into three production-ready workflows with the precision of a manufacturing engineer:

1. The Vector Conversion: Transforming embroidery shapes into clean cut files (ScanNCut/SVG).
2. The Bling Workflow: Creating rhinestone templates that actually work with physical stones.
3. The Typography Trick: Building Knockout designs that weed cleanly without tearing.

Don’t Panic: Power Pack 2 Cutting Tools in BES4 Dream Edition Are “Different,” Not “Hard”

Power Pack 2 can feel intimidating because it requires a cognitive switch. You are moving from an "Embroidery Mindset" (push/pull compensation, underlay, density) to a "Vector Mindset" (paths, nodes, welding).

Here’s the calming truth: in this video, every successful result comes from one repeatable move—converting embroidery shapes into vector artwork—and then using a small set of transformation tools (specifically Weld and Knockout).

Think of this transition like learning to use a hooping station for embroidery. At first, it feels like an extra step. But once you realize it ensures perfect alignment every single time, you can't imagine working without it. Treat these software tools the same way: once you understand the logic, the clicks become automatic.

The Hidden Prep Pros Do First: Clean Artwork, Clean Cuts (BES4 Convert to Artwork + Weld)

Before you touch rhinestones or Knockout, you must establish a "Vector Hygiene" routine. In my experience, 90% of cutting failures—shredded vinyl, misaligned cuts—happen because the digital file was "dirty" before it ever hit the cutter.

What you need ready (software + materials)

• Software: BES4 Dream Edition with Power Pack 2 activated.
• Source Asset: A shape from the appliqué shapes library (Terry uses a leaf).
• Hardware Target: Brother ScanNCut (for .FCM files) or any cutter accepting .SVG.
• Rhinestone Consumables:
  • Stones: Ensure you have your specific size (e.g., SS10, SS16, or larger 10mm gems).
  • Template Material: Flock material for cutting the template.
  • Transfer Tape: High-tack for stones.
• Vinyl Consumables: Adhesive vinyl or HTV.

Hidden Consumables Checklist:
* Digital Calipers: To measure your actual rhinestones (never trust the label).
* Weeding Tool: Fine-point for checking small vector islands.
* Backing Board: To simulate the template backing.

Why this prep matters (the “why” behind the clicks)

Embroidery objects function as grouped stitch data. Cutting machines require single, closed vector paths. If you visualize an embroidery stem, it might be a satin stitch overlaying a fill stitch. To a cutter, that looks like two intersecting lines that will slice your material into confetti.

This is why Weld is non-negotiable. It fuses separate overlapping shapes into one continuous contour, creating a "bridge" that gives your material structural integrity.

Prep Checklist (do this before you export anything)

• Orientation Check: Confirm your shape is distinct (centered) and rotated correctly before conversion.
• Conversion Action: Execute Tools tab → Convert to Artwork.
• Visual Confirmation: In the Properties box, set Fill to "On" and click Apply. Sensory Check: You should see a solid block of color. If you see wireframes or gaps, the cutter will see them too.
• Segment Inspection: Look for "surprise pieces" (e.g., a stem detached from a leaf).
• The Weld Fix: If split, overlap the pieces slightly. Go to Home → Arrange → Transform → Weld.

Turn an Appliqué Leaf into a ScanNCut Cut File (BES4 Export FCM or SVG) Without Jagged Edges

Terry’s first workflow serves as the foundation: taking a built-in pre-digitized appliqué shape and stripping it down to its naked vector form for cutting.

Step-by-step: Create the cut-ready vector

1. Initialize: Start a new file.
2. Import: Go to Home → Add Design → Applique Shapes.
3. Select: Locate the leaf (or desired icon) and double-click to place.
4. Center: Ensure the design is centered on your workspace.
5. Position: Select all items and rotate the leaf to your desired angle (Terry rotates prior to conversion).
6. Transmute: Go to Tools and choose Convert to Artwork.
7. Visualize: In the Properties box, go to Fill and choose Apply.
8. Repair (If needed): If the stem isolates as a separate object:
   • Manually drag the stem to overlap the leaf base.
   • Select both objects.
   • Execute Home → Arrange → Transform → Weld.

Checkpoint (Expected outcome): Click on the shape. You should see a single bounding box around the entire object. If you see two boxes, the weld failed—try moving them closer and welding again.

