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Wilcom .esa embroidery fonts
These are our own unique, custom digitized ".esa" embroidery fonts which are only suitable for use with Wilcom Embroidery Software.
Nobody else selling ".esa" fonts on the internet will or should have these exact ".esa" fonts (although some will no-doubt have their own versions of some of the same font styles) for sale as these particular fonts are the property of Planet Embroidery Australia and are being sold only by us strictly for use on one Embroidery System only and are not to be copied, swapped or resold by anyone with-out our written permission.
For more specific information regarding our custom ".esa" fonts please read the information contained under the headings below or skip ahead to the next section to view our first font pack which contains 10 new fonts, for Wilcom 2006 Software.
(Please Click on the underlined headings for more info.)
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Why do we digitize our own fonts?
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At Planet Embroidery (For quality reasons and as a general rule) we generally manually digitize all the lettering that we require in the process of producing the embroidery logos we produce whist servicing our digitizing clients.
And we find that it is practical for us to expend a little more effort and to thus produce .esa fonts letter by letter (as need dictates) so as to simultaneously build up a collection of .esa fonts which then become an increasingly valuable resource over time.
Every day we add in more letters to existing fonts as they are required and from time to time we add in new alphabets to our growing catalogue of custom fonts.
At present we have in excess of 120 fonts in various stages of completion and the set of fonts that follows is the first batch of completed fonts that we are offering for sale.
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Why Planet Embroidery Fonts?
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The main reason that these fonts have been created (and are being produced in an ongoing way) is not (Primarily) for sale but so that these fonts can service our own digitizing requirements, satisfy our commitment to the highest possible quality standards and also improve efficiency.
And because of this on-going process of producing fonts in this way, we have not (until relatively recently, and even after 4 years) had one completed font.
And over this time all of these fonts have been meticulously tweaked and some of them have even been re-done one or more times as our own expertise in this field has evolved.
It is because of this process that I can safely say that nearly 4 years of daily practice (And much trial and error) has gone into developing the skills with which these fonts have been produced.
And as the end user i am quite confident that you will recognize the superior engineering and attention to detail that characterizes these fonts.
All of these fonts have been created specifically to satisfy the ongoing and real needs of our digitizer, on the fly and over an extended period of time.
They are thus innately practical and have not been merely slapped up on a whim to only reflect preconceived ideas about what someone thinks the market may want.
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What unique features characterize Planet Embroidery Font?
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There is more than a few special techniques that have been painstakingly applied to ensure that these fonts are completely quality optimized.
1)Pre-Branch Testing:
Before defining each letter it is first branch group tested to see how it will group in a lettering situation.
The entry and exit points are then rearranged to see if any segmentation/branching problems occur when the exit point of the letter changes (as it does in different lettering situations) and when issues arise measures are taken to minimize unforeseen problems associated with branch group segmentation.
2)Stitch Optimization:
If you go to edit the outlines of my letters you may notice in most cases that ineffectual edge nodes have been deleted and most of the stitch angles have been deleted!
This is part of my attempts to optimize stitch flow and quality. This practice is part and parcel of a technique I developed which involves carefully editing the stitch angles to minimize or totally eliminate short stitches in my digitizing. (Whilst small stitches is engaged... as it should be otherwise densities would get too high and out of control..)
And after this has been done (for every letter) I have scaled the letter up and down through different sizes and observed what effect this has on short-stitches and the smoothness of the stitch flow along tight curves ETC. And I can tell you that even though short stitches have not been completely eliminated in all cases, they have been optimized as best as is possible for the target size range that each font respectively as been designed to service.
And the resultant improvements in the stitch flow in these fonts is such that the quality improvements may surprise you.
3) Pre-Sequencing:
Also all my fonts have been pre-sequenced. Which means that before I define my letters first i resequence all the segments into the order which is most desirable for a manual punching situation and all the relevant entry and exit points are adjusted so that few if any trims will occur when and if the letter needs to be ungrouped.
if you un group my letters they are ready sequenced in the correct order with all the exit and entry points in-tact!
4) Individual segment underlay customization:
I have even gone to the trouble in some cases of tailoring the underlay for different segments of the letter (which is not even evident unless the letter is actually ungrouped) this means that if you should need to un-group your lettering that it will do so as gracefully as is possible.
5) Overlap/sequence control:
Another consideration paid mind in respect to these fonts is that I have endeavored by carefully adjusting the relative Y positions of various abutting segments to ensure that the sequencing of the lettering is the best it can be.
I.E. as there is no way to otherwise control how a "branch group" of satin objects (a letter) will be broken up with respect to the sequencing of the object (and what is on top of what) this can be manipulated by artfully rearranging the nodes to trigger conditions that cause the letter to re-sequence in different ways.
And this has been done in such a way that the letters are as much as is possible, sequenced in the best possible way.
6) Advanced Cornering:
Another consideration paid mind in respect to these fonts is how corners are rendered/broken up in Wilcom.
Splitting up columns at all corners and beveling and inlaying them (in effect manually digitizing my own "Smart Corners") means that my lettering has an added advantage that they otherwise would not.
This is because inlaying the segments of a corner that has been broken into separate objects allows a little extra "stitch real estate" on the inside of tight curves which helps further eliminate short stitches and improve stitch flow.
In addition to this these segmented corners mean that if an object is ungrouped different underlay types can be applied before and after a corner and that the underlay for the first segment will be done immediately before it's object and not have to wait un till the additional underlay associated with the post-corner segment has been done before going back to stitch the first segment.
And the cornering method also means that these fonts are also well placed to be expanded well beyond their design tolerance size range with a minimum of fuss.
This is because the nature of this cornering technique shortens the stitch length going into corners. which allows the letter to be enlarged to a much larger size more elegantly than can be rendered with the current smart cornering routine otherwise.
This manual cornering is a significant improvement on what Wilcom can do automatically.
7) Kern free script fonts!:
Another special technique pioneered by Planet Embroidery involves carefully defining each letter for script fonts so that no kerning is necessary!
I.E. you simply ensure that the letter spacing is set to 0, and all your letters will be perfectly joined always every time with no tweaking necessary ever! And you don't have to have ES2006 to take advantage of this auto kerning as it is actually built into the design of my script fonts!
The baseline for my script fonts actually runs through the middle of text it-self and exactly corresponds to the "join axis"! This may sound weird but having the base-line correspond exactly to the join positions of the lettering means that:
Your letters will not come out of alignment even when on curved baselines!!!
This means you can type straight onto a curvy base line and you joining script will still not require any kerning adjustment!!!
You can even adjust the baseline and the letters will stick together like glue with little or no adjustment required!
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We are proud to announce that Planet Embroidery's "Font Pack 1":
is now complete and available for download.
(This is our first Wilcom .esa font set, comprising of 10 fonts. ONLY for use with Wilcom 2006 embroidery software.)
This file is 1.6mb in size and available here:
P.S Some people have reported problems with my download script not naming the file correctly...this problem is now fixed... If you dont want to reload it just rename your download to something.zip.
 This download contains 1 completely FREE font.
The other 9 fonts in this set are also detailed in this download as ".dst" files for display purposes only.
The Fonts:
(Please Click on the underlined headings for more info.)
| How much will these fonts Cost? |
Planet Embroidery ESA fonts can be purchased in the following ways:
1) Any 2 fonts for $130 USD or....
2) The full set including 10 ESA fonts will be available for only $400 USD.
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How to pay?
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Planet Embroidery can accept payment with Visa, Mastercard or Paypal.
You can provide these details in an email or over the phone if you would like and when your payment has been received and confirmed, your selected files will be emailed to you directly.
Payment can be made with pay pal, visa or mastercard.
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How to order?
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Firstly any interested parties should first down load our free information pack from our download page HERE.
This file contains one free .esa font!
Plus ".dst" files and information on all the fonts in this set.
Once you have downloaded and tried our free font and have seen all the other styles on offer, if you are interested in making a purchase then you should then proceed to e-mail me directly.
N.B.: All new customers will need to include the following information in your e-mail:
1) Your Name.
2) Your Company Name.
3) Your Billing address.
4) A Phone Number on which you can be contacted.
5) Any credit card information for those interested in paying by this method.
Or alternatively you can call me to provide card numbers if this makes you more comfortable.
Please include all this information in your email and also which option and or fonts you want...
You will then receive a prompt reply which will contain a .pdf invoice for your purchase and
Upon the confirmation of your payment we will send your purchases to you directly via e-mail.
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Font on request!
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Planet Embroidery (Australia) can also set-up .esa font by request for $250 USD.
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Copyright Info.
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All fonts produced by Planet Embroidery remain our property.
Sharing, copying, distributing and reselling is not permitted and is actually stealing.
And every time I sell a font I actually regenerate it with slight changes so that each copy of any given font I sell is actually unique to each customer.
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For more detailed info (Click here!): |
Click on any font heading or font set picture for a larger view of this font set.
Also for you information are shown some sujested setting for each font and for more information regarding each font please feel free to click on the "About this font" link below.
Goto Download Page
Recommendations:
Sizing: 10mms - 25mms+
Pull Compensation: .14mms
Underlay: Center Run under 17mms, Edge Run over 17mms.
General: One of the most requested font styles!
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About this font.
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This font style is baced on the extremely popular curlz style and has been included in this set thanks to Kathi (thebrownduo)...
Although I personally do not use this font style much in my digitizing work it seems to be one of the most requested styles...
And as with all my fonts it has been optimised for small to medium size letters and so i think you will find that the curls are better formed through the most common size ranges than maybe the case otherwise.
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Recommendations:
Sizing: 7mms - 30mms+
Pull Compensation: .14mms (.17 at 10mms)
Underlay: Center Run under 15mms, Edge Run over 15mms & zig zag and edge run over 25mms.
General: This font is absolutely flawless from 7mms to 30mms and beyond.
P.S. It is also note worthy that this .esa font has a more practical "&" symbol than its parent TTF font style... The original being filed away under the "/" key as it was almost unrecognisable.
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About this font.
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This font is actually like a complete re-work of the same font style that the current Wilcom "Chancery" font is based on.
This font was born because at the time I started it I was working in a shopping mall and was embroidering alot of names on towels & baby blankets.
At this point in time I was using the Wilcom "Chancery" font alot because customers chose this font mainly to embroider boys names and I found that I was forever adjusting the stitch angles to remove ugly patches of short stitching.
As a result of this, at some point I started digitizing my own letters and this font is the result. And in a way it show cases the difference that our font digitizing expertise can make to a font style that you know well and probably already love.
The stitch flow on this font has been improved so much that it is almost perfect. Once you get you hands on this font you will never use your Wilcom Chancery font again.
As with all my fonts there is some pull comp built into this font, so you should set your pull compensation lower than you would normally for standard Wilcom fonts. (And also consequently increase your underlay margin by the same amount to compensate.)
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Recommendations:
Sizing: 10mms - 30mms
Pull Compensation: .17
Underlay: Center Run under 18mms, Edge Run over 18mms & Zig Zag + edge @ 35mms
General: Arguably the best .esa script font on the planet today!
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About this font.
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To me this font is a masterwork.
Like the previous font this was also born and created for toweling and from its inception was designed to be the ultimate script font.
When your customers see this font, any other alternatives will simply not rate in comparison.
Really this is the only script font you will have need of as is the most beautifully crafted script embroidery font you will probably ever see.
This font is by far the stand out font of this set and is an absolute must have.
It is just a beautiful font and one that i am very proud of.
However I would have to say that generally this font is better suited to applications above 17mms, but having said that, this is in no way due to any stitch flow issues. (The stitch flow in this font being so well done that it does not falter at all almost until this font it reduced to the point that it almost disappears!)
Rather because the capital letters in this font are a good deal larger than the lower case letters, and to avoid these lower case letters being proportionally too small relative to the uppercase letters a minimum font size 17mms is recommended.
But having said this no stitch flow issues to speak of exist that limit this fonts application and it is really suitable for any size that you may require.
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Recommendations:
Sizing: 7 mms - 14 mms+
Pull Compensation: 0.15 mms @ 7mms, 0.1 @ 10mms+
Underlay: Center @ 10mms, edge & 17mms & zig zag + edge @ 25mms.
General: Compared to more literal translations of this font that I have seen, especially for small to medium lettering, this font is orders of magnitude better.
For small to medium sized renderings of this font style, this font is simply peerless.
And I also feel this font is a must have for your collection.
P.S. It is also note worthy that this .esa font has a more practical "&" symbol than its parent TTF font style... The original being filed away under the "/" key as it was almost unrecognisable.
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About this font.
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This font based on one of the most popular and most requested styles that exists.
It is designed and optimised for a moderate sew size and is not really ment to be sewn out at very large sizes as considerabe compensation has been employed so as to optimise it for most practical applications (I.E. in the context of logo digitizing).
This font is very popular with the public and graphic designers and so is very similar to styles that feature heavily in alot of company logos.
Barely a month goes by when i do not have need of this font.
This font at its best between 8.5mms - 11.5mms and is optimised for this size range.
For larger sizes even up to and beyond 20mms this fonts stitch flow credentials are unflapable.
But it has been optimised for smaller lettering which involves swinging out wide around the corners which many mean that a new version of this font with leaner curves could better render sizes above 14mms.
But even having admitted this I would still not have a problem holding this font up to any other contenders as it will most probably blow all comers away.
You may find that this font works well even below the lower limit specified.
Also just for your information: (due to the tight curves and compounded by a varying column width at these curves) this font has some of the most demanding curves possible for any font I have ever digitised.
This is mainly due to the additional demands of my "no short stitch if at all possible, policy" which ment that durring the digitzing of this font I sometimes had to spend literally hours adjusting just one individual curve on one letter!
The result is that i have managed to produce a very smooth little font that is very well behaved for a font of its type.
I have taken a fair bit of liberty in adapting this font for embroidery and the first time user, looking only at the unstitched outlines of this font could be forgiven for wonder if it is going to be any good...
But as soon as you render it and see how its outlines fill with beautiful smooth stitching you will be totally blown away by the quality.
Compared to more literal translations of this font that I have seen, especially for small to medium lettering, this font is orders of magnitude better.
For small to medium sized renderings of this font style, this font is simply peerless.
And I also feel this font is a must have for your collection.
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Recommendations:
Sizing: 10mms - 30mms
Pull Compensation: 0.14 mms @ 10mms, 0.05 @ 17mms+
Underlay: Center Run under 17mms Edge Run over 17mms.
General: There should be a few other custom digitized versions of this font around but I wouldn't be surprised if you can't find any as most digitizers would be scared away from this font as it is so difficult to do justice to as an .esa font.
This font style is a very very popular one and i dont think you will find anything approaching this anywhere else in the world.
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About this font.
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Again this font based on a very very popular font style.
(Which is self evident as these 9 fonts are the first to be completed only because I personally had need of them.)
This font was a unique challenge for me and I actually hesitated before I decided to go ahead with this one as it is quite difficult.
The reason being that this font is actually like a hybrid between a running script font and a normal font, in that the letters mostly join like a running script but when adjoining certain letters they do not join and actually have a longer tail extension instead.
Due to this disparity this font was a big challenge as i did not simply want to have to overlap large sections of the ends of each letter in order to achieve a running script effect.
And it was obviously not possible to have the join completely attached to the end of each letter.
So i completely re-engineered this font for embroidery and as a result this font requires a little special attention to operate effectively: I.E. due to the unique approach employed to make this font a viable reality.
Namely: the tail extensions that can accompany joining letters (I.E. when this letter has a neighbor that does not have a joining tail or is sitting next to a space.) have been assigned as actual letters in them selves and are represented by the characters: "<" for a lead in tail and ">" for a lead out tail.
So that the word "About" would read "A<b<out>" in the text box.
This takes a bit of getting used to as to which letters should have tails but means that this font is actually a fully functioning running script font and not just a pretender
Take this font very seriously.
As with all my fonts, stitch flow for this font is excellent and you will not see any signs of weakness as this font reduces down to 10mms.
But having said this it is better suited to 14mms+ simply because of the inate limitations of embroidery itself. If you do want to go smaller though you will simply need to lower the pull comp a little and adjust your density accordingly.
As for the larger sew sizes this font powers up to 30mms and does not sweat it through the larger size ranges.
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Recommendations:
Sizing: 7mms - 20mms
Pull Compensation: 0.1mms
Underlay: Edge Run up until 15mms and Zig-Zag + Edge run over 15mms.
General: A strong little block font suited to mainly small to medium sized applications.
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About this font.
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This font brings a similar feel to that of the Arial family of fonts to your Wilcom embroidery system.
It is a no non-sense and practical block font that will no doubt come in very handy.
This font seems to fair quite well even down at 5mms but only really comes into its own above 7mms, and at this scale pull comp of only about .05 should be considered. But even at 7mms this font is thick enough to support an edge run if this is set to .5 from the edge. This font looks good at 18mms high, but at sizes much larger than this, due to its thick columns it becomes too impractical due to very long stitches.
Overall this font is a good all-rounder but not stunning (un-like the first 4 fonts in this set) and is generally better suited to small to medium sized applications.
The obese strokes that make up this font style made it very tricky to greatly improve the stitch flow, (especially over a range of different sizes and conditions) and what you get here is result of untold hours of frustrating tweaking which often, when trying to fix a glitch in one set of curcumstances only seems to banish it from this current set of conditons, only to have it manifest in a different guise under different conditions.
This tweaking process has delivered a generally handsome font overall but also one which falls (understandably) a bit short of perfection, as the thicker the strokes in a font get (relative to the font height), it seems the less margin one has for error.
And past a certain point it seems that controlling outbreaks of short stitches with any degree of certainty becomes impossible and the odd blemish, unavoidable.
But despite this shortcoming this font still delivers and I feel will become a valuable asset.
Digitizing this font has taught me alot and tackling extremely difficult fonts like this one is something I hope I never shy away form.
As with all my fonts there is a some pull comp built into this font, so you should set your pull compensation lower than you would normally for a standard Wilcom font.
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Recommendations:
Sizing: 4.5mms - 15mms
Pull Compensation: 0.1 mms
Underlay: Edge Run @10mms,l Zig-Zag + Edge run @ 15mms+
General: This total rework of an old classic, embroiders out alot cleaner than the original due mainly to its modified curves.
This .esa font is mainly designed for small to medium sized applications but as with all my fonts particular attention has been paid to the joins so that even when this font exceeds its size limits, no gapping will occur.
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About this font.
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This font has a similar feel to that of the Block2 Wilcom embroidery font.
And could be considered to be a heavily modified version of this font, more suited to small lettering and with a generally smoother stitch flow.
This font has a more incised feel, especially for the letters "a,c,C,e,g,s,S" ETC... which will embroider nicer as they do not so readily break out with unsightly patches of short stitches.
Like the previous font this one has very thick strokes and so the stitch flow although greatly improved is not perfect.
The tapered and inlayed corners that are a hallmark of my own personal digitizing style have allowed more breathing space in the crunches that occurs on the inside approacing tight corners and has (along with a bit of incision) avoided much of the ugliness present in the plain old "Block2".
And because this font is not trying too hard to adhere to any particular font style, great latitude has been taken modifying its shape.
This font could be thought of as like a bionic version of "Block2": its like what would result if Block2 was smashed to peices and put back together with German Engineering.
I hope you like it.
As with all my fonts there is a some pull comp built into this font, so you should set your pull compensation lower than you would normally for a standard Wilcom font.
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Recommendations:
Sizing: 7mms - 30mms+
Pull Compensation: .1mms
Underlay: Center Run @ 7mms Edge Run @10mms-17mms.
General: A popular serif font style.
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About this font.
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This will be a welcome addition to your current serif font set as it a style that is very popular.
As with all my fonts there is a some pull comp built into this font, so you should set your pull compensation lower than you would normally for a standard Wilcom font.
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Recommendations:
Sizing: 5mms - 30mms
Pull Compensation: .17mms @ 7mms, .1mms @ 10mms+
Underlay: Center Run @ 7mms & Edge Run @ 10-17mms.
General: Baced on a popular font style.
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About this font.
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Again this font is based on a very popular font style and should prove very useful.
This font looks suprisingly good down at 5mms high even though due to the digitizing techniques used to render it (which have otherwize given it great flexibility) have optimized it for font sizes from 7mms up to around 25cms with ease.
Having said this it is still quite good at 5mms but if i were to design a version of this font specifically for sub 7mm text it would no doubt be done differently.
But don't be put off by my criticisms of my own work, currently this is probably the best version of this font style (in .esa format) that exists.
As with all my fonts there is a some pull comp built into this font, so you should set your pull compensation lower than you would normally for a standard Wilcom font.
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Recommendations:
Sizing: 5mms - 30mms+
Pull Compensation: .14mms
Underlay: Center Run @ 7mms, Edge Run @10-17mms.
General: This font has alternative versions of "i", "g" & "&" on the "<", " >", & "\" keys.
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About this font.
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This is simply a handsome little font that i needed to use extensively a few years back and so was the first font that I actually completed.
I have re-done the "&" symbol in this font as on the occasions when this font was perfect for an embroidery job i was doing and the text also contained this symbol it seems that no-one ever used this & symbol from the original font style anyway...
Either that or there is other similar font styles out there almost identical to this one but with more conventional "&" symbols. So anyway i have added in a few extra letters into this font on the "<", " >", & "\" keys.
These are alternative versions of the letter i, g and the original version of the & symbol respectively.
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