Copic markers are available in an amazing number of colors, but you can also buy marker blanks and use the refills to create your own custom colors.

Print ISBN 978-1-4972-0625-0
ISBN 978-1-6374-1203-9

COPY PERMISSION: The written instructions, photographs, designs, patterns, and projects in this publication are intended for the personal use of the reader and may be reproduced for that purpose only. Any other use, especially commercial use, is forbidden under law without the written permission of the copyright holder. Every effort has been made to ensure that all information in this book is accurate. However, due to differing conditions, tools, and individual skills, neither the author nor publisher can be responsible for any injuries, losses, or other damages which may result from the use of the information in this book.

INFORMATION: All rights reserved. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied.

WARNING: Due to the components used in this craft, children under 8 years of age should not have access to materials or supplies without adult supervision. Under rare circumstances components of products could cause serious or fatal injury. Please read all safety warnings for the products being used. Neither New Design Originals, the product manufacturer, or the supplier is responsible.

NOTE: The use of products and trademark names is for informational purposes only, with no intention of infringement upon those trademarks.

Unless otherwise noted, photography by Laurie Williams and Sheryl Williams.

Project and step-by-step photography © each respective contributor.

The following images are from Shutterstock.com: cover, throughout, ink droplets: pticelov; 4–5, background: coldsun777; 26, alcohol: John Hanson Pye; 29, cotton balls: Touchr; 30, cosmetic pads: Alexander Demyanenko; 30, cotton swabs: innakreativ; 30, toothbrushes: P Maxwell Photography; 30, sponge: New Africa; 30, foam brushes: jessica li; 30, pipette: OHishiapply; 31, canned air: wk1003mike; 31, stir sticks: Matt Benoit; 32, micro tools: Sasha Turkina; 32, gift cards: smile23; 32, spray bottle: Sayers1; 35, gloves: 168 STUDIO; 35, goggles: takepicsforfun; 35, respirator: petroleum man

© 2023 by Laurie Williams, Sheryl Williams, and New Design Originals Corporation, www.d-originals.com, an imprint of Fox Chapel Publishing, 800-457-9112, 903 Square Street, Mount Joy, PA 17552.

Library of Congress Control Number: 2022945459

We are always looking for talented authors. To submit an idea, please send a brief inquiry to acquisitions@foxchapelpublishing.com.

For a printable PDF of the patterns used in this book, please contact Fox Chapel Publishing at customerservice@foxchapelpublishing.com, with 9781497206250 Creating Art with Alcohol Ink in the subject line.

INTRODUCTION

Perhaps one of the best features of alcohol ink as a medium is that it offers a creative outlet for artists of all skill levels. New artists can easily begin creating with alcohol inks, while experienced artists can adopt them to enhance their existing talents. Alcohol ink is also a wonderful gateway to using other mediums and advanced techniques. We’ve seen many beginner artists evolve from using simple fluid techniques to creating masterful works of art using advanced methods.

Alcohol ink might well be the most expressive and versatile art medium available! Anyone and everyone who sees the vibrant colors and the flow of the inks is instantly enthralled. Ask any alcohol ink artist why they began working with alcohol ink and most will say they were floored by the beauty of the vivid colors and drawn in by the freeness and organic nature of the ink.

Alcohol inks are forgiving but have a mind of their own. When an artist understands this and learns to “go with the flow,” wonderful things start to happen. It can be exhilarating and exciting.

As mediums go, alcohol inks are relatively new. The techniques and tools continue to evolve as time goes on and it’s so exciting to watch these creative developments. Just when we think we’ve seen it all with alcohol inks, someone discovers a new way to use them.

We are thrilled you picked up this book! We’ve created it to serve as a guide for creating alcohol ink art, sharing what we have learned through years of experimentation and creativity. We cover the basics and share best practices, then dive into some of the most popular techniques and feature fun projects by some of the best instructors in the field.

Whether you are a seasoned artist or a novice, we are certain you will be delighted with the possibilities alcohol ink offers, and we cannot wait to see what you do!

Laurie Williams and Sheryl Williams

In this guide, we present many tools and techniques in depth. As a bonus, we created a companion website with supplemental videos, resources, and downloads to help you on your alcohol ink art journey. Visit https://alcoholinkbook.com/explore/ or scan the QR code to access these helpful resources. | Illustration

Jacquard’s line of alcohol inks only includes 23 colors, but you can mix them to create unique colors.

CONTENTS

Introduction

Inspiration Gallery

Tools and Supplies

Safety Considerations

Color Theory

Techniques

Dripping

Nozzle Application

Blowing

Pouring

Blending, Lifting, and Staining

Masking

Brush Painting and Evaporation

Push and Glide Painting

Layering Inks

Stippling

Creating Texture

Abstract Drip Doodles and Traditional Doodles

Bonus Technique: Painting with Alcohol Ink Markers

Projects

Serene Mountain Landscape

Seascape Silhouette

Pretty Palm

Sunset Bird

Dancing Birch Trees

Wispy Ethereal Amethyst

Tropical Flower Doodles

Star-Studded Nebula

Elegant Flower on Silk

Rainbow Skies Silk Scarf

Inked-Up Metal Pumpkin

Ocean Tides Coaster Set

Whimsical Tiny Tree Pendants

Impressionist’s Golden Iris

Mother’s Day Lilacs

Magical Cottage Garden

Delicate Gossamer Bloom

Templates

Contributors

Acknowledgments

About the Authors

INSPIRATION GALLERY

There are many possibilities for creating with alcohol inks, so we wanted to share just a few of our favorite project ideas to kickstart your artistic adventure. Don’t be afraid to explore these unusual techniques and offbeat surfaces in your own art.

Woven Art—This is a great idea for making something beautiful out of “failed” pieces. Cut paintings you’re unhappy with into thin strips, then weave them together to create something new.

Eggshell Pendants—Glue crushed eggshells on top of a small wooden base to create a mosaic-style texture. Then apply your alcohol inks to add color. Combine them with plain jump rings for wearing or incorporate wire-wrapping techniques for some extra “bling.”

Decorated Candles—Alcohol inks work surprisingly well on candles. Roll plain white candles in one color to create a base, then stand them up and drip more colors down the sides. You can also paint directly on a candle’s surface.

Switch Plates—You can use all the techniques included in the book to add alcohol ink details to metal or plastic switch plates.

Stencil Art—Lay a stencil on top of your paper and apply alcohol ink to create beautiful images with sharp edges and flowing colors.

Tabletop Art—Repurpose old tables by repainting them and adding an alcohol ink and mixed-media collage scene on top. Add a coat of resin to seal and protect the art and make the surface a usable tabletop.

Three-Dimensional Collage—Create cutout cityscapes painted with alcohol ink and combine them to build art pieces with unexpected depth.

Personalized Musical Instruments—If you prepare the surfaces to make them less porous, you can paint alcohol ink directly on musical instruments. Combining alcohol inks with collage and decoupage techniques is a great way to create one-of-a-kind, personalized pieces for the musical artists in your life.

Gift Boxes and Tags—Repurpose gift boxes by decoupaging them with paper and painting on top with alcohol ink. You can also customize gift tags by cutting tag shapes from your favorite substrate and painting the alcohol ink directly on top. These make wonderful substitutes for traditional gift wrap.

Paper Towel Collages—Don’t throw away your ink-stained paper towels, instead save them and piece them together to create collages. You can build scenes with the bits and pieces of inked paper towels using Mod Podge or a matte medium to combine them.

Ornaments—Paint directly on glass or plastic ornaments to create custom holiday decorations. Try using tulle, ribbons, and other decorative details to add interest. These make amazing gifts and sell like crazy during the holidays!

Inked Bottles—Drip your favorite alcohol ink colors inside the bottle with Ranger’s Tim Holtz Snow Cap Mixative and turn the bottle various directions to allow the ink to coat the interior of the bottle. These make great vases and home decorations.

Domino Pendants—Travel-sized dominoes make a great surface for alcohol ink. These can be used to create fun pendants or refrigerator magnets. Paint directly on them with the alcohol ink and seal them with resin for extra shine.

TOOLS AND SUPPLIES

There is a core set of alcohol ink supplies that most artists use. With that said, however, there is an infinite number of additional supplies for creating various effects. It’s practically impossible to list them all. To effectively showcase some of the most popular supplies, we’ve broken them down into a few categories:

This is a well-stocked space for working with alcohol ink. It has bottled inks, markers, brushes, blending solution, tools, safety equipment, and more. Note that sealing and protective coatings (varnishes and sprays) aren’t shown in this image because it’s more efficient for us to store them where we use them. Spray coatings are best applied in a much larger open area, for example, so we store them near a suitable space.

Mediums

Mediums are the main material used to create your art, and for alcohol ink art, this includes bottled alcohol ink, alcohol ink–based markers, and various pens.

Alcohol Inks

Alcohol ink is an acid-free, vividly colored, alcohol-based dye that is liquid, translucent, and fast-drying. It can be used on any prepared surface but works best on nonporous surfaces. The main ingredients in alcohol inks are dye and isopropyl alcohol. The alcohol is what causes the ink to move, and the dye is the colorant that remains after the alcohol evaporates. Alcohol Ink with higher alcohol content will move more when applied, while ink with less alcohol will move less. Many brands sell different varieties of alcohol ink products, and even within the same brand, the percentages of the ingredients may differ. It’s worth noting, too, that different manufacturers use different types of alcohol.

Alcohol inks are a fluid medium and are often compared to watercolors, acrylic paints, and oil paints. Like watercolors, alcohol inks are translucent (acrylic and oil paints are opaque). Alcohol inks, however, vary greatly from these other mediums in that they can be reactivated with alcohol. The biggest difference, perhaps, is that alcohol inks are dyes that are suspended in isopropyl alcohol. All of the other mediums are pigment-based. Watercolors are pigments suspended in water, acrylic paints are pigments suspended in an acrylic polymer, and oil paints are pigments suspended in oil—usually linseed oil. Because alcohol inks contain alcohol, they will move and remain fluid until the alcohol evaporates. In contrast, water-based mediums contain water molecules that bind strongly to each other and create solid surface tension—they will only move with gravity or interference.

As alcohol ink became more popular over the last decade, a few manufacturers moved to the forefront of the market. The following are two of the most popular brands, but some other popular ink manufacturers and brands to consider include Marabu, ZIG® Kurecolor®, Brea Reese™, NARA, and T-Rex.

Ranger Tim Holtz is one of the most popular alcohol ink brands on the market because of the wide range of ink colors and ancillary products they sell.

Dyes versus Pigments, Alcohol versus Water

Pigments are finely ground solids suspended in a liquid, while dyes are soluble colorants suspended in a liquid. For example, food coloring is a dye that can be found in both liquid and powder forms. When added to water, all the dye is dispersed evenly into the water. Pigments are more like mud. You can mix them into the water, and, with a good stirring, the particles will spread out into the water. If you let the mixture sit, the mud will settle to the bottom of the jar.

It is interesting to compare dye suspended in alcohol and dye suspended in water. Let’s look at Ranger’s Tim Holtz® Alcohol Ink in Cranberry and a similar color of water-based ink—we will clearly see the difference in how each moves and evaporates.

I added the same amount of alcohol-based ink (on the left) and water-based ink (on the right) to a piece of white synthetic paper. The alcohol-based ink spread until dry while the water-based ink pooled at the bottom of the drop.

If you drop the same amount of alcohol ink and water-based ink on a piece of paper, then lift the paper vertically, the alcohol-based ink will move and spread until it’s dry while the water-based ink will pool at the bottom of the drop and take much longer to dry. If you want to move water-based ink, you can use tools or wait for gravity to eventually move it, but it will never move the same way alcohol ink moves.

This exercise shows the benefits of working with alcohol ink rather than water-based ink. We can tilt and rock our paper to move things around and because the alcohol evaporates more quickly than water, we can paint faster.

Ranger Tim Holtz®—Ranger Industries began making ink products in 1998 and is one of the leading providers of alcohol ink and other mixed-media products. They have a team of talented designers and continue to launch new products as the industry grows. Ranger’s line of alcohol inks includes 87 different colors and even includes metallics, alcohol pearls, and several alloy Mixatives. Their alcohol ink comes standard in .5 fl. oz. (14.8ml) bottles. A select number of colors are also available in 2 fl. oz. (59.1ml) bottles.

Jacquard Piñata Color—Jacquard Products is a family-owned-andoperated art supply manufacturer located in Northern California that specializes in artist materials for use on fabric. They provide a wide range of supplies and materials to commercial studios and professional artists, as well as craftspeople, home crafters, do-ityourselfers, kids, and hobbyists. Jacquard has a limited line of alcohol ink (only 23 colors), which are sold in packs of nine .5 fl. oz. (14.78ml) bottles. This “Exciter” pack includes white, black, gold metallic, and six additional colors. Jacquard also sells individual 4 fl. oz. (118.3ml) bottles for those looking to buy larger volumes of inks.

A Note on Homemade Alcohol Inks

Technically, you can create your own alcohol inks. Inks can seem expensive at first, but a little ink goes a long way and just because you can make your own doesn’t mean you should. The time and materials you spend creating your own alcohol inks will end up outweighing the cost of purchasing factory-formulated inks (and the resulting inks will lack the predictability and consistency of professionally developed inks). Homemade alcohol inks tend to be very “watered down” and not as vibrant as manufactured inks.

Manufactured alcohol inks are easy to source. They are sold at most craft and art supply stores, typically in the stamping and scrapbooking sections. Additionally, alcohol ink can be purchased online directly from the manufacturers, or from online retailers like Amazon, Jerry’s Artarama®, Cheap Joe’s®, and Blick® Art Materials. We always recommend using manufactured inks so you can spend your time creating fabulous art instead of making supplies!

Metallics, Mixatives™, and Pearls

When you want to take your alcohol ink artwork to the next level, you can incorporate metallics, Mixatives, or pearlescent effects.

Metallics are real metal pigments suspended in alcohol. They do not blend with dye-based alcohol inks but provide a shiny and brilliant accent. Most alcohol ink manufacturers include metallic ink in their palettes. However, traditionally among alcohol ink artists, Jacquard’s metallics are considered to be the best on the market—especially their silver, brass, and rich gold metallics. Recently, however, some very promising alternatives have emerged, and the number of options will continue to grow as metallics gain more popularity for use in abstract and ethereal, wispy alcohol ink art pieces.

Ranger Tim Holtz Mixatives are similar to metallics in nature but are able to be blended with dye-based inks to create unusual effects. They include fast-drying pigments.

Ranger Tim Holtz Alcohol Pearls are fast-drying pigment and dye inks that create colored pearlescent effects. Because they are created with pigments, you’ll need to use a blending solution (see here) to induce flow and reaction. Unlike regular alcohol ink, pearls cannot be reactivated or moved once they’ve dried.

Metallics, Mixatives, and pearls add interesting dimensions to a finished art piece.

Storing Bottled Ink

Storing alcohol inks properly is integral to maintaining their vibrant colors and fluid consistency. Alcohol ink bottles should be stored right side up. The exception is when you are storing Mixatives, metallics, and alcohol ink pearls. Those inks contain pigment that can settle, so you’ll want to store them on their sides to make it easier to “mix” the pigment with the ink before using them.

Add color swatches to the lids of your ink bottles to keep them organized. First add a bit of white paint to the lid and let it dry. Then use a brush to tap a bit of the alcohol ink color from the bottle on top of the dry paint. This will help you keep your caps matched to the correct ink bottle (important to avoid contaminating the ink with any other colors) and will give you a quick reference for the color inside.

This Pixiss Alcohol Ink Storage Carrying Case Organizer has a travel-friendly design and room for a large number of ink colors.

Try using nail polish holders, which are often the perfect size for alcohol ink bottles, and add ink on top of dried white paint to label your bottle caps (left). The Tim Holtz Alcohol Storage Tin is a great option that can also be worked into your “on-the-road” workspace (right).

Use plastic craft or hobby storage boxes with customizable plastic dividers to create your own perfect storage solutions.

Alcohol Ink Markers

Alcohol ink markers are wonderful tools that allow you to have more control when applying inks to your pieces. They can be used to fill in spaces and, since the alcohol content is relatively low, you can use markers to layer strokes of color.

There are many different barrel shapes and cap fits available. Make sure the markers you use are comfortable in your hand and that the caps are secure. Shown here from left to right are Copic, Spectrum Noir, Shuttle Art, Blick Studio, and Staedtler markers.

There are many brands on the market and many different types available. Some brands of markers are more intense in color than others, so many artists mix different types of markers in their art. When buying markers, you should think about the cost, the range of available colors, the tip (or nib) shape, the barrel shape (is it comfortable in your hand), and the fit and color accuracy of the caps.

Marker tips, known as nibs, are one of the most important things to consider, since the flexibility of the tip and the different shapes and sizes available will make different types of strokes. Most markers have two different nibs, one on each end. You’ll find markers with brush-like nibs, broad chisel nibs, fine bullet nibs that are similar to brush nibs but have less flexibility, and fine tips.

You can also purchase clear blender markers or blender pens, which are colorless markers containing isopropyl alcohol or alcohol blending solution that are used to blend marker strokes and inks or to lift ink off the paper. Blender markers typically have dual tips with a bullet nib and a brush nib. Like alcohol ink markers and bottled ink, blender pens work best on nonporous surfaces.

The following are a few of the most popular alcohol ink marker brands, but some other popular marker manufacturers and brands to consider include Spectrum Noir™, Staedtler, Ohuhu®, and Prismacolor® Premier.

Copic®—Copic is a Japanese brand of refillable alcohol ink markers made by the Too Group. They are the gold standard for markers and are available in 358 colors and various nib shapes. They are also refillable, and the refills, which come in .42 fl. oz. (12ml) and 1.12 fl. oz. (32ml) bottles, can also be used just like bottled inks. You can even buy empty marker blanks that can be filled with different refills to create your own custom colors. They are a bit pricey, however.

Shuttle Art Art Markers—These dual-tip markers are available in 101 rich and intense colors. They have a comfortable triangular barrel and are sold at very accessible prices.

Blick Studio Brush Markers—These affordable dual-tip markers are available in 144 colors. They’re refillable and the barrels have flat sides that will keep them from rolling around.

The width of the nib varies between brands (and, while most markers have two nibs, one on each end, some do not). Here are a few of the different nib shapes and sizes available. Shown here from left to right are Copic, Spectrum Noir, Shuttle Art, Blick Studio, and Staedtler markers.

Storing Alcohol Ink Markers

The proper way to store alcohol ink markers for long-term use is horizontally because these markers are usually dual-tipped, and you need to make sure the ink will flow to both nibs to keep them from drying out. You also want to make sure to store them in a cool, dry area out of direct sunlight to preserve their intensity for months (possibly even years) to come.

There are a number of solutions on the market for storing markers. Many markers come with their own storage cases that can be positioned flat for horizontal storage, but you can also try products like Spectrum Noir Marker Storage Trays, Polar Whale® Art Marker Storage Trays, or stackable cubes.

There are many slotted trays available on the market specifically made to keep alcohol ink markers properly positioned. These trays can be used to hold many different marker barrel shapes, so you can organize by color rather than brand.

You can use triangular trays to group markers by color family. Simply turn them on their sides to create standing horizontal marker storage.

This beautiful cat portrait was created with alcohol ink markers. Since the alcohol content in markers is relatively low, you can apply marker strokes on top of each other without affecting the bottom layer (making it easier to show texture—like a cat’s fur).

Tip: Some markers are “juicier” than others, meaning they release more ink. Practice with your markers before you add them to your artwork and be sure to lift up at the end of each stroke to avoid ink puddling.

