Floriani FTCU Heart-Flower Digitizing: The Clean Circle Template + Contour Workflow (Without the “Bunny Ears” Headache)

If you’ve ever stared at a “simple” floral idea and thought, Why does this turn into a messy center, weird overlaps, and a stitch order that makes everything look amateur?—you’re not alone.

In this project, Bernina Jeff builds a flower from a single heart in Floriani Total Control U (FTCU), then takes it all the way to a stitch-ready design using Circle Template, Contour offsets, Motif Fill texture, and Ripple Fill leaves. I’m going to keep the workflow faithful to the video, but I’ll also add the missing “shop-floor” logic: how to keep vectors clean, how to avoid stitch-direction surprises, and how to set yourself up for a reliable sew-out.

Don’t Panic: This Floriani FTCU Heart-Flower Workflow Is Easier Than It Looks (If You Prep Like a Pro)

Jeff’s method is a classic “productive play” exercise: you’re learning tools that later let you respond fast when someone asks, “Can you make this logo?” or “Can you put something cute on a towel?”

One important mindset shift: in FTCU, clean artwork first usually beats “fixing it later in stitches.” The video shows that clearly—Shape Edit happens while the heart is still artwork, and cleanup happens in Sequence View before the final stitch logic is locked in.

If you’re the type who wants to stitch everything immediately, I get it. But when you’re building repeating geometry (like six petals), a tiny vector mistake multiplies fast. If a node is slightly off, your machine might make a grinding noise as it tries to pack tiny stitches into a tight corner. We want to avoid that "clunk-clunk" sound of a struggling machine.

The “Hidden” Prep Jeff Does First: Workspace Control, Shape Library Access, and a Save Habit That Pays Off

Before you touch Circle Template or Contour, Jeff does three things that experienced digitizers do almost automatically:

1) He centers the workspace (double-click the magnifying glass) so you’re not fighting the screen. 2) He pulls a known base shape from Custom Shapes (Heart 004). 3) He treats good shapes like assets—if you modify a heart into a better version, save it as a custom shape so you don’t redo the same work next month.

Prep Checklist (do this before you edit a single node)

• Clean Slate: Confirm you’re in a new workspace so "Undo" (Ctrl+Z) behaves predictably.
• Asset Retrieval: Open Custom Shapes and locate Heart 004.
• Visual Anchor: Center your view (double-click magnifier) or use “To Fit.”
• Mode Check: Keep the heart in Fill artwork mode (not outline) while editing nodes.
• Future-Proofing: Decide now—if this petal shape is great, plan to save it to your library later.
• Consumables Check: Do you have your 75/11 Ballpoint needles (for knits) or Sharps (for wovens) ready? Don't digitize a design your inventory can't support.

If you’re building designs for production (not just for fun), this prep step is where you quietly win time. It’s the same principle as using jigs in a shop: the first setup feels slow, but every repeat becomes fast.

Shape Edit Tool in Floriani FTCU: Make Heart 004 Look Symmetrical (Without Over-Editing)

Jeff’s heart refinement is simple and effective. He uses the Shape tool to adjust the vector nodes directly.

• Activate the Shape tool (the arrow with nodes).
• Hover near the vector line until you see the small handle indicator.
• Right-click on the line and choose Add Point.
• Drag the new point inward slightly to change the curvature.
• Repeat on the other side to balance the heart.

The key is restraint. You’re not sculpting a new heart from scratch—you’re correcting a small visual imbalance so the petal looks intentional when repeated.

Pro tip from the field: When you’re editing mirrored shapes, zoom in enough to see nodes clearly, but zoom out enough to judge the silhouette. Perfect node symmetry doesn’t always equal a pleasing shape. Your eye is often a better judge than the grid.

Combine Tool + Transform Tab: Cut the Center Hole and Lock in 1.25" Before You Multiply Anything

Jeff duplicates the heart so he can create a “hole” (a cutout) in the middle:

1) Duplicate the heart. 2) Resize the duplicate smaller and place it centered inside the larger heart. 3) Select both and use Combine (green tool with a paperclip icon). 4) Now you have one artwork object (not two loose hearts).

Then he sets the working size using Transform:

• Maintain aspect ratio ON
• Units in inches
• Set the height to 1.25 inches and apply

This is a veteran move: get the petal to the working size before the Circle Template application. FTCU behaves more predictably, and the stitch density calculations are more accurate when you aren't scaling complex grouped results later.

