Floriani Script Lettering Kerning: Manual Spacing, Break Up Text, and Clean Connections That Sew Smooth

Understanding Text Handles: Scale vs. Kerning

Script lettering only looks professional when it behaves like fluid handwriting—letters must flow into one another like water, rather than floating apart like separate islands. In Floriani software (and digitizing in general), achieving that organic flow comes down to a single skill: distinguishing between sizing handles and spacing handles.

If you have ever tried to move a letter closer and accidentally stretched it into a funhouse-mirror version of itself, you grabbed the wrong handle.

In this masterclass walkthrough, we will move beyond basic typing and cover the precise biomechanics of digital text:

• Scale Control: Creating script text at a consistent height (we will use 1.25 inches as our baseline).
• Precision Kerning: Identifying the specific "diamond" handles that move letters horizontally without causing vertical drift.
• Manual Flow: Hand-kerning specific names (like “Tina” and “Jennifer”) so connections look intentional, not accidental.
• Surgical Editing: Fixing the "impossible" connections (like an “e” into a lowercase “r”) by breaking text apart and editing vector nodes.
• Cleanup: Removing microscopic stitch objects that create bulk, ensuring the final sew-out feels like one continuous stroke.

What the video is really solving (and why it matters)

Default spacing in script fonts often leaves visible gaps (white space) between letters. On a small 0.5-inch chest logo, the thread expansion might hide these gaps. But at 1.25 inches or larger—typical for Christmas stockings, tote bags, or jacket backs—those gaps become glaring errors. They make the embroidery look like "computer text" rather than "custom embroidery."

Furthermore, seasoned digitizers know a specific frustration: in older software versions, refining a property (like density) would sometimes "reset" your hard-earned spacing adjustments. The workflow below assumes you are using an updated version of Floriani where this bug is fixed, allowing you to kern first and refine properties second.

Warning: The Micro-Drag Hazard. When zoomed in to manipulate handles, your wrist resting on the desk can cause tiny, unintentional mouse movements ("micro-drags"). This can slightly distort a letter's height without you noticing until the sew-out. Pro Tip: Keep your non-dominant hand hovering over Ctrl+Z (Undo). If the letter doesn't snap purely left/right, Undo immediately and try again.

The Problem with Default Spacing in Script Fonts

The tutorial demonstrates this issue using the name “Tina” in the Athletic Script font at 1.25 inches. The default result shows slight separation between the "T" and the "i"—a gap that would be acceptable in a block font (like Arial) but breaks the illusion of a script font.

Why script spacing fails more often than block spacing

Computers calculate spacing based on "bounding boxes"—invisible rectangles around each letter. Block letters have vertical sides, so boxes stack neatly. Script letters have angled entry/exit tails and swooping ascenders (like a capital “J”) that invade the space of neighbors. The computer "sees" a collision and adds space, but the human eye "sees" a gap.

The Golden Rule of Spacing: The larger the text, the tighter the visual spacing must be. A 5mm gap is invisible on a billboard but disastrous on a 4-inch patch.

A quick “production reality” note (so you don’t get surprised later)

There is a "Physics Gap" between your screen and your machine. You can create perfect overlaps on screen, but if your fabric isn't stabilized correctly, the push/pull of the needle will open those gaps back up during stitching.

If you are stitching names on difficult items like thick Christmas stockings, velvet, or stretchy knits, your hooping method is just as critical as your digitizing handles. Traditional friction hoops struggle to hold thick items flat without leaving permanent "hoop burn" (crushed pile). This is where many professionals upgrade to magnetic embroidery hoops. The magnetic force clamps thick materials instantly without the friction burn, ensuring the fabric (and your spacing) stays exactly where you designed it.

Step-by-Step Manual Kerning Guide

This section follows the exact workflow from the video, structured to ensure you don't miss the invisible steps.

Prep (before you touch spacing)

Treat this like a pilot's pre-flight check. Good digitization cannot save a bad physical setup.