Tip: Create a chart showing how each marker looks on the surface you use most often. Marker caps often don’t really match the ink color, so you can use this chart as an accurate quick-reference guide when selecting markers for your artwork.

Pictured here is an example of one of our own color charts—yours will be different depending on the markers you own and the surfaces you like working with.

Should You Use a Marker or a Paintbrush?

You may wonder how using an alcohol ink marker compares to using bottled alcohol ink and a paintbrush. The primary difference between using a marker or a paintbrush is the amount of ink and alcohol dispensed by each. A marker dispenses less ink and alcohol than a brush loaded with bottled ink.

Adding ink to a welled palette using a brush and bottled ink (left) and a marker (right), clearly shows the difference in alcohol dispensed. You can also see the different effects evaporation has on both.

Markers come in a huge range of colors, and you don’t need to mix your own colors (although you can if needed). The alcohol content of marker ink is always the same. Blending with markers is easy (and some marker sets even include special blending tools). Blending is more controlled with a marker because there is less alcohol.

Blending with a brush and bottled inks will give you unpredictable results (left), but markers have a lower alcohol content and allow you to create a smoother, more controlled blend of colors (right).

Paintbrushes allow more control over the intensity of the color and the speed of the alcohol evaporation. It can be difficult to gauge exactly how much alcohol or ink is on your brush compared to the controlled amount in a marker’s tip, but you can also more easily and precisely mix your own colors in a palette when using a brush and bottled ink.

Trying to mix consistent colors with a marker is difficult because of the lower alcohol content (left). A brush and bottled ink give you greater control over the intensity and shade of your mixes (right).

Pens and Detail Markers to Use with Alcohol Ink

Alcohol inks create beautiful, poured shapes, but sometimes you want to add some fine details that require a controlled line. The best tool for this job is a pen or detail marker. Pens and detail markers work best when applied on top of dried alcohol ink to avoid smudging or smearing. When choosing pens and detail markers, you’ll want to look for vibrant colors, high opacity, smoothness, smudge-proof ink, and lightfastness. Pen and marker inks can be colored with dye or pigments. Those colored with pigments will be more opaque and lightfast than those colored with dye.

Pens and markers are classified mainly by their carriers/ink types (water-based, oil-based, or alcohol-based). Oil-based and alcohol-based pens perform much the same.

Water-Based Pens and Detail Markers—Water-based pens and detail markers work well on alcohol ink. Take special care when choosing a tip as metal tips can get clogged and skip. Felt tips work well. Water-based pens include gel pens, rollerball pens, some paint markers, and fountain pens, among others.

Oil-Based and Alcohol-Based Pens and Detail Markers—Oil-based and alcohol-based pens and detail markers write better on slick surfaces than water-based ones. Permanent markers are oil-based. Alcohol-based pens include fine-detail markers made by alcohol ink marker manufacturers, such as those made by Copic.

Pens and detail markers can also be differentiated by their nib or tip. The nib dictates the width of the line, ease of application, tendency to clog, and the pressure required.

Himalayan Goral, by Sheryl Williams, demonstrates the level of fine detail you can achieve by incorporating pens into your alcohol ink art.

Three Tests for Choosing a Pen or Detail Marker

Test 1—Test your pens and markers for smearing:

1. Pour some alcohol ink on white synthetic paper and let it completely dry.

2. Draw a line or scribble with your pens, then touch the pen marks and move your finger over them to see if the ink smears.

In this example test, only the Sakura Pigma Micron and the Stabilo point 88 pens smeared a bit.

Test 2—Test the effect of pouring alcohol ink directly over the pen and marker inks:

1. Draw a line or scribble with your pens.

2. Pour some alcohol ink on top of the pen marks to see if the pen marks are still intact and the color is stable.

In this example test, some of the pens disappeared and all of the pens smeared when alcohol ink was poured on top of them.

Test 3—Test using the pens and markers on top of dried alcohol ink:

1. Pour some alcohol ink on your paper and let it completely dry.

2. Draw a line or scribble on top of the alcohol ink to see if the pen marks will remain intact and the color stable.

Pen and marker added on top of dry poured alcohol ink remains stable and doesn’t smear. Pens and detail markers work best when added on top of dry alcohol ink.

We tried these experiments when comparing a variety of white pens and detail markers on different black background inks. It is interesting to see how the white colors change based on the black ink used. The best white pen or detail marker overall in this instance was the Sharpie Water-Based Paint Marker. Since we performed these experiments, however, it’s been surpassed by the newer Posca Paint Pen.

Testing your pens and markers with your various inks ahead of time will give you the information you need to create the exact effect you want in your finished art pieces.

The following are a few of the most popular pens and detail markers used by alcohol ink artists, but you can also feel free to experiment with other brands to find the type you like best.

Sakura Pigma Brush—These pens are available in 11 colors and have very flexible felt tips that can make different shapes depending on the pressure applied. They use permanent, pigment-based, opaque ink that glides nicely over alcohol inks.

Faber-Castell Pitt Artist Pen Brush—These pens contain India ink, a rich pigment-based ink, and are available in 67 vibrant colors. Their ink is lightfast, permanent, waterproof and alcohol-ink proof, and transparent (so you can layer them). They come in nine sizes ranging from .004" (0.1mm) to .028" (0.7mm) and can produce fine to wide lines based on the amount of pressure applied. The flexible tip is flexible, but not as flexible as the Sakura Pigma Brush.

Posca Paint—These paint pens come in four different tip sizes, are very opaque, and are great for signatures and doodles. There is a ball inside to mix the paint, so you should shake the pen and test it on paper before using. They come in 15 colors and are lightfast and waterproof. Always be sure to let the marks dry thoroughly.

Sakura Pigma Micron—These fine line markers have plastic nibs and come in sizes that range from very fine .006" (.15mm) to 0.24" (.6mm). The ink is pigment-based and permanent, and the number of colors available depends on the size of the tip you’re using, up to 17 colors.

Stabilo point 88—These pens have plastic tips encased in metal that create .016" (.4mm) marks. They use water-based ink and are available in 47 colors.

Sharpie Water-Based Paint—These are not as opaque as Posca Paint. Press the tip down to start the flow on a test strip before applying directly to your artwork. These paint markers come in a variety of tip sizes and many colors and are fade- and water-resistant.

uniball Signo—These gel pens are available with tip sizes ranging from .009" (.28mm) to .04" (1mm). The ink used is opaque, but sometimes the rollerball will split the line you’re drawing into two lines. We often use the UM-153 pen in White and the UM-120AC pen in Angelic.

Nibs come in a variety of shapes and types, such as brush tips, fine points, bullet tips, and more. Shown here from top to bottom are the uniball Signo, Sharpie Fine Point, Sharpie Water-Based Paint, Stabilo point 88, Sakura Pigma Micron, Posca Paint, Faber-Castell Pitt Artist Pen Brush, and Sakura Pigma Brush pens.

Surfaces

Alcohol inks can be used on many different surfaces (also referred to as substrates), including paper, ceramic tile, plastic, and metal, but are most vibrant and glossy when applied to nonporous surfaces. A substrate’s porosity is defined by the spaces or “pores” within the material’s surface. Porous surfaces include things like cardboard, paper, canvas, and untreated wood. They all have cavities, which means the ink can seep into these surfaces. Because the inks are absorbed into porous surfaces, their final color may not be true, the inks may not move very far when poured, it may be difficult to blend the inks, and it may be hard to lift the ink off the surface to return to the base surface color.

Glass, plastic, varnished pieces, and metal are all nonporous and have smooth, uniform surfaces with no cavities. Vinyl and leather are also both nonporous, and many types of paper are treated to create nonporous surfaces. The characteristics we love about alcohol ink—its ability to move and glide and the resulting layers of transparent color—are best showcased by nonporous surfaces.

Popular Surfaces

Synthetic paper, photo paper, treated canvas, and ceramic tiles are the most popular surfaces for alcohol ink art because they are all cost-effective and easily sourced.

Synthetic Papers—Paper can be classified into pulp-based and synthetic paper. An example of pulp-based is standard watercolor paper. Synthetic paper is also called “tree-free” because it is made out of synthetic plastic-like polymers that are used to enhance the material. There are hundreds of synthetic papers, modeling films, adhesive laminates, and ceramic tile papers out there with which you can experiment, including those from brands like Yupo, Grafix® Dura-Lar® and Dura-Bright®, TerraSlate, NARA, and Yasutomo Mineral.

Photo Paper—Photo paper is a great option for those trying to avoid the high expense of synthetic paper. Use the back side to achieve the best results since the glossy side of photo paper is designed to absorb ink. The back side of most premium photo papers contains plastic components like other synthetic papers. Beware of photo papers with brand logos printed on the back side.

Here alcohol ink has been applied to two porous surfaces, copy paper and canvas, and on two nonporous surfaces, Yupo® synthetic paper and ceramic tile. The difference in the spread and vibrancy of the ink is obvious.

Synthetic paper is the most popular surface for creating alcohol ink art. It’s available in many different colors and formats.

What to Do With Your Ceramic Tile Art

It can be difficult to decide what to do with your ceramic tile art pieces once they are made. Try a few of the following ideas to see what you like the best! Note: We don’t recommend using alcohol ink tiles for bathrooms or backsplashes because there is not currently a durable sealer on the market that can hold up to everyday wear and tear.

•   Mount your tile on a glass piece and frame the glass. You can even add another decorative element behind the glass to add interest.

•   Use products that are usually sold as decorative plate holders—they will allow you to hang your pieces on the wall or display them on flat surfaces.

•   Use premade wooden boxes (hinged and unhinged), frames, cutting boards, tissue boxes, and stands specifically created to fit decorated tiles (Aftosa by Clay Planet makes quite a few).

•   Create coasters or trivets. You’ll have to seal the tile well and keep in mind that many sealants won’t be able to withstand the heat of hot pans or super-hot cups of tea or coffee.

•   Simply glue a D-ring to the back of the tile and hang it up.

One popular display method for alcohol ink art on ceramic tile is to mount the tile onto a piece of glass and then frame the glass.

A D-ring glued to the back of the tile is the simplest tool for mounting and displaying your finished piece!

Canvas—Canvas is a popular art surface in general. Working directly on an unprepared canvas is not recommended (though several painters here do anyway) because canvas is porous, and the ink will sink into the fibers. Preparing your canvas with a primer to make it nonporous (see the Prepared Surfaces section below) is the more conventional method for using canvas with alcohol ink.

Ceramic Tile—Nonporous, glossy ceramic tile is a great substrate for alcohol ink art. It’s inexpensive, available in a variety of sizes, and can be acquired at most hardware and tile stores. Ceramic tile is forgiving because the surface can be wiped clean if needed. White tiles are particularly popular since they’ll show off the vibrant colors and allow artists to easily “lift” white details from the alcohol ink design (see Blending, Lifting, and Staining here). When using ceramic tiles, it is important to first clean them thoroughly, then wipe them with isopropyl alcohol and dry them completely before applying alcohol ink. Because alcohol ink artwork on ceramic tile can be easily scratched, it is important to properly seal your art with several coats of your sealant of choice. See Sealing and UV Protection here.

Prepared Surfaces

While it is true that alcohol ink works best on nonporous surfaces, the truth is you can paint on almost any surface if it’s been prepared with a medium that transforms it into a nonporous surface. Some of the most popular mediums to use in preparing porous surfaces are gesso, KILZ 2® ALL-PURPOSE Primer, gel mediums, and spray paint.

Gesso is a great primer for use with alcohol ink. It’s an acrylic medium used to prime surfaces for painting. Typically, you will want to use a couple of layers to get the best coverage. It will give your surface a definite texture and will dry hard, so it is best applied with a soft bristle or sponge brush when being used for an alcohol ink painting. Gesso is not entirely nonporous, and the inks will sink in a bit, so be prepared for this. Also, all brands of gesso are different in consistency and material makeup and will behave differently. Test them before using them in pieces.

Most canvases are sold already prepared with gesso. Even when a canvas has been treated with gesso, the inks do tend to soak into the canvas. When you drop ink, you are often left with a blobby stain that is not easily manipulated. Artists that work on gessoed canvas usually dilute their inks with alcohol and apply them in thinner coats, building up their painting layer by layer.

If you prefer working with a smoother surface that will allow the inks to flow more freely, use one of the canvas preparation methods, such as KILZ 2 ALL-PURPOSE Primer or gel mediums. Note, however, that many galleries will not accept art that has been created with latex paints or spray paints, so you’ll need to consider your intended use for the artwork when choosing a treatment. Another concern about latex bases is that they could eventually peel. With that being said, however, many alcohol ink artists do successfully use these mediums and have had good luck working with them.

Preparing a Canvas with All-Purpose Latex Primer

One of the most popular ways to prepare a canvas is to use latex primer. Latex primers, such as KILZ 2, Zinsser, and Valspar, are fast-drying multisurface sealers and stain blockers that are water-based and can be used on wood, masonry, metal, and canvas. When applied to canvas and allowed to dry, they produce a smooth surface that allows alcohol ink to flow. We used KILZ 2 in the following example, but the steps will work equally well with any all-purpose latex primer.

Allow the treated canvas to dry completely before applying any alcohol ink. Note: The drying time required depends on the humidity level in your environment. We recommend waiting at least 24 hours.

A canvas treated with latex primer is an ideal surface for working with alcohol inks.

1. Lay the canvas flat on a table or surface and use a wide brush to brush on the primer. Your brush strokes should all go in the same direction. Cover the entire canvas.

2. There will be some runoff, so clean up the sides with the brush. Let dry for about an hour.

3. Use the same wide brush to brush on another layer of primer. Your brush strokes should all go in the opposite direction to those used for the first layer. This will allow the primer to soak into the texture of the canvas and provide complete coverage. Let dry for about an hour.

4. Use the same wide brush to brush on a third layer of primer, if desired (this step is optional). If you choose to add this layer, your brush strokes should all go in the same direction as those used for the first layer and in the opposite direction to those used for the second layer.

Alternative Surfaces

Along with the most popular and common surfaces listed above, alcohol inks can be used on a variety of unconventional materials. The processes for creating art using most of these alternative surfaces is much the same as those used for the other surfaces discussed above, but a few of them can be used with different techniques, including mulberry paper (often used to create batik-style paintings), silk, and metal.

Mulberry Paper—Mulberry paper is popular for using batik techniques to create alcohol ink paintings. Batik is a traditional technique that uses wax-resist to color cloth. Although mulberry paper is porous, the alcohol inks retain their vibrant color. You apply wax to the areas of the painting you want to be left white or to a colored area you want to preserve. Then you apply the alcohol ink with a brush. You remove the wax by heating it, revealing the finished batik-style painting.

The same wax-resist technique used to create batik fabric can be used to create beautiful alcohol ink pieces on mulberry paper.

Silk—Many silk artists use alcohol ink on silk to create beautiful scarves and unique fabric pieces. Alcohol ink is, after all, a dye. Using alcohol ink on silk can be a fun and spontaneous process. Your level of control will be limited by the porous nature of fabric and will depend on the method you use to apply the ink. Using a brush or alcohol ink markers will give you more control, but you can create more spontaneous and organic designs by simply dropping ink onto the silk. Because of the porous nature of silk, it is not advisable to paint detailed images—the ink will spread, and any design will be distorted. Instead, opt for a more abstract design. Be sure to set the ink after it dries by allowing the ink to dry completely (about 24–48 hours), pressing the scarf with an iron on the appropriate heat setting for silk fabrics to heat-set the ink, and rinsing the scarf in cold running water after it’s cooled. (Note: When you rinse the scarf, some of the ink will wash out.) Silk products dyed with alcohol ink should only be washed in cold water as needed. Many thanks to Francine Dufour Jones for her input on this section.

Flowing silk is a perfect surface to showcase the natural fluidity and vibrancy of alcohol inks. See the Rainbow Skies Silk Scarf project here. DEBRA JASON, @CREATIVEWHISPERSOFTHEHEART

Metal—Metal is a very attractive surface for alcohol inks, particularly galvanized metal, aluminum, and copper. The bright surfaces, which sometimes include subtle patterns on their own, are perfect for letting the inks bloom and blend. Because the inks are transparent, they allow the metal to shine through, creating a beautiful glow. Many of the techniques used on paper or tile can be used on metal but there are a few things you should keep in mind when creating on metal (many thanks to Beth Kluth, who shared her expertise in working with alcohol ink on metal for this section):

•   Metal is smooth, but it’s still a bit porous. You will use more ink when working on metal than on nonporous surfaces.

Other Surfaces to Try

Alcohol inks will also work on aluminum foil, stone or glass cabochons, candles, Ampersand™ Claybord™, clothing and shoes, primed wood panels, dominos, freezer paper, glass bulbs, ornaments, vases and the outside surfaces of mugs, gourds, varnished guitar faces, melamine boards, plastic containers, plastic ornaments, vinyl, wax paper, whiteboards, and even toilet seats!

Methods for Applying Alcohol Ink to Metal

Method 1—Paintbrushes

1. Use a brush to tap or drip puddles of ink onto the surface instead of “painting” it on. Then let it spread and dry. When you paint the ink onto the metal, the color will appear more matte and pastel (like the left side of the piece in the photo). Letting puddles of ink dry on the surface creates a vibrant, glossy finish (like the right side of the piece in the photo).

2. Add other colors next to the first color while it is still wet so the colors can blend into each other.

Method 2—Felt Applicators

1. Touch the tip of the alcohol ink bottle directly on the felt piece and liberally apply alcohol ink (until the ink on the felt pad is about the size of a dime). You can also mix the colors on felt pads by adding one color to right side of the felt and one color to left side.

2. Press the felt applicator against the metal surface to apply the alcohol ink. Using more pressure to press the applicator to the metal surface pushes out more ink and creates bigger puddles.

Method 3—Dripping

Drip the inks directly from the alcohol ink bottle onto the metal. You can let these drips spread naturally or use brushes or felt to help them blend.

No matter which method you use, always clean the metal surface first with isopropyl alcohol or alcohol blending solution.

Adding alcohol ink on top of metal will allow any interesting textures or marks to show through, creating truly unique pieces.

•   Plain galvanized metal or aluminum works best. Metals with coatings will repel the ink and cause it to bead up instead of blooming and blending.

•   The brighter the better. Inks on dark metals like pewter or rusted metal won’t “pop” the same way that they do on light metals.

•   Lighter or less-saturated ink colors will allow more of the metal “glow” to shine through, whereas very dark colors won’t allow as much of the metal to show.

•   It’s KEY to let the inks spread and dry on their own if you want to achieve a vibrant, glossy finish.

How to Make Your Own Blending Solution

For those of you who want to make your own blending solutions, you can do so by combining isopropyl alcohol with glycerin. The effectiveness of the solution and the amount of glycerin you need to add will differ depending on where you live and the humidity level, so experiment with different mixtures to find one that works for you. The following combinations have been known to work in most environments:

•   Three drops of glycerin and 1 ½ fl. oz. (44.36ml) of 91% isopropyl alcohol

•   Three drops of glycerin and 2 fl. oz. (59.15ml) of 91% isopropyl alcohol

Activators

The two most common activators used by alcohol ink artists are alcohol blending solution and isopropyl alcohol (91% and 99%). Alcohol blending solution is made to reactivate, lighten, remove, or blend alcohol ink colors. It is simply alcohol ink without the dye—it has the same formulation of solvents (isopropanol and glycol ether) and resins. Blending solution moves and behaves similar to alcohol ink and it’s especially useful in combination with metallics and pearls. Isopropyl alcohol has a strong concentration of alcohol. When it meets alcohol ink, it displaces or pushes the ink. Like blending solution, alcohol can be used to activate, blend, and lighten alcohol ink. It’s important to note that alcohol in higher concentrations (91% or 99%) work best. You can also use alcohol with lower concentrations or water-diluted alcohol to produce softening effects rather than moving or lifting the ink. If isopropyl alcohol fumes bother you, you can try using ethyl alcohol (grain alcohol) or hand sanitizer. Hand sanitizer has at least 60% alcohol in a gel formulation.

