On one of the other pages I was asked a bit about my shading - I thought maybe it would be useful to add those notes in this area - I hope it's the right format.
Â
There are many different ways to shade Cloisonne chambers - and I do vary the ways I do my shading techniques - but often the way my shading is done is by using several shades of a simular color darker to lighter in one chamber - and the variation is added by maybe not just going only from darker to lighter - but also going to slightly varying hues of the over all color - say dark to light blue but with some aqua blue added.
Â
So for example in a blue cloisonne chamber on a piece I might put a little of several blues in line from dark to light - a dab of each and worked them with the brush or pick and water until I see a shaded effect. A visual blurring of the dark to light. I might use #26 Soyer dark blue, then # 25 Soyer slight lighter medium blue, then # 23 Soyer lighter still blue - they are all a simular color of blue just darker to lighter. But then into the mix I might work in slightly different blue - like a blue aqua in the lighter transition zone say maybe a tad of #251 aqua blue Soyer, or #45 Soyer aqua blue or another lighter green blue as well - that gives more dynamics in the shading.
Â
Then I dry it well and fire it.  And then I repeat the whole process of shading drying and firing again and again in the chamber until I build up the color. I shift slightly back towards the darker area of the shaded chamber where the change from color to color happens. Each successive layer is moving the lighter colors back over the darker.
Â
When I reach the desired effect I may fill with the lightest blue or with a tad of clear flux.
Â
Additionally adding bits of fine silver or 24 kt gold foil also adds variation to the shading. Remember many pinks and reds even some purples and others do very poorly directly on silver or silver foil so make sure you choose the right foil for the type color you are working with - DO TESTS!
Â
Warm Regards
Sharon Scalise
On one of the other pages I was asked a bit about my shading - I thought maybe it would be useful to add those notes in this area - I hope it's the right format.
Â
There are many different ways to shade Cloisonne chambers - and I do vary the ways I do my shading techniques - but often the way my shading is done is by using several shades of a simular color darker to lighter in one chamber - and the variation is added by maybe not just going only from darker to lighter - but also going to slightly varying hues of the over all color - say dark to light blue but with some aqua blue added.
Â
So for example in a blue cloisonne chamber on a piece I might put a little of several blues in line from dark to light - a dab of each and worked them with the brush or pick and water until I see a shaded effect. A visual blurring of the dark to light. I might use #26 Soyer dark blue, then # 25 Soyer slight lighter medium blue, then # 23 Soyer lighter still blue - they are all a simular color of blue just darker to lighter. But then into the mix I might work in slightly different blue - like a blue aqua in the lighter transition zone say maybe a tad of #251 aqua blue Soyer, or #45 Soyer aqua blue or another lighter green blue as well - that gives more dynamics in the shading.
Â
Then I dry it well and fire it.  And then I repeat the whole process of shading drying and firing again and again in the chamber until I build up the color. I shift slightly back towards the darker area of the shaded chamber where the change from color to color happens. Each successive layer is moving the lighter colors back over the darker.
Â
When I reach the desired effect I may fill with the lightest blue or with a tad of clear flux.
Â
Additionally adding bits of fine silver or 24 kt gold foil also adds variation to the shading. Remember many pinks and reds even some purples and others do very poorly directly on silver or silver foil so make sure you choose the right foil for the type color you are working with - DO TESTS!
Â
Warm Regards
Sharon Scalise