Satin Tool Direction Control: Stop the “Random Stitch Angle” Problem Before It Starts

Jeff briefly shows why stitch direction matters. If you apply stitches after grouping/templating without defined angles, you might end up with stitches running horizontally on one petal and vertically on another. This causes light to reflect differently, making the petals look mismatched even if they are identical.

He demonstrates using the Satin tool and setting the stitch inclination by clicking point-to-point across the shape. Then he adjusts start/stop positions by right-clicking off the object and dragging the start/stop markers to cleaner locations.

This is not about being picky—it’s about structural integrity. Correct angles prevent the fabric from warping (Push/Pull effect).

Circle Template Tool in Floriani FTCU: 6 Counts, 90° Angle, and the “Kiss at the Edges” Sweet Spot

Now the fun part—turning one petal into a flower.

Jeff’s Circle Template settings:

• Counts: 6
• Angle: 90 degrees
• Leave scale at 100
• Don’t change the “Objects” angle/offset settings he warns you not to touch

Then he adjusts Circle Dimensions until the hearts “just about kiss at the edges.”

Sensory Anchor: You are looking for a visual gap that is barely there—like a hair's breadth. If they overlap too much, you'll get a "bulletproof" dense knot of thread in the center that breaks needles. If they are too far apart, the design looks loose.

Once it looks right, click OK to place it into the workspace. Jeff then deletes the leftover center artwork he doesn’t need.

Pro tip (repeatability): If you find a petal spacing you love, write down your Circle Dimensions value. When you’re building a product line (patches, towel corners, kids tees), consistency is money.

Save Custom Shape in FTCU: Turn Your Modified Heart into a Reusable Asset

Jeff shows how to save what you built:

• Select the artwork
• Go to Tools
• Choose Save Custom Shape
• Name it (he uses a naming pattern like “heart…YT”)

This is how you build your own library over time—your own “house style” shapes that make your work faster and more recognizable.

Contour Tool in Floriani Total Control U: Inside + Outside Offsets (and Why “Bunny Ears” Happen)

Jeff uses the Contour tool with:

• Inside and Outside
• Mitered
• Ripple limit: 1
• Spacing shown as 0.2 (Note: Ensure your units are correct; usually mm or inches depending on your default).

Then the classic problem appears: little center artifacts Jeff calls “bunny ears.”

Here’s the principle: Offset math gets messy when sharp angles and tight intersections stack up. The software tries to create mathematically valid offset paths, but the geometry can fold into itself, creating tiny loops.

Jeff’s fix is practical and fast:

• Go to Sequence View
• Right-click the grouped contour result
• Choose Break Apart
• Select the unwanted segments and hit Delete

He also reminds you of an important rule: if you want both a fill and an outline, you need two artwork layers.

Warning: When you’re deleting segments after Break Apart, slow down. One wrong delete can remove a path you actually needed. Zoom in closely to ensure you are only selecting the "trash" artifacts and not the main outline.

Motif Fill + Backstitch Run: Build Texture and a Bold Border Without Overcomplicating the Design

Jeff duplicates the inside contour artwork layer so he can assign two stitch types:

1) Motif Fill for the center texture

• He uses a specific Motif Fill pattern (he mentions “Golf Club pattern / Pattern 213”) and sets size to 6mm.
• Note: 6mm is quite large for a pattern element. This creates an open, decorative look rather than a solid carpet of thread.

2) Backstitch Run for a heavy border on the duplicate layer. 3) He also sets the outside contour to Backstitch Run for a quick clean outline.

This is a smart “high impact, low risk” combination. Motif fills add personality, and backstitch borders hide small imperfections in the vector edge.

If you’re building designs for real garments, this approach also tends to sew more consistently than ultra-dense fills—especially on knits or towels (always test on your actual fabric + stabilizer).

Stem and Leaves in FTCU: Triangle Tool, Add Point Curves, Leaf 002, and Ripple Fill Texture

Jeff creates the stem like this:

1) Make space on the canvas by rolling the mouse wheel with the cursor positioned so the flower stays centered. 2) Use the shape tool set (pencil with triangle/circle/rectangle) and choose Triangle. 3) Click-drag to draw a basic triangle stem. 4) Switch back to Select. 5) Use the Shape tool again to refine:

• Right-click Add Point
• Drag points to curve the stem edges and give it character

Then he applies Ripple Fill to the stem.

For leaves:

• Go to Custom Shapes and select Leaf 002.
• Flip vertically to get the orientation you want.
• Resize with handles.
• If the leaf doesn’t “match” the stem visually, use Shape Edit to tweak a node.
• Duplicate the leaf and flip right-to-left for the second leaf.