Hidden consumables & prep checks (the stuff people forget)

• Software Version: Ensure Floriani is updated to prevent property-change resets.
• Test Fabric: Do you have felt or denim scraps? Never test a new script setup on the final garment.
• Needle Condition: A burred or dull needle drags fabric, creating gaps even if the file is perfect. Use a fresh 75/11 Sharp for wovens or Ballpoint for knits.
• Stabilizer Choice: For script text, Cutaway stabilizer is the safety standard. Tearaway allows too much movement, which can separate your carefully connected letters.

Warning: Safety First. When trimming connection threads or stabilizers near your needle, keep your fingers clear of the presser foot bar. Remove your foot from the pedal (or engage the machine's safety lock) to prevent accidental needle strikes while your hands are in the danger zone.

Prep Checklist (end-of-prep)

• Floriani software is updated to the latest build.
• Correct Font (Athletic Script) and Height (1.25") are planned.
• Stabilizer matched: Cutaway (for stability) or heavy Tearaway (if fabric is very stable).
• Hooping plan: Do you have the right size hoop to avoid stretching the fabric?

Setup: Create the text object (video: “Tina”)

1. Select the Text Tool from the toolbar.
2. Click on the workspace and type “Tina”.
3. In the Properties panel, set Height to 1.25 inches.
4. Select the font “Athletic Script”.
5. Click Apply.

Sensory Check: You should see the text appear with standard spacing. It will likely look "loose" or "airy."

Setup: Identify the correct kerning handles (this is the make-or-break step)

This is where beginners get frustrated. You must distinguish between the two handle types:

• Black Solid Squares: These are for Scaling. Dragging these changes the size/shape. Avoid these for now.
• Green/Gold Diamonds: These are for Kerning. They are located at the baseline (bottom) of each letter.

To engage Kerning Mode:

1. Switch to the Shape Tool (Select node).
2. Click the text object.
3. Look for the Diamond symbols at the center-bottom of each letter.

Why the Diamond Handle? Dragging a diamond moves that specific letter and every letter to its right simultaneously. This maintains the spacing of the rest of the word, allowing you to work efficiently from left to right.

Operation: Manual kerning for “Tina”

1. Zoom In: Use the wheel or zoom tool until the letters fill your screen.
2. Target: The gap between "T" and "i".
3. Action: Click the diamond handle under the "i". Drag it to the left.
4. Visual Cue: Tuck the "i" slightly under the crossbar of the "T".

Success Metric: The "i" should nest comfortably. It should look like the "T" is sheltering the "i", not standing apart from it.

Operation: Global spacing (video: Space % = -10) and when it helps

For longer words, moving every letter manually is tedious. You can use a "Global adjustment" first.

1. Create the text “Jennifer”.
2. In Properties, locate Space % (Spacing Percentage).
3. Change the value to -10 (Negative ten).
4. Click Apply.

Result: The entire word tightens. This gets you 80% of the way there. Now you only need to fix the specific "problem pairs."

Operation: Precision manual spacing for “Jennifer” (the instructor’s visual rule)

The instructor applies a specific visual logic for lowercase script: The Intersection Triangle.

For letters like "e" connecting to "n":

1. Select the diamond handle of the "n".
2. Drag left until the entry stroke of the "n" overlaps the exit tail of the "e".
3. Visual Check: Look for the point where the outlines cross. They should form a tiny triangle of overlap. This ensures that even if the fabric stretches slightly, the threads will still touch.

Business Insight: If you run a shop, you cannot afford to manually kern every single name for a 50-shirt order. You need speed. This is where tools like a hooping station for machine embroidery become vital. By standardizing the placement and tension of every shirt, you ensure that the standard kerning settings work decently on all garment sizes, reducing the need for unique edits per shirt.

Operation Checklist (end-of-operation)

• Handle Check: Am I definitely using the Diamond handles, not the Black squares?
• Direction Check: Am I working Left-to-Right? (This prevents having to re-do spacing).
• Overlap Check: Do I see the "intersection triangle" on lowercase connections?
• Cap Check: Does the Capital letter loom properly over the second letter?

