Flat vs. Cap Digitizing: A Practical Workflow to Prevent Distortion, Gaps, and Messy Small Text

Why Cap Embroidery Requires Different Rules

If you run the same digitized logo on a finished cap and on a flat polo, you’ll often get two very different outcomes—even when the thread, needle, and machine are identical. The reason is simple physics: a cap is a curved, structured surface with a thick center seam and a stiff bill (peak) that physically restricts how fabric can move while stitches form.

When a needle penetrates a flat piece of fabric in a hoop, the fabric has room to disperse the "push" of the thread slightly in all directions. On a cap, the fabric is under tension against a curved metal driver. It cannot expand. Instead, it "flags" (bounces up and down), and as stitches build up, they push the fabric away from the needle.

In the video, John Deer’s core rule for caps is bottom-up, inside-out:

1. Start near the bill: Anchor the design where the structure is stiffest.
2. Start at the center seam: Work outward toward the sides.

This sequencing reduces the chance that later stitches will push earlier stitches off-register (the dreaded "white gap" between an outline and a fill).

On flat goods, the logic flips. You generally want large foundational areas first to stabilize the fabric against the stabilizer, then smaller details last. That’s why the tutorial ends by resequencing the same design into a “flat version.”

A quick reality check from the production floor: even perfect digitizing can be ruined by poor stabilization or hooping. If you’re troubleshooting distortion, don’t only stare at the file—also evaluate how the item is being held. If your workflow includes flat items (polos, jackets, tote bags) and you see "hoop burn" (shiny rings) or shifting, upgrading your holding method with magnetic embroidery hoops can reduce fabric shift and eliminate those marks. Unlike traditional friction hoops that distort the fabric grain, magnetic systems clamp straight down, maintaining the fabric's natural tension—essential when running repeats.

Step 1: Analyzing and Resizing the Artwork

What the video does (and why it matters)

The first hard rule in the tutorial is: resize the artwork first, then digitize at the requested size. John loads the logo artwork into the Embroidery Legacy Digitizer, switches units to inches, and checks the original height (3.44 inches). The requested cap size is 2.25 inches tall, so he scales the artwork to 2.25 inches before placing a single stitch.

He also dims the artwork by reducing opacity so the stitches are easier to see over the image. This sounds cosmetic, but it’s a practical digitizing habit. Visual Check: You should be able to clearly see the "wireframe" of your stitch edges against the pale background. If the background is too bright, you will miss the 1mm overlap needed for proper registration.

Expert note: size changes are not “free”

In commercial embroidery, resizing an already digitized file (a .DST or .PES) is dangerous. If you shrink a design by 20% without recalculating the stitches, the density increases by 20%. The result?

• Tactile Failure: The design feels like a "bulletproof patch"—stiff and uncomfortable on the forehead.
• Auditory Warning: You will hear a rhythmic thump-thump as the needle struggles to penetrate the over-dense area, often leading to thread shredding.

Always treat the requested size as a fixed constraint. If a customer wants “the same logo, just smaller,” it is a new digitizing job, not a quick scale button operation.

Step 2: Digitizing Small Lettering for Clarity

The cap-friendly approach: center seam outward

John digitizes the small lettering (“…AVING”) from the center moving outward, which aligns with the cap rule. He uses a Classic Satin tool and manually plots points. Two key micro-techniques from the video are worth turning into habits:

1. Hold Shift for perfectly straight segments: This creates sharp, professional corners rather than "mushy" rounded edges.
2. Hide connections inside the next letter: Never connect at the bottom serif where the eye expects a sharp line.

That second point is critical for small text (under 6mm). Instead of connecting at the bottom where the travel stitch acts like a visual "bridge," he drops a run stitch (hotkey “1”) up into the body/leg of the next letter. The satin stitches of the next letter then sew over this connector, burying it completely.

He also uses the Q key to manually adjust start/stop points. Sensory Cue: If you are trimming threads by hand after the machine stops, and you feel snagging or resistance, your start/stop points are likely exposed. They should be tucked away so the back of the embroidery feels smooth.

Pro tip from the comments: “How do I edit an already-digitized flat logo for a cap?”

A common situation: You have a verified oval badge file for polo shirts, and the client wants it on a hat.

From the video’s logic, the practical edit path is:

• Visualize the Center Line: Imagine the heavy seam running down the middle of the design.
• Resequence Objects: In your software, drag the objects that sit on the center line to sew first (and closest to the brim). Then, sequence the objects to the left, then the objects to the right.
• Push Compensation: Cap drivers exert force. If the design is a fully stitched oval, the border often needs to be digitized last and slightly wider to cover the edges of the fill, which will have pulled inward during sewing.

