Satin stitch
- Damask stitch
- French plumetis stitch
- Point Passé Stitch
- Point Perlé Stitch
- Au Passé Stitch
- Long stitch
- Passé stitch
- Flat stitch

A series of straight stitches worked parallel to one another to produce a smooth solid filling.
Typically used in monograming, leaves and petals.
The earliest evidence of satin stitch is from Dunhuang in China, dated to the second half of the 1st century AD. By the start of the 2nd millennium in China it was the predominant stitch and it has retained a central role in Chinese embroidery.
It has been part of the tradition of (predominantly European) whitework since at the least the 12th century: firstly within Opus Teutonicum, and then later Dresden, Ayrshire, Schwalm, Hedebo/Baldyring, Hardanger and shadow work.
More widely it was used in Opus Anglicanum; in Khaarek embroidery from Kutch in western India; 19th century Chinai work (Chinese-influenced embroidery in India); in Sozni embroidery from Kashmir which creates the same design on both sides of the fabric; in Sweden using shaded wools; and in Hungarian Virágozás which decorates animal fleeces with silk thread.
Method
To achieve a crisp neat edge, complete a split stitch outline on the shape to be filled (optional). Your stitches should be approximately 3mm long.
Beginning halfway along one side, bring the needle up just outside the split stitch outline. Hold the thread to set the angle of the first stitch and take the needle down accordingly, just outside the split stitch
Bring the needle up, very close on one side of the first stitch. Make a second stitch, angling the needle towards the previous stitch and towards the split stitch. Repeat to complete one side of the shape.
Then begin again in the middle. This time bring the needle up on the other side of the shape, and angle the needle towards the previous stitch as before.
Continue to fill the other side of the shape.

Structure of stitch
Embroidery Techniques
Variant Stitches
Related Stitches
Identifying Satin stitch
A satin stitch will have a split stitch outline hidden under the edge of the smooth parallel surface stitches. The split stitch edge is to help ensure a crisp outline which acts as a foundation wall and prevents nibbled edges.
References
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Various Authors, The Royal School of Needlework Book of Embroidery (2018) , p.46, 314, 330
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Anchor Embroidery, 100 Embroidery Stitches
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Kate Haxell, The Stitch Bible (2012) , p.100
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Jennifer Campbell, Ann-Marie Bakewell, Guide to Embroidery Stitches (2004) , p.29
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Sarah Whittle, The Needlecraft Stitch Directory (2012) , p.151
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Gillian Vogelsang-Eastwood, 'Early Chinese embroidery from Dunhuang', TRC Leiden (2017). Available at: https://www.trc-leiden.nl/trc-needles/regional-traditions/east-asia/china/early-chinese-embroidery-from-dunhuang (Accessed: 25 August 2021)
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Schuyler Cammann. (1962) 'Embroidery Techniques in Old China', Archives of the Chinese Art Society of America pp.16-40. Available at: https://www.jstor.org/stable/20067040
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Sheila Paine, Embroidered Textiles - Traditional Patterns from Five Continents (1990) , p.20, p60
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Gillian Vogelsang-Eastwood, 'Opus Teutonicum', TRC Leiden (2017). Available at: https://www.trc-leiden.nl/trc-needles/regional-traditions/europe-and-north-america/embroideries/opus-teutonicum (Accessed: 20 August 2012)
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Willem Vogelsang, 'Dresden work', TRC Leiden (2017). Available at: https://www.trc-leiden.nl/trc-needles/regional-traditions/europe-and-north-america/embroideries/dresden-work (Accessed: 25 August 2021)
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Gillian Vogelsang-Eastwood, 'Ayrshire whitework', TRC Leiden (2017). Available at: https://www.trc-leiden.nl/trc-needles/regional-traditions/europe-and-north-america/embroideries/ayrshire-whitework (Accessed: 25 August 2021)
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Gillian Vogelsang-Eastwood, 'Schwalm embroidery', TRC Leiden (2017). Available at: https://www.trc-leiden.nl/trc-needles/regional-traditions/europe-and-north-america/embroideries/schwalm-embroidery (Accessed: 20 August 2012)
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'Baldyring', TRC Leiden (2017). Available at: https://www.trc-leiden.nl/trc-needles/regional-traditions/europe-and-north-america/embroideries/baldyring-denmark (Accessed: 25 August 2021)
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Gillian Vogelsang-Eastwood, 'Hardanger embroidery', TRC Leiden (2017). Available at: https://www.trc-leiden.nl/trc-needles/regional-traditions/europe-and-north-america/embroideries/hardanger-embroidery-norway (Accessed: 25 August 2021)
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Clare Browne, English Medieval Embroidery - Opus Anglicanum (2016) , p.20
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'Khaarek', TRC Leiden (2017). Available at: https://www.trc-leiden.nl/trc-needles/techniques/embroidery/embroidery-stitches/khaarek (Accessed: 25 August 2021)
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Gillian Vogelsang-Eastwood, 'Chinai Work', TRC Leiden (2017). Available at: https://www.trc-leiden.nl/trc-needles/regional-traditions/indian-subcontinent/chinai-work (Accessed: 25 August 2021)
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Gillian Vogelsang-Eastwood, 'Sozni Embroidery', TRC Leiden (2017). Available at: https://www.trc-leiden.nl/trc-needles/regional-traditions/indian-subcontinent/sozni-embroidery-kashmir (Accessed: 25 August 2021)
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Willem Vogelsang, 'Virágozás', TRC Leiden (2017). Available at: https://trcleiden.nl/trc-needles/regional-traditions/europe-and-north-america/embroideries/viragozas (Accessed: 26 August 2021)
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Examples of Satin stitch

Purificator (2), RSN Collection No. 2079
The grapes are sections of satin stitch.


Purificator (2), RSN Collection No. 2079
The central letters IHS are in satin stitch.


Triptych 2, RSN Collection No. 587