Alcohol blending solution and isopropyl alcohol are used for similar purposes, but the ways each behave with alcohol ink are quite different. Blending solution is more of a blending agent for colors, while isopropyl alcohol (being much stronger) displaces and even “erases” colors. Blending solution increases the work time required because it contains resins, which dry slower than pure alcohol. You’ll have to wait longer for blending solution to dry, but it will allow you more control over your finished piece. Isopropyl alcohol generates more flow of the ink than blending solution. Blending solution is usually only available in smaller 2 fl.oz. (56.83ml) bottles, while isopropyl alcohol is available in larger bottles, usually 32 fl.oz. (946.35ml). Using blending solution can be expensive compared to using alcohol, which is why many alcohol ink artists work with isopropyl alcohol most of the time. Deciding which solution is best for your projects will likely depend on your personal preference and budget. It’s great to have both in your stash to use in various situations.

Isopropyl alcohol is an inexpensive option for activating alcohol inks, but keep in mind that it is stronger and dries faster than alcohol blending solution. If isopropyl alcohol fumes bother you, try using hand sanitizer, which isn’t as strong as 91% or 99% isopropyl alcohol, but will still work to activate and move alcohol inks.

Comparing Alcohol Blending Solution to Isopropyl Alcohol

Alcohol blending solution and isopropyl alcohol affect alcohol inks in different ways. The best way to decide whether to use alcohol blending solution or isopropyl alcohol in a piece is to test their effects for yourself. Try the following exercise to get familiar with both.

Alcohol blending solution and isopropyl alcohol create different blending and lightening effects.

MATERIALS AND SUPPLIES

•   Alcohol Ink in two different colors (T-Rex’s Amethyst Purple and Tidal Teal)

•   Alcohol Blending Solution

•   91% or 99% Isopropyl Alcohol

•   White Synthetic Paper

•   Container (to hold isopropyl alcohol)

•   Eye Dropper or Pipette

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Label one side of the white synthetic paper “blending solution” and the other side “isopropyl alcohol.”

2. Place a few drops of the Amethyst Purple alcohol ink on the blending solution side. Repeat on the isopropyl alcohol side.

3. Place a few drops of the Tidal Teal alcohol ink to the right of the Amethyst Purple alcohol ink on the blending solution side. Repeat to the left of the Amethyst Purple alcohol ink on the isopropyl alcohol side.

4. Apply a few drops of alcohol blending solution to the center of the ink on the blending solution side.

5. Observe how the blending solution activates the ink. It will continue to blend the inks for a couple of minutes.

6. Use an eye dropper or pipette to apply a few drops of isopropyl alcohol to the center of the ink on the isopropyl alcohol side.

7. Observe how the isopropyl alcohol activates the ink and pushes it aside. The ink will continue to move on its own until the alcohol evaporates. Notice how it leaves a “whiter” area as if the ink was pushed or erased.

8. Allow the solutions to move and dry naturally for a couple of minutes. You will notice a clear difference between the two. On the blending solution side, the colors “blended,” while on the isopropyl alcohol side, the colors blended some, but left a lighter area in the center where the ink was displaced.

Manipulation and Masking Tools

Almost anything can become a tool for manipulating alcohol inks. From traditional art supplies like paintbrushes and masking materials to unusual items like canned air or crumpled wax paper, alcohol inks are a fertile ground for experimenting with techniques and textures.

Paintbrushes—When you dip a paintbrush into alcohol ink, the ink is pulled up into the bristles. Different brush shapes will work differently with the inks. You’ll also need to consider which bristles you prefer. Brushes come with synthetic, synthetic blend, and natural hair bristles. Brushes with natural hair bristles are more delicate and more expensive. Brushes with synthetic bristles are the least expensive. Brushes that combine synthetic and natural bristles are a great middle ground. You can use any of these brushes with alcohol ink, just be sure to clean them after use. Round, angle, and flat brushes are especially useful for painting with alcohol ink:

•   Round brushes are labeled with a number—the smaller the number the smaller the brush and the finer the line. Use round brushes to fill in areas and use small thin round brushes as liner brushes (to paint very fine lines). Note that brush numbers are not consistent across different brands.

•   Angle brushes have sharp angles that can create points. They’re good for painting zigzags.

•   Flat brushes have straight edges. Depending on the size, they will draw up a large amount of ink. You can use 1" (2.5cm) or 2" (5.1cm) flat brushes to paint washes, covering a large area with overlapping horizontal strokes.

Cleaning and Protecting Your Brushes

All paintbrushes need to be cleaned after use. With alcohol ink you want to swirl the brush in isopropyl alcohol and then wipe it with a paper towel or cotton ball. Repeat until all the color is gone. Always clean your brushes when changing from one color to another.

Refillable Water Brushes—These brushes are commonly used for watercolor art, but you can fill them with inks or isopropyl alcohol to paint directly on a surface. They’re useful for mixing your own unique colors, as well.

Alcohol Ink Applicators—Alcohol ink applicators have a wooden handle with a hook-and-loop fastener that can be used to adhere a piece of felt to the applicator. Add one or more ink colors directly to the felt pad and dab them on your surface to apply the ink (and blend colors). The dryer the felt, the deeper the resulting color.

Cotton Balls—You can dip cotton balls directly into alcohol ink to apply color to a surface or dip them in isopropyl alcohol or alcohol blending solution to add texture and lighten areas on a piece. Cotton balls are also useful color-blending tools.

Cosmetic Pads—You can use easy-to-find foam cosmetic pads to create different textures and color blends in your art.

Cotton Swabs—Dip round or pointed cotton swabs into a bit of alcohol ink and use them to draw or dab directly onto your surface.

Toothbrushes—Dip toothbrushes into a bit of ink and slowly press your thumb across the toothbrush to create small droplets of ink on your surface.

Sponges and Foam Brushes—Apply two or three ink colors on one side of a sponge or foam brush. Then drag it across your surface to create blended color gradients.

Eyedropper or Pipette—Eyedroppers or pipettes give you a bit more control than standard nozzle applications. Use them to apply smaller amounts of ink, alcohol blending solution, or isopropyl alcohol.

Canned Air—Canned air, more commonly used for dusting around computers, keyboards, and other office equipment, is one of the most popular tools for manipulating alcohol ink. Artists release bursts of air to blow the inks in specific directions, creating elegant flows of color.

Small Airbrush Compressor—Small airbrush compressors are often used by artists and hobbyists for airbrushing paint onto a surface. With alcohol ink, they are used to create similar, more controlled, effects to those made by canned air.

Coffee Stir Sticks—Use plastic coffee stirrers held parallel to the surface to move the inks around.

Crumpled Wax Paper—Dip crumpled wax paper directly into alcohol ink and dab it onto your surface to create textured effects.

Tsukineko® Fantastix®—Fantastix are white fiber-filled barrels that come with bullet and brush tips. They absorb ink to allow for precise painting and you can use them without ink to blend.

Micro Dental or Makeup Tools—These small tools commonly used for delicate tasks like artificial eyelash placement, can be used to add tiny details to your alcohol ink pieces.

Old Gift Cards—Use old gift cards to scrape and push the inks. The colors will blend, creating a great variety of textures.

Silicone Tip Masking and Dotting Tools—Of course, masking applicators are useful for applying masking fluid, film, or tape, but you can also use these tools to create different textures in your alcohol ink pieces. The dotting tools are particularly useful for adding small dots of alcohol ink to a piece.

Mister or Spray Bottle—After you add some ink to your paper, a small mister or spray bottle will work to apply fine droplets of isopropyl alcohol on top, creating delicate misty effects.

Masking Fluid, Masking Film, or Contact Paper—These materials can be painted or adhered directly onto a piece to mask an area meant to remain free of alcohol ink. You can mask off the base surface to preserve a white spot or mask off an already dried painted element to retain the color.

Sealing and UV Protection

Alcohol inks are dye-based and translucent by nature and will fade and lose their lovely vibrancy over time if left unprotected in direct sunlight. Some colors may even fade away completely. Most artists find that their alcohol ink colors remain stable if hung indoors away from direct sunlight, and, if treated correctly, these pieces can hold their vibrancy for years to come. The following are just a few popular products that will seal and protect your pieces (see How to Seal Alcohol Inks below):

•   Krylon® Kamar® Varnish

•   Krylon Triple-Thick Crystal Clear Glaze

•   Dupli-Color® Clear Engine Enamel Gloss

•   Golden® Archival Varnish

•   Rust-Oleum® Crystal Clear Enamel

•   Mod Podge® Gloss

How to Seal Alcohol Inks

Adding several coats of UV protectant will help combat fading but applying the UV protectant directly to alcohol ink will cause the inks to activate and move. Many UV varnishes and protectants contain isopropyl alcohol or acetone. It is essential to first apply a sealer that will not reactivate the inks. We’ve tried many sealants but have had the most success using Krylon Kamar Varnish. It’s important to note that Kamar Varnish is UV stable, which means that it isn’t broken down by UV exposure. However, this doesn’t mean that the art behind the varnish is UV protected, hence the need for the second step of applying UV protectant. Remember to work in a well-ventilated area.

Always begin with the manufacturer’s application instructions and adjust according to the humidity in your environment. We’ve had success using the following application technique:

Combine a few products to protect your pieces—a varnish to set or stabilize the alcohol ink, then UV protection on top.

Other Factors That Contribute to Fading

Lightfastness is a concern, but many other factors can contribute to fading, including humidity, temperature, the substrate used, and the use of blending or lightening mediums. Humidity and temperature have both been proven to cause fading in most mediums, and some artists have found that paintings created using significant amounts of alcohol or blending solution tend to fade more dramatically than those using little to no blenders. We generally haven’t had any problems when using blenders, but it’s important to know it might have an effect.

1. Apply sealant (such as Krylon Kamar Varnish). Hold the can 12"–14" (30.5–35.6cm) away from your thoroughly dry alcohol ink piece (allow the piece to dry at least 24 hours for the best results). Spray the artwork with 2–3 light coats, allowing 30–60 minutes of drying time between each layer. After the final coat, allow the varnish to dry completely (we typically wait at least 24 hours). We also recommend covering the artwork during drying time with a plastic bin or lid that won’t touch the piece to prevent dust and lint particles from the air getting on the surface.

2. Apply UV protectant (such as Krylon UV-Resistant Clear Coating or Golden Archival Varnish). Spray the artwork with 2–3 light coats, allowing 60 minutes of drying time between each layer (humidity will play a role in drying time).

3. Apply an optional finish (such as Americana ® Triple Thick Gloss Glaze™, Krylon Preserve It!®, or ArtResin®). If you are working with tile or artwork on board, you may want to finish the art with a gloss medium to add shine and additional protection. Make sure that the artwork has had sufficient time to dry and cure after steps 1 and 2 before applying a finish. Note: ArtResin and Preserve It! offer additional UV protection.

If you are still concerned about the longevity of your original alcohol ink artwork, try selling prints of your art and keep your originals stored in a safe environment. There are a number of different high-quality print options available, some using archival inks that are estimated to last over 100 years! Alcohol ink art looks amazing in print format, especially on glossy or luster paper. Plus, you can resize small originals into larger prints and even print onto a number of substrates, including canvas and metal!

Work Surface Protection

Alcohol ink painting is often messy, so it’s a good idea to cover and protect your work surface. Two popular options are paper towels and puppy training pads. Paper towels are absorbent and can be saved and used as collage papers in mixed-media projects. Puppy pads are superabsorbent and have a plastic lining protecting the surface beneath. You can also avoid the mess by using special containers for mixing or storing liquids, and there are even products available to keep you from spilling your alcohol inks. The following are a few items that can be helpful when trying to keep your workspace clean.

Place plain paper towels beneath your art to protect your work surface from drips and spills. Try cutting up the resulting dyed paper towel to create mixed-media collages (see here).

PTFE (Teflon) Sheets—PTFE sheets are often used by crafters who need heat protection, but they will also work well to protect your work surface when using alcohol ink, as well. They can easily be wiped clean of the inks.

Glass Media Mats—Glass mats, such as Tonic Studios ® Tim Holtz® Glass Media Mat, which comes in left-handed and right-handed varieties, also make great alcohol ink work surfaces. They come in a number of different sizes and are great for working with small projects. Because they are made of glass, the alcohol inks will easily wipe clean.

Welled Palettes—Made of plastic or porcelain, a welled palette contains several depressed areas where you can put your ink. You can paint out of them by dipping your brush, or another tool, into the palette. You can also allow the ink to evaporate to make a more concentrated ink in the well and even mix colors in the wells. To clean your palette, wipe each well with an alcohol-dipped cotton ball until all of the ink is removed. You can also protect your palette and save time on cleanup by covering it with aluminum foil!

Containers—Shot glasses work well to hold alcohol or blending solution. You can also use any small jar or plastic condiment containers. Clean them out with alcohol. Some artists keep this “dirty” alcohol for painting.

Ink Cozy™—Ranger has come out with these wonderful silicone rings that work as bottle stands to keep your inks from tipping over. They really work!

SAFETY CONSIDERATIONS

Isopropyl alcohol, the base compound in alcohol inks and a common tool for working with alcohol ink, is considered to be toxic. Due to the toxicity of the medium, certain precautions, including ensuring adequate airflow in your environment and wearing personal protective equipment, should be taken when working with alcohol ink.

Adequate Airflow

When working with alcohol inks, as well as many other art materials, it is extremely important that you are working in an area that has good air circulation. Choose a studio space that has windows you can open for ventilation. A larger workspace is better than a tiny workspace, but if you do have to work in a small space or during a time when it’s not feasible to open a window, it is helpful to use a small fan pointing away from you to prevent the fumes from lingering in your immediate work area. Never ventilate into another room, however.

Another option or added precaution, although not perfect, is to use an air filter and purifier. While an air purifier can significantly reduce the number of harmful elements in the air, it cannot eliminate them. An air purifier will take in the exposed air in your studio, capture the harmful vapors, and release clean air back into your studio.

Alcohol ink is often a freewheeling, flexible medium, but safety and personal protection should always be a priority for artists working with any materials.

Personal Protective Equipment

A few pieces of personal protective equipment are recommended for working with alcohol inks and isopropyl alcohol in general. As with all art materials, it is important to carefully read, understand, and follow the safety recommendations provided by the manufacturers.

Gloves—Gloves will protect your hands from stains and messes, but they will also protect you from absorbing any chemicals from the alcohol into your body. You will want to use gloves that are compatible with isopropyl alcohol—nitrile gloves are best suited for this.

Some of the techniques in the book can create splashing—always protect your eyes.

Splash Goggles—Vented splash goggles will help protect your eyes from any splashes, dust, or fumes.

If you choose to wear gloves, be sure to use something like nitrile gloves, which are compatible with isopropyl alcohol.

Respirator—We highly recommend wearing a respirator with filters that are rated to protect against organic vapors. Choose a mask that will be comfortable for you to wear for long periods of time and has adjustable straps so you can fit the mask properly to your face. If you want to fully protect yourself from an organic vapor such as ethyl alcohol or isopropyl alcohol, you will need to wear either a half-face or full-face respirator with two organic vapor cartridges (one for each side of the mask). You’ll want filters such as P95 particulate filters or something similar—the specifications on the product will tell you whether it is rated to protect against organic vapors.

Choose a respirator mask that will be comfortable for long-term wear so you can protect yourself from vapors during the whole artistic process.

COLOR THEORY

Color is the first thing that attracts many people to alcohol inks—they’re so rich and vibrant. To decide which inks to use for a project, you need to know what colors you have in your stash and where those colors fall on the color wheel. It is helpful to create swatch charts and color wheels of your available colors and to experiment with different color combinations before you begin working on your pieces. The following exercises will help you gain familiarity with the colors at your disposal and learn how they interact with one another.

Color Exercise 1: Create a Swatch Chart

It is very helpful to make swatch charts of the inks you own. Making these charts is simple and, while this exercise shows you how to make one with synthetic paper, you can make swatch charts on any of the surfaces you prefer working with.

Swatch charts are useful quick-reference tools for working with ink colors.

MATERIALS AND SUPPLIES

•   Alcohol Ink in various colors

•   White Synthetic Paper

•   Black Fine-Tip Marker

•   91% or 99% Isopropyl Alcohol

•   Container (to hold isopropyl alcohol)

•   Cotton Swabs (one for each color)

•   Ruler

The artist used these products. Substitute your choice of brands, tools, and materials as desired.

1. Gather the colors from your ink collection. Depending on how many you have, it may be helpful to group them by color family.

2. Draw a grid on a sheet of synthetic paper using a fine-tip marker and a ruler.

3. Place a drop of your first ink color in the top left grid cell. Allow it to dry.

4. Label the cell with the name of the color for reference.

5. Repeat with the rest of the colors, adding a single color to each grid space and labeling it with the corresponding color name.

6. Once all the colors have been added and are fully dry, dip a cotton swab in the isopropyl alcohol and allow the alcohol to saturate the swab. Touch the saturated cotton swab to the middle of the first ink drop and use a wiggling motion to blend the ink out to the right. As you move away from the main ink spot, the color will lighten, allowing you to see the range of values achievable with that color. Discard the cotton swab.

7. Repeat step 6 for each color on the chart, using a new cotton swab each time.

Color Exercise 2: Create a Color Wheel

The color wheel is the most fundamental artist’s tool to have in your arsenal. Create your own color wheel using alcohol inks to familiarize yourself with the colors you have available and how those colors relate to each other.

MATERIALS AND SUPPLIES

•   Alcohol Inks in three primary colors (red, yellow, and blue)

•   White Synthetic Paper

•   Round Container Lid or Protractor

•   Ruler or Straight Edge

•   Black Fine-Tip Marker

•   Welled Palette

•   Round Brush or Filbert Brush

The artist used these products. Substitute your choice of brands, tools, and materials as desired.

1. Trace around a round container lid or use a protractor with a fine-tip marker to draw a circle on your synthetic paper.

2. Use a ruler or straight edge and the fine-tip marker to divide the circle into six slices.

3. Number the slices from 1 to 6.

4. Add some yellow ink to the welled palette and use a clean brush to fill in section 1 with the yellow ink.

5. Add some red ink to the welled palette and use a clean brush to fill in section 3 with the red ink.

6. Add some blue ink to the welled palette and use a clean brush to fill in section 5 with the blue ink.

7. Add a drop of yellow ink and a drop of red ink to the same well on the welled palette and mix them thoroughly to make orange ink.

8. Use a clean brush to fill in section 2 with the orange ink.

9. Add a drop of red ink and a drop of blue ink to the same well on the welled palette and mix them thoroughly to make purple ink.

10. Use a clean brush to fill in section 4 with the purple ink.

11. Add a drop of blue ink and a drop of yellow ink to the same well on the welled palette and mix them thoroughly to make green ink.

12. Use a clean brush to fill in section 6 with the green ink.

13. Allow the ink to dry and your color wheel is ready for use.

Helpful Hints

•   Before painting in each section, allow some of the alcohol to evaporate so that the ink is thicker and won’t bloom (spread outward from the center) or flow into the other sections.

•   Clean and dry your brushes thoroughly after painting each section. You can also use a different brush for each color if you are unable to clean them between steps.