He applies Ripple Fill to the leaves and adjusts density:

• He demonstrates changing density to 2.5.
• Expert Context: In Floriani software, a density of 0.4mm is standard coverage. A density of 2.5mm creates a "sketchy," open look where the fabric shows through. This is intentional for this style.

Setup Checklist (before you commit to final stitch order)

• Geometry Check: Stem edges are curved gently (no harsh kinks involving nodes).
• Placement: Leaf 002 is placed, flipped, resized, and visually balanced.
• Stitch Type: Ripple Fill applied to stem and leaves.
• Parameter Check: Leaf Ripple Fill density is set to 2.5 (light/open).
• Visual Check: Quick 3D preview shows no obvious "bulletproof" overlaps.

Sequence View Stitch Order: The Quiet Trick That Makes the Design Look “Finished” on Fabric

Jeff reorders objects in Sequence View by dragging layers.

He specifically fixes the situation where the stem shows on top of the leaf by changing stitch order—dragging the stem layer so it stitches in a better sequence.

This is one of those details that separates “it stitched” from “it looks professional.” Stitch order controls what gets covered, what edges look crisp, and where connection points hide.

General Rule (The Sandwich Method): Stitch elements that are "furthest away" first (backgrounds), and elements that are "closest" last (details). The stem usually tucks behind the flower head but might sit over or under the leaves depending on the species—make a deliberate choice.

3D Preview + Color Stops: Use Thread Colors as Control Signals, Not Just Decoration

Jeff uses 3D preview to check the look, and he also mentions a practical habit: he often uses colors as machine stop signals, not as literal color suggestions.

That’s a production mindset. Even if you’re using one thread color (monochrome), assigning a different color in software forces the machine to trim and stop. This allows you to float a new piece of fabric, trim an applique, or change threads comfortably.

Bernina .EXP vs .EXP+ (and Why Some Files “Show Up” but Others Don’t)

A viewer asked about Bernina files showing “.exp” versus “.exp+”, and why some .exp+ files appear on the machine and others don’t.

Jeff’s reply: “.exp+” includes two additional files that give Bernina machines extra information, and he recommends using the “plus” format when available. Plain .exp will work, but you may get default colors that “really suck” and lose hoop information.

Practical takeaway:

• File Hygiene: If you are copying files to a USB stick, ensure you copy all the associated files (often .INF and .BMP accompany .EXP).
• Format Match: Always check your specific Bernina model manual.

If You Want This Design to Sew Cleanly: Fabric + Stabilizer Decisions Matter More Than People Admit

The video is software-focused, but in real life, your digitizing choices only look good if the fabric is stabilized correctly. Here is the physical "recipe" to make this file work.

Decision Tree: Stabilizer Strategy for Ripple Fill + Motif Fill

1. Is the fabric stretchy? (e.g., T-shirt, Knit)
   • NO: Go to Step 2.
   • YES: Use Cutaway Stabilizer (Mesh or Medium Weight). Why? Tearaway will shatter under the needle, causing the outline to misalign with the fill. Use a Ballpoint needle (75/11).
2. Is the fabric textured/lofty? (e.g., Towel, Fleece)
   • NO: Go to Step 3.
   • YES: Use Tearaway or Cutaway backing + Water Soluble Topper on top. Why? The topper prevents the 6mm motif stitches from sinking into the pile and disappearing.
3. Is it standard flat cotton? (e.g., Quilt square, Woven shirt)
   • YES: Tearaway is usually fine. Ensure it is hooped "drum tight"—tap it, you should hear a thump, not a rustle.
     
     Pro tip

     For the open "Ripple Fill" (2.5mm density), verify your thread tension. Pull the top thread—it should feel like flossing your teeth (smooth resistance). If it's too loose, the ripples will look sloppy.

The Upgrade Path When You’re Doing This for Real Orders (Not Just “One for Fun”)

Once you start sewing these designs on actual garments, the bottleneck shifts from software to your physical tools. You might notice "hoop burn" (shiny rings on the fabric) or struggle to get the flower perfectly centered on a pocket.

If you are dealing with slippery fabrics or bulky items (like thick jackets) where traditional hoop screws fail you, professionals often switch to magnetic embroidery hoops. These use strong magnets to clamp the fabric instantly without the "screw and tug" battle, reducing wrist strain and fabric damage.

