View Full Version : ~ Coneflower in Cloisonne ~

07-07-2005, 07:17 PM
Back in April when I had my first, and probably only <gg> gallery opening, http://www.wetcanvas.com/forums/showthread.php?t=267688 there was a painting which sold immediately -- before I had even arrived to the place. A person was waiting there with a check. It was one of those paintings that took me about 2 hours to do, and I really only put it in the show to take up more space. It was a small (8 x 10) acrylic on Yupo. It was absolutely nothing that blew my hair back.


However, I was shocked at the amount of positive response I got for it, and one person said she wanted me to paint another one just like it only in blues/purples/whites/lilacs, and BIG. She and her husband own an Optical store in town and have fitted my entire family with glasses for the last 30 years. If I had a dollar for everytime someone said they wanted me to paint something for them I would be quite wealthy by now. Of course, most people never contact me again. :) Just so happened that I had to get my Rx changed in the old specs to I went into the shop yesterday. Elaine asked how her painting was coming along... gulp... she was really serious!! I hadn't even thought about doing the painting, let alone even start on it!


I have now just started <gg> a full sheet Coneflower in Cloisonne in the cool tones. I have approached this very differently than anything I've painted before. The only thing similar so far is that I sketched it out with fluid acrylic in an oiler boiler. Instead of metallic gold, I used cobalt teal. I then poured many thin coats of various phthalo blues/FUB/ and Dioxanine Purple. The ridges from the cloisonne showed through so I was able to go back in and start to bring out my 'lights' with washes of gesso. One thing I love about using acylics is that one can work on a toned canvas from dark to light. I am applying the same principle to the watercolor paper by first 'toning' it dark and working out to the lights with the acrylic watercolor.. I will also go back in and add many darks, but I wanted an overall medium value range to start with.

Here are a couple of photos. Please keep in mind that because they are in the blue/purple range the color is all off with my digi cam. This is a very preliminary stage. There is no reference photo... this posies come directly from my head. (this explains a lot... LOL!!)


A close-up.


Last night I fiddled around a bit on a scrap piece to get some feel for color saturation, granulation, etc.



mrs willow
07-07-2005, 08:20 PM
Aaah Deb! I just love it! As soon as I saw it listed I thought "I bet it is wonderful"...AND IT IS! I am really looking forward to following along with you.
It is a very interesting technique you have developed. :clap: :clap: :clap:

07-07-2005, 08:27 PM
Deb, looks great to me. I like that whole feel.

Lady Carol
07-07-2005, 09:23 PM
Congrats on the commission. This looks wonderful already.

What is an oiler boiler?

Wayne Gaudon
07-07-2005, 10:05 PM
looking good ..
yea, talk comes easy .. I can't remember how many paintings I have sold to air talk LOL

07-07-2005, 10:35 PM
very nice. I do like it. Jan

07-07-2005, 10:49 PM
Like Mrs Willow, I'm going to follow this one closely. I Also wonder just what is an "oiler boiler"

07-07-2005, 11:33 PM
Oiler Boiler :)


Margaret 59
07-07-2005, 11:59 PM
very interesting Deb. I like the idea of the oiler boiler thingy........wonder if they're available in NZ.
Oh...and I like the paintings too.

07-08-2005, 02:05 AM
I'm having a dickens of a time getting the color correct on this painting. It is not this blue, but more in the violet/lilac range. No matter what I do to the white balance on my camera it is not showing true to color.

This is how the centers of the flowers will look when I get finished. The camera doesn't pick up the shimmer of the copper. The centers are done in Diox. Purple/Dairlylide Yellow (the two allowed to mix on their own make a rock'in rich brown). I dropped the copper in for excitment. I have also started work on the lower right flower. The dark part under the petals are not that dark nor that brown IRL.



So far, working on this toned paper is pretty cool.


07-08-2005, 07:07 AM
You're such an inspiration Deb! this is looking fabulous already.

Margaret, I have something similar to the oiler boiler, I bought it from a ceramics/pottery shop. I have used it for fine lines when doing ceramic painting, but now will be trying it with acrylics!