Export options Terry shows (choose based on your cutter)

You have two logistical paths here. Choose based on your shop setup:

• Path A: The Brother Ecosystem (Direct Send). Use the ScanNCut button in the ribbon. Best for: Users with a ScanNCut on the same Wi-Fi network.
• Path B: The Universal Archival (Export File). Use BES PaceSetter button → Export.
  • Choose .FCM for ScanNCut via USB.
  • Choose .SVG for Cricut, Silhouette, or commercial plotters.
    
    Pro tip

    Even if you have a ScanNCut, I recommend exporting and saving an SVG master file. Workflows change, machines break, but SVGs are universal.

Setup Checklist (before you hit Export)

• Weld Verification: The artwork is one single object (no detached stems).
• Fill State: Fill is applied to verify the silhouette is solid.
• Format Selection: Target is identified (FCM or SVG).
• Naming Convention: File is named clearly (e.g., Leaf_Weld_CutFile_v1.svg).

Build a Rhinestone Outline Template in BES4 (10 mm Stones + 3.00 mm Spacing) Without Overlaps

Rhinestones are where "theory" meets "physics." If your holes are too close, the template creates a weak wall that tears. If they are too far, the design looks disjointed.

Note on Data: Terry's demo uses very specific settings (10mm stones). In the rhinestone world, a 10mm stone is enormous (costume jewelry size). Most garment work uses SS10 (approx 2.8-3.0mm) or SS16 (approx 3.8-4.0mm). Always measure your actual stones. However, I will retain Terry's demo values below for consistency with the video—adjust your "Size" value to match your physical stock.

Terry’s exact demo settings:

• Convert to Rhinestones size: 10 mm
• Spacing adjustment: 3.00 mm

Step-by-step: Outline rhinestones

1. Selection: Click your welded vector leaf.
2. Conversion: Go to Tools → Convert to Rhinestones.
3. Sizing: Choose 10 mm (or your measured stone size).
4. Spacing Correction: If stones overlap or look crowded, go to the properties panel. change Spacing to 3.00, and click Apply.
5. Manual Editing: Use the Rhinestone Edit tool to refine:
   • Select individual stones that look "awkward."
   • Press Delete to remove collisions.
   • Drag stones to smooth out corners.

Checkpoint (Expected outcome): Zoom in to 200%. Follow the path with your eyes. You should see a dotted outline where every circle is distinct. Sensory Check: There should be visible "material" (white space) between every single circle. If circles touch, the cutting blade will double-cut and ruin your template.

The “why” behind spacing (so you don’t fight it forever)

Rhinestone spacing is a tension between aesthetics and physics.

• Too Tight (<0.5mm gap): The template material between holes is too thin. It will rip when you brush the stones in.
• Too Loose (>3mm gap for small stones): The eye stops seeing a "line" and starts seeing "dots." It loses the contour.

Terry’s strategy—setting a wider buffer (3.00 mm) first—is smart. It clears the board, removing overlaps automatically, leaving you to manually nudge a few stones back in for perfection. It is easier to add a stone to a gap than to separate a clump of ten overlapping stones.

Fill Rhinestones in BES4 Using the “Cascade” Pattern When Standard Looks Awkward

An outline defines the shape; a fill gives it weight. However, standard grid fills often look robotic and clash with organic shapes like leaves or flowers.

Step-by-step: Rhinestone fill

1. Initiate: With the shape selected, go to Tools → Convert → Fill Rhinestone.
2. Size: Select 10 mm (or match your stock).
3. Pattern Shift: If the linear grid looks stiff, go to properties. Change Fill Type from Standard to Cascade. Click Apply.
4. Refine: Use Rhinestone Edit to delete edge stragglers or fill awkward gaps.

Checkpoint (Expected outcome): The interior is packed with circles. The "Cascade" effect should create a curved, flowing alignment that mimics the vein structure of a leaf, rather than a rigid checkerboard.

Pro tip from years of production

When selling bling, Cascade is your "premium" setting. Customers perceive the organic flow as "hand-set" quality, whereas Standard fills look "machine-generated." If you plan to cut this template, save a master file after you have manually edited the stones. You do not want to re-fix the same three colliding stones every time you run a job.

Make Knockout Typography in BES4 That Weeds Cleanly (Stencil Type + Letter Spacing -1)

Knockout designs rely on Negative Space. The trick is ensuring the background text is dense enough to support the silhouette of the foreground icon. If the text is too spaced out, the icon becomes unrecognizable fragments.

