Embrilliance Font Hack: Replace the Dot on an “i” with a Filled Heart (Clean Splits, Clean Stitching)

Introduction to Font Customization in Embrilliance

Personalized names are the "bread and butter" of the embroidery business, turning generic items into cherished keepsakes. However, nothing screams "amateur" faster than a disjointed design or a messy edit. Small modifications—like swapping the mundane dot of an "i" for a heart—can elevate a simple purchased font into a premium, custom-looking design.

But here is the reality of machine embroidery: What looks good on screen does not always stitch well on fabric.

In this white-paper-style tutorial, we will bridge the gap between software editing and physical execution. You will learn how to surgically edit a purchased font inside Embrilliance by splitting stitches at the precise machine command points. We will cover how to delete the dot without breaking the design file, replace it with a shaped fill, and—crucially—how to stabilize and hoop this modification so it doesn't result in a bird's nest of thread on your machine.

What you’ll make (and why this method works)

We are working with the name “Marie” and the font shown in the video (DB JJ Marvelous 1 in). Most novices try to "cover up" the dot or erase points randomly. This creates density buildup that breaks needles.

Our method is surgical. We use the Stitch Simulator to find the exact coordinate where the needle jumps from the stem of the “i” to the dot. By inserting a specific Stop command (paired with a color change), we trick the software into treating the dot as a separate object.

If you are thinking ahead to production—stitching 50 bridal party shirts, for example—this micro-editing technique is a massive efficiency unlock. It allows you to standardize a "signature style" quickly.

Using Stitch Simulator to Isolate Design Elements

Think of the Stitch Simulator not just as a preview tool, but as an MRI scanner for your design. When editing text, the Stitch Order is the skeleton of your project. It dictates where trims happen, where jump stitches fly, and whether a tiny edit will cause the needle to drag across your fabric.

Step 1 — Isolate the start of the dot stitch

1. Open Stitch Simulator: Find the playback controls.
2. Scrub to the "i": Move the slider until the stitching completes the stem of the lowercase "i".
3. Find the Jump: Use the arrow keys to advance strictly one stitch at a time. You are looking for the exact moment the stitch point moves from the top of the stem to the position of the dot.
4. Insert Stop: Place a Stop command at that exact pre-jump coordinate.
5. Force Separation: Change the thread color of the upcoming segment to something high-contrast (e.g., "Mimosa Yellow"). This creates a hard data break in the file.

Checkpoint: In the simulator view, the blue stitch path must stop cleanly at the top of the “i” stem.

Expected outcome: The design is now bifurcated. Everything after the Stop is a new specific segment, manipulable on its own.

Pro tip from the comments (jump stitch vs. tack question)

A common fear is that adding a Stop will mess up the tie-ins (lock stitches). A viewer asked if adding a Stop automatically “tacks” the stitch or creates a loose jump.

Expert Insight: A "Stop" is a machine instruction, not a stitch type. Most modern machines will perform a tie-off before a trim/stop command if your machine settings are toggled to "Trim after Color Change." However, do not rely on hope.

The "Tug Test": When running your first test piece, after the machine stops at the "i" stem, gently pull the tail. If it unravels, your machine did not lock it. You may need to manually add a tie-off in the software or adjust your machine's specific trim settings.

Warning: Project Safety. Before stitching a modified file on a client's garment, run a test on scrap fabric (similar weight). Tiny edits near letters can create "travel stitches" (long threads dragging across the back). If not trimmed, these can snag or shadow through white fabrics.

Step 2 — Isolate the end of the dot stitch

Now that the start of the dot is cut, we must cut the end to separate it from the subsequent letter.

1. Scrub Forward: Move through the simulation until the dot is fully formed.
2. Identify the Exit: Stop precisely after the last stitch of the dot, but before the needle travels to the next letter (the "e").
3. Insert Stop #2: Place your command here.
4. Color Change: Change the next segment to a third color (e.g., "Medium Rose").

Checkpoint: You should visually see the dot as a distinct color block (Yellow), bridging the gap between the stem (Blue) and the next letter (Pink).

Expected outcome: The dot is now an isolated data island. You can sink it, move it, or delete it without affecting the structural integrity of the "e."