Wayne Gaudon
07-08-2005, 07:49 AM
Deb, I'm having a hard time to keep a straight face. Not that your painting is bad but your fight with the digital is so funny (but true). I did one a while back of while daiseys and blues and the digital had the centers come off looing like eggs because of what the digital does when it lumps colors. Very hard to get some pieces close to what they should look like. Interesting how you tone over your drawing.

When you say you tone dark to light and then work your way backward, are you saying that you make a gradient of your canvas from dark to light using a middle vale as your dark? Let's assume you want a 3 to 9 gradient as a final. I'm thinking what you are saying is that you start with a 5 to 7 gradient and work it into a 3 to 9 by adding darks and lights after the fact. I am curious as to how people work as it gives me things to experiment with.

07-08-2005, 07:54 AM
Fantatic Deb.....i agree with Lulu....can't wait try something like this....you can also use an greaseproof (icing) bag cut to whatever size at the end...to extude paint...you can use the paint straight from the tube or thicken it...i'm sure if you find a site about icing cakes you will see how to make a bag...you can write with it also...(i used to do celebration cakes)....can't wait to see your final image.

07-08-2005, 08:24 AM
exceelent thread Deb, I have learned a lot by reading!! The oiler boiler idea is great. I will DEFINITELY give that a try. I have tried silk painting in the past and it has a loook similar to using thick colored gutta outlines. I may even be able to use my gutta applicator for this instead of an oiler boiler. I wonder.

The first painting here, and the one in progress, are definitely a treat for the eyes!! I can understand how it sold so fast! thanks so much for taking the time to show!

07-08-2005, 10:40 AM
Lulu, and all who inquired about the oiler boiler. What I really use is that 'gutta' thingy which ArtCrazy spoke of. I have also used an oiler boiler and it works well also. I just happened to have the Cobolt Teal in the oiler boiler. I have about 8 of these types of apparatuses, each with a different color in them. Cleaning them out is a pain so having them filled at all times is much easier.

Wayne, this is Fabriano Artistico Extra White Soft Press paper that I'm working on. I am painting this in the style of watercolors (for the most part), by thining down the fluid acrylic paint to watercolor consistency. In watercolor one preserves the whites and works toward the darker values. I decided to experiment with this by toning the paper first and working back toward the lights. The reason I made the centers white (with gesso) is because I want that brightness back which I would lose by putting yellow tones over the purple tones. The gesso also gives it some tooth, and makes for some pretty cool granulation. I am also dipping my brush into regular watercolors to get some granuation properties.

When I work on canvas I normally tone the canvas with burnt sienna or Venetian Red gesso. I guess I don't get concerned about the value range because most of it gets covered up. Working dark to light actually makes the lights 'pop' more than if you add them in after you've painted your darks. Here is an example of what I'm talking about. This is a small (9 x 12) painting of my mother's four poster bed. It was done alla prima on a canvas that I had toned with raw umber. For the most part the posts are the color of the canvas with just a few highlights added. The window and curtain were accomplished by just adding another glaze of white for the part of the curtain covering the wall. The window underneath was the toned canvas with one pass of white. Pretty simple eh? The corner of the room and various shades of the two walls was again just the difference of one layer of yellow ocher/mixed with white. The same for the bedspread. You can see where the white was put on thicker to accentuate the light, and not so thick to show the shadows. It would have been difficult to paint the white bedspread by leaving the canvas white to begin with. (well, for me at least :))
I think the bottom line is that the more I paint, the more intimidated I am by blank white sheets of paper/canvas staring at me. :(




Sandy, you make me feel like a million bucks. I wish I could be as enthused about the quality of my paintings. :(

Howard, :wave:

Wayne Gaudon
07-08-2005, 11:04 AM
OK .. basically the same concept as I use just applied a little differently as I like to mix on the fly and do the home colors with regard to light or dark and then add the final touches as my feelings suggest .. usually I finish off the piece and then I clean off a piece of the pallette and put out some fresh color for the final highs and lows because by the time I have the piece painted I have contaminated everything on the pallette LOL

07-08-2005, 12:48 PM
Lulu's got it right Deb! You are truly an inspiration. It reminds me to get my oiler boilers working again!!!!!!!!!!!!!! :)

07-09-2005, 08:49 AM
Deb, Wounderful art. I'm a liking this very much!! Do you know if there is any books on this kind of painting?( cloisonne) Is it a silkscreen medium? Again Marvelous Art.

