n this post, I’ll show you how I digitize a pet portrait from scratch in WILCOM, using either a mouse, keyboard, or graphics tablet. It’s a detailed step-by-step designed to help you avoid common mistakes and improve your workflow.
Setting Up Your Workspace
When starting a pet embroidery design, I always make sure I have a solid foundation. I usually work with both a mouse and keyboard or a graphics tablet. Both tools work well, but once you’re familiar with the tablet, it allows for more fluid and comfortable drawing.
I open WILCOM and create a new file without using the auto-digitizing wizard.
I switch to graphics mode, then copy and paste the base image (a photo of the pet) and crop it to fit the work area.
If the image is too dark, I go to Effects > Adjust > Brightness/Contrast to improve the visibility of the details.
Then I switch to embroidery mode, set the width to 98 mm, center the image (X = 0, Y = 0), and lock it with the K key.
First Step – Nose Design with Satin Stitch
I start digitizing with the Fusion Fill tool using Satin stitch.
I select a contrasting color, like fuchsia, to make the outlines more visible.
I work with corner and curve nodes to follow the shape precisely.
Mistakes I Avoid:
- I don’t digitize the whole nose as one object if the stitch directions cross.
- I divide it into two parts to better control the stitch direction.
- I set the auto-split value to 10 mm to prevent long stitches in large objects, which improves the quality and helps avoid knotting.
Base Layer with Tatami Stitch
I use the Complex Fill tool with Tatami stitch to create a base layer under the nose.
This adds texture and prevents the top satin stitches from laying too loose.
This allows me to reduce the satin stitch density to 0.60 without leaving visible gaps.
I change the background fill color to differentiate it from the nose outline.
I edit nodes using the Reshape Object tool or the H key when needed.
File Naming and Organization
I always name the file after the pet (in this case, “Willy”) and save it in a dedicated folder.
I include the embroidery file and a color chart for the client.
This helps keep everything organized for future edits or final delivery.
Ears – Freehand Outlining
I activate the Freehand tool (Open Object) for more freedom while tracing:
- I left-click to draw.
- I select Running stitch as the stitch type.
- I press B to zoom in and better define the shapes.
Advantage of Using a Graphics Tablet
When I use the tablet, I can trace as if I were drawing by hand.
It really helps with complex shapes and gives the design a more natural finish.
Layer by Layer – Fur Outlining
I start digitizing the gray tones in the ears, layer by layer.
Even if it’s not 100% perfect, those tiny imperfections give the embroidery a more organic look.
- I use L to hide stitches.
- I use S to toggle stitch simulation on or off.
Pro Tip
I avoid stitching the same area repeatedly. Too many stitches in one spot can cause knots or even break the needle.
Instead, I distribute the stitches purposefully, following the natural direction of the fur.
Switching Between Mouse and Tablet
While the graphics tablet offers many benefits, it’s not essential.
I’ve achieved great results with just a mouse — it just takes a bit more time.
I map the tablet buttons to simulate left and right clicks.
Switching between tools lets me work more efficiently depending on the level of detail.
Managing Layers and Colors
I move through the color layers, identifying areas that share similar tones (grays, terracottas, etc.).
Even if small gaps are left uncovered, they won’t be noticeable in designs under 10 cm.
How I Organize the Layers
When I want to see the design at actual size, I simply press 1.
This helps me judge which details will actually show in the final embroidery.
Sometimes what looks small on screen won’t be noticeable when stitched.
I always organize by layer:
I leave the most visible details, like the nose, for last so they sit on top of the base layers.
My logic is to start with less-used colors that typically go on top and save the base, larger coverage colors for the background.
Advantages of a Graphics Tablet
Using a tablet lets me draw smoother curves more naturally.
I can also assign tablet buttons to delete nodes or simulate right-clicks, which saves a lot of time.
For example:
- Every time I touch the tablet with the pen, it creates a corner node.
- Hovering and pressing the side button creates curve nodes.
- To delete a node, I just use the Backspace key.
This speeds things up way more than working with a mouse alone.
How I Simulate Natural Fur with “Random” Fill
When I use Tatami stitches, I like to enable the “Random” setting and set it to 70%.
