Art in the Making by Jenny Armitage

Paintings Fresh From the Brush

Tag: red

The Bamboo Grove

The Bamboo Grove (watercolor 5 x 7) $25.00

This was an exercise in mixing greens.  The more I looked at this little clump of bamboo, the more I realized just how many greens were there.  To get some of this variety  on paper I used two blues, cobalt and phthalo and three yellows, hansa, new gamgee, and cadmium.   As most of the greens I mixed were blue-greens I used a little bit of  blue green’s compliment, red orange to set them off.  Burnt sienna was perfect for the purpose without any mixing.   I carried the blue-green red-orange motif into the path, painting the red Georgia soil it’s natural red and overlaying it with blue-green shadows.

Funny thing about red soil.  My husband talks about red Georgia clay and how hard it is to dig in or clean out of clothes the way mid-westerners talk of mosquitoes  and three feet of snow.  But here in Oregon we have more than plenty of red clay.  From the mid Willamette Valley south the ground is red as red can be.   And yes it’s hard to wash out of pants.

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No Comments by Jenny Armitage on May 3, 2010
filed in landscapes, postcard, watercolors
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Jade and Tulips: Take Two

Jade and Tulips II (watercolor 11 x 14) $250

This is much the same composition and color scheme as  Jade and Tulips I.  I lowered the tulips which causes them to stand out more than in the original version, but makes the upper line of the composition less interesting.  Including more of the jewelry box increased it’s three dimensionality as did opening thing lower drawer.

The palette and work methods are the same as Jade and Tulips I.


Or purchase a print from Fine Art America.com.

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No Comments by Jenny Armitage on March 6, 2010
filed in Floral, for sale, prints available, still lifes, watercolors
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Jade and Tulips

Floral Painting

Jade and Tulips (watercolor 11 x 14) $250

Years ago I celebrated a new job by purchasing a jewelry box I had coveted for several years.  I love oriental furniture with it’s brass hinges and inset  jade and soapstone.  I find a whole room full of  such furniture much too heavy.  But the jewelry box was everything I loved about the furniture in miniature.  And despite it’s exoticness, it looks perfectly at home on my plain pine dressers.  And it has the added advantage of actually looking better half open with the jewelry hanging out than it does closed.

It took me some time to compose a picture with my jewelry box at the center.  The problem is that the box’s shape  is really just that,  a vertical rectangular box.  Compositions with the complete box were brought to a complete and boring full stop by the edge of the box.   In the end, I subordinated the box to the tulips and  cropped it along one edge.  The dark open door of the box makes a beautiful foil for the bright tulips.

Once composed, painting the picture was relatively straight forward.  I masked the highlights and then began with the tulips painting them in a various combinations of hansa yellow, hansa gold, yellow ochre, cadmium yellow, and cadmium red.  The leaves are combinations of the same yellows with cobalt and phthalo blue.   I used the same colors for the jade necklace and insets as I did for the foliage.

I went on to painting vase and metal hinges using primarily yellow ochre, raw sienna and burnt sienna dulled with cobalt blue and cerulean blue.  I added the box in combinations of burnt sienna, quinacridone magenta, and dioxazine purple.

The dresser top is layered washes of burnt sienna, raw sienna, and burnt umber.  The wall yellow ochre and dulled with dioxazine purple. Layed the wall on very heavily to allow the tulips to pop.


Or purchase a print from Fine Art America.com.

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No Comments by Jenny Armitage on March 3, 2010
filed in Floral, for sale, prints available, still lifes, watercolors
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Lily With Red Carnations

Lily with Carnations (watercolor 9x12) $175.00

Yes there are red carnations in the painting. You just haven’t looked closely enough.

Both the carnations and the lily come from the Valentine’s Day bouquet my husband gave me this year. The Danish silverware vase was my Mother’s.  So the painting is a family affair.

The fact that the lily inevitably points out of the picture presented a compositional problem. I used the window frame to create a boundary to contain the eye within the painting.  Theoretically the window frame with lead the eye back around to the vase and into the painting once more.

I began the painting by masking the white edges of the lily, the stamen, and the smallest white highlights. Then I laid the window frame and background in with multiple transparent washes. I began the window frame with a mixture of cobalt blue and burnt sienna. I followed that with phthalo blue, and finally added a very thin wash of burnt sienna to tone it down. The window began with phthalo green and burnt sienna. While the wash was still damp I lifted it with tissue to create a mottled look. I followed that with successive layers of cobalt blue, phthalo blue, and burnt sienna laid wet into wet.  I made the background darker around the lily and lighter by the dark vase to add drama.

Next I under painted the lily with phthalo blue. I added the shadowed fuchsia with quinacrione deep red rose sometimes mixed with cobalt blue. The sunlight fuchsia is a combination of quinacridone red and cadmium red. I added the spots last in darker versions of the fuchsia under them. I painted the colored highlights in the vase in tandem with the lily. The carnations are cadmium red.

The leaves and stamen began with new gamgee (yellow). I laid a green made of new gamgee and colbalt blue over the top. The tips of the stamen are burnt sienna and phthalo blue.


Or purchase a print on Fine Art America.com.

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No Comments by Jenny Armitage on February 22, 2010
filed in Floral, Uncategorized, for sale, prints available, still lifes, watercolors
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The Red Shirt

The Red Shirt (12 x 16) $100

The Red Shirt (12 x 16) SOLD

I’ve read that it’s advisable to place the horizon low when painting the sea to avoid making the waves look like a wall at the top of the painting. It’s a rule I violate frequently.

When I walk along the beach I am drawn to the leading edge of the ocean. Looking out from the edge of the waves the sea does feel like a wall above me. And the breakers rise many feet above sea level. In winter they they tower over the beach.

Standing in front of all that raw power I am awed that something so elemental is also so beautiful. My eyes follow the waves. I rarely scan the horizon.

I want to catch that feeling of being small and looking up into the waves, so when I place people right on the edge of the beach I often place the horizon high, or as in this case eliminate it altogether.

Pigment Notes: The water is phthalo blue, cobalt blue, French ultramarine, all dulled by burnt sienna and raw sienna. The beach is multiple washes, some salted, of burn sienna, raw sienna, and burnt umber mixed with a a hair of cobalt blue. Winsor red and cadmium yellow for the boy’s skin. Quinacridone gold, raw sienna and burnt umber for his hair. Winsor red and raw sienna for the shirt. French ultramarine and cobalt blue for his pants.

This painting has sold, but you my purchase a reproduction of it at Fine Art America.com.
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1 Comment by Jenny Armitage on April 15, 2009
filed in prints available, seascapes, sold
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