Terry’s Knockout Formula:

• Text Tool: Normal Text
• Font: Stencil Type (Crucial: Stencil fonts have "bridges" that prevent the centers of letters like 'O' and 'A' from falling out).
• Style: Artwork
• Letter Spacing: -1 (Tight!)
• Line Spacing: 2.0

Step-by-step: Set up the text block

1. New Canvas: Open a clean file.
2. Input: Choose Text → Normal Text.
3. Font: Select the Stencil Type font.
4. Content: Type: MOORE’S SEWING (All Caps is recommended for maximum surface area).
5. Conversion: In properties, set Style to Artwork.
6. Compression: Set Spacing to -1 and Apply.
7. Verticals: Set Line Spacing to 2 and Apply.

Checkpoint (Expected outcome): The text should look like a solid brick wall of letters. They should be nearly touching. This density is the "canvas" for your knockout.

Why tight spacing matters (the vinyl reality)

If your letters have wide gaps, the Knockout tool will slice through the empty space, leaving floating scraps of vinyl that are a nightmare to weed. By using -1 spacing, you create a unified substrate. When the shape cuts through, it cuts through vinyl, not air, preserving the silhouette of your icon.

The Knockout Moment: Convert the Sewing Machine Shape to Artwork Before You Transform

This is a classic "User Error" trap. You cannot knock an Embroidery object out of an Artwork object. They must be in the same state of matter: Vector Artwork.

Step-by-step: Prepare the overlay shape

1. Import: Insert the sewing machine appliqué shape.
2. Scale: Resize it to fit your text block.
3. Contrast: Change color to gold (for visual differentiation).
4. Convert: Go to Tools → Convert → Convert to Artwork.
5. verify: Set Fill to Solid and Apply.

Checkpoint (Expected outcome): The sewing machine is now a flat, solid vector shape. It acts as the "cookie cutter."

Warning: Blade Safety: When transitioning from embroidery to cutting workflows, remember that cutting plotters use surgically sharp blades. Keep fingers clear of the cutting mat area during operation, and never attempt to "hold down" bubbling vinyl while the machine is moving.

Use BES4 Arrange → Transform → Knockout So the Icon Reads Clearly Inside the Letters

Now, we perform the subtraction.

Step-by-step: Execute Knockout

1. Layering: Place the sewing machine vector on top of the text block.
2. Distortion: Stretch the sewing machine horizontally. Design Rule: The icon must overlap the "meat" of the letters. If the icon creates a hole in the space between letters, it's invisible.
3. Select: Highlight all objects (Text + Icon).
4. Action: Go to Arrange → Transform → Knockout.

Checkpoint (Expected outcome): The gold sewing machine shape disappears. In its place, you see the text with the sewing machine silhouette "carved" out of it.

Operation Checklist (the “don’t waste vinyl” final check)

• Object Type: Text is set to Artwork style (not stitch).
• Density: Letter spacing is tight (-1) and line spacing is compact (2.0).
• Cookie Cutter: The overlay icon is converted to filled Artwork.
• Visual Integrity: The icon overlaps thick parts of letters (not just gaps).
• Weedability Check: Zoom in. Look for tiny slivers of letters (less than 1mm wide). These will likely tear during weeding. If found, Undo and adjust positioning.

Decision Tree: Choose Stabilizer, Template Media, and Machine Upgrades Based on What You’re Actually Making

This video focuses on software, but your physical results depend on your hardware and material choices. Use this logic tree to make the right decisions:

Branch A: You are cutting vinyl (Adhesive or HTV)

• The Problem: Design has tiny "islands" floating in the knockout.
• The Fix: In BES4, thicken the font or move the knockout shape to hit thicker parts of the letters.
• Production Tip: If doing repeated team orders, save your base Knockout file as a template.

Branch B: You are cutting rhinestone templates

• The Problem: Stones are clumping.
• The Fix: Increase spacing to 3.00mm. Use the manual Edit tool.
• The Pattern: If organic shapes look blocky, switch fill from Standard to Cascade.

Branch C: You are embroidering the final look

• The Context: You used BES4 to design, but you are outputting to thread, not vinyl.
• The Bottleneck: If you are producing 50 shirts with this design, your bottleneck is no longer the software—it is the hooping process.
• The Upgrade: For repeatable placement on volume orders, a hooping station for embroidery becomes essential to ensure the design lands in the exact same spot on every garment.

