How I created "Palm Beach Paradise"
From start to finish I'll share how I created this triptych called "Palm Beach Paradise".
The color palette and vibe for this piece was drawn from these images. I often put together an inspiration page or Pinterest board to refer to throughout the painting process.
After stretching my own canvases, I painted them all "Rainwater" to give the piece a bright cheerful background. Each panel is 72″ high with the center panel being 36″ wide and the end panels 24″ wide.
The next step is to paint in the ground line. Then add the larger elements of the composition such as the trees.
I gather a LOT of reference when I do a large piece like this. These passionflower vines were SO lovely I just had to incorporate them. I often add vines to weave the composition together. It also leads the viewer through the painting. Here you can see me drawing out some of the blooms on tracing paper before transferring them to the canvas. I use a transfer paper to do this. If you are interested in my reference inspiration you can visit my Pinterest board.
After applying several layers of translucent color (I use matte medium) I begin adding hundreds of lines with a tiny brush. I decided it was better to flip the canvas upside down to make it easier on me!
Of course I HAD to choose a cultivar of passionflower that has ridiculous detail!
This piece has MANY birds perched within its leaves and branches. I did my best to include mostly native living or extinct birds of the Palm Beach and/or Cuban habitat like the Cuban Red Macaw, the Cuban Land Snail, Cuban Tody. Here you can see Torch Ginger and a Hyacinth Macaw.
The native Cuban Trogan of course had to be included. I couldn’t resist him capturing a little dragonfly.
So that’s how it was created! Thanks for following along. Prints of this triptych are offered by Chairish ! This piece has sold. Please contact me, Allison Cosmos with any questions you may have.
The editor of Veranda magazine, Steele Marcoux reached out to me one day. She wanted to know if I would be interested in collaborating with them on a silk scarf for a limited edition in their Spring 2020 issue. This is the story of how the project came together! I hope you enjoy all the details.
Style and market assistant, Sara Clark and I discussed colors and inspiration for the piece. This is what we came up with.
The Spring issue was intended to be their Outdoor Living Issue so we wanted to include an architectural element overtaken with greenery and flowers.
I first painted the background color. We settled on a beautiful deep blue. I took my drawing and transferred it to the blue canvas with white transfer paper.
Here you can see me outlining in a silhouette fashion the leaves, branches and birds. This allows the imagery to pop off the dark background since I work in translucent layers.
Once the silhouettes have been painted white, you can see I start to layer in translucent colors. I use gel medium and Golden fluid acrylics.
Now the fine details are painted in. Tiny lines make up feathers, flower stamens and butterflies. I use very tiny brushes! It was Christmas time, can you spot the tree?
Before I sit down for a painting session I ALWAYS make a cup of English Breakfast tea! I usually give the piece I am working on an overview and decide what to do next!
This is the final finished piece. I shipped it to NYC where a digital capture company Dyenamix prepared the file for printing on silk.
