This is merely top sewing laid out flat and the stitches set close together. It is perhaps the most commonly used stitch in embroidery, and is suited for practically all materials, save when the pile is deep, and then it must be used inside an outline of couching or other similar stitch. If a certain modelled or raised effect be desired, as in white embroidery, it is advisable to pad the surface which is to be satin stitched with several long stitches of coarse thread, which may then be covered over.

In such things as leaves or other forms where veins or lines of drawing must be carefully kept, the worker may define these by making them the junction between one set of stitches and another. Care must always be taken not to work one set of satin stitches into another, as this gives a ragged or indefinite appearance to the work. Diags. 147, 148 and 149 give examples of this stitch.

Diag. 150 illustrates Long and Short Stitch, which is a method of satin stitching best adapted for working one colour gradually into another, as in the shaded petals of flowers.

Diag. 151 illustrates Oriental Stitch, where a long stitch is taken horizontally from left to right of the space to be covered, the needle is then brought out close above this long stitch, a little inside of the outline, and is then inserted just below the long stitch near its other end, thus making a long diagonal stitch across the first which pins it down and which is peculiarly suitable for covering large spaces. This stitch is best adapted to work on wool, arras, or linen. If very large spaces are to be filled in, two diagonal stitches may be made across the long one (Diag. 152). Another variety of this stitch is well suited for veining leaves, and here the needle is brought out above the very centre of the long stitch and inserted immediately below it (Diag. 153).

Diag. 147.

Diag. 148.

Diag. 152.

Diag. 153

Satin Stitch 161

Diag. 149

Diag. 150.

Diag. 151.