Why this split matters (digitizing logic you can reuse)

You are practically applying segmentation logic. When a font is digitized, it is often a continuous line of code. By inserting Stops, you are acting as a post-production digitizer. This logic applies everywhere: removing a date from a logo, isolating a flourish, or deleting a stray satin column that creates bulk.

Deleting and Replacing the Dot on the 'i'

With the dot isolated, deletion is safe. However, software safety and physical safety are different things.

Step 3 — Delete the isolated dot (without harming the next letter)

1. Select: In the object list (right-hand panel), click the isolated dot segment.
2. Verify: Ensure only the dot highlights on the canvas.
3. Delete: Press the Delete key.
4. Unify: Re-color the remaining letters (the "e" and following text) back to the original color so the machine doesn't force an unnecessary stop/trim.

Checkpoint: The canvas shows the name "Marie" with a clean, empty void above the "i". The stem remains sharp; the "e" remains intact.

Expected outcome: A clean slate ready for customization.

Troubleshooting the most common mistake

Symptom: You hit delete, and the "e" vanishes along with the dot.

Likely Cause: The "cut" between the dot and the "e" was not established. They are still grouped as one object.

Watch out: tiny edits can change stitch travel

The Physics of Stitching: When you remove an object, the machine still has to get from Point A (top of "i") to Point C (start of "e"). Without the dot (Point B) as a bridge, the machine will execute a Jump Stitch or a Travel Stitch.

• Action: Ensure your machine is set to "Trim Jump Stitches" if available. Otherwise, you must be prepared to manually trim this connection to prevent the thread from getting caught under the foot.

Merging and Resizing Shapes from the Library

We are replacing a structural font element with a decorative shape. This requires an eye for Visual Weight. A purely mathematical center often looks "off" to the human eye.

Step 4 — Merge a heart and position it like a “designer dot”

1. Library Access: Click Merge Design from Library.
2. Selection: Navigate to shapes and select Heart 3.
3. Scale: Resize the heart using the corner handles.
   • Rule of Thumb: The heart should be visually similar in width to the satin column of the letters. Too big, and it dominates; too small, and it vanishes.
4. Position: Move it above the "i".
5. Rotate: Give it a slight tilt (minus 10-15 degrees). This interaction creates a "hand-drawn" aesthetic that masks minor alignment imperfections.

Checkpoint: The heart must float. Do not let it touch the "i" stem or the "e". Stitching on top of stitches (overlap) without proper settings causes "bulletproof" stiff spots and needle breaks.

Expected outcome: A balanced composition where the heart feels like part of the font family.

Practical placement rules (so it stitches clean)

When moving from screen to fabric, physics takes over.

• The 1mm Gap Rule: Leave at least 1mm of clear fabric between the heart and the letters. Threads spread when stitched (push/pull compensation). Touching on screen means overlapping on fabric.
• Hooping Reality: If you handle finished goods (like tote bags or caps) where hooping is difficult, precision is hard. In these scenarios, many professionals switch to magnetic embroidery hoops because they allow for micro-adjustments at the machine without unhooping the entire garment, reducing the risk of "hoop burn" (the shiny ring marks left by tight standard hoops).

Converting Outlines to Fill Stitches

A library shape creates an outline (Run Stitch) by default. An outline heart above a satin font looks weak and unintentional. We need High Density (Fill/Satin) to match the text.

Step 5 — Convert the outline heart into a filled stitch

1. Select: Click the heart object.
2. Convert: Click Create Design -> Fill.
3. Match: Change color to match the text.
4. Re-Evaluate: Fills expand the fabric (Push). The heart will physically grow slightly when stitched. You might need to scale it down 5-10% to account for this expansion.

Checkpoint: The heart is solid. Check the density properties. For a standard 40wt thread, a density of 4.0 to 5.0 points is standard.

Expected outcome: A solid shape that holds its own against the weight of the font.

Why “Fill” is usually the right choice here

Texture Match: If the font is Satin (shiny, raised), you want the heart to be Satin or a dense Tatami fill. Fabric Stability: Determining the stitch type depends on the fabric.