Color Exercise 3: Exploring Analogous Colors

Colors next to one another on the color wheel are called “analogous.” Analogous colors will always look pleasant together. A combination of three colors that are next to each other on the color wheel is also considered to be analogous. This exercise uses four popular analogous color groupings.

This exercise demonstrates how analogous colors work together and blend.

MATERIALS AND SUPPLIES

•   Alcohol Inks in three primary colors (red, yellow, and blue) and three secondary colors (orange, purple, and green)

•   White Synthetic Paper

•   Alcohol Blending Solution

The artist used these products. Substitute your choice of brands, tools, and materials as desired.

1. Place a drop of yellow ink on the left side the synthetic paper.

2. Place a drop of orange ink below the drop of yellow ink.

3. Place a drop of red ink below the drop of orange ink.

4. Place a drop of alcohol blending solution between each drop.

5. Allow the inks to blend and dry completely.

6. Repeat steps 1–5 with the following three color groups: orange, red, and purple; red, purple, and blue; purple, blue, and green.

Color Exercise 4: Exploring Complementary Colors

The colors that are opposite each other on the wheel are called “complementary” colors: green and red, yellow and purple, and orange and blue. Complementary colors create vibrancy and excitement when used together but if they mix, they create a brown color often called “mud.” The following exercise demonstrates what happens when we mix complementary colors. Note: If you start to see mud in your paintings, you are probably mixing complementary colors.

MATERIALS AND SUPPLIES

•   Alcohol Inks in three primary colors (red, yellow, and blue) and three secondary colors (orange, purple, and green)

•   3 White Synthetic Paper Sheets

The artist used these products. Substitute your choice of brands, tools, and materials as desired.

1. Place a few drops of yellow ink on the surface of one of the sheets of synthetic paper.

2. Place a few drops of purple ink below the yellow ink, taking care to keep the colors from touching.

3. Use a clean brush to spread the inks while they are still wet. At this point, don’t let them touch, just pay attention to how well the two colors “complement” each other.

4. Use the brush to blend the yellow and purple inks while they are still wet. Notice how blending the complementary colors creates brown.

5. Place a few drops of green ink on the surface of a second sheet of synthetic paper.

6. Place a few drops of red ink below the green ink, taking care to keep the colors from touching.

7. Use a clean brush to spread the inks while they are still wet. At this point, don’t let them touch, just pay attention to how well the two colors “complement” each other.

8. Use the brush to blend the green and red inks while they are still wet. Notice how blending the complementary colors creates brown.

9. Place a few drops of orange ink on the surface of the last sheet of synthetic paper.

10. Place a few drops of blue ink below the orange ink, taking care to keep the colors from touching.

11. Use a clean brush to spread the inks while they are still wet. At this point, don’t let them touch, just pay attention to how well the two colors “complement” each other.

12. Use the brush to blend the orange and blue inks while they are still wet. Notice how blending the complementary colors creates brown.

Try Using Triadic Colors

Triadic colors are three colors that are equally spaced on the color wheel, easily visualized by placing a triangle on the color wheel.

You can also create triadic colors schemes using tertiary colors, which are blends of a primary color with a secondary color (red-orange, yellow-green, or blue-purple, for example).

The three primary colors form a triadic color scheme, as do the three secondary colors.

Color Exercise 5: Mixing Your Own Colors

Sometimes you will want to mix your own colors. You can mix your own colors by either mixing in a palette or directly on the paper. The color wheel will help. If you look at the color wheel, you’ll see that green is halfway between yellow and blue, so you’ll know you can use yellow and blue to make green (the examples below will use these colors). There are three methods for mixing your own ink colors: mixing the inks in a welled palette, applying the inks to your surface and mixing them with a brush, coffee stirrer, or other implement, or applying the inks to your surface and mixing them by rocking the surface and allowing the inks to mix naturally.

Method 1: Premix in a Welled Palette

Premixing in a welled palette is better for when you want more control over your final colors. You can clearly see the resulting color and, as the mixed color evaporates, you’ll get darker shades. You may have to mix the same color multiple times depending on how much you need for a piece, and in a palette, you can test to be sure the color you’ve mixed is the right one.

1. Place a drop of yellow ink in a welled palette.

2. Add a drop of blue ink to the same well in the palette.

3. Use a brush to thoroughly mix the inks. The blue and yellow inks will combine to create green ink.

4. Use the brush to apply the green ink to the surface of your piece.

Method 2: Mix with a Tool on Paper

Using tools to mix directly on the surface of a piece will create variations in the color and textures based on the amount of each ink used and the distribution of the inks. The more alcohol in each ink, the lighter the color created.

1. Place a drop of yellow ink on the surface.

2. Before the yellow ink dries, place a drop of blue ink on the surface, leaving space between the two drops.

3. Use a coffee stirrer or brush to move some of the yellow ink toward the blue ink.

4. Move some of the blue ink toward the yellow ink. Where the inks meet, they will blend to create green.

Method 3: Mix by Moving the Surface

Mixing by moving the inks over the surface allows for a very organic, unpredictable mixture.

1. Place a drop of yellow ink on the surface.

2. Before the yellow ink dries, place a drop of blue ink on the surface, leaving space between the two drops.

3. Lift up the surface and tilt it to one side, letting one color run into the other color. Where the inks meet, they will blend to create green.

Tip: You can continue to tilt and rotate your piece in multiple directions as desired. Each movement will create different shades of green and different blending effects. I continued to move the exercise piece around, letting the colors run together.

Tilting the piece back and forth to the right and the left creates an interesting mix of colors.

You can even flip your pieces completely upside down to see what effects and color blends you can create.

TECHNIQUES

The following techniques are some of the most popular and effective options for working with alcohol inks. Most are used in the projects beginning here, but some are bonus techniques for you to incorporate in your own art. Working with alcohol ink is a flexible process, so try these techniques on their own, then experiment using them together to find the artistic process you enjoy.

Use contrasting paint pens to add doodle-style details to your pieces (see here). The white marker in this piece more clearly defines the floral blooms in the bouquet.

Illustration DRIPPING Illustration

Dripping is exactly what it sounds like—dripping the alcohol ink from the bottle directly onto the surface. Once the drips or splatters are applied, they can be blended and manipulated by moving the surface or by using tools and one or more of the other techniques demonstrated in this section.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Purple (Ranger’s Tim Holtz Wild Plum)

-   Yellow-Orange (Ranger’s Tim Holtz Butterscotch)

-   Teal (Ranger’s Tim Holtz Stream)

•   Paper Towels

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   ¼ White Synthetic Paper Sheet

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Turn your first alcohol ink (we used the Wild Plum ink for this step) upside down and let it drip onto the paper (you can also shake the bottle to create ink splatters).

2. Allow the ink drops or splatters to expand and move together.

3. Drip or shake the next ink color (we used the Butterscotch ink for this step) on top of the previous drips or splatters. Notice the new colors created when the second color blends with the first color.

4. Drip or shake the third ink color (we used the Stream ink for this step) on top of the previous drips or splatters. The inks will all mix and blend to create many new colors.

5. While the inks are still wet, tilt the paper and watch the ink flow and move. Experiment by turning and tilting the paper in different directions to see how the ink acts.

6. When the ink begins to dry or move more slowly, you can drip isopropyl alcohol or blending solution on top to get the ink moving again. You will see rings of blending solution or alcohol bloom where the drips touch the inks. They will lighten the ink you already applied.

7. Tilt and move the paper to make the blending solution and ink flow again and create new colors and shapes. Note just how many colors can be achieved with just three bottles of ink. Add more ink to cover up any white areas as desired.

8. As the ink reaches the bottom of the page, it will pool on the edge. Place the edge of the paper onto a paper towel and allow the ink to run from the paper onto the paper towel. Set your paper down on a clean part of your paper towel and allow it to dry completely.

Illustration NOZZLE APPLICATION Illustration

To “nozzle apply” is to take the nozzle of the ink bottle and touch it directly to the paper. You can release some ink from the bottle or just move the bottle with the nozzle touching the paper. This method gives you the ability to decide exactly where the ink will go and how much will be deposited on the surface. A common practice is to nozzle apply three colors, then lift the surface from flat to vertical and let the inks run down and blend with each other. You can also tilt the surface back and forth to create more blended colors and shapes.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Red-Brown (Ranger’s Tim Holtz Rust)

-   Light Blue (Ranger’s Tim Holtz Stonewashed)

-   Black (Ranger’s Tim Holtz Pitch Black)

•   ¼ White Synthetic Paper Sheet

•   Paper Towel

•   Alcohol Blending Solution

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Lift an edge of the paper to a 30-degree angle and place the nozzle tip of the first ink color (we used Rust for this step) on the top edge of the paper and allow some of the ink to flow out.

2. Apply the nozzle to the paper and allow some of the ink to flow out in several places. You shouldn’t need to squeeze the bottle.

3. Move the bottle horizontally along the top edge, keeping the nozzle in contact with the paper and allowing more ink to come out of the bottle. Lift the paper to a 45-degree angle and allow the ink to flow down the paper.

4. Place the nozzle tip of the second ink color (we used Stonewashed for this step) on the top edge of the paper and allow some of the ink to flow out. Repeat steps 2 and 3 to add more of this ink color on top of the first color.

5. Place the nozzle tip of the third ink color (we used Pitch Black for this step) on the top edge of the paper and allow some of the ink to flow out. Repeat steps 2 and 3 to add more of this ink color on top of the first two colors.

6. Nozzle apply the blending solution to lighten and blend the inks as desired.

7. Hold the paper almost perpendicular to the paper towel and allow the blending solution and inks to run down the page.

8. Allow the ink to run from the paper onto the paper towel. Set your paper down on a clean part of your paper towel and allow it to dry completely.

Illustration BLOWING Illustration

Blowing involves moving the alcohol ink with forced controlled air. There are a few tools commonly used for this technique, each producing a different effect. Some of the most common tools are straws, canned air, hair dryers, and airbrush compressors. Flowers are popular subjects for the blowing technique as spectacular petals can easily be created by blowing outward from a central nucleus of ink. We’ve included five different blowing methods. If you’re unsure which method to use, check the following quick reference chart for guidance:

COMPARING BLOWING METHODS

Method 1: Blowing with a Straw

There are many alcohol ink artists that move their ink by blowing through a straw, although we typically advise against this method because it can introduce unwanted moisture from your mouth to your piece and, more importantly, it introduces a risk of ingesting harmful fumes that can lead to serious health concerns. Since many artists will try using a straw, however, we’ve included a safe step-by-step guide for this method. Remember to be careful not to blow moisture from your mouth onto the paper (only blow air) and to exercise care when using this technique to avoid breathing in any fumes.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Yellow (Jacquard’s Piñata Color Sunbright Yellow)

-   Orange (Ranger’s Tim Holtz Sunset Orange)

-   Olive Green (Ranger’s Tim Holtz Meadow)

•   ¼ White Synthetic Paper Sheet

•   Paper Towels

•   Kitchen Straw

•   Coffee Stirrer

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Drip the first alcohol ink (we used the Sunbright Yellow ink for this step) onto the paper.

2. Lift one edge of the paper to allow the ink to spread and flow a bit.

3. Place one end of the straw into your mouth and gently blow into it, directing the air toward the alcohol ink. Blow back and forth across the paper (repositioning the paper as needed) to spread the ink and create new shapes.

4. Drip the second ink color (we used the Sunset Orange for this step) onto the paper.

5. Lift one edge of the paper to allow the ink to spread and flow a bit. Allow the ink to run off the paper onto the paper towel.

6. Place one end of the straw into your mouth and gently blow into it, directing the air toward the alcohol ink. Blow back and forth across the paper (repositioning the paper as needed) to spread the ink and blend the colors.

7. Nozzle apply the third ink color (we used the Meadow for this step) onto the paper.

8. Lift one edge of the paper to allow the ink to spread and flow a bit. Allow the ink to run off the paper onto the paper towel.

9. Place one end of the straw into your mouth and gently blow into it, directing the air toward the alcohol ink. Blow back and forth across the paper (repositioning the paper as needed) to spread the ink and blend the colors.

10. Repeat steps 1–9 until you’re happy with the appearance. Set your paper down on a clean part of your paper towel and allow it to dry completely.

Method 2: Blowing with a Hand Air Blower

Hand air blowers are great tools for manipulating alcohol inks. They feature a large bulb on one end and a narrow straw-like tip on the other that disperses air when you squeeze the bulb. Hand air blowers are made of silicone, so they are soft but durable. They work great for blowing and controlling the flow of the ink and are also often used to dry the ink faster by forcing air over the surface.

Tips for Using Hand Air Blowers

•   You’ll get a different effect using isopropyl alcohol versus using alcohol blending solution. With a blending solution, the ink will move and blend. With isopropyl alcohol, the ink will be displaced and flow more.

•   Pumping short bursts of air with the blower will make the ink move a shorter distance.

•   A longer, slower pump of air will cause the ink to move a longer distance (and actually gives you more control).

•   A small amount of metallic ink will go a long way.

Hand air blowers can be used to create blown ink effects, but will also be useful for more quickly drying your art.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Dark Blue (NARA’s Starlit Hues)

-   Gold Metallic (Jacquard’s Piñata Color Rich Gold)

•   White Synthetic Paper

•   Paper Towel

•   Hand Air Blower

•   Pipette or Medicine Dropper

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Place a piece of synthetic paper on top of a paper towel. Use a pipette or eye dropper to place a couple drops of isopropyl alcohol or alcohol blending solution onto the surface.

2. Add a drop or two of the dark blue ink to the isopropyl alcohol or alcohol blending solution.

3. Point the nozzle of the hand air blower toward the ink in the direction you want the ink to flow. Use one long squeeze to force air out of the blower, moving your hand and arm in the direction you want the ink to flow.

4. Pull the hand air blower back to the original position and repeat step 3 until the ink solution is dry and no longer flowing.

5. Turn the paper one rotation counterclockwise and use the pipette or an eye dropper to add 2 or 3 drops of isopropyl alcohol or alcohol blending solution on top of the ink.

6. Point the nozzle of the hand air blower toward the ink in the direction you want the ink to flow. Use one long squeeze to force air out of the blower, moving your hand and arm in the direction you want the ink to flow. Pull the hand air blower back to the original position and repeat this until the ink solution is dry and no longer flowing.

7. Turn the paper 180 degrees to blow the ink in the opposite direction. Blowing the ink back over itself will create beautiful ridges and natural areas of interest. If the ink is too concentrated in a single area, you can reactivate it by adding a drop of isopropyl alcohol or alcohol blending solution. Continue rotating and repeating these steps as needed.

8. Add a single drop of the gold metallic ink on top of the dark blue ink. If needed, you can add a drop of isopropyl alcohol or alcohol blending solution to help the metallic ink move more freely.

Tip: Be sure to thoroughly shake metallic ink to evenly disperse the metallic pieces in the solution.

9. Point the nozzle of the hand air blower toward the ink in the direction you want the ink to flow. Use one long squeeze to force air out of the blower, moving the metallic ink. The metallic ink tends to “pool” around the edges, leaving gorgeous veins that accent the ink.

10. Continue adding drops of the gold metallic ink where you want to add accents. Repeat step 9 with these additional ink drops.

11. Continue to add dark blue ink, gold metallic ink, and isopropyl alcohol or alcohol blending solution, moving them around with the hand air blower until you are satisfied with the piece.

Method 3: Blowing with a Hair Dryer

Standard hair dryers and heat guns can also be used for blowing alcohol ink. These tools are not meant to force air like the other blowing tools mentioned. Instead, they’re intended to gently move the air in a somewhat controlled fashion. The best hair dryers to use with alcohol ink are actually brush-style hair dryers that feature removable ends. You use them by removing the brush end of the dryer and just working with the base. These types of hair dryers create a light flow of air that will create organic art with interesting transparent effects. Note: We don’t recommend using heat guns on synthetic paper. If too much heat is applied, the paper will warp and will never flatten again.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Yellow (Ranger’s Tim Holtz Sunshine Yellow)

-   Orange (Ranger’s Tim Holtz Sunset Orange)

-   Olive Green (Ranger’s Tim Holtz Lettuce)

•   ¼ White Synthetic Paper Sheet

•   Paper Towel

•   Brush Hair Dryer with brush attachment removed

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   Pipette or Eye Dropper

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Place a drop of the yellow ink on your surface.

2. Use a pipette or eye dropper to add a drop of isopropyl alcohol or alcohol blending solution to the yellow ink.

3. Set the hair dryer to low and hold it at least 6" (15.24cm) away from the surface. Blow the air in the direction you want the ink to flow. Continue blowing until the ink is dry and no longer flows.

4. Place a drop of orange ink below the dried ink.

Tip: You can move the hair dryer around the ink or turn the paper if that is easier to change the direction of the ink flow.

5. Add a drop of isopropyl alcohol or alcohol blending solution to the orange ink.

6. Set the hair dryer to low and hold it at least 6" (15.24cm) away from the surface. Blow the air in the direction you want the ink to flow. Continue blowing until the ink is dry and no longer flows.

7. Place a drop of olive green ink next to the dried inks.

8. Add a drop of isopropyl alcohol or alcohol blending solution to the olive green ink.

9. Set the hair dryer to low and hold it at least 6" (15.24cm) away from the surface. Blow the air in the direction you want the ink to flow. Continue blowing until the ink is dry and no longer flows. Continue adding ink and isopropyl alcohol or alcohol blending solution and manipulating it with the hair dryer until you are satisfied with the piece.

Ethereal (Wispy or Fade) Art

The ink-blowing technique, especially the hair dryer method, can be used to create “ethereal” art (also known as wispy or fade art). These are popular abstract art pieces that feature soft transparent fading of the ink with slightly harder edges (the ink appears to fade into the negative white space). Ethereal pieces are often accented with metallic inks or Mixatives to create glimmery, translucent showstoppers. This technique is used in the Wispy Ethereal Amethyst project here.

Blowing standard alcohol inks and metallic inks with a hair dryer creates delicate textures and color blends.

The ethereal effect is perhaps the best showcase of the vibrant colors and translucence of alcohol inks.

Method 4: Blowing with Canned Air or Compressed Air

Canned air is the best way for beginners to blow alcohol inks. It allows you to push the inks in the desired direction with forced air. The force of the air can be controlled by how much you squeeze the trigger.

It’s easy to see why canned air is one of the most popular tools with alcohol ink artists. It allows a lot of control, but creates pieces with a very natural appearance.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Teal (Ranger’s Tim Holtz Laguna)

-   Fuchsia (Ranger’s Tim Holtz Fiesta)

-   Gold Metallic (Jacquard’s Piñata Color Rich Gold)

•   White Synthetic Paper

•   Paper Towel

•   Alcohol Blending Solution

•   Canned or Compressed Air

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Dispense alcohol blending solution in a horizontal line on the white synthetic paper.

2. Apply a line of the teal ink on top of the line of alcohol blending solution.

3. Apply gold metallic ink on top of the teal ink and alcohol blending solution.

4. Point the canned air nozzle in the direction you want to blow the ink and squeeze the trigger to release the air. Blow the ink upward, moving the nozzle from left to right along your line of ink.

5. Rotate your paper 180 degrees and repeat step 4 to push the ink in the other direction.

6. Apply a line of the fuchsia ink.

7. Repeat step 4 with the fuchsia ink. The ink should flow well because of the alcohol blending solution on the page but add more alcohol blending solution if it’s not flowing as well as you’d like.

8. Add the various inks with alcohol blending solution to fill in white areas as desired (you can also choose to leave some white space). Use the canned air nozzle to push the ink in the desired direction. Continue filling in space with color and moving the ink with the canned air until you are satisfied with the piece.