Lady Carol
07-09-2005, 10:58 AM
Oiler Boiler :)


Ahhh! Thanks :wave:

07-10-2005, 10:49 AM
I don't know why, but I just can't get the color right on this painting. The first photo I took is the most accurate, and from thereon everything is just too blue. If I adjust the colors to take out the green, or add red the flowers looks pink.

This painting is going in a direction that I'm not liking, but the person who wants this painting wants a very cloisonne look so that's where it's headed.

Imagine the coloration of the first full photo. Here is where I'm at. When I get the painting finished I'll go back in and add more darks toward the center of the white flowers on the petals. The flowers that are a bit whiter up the center will also be white, the rest will be done in the pastel colors shown (smaller flowers to the left) which will be light blue and lilac. Those centers will remain the lighter colors also. Unfortunately, the variation of color in the background are not showing up :( . The background is more deep violet/purple.

I'm pulling my hair out with this camera. Either I've got a serious case of the stupids, or my digi just doesn't like these colors!



Anita Murphy
07-11-2005, 10:23 AM
Deb - this is so pretty. Its like a cross between batik and stained glass. I am not surprised at all that the original one sold immediately and even less surprised that you were asked for another.
Super work as always!

Wayne Gaudon
07-11-2005, 01:55 PM
try taking your pictures from the directions of north, south, west, & east. It's amazing the difference you see just by doing that. As well, try puttting something dark and neutral behind your painting or light and flat. I find acrylics a lot more of a challage to photo than my oils because my oils were matte.

coming along very nicely.

07-11-2005, 08:58 PM
Last night I fiddled around a bit on a scrap piece to get some feel for color saturation, granulation, etc.



Just love this image....pitty it isn't massive instead of small! (assuming its small...of course)

By the way...you do such great blues (I remember a coffee cup a while back)...forget about orange as your main colour of choice!


07-11-2005, 09:04 PM
Deb, I just love this painting. I am a great lover of the Cloisonne look, and this is really coming to life beautifully. :clap: :clap: :clap: :clap:

Val. :wave:

07-12-2005, 08:25 PM
Plugged away some more on this.

Stay tuned... :)



07-12-2005, 11:17 PM
I love this piece and can't wait to see it finished. I can see why your original sold so fast. If you don't mind my asking, what colors are you using in your palette?

07-13-2005, 10:22 AM
Sorry I have been neglegent in answering questions. I have this real job that gets in the way of all of my painting. :(

Wayne, I have tried to photograph this in just about every light, from every angle, on every white balance setting. The closest I can come to the actual colors is with it set to flourescent, taken during the daylight and with a flash. geesh... :) I wish I could get the true colors, and the detail because this is really so much nicer looking than what I'm able to upload.

Aszureblue, I don't know if there are any books on this. I happened upon it by accident, I don't even know if anyone else does this, but I'm sure there are.

Present (Anita), thank you so much for taking a peek. I appreciate your comments very much. How is your Madame X coming along? Also, I see that you have changed your avatar. I must say that you look SO familiar to me. I wonder if we crossed paths in East Africa?

Malty :wave: , Yes, that little flower is but a corner torn off a piece of paper which was in the scrap heap. And now I'm looking around the studio I can't even seem to find where I put it. grrr... Ah yes, the Morning Java coffee cup on Yupo. Yupo enhances all transparent colors. I LOVE orange, but I've found it's the blues in paintings that people gravitate toward.

Dovie, I am using Phthalo blue (red shade), Quinacridone Gold, Dioxazine Purple, Irridescent copper (fine), Irridescent gold (light), Perm. Violet Dark, and a smidge of Diarylide Yellow, and Soft White Beige (this is the only one made by Liquitex, all others are Golden Fluid acrylics). And, of course, gesso :) (Diox. Purp. and Dairylide Yellow make a deep rich brown when mixed).