This helps create a more realistic fur texture.
I also use:
- Jagged edge (FX > Both Sides) to get irregular edges on both top and bottom of the shape.
These tweaks give the embroidery a more organic, less artificial finish.
Organizing Colors and Layers
I often work with very similar shades — black, reddish brown, peach, and beige — so I make sure to group them well and layer them in the correct order to avoid confusion.
Some Shortcuts I Use:
- Shift + K to unlock the image
- Ctrl + click to duplicate objects
Assigning the actual thread colors early on also helps, especially when working with lots of layers.
If the client requires it, I name the thread colors in English from the beginning.
Time Saving Shortcuts I Rely On
Saving regularly is a must — you never know when the software might crash or the power goes out.
Here are a few shortcuts that save me time:
- Ctrl + A to select all objects
- G to generate or remove stitches without deleting objects
- L to toggle visibility of created objects
With these shortcuts, I work much faster and avoid losing progress.
Digitizing the Eyes and Mouth
For the eyes, I use Satin stitch (Fusion Fill).
I start by digitizing the inner hole, then the outer part.
A Few Adjustments I Make:
- I lower the density to 0.70 for small areas.
- I disable jagged edges if I don’t want rough borders in certain parts.
- I switch between mouse and tablet depending on the situation.
Even though the tablet gives me more precision and speed, the mouse still gets the job done.
Applying Fill Layers for the Eyes
In this final stage, I start by creating a Tatami fill base for the eye, even if I already digitized the outline.
Yes, I work in reverse sometimes — it just feels more natural to me.
Then I digitize the iris using Satin stitch, picking a different color to make it stand out.
Since it’s a small shape (under 1 cm), I don’t add too many details.
However, I make sure to use opposite stitch directions between layers to avoid thread overlap or bulges.
If the fill looks weak or patchy, I adjust the stitch angle.
To add the signature sparkle to the eye, I add another layer using white thread and modify its angle so it blends in naturally.
Adding Inner Shadows and Defining Edges
Sometimes the reference image lacks clarity, so I use some imagination.
For the inner eye, I imagine where the hidden edge might be and trace it with Tatami fill, using a horizontal stitch direction.
I place this layer behind the iris, using corner nodes on angular parts and curve nodes on the smooth edges.
If anything overlaps incorrectly, I tweak the size or position until everything fits.
As mentioned before, I add the highlight with Satin stitch, then group colors at the end for better organization.
Final Color Adjustments
Once everything’s in place, I group colors and finalize the shades:
- White for highlights
- Black for outlines
- Terracotta or brown for the iris
I try to keep the number of thread colors low to simplify the stitch-out process.
I also use the color grouping option to get a better overview and reduce unnecessary color changes during production.
Designing the Mouth, Tongue, and Fangs
For the mouth, I trace the separation line to visually distinguish the muzzle from the tongue.
I stitch the lower lip with a higher-density fill for more depth, and the tongue with a flatter fill, even if they share the same color.
This helps visually separate the two.
I add a white fang and make sure it sits in the correct layer so it doesn’t overlap anything incorrectly.
I adjust the stitch directions and remove jagged edges for a cleaner look if needed.
Fixing the Gray Shades
There was a gray area under the nose that didn’t quite look right.
I added a new layer with a darker gray and adjusted the density for a softer fill.
Then I duplicated the shape and mirrored it to match both sides symmetrically.
Finally, I simplified the color palette by removing unused shades.
Optimizing and Exporting the Design
Before wrapping up, I resize the design to 9.8 cm.
I do this because some embroidery machines won’t accept exactly 10 cm, and I prefer to avoid compatibility issues.
I apply tie-ins and tie-offs to each object and save the file in the format required by the client’s machine.
I also take a screenshot of the design and include the color sequence chart to make production easier.
Final Thoughts
Not every design turns out the same, and a lot depends on the quality of the original image.
In this case, the lack of contrast affected the result a bit, but we still achieved a decent finish.
The graphics tablet, while not mandatory, can really help once you get used to it.
What matters most is keen observation, adapting as needed, and staying flexible throughout the digitizing process.