For those running specific machines, finding a compatible magnetic hoop for bernina can solve the "hoop burn" issue on delicate linens or velvet, as the flat clamping mechanism is gentler than the inner-ring friction of standard hoops.

If your volume increases—say, you need to embroider this flower on 50 left-chest logos—manual hooping becomes slow and inaccurate. This is where hooping stations become essential. They act as a physical template, ensuring every shirt is hooped in the exact same spot, creating a consistent product line.

Warning: Magnetic Hoop Safety. High-end magnetic hoops utilize industrial-strength magnets. They present a serious pinch hazard. Keep fingers clear of the snapping zone, and never place them near pacemakers or sensitive electronics.

Common FTCU “Heart Flower” Problems: Symptoms, Causes, and Fixes You Can Do Fast

Here are the exact issues Jeff runs into (and what he does), translated into a quick diagnostic format.

The Final Pass: Preview, Clean Up Artwork, and Make the Stitch-Out Predictable

Jeff finishes by checking the design in 3D and cleaning up. This is your "Pre-Flight" check.

Operation Checklist (before you export and stitch)

• Trajectory Check: Run the "Slow Redraw" or 3D preview. Does the machine jump logically, or is it jumping across the screen wildly?
• De-Clutter: Check Sequence View. Are there any hidden artwork vectors (gray icons) that are turned off but still in the file? Delete them to reduce file size.
• Density Confirmation: Confirm Motif Fill size is 6mm and Ripple Fill density is 2.5 (or your chosen parameters).
• Connection Check: Are the start/stop points (green/red dots) arranged so that the machine doesn't leave long jump stitches between petals?
• Format Safety: Export to the format (.PES, .DST, .EXP+) that your machine prefers, ensuring all color info is retained.

When Hooping Becomes the Bottleneck: A Practical Efficiency Upgrade

Digitizing skill gets you beautiful files—but production consistency gets you paid.

If you are struggling to get this heart-flower explicitly centered on 20 different tote bags, manual measuring will drive you crazy. A hoop master embroidery hooping station style workflow solves this by using a fixed jig. You slide the bag on, clamp the hoop, and it is in the same spot every time.

For smaller studios, a generic hoopmaster hooping station system (or similar alternatives) transforms hooping from a guessing game into a mechanical process. It saves about 2 minutes per item—which implies saving hours on a large order.

Even if you are just starting, exploring a basic hooping station for machine embroidery early in your journey trains you to think about "placement" as a repeatable science, not an art project. And when you are ready to stitch on difficult items (like the back of a cap or a heavy bag), remember that a hooping station for embroidery combined with strong magnetic frames is the industry standard for stress-free production.

Warning: Mechanical Safety. Any time you’re testing a new design, keep hands clear of the needle area. Do not reach under a moving presser foot to trim a thread. Stop the machine completely. Modern servo motors are silent but powerful and can puncture bone instantly.

