Shading with a Needle

by Pat Van Cleve

Originally published in Needle Pointers, June/July 1991

Editor's Note:
Pat Van Cleve of Winston-Salem, North Carolina excels in many areas of needlepoint. Over the years she has garnered countless awards for the excellence of her stitchery. At past ANG National Seminars, she has won Best In Show, Princess Grace, Delegate's Choice, People's Choice, and numerous other accolades. Pat's exquisite projects have been featured on many covers of NEEDLE POINTERS. She has been involved with ANG since the early days and has served as National President, National Treasurer, and Director of ANG's Judging Certification Program. We are grateful to this exceptionally talented and loyal member for sharing with us some of her secrets of successful shading on canvas.

We are constantly learning new techniques to use in our needlework. In our eagerness to use these new techniques, we sometimes forget to practice some of the old techniques that can enhance our needlework. Shading in our stitching can give depth and realism to our work and lift it from the ordinary to a work of art.

We know poor shading is worse than no shading at all, so let's look at some of the ways we can achieve good shading and make it second nature in our work. When an artist paints, shading is done with a brush after mixing paints to achieve the desired color. When we shade with our needle we use the stitch to do the shading. In some ways this is easier than mixing paint. We have far more shades of threads with which to work than most painters. We can duplicate the shade when we run out of thread while the painter has to try to combine the same colors in the same proportions with no way to measure accurately how much of each to use. If we do not like the shade we have mixed in our threads, we just take out those stitches. The painter has to paint over the first shade and may not like the second any better.

Most of us are primarily canvas workers because we like the structure the holes in our canvas give us to produce the desired effect. This same element enters in when we shade our needlework. It gives structure to our needlework.

Example 1

Example 2

The first thing we always think about when we think about shading is the source of light. We know the area where the light hits is going to be the lightest area and opposite the light source where there are shadows will be the darkest. If we are working a scene, we know the most intense colors will be in the foreground and less intense in the background but we still need to think about how the light is going to affect it. It is helpful sometimes to draw an arrow in the margin of our canvas to help us to remember from where the light is coming. Shading with a pencil on a drawing lets us plan where our light, medium and dark values will be placed. (Example 1)

When we are shading flowers we still need to think about the light source. No two flowers are alike and individual flowers have their own shading. Practice observing the natural shading all around you. This will help you get a feel for shading your needlework.

We have decided what areas are to be the darkest, lightest and middle shades. Now, how can we achieve this? Let's deal with the most obvious.

1. Choice of stitches.
2. Texture of fiber
3. Changing the direction of your stitches.
4. Mixing color in your needle.

The kind of texture in the stitch we choose affects the amount of light reflected from that stitch so if we work the tent stitch in the same color as we work a bargello stitch, the tent stitch will appear darker. If we work brick stitch over two canvas threads it will appear darker than the same stitch worked over four canvas threads using exactly the same color. Shading is made easier if we select a stitch that carries the color into the next stitch. The iris in Example 2 is worked in the Burden stitch over four canvas threads with one row encroaching into the next. This is much easier to manage than a stitch that stripes such as a diagonal mosaic. Think about how the stitch you plan to use will fit into the area being shaded.

The texture of the fiber we are using will also affect the results; and, again, we must think about the difference in the way the light reflects when we use a smooth and shiny thread such as floss and the dull finish of a Persian wool. Different threads will also give a real dimensional effect. The density of the stitch must also be considered. This will be a result of the number of strands we are using as well as how tightly packed the stitches are. The same color will appear darker in the areas of the highest density and lighter in the less dense areas.

Example 3

Example 4

My favorite stitch for shading flowers or tree branches is the crewel outline stitch worked in close rows and mixing the colors in the needle. (See Example 3) You can see how the gradual shading of the trumpet flowers gives the blossom depth and interest. By increasing the number of strands and using this stitch you can also get a different effect. (See Example 4) The dark leaves on the rhododendron are worked using three and four strands of embroidery floss, and the lighter more delicate leaves just above to the right use only 1 strand and the same stitch with the rows worked very close together.

You can stitch the same stitch and the same color side by side, but try changing the direction of the stitch and you will find it hard to believe you have not changed the color. This technique is particularly useful when you are working on flower petals. (See Example 2) The center petals of the iris are worked vertically and the right and left petals are worked horizontally. This project also uses the mixing of threads in the needle for gradual shading.

When you begin to mix shades in the needle you need to start with at least three shades for a good result. Use all three shades from one family unless you are a real expert. Shading does not occur in straight lines so be careful not to stripe your shading. Follow the shape of the object. (See Example 5) You can shade from dark to light, bright to dull or one color to another. You also need to remember that the light shade of a color will reflect more light than a deeper shade because it is closer to white. Deeper shades help keep the object from appearing flat.

Example 5

The more strands you are using in the needle, the more combinations are possible. If you are working on #18 mono and using 6 strands, you can really get gradual shading as you change the combination in the needle. For a good flow of color from dark to light try:
Step 1 6 strands dark
Step 2 4 strands dark plus 2 medium
Step 3 2 strands dark plus 4 medium
Step 4 6 strands medium
Step 5 4 strands medium plus 2 light
Step 6 2 strands medium plus 4 light
Step 7 6 strands light

Patience is probably the most valuable asset for good shading. When you are changing colors and cannot see the effect, the urge is there to skip that step because if you cannot see the difference when you stitch, why make the change? From experience, I can tell you it is not worth a shortcut. Every time I give in to that urge, I regret it. My best shading is when I can do it so gradually, it is not visible to the naked eye.

If you get an area stitched and decide you need a more gradual variation, sometimes you can stitch over it with the right shade using one or two strands. Lay the stitches carefully so the overstitching blends into the stitch. If it is a glaring error in shading, rip it! It pays off.

Experience is one of the best confidence builders when it comes to shading. If you do enough of it and observe enough in the shading around you, it will become second nature to you. Try it! You'll like it!