Warning: Small lettering is where needle strikes and thread breaks show up first. Before you test-sew, confirm you’re using an appropriate needle (Size 75/11 is standard, but a 65/9 is better for tiny text) and that your scissors/snips are razor-sharp. Dull trimming pulls the bobbin thread up to the top, creating "pepper" (white dots) in your text.

Step 3: The 'Reverse Digitizing' Technique for Perfect Borders

What “reverse digitizing” means in this lesson

Usually, we digitize a fill (the background color) and then put a border around it. John flips this logic. He creates the outer border first to act as a precision template.

He uses the Steil (column/satin border) tool to trace the outer shape, then adjusts properties:

• Border width: 1 mm (reduced from default to avoid bulk).
• Inset: 100% (This ensures the border sits strictly inside the shape edge you traced).

This border is NOT sewn first. It is digitized first to establish the geometric "truth" of the design.

Why this prevents gaps and registration drift

On caps (and also on textured knits), pull and push forces are aggressive. If you digitize a fill first, you are guessing where the edge will end up after the fabric distorts. By building the border structure first in the software, you define the rigid boundary. You can then digitize the fill to meet (and slightly overlap) that boundary intentionally.

Visual Check: When you zoom in on your software (at least 600%), you should see the fill stitching extending slightly passed the center line of where the border will eventually sit. This overlap is your insurance policy against gaps.

Step 4: Manual Underlay for Structured Caps

The video’s manual zigzag underlay (and the “why” behind it)

John manually creates a run stitch underlay in a horizontal zigzag pattern across the shape area. He calls it an “old school” method. Why do this manually instead of using the "Auto Underlay" button?

Control. Automatic underlay often calculates based on the shape's average width. Manual underlay allows you to reinforce specific areas where the cap curves most aggressively.

He then creates the main fill (tatami) and sets the stitch angle to 0 / 180 (horizontal), using Shift to lock a perfectly straight angle.

The Physics: Horizontal stitches run perpendicular to the cap's center seam. This means the needle is traveling "across" the obstruction rather than sewing "along" it (which can cause the needle to slide into the ditch of the seam, creating crooked lines). This is also why horizontal fills work well on pique knit golf shirts—they bridge the "hills and valleys" of the knit structure.

Comment-based clarification: “Are the manual zigzags random?”

No. They are structural rebar.

• On a cap, the curve tries to spread stitches apart. The zigzag holds the fabric "ground" together.
• On flat goods, you might skip manual underlay for simple shapes, but for performance wear (stretchy dri-fit), this technique prevents the design from distorting into an hourglass shape.

Expert guidance: underlay is a system, not a checkbox

Underlay adds stitch count, which adds time. In a hobby setting, 500 extra stitches is irrelevant. In a production shop running 100 hats, that's 20+ minutes of lost production. However, skipping underlay to save time often leads to rejected garments due to gaps.

The Commercial Criteria: If you find yourself spending too much time stabilizing complex caps, it might be time to look at your equipment. Single-needle machines struggle with the friction of heavy caps. Upgrading to a multi-needle platform (like those from SEWTECH) provides a cylindrical arm and a more robust drive system, allowing for higher speeds and better registration on curved surfaces.

Step 5: Re-sequencing: Converting Cap Files to Flat Files

Cap version: bottom-up, then border last

In Sequence View, John drags the border object down so it sews later. The goal is:

1. Foundational stitching first: Lock the fabric to the backing near the brim.
2. Border last: Cover raw edges and clean up the perimeter.

He checks start/stop points to keep sewing continuous. Auditory Cue: A well-sequenced file sounds like a consistent hum. A poorly sequenced file sounds like hum-stop-click-trim-move-click-hum. Every trim is a chance for the thread to pull out of the needle eye.

Flat version: big stabilizing areas first, small details last

John saves the cap version, then creates a flat version. He moves the small lettering (which was first in the cap workflow) to the very last position.

His reasoning: On flat fabric (like a tote bag or sweatshirt), if you sew tiny letters first, the subsequent heavy fill stitches will drag the surrounding fabric, shifting the letters you just sewed. By sewing the big "block" first, you essentially turn that area of the fabric into a stiff, stable canvas. Then, you embroider the text on top of that stable surface.

This is a universal truth: Sequencing is a stabilization tool.

However, the file can only do so much. If your hooping is loose, the best file in the world will fail. Tactile Test: When hooped, the fabric should feel taut like a drum skin, but not stretched like a rubber band. If you struggle to achieve this tension consistently, or if you have hand fatigue from manual screw tightening, consistent tensioning is better achieved via a hooping for embroidery machine technique that uses magnetic clamping. This is often the difference between "one good sample" and "50 identical pieces."

