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A Few Alcohol Ink Mini Paintings

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These are my very first alcohol ink paintings. The process is fast and exciting if not exactly controllable. Each of these paintings was completed in under thirty minutes working on Yupo with an eyedropper, cotton ball, cotton swab, gravity, and a mister. The good news it creates beautiful glowing results almost by magic. The bad news is that over half the painting made this way are fit only for the trash. These are the winners:

Blue Mountains I, Small Original Painting, by Jenny Armitage

Blue Mountains I (alcohol ink 5 x 6) $50

Blue Mountains II, Small Original Painting by Jenny Armitage

Blue Mountains II (Alcohol Ink 5 x 7) $50 by Jenny Armitage

Blue Mountains III, an Small Original Painting by Jenny Armitage

Blue Mountain III (alcohol ink 5 x 7) $50

 

Blue Cliffs, Original Alchohol Ink Painting by Jenny Armitage

Blue Cliffs (Alchohol Ink 4 x 7) $50.00

Coastal Moon, Small Original Painting by Jenny Armitage

Coastal Moon (alcohol ink 4 x 6) $50

 

Cliff Dwellers (alcohol ink 5.5 x 7) $50.00

 

 

These paintings are available in reproduction and on various products here.

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Birth of Venus One and Two

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Birth of Venus Two, Original Watercolor by Jenny Armitage

Birth of Venus One (18 x 24 watercolor) $700

Birth of Venus Two, Watercolor Painting by Jenny Armitage

Birth of Venus Two, (18 x 24 watercolor) $700

Botticelli’s Birth of Venus is stunning, but it never captured the delivery part of birth for me.  Botticelli’s Venus is serene.  She is arriving at the shore, the messy birth process long behind her.  My Venuses  are actually in the process of emerging from the sea foam.

Birth of Venus

Or purchase a fine art print.

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Beachhead

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Beachhead, Watercolor Painting of the Oregon Coast by Jenny Armitage

Beachhead (12 x 19 watercolor) $400

A little bit of the Oregon coast.


Or purchase a fine art print.

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A Painting to Inspire Jazz Improvisation

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Pacific Rhythms, Seascape, by Jenny Armitage

Pacific Rhythms (18 x 36 watercolor) Commissioned

I painted this seascape for the most marvelous client.  Her request charmed me.   She wanted a seascape with no figures or land masses, beach, or boats; just waves, sky, and clouds.   The waves and clouds must be rhythmic to inspire jazz improvisation.  The painting must be large enough to fill the space above her piano.

The project presented some challenges, most of them having to do with size.  Standard watercolor sheets are only 24 x 30 inches.  She wanted a painting that was 36 inches wide, so the paper had to be special ordered.  I don’t have an easel large enough to accommodate a painting this size, so I used my studio table.  When I taped the paper to my studio table, there was no room left for water and brushes.  To see how the painting looked from five feet back, I had to stand on a chair.

The other challenge had to do with how to create a path through the painting for the eye.  I decided on a sideways “u” beginning on the bottom left following the breakers in and return across the horizon and out through a break in the clouds.

I presented it to the client this morning and I’m happy to say she loved it.  It’s at the framers now.

The original belongs to a lovely pianist, but prints are available here.

 

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A Little Wind and Water

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A Little Wind and Water (5 x 7) SOLD

A Little Wind and Water (5 x 7) SOLD

Twixt Wind and Water

Twixt Wind and Water

Yet another little painting I did at the fair. This one is a smaller version of one of my favorite paintings, Twixt Wind and Water. The only thing I didn’t like about the original was the vertical format. I thought the painting would look better with more sea and waves to her left. So I played around with that idea in this smaller version. I do like the extension of the the sea, but I think I made a mistake in showing too much of her right side. If I do a full sized painting of this one again, I will keep the extended horizon but still crop-out most of her right shoulder.

Reference Photo

Reference Photo

As you can see, both paintings show a complete change in compositional thinking from when I took the reference photo. Taking the photo, my thoughts were all about the shape of her figure and the rock. But when I looked at the photo up close, I fell in love with the hair spilling out of her braid. That required some rethinking. Looking at the photo again, I’m tempted to include more of her body to increase the feeling of movement.

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