I hope I answered everyone's questions. Thanks again so much for taking a look, and commenting!


Anita Murphy
07-13-2005, 10:31 AM
Deb - when were you in East Africa - not that I looked like this then. We left when I was 9. Madame X is on a back burner at the moment. Working on two portrait commissions for a neighbour - not entirely sure why I thought it was a good idea (apart from the financial incentive!)

I really like this piece. Personally I would take it as it is now. I love the detail in the front and then fading out into the distance. Just love it! So glad you are back showing your work here, you keep me focused and inspired!

07-13-2005, 10:48 AM
Anita, I was in Tanzania from 1965-1971, when I wasn't going to school in Spain.

I'm not really going to do too much more to this painting. The background will fade to the lighter colors at the top, and I'm keeping most of the upper flowers the subdued color. In fact, the blue and lilac flowers are finished except for the cloisonne-ing (is that a word? ;)).

You, inspired me!


Anita Murphy
07-13-2005, 11:14 AM
Deb - this is quite funny - after we left Kenya in Jan 1972 we lived in Spain! Just south of Barcelona.

Glad you decided to keep the painting as it is now.

Have you thought of running classes? Let me know if you do!!!!!!! :D

Charlie's Mum
07-14-2005, 11:43 AM
Just like cloisonne enamels Deb - very jewel-like and absolutely beautiful:D
:clap: :clap: (you need more of these but I'm in quick reply mode ;)

07-28-2005, 09:35 PM
Acrylic friends,

I finished this after being out of town for an extended period of time. I've written the completion in the Watercolor Gallery. Have a peek here.



07-28-2005, 10:40 PM
FABULOUS!!!!! Absolutely heartwarming to see!!! Thanks so much for sharing!!!!

Anita Murphy
07-29-2005, 07:01 AM
Nice work.

Radical Eel
07-29-2005, 12:10 PM
What a success! I know everyone's said this already, but I think your painting is absolutely beautiful.

08-16-2005, 09:02 PM
I got a call from Elaine yesterday saying I just 'had' to get down to their shop to see the 'Coneflower in Cloisonne" painting all framed up and hung on the wall. I couldn't be more pleased with the mat, fillet and frame she picked out. I'm sure the 100kb allowable photo will not capture how nice it really looks IRL, but here it is.


A few more pixels if you want a looksee at my web site:

http://www.deborahs-art.com/RecentWork.htm -- (you will have to scroll down a titch).


HRH Goldie
08-17-2005, 01:20 PM
Hi Deb, It seems like forever since I saw some of your work so I have just spent the last couple of hours delighting in all of your links and indulging myself in your glorious paintings on your website.

I think you will come to regret slightly parting with this painting as it is absolutely glorious and looks magnificent framed up the way it is. :clap: :clap: :clap: :clap: :clap: :clap:

In all seriousness it is something that I too would consider purchasing as it is so fresh and alive.

Belated congratulations on the exhibition - you looked as if you had a ball.
I can see you marching forward and going from strength to strength. :wave:

08-22-2005, 11:23 PM
Christine :wave: , it has been a long time since we've crossed paths. I am elated with your remarks about this painting, and cherish them. Do you realize that you are the first, yes... FIRST!!!! person in ALL of the wetcanvas forums who has even hinted at, or mentioned buying my work!!! You, my dear, have made my day.

About regretting selling this... I hope not. I don't feel regret yet. Although, I have sold pieces that I wish I hadn't. How does one ever know until it's gone forever? :(

Thank you again Christine for your most gracious post.


HRH Goldie
08-23-2005, 10:46 AM
Hi Deb, I find that hard to believe! Lovely to see you and your work again = hope to see a lot more. :wave:

08-23-2005, 02:00 PM
Really nice work. I really enjoy it and learn when artist take us along step by step when the create and post their work.

And I now know what an oiler boiler is.