Posts tagged ·



Looking Towards Home

no comments
Looking Up Towards Home, Original Watercolor by Jenny Armitage

Looking Up Towards Home II (watercolor 13 x 19) $400

Walking home from a morning walk in the woods we looked up the hill towards our house into magical morning light.  I’ve done my best to capture that light in this pair of paintings.

Looking Up Towards Home, Original Painting of Light Through Trees by Jenny Armitage

Looking Up Towards Home I (watercolor 13 x 19) $400

I’ve priced the paintings at $400 each or $700 for the pair.



Painting Choice

Or purchase a fine art print.


SociBook Digg Facebook Google Yahoo Buzz StumbleUpon

Spring Snow On Croisan Trail

no comments
Spring Snow on Croisan Trail, Original Painting by Jenny Armitage

Spring Snow on Croisan Train (watercolor 14 x 19) $400

We walking Croisan Scenic Trail all this winter, rain, snow, or shine.  It is beautiful in the snow.


Or purchase a fine art print.

SociBook Digg Facebook Google Yahoo Buzz StumbleUpon

Aqua Falls

no comments
Aqua Falls, Original Painting of Opal Creek by Jenny Armitage

Aqua Falls (watercolor 16 x 23) $700

No these falls aren’t actually named the Aqua Falls. I don’t know their name. I think of them as the aqua falls, because the water is the most beautiful aqua color there. There being the first falls on the Opal Creek Trail, east of Salem, Oregon. If you hike the trail you’ll find them just as you reach the abandoned mill machinery. You have to scramble a little off trail down some rocks to reach this view of them. The good news is you’ll probably have them to yourself.

Or purchase a fine art print.

SociBook Digg Facebook Google Yahoo Buzz StumbleUpon

Fog Over Croisan Valley

no comments
Fog Over Croisan Valley, Original Painting of Salem, Oregon by Jenny Armitage

Fog Over Croisan Valley (17 x 23 watercolor) Sold

This painting is a little closer to home than most of my recent work.  I see this view every morning on the way home from my walk down Croisan Scenic Trail.  The trial occupies a long thin, Salem park with our neighborhood a hundred feet above it and Croisan Creek a few hundred feet below it.  The path is beautiful in all seasons and rarely feels nearly as close to town as it is.   It’s particularly evocative in the fog.

This painting has sold, but you can still purchase a fine art print.

SociBook Digg Facebook Google Yahoo Buzz StumbleUpon

Wyoming Glow

no comments
Wyoming Glow, a painting of a Western Morning by Jenny Armitage

Wyoming Glow (watercolor 15 x 18 inches) $225

Back to Wyoming in the morning.  I used the same reference photo for this painting as I did for my last pastel.  I didn’t mess the seasons this time but it looks like spring rather than summer to me.  That’s because it’s been such a wet year.  I don’t think I’ve ever seen Wyoming so green.  The early morning sun on the grass was simply spectacular.

The problem for me was not to lose the forest in the trees.   It’s much too easy to get mesmerized by detail and try to paint every tree.  Yet the painting must still suggest individual trees  and I wanted the emphasis to remain on the sunlit grass.  My solution this time was to eliminate detail by using a big brush.  The entire painting is done with a number 14 round brush (about three eights of an inch at the shank but coming to a fairly tight point).*   Usually I work in numbers 12, 10, 8 and finish with 6  (the smaller the number the smaller the brush).

I did not use mask either.  Painting carefully around the lights rather than reserving them with mask forced me to keep them big.

I also used a fairly limited palette:  winsor purple, phthalo blue, cobalt blue, quinacridone gold, and burnt sienna.  This not only helped unify the painting, but helped me concentrate on big shapes.

But I have my husband to thank for the key to this painting.  He came upstairs and looked at it in progress.

“Too fuzzy.”

“But where would I put the detail?”

“I don’t know.”

Stephen is not good at seeing what to do to a painting, but he’s very good at seeing problems.    It pays to listen to him.  I thought about it.  One classic maneuver is to put a lot of detail into the foreground.  I used that approach with my pastel.  But my painting was already too abstract to allow much real detail in the foreground.  In the end I did two things.  I added texture to the foreground and sharpened up the trees just where they intruded on the distant grass at the center of interest.  Together the changes created instant depth.


*Actually, I used one other brush, but only for my signature.  For that I used a number 2 rigger.  Riggers are very long thin brushes designed to make long thin continuous lines without having to repeatedly re-dip then in paint.  The name comes from their usefulness in painting sail rigging.

This painting is currently for sale on line at my Etsy shop. Or purchase a print.

SociBook Digg Facebook Google Yahoo Buzz StumbleUpon