The “Tool Upgrade” Path That Actually Makes Sense (When You’re Ready)

Practicality is key. You don't need every gadget, but you do need to solve expensive problems. Here is the upgrade path based on production pain points:

Upgrade trigger #1: You suffer from "Hoop Burn" on delicate items

If you are combining vinyl heat-press with embroidery (mixed media), you are often working with heat-sensitive or pressure-sensitive fabrics. Traditional hoops leave "burn marks" (crushed fibers) that are impossible to remove from performace wear or vinyl.

• The Solution: Unlike friction hoops, magnetic frames hold fabric using vertical force. If you use a Brother machine, a magnetic hoop for brother allows you to secure the item without crushing the fibers, preserving the pristine look of your mixed-media piece.

Warning: Magnetic Safety: Magnetic hoops use powerful neodymium magnets. They present a pinch hazard—keep fingers clear of the snapping zone. Crucially, strictly keep them away from pacemakers, ICDs, and magnetic storage media (credit cards, hard drives), as the strong field can disrupt devices.

Upgrade trigger #2: You are scaling from "Hobby" to "Business"

When you move from one-off gifts to batches of 20+, the single-needle machine becomes a liability due to thread changes.

• The Solution: A multi-needle platform handles color swaps automatically. If you are comparing platforms like the brother pr680w against other commercial units, focus on the "Finished Goods Per Hour" metric. Our SEWTECH multi-needle embroidery machines are engineered to maximize this throughput, reducing the downtime between those complex rhinestone-and-embroidery combination projects.

Upgrade trigger #3: Large format layout struggles

If you are using a top-tier machine like the Luminaire for large backing designs or jacket backs, re-hooping is a precision killer.

• The Solution: Larger frames eliminate the need to split designs. Users frequently search for magnetic hoops for brother luminaire specifically to gain the embroidery area needed for large jacket backs without the fatigue of manual clamping.

Common Pitfalls Terry’s Demo Helps You Avoid (and the Fixes)

I have compiled the most common failure points users encounter when replicating this workflow:

Where Magnetic Hoops Fit (and Where They Don’t) in a Cutting-First Workflow

This tutorial is software-focused, but many readers run hybrid businesses: cutting vinyl for personalization and embroidering premium elements.

If you are doing this, hooping becomes your "physical bottleneck." For mid-sized projects (tote bags, left-chest logos), the brother magnetic hoop 5x7 is a sweet-spot upgrade. It allows for rapid material changes—essential when you have a stack of vinyl-prepped shirts waiting for their embroidery stitch-out.

The Real Takeaway: One Clean Vector Can Power Three Product Lines

Terry’s demo is valuable because it illustrates the power of asset leverage. A single "source shape" becomes:

1. A Cut File for vinyl decals.
2. A Rhinestone Template for high-margin bling wear.
3. A Knockout Design for trendy graphic apparel.

This is the definition of a commercial workflow. By mastering the discipline of "Vector Hygiene"—Converting to Artwork, Welding, and checking your fills—you stop fighting the software and start scaling your output. Whether you stick with standard hoops or upgrade to magnetic solutions for speed, the foundation remains the same: Clean input equals clean output.

FAQ

• Q: In BES4 Dream Edition with Power Pack 2, why does an appliqué leaf cut as two separate pieces (the stem separates) after converting to Artwork?
  A: This is almost always a Weld issue—overlap the pieces slightly and Weld them into one closed vector before exporting.
  • Convert: Go to Tools → Convert to Artwork.
  • Verify: Turn Fill On in the Properties box and click Apply so you can see the solid silhouette.

• Success check: Clicking the shape shows one bounding box around the whole leaf (not two boxes).
• If it still fails: Increase the overlap a little more and Weld again—tiny gaps can prevent a true merge.

