Satin, fill or running stitch: which embroidery stitch type should you use?

Satin stitch: for lettering and narrow bands

Satin stitch is made of parallel stitches, side by side, that span the shape from one edge to the other. It is the shiniest stitch, because the thread lies taut and smooth and reflects light. It is the stitch of lettering, bold outlines, patch borders and any narrow band.

Its limit is width: a very long thread stitch lies loose, snags and pulls out with wear. In practice satin works well from 1.5 mm to about 10 mm wide. Beyond that, software splits each stitch in two or three ("auto split") or you switch to fill.

In Meus Bordados, satin is the default for text. On closed shapes you mark angle lines with the Angles tool so turning satin follows the curve of the shape, and on open shapes there are Column C (fixed width) and Column A (variable width). See Stitch types and settings.

Fill stitch (tatami): for large areas

Fill stitch, also called tatami or complex fill, covers an area with rows of short stitches (usually 3 to 4 mm), offset from one row to the next like bricks in a wall. That offset keeps the surface even and hides the row seams.

Because it is built from short stitches, fill has no width limit and stands up well to wear and washing. In exchange it shines less than satin and uses more stitches (and more machine time) per square inch. Changing stitch length and angle creates different textures; running the fill at 45 degrees to the satin lettering helps the text stand out from the background.

Use fill for logo backgrounds, wide shapes in kids' designs, letters with strokes wider than 10 mm and appliqué-style areas.

Running stitch: outlines, detail and underlay

Running stitch is a single line of stitches, one after another. It is the most economical stitch and the only one that works on very thin lines (under 1.5 mm). Use it for outlines, details (whiskers, eyelashes, leaf veins), "pen-style" lettering, decorative topstitching and, very importantly, as underlay beneath other stitches.

The triple run (bean stitch) variant passes three times over the same path (forward, back, forward) and reads as a bolder line. It is great for outlines that must show and for 3 to 4 mm lettering where satin does not work.

Typical length: 2 to 3 mm. Shorter stitches (1.5 mm) follow tight curves better; longer ones (3.5 to 4 mm) are faster and smoother on straight lines.

Which stitch for which job? Quick table

Density: the setting that changes the embroidery most

Density is the distance between two neighboring satin stitches or between two fill rows. "High" density means closer stitches (more coverage, more stitches, stiffer); "low" means wider spacing (lighter, fabric may show through). A common value for 40-weight thread in satin is a spacing around 0.4 mm; fill is usually a little more open.

When to adjust: increase density (smaller spacing) on terry and on dark fabrics with light thread; decrease it on light fabrics and small lettering, where too many stitches make a hard plate and cut the fabric. Never change the density of a finished design by resizing: that belongs in the project file.

Underlay: what goes underneath

Before stitching the satin or fill, the machine sews a hidden layer of running or zigzag stitches. That underlay anchors the fabric to the stabilizer, lifts the top stitching and keeps the thread from sinking. Without it, satin looks flat and fill puckers.

• Center run: one line down the middle of the column. For small lettering and narrow columns.
• Edge run: lines along the edges of the shape. Defines the outline and keeps the satin from "leaking".
• Zigzag (single or double): for wide columns and large letters; adds loft.
• Fill underlay: open rows beneath large fills, at a different angle from the top fill.

An inset of 0.3 to 0.5 mm pulls the underlay inside the outline so it does not peek out at the edges.

Pull compensation: why do letters come out thinner than on screen?

Every stitch pulls the fabric toward the center of the column. The result is that a column drawn at 3 mm sews out at 2.6 mm and the gaps between letters grow. Pull compensation extends each stitch a little beyond the outline, in the stitch direction, to make up for that shrinkage.

Starting values: 0.2 mm on stable fabrics (cotton, twill), 0.3 to 0.5 mm on knits and fleece. On very stretchy fabrics, pair it with cut-away stabilizer, which holds better. On the other hand, do not over-compensate small lettering: the counters of "e" and "a" close up.

Tip: Stitch a 10 × 30 mm satin rectangle on the job's fabric and measure it. The difference between the drawing and the real measurement is the compensation you need.

Stitch order and color changes

The last stitch defines the finish. The classic order is: underlay, background fills, satin shapes and lettering, running-stitch outlines last. Within each stage, group objects of the same color to cut thread changes: every change is a stop on a single-needle machine.

In the editor, the Objects, in stitching order list shows the sequence and the Simulate button plays the embroidery stitch by stitch with the estimated time. Turn on Jumps and trims to see where the machine will jump. See Colors and stitching order.