Primer

You’re here because you want a logo to stitch cleanly on a finished cap and still run well on flat garments—without re-digitizing from scratch every time.

In this walkthrough you’ll learn:

• Scale Safety: How to size artwork correctly before digitizing to prevent bulletproof density.
• Micro-Detailing: How to digitize small lettering so connections are invisible.
• The Mandrel Method: How to build borders first (“reverse digitizing”) to ensure perfect registration.
• Structural Rebar: How and why to add manual zigzag underlay under tatami fills.
• Sequence Logic: How to resequence the same file for cap vs. flat stability.

If you’re thinking about production efficiency, pay attention to the sequencing. Good sequencing means fewer trims, less downtime, and higher profit per hour.

Prep

Hidden consumables & prep checks (don’t skip these)

Digitizing is software work, but the file only succeeds when it meets real-world sewing conditions. Before you test your cap and flat versions, gather and check:

• Fresh Needles: A slight burr on a needle tip (invisible to the eye) can cut cap fibers. Use a new needle for critical samples.
• Backing/Stabilizer: For caps, use a heavy "cap cutaway" backing (usually 3.0 oz). For flats/knits, use a "no-show mesh" or standard cutaway. Tearaway is generally too weak for the high stitch counts of a badge logo.
• Sharp Snips: Dull scissors pull the thread; sharp snips slice it. This prevents the "tuft" of thread that looks messy on small text.
• Cleaning: Check your bobbin case for lint. Cap embroidery produces a lot of dust (from the buckram). Accumulated lint changes your tension mid-design.

For production shops, verify your hooping consistency. Variable tension causes variable quality. Many professionals implement a magnetic hooping station to standardize the placement and tension for every operator, reducing labor time and rejected garments.

Prep Checklist

• Dimensions: Confirm requested design height and set units to inches.
• Scaling: Scale artwork to final size (e.g., 2.25" height) before adding nodes.
• Visuals: Dim artwork opacity so wireframe edges are distinct.
• Hardware: Verify needle type/size (e.g., 75/11 Sharp for caps, Ballpoint for knits).
• Maintenance: Clean lint from the hook area before running dense fills.

Setup

Set your digitizing environment for precision

In the video, John digitizes at a controlled zoom level (he demonstrates working at 6:1, or 600%) so node placement is deliberate.

Why Zoom Matters: If you place nodes while zoomed out, a "small" gap on screen might be 2mm in reality—a huge gap in embroidery terms. Set yourself up so you can see corners clearly and evaluate overlaps without guessing.

Decision Tree: Cap vs Flat Planning (and stabilizer mindset)

Use this quick decision tree before you commit to sequencing:

1. Is the item a finished cap (curved, structured, center seam)?
   • Yes: Use bottom-up, inside-out sequencing. Favor horizontal stitch angles (0 or 180 degrees). Plan borders to sew last.
   • No: Go to step 2.
2. Is the flat item a knit (like pique) or prone to shifting?
   • Yes: Sew large foundational fills first to stabilize the knit. Keep stitch direction stable. Use Cutaway stabilizer (or No-Show Mesh).
   • No: Standard flat sequencing applies ("Big First, Small Last"). Tearaway might suffice for stable Woven fabrics (denim/canvas).
3. Are you running volume (repeat orders, teamwear, uniforms)?
   • Yes: Optimize trims to save 10-15 seconds per run. Consider workflow upgrades like a hooping station for embroidery to reduce physical strain and cycle time.

Warning: If you adopt magnetic frames/hoops to improve your workflow, handle them with care. The magnets are industrial strength. Pinch Hazard: Keep fingers clear of the snapping zone. Medical Safety: Keep magnets away from pacemakers, insulin pumps, and sensitive electronics.

Operation

Step-by-step workflow (cap file first, then flat conversion)

Step 1 — Size and dim the artwork

• Select the backdrop/artwork.
• Switch units to inches.
• Check original height (e.g., 3.44").
• Scale to requested cap height (e.g., 2.25").
• Action: Reduce opacity.
  • Checkpoint: Artwork is at final size and visually “faded,” making stitch edges obvious.
  • Success Metric: You can see stitch wireframes clearly against the background.

Step 2 — Digitize small lettering from the center out

• Use Classic Satin tool.
• Plot points manually; use Shift for straight segments.
• Critical: When connecting letters, drop a run stitch into the body of the next letter (hotkey “1”) rather than connecting at the bottom.
• Use Q to adjust start/stop points.
  • Checkpoint: Connection stitches are buried inside satin coverage.
  • Success Metric: Text appears crisp with no visible "tails" or travel stitches between letters.