• Q: In BES4 Power Pack 2, how can a user confirm a cut file is “clean” before exporting SVG or FCM to a Brother ScanNCut or other cutter?
  A: Do a quick “Fill + single-object” inspection before export to catch dirty vectors early.
  • Apply: In the Properties box set Fill to On and click Apply to reveal any gaps/wireframes.
  • Inspect: Look for “surprise pieces” (small detached segments) and re-position them if needed.
  • Confirm: Click the design and check whether it selects as one object (one bounding box) after any Weld steps.
  • Success check: The artwork displays as a solid block of color with no unexpected holes or separated parts.
  • If it still fails: Re-run Convert to Artwork, then use Weld on any overlapping elements before exporting again.
• Q: In BES4 Power Pack 2, why do rhinestone holes overlap when converting a shape to rhinestones, and how do you fix the spacing using 3.00 mm?
  A: Overlaps mean spacing is too tight—raise spacing to 3.00 mm and then clean up collisions with manual edits.
  • Convert: Select the welded vector shape → Tools → Convert to Rhinestones.
  • Adjust: In the properties panel change Spacing to 3.00 and click Apply.
  • Refine: Use Rhinestone Edit to delete or drag any stones that still collide at corners.
  • Success check: At ~200% zoom, every circle is distinct with visible white space between circles (no touching edges).
  • If it still fails: Measure the physical stones with digital calipers and re-check the selected stone size—mismatch often causes crowding.
• Q: In BES4 Power Pack 2, how do you make rhinestone fills look less “robotic” on organic shapes like leaves using the Cascade fill type?
  A: Switch the fill pattern from Standard to Cascade, then manually remove edge stragglers.
  • Convert: Select the shape → Tools → Convert → Fill Rhinestone.
  • Set: Choose the stone size that matches the stock being used.
  • Change: In Properties set Fill Type from Standard to Cascade and click Apply.
  • Clean: Use Rhinestone Edit to delete awkward edge stones or adjust small gaps.
  • Success check: The interior stones appear to flow in curved alignment rather than a rigid checkerboard.
  • If it still fails: Undo and re-apply Cascade, then do minimal manual edits—over-editing can create new spacing conflicts.
• Q: In BES4 Dream Edition, why is Arrange → Transform → Knockout greyed out or failing when making Knockout typography?
  A: Knockout fails when object types don’t match—convert both the text and the overlay icon to filled Vector Artwork first.
  • Set text: Use Text → Normal Text, set Style to Artwork.
  • Convert icon: Insert the appliqué shape → Tools → Convert → Convert to Artwork, then set Fill to Solid and Apply.
  • Execute: Select both objects → Arrange → Transform → Knockout.
  • Success check: The overlay icon disappears and the icon silhouette is visibly carved out of the text block.
  • If it still fails: Re-check that both items show as filled Artwork (not stitch objects), then re-select and try Knockout again.
• Q: In BES4 Knockout vinyl designs, how do you stop Knockout typography from ripping during weeding when using Stencil Type and letter spacing -1?
  A: Tighten the text into a dense “brick wall” and ensure the icon cuts through thick letter areas, not open gaps.
  • Set: Use Stencil Type font, Style = Artwork, Letter Spacing = -1, Line Spacing = 2.0, then Apply.
  • Place: Put the icon on top and stretch it so it overlaps the “meat” of the letters.
  • Inspect: Zoom in and look for tiny slivers under ~1 mm that will tear during weeding.
  • Success check: The text block looks nearly touching and the knocked-out silhouette reads clearly with no hairline bridges.
  • If it still fails: Undo and reposition the icon to hit thicker letter strokes, or choose a thicker stencil-style font as a safer starting point.
• Q: What cutting-plotter safety rule should be followed when running BES4 Power Pack 2 cut files on vinyl or rhinestone template material?
  A: Treat the blade as a surgical tool—keep hands out of the mat area and never try to hold material down while the cutter is moving.
  • Clear: Keep fingers and loose items away from the cutting path before starting the job.
  • Avoid: Do not press down bubbling vinyl by hand during motion; stop the machine first if adjustment is needed.
  • Control: Use proper mat adhesion and material prep instead of “hand stabilizing.”
  • Success check: The cut completes without any hand contact near the blade/mat zone during movement.
  • If it still fails: Pause/stop the cutter and correct mat/material setup—do not troubleshoot with hands near an active blade.
• Q: For batch production of mixed-media designs (vinyl + embroidery), when should a shop upgrade from technique tweaks to magnetic hoops or a multi-needle embroidery machine?
  A: Use a tiered approach: optimize the file first, then remove hooping bottlenecks with magnetic hoops, then scale throughput with multi-needle if volume demands it.
  • Level 1 (Technique): Clean vectors (Convert to Artwork + Weld), then run spacing/weedability checks before wasting vinyl or template material.
  • Level 2 (Tool): If repeated garments show placement inconsistency or hoop marks on delicate/performance fabrics, magnetic hoops often help reduce clamping pressure and speed changeovers (always follow machine guidance).
  • Level 3 (Capacity): If 20–50+ items are slowed mainly by manual thread changes and stops, a multi-needle platform is often the next step to increase finished goods per hour.
  • Success check: The bottleneck shifts from rework/redo to steady, repeatable cycles with fewer rejects and faster setup per piece.
  • If it still fails: Identify the true limiter (file prep vs. hooping vs. thread-change downtime) and address that single point before buying new equipment.