FAQ

• Q: In Floriani Total Control U (FTCU), how do I prevent “bunny ears” spikes after using the Contour tool with inside/outside offsets?
  A: Break the contour group apart in Sequence View and delete only the tiny folded segments—this is a common offset-artifact cleanup.
  • Go to Sequence View, right-click the grouped contour result, and choose Break Apart
  • Zoom in and select only the small spike/loop pieces, then press Delete
  • Re-check that you still have the main inside and outside paths (remember: fill and outline need two artwork layers)
  • Success check: the center area looks smooth with no tiny loops, and 3D/slow redraw shows no micro-stitch “knot” forming at the center
  • If it still fails: reduce sharp corners in the artwork first using Shape Edit (add/move points gently) and then re-run Contour
• Q: In Floriani Total Control U (FTCU), how do I stop Satin tool stitch angles from looking “random” across repeated petals made with Circle Template?
  A: Set stitch direction on the original petal with the Satin tool before finalizing repeats, then confirm start/stop placement.
  • Use the Satin tool and click point-to-point across the petal to define a consistent inclination
  • Right-click off the object and drag start/stop markers to cleaner locations to control travel
  • If the tool gets confusing, press Esc and click Select to reset context, then try Satin again
  • Success check: in 3D preview, all petals reflect light similarly (angles look consistent) and the fabric is less likely to distort from push/pull
  • If it still fails: verify you did not accidentally apply stitches after grouping without direction—remove/reapply Satin to the correct object
• Q: In Floriani Total Control U (FTCU), what Circle Template settings help a 6-petal heart flower avoid a dense, needle-breaking center?
  A: Use Jeff’s baseline (Counts 6, Angle 90°) and adjust Circle Dimensions until the petals “just about kiss” without heavy overlap.
  • Set Counts: 6 and Angle: 90°, keep scale at 100%, and avoid changing the object angle/offset options he warns about
  • Adjust Circle Dimensions so the petal edges have a hairline gap or barely touch—do not stack overlap in the center
  • Delete leftover center artwork you don’t need after placing the template result
  • Success check: the center does not look “bulletproof” in preview, and there is no thick, dark thread knot forming where all petals meet
  • If it still fails: back up and reduce overlap by slightly increasing Circle Dimensions before committing to stitches
• Q: In Floriani Total Control U (FTCU), how do I fix a flower stem stitching on top of a leaf because of wrong stitch sequence?
  A: Reorder the layers in Sequence View so the stem stitches earlier or later—this is a normal finishing step.
  • Open Sequence View and identify the stem and leaf objects in the list
  • Drag the stem layer up/down until it stitches behind (or deliberately over) the leaf the way you want
  • Run 3D preview again to confirm coverage and edge cleanliness
  • Success check: the stem no longer visibly “cuts across” the leaf edge unless you intended it, and the overlap looks deliberate
  • If it still fails: select the object directly from Sequence View (not the canvas) in case overlapping objects are blocking selection
• Q: For a Floriani Total Control U (FTCU) design using Motif Fill size 6mm and Ripple Fill density 2.5, what stabilizer and needle choices prevent sinking or misalignment on knits and towels?
  A: Match stabilizer to fabric first—stretch needs cutaway, loft needs topper—then confirm hooping is firm.
  • For knits/T-shirts (stretchy): use cutaway stabilizer (mesh or medium weight) and a 75/11 ballpoint needle
  • For towels/fleece (lofty/texture): use tearaway or cutaway backing plus a water-soluble topper to keep the 6mm motif from sinking
  • For flat woven cotton: tearaway is usually fine and hoop “drum tight”
  • Success check: tap the hooped fabric—hear a thump (not a rustle), and the motif/ripple stitches stay visible instead of disappearing into pile
  • If it still fails: test thread tension—top thread should feel like smooth “flossing” resistance; re-hoop if the fabric can shift
• Q: In Floriani Total Control U (FTCU), how can thread colors be used as intentional machine stop signals for trims or handling steps?
  A: Assign different colors in software to force the machine to stop/trim even for a single-color design.
  • Split elements into separate color blocks where you want a controlled pause
  • Use the stop to trim, reposition, or manage handling steps more safely and cleanly
  • Preview the color sequence to ensure stops occur where the operator can access threads easily
  • Success check: the machine pauses at the planned points instead of running continuously through areas where you needed a break
  • If it still fails: confirm your machine honors color changes as stops (behavior can vary), and follow the specific machine manual
• Q: What safety rules should embroidery operators follow to avoid needle injuries during test stitch-outs and troubleshooting on an embroidery machine?
  A: Stop the machine completely before reaching near the needle area—modern motors are quiet but powerful.
  • Keep hands out of the needle/presser-foot zone during motion, especially while testing a new design
  • Do not reach under a moving presser foot to trim a thread; stop first, then trim
  • Use 3D preview/slow redraw to reduce surprises that tempt last-second hand intervention
  • Success check: no “quick hand” moments are needed because trims and checks happen only when motion has fully stopped
  • If it still fails: slow down the process—add planned color-stop pauses so trims happen during safe, predictable stops
• Q: When hooping becomes inconsistent for repeated placements (like 20 tote bags or 50 left-chest designs), what is a practical upgrade path from technique fixes to tools like magnetic hoops and hooping stations?
  A: Improve the process in levels: optimize manual hooping first, then add alignment tools, then scale production equipment if volume demands it.
  • Level 1 (Technique): Measure and repeat placement steps consistently and verify hooping firmness before each run
  • Level 2 (Tool upgrade): Use magnetic hoops when screw-and-tug hooping causes hoop burn, slow setup, or fabric distortion (handle magnets carefully—pinch hazard; keep away from pacemakers/electronics)
  • Level 3 (Consistency system): Add a hooping station to turn placement into a repeatable jig for speed and accuracy on batches
  • Success check: placement lands in the same spot repeatedly with fewer re-hoops, and hooping time drops enough to feel the difference per item
  • If it still fails: reassess fabric type and stabilizer choice first—slip or distortion often looks like a “hooping problem” but starts with insufficient support