Short answer: use a centreline satin for strokes of even width, like borders, outlines and monoline lettering: click along the middle and set the width. Use a two-rail column for anything that changes width or needs controlled stitch angles: click pairs of points on either side, and each pair sets the column's edges and stitch direction there. Keep spacing around 0.40 mm (0.35 for small lettering), split satins wider than about 7 mm, and let the underlay follow the width.
Satin is the stitch that makes embroidery look like embroidery: glossy, raised, with thread lying in one smooth sweep from edge to edge. Most lettering, borders and outlines are satin. Getting it right by hand comes down to controlling two things: where the edges are, and which way the stitches lie.
Two ways to draw a satin
Centreline satin (S)
Click along the middle of the stroke and finish with Enter. The column is built around that line at the width you set in Properties (3 mm by default, adjustable from 0.5 to 15 mm). The stitches stay perpendicular to the line as it curves, so the satin turns smoothly through bends.
It's best for:
- borders and outlines of even width,
- monoline and rounded lettering,
- quick underlines and rules.
Right-click (or Ctrl+click) to place curve points. They become Bézier nodes you can refine later.
Two-rail column (C)
Click pairs of points, one on each side of the column: left, right, left, right. Each pair is a "rung" that sets both the column edges and the stitch direction at that spot. Between rungs, the angle turns smoothly.
It's best for:
- strokes that change width, like serif letters, calligraphic scripts and tapering swashes,
- places where you want a specific stitch angle rather than one perpendicular to a centreline, for example the slanted stitches of a classic script capital,
- tight turns, where you add rungs close together to fan the stitches around the curve.
This is the satin tool hand digitizers often know from desktop software as a two-rail or "column A/B" tool. A column needs at least two pairs, and a stray odd point at the end is ignored.
Controlling the stitch angle
The angle is what separates hand-digitized satin from traced satin:
- In a centreline satin the angle always follows the line.
- In a column, the rungs set it. Put more rungs where the shape turns and fewer on straight runs.
- At the end of a stroke, set the last rung parallel to the artwork's end. A square end should get a square last rung, so the column doesn't finish on a slant.
Spacing and "density follows width"
Satin spacing is measured peak to peak (between stitches going the same direction):
- 0.40 mm is the standard for 40 wt thread.
- 0.35 mm suits small lettering, where each stitch has less thread showing.
- Wider columns can open up slightly.
The Density follows column width option (on by default) scales the spacing to the width automatically: a little tighter on narrow columns, a little more open on wide ones. It also adds pull compensation on wider columns, since they pull in more. EasyDigitizer also adds short stitches on the inside of tight turns, so the inner edge doesn't pile up.
Width limits and auto-split
A satin stitch spans the whole column. Past about 7 mm, long stitches snag and sag. The Auto-split over setting (default 7 mm, adjustable from 3 to 12) breaks wider stitches into shorter ones with staggered needle drops, so the column keeps a satin look without loose stitches. On caps and stable fabrics, many digitizers let bold lettering reach 8–9 mm before splitting.
If a shape is wider than about 10–12 mm, make it a fill instead. See satin, fill or running stitch.
Underlay for satin
Underlay goes down first and holds the column up. EasyDigitizer's Auto (by column width) chooses:
- Under 2.5 mm: a centre run.
- Under 5 mm: an edge run.
- Wider: an edge run plus zigzag.
You can override this per object (Center run, Edge run, Zigzag, Edge run + zigzag or None). Details in underlay types explained.
Pull compensation
Satin pulls the fabric in across the stitches, so columns sew narrower than drawn. Pull comp widens each column to make up for it: about 0.2 mm on twill, 0.35 on knits and 0.4 on fleece. Too much, and small letters close up; too little, and satins look thin and show gaps against fills.
Jagged edges: fur, grass and feathers
Set Jagged edge on a satin (0–6 mm) and each stitch stops short of the edge by a different amount, so the column gets a broken, furry outline. Choose Both edges for grass and fringe, or one edge for an animal's outline where the other side meets a clean shape. The stitch count stays the same; only where each stitch ends changes.
Ends and joins
- Where two strokes meet, let one end tuck under the other rather than overlapping fully, to avoid a hard lump.
- Sew the stroke that sits "under" first.
- For lettering, sew each letter's strokes in pen order, so the needle ends near the next stroke and the next letter.
Frequently asked questions
What is the difference between a satin and a column in embroidery software?
A centreline satin is a line with a fixed width. A two-rail column is defined by its two edges, so its width and stitch angle can change along its length.
What spacing should satin stitches use?
About 0.40 mm peak to peak for standard 40 wt thread, and 0.35 mm for small lettering.
How wide can a satin column be?
About 7 mm before you should split it. With auto-split, satins can reach 10–12 mm on stable fabric. Beyond that, use a fill.
How do I make satin stitches turn smoothly around a curve?
With a centreline satin they turn with the line automatically. With a two-rail column, add more rungs around the curve, each set at the angle you want there.