• Small Heart (under 5mm): Use Satin Stitch.
• Large Heart (over 8mm): Use Fill/Tatami Stitch to prevent loops and snags.

Final Result and Stitch Review

Before you commit thread to fabric, we must verify the logic one last time.

Final stitch simulation: confirm order and stops

Run the simulator. The standard sequence should be:

1. First part of name ("Mar").
2. The "i" stem.
3. The rest of the name ("e").
4. Trim/Jump.
5. The Heart (stitches last).

Why last? Stitching the smallest detail last prevents it from being distorted by the push/pull forces of the larger letters.

Checkpoint: Ensure there are no unexpected color stops inside the name itself.

Expected outcome: A streamlined file ready for the machine.

Prep: hidden consumables & preflight checks

You are about to stitch. The software part is done. Now, the mechanical variables come into play. A perfect file will still fail if your physical setup is flawed.

Hidden Consumables you might need:

• 75/11 Ballpoint Needle: If stitching on knits/t-shirts.
• Water Soluble Topper: If stitching on towels (prevents the heart from sinking).
• Spray Adhesive (temporary): To float fabric if you aren't hooping it directly.

If you are setting up a workflow for multiple personalized gifts, hooping for embroidery machine setups becomes your primary bottleneck. Spending 5 minutes to hoop a $5 t-shirt destroys your profit margin.

Prep Checklist (do this before exporting/stitching)

• Simulation Run: Watch the entire path for weird jumps.
• Segmentation: Confirm the dot is deleted, not just hidden.
• Color Unity: Confirm the name is one continuous color (unless intended otherwise).
• Gap Check: Verify the 1mm visual gap between heart and letters (compensation).
• File Format: Export to the correct machine format (PES, DST, JEF, etc.).
• Backup: Save the edited .BE working file separately from the machine file.

Setup: production-minded setup (single gift vs. batch)

The "Sweet Spot" for Speed: For detail work like this, do not run your machine at max speed.

• Global Avg: 600 - 800 SPM (Stitches Per Minute).
• Detail Work: Slow down to 500-600 SPM for the small heart to ensure crisp edges.

If you are running a high-volume shop, consistency is key. Using tools like hooping stations ensures that "Marie" is centered exactly the same way on shirt #1 and shirt #50.

Warning: Magnet Safety. If you upgrade to magnetic frames for speed, be aware they use powerful neodymium magnets. They can pinch fingers severely. Keep them away from pacemakers, delicate electronics, and credit cards. Always slide them apart; never try to pry them directly against the magnetic force.

Decision tree: stabilizer choice for small filled details

A small, dense heart acts like a "knot" on the fabric. Without support, it will pucker (cinch) the fabric.

1) Is the fabric stretchy (Tees, Polos, Knits)?

• YES: You MUST use Cut-Away Stabilizer. (Tear-away will eventually disintegrate, leaving the heart to sag and distort after one wash).
• NO: Go to step 2.

2) Is the fabric textured/fluffy (Towels, Fleece)?

• YES: Use Tear-Away or Cut-Away on the back, AND a Water Soluble Topper on top. The heart needs to sit on the topper, not sink into the loops.
• NO: Go to step 3.

3) Is the fabric stable (Woven Cotton, Canvas, Denim)?

• YES: Standard Tear-Away is usually sufficient.

Setup Checklist (right before you stitch)

• Needle Check: Is the needle straight and sharp? A burr will shred the tiny heart stitches.
• Bobbin Check: Is there enough bobbin thread to finish the run? (Changing bobbins mid-letter is a disaster).
• Hoop Tension: Fabric should be "drum tight" but not stretched/distorted.
• Spindle: Thread is seated correctly in the tension disks.

If you find that standard hoops are leaving permanent "burn" marks on delicate items, or if your wrists hurt from tightening screws all day, many embroiderers effectively utilize embroidery hoops magnetic to clamp fabric gently but firmly without the friction burn of traditional rings.

Operation: stitch-out strategy for clean results

The Listen Test: When the machine starts, listen. A rhythmic "hum-thump-hum" is good. A sharp "click-click-click" often indicates the needle is hitting the needle plate or the hoop. STOP IMMEDIATELY if you heat that sound.

