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Five Pears

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Five Pears (10 x 25 collage) $150

Collage of hand-printed acrylic mono-prints on collage board.

Or purchase a fine art print.




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Because Three French Horns and a Whole Pear Tree Was Too Much

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Horn d"Anjou (14 x 18 watercolor on clayboard) $400

This is another painting resulting from my photo shoot at Weathers Music.   I brought a number of things with me including table cloths, flowers, and fruit.  In the end though I mostly limited my fruit use to grapes and pears.  The pears are my favorite.  I think the shapes of the pears have something to say the bells of the horns, don’t you?  I hope so, because the pears are repeated over and over in the horn.

Mounted on a black wooden cradle frame and finished with clear polymer varnish,  this painting may be hung as is or framed.

Or purchase a print through Fine Art

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A Brief Intermission

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Dances With Pears, a Watercolor Painting by Jenny Armitage

Dances With Pears (11 x 14 watercolor on clayboard) $200

No, it isn’t more instruments, but I’ll get back to those shortly. I painted this one at the gallery just after finishing “Jazz Buddies.” I love painting all the keys fittings on the sax, but it tiring work and I was no fit state to start another complex instrument painting full of reflections and reflections of reflections. So I painted nice simple fruit instead.

I took the reference photo while I had the mirror out for instrument photos. The pears and daisies were intended to be co-stars (and they probably will be in later paintings) but the looked so nice and fresh that I took a few photos of them by themselves too. I’m glad I did.

Painted on claybord and mounted on a black wooden cradle.  Ready to hang.

Available through my Esty shop or purchase a print through Fine Art

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Five Pears and Three Techniques

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Painting of Pear and Grapes by Jenny Armitage

Pearcial to Grapes (watercolor on clayboard 6 x 6) $50.00

Pearcial to Grapes as Finished

These are a continuation of my experiments with Ampersand’s Aquaboard. This time I used cradled board, i.e., board mounted on two inch deep wooded frame. After I completed the paintings, I painted the wooden frames black and finished the watercolors with two coats of Krylon’s UV Archival Varnish, and three coats of Golden’s Polymer Varnish with UVLS (satin). The result is that the paintings may be hung without a frame or glass. The coating is not only protective, but archival and removable for conservation purposes.

This first painting, I painted almost the way I ordinarily use paper, except that I lifted the highlights rather than reserving them.

Still Life Painting on Clayboard, by Jenny Armitage

Meeting over Grapes (watercolor on clayboard 6 x 6) SOLD

Pearshall to Grapes as Finished

For the second painting I wet each section of the painting with clear water first and then offered the tip of a pigment loaded brush to the damp surface.   I hardly used any actual brush strokes at all.  I like the way this technique lets the pigments spread out into the painting.  This technique could be used on paper too.  It isn’t limited to clay-board.  However, this technique is easier on clay-board because the damp surface turns taupe until is dries,  making it easier to see where the paint is going to go.

Blushing Pears a Watercolor by Jenny Armitage

Blushing Pears (watercolor on clayboard 6 x 6) SOLD

Blushing Pears as Finished

This third painting I did on aquaboard that I had used previously.  I scrubbed off the first painting  resulting in a clean, but  much smoother working surface than the virgin board, more like gessoed paper or Yuppo to work on than unused aquaboard. I worked wet on dry without any layering letting the water carry the color from one section of the pears to the other.


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Mangos and Pears, a Color Exercise

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Still Life watercolor of magos and pears by Jenny Armitage

Mangos and Pears (watercolor on clayboard 11 x 14) $150

I started this painting in Karen Vernon’s workshop this October. The photo I worked from is hers.  The photo showed two mangos and a pear.  I broke up the trio by moving one to the mangos to the wall.

We spent one of the five days working on color. The lessons aren’t unique, but certainly useful. Color has several properties, hue, intensity, value, temperature. Hue is the actual color. Intensity is the brightness or dullness of the color. Value is the lightness or darkness of a color. Temperature is the warmth or coldness of a color. Blue is the coldest color and yellow the warmest.

We spent one one morning working on changing color value without changing any of the other properties. This is not as straight forward as it appears as some colors de-intensify or intensify as they are diluted with water. Adding a bright and warmer hue of the same color will re-intensify a color.

Then we de-intesified the colors at each value. As I discussed earlier in a blog about gray, the way to deintensify a color is to add it’s compliment. Red and green deintensify each other as do purple and yellow and blue and orange.

Colors will appear brighter next to their compliment and next to deintensified color.

In the afternoon we discussed the color of shadows. Shadows are generally the deintensified compliment of the color of the object casting them as altered by the color of the surface they fall on.

Light will bounce from surface to surface. Thus one object will affect the color of the object next too it.

This little painting is a lesson in color begun in the workshop.  I rarely work from other people’s photos, but this painting began with one of Karen’s photos.  The photo showed  two mangos and a pear.  I moved the second mango onto the wall.

The bright fruit works well for playing with the color concepts we discussed in class.  The green pear and the red mango are compliments.  Therefore the shadow of each is the color of the other.  The red of the mango reflects onto the green of the pear.  The deintesified floor helps make the  relatively intensified color of the fruit pop.  The background is almost as bright as the fruit, but it’s darker and much cooler in temperature.  Both dark values and cooler colors tend to recede.

This painting is protected with a polymer varnish and may be framed with or without glass.

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