Understanding Stitch Types

Master the four stitch types that form the basis for all embroidery and you will be in the driver's seat when it comes to producing aesthetically pleasing, production-friendly designs.
Nov 1, 2007

Figure 1. A run stitch features a single line of stitching. Run stitches are used for such applications as underlay and outlines.

By Thomas Moore, Contributing Writer

All embroidery is created from four primary stitch types. While all stitches are formed the same way — through the impeccable timing of a needle and hook marrying the top and bottom stitches into a lock stitch formation — a design is created through the use of run, zigzag, satin or fill stitches.

Among variations of these four primary stitch types are the triple stitch, bean stitch, blanket, motif and many others. To further complicate matters, authors of design software commonly invent catch terms for their own specific uses, such as parallel, steil, liquid, step, carved or tatami. And sometimes there are stitch formations, like contour, whose names are used in multiple applications across different software programs, including vector drawing programs.

It's no wonder new digitizers find their heads spinning, or why those who teach themselves embroidery design find the learning curve takes years longer than first imagined. Lack of understanding causes confusion, which leads to lack of confidence and drains the energy from our creative spirit. Questions like, "Where do I begin?" and "What do I do?" can consume the digitizer's mind.

In this article, I will build off the theme of a previous article titled "Use Vector Artwork for All Your Design Digitizing" (Impressions, September 2007, p. 50), in which I wrote: "Standardization (in embroidery design) offers confidence, which breeds respect." By providing insight into the formation of the four primary stitch types and how to properly use them in your design work, we will help you take your first steps toward gaining confidence in your knowledge.

STITCH PROPERTIES

Each of the four primary stitch types possesses properties. Understanding these properties allows for the proper use of each stitch type and opens the door for enlightened adjustments to the embroidery object. Lack of understanding of these concepts traps the digitizer in what I have coined "the world of default." In the world of default, we believe our software knows more about embroidery than we do, and we trust our software to make vital decisions on our behalf. After all, that's why the software costs as much as it does, right? Break out of the world of default by gaining further knowledge of embroidery objects, their particular properties and how to control those properties.

Stitch length and density are the two basic properties of an embroidery object and are defined as follows:

Stitch length: The distance between two consecutive stitches.

Density: The distance between rows of stitches.

Here, I must remind you of the 1 mm rule, which states, "Do not create stitches less than 1 mm in length." (The author offers further insight into the 1 mm rule in his book, Digitizing 101. — Ed.)

Run Stitch. A run stitch is a single line of stitching also commonly referred to as a walk stitch (Figure 1). Because there are no rows in run stitches, they do not have the property of density. Run stitches are used for underlay, traveling (moving the pantograph by means of sewing), outlines and small detail. Run stitches could be used anytime the embroidery object is less than 1 mm in width.

Satin Stitch. Satin stitches consist of a straight stitch and an angled return (Figure 2). They are best suited for column-shaped objects such as lettering, borders, lines and detail objects. Satin stitch properties are stitch length and density. The stitch length is determined by the width of the column, which should remain within 1-7 mm. Columns less than 1 mm violate the 1 mm rule, whereas stitches longer than 7 mm are prone to snagging. Here, density also should be addressed; however, density is a topic all its own and will have to wait for future discussion. What is most important at this juncture is to understand that satin stitches possess the properties of stitch length and density.

Zigzag Stitch. Zigzag stitches have an angled stitch and an angled return stitch (Figure 3). Like satin stitches, they are column in nature, so their stitch length is determined by the width of the column. Zigzag stitches are used for underlay, small letters and appliqué.

Fill Stitch. Fill stitches are composed of a series of run stitches lined up in parallel rows (Figure 4). In addition to stitch length and density, fill stitches have offset and return properties. The offset ensures each subsequent row's stitch length is offset from the previous, which prevents the fill from appearing like satin columns. The return determines how the stitches will be formed at the end of the row when it reverses direction. Your software may have many return options; however, the most common are the stepped and square.

Fill stitches are used to cover large areas and provide background coverage. A fill should be considered when an object is at least 5 mm in width and should definitely be used when an object is more than 7 mm, the maximum width of a satin. There is a range between 5 and 7 mm where an object could be constructed with either a satin or fill. If an object consistently is around 7 mm or if any objects are to be sewn on top of it, lean toward a fill. A satin stitch is more appropriate if the column tapers in at points below 5 mm or if nothing will be sewn on top that would separate the stitches.

THE LONG AND SHORT OF IT

As defined above, stitch length is the distance between two consecutive stitches. The shorter the stitch, the tighter its formation; the longer the stitch, the looser its formation. Visualizing these two characteristics will aid in determining whether the stitch length assigned should be short or long.

Short stitches are between 1 and 4 mm. They sink into the fabric, appear more print-like, do not pull apart easily, are good for outlining, do not snag easily, are not lifelike, can cause thick (bullet proof) embroidery and require more stitches to cover a given area than a long stitch (Figure 5).

Long stitches are 4 mm or greater in length. They lay higher on the fabric, provide more life and dimension, can snag easily, may be pulled apart by other embroidery objects that may sew on top of them and reduce the number of stitches needed to cover a given area.

Each of the characteristics of stitch length has its pros and cons. The digitizer should evaluate the needs of the embroidery object and determine which characteristic is most important. For instance, if the run stitch is being used as underlay, it may be important to secure the backing to the fabric. This would be best accomplished with a short stitch around 2 mm long. Of course, if the run stitch is being utilized to travel, use a longer stitch length to traverse from point A to point B in the fewest number of stitches possible.

If the run stitch is being used for outlining or detail purposes, then a stitch length of 4 mm may be used. However, if there are tight turns in the shape, an adjustment to 2.5 mm would be necessary for that portion of the object. In any given run stitch object, the stitch length may change many times.

Accepting the default settings of your embroidery software would be equivalent to leaving your car in first gear because that was how you received it. To get in the fast lane, you learned to change gears. Taking control of your embroidery software and changing the properties of the four basic stitch types will accelerate your learning, driving you closer to being in control of your designs.

Thomas L. Moore Jr., founder of Strawberry Stitch Co., an embroidery design firm and embroidery design school in St. Louis, is a consultant who speaks at the Imprinted Sportswear Shows, writes frequently for trade magazines, including Impressions, and has won numerous awards, including Impressions' 1999 Digitizer of Distinction. He also is the author of "Digitizing 101."

For more information or to comment on Thomas' article, email him at tom@strawberrystitch.com.

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