The "Heart" Moment: When the machine jumps to stitch the heart:

1. Watch the tie-in: Ensure the thread catches.
2. Watch for flagging: If the fabric bounces up and down with the needle, your hooping is too loose. Pause and press down on the fabric (safely away from the needle) or float a scrap of stabilizer under the hoop.

For those running a brother embroidery machine, be aware that single-needle machines cut jump stitches differently than multi-needle setups. If you do not have auto-jump-trim, stop the machine after the text and manually trim the thread before the heart starts.

On the other hand, a dedicated multi-needle rig (like a SEWTECH setup) handles these color stops and trims automatically, which is why high-volume shops upgrade to separate their "production" work from "custom" work.

Warning: Mechanical Hazard. Keep loose hair, jewelry, and drawstrings far away from the take-up lever and needle bar. The machine does not feel pain, but you will. Never reach into the hoop area while the machine is running green.

Operation Checklist (during and after stitching)

• First Stitch: Verify the bobbin thread is catching (white thread visible on the underside, about 1/3 total width).
• The Jump: Did the machine trim the jump to the heart? If not, trim it now.
• The Heart: Did it sink? (Use a topper next time). Did it pucker? (Use heavier stabilizer next time).
• Cleanup: Trim all thread tails flush to the fabric.

Comment-inspired expansion: “Where are those extra shapes?”

Don't ignore the built-in assets. The Merge Design from Library feature is often a graveyard of unused potential. It contains shields, flourishes, and seasonal icons. Using these pre-digitized assets is safer than auto-digitizing a JPEG because they are optimized for stitch paths and density.

Tool upgrade path (when personalization becomes a business)

If you are doing this for grandchildren, standard tools are fine. If you are doing this for clients, "Time is Money."

The Upgrade Logic:

• Pain Point: "I spend 5 minutes hooping a shirt and 2 minutes stitching it."
  • Solution Level 1: Use a layout grid or hoop master embroidery hooping station to guarantee placement without measuring every time.
• Pain Point: "My hands hurt, and I'm marking customer shirts with hoop rings."
  • Solution Level 2: Switch to a brother magnetic embroidery frame (or generic compatible equivalent). The magnetic force does the work, not your wrists.
• Pain Point: "I have to change thread colors manually 50 times a day."
  • Solution Level 3: Upgrade to a Multi-Needle Machine (6-needle or more) to automate color swaps and increase SPM.

Troubleshooting

Problem: “I deleted the dot and lost the next letter.”

• Symptom: You press delete on the dot, and the "e" vanishes too.
• Likely Cause: The software sees them as a "Group."
• Quick Fix: In Stitch Simulator, add a color stop after the dot. If that fails, right-click the text object and select "Ungroup" (if available in your version), though the Stop method is safer for lettering.

Problem: “My heart looks too big after filling.”

• Symptom: The heart touches the letters on fabric, even though it didn't on screen.
• Likely Cause: "Pull Compensation" and "Push." Fills push fabric outward.
• Quick Fix: Scale the heart down by 10% after converting it to a fill.

Problem: “I’m seeing travel stitches to the heart.”

• Symptom: A thin thread line drags across the fabric connecting the "e" to the heart.
• Likely Cause: Machine did not trim.
• Quick Fix: Manually snippet the thread.
• Prevention: Check your machine settings for "Jump Stitch Trim." If your machine lacks this, you must pause and trim manually.

Problem: “The heart puckers my fabric.”

• Symptom: The fabric around the heart looks wrinkled or cinched.
• Likely Cause: Stabilization failure. The high density of the small heart overpowered the stabilizer.
• Quick Fix: Iron with steam (sometimes helps).
• Prevention: Switch to Cut-Away stabilizer and ensure the fabric is hooping "drum tight."

Results

You now have a repeatable, professional method to customize fonts in Embrilliance. You have learned to isolate segments via Stitch Simulator, split objects safely, and replace them with filled library shapes. More importantly, you now understand the physicality of the stitch—how density, stabilization, and hooping affect the final output.

Save your edited file as a distinct "Working File" (.BE). Next time you need to add a "Heart Tittle" to a name, you won't be guessing—you'll be executing with the confidence of a pro.