Short answer: pick the stitch type by how wide the shape is at the size you'll sew. A running stitch for lines under about 1 mm, satin for columns from about 1 mm up to 7–9 mm, and tatami fill for anything wider. Shapes that change width, like a swash or a thick-and-thin script, are often best split so each part gets the stitch that suits it.
Every object in an embroidery file is one of a handful of stitch types. Choosing the right one for each part of a logo is the first real decision in digitizing. It affects how the design looks, how many stitches it takes and how well it holds up in the wash.
The three stitch types
| Stitch | How it sews | Use it for |
|---|---|---|
| Running (walk) | A single line of stitches, usually 2–2.5 mm long | Fine outlines, small detail, travel hidden under other stitching |
| Satin | Back-and-forth stitches across a narrow column, no needle drops in the middle | Lettering, borders, outlines, narrow shapes |
| Fill (tatami) | Rows of short stitches with staggered needle drops | Large areas and solid shapes |
A bean stitch (each running stitch sewn three times) is a useful in-between for lines that need to read bolder than a single run but are too thin for satin.
Why satin has a width limit
A satin stitch spans the whole column in one stitch. That's what gives it the glossy, raised look: long, unbroken thread lying side by side. The catch is that long stitches are loose. Past a certain width they snag on buttons and zippers, sag on soft fabrics and let the fabric show between them.
The common rule of thumb is a maximum of about 7 mm. In practice, production digitizers often go wider on stable fabrics. When we measured 122 hand-digitized production files from a working shop, about one in five had satin columns wider than 7 mm, mostly bold lettering on twill and caps. A sensible ceiling is about 8 mm on caps and 9 mm on polos and stable wovens, and less on loose knits and thin performance fabric.
Wider than that, you have two choices:
- Split satin: the software breaks each long stitch into two or more with a needle drop in the middle, staggered so it doesn't form a visible line. It keeps a satin-like look on wide shapes.
- Fill: switch the shape to tatami. Most wide shapes should simply be fills.
The minimum width
Satin columns narrower than about 1 mm look like a running stitch anyway, but take far more stitches and tend to hammer the same holes. Below that width, use a run or a bean stitch. Lettering is the exception: satin letters can have strokes down to about 0.8–1 mm if the overall letter height is big enough (see digitizing small text).
Fills: tatami and pattern fills
A tatami fill lays rows of short stitches (often around 4 mm) across the shape, offsetting each row's needle drops so they don't line up into visible grooves. Things to get right:
- Angle: neighbouring fills at different angles separate visually even in the same colour. Avoid long horizontal rows on stretchy fabric.
- Underlay: an edge run around the shape plus a light tatami in the opposite direction keeps fills flat and stops gaps at the edges.
- Borders: a fill's edge is a little ragged by nature. A satin or running border on top gives a crisp line, and it hides the small gaps that pull compensation doesn't quite close.
Pattern, motif and gradient fills are decorative variations. They're great on jacket backs and patches, but they add stitches and rarely help a small logo.
Shapes that change width
Script lettering, swooshes and hand-drawn logos often go from a thin hairline to a wide stroke in one shape. A single stitch type can't do both well. A wide satin gets loose, and a fill on the thin parts looks ragged. Good approaches:
- Split the shape where it crosses the satin limit: satin on the narrow part, fill on the wide part, overlapping slightly so there's no gap.
- Let satin follow the stroke through curves and corners, with the stitch angle turning with the shape, rather than running at one fixed angle.
- Treat sharp corners on purpose. At a sharp turn, a satin can come to a point (mitre), round off, or be cut flat. Without one of these, stitches pile up on the outside of the corner.
Corners, ends and serifs
The ends of satin columns are where hand-digitized lettering looks best and automatic lettering often looks worst:
- Square ends should sew square. A column that tapers to a rounded tip where the artwork has a square end reads soft.
- Where two strokes meet, butt one into the other instead of overlapping them fully, or the junction builds up a hard lump.
- Serifs and small flares are often better as their own short satins under the main column than as part of it.
How EasyDigitizer chooses
When you auto-digitize, EasyDigitizer measures the width of every part of each shape at the size you've set. It sews thin parts as running stitches, narrow parts as satin that follows the stroke, and wide parts as tatami, splitting mixed-width shapes where they cross the garment's satin limit. You can change any object's stitch type afterwards, set the satin limit per object, and choose the corner style.
Frequently asked questions
What is the maximum width for a satin stitch?
About 7 mm is the classic rule. Stable fabrics and caps commonly take 8–9 mm in production. Wider shapes should be split satin or fill.
When should I use a fill instead of satin?
When the shape is wider than your satin limit, or when it's a large solid area. Fills lie flatter and hold up better over big shapes.
What is a bean stitch?
A running stitch sewn three times along the same path (forward, back, forward). It gives a bold line without the width of a satin column.
Why does my satin column look loose?
It's probably too wide for the fabric, or missing underlay. Narrow the column, switch it to split satin or fill, or add an edge-run-plus-zigzag underlay.