Step 3 — Create the border first (reverse digitizing)

• Trace the outer shape with the Steil tool.
• Set border width to 1 mm (standard is often too wide).
• Set inset to 100% (border sits inside the edge).
  • Checkpoint: Border is thin, controlled, and positioned as an internal template.
  • Success Metric: You have a rigid geometric guide to snap your fill stitches to.

Step 4 — Add manual zigzag underlay, then fill

• Create a run stitch underlay with horizontal zigzags.
• Add the fill stitch over it.
• Critical: Set stitch angle to 0/180 (horizontal).
  • Checkpoint: Underlay sits beneath the fill in the final sequence.
  • Success Metric: The fill feels solid but flexible, not "crunchy" or bulletproof.

Step 5 — Resequence for cap sewing logic

• In Sequence View, drag the border object down so the fill sews first.
• Verify start/stop points to ensure flow.
  • Checkpoint: The sew order builds from bottom-up (brim-up).
  • Success Metric: Stitching moves away from the center seam, pushing excess fabric outward rather than buckling it in the middle.

Step 6 — Save a cap version, then convert to a flat version

• Save the cap file (e.g., Logo_CAP_2.25in.emb).
• For the flat version, move the small lettering group to the very end of the sequence.
  • Checkpoint: Large foundational areas sew before small details.
  • Success Metric: Letters land on top of a stabilized "mat" of thread, preventing distortion.

Operation Checklist

• Text: Small lettering digitized center-out with hidden connections.
• Structure: Border created first at 1 mm width with 100% inset.
• Stability: Manual zigzag underlay added where separation risk exists.
• Angles: Fill angle set to 0/180 (Horizontal) for cap stability.
• Sequence (Cap): Fill-first, Border-last, Bottom-up.
• Sequence (Flat): Big-first, Small-last.

Quality Checks

What to inspect before you ever stitch

• Sequence Logic: Does the file respect the physics of the item? (Cap = Bottom-up/Inside-out).
• Start/Stop Placement: Are tie-ins hidden inside objects? (Inspect visually on screen).
• Border-to-Fill: Zoom in. Does the fill extend at least 0.2mm - 0.4mm under the border? If they just "kiss," you will get a gap.
• Refining Density: For standard polyester thread (40wt), a density of 0.40mm is standard. If you scaled down, verify density didn't jump to 0.30mm (too tight).

If you are running caps on a multi-needle setup, confirm your cap frame/driver matches your machine platform. For example, a tajima cap frame uses a specific ecosystem that differs from home/single-needle bracket systems. Ensure the driver is tightly secured to the machine arm; a loose driver causes registration errors that look like bad digitizing.

Troubleshooting

1) Symptom: Distortion on caps (Pucker or Flagging)

• Likely Cause: Sewing "against" the curve (Top-down) or perpendicular to the seam.
• Fix (File): Re-digitize bottom-up, inside-out; force horizontal stitch angles.
• Fix (Physical): Ensure the cap is banded tightly. It should be difficult to slide a finger between the cap and the gauge.

2) Symptom: Visible connection threads in small text

• Likely Cause: Connecting at the bottom serif where the needle entry is visible.

3) Symptom: Gaps between fill and border (The "White Gap")

• Likely Cause: Pull compensation failure. The fabric shrank more than expected.

4) Symptom: Bulky edges on foam hats (3D Puff)

• Likely Cause: Using an "Edge Run" underlay cuts the foam too early.

Results

By following this expert workflow, you create two distinct assets from one design concept:

1. A Cap-Optimized File that respects the curved physics, utilizes horizontal angles to cross the seam, and builds structure from the bottom up.
2. A Flat-Optimized File that prioritizes fabric stability, laying down the heavy foundation first to ensure the fine details sit perfectly on top.

The bigger takeaway is that Digitizing is Mechanics, not Art. Sequencing, underlay, and angles are engineering decisions.

If your next step is scaling your production—taking on 50 hats instead of 5—assess your bottlenecks. Is it digitizing time? Is it hooping fatigue? Or is it machine speed? For many growing shops, the breakthrough comes from upgrading the "holding" process with better fixtures, or eventually moving to a dedicated multi-needle workflow.

And for those using specific single-needle setups, remember that hardware has limits. A brother hat hoop (or the specific brother pr680w hat hoop for multi-needle users) works best when the file is engineered to help the machine, not fight it. Clean digitizing + proper stabilization = profit.