Safety Tips for Working with Canned or Compressed Air

As you use canned or compressed air, the can will become cold (sometimes even too cold to hold) because of something known as “adiabatic cooling,” a process in which gas under high pressure cools quickly as a result of the pressure being released. Follow a few guidelines to stay safe when working with canned air.

•   Do not shake compressed air cans, tilt them sideways, or hold them upside down, since this will accelerate the cooling effect.

•   Do not spray compressed air on your skin. The cooling effect as the gas hits a warmer surface can cause a brief period of freezing, resulting in frostbite.

•   If your canned air becomes too cold to hold, set it down and allow it to warm up for a few minutes before proceeding. Many alcohol ink artists that work with canned air often have a spare can on “standby” so that they don’t have to interrupt their creative process.

•   If you often use canned air, consider investing in an airbrush compressor. Most artists prefer airbrush compressors for long-term use because of canned air’s high cost, potential for environmental damage, and temperamental nature.

Method 5: Blowing with an Airbrush Compressor

With alcohol ink, airbrush compressors aren’t used in the traditional way. Rather, you use it to blow only air and no paint. Many air compressors allow you to control the pressure (PSI) of the blown air, so you can achieve different effects with it. One of the most common uses with alcohol ink is to create blown flowers and landscapes.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Yellow (Ranger’s Tim Holtz Sunshine Yellow)

-   Orange (Ranger’s Tim Holtz Sunset Orange)

-   Olive Green (Ranger’s Tim Holtz Meadow)

•   ¼ White Synthetic Paper Sheet

•   Paper Towel

•   Airbrush Air Compressor (set to 40 PSI)

•   Coffee Stirrer

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Place a piece of synthetic paper on top of a paper towel. Nozzle apply yellow ink along the top edge of the paper.

2. Lift and tilt the paper to gently spread the ink around.

Airbrush Compressor Tips

Keep a few things in mind when purchasing and using airbrush compressors for your art:

•   Airbrush painting systems for fingernails do not have enough pressure to blow the alcohol ink.

•   Use inks with a lot of alcohol if you want them to really move.

•   Hold the compressor nozzle low, almost beside the ink.

•   Move your hand and arm in the direction you want ink to flow.

•   “Pulse” the compressor to form smaller “fingers” of ink on the surface.

3. Hold the airbrush tip close to the ink painting and press down on the trigger to allow the air to flow and push the ink. Try pulsing the trigger to create spurts of air.

4. If needed, use the coffee stirrer to spread the ink or cover any remaining white space.

5. Nozzle apply a line of orange ink, slightly overlapping the bottom of the yellow ink.

6. Hold the airbrush tip close to the ink painting and press down on the trigger to allow the air to flow and push the ink. Move the tip back and forth horizontally to create “mountains” of ink.

7. Nozzle apply some olive green ink along the bottom of the paper, slightly overlapping the bottom of the orange ink.

8. Hold the airbrush tip close to the ink painting and press down on the trigger to allow the air to flow and push the ink. The compressor dries as it blows. Look for places where the ink is not dry and blow some more. Continue to add ink and use the air compressor to move it around until you are happy with the piece.

Illustration POURING Illustration

As a creator, you can create amazing abstract art and landscapes simply by pouring alcohol ink onto a nonporous surface. No two paintings will ever be the same. The organic and unpredictable nature of the ink makes pouring fun and satisfying. To achieve successful alcohol ink pours, refer to your color wheel—you want to work with limited colors and avoid mixing complementary colors, which creates “mud.” Get the smoothest results by allowing the ink to flow on the surface, rocking the piece from side to side to help it along. If the ink starts to dry before you’re happy with the piece, add some alcohol blending solution or isopropyl alcohol to reactivate or stimulate the flow.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Orange (Ranger’s Tim Holtz Sunset Orange)

-   Purple (Ranger’s Tim Holtz Wild Plum)

-   Green (Ranger’s Tim Holtz Bottle)

•   ¼ Synthetic Paper Sheet (Yupo)

•   Paper Towel

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   Coffee Stirrers

•   Cotton Ball

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Place a piece of Yupo paper on top of a paper towel. Nozzle apply orange ink along the top edge of the paper.

2. Nozzle apply a line of purple ink, slightly overlapping the bottom of the orange ink.

3. Nozzle apply a line of green ink, slightly overlapping the bottom of the purple ink.

4. Apply alcohol blending solution on top of the inks. Start about a third of the way down from the top of the paper and move from the bottom of the inks toward the top, lightening the colors.

5. Lift the paper to a 30-degree angle to allow the blending solution to blend and move the inks.

6. Tilt the paper so the ink flows to the right, creating a sky.

7. Allow the pooled ink on the right edge of the paper to flow onto the paper towel. The finished sky will have more ink on the right side of the page.

8. Lay your painting flat on the paper towel. Nozzle apply a line of purple ink, beginning about a third of the way down the right edge of the paper and drawing across to just below the halfway point of the left edge of the paper.

9. Leave your painting flat on the paper towel. Nozzle apply a line of orange ink, beginning about a third of the way down the left edge of the paper and drawing across to just below the halfway point of the right edge of the paper. (This orange line will cross over the purple line.)

10. Leave your painting flat on the paper towel. Nozzle apply a line of green ink, beginning just below the purple line on the right edge of the paper and ending just below the purple line on the left edge of the paper. (This green line will cross over the purple and orange lines.)

11. Leave your painting flat on the paper towel. Nozzle apply a line of orange ink below the line of green ink made in step 10, moving from right to left across the paper. Lift the paper to allow the ink to spread a bit.

12. Set your paper back down on the paper towel. Nozzle apply more orange ink as shown, using a coffee stirrer to push the ink and fill in white spaces as desired.

13. Nozzle apply a few short layers of green ink below the orange and use a coffee stirrer to add texture.

14. Nozzle apply alcohol blending solution to the top of the paper to lighten up the sky. Tilt the page so the alcohol blending solution and ink will move across the top of the page and create dark lines at the bottom that help to define the mountains of the landscape.

15. Use a coffee stirrer to move the ink and blending solution into any white areas and add texture as desired.

Illustration BLENDING, LIFTING, AND STAINING Illustration

Most alcohol ink art is based around allowing the colors to flow and blend together. Lifting is another common technique that removes all or a portion of the ink to create contrast, add highlights, or clean the surface for the application of another color. Lifting is achieved by using something like a cotton ball, Fantastix, or water brush containing isopropyl alcohol or alcohol blending solution to reactivate and “lift” ink away from the surface. The amount of isopropyl alcohol or alcohol blending solution on the tool and the type of surface you’re using will determine how reactive the ink becomes and how much the ink can be lifted. Staining is an effect created by lifting. It can be frustrating if you are trying to get your surface lifted back to white but it can be a lot of fun if you are using the staining to enhance your painting. Not all inks will stain the same way since some dyes in the inks are more intense or permanent. Because there are so many brands of alcohol ink on the market—all with their own unique formulas—it’s helpful to create a staining chart with your brand of inks by dropping one drip each of your alcohol ink colors on the surface you plan to work with. Use your favorite lifting tool (blending pens, water brushes, cotton balls, etc.) to lift out as much color as possible until you are unable to lift anymore. The residual color on the surface is the stain you can expect to see from that color.

We’ve shown two different blending and lifting tools (water brushes and Fantastix) that can be used individually or in combination once the ink has been applied to the surface. Each creates different effects, see the individual method descriptions for more guidance on when and how to use each.

This detailed portrait by Sheryl Williams was created using water brushes to blend and lift the alcohol ink. The blending and lifting techniques create depth and texture.

You can use dabbing motions with the blending techniques to create entire paintings. This colorful pear image perfectly blends many bright colors to create a sense of light and shadow.

Tip: Try dabbing water brushes or paintbrushes into ink, then press the brush down on the surface and lift it straight up. Dabbing will create a vibrant mark that doesn’t move very much on the surface. Use this motion to apply and layer colors.

Method 1: Blending, Lifting, and Staining with Blending Pens and Water Brushes

Blending pens are colorless alcohol ink markers used to blend colors, spread ink, soften edges, and lift areas of highly concentrated color to establish contrast in your paintings. Most blending pens on the market are “dual brush,” designs with different nib types on each end. Water brushes are versatile tools that were originally designed to be used with water, but work well with alcohol ink, too. They are shaped like pens or brushes, with plastic brush bristles at one end and a reservoir handle that can be used to hold isopropyl alcohol, alcohol blending solution, or alcohol ink. The bristles stay moist because of the reservoir—to add more of the material to the brush end, you just squeeze. When filled with isopropyl alcohol or alcohol blending solution, you can use water brushes to move your inks around, reactivating them. You can also fill water brushes with alcohol ink and paint with them just like you would a traditional paintbrush.

Water brushes are versatile tools that allow you to blend and manipulate alcohol inks to create paintings as simple or detailed as you want.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Blue (T-Rex’s Glacier Blue)

-   Light Green (T-Rex’s Irish Moss)

-   Dark Green (T-Rex’s Jurassic Green)

-   Brown or Gray (NARA’s Christmas Wood)

•   White Synthetic Paper Sheet

•   Paper Towel

•   Water Brush

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   Welled Palette

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Fill the water brush with isopropyl alcohol.

2. Add the light blue ink to your welled palette and dip the tip of the water brush into the wet ink. Paint across the top of the paper by dragging the water brush across the page. Continue painting back and forth until you’ve covered two-thirds of the page. The color will fade as you use the brush.

Tip: You can also use the wet tip of the water brush to “reactivate” ink that has dried on the palette. Wet ink will give you the most intense color, however.

3. Add a few drops of the light green ink to your welled palette and dip the tip of the water brush into the wet ink. Turn the paper upside down and paint with the light green ink exactly like you did with the light blue ink.

4. Where the light green ink meets the blue ink on the paper, brush back and forth to blend the two colors together. Because the water brush is “wet” with isopropyl alcohol, it will reactivate the blue ink underneath and blend the two colors.

5. Clean the water brush by dipping it into a container of isopropyl alcohol and wiping the brush nib on a paper towel until you no longer see color coming off the brush.

6. Lightly touch the clean, wet water brush to the dried light blue ink and swirl your brush in a circular motion. This will loosen and lift some of the blue color to start forming cloud shapes. Depending on the type of synthetic paper you are working with, you may be able to lift the ink to create white clouds, or create stained lighter blue clouds.

7. When you lift alcohol ink color, it accumulates on the water brush. Wipe the excess ink on a paper towel in between strokes to avoid simply redistributing the ink. Continue to lift more color, creating clouds and cleaning the brush in between each until you are happy with the sky.

8. Place the clean, wet brush on the dried light green ink where you want your tree trunks to begin. Gently drag the brush up into the blue area to lift color away and form the tree trunks. Wipe any excess ink onto your paper towel. Add tree trunks until you are happy with the painting. Feel free to add large branches, as well.

9. Add a few drops of the dark green ink to the welled pallet and dip the tip of the water brush into the wet ink. Lightly dab all along the line where the light blue ink meets the light green ink. The ink will bloom organically to create the look of a line of trees in the distance.

10. Add more light blue ink to the welled palette and dip the tip of the water brush into the wet ink. Paint a lake close to the tree line, making sure the top edge of the lake is flat.

11. If you painted over the tree trunks in step 10, use a clean, wet water brush to lift the color out again. You can also lift some of the light green ink to add texture to the grass.

12. Add some brown or gray ink to the welled pallet and use the water brush to paint in the tree trunks as shown.

13. Add more dark green ink to the welled palette and dip the tip of the water brush into the wet ink. Dab leaves on the paper near the tops of the trees.

14. Add more light green ink to the welled palette and dip the tip of the water brush into the wet ink. Dab more leaves near the tops of the trees to create a blended effect and fill in the space. Continue dabbing with the water brush until you finish defining the tops of the trees. You can also use this color to add more detail and texture to the grass.

Method 2: Blending, Lifting, and Staining with Fantastix

Fantastix are white fiber-filled barrels that come with bullet and brush tips. You can use the fibers to absorb ink and then paint with the absorbed ink or you can use them without ink to blend. They are very lightweight and the absorbent fibers allow for precise ink application. The tip cannot be sharpened but it can be reshaped by cutting the foam fibers. In addition to blending, Fantastix are also great tools for lifting ink.

Fantastix can be used to both blend and lift ink. Because this piece was created on Yupo paper, the lifted stripes are stained with the colors rather than lifting to pure white.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Yellow (Jacquard’s Piñata Color Sunbright Yellow)

-   Magenta (Jacquard’s Piñata Color Senorita Magenta)

-   Red (Jacquard’s Piñata Color Chili Pepper)

-   Blue (Jacquard’s Piñata Color Baja Blue)

•   ¼ Synthetic Paper Sheet (Yupo)

•   Paper Towel

•   Tsukineko Fantastix Bullet Tip

•   Tsukineko Fantastix Brush Tip

•   91% or 99% Isopropyl Alcohol

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Place a piece of Yupo paper on top of a paper towel. Nozzle apply a rough rectangle of yellow ink on the paper.

2. Nozzle apply a rough rectangle of magenta ink on the paper below the yellow ink, leaving space between them.

3. Use the end of the Fantastix Brush Tip to blend the yellow and magenta inks, creating an orange stripe in between them.

4. Nozzle apply a rough rectangle of red ink on the paper below the magenta ink, leaving space between them.

5. Dip the end of the Fantastix Brush Tip into the isopropyl alcohol, then wipe it several times on a paper towel to clean off the ink. The Fantastix absorbs a lot of ink, so it will take a lot of wiping on the paper towel to get it clean.

6. Use the end of the Fantastix Brush Tip to blend the magenta and red inks, creating a lighter red stripe in between them.

7. Nozzle apply a rough rectangle of blue ink on the paper above the yellow ink, leaving space between them.

8. Use the end of the Fantastix Bullet Tip to blend the blue and yellow inks, creating a green stripe in between them.

9. Dip the end of the Fantastix Brush Tip into the isopropyl alcohol, then wipe it several times on a paper towel to remove excess alcohol. Stroke upward from the bottom stripe to the top strip to lift ink from the surface.

10. Repeat step 9 with the Fantastix Bullet Tip to lift a second stripe. Clean both Fantastix by setting the tips in the isopropyl alcohol, allowing them to absorb the isopropyl alcohol, and then wiping them on a paper towel.

Illustration MASKING Illustration

Another popular technique for creating white space in alcohol ink paintings is masking. Masking (or “resist”) refers to blocking a surface to protect it from the ink, then unmasking it to reveal the original color. These masked areas can be left unpainted or can have other ink colors applied to them. There are several tools that can be used to mask off areas when using alcohol inks. We’ve included four different masking methods, using five different materials. If you’re unsure which method and material to use, check the following quick reference chart for guidance:

COMPARING MASKING METHODS

Method 1: Using Frisket Film or Contact Paper

Frisket film is a clear acetate film with a low-tack backing suitable for temporary adhesion. It does not leave a residue and, if applied carefully, the alcohol ink will not bleed under it. Contact paper is a less expensive alternative, but it won’t create lines that are as clean and sharp as those created with frisket film. Both materials can be cut into shapes and applied to your surface to mask areas you want to keep free of ink. When applying these materials to your surface, be sure to run your finger around the edges to ensure you have good contact so that the inks can’t bleed underneath.

Adhesive masking tools allow you to block out an area to retain the base color.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Olive Green (Ranger’s Tim Holtz Willow)

-   Pink (Ranger’s Tim Holtz Pink Sherbet)

-   Green (Ranger’s Tim Holtz Lettuce)

•   4" x 4" (10.2 x 10.2cm) Ceramic Tile

•   91% or 99% Isopropyl Alcohol

•   Cotton Ball

•   Contact Paper or Frisket Film

•   Scissors

•   Tweezers

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Clean the ceramic tile with isopropyl alcohol and a cotton ball. Wait a few seconds to be sure that the tile is dry.

2. Cut your desired shape (we used the cat silhouette template here) from the contact paper or frisket film. Separate the contact paper from the backing and place the image sticky side down on top of the ceramic tile.

3. Use a clean cotton ball to press the contact paper down, making sure to firmly press all the edges so the ink won’t bleed underneath.

4. Shake the olive green, pink, and green inks across the tile (one color at a time). You do not need to avoid the contact paper since it will be discarded at the end.

5. Lightly press the inks with a cotton ball to blend the colors and create a light background.

6. Shake more green ink onto the bottom section of the tile, then add olive green ink on top of the green ink to mingle the colors.

7. Shake more pink ink onto the top section of the tile.

8. Lightly blow air across the ink from the bottom to the top to blend the colors and dry the ink faster.

9. Once your tile is completely dry, peel off the contact paper. Use scissors or tweezers to lift up the edge of the paper. Once the contact paper is removed, you can leave the cat white or paint the masked cat with another color.

Method 2: Using Masking Fluid and a Brush

Masking fluid is a wonderful solution for masking smaller areas and edges. You can apply masking fluid with a brush or silicone-tip tool, covering up the areas you want to resist the ink. Once it’s applied, you must allow the fluid time to dry. This drying time will depend on how thick you apply the masking fluid and the humidity level in your area. You can test this by tapping your finger on the surface to see if any of the fluid sticks to your finger. When the masking fluid is dry, it acts sort of like rubber cement and can be removed by rubbing your finger or a rubber cement remover over the fluid. Once this pressure is applied, the dried fluid will begin to rub away, revealing the masked area. Always make sure your ink layer has dried completely before removing masking fluid.

Paint masking fluid around an area you want to color in to protect the pieces you want to remain uncolored.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Red-Brown (Ranger’s Tim Holtz Rust)

-   Light Brown (Ranger’s Tim Holtz Ginger)

-   Dark Brown (Ranger’s Tim Holtz Teakwood)

-   Yellow-Orange (Ranger’s Tim Holtz Butterscotch)

•   ¼ White Synthetic Paper Sheet

•   Tape

•   Paper Towel

•   Carbon Paper

•   Template

•   Pen

•   Liquid Masking Fluid (Pebeo® Drawing Gum)

•   Round or Flat Paintbrushes

•   Soap

•   Welled Palette

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Place a piece of synthetic paper on top of a paper towel. Place the carbon paper carbon side down on top of the synthetic paper. Place the template (we used the cat silhouette template here) on top of the carbon paper, making sure it lines up with the synthetic paper.

2. Trace the image of the cat onto the synthetic paper by following the template lines with your pen. Then remove the template and carbon paper.

3. Cover the paintbrush thoroughly with soap to protect the bristles.

4. Use the protected paintbrush to carefully apply the masking fluid to everything except the cat. Don’t worry about how smoothly you apply the masking fluid, just be sure everything you want to resist the ink is covered. Wait for the masking fluid to dry.

5. Drip the four alcohol ink colors into different wells on the welled palette. Dip a clean paintbrush into the red-brown alcohol ink. Dab the ink inside the cat by pressing the brush down and then lifting up, using this technique to fill the cat’s body. Don’t worry about dabbing ink onto the masking fluid since it will be removed at the end.

6. Dip your brush into the light brown alcohol ink and dab the ink throughout the cat’s body.

7. Dip your brush into the dark brown alcohol ink and dab the ink along the left edge of the cat and along the cat’s tail to create shading.

8. Dip your brush into the yellow-brown alcohol ink and dab the ink along the right side of the cat and blending into the cat’s tail to create the feeling of light shining on that side of the body. Continue to dab the inks until the cat’s body is completely filled in.