Advanced Technique: Using 'Break Up Text' for Custom Connections

Sometimes, kerning is not enough. The geometry of the letters simply doesn't match. The classic example is a lowercase "e" connecting into a lowercase "r" (or "b" to "r"). The "e" exits low, but the "r" expects a high connection.

To fix this, we must perform "surgery."

Step 1: Break the text object into editable elements

1. Right-click the text object in the Sequence View.
2. Select Break Up Text.
3. The single "Jennifer" object explodes into separate objects for "J", "e", "n", etc.

Step 2: Edit outlines (nodes) to extend and re-angle the connection

Now you are editing vector shapes, exactly like in Illustrator or CorelDraw.

1. Zoom In: Get extremely close to the gap between "e" and "r".
2. Select the "e" object.
3. Right-click and select Edit > Outlines.
4. Action: Grab the blue node (point) at the tip of the "e" tail.
5. Drag: Pull the tail down and to the right, extending it so it physically intersects heavily with the start of the "r".
6. Smooth: Adjust the bezier handles (the little whiskers) to make the curve look natural, not kinked.

Why edit the "e" and not the "r"? Usually, it is easier to extend an exit tail (the "e") than to distort an entry point (the "r"). Follow the path of the imaginary pen.

Expert note (why this works)

Kerning changes position. Break Up Text changes shape. By physically reshaping the letter, you create a customized ligature that the font designer didn't include.

For high-volume production, consistency is key. If you are customizing text at this level of detail, you want to ensure the sew-out honors your work. Using a dedicated embroidery hooping station ensures that every garment is subjected to the exact same tension and alignment, making these custom edits repeatable across a full size run.

Final Polish: Cleaning Up Outlines and Stitch artifacts

When you mash two letters together, you might create "bulk"—lumps of thread where the two satins overlap.

Where to find and delete unwanted stitches

After breaking up the text, check the Sequence View for tiny "travel runs" or "jump stitches" that might now be trapped under your new satin connection.

1. Open Sequence View.
2. Look for small objects between the "e" and "r".
3. Select them and hit Delete.
4. Goal: We want the "e" satin to sink directly into the "r" satin without any junk in between.

Decision Tree: When to stop at kerning vs. when to break up text?

Don't over-edit. Use this logic flow to save time:

• Scenario A: Lettering is < 0.75 inches tall.
  • Action: Use Global Spacing (-10%). The thread spread will hide the rest. Stop.
• Scenario B: Lettering is > 1 inch, standard connection (e.g., "a" to "n").
  • Action: Use Diamond Handles to create the "Intersection Triangle." Stop.
• Scenario C: Lettering is > 1 inch, awkward connection (e.g., "e" to "r", "o" to "b").
  • Action: Break Up Text -> Edit Nodes -> Reshape Tail. Proceed.

Warning: Magnetic Hoop Safety. If you choose to use magnetic hoops to secure your fabric for these high-precision designs, utilize the "slide-on" technique. Do not place fingers between the top and bottom rings and let them snap together. The force of industrial-grade magnets can cause painful pinches. Slide the top frame onto the bottom frame from the side or edge.

Checklist: Final Quality Assurance

• Visual Continuity: At 100% zoom, does the word look written by a single pen?
• No Debris: Have trapped run stitches been deleted from overlaps?
• Node Smoothness: Are there any sharp kinks in the edited tails?
• Reality Check: Is the gap closed enough to survive the fabric stretch? (When in doubt, overlap more).

Results

By mastering the difference between Scale (Black Handles) and Kern (Diamond Handles), you transform your lettering from "typesetting" to "typography."

• "Tina" creates a unified shape where the "T" shelters the "i".
• "Jennifer" utilizes global compression (-10%) for efficiency, with manual spot-checks.
• The "e-r" gap is solved not by moving the letters, but by reshaping the vector path itself.

Remember, software perfection is only the first half of the battle. The best digitizing can be ruined by poor hooping. As you refine your digital skills, consider refining your physical workflow with aids like hooping for embroidery machine tools or magnetic frames. When your digital design meets a perfectly stabilized surface, that is when you achieve the "painted on" look of master-class embroidery.