It is a well known fact that graphic images with color-blending effects are not always easily realized when producing such images into embroidered form. Because the strands of thread cannot be mixed together as can ink, they must instead be placed side-by-side making it more difficult to create realistic gradation effects. Creating color blends with embroidery requires not only the correct digitizing technique but also some basic knowledge of color and how different color tones relate one to another.

There are three instruments I use to create color blends with thread.

Stitch distance: this controls the intensity of the thread color.

Stitch direction: the use of the same stitch direction in all the levels of thread colors is done to create a smooth color blend.

Color choice: this is the key player whether or not the color blend looks abrupt or smooth in the transition from one color to the next.

Starting with stitches

The instrument of “stitch distance” is the color intensity control and it works something like a spray gun. The smaller the distance between the stitches, the more and intense is the color. The larger the distance between the stitches, the less intense and solid is the color. Okay, that’s the easy part. However, trying to find which stitch distance to use takes some practice.  Here is an example (Sample A) of the spray-gun or “accordion” effect. The stitch distance in this example shows a stitch distance that is larger at the top and works its way to a smaller stitch distance creating color intensity from light to dark.

Working with stitch distances that change from larger to smaller can be realized very easily in most professional embroidery-digitizing software. Simply by changing the distances a digitizer can create many variations of the “accordion” effect. The sample (B) shows a basic color blend that runs light-to-dark. 

Next, I have chosen to use three colors to produce a gradation effect. The first digitizing step is the “base color” (see Sample C), in this case the lightest color of thread. I punched this with a smaller stitch distance for a standard thread type #40. The stitch distance was set consistently so that this thread color would be more intense and also cover up the fabric.

The next digitizing step is the “bridge color” (Sample D), the one that does more of the work in building up the transition from light to dark. Here the stitch distance is set larger-to-smaller.

The last step (Sample E) is to blend the darkest of the thread colors. It looks similar to step D, the difference being that the smallest stitch distance is the same as in step C for the base color. The goal is to first blend the “bridge color” with the darker thread color, then bring the dark color to its full intensity.

These areas, where different levels of stitching with the larger stitch distances are overlapping one another, are the ones where the color blend is at its highest level of activity. The larger stitch distances allow the other levels of thread to shine through, giving the appearance of a color blend. Sample F shows all the steps together.

The next instrument is “stitch direction.” In cases where the color blend should have a smooth transition from one color to the next, it is very important to have the stitch directions in agreement with each other. The goal is to place the threads so they lay in between each other. If the threads lay directly on top of one another then there is no color blend. But, when the threads lay in between each other as in this sample (See Sample G), the optic of the color blend takes place.

Mixed results

Our third and final instrument is “color choice.” Colors can be of the same “color family,” meaning they share the same color but in different tone levels from light to dark. Alternately, colors that are of different hues such red, blue and yellow and are not from the same family.

Working with thread colors that are not from the same family makes it much more difficult to create smooth color blends; you’ll find it common to easily see the thread line where the color blend starts and ends, as in this sample (see Sample H) of the white to the green. In this case I used colors not from the same family; the white color does not belong. Here you can see the lines where the color green begins. Another problem occurs in the green tones themselves. Here you can also see where the dark thread color begins. Even though the “bridge color” and the dark color are of the same family, the tone difference is too great for a successful gradation.

The next color-blend sample attempts to blend colors from the same family; the different tones of the same family are much closer. The digitized design is the same, only the thread colors were changed. You can see in this embroidery that the transition from one color to the next looks smooth. (See Sample I).

In this case, instead of choosing the color white for the base color I used a light orange thread color. So, simply by changing your color choice and finding the right tones, you can create a nice, smooth color transition without having to change the digitizing.

Changing the thread type can also change the optic of the design. The different thread types have their own light-reflective appearances which I refer to as “light play.” For example, rayon thread has a naturally luxurious shine, while polyester has an artificial glitter. Wool threads and other dull embroidery threads have little or no “light play,” while metallic threads have a real metal appearance with an even higher level of “light play.” Knowing what thread type you’re using to make the color blend will play a very important role not only in the digitizing but also on the optic of finished embroidery.

A better chance at positive results

You can use the three instruments detailed above with any type of thread and stitch type; and you can use this method as a base in order to create many forms of color blending. The size of the embroidery will also determine whether you have adequate space to digitize the different levels of stitch distance in order to create the blend. In some cases you may have to drop out the desired color blend from the design.

In fact, some digitizers shy away from color blending because they are not sure of the technique. Others have an understanding of how to digitize for it but, when the design is sewn out, the result is not adequate. Most of the time the problem is not in the way it was digitized but in the colors chosen for the embroidery. But a better understanding of the stitches, the colors and how they interact will always give you a greater chance at positive results.