9. Let your painting dry completely. Use one hand to hold the paper steady and gently rub your finger on the masking fluid. You will feel the masking fluid lift up (it is similar to rubber cement). Continue to remove the masking fluid being extra careful around the edges of the cat. You can use masking tape or other removal tools as needed.

Masking Fluid Removal Tools

Silicone-tip tools with pointed ends are great alternatives to brushes for applying and lifting masking fluid. You can easily remove dried masking fluid from the tool. Masking fluid pickups, which are flat pieces made of dried rubber cement, and masking tape can also be used to lift up masking fluid.

Method 3: Using a Masking Pen

Masking pens are precision tools containing masking fluid that allow artists to make resist drawings with consistent and easily controlled line widths. Be sure to clean your masking pen thoroughly after each use. The drying time with a masking pen is much less than that with painted masking fluid. They work best when used to mask smaller areas.

Masking pens contain masking fluid, allowing artists to create precise resists.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Fuchsia (Ranger’s Tim Holtz Fiesta)

-   Purple (Ranger’s Tim Holtz Amethyst)

•   White Synthetic Paper Sheet

•   Paper Towel

•   Masking Pen (Pebeo Drawing Gum Marker)

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Remove the cap from the masking pen and press the top against the paper towel until the blue masking fluid is dispensed.

2. Place the synthetic paper on the paper towel and use the masking pen to write words or draw images on top (we wrote “alcohol INK,” but you can write the words or draw the images you prefer).

3. Drip fuchsia alcohol ink onto the paper.

4. Drip purple alcohol ink onto the paper.

5. Tilt the paper to the left and right to allow the ink to flow.

6. Once the ink is dry, use your finger to gently rub the masking fluid off to reveal the masked area.

7. Once you’ve removed all the masking pen from the sheet, tap the edge of the paper on your work surface to remove any remaining debris.

Method 4: Masking with Tape

If you don’t have one of the other masking options mentioned above, you can use clear tape or masking tape. Test your tape first before diving into a full project—not all tapes will resist the ink, and many will allow bleeding. Because you need to pretest it, tape is not the best solution, but it will work in a pinch. We’ve had great luck with clear Scotch® Magic™ Tape, but only when masking out square areas or straight lines.

Masking tape is useful for creating stripes and other geometric designs around the more fluid color blooms of your alcohol inks.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Purple (T-Rex’s Amethyst Purple)

-   Teal (T-Rex’s Tidal Teal)

•   White Synthetic Paper Sheet

•   Paper Towel

•   Masking Tape (Scotch Magic Tape)

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Place a piece of synthetic paper on top of a paper towel and paint it as desired with the purple alcohol ink. Allow it to dry completely. Once the ink has dried, tear off and apply Scotch tape to mask the areas you’ve chosen. Press down on the tape with your finger to ensure it is fully adhered to the background.

2. Drip the teal alcohol ink on top of the piece.

3. Add isopropyl alcohol or alcohol blending solution and tilt the paper to the left and right to allow the ink to flow. Add more ink if required.

4. Allow the ink to dry completely. Begin gently removing the tape, starting at the edge and pulling in one direction. Pulling slowly will help prevent the tape from ripping. Removing the tape will reveal the original masked layer.

Illustration BRUSH PAINTING AND EVAPORATION Illustration

Paintbrushes allow artists to play with an interesting aspect of using alcohol ink—the alcohol goes through various stages of evaporation, changing the color of the ink. When you first pour alcohol ink, it moves around freely. As the alcohol evaporates, the ink left behind is more concentrated. The more concentrated the ink, the darker the ink appears. Additionally, the more the alcohol evaporates, the thicker the ink gets. With less fluid in the ink, you can control the ink and use it to paint finer details without it blooming out of control.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Yellow (Ranger’s Tim Holtz Lemonade)

-   Green (Ranger’s Tim Holtz Meadow)

-   Blue (Ranger’s Tim Holtz Sailboat Blue)

•   ¼ White Synthetic Paper Sheet

•   Paper Towel

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   Welled Palette

•   Cotton Balls

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Place a piece of synthetic paper on top of a paper towel. Place three or four drops of each ink color in wells in the welled palette.

2. Dip the paintbrush in the wet yellow alcohol ink and paint a line. Clean the paintbrush and repeat with the green alcohol ink. Clean the paintbrush and repeat with the blue alcohol ink. Clean the paintbrush. (You want to clean the paintbrush before applying each color to avoid introducing more alcohol into the next color.)

3. You will notice that the ink in the welled palette will start to form beads around the edges. This is where the alcohol has started to evaporate.

4. Repeat step 2, this time dipping your paintbrush into the beads of concentrated ink around the edges rather than the wet ink in the center. The lines painted with the evaporated ink are thinner and the evaporated ink does not spread as much as the fresh ink did.

5. Eventually all the alcohol will evaporate, leaving only the dye behind.

6. You can still paint with this dye. Put a bit of isopropyl alcohol on your brush. Swirl the brush in the well with the evaporated ink and the alcohol will reactivate the ink. The lines on the bottom of this paper have been painted with the reactivated ink. The color is much more concentrated and darker.

Illustration PUSH AND GLIDE PAINTING Illustration

Use a paintbrush to maneuver the alcohol ink to fill a specific space (rather than allowing it to naturally flow). You’ll use the base flower image to learn the Layering Inks technique here.

Push and glide painting allows you to control exactly where alcohol ink flows. You push the ink close to your edges, then allow the ink to naturally spread right up to the line.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Yellow (Ranger’s Tim Holtz Dandelion)

-   Yellow-Orange (Ranger’s Tim Holtz Butterscotch)

-   Mustard Yellow (Ranger’s Tim Holtz Honeycomb)

-   Pale Orange (Ranger’s Tim Holtz Sunset Orange)

-   Coral (Ranger’s Tim Holtz Coral)

-   Dark Pink (Ranger’s Tim Holtz Watermelon)

•   ¼ White Synthetic Paper Sheet

•   Paper Towel

•   Tape

•   Carbon Paper

•   Pen

•   Welled Palette

•   Small Round Brush (#3 or #4)

•   Cotton Ball

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Place a piece of synthetic paper on top of a paper towel. Place the carbon paper carbon side down on top of the synthetic paper. Place the template (see page 138) on top of the carbon paper, making sure it lines up with the synthetic paper.

2. Trace the image of the flower onto the synthetic paper by following the template lines with your pen. Then remove the template and carbon paper.

3. Place the yellow ink into the welled palette. Dip your paintbrush into the yellow ink and paint one of the flower petals, leaving room between the ink and the traced edges. Fill in the petal, watching as the ink spreads to the edges. Gently push the ink as needed from the center to the outer edges of the petal. Clean your paintbrush.

4. Repeat step 3 with the yellow-orange alcohol ink. Note that the Butterscotch alcohol ink we used for this petal spreads less than the Dandelion alcohol ink we used for the first petal. This is because the Butterscotch alcohol ink contains less alcohol.

5. Repeat step 3 with the remaining colors, filling each consecutive petal with one of the alcohol ink colors: mustard yellow, pale orange, coral, and dark pink.

6. Dip your brush in the dark pink alcohol ink and gently dab ink into the center of the flower.

7. Repeat step 6 with the pale orange alcohol ink.

8. Add more dark pink alcohol ink dabs on top of the pale orange dabs to fill the center of the flower. Save this project and use it to learn how to layer (see Layering Inks here).

Illustration LAYERING INKS Illustration

Since alcohol inks are translucent, you can add layers of color to build new colors and create different wash effects. You’ll use your flower painting from the Push and Glide Painting technique here to explore how layering affects alcohol inks.

Layering can create subtle changes or dramatic color shifts, depending on the look you’re going for.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Yellow (Ranger’s Tim Holtz Dandelion)

-   Yellow-Orange (Ranger’s Tim Holtz Butterscotch)

-   Mustard Yellow (Ranger’s Tim Holtz Honeycomb)

-   Pale Orange (Ranger’s Tim Holtz Sunset Orange)

-   Coral (Ranger’s Tim Holtz Coral)

-   Dark Pink (Ranger’s Tim Holtz Watermelon)

•   ¼ White Synthetic Paper Sheet

•   Paper Towel

•   Welled Palette

•   Small Round Brush (#3 or #4)

•   Cotton Ball

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Begin with the painting you created in the Push and Glide lesson here. Make sure it is completely dry. Number the petals from 1 to 6, starting with the yellow petal.

2. Add more yellow ink to your welled palette. Dip your brush into the yellow ink and layer it on top of petal #6. The color should change from dark pink to orange because the dark pink layer below is now being viewed through the yellow layer. Clean the paintbrush by dipping it in the isopropyl alcohol and wiping it clean on the paper towel.

3. Add more pale orange ink to your welled palette. Dip your brush in the pale orange ink and layer it on top of petal #1. The color should change from yellow to light orange. Clean the paintbrush.

4. Add more coral ink to your welled palette. Dip your brush in the coral ink and layer it on top of petal #2. The color should change from yellow-orange to dark orange. Clean the paintbrush.

5. Add more yellow ink to your welled palette. Dip your brush in the yellow ink and layer it on top of petal #3. The color should change from mustard yellow to bright yellow. Clean the paintbrush.

6. Add more coral ink to your welled palette. Dip your brush in the coral ink and layer it on top of petal #5. The color should become more intense because you’ve layered coral on top of coral. Clean the paintbrush.

7. Add more dark pink ink to your welled palette. Dip your brush in the dark pink ink and layer it on top of petal #4. The color should change from pale orange to light red. Clean the paintbrush.

8. Dip your brush in the yellow ink that has evaporated and beaded up in the palette.

9. Dab the concentrated yellow ink onto the flower’s center.

Illustration STIPPLING Illustration

Stippling uses dots of ink to create contrast, light, and form. The placement and size of the dots (close together, far apart, in various sizes) create the detail and shading in an image. The denser the dots, the darker the shade. Stippling is like pointillism, which uses ink dots in different colors and volumes to depict depth and affect the perceived color. Try stippling by adding alcohol ink to small round brushes or stippling brushes and applying dots to your surface. Or use markers in different nib sizes to create the dots. Nail-art dotting tools, pointed cotton swabs, and other small, pointed tools dipped in alcohol ink are also good options for creating stippling in your art.

MATERIALS AND SUPPLIES

•   Alcohol Inks in your chosen color (Ranger’s Tim Holtz Sailboat Blue)

•   White Synthetic Paper sheet

•   Black Fine-Tip Marker

•   Welled Palette

•   Small Round Paintbrush

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

Flower in Vase by Laurie “Trumpet” Williams was created with stippling layered on top of a single-color wash.

Flower with the Stippled Center by Kimberly Langlois combines delicate blown-ink effects with stippling to create a realistic flower.

1. Draw a circle and select a point as your light source.

2. Drop your chosen ink color into your welled palette and allow the alcohol to evaporate. The ink should have a thicker paint-like consistency (if the ink is too wet, it will bloom). Use a small round brush to begin adding dots of ink on the side of the circle that is opposite to the point you’ve chosen as your light source.

3. Continue adding dots around the edge of the circle, creating a crescent shape. Continue making dots, moving toward the point you’ve chosen as your light source. The dots should be close together at the points farthest away from the light source, but as you move toward the light source, the dots should become smaller and be farther apart.

4. As you fill in the circle, you will see that the stippling has created the impression of dimension and depth. The circle is now a sphere.

Illustration CREATING TEXTURE Illustration

Creating texture is not so much a single technique as it is a variety of techniques based on using unusual tools or using standard tools in unusual ways. Because there’s no one technique for creating texture, we’ve included a few examples of ways to use your tools rather than a single step-by-step process.

Dip a cotton swab into a bit of ink, then use it to layer ink dabs onto your surface. The more fluid the alcohol ink, the farther the dots will move.

Use plastic coffee stirrers held parallel to the surface to move the inks around. You can create great sun rays by keeping one end of the coffee stirrer still and gently rolling the other end to push the ink.

Dip a toothbrush into a bit of ink and slowly drag your thumb across the bristles to spray small droplets of ink onto a surface.

Pour ink on a surface, then use an old gift card to scrape and push the inks. The colors will blend, and you’ll create a striped texture.

Use a mini mister or spray bottle filled with isopropyl alcohol to spritz a fine mist onto your paintings. The farther away you are from the painting, the smaller the droplets will be.

Nozzle apply ink onto the felt of an alcohol ink applicator (see here) and then dab it onto the paper. The resulting textures are very good for giving the impression of leaves in trees.

Dip a fan brush into some and gently stroke the ink onto the paper to create fun lines and plant-like shapes.

Drop different ink colors onto a surface, then lay a piece of plastic wrap on top and “scrunch” the plastic wrap to create patterns. Allow the piece to dry overnight, then remove the plastic wrap to reveal amazing textures.

Apply two or three colors of ink onto one side of a foam brush, then drag it across your surface to create a blended gradient.

Dip crumpled wax paper into ink and dab it onto your surface. The resulting texture is another one that works great for creating leaves on trees or bushes.

ABSTRACT DRIP DOODLES AND TRADITIONAL DOODLES

Like creating texture, incorporating doodles is not a single technique, but rather a group of techniques based on using different pens and drawing styles. Doodling is so freeing, it’s one of the fastest tools for breaking through creator’s block. Just sit down with a “failed” painting or a blank slate and start making marks. Before you know it, you’re creating something fun and whimsical. There are multiple ways you can doodle with alcohol ink, so we’ve again included a few examples rather than a single step-by-step process.

The following examples show two different kinds of doodles. Abstract “drip doodles” are created by dropping small drops of alcohol, alcohol blending solution, or alcohol inks onto existing ink (causing it to activate, displace, and create concentric circles). In “traditional doodles,” pens or markers are used to draw shapes and outlines on top of dried alcohol ink. You can also “doodle” with alcohol ink on a brush much like you’d doodle with a pen or marker.

Use brushes with ink or marker to simply make marks with no definite goal in mind. A limited color palette will create the best results when you’re doodling with ink, and you’ll want to use your knowledge of color theory to avoid creating mud. Primary colors are a great starting point.

Doodle by dropping ink on top of a bottom layer of ink. You will achieve different results depending on how wet the bottom layer is. This creates large blooms if the bottom layer is wet or small circles if the bottom layer is dry.

Use a contrasting white or black paint pen to add traditional doodle designs on top of thoroughly dry ink paintings.

Bonus Technique: Painting with Alcohol Ink Markers

Alcohol ink markers dry more quickly than bottled alcohol inks, but they often allow for more precision. You can still easily blend colors but can add finer details that can be difficult to achieve with “juicier” inks. Try painting this simple pear image a few times to practice working with markers.

Practice blending with alcohol ink markers and create this quick, colorful pear.

MATERIALS AND SUPPLIES

•   Alcohol Ink Markers in the following colors:

-   Bright Green (Shuttle Art 46 Vivid Green)

-   Emerald Green (Shuttle Art 55 Emerald Green)

-   Pistachio Green (Copic G43 Pistachio)

-   Pale Yellow (Shuttle Art 45 Canaria Yellow)

-   Dark Yellow (Copic Y19 Napoli Yellow)

-   Yellow (Copic Y13 Lemon Yellow)

-   Orange (Shuttle Art 23 Orange)

-   Tan (Copic E84 Khaki)

-   Brown (Copic E89 Pecan)

•   ¼ White Synthetic Paper Sheet

•   Artist’s Tape or Masking Tape

•   Reference Image (see page 138)

•   Carbon Paper

•   Pen

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Tape down the upper corners of the white synthetic paper to hold it still. Place the reference photo on top of the paper, lining up the image over the center of the paper. Tape down the upper corners of the printed image. Slide the carbon paper between the reference image and the paper with the carbon side down.

2. Use a pen to trace the outside of the image. Also trace the center vein in the leaves.

3. Remove the carbon paper and the reference image to reveal the traced image.

4. Use the chisel nib on the bright green marker to paint almost the entire outline of the pear.

5. Use the brush nib on the emerald green marker to blend with the bright green on the left edge of the pear.

6. Use the brush nib of the pistachio green marker to add light green to the right edge of the pear.

7. Use the chisel nib of the pale yellow marker to fill in the upper left and center and to add more color to the right side of the pear.

8. Use the brush nib of the dark yellow marker to create a highlighted area in the center and right side of the pear.

9. Use the brush nib of the yellow marker to expand and blend the colors, leaving a white oval area near the top to highlight the curve of the pear.

10. Use the chisel end of the orange marker to round out the left side of the pear and use the brush nib of the emerald green marker to darken the green areas.

11. Use the chisel nib of the yellow marker to blend the colors in the center of the pear.

12. Use the brush nib of the tan marker to fill in the stem and the brush nib of the brown marker to accentuate the stem’s outside edges.

13. Use the chisel nib of the emerald green marker to fill in the leaves. Notice that this ink is “juicier” and spreads a bit more than the others.

14. Use the brush nib of the pistachio green marker to paint in the veins on the leaves. The light green will lift some of the ink from the emerald green.

PROJECTS

Every artist has a different approach and style, so we’ve compiled 17 projects from some of the most talented alcohol ink artists and instructors around to get you started on the path to discovering your own style. These artists are active creative contributors to the Alcohol Ink Art Community who’ve generously shared their own expertise and experience. We invite you to get involved, as well—learn, create, and share your own alcohol ink art in the Alcohol Ink Art Community at https://alcoholink.community. We also encourage you to visit the CreateSmART Academy at https://createsmart.academy to explore lessons from alcohol ink artists and regular live paint-along courses.

The Magical Cottage Garden project here combines almost all of the techniques in the book to create a scene that’s bursting with energy and life. Pouring, marker and brush blending, lifting, and more help create the variety of floral elements that build this lush, joyful scene.

SERENE MOUNTAIN LANDSCAPE

by Andrea Patton, https://apatton.faso.com

The natural flow, smooth blending, and dark evaporated edges of the alcohol inks perfectly convey the rolling hills, craggy mountains, and clear skies of a gorgeous nature-inspired landscape.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Blue (Ranger’s Tim Holtz Glacier Blue)

-   Light Blue (Ranger’s Tim Holtz Sailboat Blue)

-   Yellow (Ranger’s Tim Holtz Sunshine Yellow)

-   Red-Brown (Ranger’s Tim Holtz Rust)

-   Brown (Ranger’s Tim Holtz Hazelnut)

-   Yellow-Orange (Ranger’s Tim Holtz Butterscotch)

-   Green (Ranger’s Tim Holtz Bottle)

•   Alcohol Blending Solution

•   Paintbrushes

-   Size 2 Round

-   Size 4 Round

-   Size 6 Flat

•   9" x 6" (22.9 x 15.2cm) White Synthetic Paper Sheet (NARA)

•   Pencil

•   Welled Palette

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

Andrea started with this photo as her inspiration for this approachable painted alcohol ink landscape.

1. Sketch a mountain and horizon lines in pencil on the white synthetic paper.

2. Apply several drops of each color into individual wells in the welled palette.

3. Nozzle apply alcohol blending solution to the sky area.

4. Nozzle apply both blue alcohol inks to the sky area.

5. Use the size 6 flat brush to blend and spread the blue inks to create the sky. Remember to clean your brushes as needed between each color.

6. Use the size 4 round brush to paint yellow accents in the foreground.

7. Use the size 4 round brush to mix the red-brown and brown alcohol inks to create a dark brown and paint in the tops of the mountains. Clean the brush.

8. Use the size 4 round brush to fill in the land with the yellow, yellow-orange, green, red-brown, and brown alcohol inks.

9. Use the size 4 round brush to paint yellow ink in the water area. This will create a light base for the grasses. Nozzle apply alcohol blending solution to the water area.

10. Use the size 6 flat brush to add both blue inks to the water area. Blend them with the alcohol blending solution to create the water.

11. Use the size 2 round brush to paint short upward grass strokes of the green, red-brown, and brown inks in the grassy patch in the water and in the foreground to the left of the water.

SEASCAPE SILHOUETTE

by Kellie Chasse, https://www.kelliechassefineart.com

Alcohol inks work perfectly to mimic the vibrant colors of a summer sunset reflected in the sea. If you let your black alcohol ink dry and evaporate a bit in the welled palette, you can paint finer details without the ink blooming as much. Add a feeling of distance by painting some background trees with wetter ink so they spread more than those in the foreground.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Orange (T-Rex’s Bellini Orange)

-   Bright Pink (T-Rex’s Dragonfruit Pink)

-   Blue (Glacier Blue)

-   Black (T-Rex’s Space Black)

•   5" x 8" (12.7 x 20.32cm) Alcohol Ink Art Panel (Masterpiece®)

•   Alcohol Blending Solution

•   91% or 99% Isopropyl Alcohol

•   Paper Towels

•   Paintbrushes

-   Small Flat

-   Small Round

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Apply a small line of orange alcohol ink across the middle of the art panel. Add a line of alcohol blending solution on top of the ink. Be sure to extend the lines of ink and alcohol blending solution all the way to the edges of the panel. Use the flat paintbrush to spread the ink. Remember to clean your brushes as needed between each color.

2. Apply lines of pink alcohol ink above and below the orange. Gently tilt the panel to the left and then to the right to allow the colors to blend.

3. While the panel is still wet, cover the remaining areas by adding lines of blue ink above and below the pink.

4. Continue to tilt the panel to the left and to the right to let the colors blend and create some purple in between. Make sure to avoid completely mixing the colors together. Use the flat brush to help spread the inks. Add more pink alcohol ink, if needed.

5. Let the background dry for about 5 minutes (but do not dry completely). Add a very small amount of black ink to the welled palette and let it sit for about 1–2 minutes. Use the small round brush to carefully apply a line of black and make sure that it does not bloom into your sky too much (the inks will still move a little). Use the small round brush and the black ink to paint in background trees and a line of land.

6. Let the painting dry completely, then add a second layer of trees. Continue painting in islands and rocks below the trees. If the black ink becomes too dry, add a very small amount of ink or isopropyl alcohol to the well to reactivate the ink in the palette.

7. Paint in the larger foreground rocks.

PRETTY PALM

by Teri Jones, https://terijones.com

This painting combines a few alcohol ink techniques to create a vibrant tropical scene. Practice nozzle application, brush painting, lifting, and even some splattering to create the wild bougainvillea blooms. You’ll add the final touches with a white gel pen and black marker once your piece has dried.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Blue (Ranger’s Tim Holtz Sailboat Blue)

-   Teal (Ranger’s Tim Holtz Mermaid)

-   Light Teal (Ranger’s Tim Holtz Pool)

-   Purple (Ranger’s Tim Holtz Wild Plum)

-   Fuchsia (Ranger’s Tim Holtz Fiesta)

-   Green (Ranger’s Tim Holtz Botanical)

-   Yellow-Green (Ranger’s Tim Holtz Limeade)

-   Periwinkle (Ranger’s Tim Holtz Cool Peri)

-   Tan (Ranger’s Tim Holtz Sandal)

-   Yellow (Ranger’s Tim Holtz Sunshine Yellow)

-   Brown (Ranger’s Tim Holtz Teakwood)

•   5" x 7" (12.7 x 17.8cm) White Synthetic Paper Sheet (Dura-Bright)

•   91% or 99% Isopropyl Alcohol

•   Coffee Stirrer

•   Small Round Paintbrush

•   Welled Palette

•   Cotton Swabs, Alcohol Blending Pen, or Fantastix

•   Paper Towels

•   White Gel Pen

•   Black Marker

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Clean the paper with isopropyl alcohol. Nozzle apply light teal ink near the center of the paper (the horizon of the painting), nozzle apply both the light teal and blue inks above that, and then blue ink at the top of the page.

2. Use a coffee stirrer to gently muddle the colors together, working from the horizon to the top of the paper. Let the inks dry completely.

3. Turn the paper so it is set on the table at about a 30-degree angle. Begin to add the ocean at the horizon line. Nozzle apply blue ink, then teal ink below that, and then light teal ink below that. Use a small round paintbrush or coffee stirrer to move the inks so they mimic ocean waves. Keep the lines parallel to the horizon line but be sure to create a gentle curve for the beach in the foreground. Let the inks dry completely. Remember to clean your brushes as needed between each color.

4. Lift the paper perpendicular to the table. Add a line of tan ink about 1/3" (2.5cm) below the ocean edge. Then add a line of periwinkle ink. Allow both colors to mingle together and flow to the bottom of the page. Use a small round paintbrush to add another line of Cool Peri ink at the top of this beach section, keeping a thin line of white between the water and the beach. Lay the piece flat and let the inks dry completely.

5. Use a cotton swab, Fantastix, or alcohol blending pen to lift a line of ink to form the palm tree’s trunk. Use a small round paintbrush with the yellow or yellow-green inks to make several curving lines to form the center ribs of each palm frond. Starting with the bottom fronds, add the leaves in a small curve, repeating as you move up the tree.

6. Tear paper towels and place them over your painting to protect the sky, tree, and right side of the beach. Dip a paintbrush in the purple ink and tap the paintbrush against a pen to splatter the ink on the exposed corner of the painting to begin forming a bougainvillea bush. Try to direct the splatters to mimic how bougainvillea grows. Allow the ink to dry. Then repeat with the fuchsia ink. Splash with a small amount of isopropyl alcohol, then let the inks dry completely.

7. Paint the bush below the bougainvillea with green ink. Add a few branches reaching up through the flower blooms. Use blue ink to paint textured shadows behind the bush and to add some roots, branches, and a shadow along the beach.

8. Use brown ink to paint in the palm tree’s trunk, creating a three-dimensional look by keeping the trunk lighter on the right edge and darker on the left edge. You can also add a bit of brown in the lower part of the palm fronds to give the appearance of shadows. Make small circles with isopropyl alcohol along the surf line to soften it. Use isopropyl alcohol and a paper towel to lift some of the sky ink to make a small round sun.

9. Use the white gel pen to add sailboats, reflections, wavelets, and small white accents in the bougainvillea. Use the black marker to add small details and sign your name.

SUNSET BIRD

by Sheryl Williams, https://sherylwilliamsart.com

Use a blend of alcohol inks in a similar color family to create a vibrant background for a silhouette. The finished piece is colorful but also simple and elegant.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Red (Ranger’s Tim Holtz Crimson)

-   Yellow (Ranger’s Tim Holtz Dandelion)

-   Mustard Yellow (Ranger’s Tim Holtz Honeycomb)

-   Orange (Ranger’s Tim Holtz Sunset Orange)

-   Purple (Ranger’s Tim Holtz Wild Plum)

•   Dark Gray Fine-Tip Marker (Marvy® Uchida Le Pen)

•   Black Marker (Sharpie®)

•   91% or 99% Isopropyl Alcohol

•   9" x 12" (22.9 x 30.5cm) Synthetic Paper Sheet (Yupo)

•   Artist’s Tape or Masking Tape

•   Carbon Paper

•   Ballpoint Pen

•   Paper Towels

•   Cotton Swabs

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Place the Yupo paper on top of a paper towel. Place the carbon paper carbon side down on top of the Yupo paper. Place the template (see page 140) on top of the carbon paper, making sure it lines up with the Yupo paper. Trace the image of the bird and branch onto the Yupo paper by following the template lines with your pen. Then remove the template and carbon paper.

2. Use the dark gray marker to trace and darken the image outline, working from left to right (or from right to left if you are left-handed) to avoid smearing the ink.

3. Coat the surface of the Yupo paper with isopropyl alcohol. Nozzle apply the purple alcohol ink across the area between the top edge of the paper and the tops of the branches. Extend the ink all the way to both side edges of the paper.

4. Nozzle apply the remaining colors in the same way, working down the paper one color at a time: red ink below the purple ink, orange ink next, then yellow ink, and finally mustard yellow ink at the bottom.

5. Lift the Yupo paper and gently tilt it to the left until the left side of the paper is covered in ink. Then tilt the paper to the right to cover the right side and allow the excess ink to flow off the paper onto the paper towel.

6. The Yupo paper should be completely covered with ink. Add more ink and tilt the paper as needed. You can also add more isopropyl alcohol to help the ink spread. Allow the inks to dry completely, then fill in the bird and branch outline with the black marker to create a solid black silhouette.

DANCING BIRCH TREES

by Teresa K. Brown, https://www.tkbrownart.com

Applying alcohol ink along the edge of a palette knife and then pushing the knife across a surface creates a bark-like texture perfect for mimicking the haunting beauty of a stand of birch trees. The rough, sketchy feel of this piece makes it feel organic and natural.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Light Gray-Brown or Dark Gray-Brown (Ranger’s Tim Holtz Pebble or Mushroom)

-   Black (Ranger’s Tim Holtz Pitch Black)

•   Black Fine-Tip Marker

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   5" x 7" (12.7 x 17.8cm) White Synthetic Paper Sheet

•   Paper Towels

•   Palette Knife (if using NARA paper, use plastic rather than metal—metal will create marks)

•   Wax Paper or Plastic Wrap (optional)

•   Paintbrush (optional)

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Put isopropyl alcohol on the paper and add the graybrown ink to the paper. Tilt the paper from side to side to create a smooth background or use your palette knife to spread the ink around. Remember to clean the palette knife as needed between each color.

2. Shake the Snow Cap Mixative well until you hear the ball move in the bottle. Add the Snow Cap Mixative to the back of the palette knife as shown.

3. Use the knife to apply the Snow Cap Mixative to the paper, working from the bottom of the page to the top to create white tree trunks. Create a few trunks on the page, making sure they aren’t all straight and uniform.

4. Add a small amount of black ink to the edge of your palette knife and tilt the knife back and forth to distribute the ink along the edge. Let the alcohol in the ink evaporate just a bit.

5. Use short motions to push the ink from the edges toward the centers of the trees.

6. Add these “stripes” along the trunks on all the trees. The goal is to create a birch bark pattern with the knife and the illusion of roundness. Don’t be too concerned about keeping things straight or staying in the lines. Any “mistakes” will make your trees look more natural.

7. Add smaller, lighter background trees by creating the same birch bark shapes in the blank parts of the background (the center tree in this example is a background tree). Use the black marker to draw tree limbs, placing them in front of and behind the trees to add dimension.

8. Use one of the following methods to add leaves to the top of the trees. Method 1 (shown on left): wad up a piece of wax paper or plastic wrap and add gray-brown alcohol ink on top. Dab the color at the top of the trees to create leaves. Method 2 (shown on right): Dip a paintbrush in isopropyl alcohol and hold it above the paper. Tap a marker or similar item against the brush to splatter the top of the trees with the isopropyl alcohol to create leaves.

WISPY ETHEREAL AMETHYST

by Laurie “Trumpet” Williams, https://trumpetart.com

The ethereal process takes practice and patience to perfect, but once you have the hang of it, you can create an infinite amount of beautiful art. It’s a minimalist technique since it only requires a substrate, some isopropyl alcohol or alcohol blending solution, a small amount of colored ink, and a small amount of metallic ink. This project shows you one of the many methods for making ethereal art, but there are several ways to achieve this effect. Experiment with this project and the different techniques to discover the process that works best for you.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Purple (Jacquard’s Piñata Color Passion Purple)

-   Gold Metallic (Jacquard’s Piñata Color Rich Gold Metallic)

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   Bottle with Small Nozzle (to hold isopropyl alcohol)

•   Hairbrush Dryer (with brush detached)

•   Photo Paper (back side)

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Apply a small pool of isopropyl alcohol to the photo paper. Add a drop or two of the purple alcohol ink to the isopropyl alcohol. Then add a single drop of the gold metallic ink on top of that.

2. Turn the hairbrush dryer to the lowest setting and blow the ink gently in one direction until you are happy with the appearance, or it stops moving on its own. The metallic ink will move with the purple ink and isopropyl alcohol. It should gather and create ridges at the edges of the dried areas. Once you are happy with the ink coverage in one direction, move the hair dryer and blow the ink back over itself in the opposite direction. Switch sides a few times and blow air over the ink from different directions until the ink is completely dry.

3. Choose your focal point (this is normally based on the original pool of ink, but not always).

4. Add an additional drop of isopropyl alcohol, followed by another drop of purple ink and another drop of gold metallic ink.

5. Repeat step 2, moving the ink with the hair dryer. Continue to add drops of purple and metallic ink or isopropyl alcohol to reactivate areas as needed until you are satisfied with the results. Your piece will look different from the finished piece shown since it is impossible to exactly replicate the same wispy ethereal effects every time.

TROPICAL FLOWER DOODLES

by Beth Kluth, https://www.inkartbybethkluth.com

This simple floral piece makes use of alcohol ink color blending and blooming to form beautiful petal and leaf shapes, then layers loose doodled shapes on top to create a modern, whimsical piece.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Dark Green (Jacquard’s Piñata Color Rainforest Green)

-   Bright Yellow (Jacquard’s Piñata Color Sunbright Yellow)

-   Orange, Pink, or Red (Jacquard’s Piñata Color Calabaza Orange)

•   White Synthetic Paper Sheet

•   Paintbrush

•   Welled Palette

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   Black and White Paint Pens

•   Black Fine-Tip and Ultrafine-Tip Markers

•   Paper Towels

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Dip the paintbrush in orange, pink, or red ink and paint five to six petals. Use the paintbrush to push the ink and widen each petal a bit. Fill some of the remaining white space with small dots of color—these will be smaller flowers. Remember to clean your brushes as needed between each color.

2. Dip the paintbrush in the bright yellow ink and paint inside each petal on the two main flowers. Let the ink spread.

3. Place a drop of bright yellow ink in each petal on the two main flowers to create a more intense yellow color.

4. Dip the paintbrush in the dark green ink and paint several oval leaves around the flowers.

5. Add very small dots of dark green ink to the center of the two main flowers.

6. Add some isopropyl alcohol or alcohol blending solution to each leaf. Let everything dry completely.

7. Use the black paint pen to outline each petal of the two main flowers. You can be as precise or loose as you like. Draw lines with dots on the end coming out of the dark centers (to create the stamen where the pollen is held).

8. Use the fine-tip marker to create loose lines from the center of the flower to the edge of each petal.

9. Use the white paint pen to add small dots on the dark centers of the main flowers. Use the white or black paint pen (or both) to draw swirls or squiggles in the centers of the small flowers.

10. Use the white paint pen to loosely outline the leaves. Draw a stem line down the center and add various designs to the leaves. Try alternating half-circles or draw miniature leaves on each side of the centerline.

STAR-STUDDED NEBULA

by Serena Webber, https://www.serenawebber.com

This is a very forgiving project! You can use any brand of alcohol ink you want, and whatever bright colors you want. Search the internet for images of “nebulas” and you’ll find a range of colors including red, blue, pink, purple, and green. Once you’ve tried the tools shown here, get creative and try other items you have on hand as tools to splatter the stars onto your piece—you’ll discover the one that best matches your style!

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Black (Jacquard’s Piñata Color in Mantilla Black)

-   Blue (Jacquard’s Piñata Color in Sapphire Blue)

-   Purple (Jacquard’s Piñata Color in Purple Passion)

-   White (Jacquard’s Piñata Color in Blanco)

-   Silver or Gold Metallic (Jacquard’s Piñata Color in Silver)

•   Synthetic Paper Sheet (Yupo)

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   Blow Dryer

•   Toothbrush

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Apply a liberal amount of alcohol blending solution or isopropyl alcohol to the Yupo paper.

2. Nozzle apply a few drops of black ink across the surface.

3. Turn the blow dryer to the lowest setting and blow the ink around until it covers about 70% of the paper. Leave several patches of white space.

4. Add more alcohol blending solution or isopropyl alcohol. Then nozzle apply a few drops of blue ink over about half of your blank space.

5. Nozzle apply a few drops of purple ink in the remaining blank space.

6. Use the blow dryer to gently blend the purple and blue inks partially into the black ink, ensuring that the black ink does not completely cover the other colors.

7. Nozzle apply white alcohol ink to the blue and purple areas to lighten them and allow the colors to better show through. (If your piece becomes too light, add a few drops of black ink to darken it.)

8. Continue to alternate adding black, blue, purple, and white inks, using the blow dryer to manipulate them on the surface. Add alcohol blending solution or isopropyl alcohol as needed to ensure that the inks flow together. When you are happy with the look of the piece, allow it to dry for 24 hours.

9. Once your piece is completely dry, lightly dip the toothbrush into the silver or gold metallic ink. Hold the toothbrush over the piece and gently run your finger over the bristles to spritz ink on the surface. These speckles will look like distant stars.

10. Repeat step 9 across the surface of the piece, leaving some areas more heavily covered than others to replicate how some areas of the night sky have more stars than others. When you are happy with the number of stars, allow the piece to dry for 24 hours.

ELEGANT FLOWER ON SILK

by Francine Dufour Jones, https://francinedufourjones.com

Painting on silk will often involve a resist technique and in this case, you’ll use permanent water-based resist to create a stained-glass look. If you recreate this piece or use the techniques on silk you to intend to wear, don’t forget you’ll need to heat-set it (see Silk here).

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Magenta (Jacquard’s Piñata Color in Senorita Magenta)

-   Yellow (Jacquard’s Piñata Color in Sunbright Yellow)

-   Blue (Jacquard’s Piñata Color in Baja Blue)

-   Red (Jacquard’s Piñata Color in Chili Pepper)

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   One 6" x 8" (15.2 x 20.3cm) Rectangle 8mm Untreated China Silk

•   Cut Mat Board (8" x 10" [20.3 x 25.4cm] with a 5" x 7" [12.7 x 17.8cm] center cutout)

•   Scissors

•   Ruler or Tape Measure

•   Artist’s Tape or Masking Tape

•   Disappearing Fabric Marker (Jacquard’s Auto Fade Pen)

•   Paper Towels

•   Small Stiff Brush

•   Welled Palette

•   Bottled Water-Based Permanent Resist (Jacquard’s Red Gold)

•   Jacquard Piñata Color Claro Extender

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Use artist’s tape or masking tape to tape the silk rectangle on the back of the cut mat board.

2. Copy or print the line drawing, then place the silk on top of the design and use the disappearing fabric marker to trace the outline of the flower onto the silk.

3. Hold your resist bottle at an angle (as you would hold a pen). Test applying the resist on a piece of paper and practice making a few lines before applying the resist to the silk.

Bottling Resist

Precise detail work will go more smoothly if you place the resist in a small plastic squeeze bottle with a narrow 0.5mm plastic tip. This can be messy, but the following process will help (and can be used to create precise application tools for similar products, not just resist).

MATERIALS AND SUPPLIES

•   Water-Based Permanent Resist (Jacquard’s Red Gold)

•   Thin Stick or Paintbrush

•   Syringe

•   Two Small Plastic Squeeze Bottles

•   Craft Knife

•   One 0.5mm Bottle Tip

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Stir the resist in the manufacturer’s jar with a thin stick or the handle of a paintbrush. Remove the lid and nozzle from one of the plastic bottles.

2. Use a syringe to draw the resist out of the manufacturer’s jar and fill the plastic squeeze bottle. Use a craft knife to cut about 1/8" (3.2mm) off one of the bottle lids. Snap the nozzle back on the bottle, then twist one of the pointed tips over the nozzle. Screw the cut lid over the tip and bottle to prevent the tip from coming off accidentally during application. The bottled resist is now ready to use.

4. Use two objects to hold the silk above the work surface so the resist doesn’t glue the silk to the surface or smear. (Francine used two rolls of tape to lift the cut mat board off the table—use what you have available.) Hold the resist bottle like a pen and place the tip of the bottle so it is pushing slightly against the silk. Gently squeeze the small plastic bottle and paint over the disappearing fabric marker.

Tip: Be careful not to drag your hand over the wet resist! Francine is left-handed, so she starts on the right side. If you are right-handed, start on the left side.

5. The resist will act like a “corral” for the inks so make sure to completely fill in the lines and connect all the shapes to prevent the inks from escaping! Allow the resist to dry completely. It is best for the resist to dry naturally since hair dryers can cause it to melt and bubble. If you are in a very humid environment, it may take longer to dry. Test for dryness with your finger before applying alcohol ink.

6. Once the resist is dry, paint in each petal shape one at a time. First, lightly apply the Claro Extender. Paint the outside edges of the petals with the yellow ink, then add the magenta ink closer to the bases of the petals. Add the red ink to the deepest part of the petals and use a stiff brush to blend the colors. Use the same method to fill in the leaves and stem. Start with the Claro Extender, then add yellow ink and blue ink on top. Blend the colors with a stiff brush. Remember to clean your brush as needed.

RAINBOW SKIES SILK SCARF

by Laurie “Trumpet” Williams, https://trumpetart.com

Beautiful flowing silk scarves are the perfect showcase for the easy bloom and blend of alcohol inks. Wear this beautiful, bright, one-of-a-kind scarf with your favorite outfits or give it as a thoughtful gift. Laurie would like to offer many thanks to Debra Jason for her direction and inspiration on this project (see Debra’s work here and follow her on social media @creativewhispersoftheheart).

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Indigo (Ranger’s Tim Holtz Indigo)

-   Blue (Ranger’s Tim Holtz Glacier)

-   Hot Pink (Ranger’s Tim Holtz Gumball)

-   Yellow (Ranger’s Tim Holtz Dandelion)

•   18" x 60" (45.7cm x 1.5m) Silk Scarf

•   91% Isopropyl Alcohol

•   Bottle with Small Nozzle (to hold isopropyl alcohol)

•   1 Gallon (4.5L) Cold Water

•   ½ C. (125mL) White Vinegar

•   2 Tbsp. (34.1g) Iodized Salt

•   Iron

•   Ironing Board

•   Old Towel or Sheet

•   Hair Dryer (optional)

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Fold the scarf in half lengthwise, then in half again.

2. Nozzle apply indigo ink horizontally along the scarf’s top edge, adding ink until the entire edge is covered.

3. Next, add isopropyl alcohol on top of the indigo ink to cause it to spread and saturate the fabric. Continue until the entire top portion of the folded scarf is saturated with ink.

4. Before moving to the next color, check to ensure the ink has saturated all the layers by gently lifting the scarf to peek underneath. If the ink has not fully saturated through the scarf layers, add additional isopropyl alcohol and gently tap the scarf with gloved fingers to help massage it through the fabric.

Tip: Switch to clean gloves after applying the colors to avoid contaminating each new layer with the ink left on your gloves.

5. Repeat steps 2–4 to add a horizontal band of blue ink below the indigo link.

6. Repeat steps 2–4 to add a horizontal band of hot pink ink below the blue ink. (Notice that the blue and hot pink inks blend where they meet to create a purple color.)

7. Repeat steps 2–4 to add a horizontal band of yellow ink below the hot pink ink. (Notice that the hot pink and yellow inks blend where they meet to create an orange color.)

8. Allow the scarf to air-dry completely for about 24 hours. Do not move or reposition the scarf until it is dry. Optional: Use a hair dryer to speed up the drying process.

Why “Set” Inks in Fabric?

Fabric can only absorb so much ink. Rinsing and setting the ink removes any excess and prevents it from transferring to other surfaces or fabrics.

9. In a plugged sink or other container, mix together cold water, white vinegar, and iodized salt.

10. Immerse the fully dried scarf into the mixture and allow it to soak for at least 15 minutes.

11. After soaking, remove the scarf from the mixture and gently wring it dry.

12. Lay the scarf flat on an old towel or sheet (one you don’t mind possibly staining) on top of an ironing board and allow it to dry completely. Optional: Use a hair dryer to speed up the drying process.

13. After the scarf has dried, steam iron the scarf on a low setting, moving continuously so you don’t burn the fabric. This removes the wrinkles and further sets the ink. You’re done!

Alcohol Ink–Dyed Silk Scarf Care Tips

•   Hand-wash your scarf in cold water with mild soap.

•   Do not twist the scarf or rub the fabric together harshly.

•   Do not soak the scarf in water for hours.

•   Air-dry it by hanging it on a rack or pinning it on a clothesline.

•   To remove wrinkles, press the scarf with an iron on a low setting (most irons have a setting specifically for silk fabric).

INKED-UP METAL PUMPKIN

by Beth Kluth, https://www.inkartbybethkluth.com

Any galvanized metal home décor items can be jazzed up by blending brilliant alcohol ink colors on the surface. Select two or more of your favorite alcohol ink colors and use this step-by-step to create your one-of-a-kind twist on a mass-produced piece. You can treat the surface to protect the color, but these pieces are best used for indoor décor.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Orange (Ranger’s Tim Holtz Sunset Orange)

-   Yellow-Orange (Ranger’s Tim Holtz Butterscotch)

-   Green (Ranger’s Tim Holtz Citrus)

•   Home Décor Metal Pumpkin (this technique works on any type of galvanized metal décor)

•   Alcohol Blending Solution

•   Three Small Paintbrushes

•   Welled Palette

•   91% or 99% Isopropyl Alcohol (for cleaning brushes)

•   Paper Towels

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

This step-by-step project walks you through decorating a metal pumpkin with orange, yellow, and green ink, but here are a few other possible color combinations to inspire your creativity.

1. If your metal pumpkin has leaves, carefully bend them up so it’s easier to apply the alcohol ink to the pumpkin. Place a bit of alcohol blending solution on a paper towel and clean the outside of the pumpkin. Add each alcohol ink color to an individual well on the welled palette. Use one paintbrush for each alcohol ink color.

2. Use the paintbrush to apply the orange ink, tapping the brush against the surface to transfer the ink (rather than painting—see Metal here). While the puddle of orange ink is still wet, tap the butterscotch ink next to it until they start to blend.

3. Tap the green ink next to the other two wet inks until all three colors begin to blend.

4. Continue tapping puddles of each color on the surface as needed until the entire pumpkin is covered. Let the pumpkin dry for at least 10 minutes, then check the surface for any areas you might have missed. Fill in any bare spots as needed. Carefully bend the leaves back down.

OCEAN TIDES COASTER SET

by Laurie “Trumpet” Williams, https://trumpetart.com

Custom coaster sets make great gifts or beautiful accents for your own home. You can use your favorite alcohol ink techniques and colors to decorate the tops of ceramic tiles. Simply seal the surface and back them with adhesive cork pieces so they can protect your furniture for years.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Dark Blue (Ranger’s Tim Holtz Indigo)

-   Teal (Ranger’s Tim Holtz Laguna)

-   Gold Metallic (Jacquard’s Piñata Color Rich Gold)

•   Three 4" (10.2cm) Square Ceramic Tiles

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   Eyedropper or Small Nozzled Bottle

•   Paintbrush

•   Paper Towels

•   Black Broad-Tipped Paint Pen

•   Adhesive-Backed Cork

•   Craft Knife or Scissors

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Thoroughly clean the ceramic tiles with isopropyl alcohol and a paper towel. Make sure the surface is clean and free of dust and particles.

2. Drip a few drops of each ink color onto the tile.

3. Before the ink starts to dry, tilt the tile to one side and let the ink flow almost until it reaches the bottom edge. Some of the ink may run off the side onto your paper towel.

4. Tilt the tile in the opposite direction, rocking it back and forth. If the ink isn’t flowing enough, add a drop or two of isopropyl alcohol.

5. Once the surface of the tile is covered and you are happy with it, repeat steps 2 through 4 with the remaining tiles.

6. Allow the tiles to dry completely.

7. Once the tiles are dry to the touch, paint the edges with a black paint pen.

Tip: If you don’t have a paint pen, you can finish the edges with black acrylic paint, alcohol ink, or a permanent black marker.

8. Seal and protect the tiles with varnish or resin (see Sealing and UV Protection here).

9. Once the tiles are completely dry, cut a piece of adhesive-backed cork to size.

10. Peel the paper off the adhesive backing of the cut cork square and press the exposed adhesive to the back of the tile.

11. Use a craft knife or scissors to trim off any excess cork.

WHIMSICAL TINY TREE PENDANTS

by Vera Worthington, https://www.veraworthington.com

Small photo frame pendants are often sold in sets of two or more, so this project shows how to create two similar pendant images adjusted to show changing seasons. Play with the original design yourself by changing the colors of the leaves or sky or painting in grasses instead of rocks. These are your wearable paintings, so have fun with your creations!

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Light Blue (Ranger’s Tim Holtz Sailboat Blue)

-   Light Gray-Brown (Ranger’s Tim Holtz Pebble)

-   Dark Brown (Ranger’s Tim Holtz Espresso)

-   Light Pink (Ranger’s Tim Holtz Pink Sherbet)

-   Fuchsia (Ranger’s Tim Holtz Fiesta)

-   Gray (Ranger’s Tim Holtz Slate)

-   Green (Ranger’s Tim Holtz Meadow)

-   Black (Ranger’s Tim Holtz Pitch Black)

-   Purple (Ranger’s Tim Holtz Amethyst)

•   91% or 99% Isopropyl Alcohol

•   White Synthetic Paper Scrap

•   Paintbrushes

-   Round Sizes 4 or 6

-   Round Sizes 1 or 3/0

-   Liner or Script Size 1

-   Round Blender Brush Size 6 (Princeton Artist Brush Co.™ Select™ Artiste™ Round Blender)

•   Welled Palette

•   Small Photo Frame Pendants

•   Jewelry Pliers

•   Pencil

•   Scissors

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Use jewelry pliers to open the pendant jump rings. Set the rings aside and slide out the plastic and paper inserts. Use a pencil to trace the shape of the paper inserts onto the white synthetic paper scrap.

2. Cut out two of the traced rectangles. Dilute light blue ink with a bit of isopropyl alcohol, then use a size 4 or 6 round brush to paint a light blue sky on one piece. Paint the second piece with gray ink. Remember to clean your brushes as needed between each color.

3. Dip the size 1 round brush into the light gray-brown ink and use circular motions to paint a small mound of rock-like shapes on the bottom edge of each piece. Optional: Add small bits of green alcohol ink as weeds growing in between the rocks.

4. Use a size 1 thin liner or script brush to paint a black tree on the gray background and a dark brown tree on the light blue background.

5. Use the size 6 round blender brush to dab purple alcohol ink around the tree branches on the gray background to create leaves. Clean the brush, then use it to dab light pink alcohol ink around the tree branches on the light blue background to create cherry blossoms.

6. Once the light pink alcohol ink is dry, use the same brush to dab hot pink alcohol ink on top of the light pink cherry blossoms to create depth. Allow both pieces to dry for at least 24 hours, then seal them as desired.

7. Trim the edges of the tiny paintings with scissors or a craft knife. Put one of the clear plastic overlays over one of your paintings, then slide these pieces, plastic overlay facing up, into one of the frame pendants. Reattach the jump ring. Repeat with the second painting.

IMPRESSIONIST’S GOLDEN IRIS

by Sharen AK Harris, https://sharenakharris.com

In this project, you’ll build up from a colored alcohol ink sketch to create a more advanced detailed iris painting. If you’re not comfortable sketching with alcohol ink, you can always copy and trace the image of the iris here and transfer it to the paper using carbon paper. Try working within the loose framework of an ink sketch first, though.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Yellow (Ranger’s Tim Holtz Dandelion)

-   Mustard Yellow (Ranger’s Tim Holtz Honeycomb)

-   Yellow-Green (Ranger’s Tim Holtz Limeade)

-   Dark Green (Ranger’s Tim Holtz Everglade)

-   Dark Orange (Ranger’s Tim Holtz Ember)

•   Welled Palette

•   Paintbrushes

-   Liner

-   Small Round

•   Paper Towels

•   91% or 99% Isopropyl Alcohol

•   Photo Paper (back side)

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

This image inspired Sharen’s original alcohol ink sketch. If you’re uncomfortable sketching with inks, try copying and tracing this image (included at a larger size here) on your surface using carbon paper.

1. Dip the small round brush in yellow alcohol ink and paint the general shape of the iris. Remember nothing in nature is perfect—this should be a loose sketch. Remember to clean your brushes as needed between each color.

2. Lightly dampen the round brush with the mustard yellow alcohol ink and apply color to the darker areas of the iris petals.

3. Lightly dampen the round brush with the yellow-green alcohol ink and loosely paint in the background around the iris.

4. Apply dark green alcohol ink on top of the yellow-green alcohol ink to add dimension to the background.

5. Layer more mustard yellow alcohol ink on the petals to build color and value. Clean the brush, then lightly dampen it with a small amount of isopropyl alcohol. Blend the transition lines between the colors, being careful not to over blend.

6. Allow the dark orange alcohol ink to dry in the palette and use the round brush and a small amount of isopropyl alcohol to reactivate it—you want it to be thick so it won’t flow as much. Paint in shadows and deepen the color on the darker areas of the petals. Clean the brush, then lightly dampen it with a small amount of isopropyl alcohol. Blend the transition lines between the colors again, being careful not to over blend.

7. Brush isopropyl alcohol onto the petals where you’d like to add highlights, then blot the area with a paper towel to lift some of the alcohol ink.

8. Allow the dark orange alcohol ink to dry even more and use the liner brush and a small amount of isopropyl alcohol to reactivate it—again, you want it to be thick so it won’t flow as much. Paint detail lines on the large lower petal. Add additional dark green and dark orange details to the background and the flower’s stem as desired.

MOTHER’S DAY LILACS

by Sandy Sandy, https://www.sandysandyfineart.com

One of the beauties of painting with alcohol inks is that the pieces evolve organically. You start with an idea, but never really know exactly how it will turn out. This project, painting lilacs, is a good one for promoting relaxation and flexibility. Lilac blooms look best when they’re not perfect, so you can let go and stay open to the possibilities.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Yellow (Ranger’s Tim Holtz Sunshine Yellow)

-   Purple (Ranger’s Tim Holtz Amethyst)

-   Magenta (Ranger’s Tim Holtz Raspberry)

-   Green (Ranger’s Tim Holtz Meadow)

•   Rectangular Alcohol Ink Applicator with Felt Pads

•   Round Alcohol Ink Applicator with Felt Pads

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   Alcohol Ink Blending Pen, Fantastix, or Colorless Blender Marker

•   Mini Mister or Small Spray Bottle (to hold isopropyl alcohol)

•   5" x 7" (12.7 x 17.8cm) White Synthetic Paper Sheet

•   6" x 8" (15.2 x 20.3cm) Non-corrugated Cardboard

•   Welled Palette

•   Paper Towels

•   Size 4 Round Paintbrush

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Tape the white synthetic paper on the cardboard. Attach a blank felt pad to the rectangular alcohol ink applicator. Apply dots of yellow alcohol ink and alcohol blending solution to the felt pad. Use light pressure to move the applicator back and forth over the paper to create a smooth, uniform tint.

2. Attach a blank felt pad to the round alcohol ink applicator. Apply one small dot of purple alcohol ink, one small dot of magenta alcohol ink, and a slightly larger dot of alcohol blending solution.

3. Dab the round alcohol ink applicator on the paper to create lilac petals. To avoid repeating patterns, turn the tool in different directions and alternate between using the flat surface of the felt pad and the edge.

Tip: If your color is too dark or is not blending enough, add a few more drops of alcohol blending solution to the felt pad. If you want a darker, more saturated color, add more alcohol ink to the felt pad.

4. Tear an irregular shape in a paper towel and place it where you want to put the outside edge of your flower blossom. Add texture by lightly spraying isopropyl alcohol from the mini mister or small spray bottle. Dip the round paintbrush in purple alcohol ink and tap or flick the brush to splatter the area with droplets of alcohol ink. Move the paper towel to different spots on the flower cluster to protect areas that won’t be textured and repeat the spraying and splattering techniques.

5. Dip the brush tip of the alcohol ink blending pen directly into the green alcohol ink and allow it to soak up some of the ink. Paint loose, leaf-like shapes around the flower. As the ink is used up, the color and value will change. Clean the brush tip.

6. Dip the bullet tip of the alcohol ink blending pen directly into the green alcohol ink and allow it to soak up some of the ink. Add darker color and detail to the leaves. Clean the blending pen, then dip the bullet tip of the blending pen into the magenta alcohol ink and allow it to soak up some of the ink. Add darker details to the flowers. Repeat with the purple ink.

MAGICAL COTTAGE GARDEN

by Korinne Carpino, https://korinnecarpinoart.com

This beautiful, blooming garden combines texturing, lifting, and painting techniques, among others, to build a dense summery scene. It blends bottled alcohol inks with more controlled alcohol ink markers to create a sense of depth through shading.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Magenta (Ranger’s Tim Holtz Raspberry)

-   Blue-Green (Ranger’s Tim Holtz Clover)

-   Olive Green (Ranger’s Tim Holtz Meadow)

-   Bright Green (Ranger’s Tim Holtz Botanical)

-   Yellow (Ranger’s Tim Holtz Sunshine Yellow)

-   Blue (Ranger’s Tim Holtz Stonewashed Blue)

-   Red (Ranger’s Tim Holtz Watermelon)

-   Orange (Ranger’s Tim Holtz Valencia)

•   Alcohol Ink Markers in the following colors:

-   Pink (Shuttle Art Brand Vivid Pink)

-   Yellow (Shuttle Art Brand Fluorescent Yellow)

-   Orange (Shuttle Art Brand Orange)

-   Blue (Shuttle Art Brand Prussian Blue)

-   Red (Zig Kurecolor Carmine Red)

-   Dark Red (Spectrum Noir DR1 Dark Red)

-   Pale Orange (Spectrum Noir CR2 Tea Rose)

•   Black Fine-Point Marker (Sharpie)

•   White Fine-Tip Paint Pen (Posca)

•   5" x 7" (12.7 x 17.8) White Synthetic Paper Sheet (Dura-Bright)

•   91% or 99% Isopropyl Alcohol or Alcohol Blending Solution

•   Container (to hold isopropyl alcohol or alcohol blending solution)

•   Paintbrushes

-   Size 2 Round Brush

-   Size 2/0 Round Brush

•   Alcohol Ink Blending Pen

•   Cotton Swabs

•   Paper Towel

•   Welled Palette

•   Cotton Balls

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. First place magenta, olive green, bright green, yellow, red, and orange inks in individual wells of a welled palette. Set aside and let them dry. Drip magenta, blue, yellow, and blue-green alcohol inks onto the white synthetic paper.

2. Use cotton balls to blend the colors and create texture. Add isopropyl alcohol to the cotton ball as needed to move the ink and change cotton balls frequently so the ink colors do not over blend to create brown mud. Continue adding ink and blending with the cotton balls until you are happy with the background.

3. Use a cotton ball to pull a line of yellow ink down the page, blending it with the blue-green ink to create a path. Fill the alcohol blending pen with isopropyl alcohol. Use the fine tip to sketch flower stems on the background. Use the brush tip to lift away ink where you want to add blossoms. