Cover image: AI-generated editorial concept; not a customer project or production proof.
Push and pull compensation adjusts a digitized design to account for shape changes during stitching. Pull compensation extends stitches beyond selected edges to offset inward contraction. Managing push means allowing for expansion across the stitch direction, including adjustments to the affected shape ends. The aim is for the sewn embroidery to match the intended artwork. Hatch explains the push and pull effects.
This guide covers the settings, fabric considerations and sample checks involved in applying compensation to satin columns, fills, lettering and adjoining shapes.
How push and pull change a design
Pull acts along the direction in which a stitch spans the fabric. Push occurs at right angles to that direction. For example, a vertical satin column with stitches running horizontally can finish narrower from left to right and longer from top to bottom. Read the stitch direction within each object; rotating the artwork changes which edges are affected. Hatch’s technical explanation describes these directions.
Effect | What to look for in the sewn sample |
|---|---|
Pull | Narrow columns, exposed fabric between adjoining shapes or a fill that falls short of its outline. |
Push | An area extending beyond its intended end or an outline that no longer follows the sewn shape. |
Compensation addresses these effects, but an unsuitable adjustment can introduce another mismatch. Judge the stitched sample alongside the screen preview. Wilcom identifies gaps, puckering and distorted outlines as possible consequences of fabric pulling inward. Wilcom: Pull compensation.
Where compensation matters
Inspect satin lettering, filled areas and borders where small changes in width or alignment are visible. Pay particular attention to adjoining shapes: registration describes how accurately those elements align when sewn.
Letters need inspection by stroke direction. A vertical stem and a horizontal bar do not pull toward the same edges. Compare their sewn proportions, spacing and alignment instead of applying one correction indiscriminately.
Sharp corners also deserve a separate check. Stitch crowding at an inside corner may call for stitch shortening or corner treatment. Adding more pull compensation alone is not a general solution for every point or corner. Wilcom’s stitch-effect reference distinguishes shortening and corner tools from pull compensation.
What determines the compensation setting?
Fabric and support
Consider the actual garment fabric, its stretch and surface, the hooping method and the backing. Underlay consists of supporting stitches beneath the top stitching; backing is a separate supporting material beneath the fabric. Compensation works alongside this support. Wilcom’s compensation guidance recommends combining these measures.
A file prepared for fleece may need different settings when used on denim. Wilcom’s Auto Fabric Assistant adjusts pull compensation, underlay and stitch spacing according to fabric and object size. Its worked example shows those settings changing between fleece and denim. Wilcom: Auto Fabric Assistant.
Column width, stitch type and artwork
Review narrow and wide columns separately, along with the object’s shape and stitch type. Density, underlay and compensation need to suit that combination. A design containing satin text and a large fill should be assessed object by object. Wilcom: Applying automatic pull compensation.
Pull compensation values: starting points, not fixed rules
Wilcom publishes the following indicative settings in millimeters for EmbroideryStudio. These are software-specific starting points for testing, not universal requirements or maximum values.
Wilcom example | Indicative pull compensation |
|---|---|
Drills and cotton | 0.20 mm |
T-shirt | 0.35 mm |
Fleece and jumper | 0.40 mm |
Lettering | 0.20–0.30 mm |
The same documentation says suitable settings vary with fabric, hooping and object size. It also explains that the default allowance applies equally to both sides, while separate side values are available in the documented version. Check how your own software applies its value before entering a number. Wilcom: Indicative settings and side allowances.
Keep the decimal point and units explicit: 0.20 mm and 20 mm are very different measurements. Do not transfer a value between programs without checking its meaning.
How to refine compensation with a test sew-out
Use this practical routine to make each revision easier to assess:
Save a working copy. Record the design version, finished size, fabric, backing and current settings.
Sew a baseline sample. Use the intended production fabric and setup.
Inspect the relaxed sample. Remove it from the hoop and compare widths, ends, gaps and outline alignment with the intended design.
Identify the affected object and direction. Note whether an edge has pulled inward or an end has extended outward.
Make one targeted revision. Record what changed so the next sample provides a useful comparison.
Repeat and retain the result. Keep the accepted sample with its matching file and production details.
Hatch recommends using a test stitch-out to identify areas needing compensation adjustments and allows different settings for different objects. Hatch: Adjusting pull compensation.
Match the adjustment to the symptom
Sample observation | Next check or trial |
|---|---|
A satin column finishes too narrow | Review the allowance along its stitch direction and test a small increase on that object. |
A shape extends beyond its intended end | Review the shape end in the push direction; trial a local reduction and compare another sample. |
Adjacent shapes leave a gap | Inspect their planned overlap and stitching order as well as compensation. |
Several areas distort or pucker | Reassess fabric support and stitch spacing before increasing compensation across the design. |
These are diagnostic trials, not certain diagnoses. Planned overlaps are a separate consideration from the automatic allowance: Wilcom’s editing guidance explicitly checks adjoining objects for overlap in addition to pull compensation. Wilcom: Design editing and object overlaps.
What to send when requesting a correction
For buyers in the US, Canada and UK, a useful brief includes the artwork, finished width and height with explicit units, garment fabric, placement and required machine format. If the same design will appear on several fabrics, identify each application.
For a revision, include a photograph of the relaxed sew-out with a ruler beside the problem area. Describe the visible issue—for example, “the left edge of the fill falls short of the border”—and identify the file version used. Request a sample review before proceeding with the full run.
You can review DigitEMB’s embroidery digitizing services when preparing your artwork and garment details.
Frequently asked questions
Is more pull compensation always better?
No. The allowance should address the observed inward pull. After an increase, check whether the object is now too wide or intrudes into nearby spacing. Compare another sew-out before accepting the revision.
Does compensation replace underlay or backing?
No. Compensation changes stitch coverage at the edges; underlay and backing provide support. Wilcom recommends using them together to reduce distortion. Wilcom: Pull compensation.
Can I reuse the same settings on every garment?
Treat a fabric change as a reason to review and test the file. Compensation, underlay and density may all need adjustment, as illustrated by Wilcom’s fabric-change example.
Should I approve from the screen preview alone?
Use the preview to check artwork and layout, then assess a sewn sample for dimensions and alignment. Record the accepted file and setup together so subsequent work uses the same reference.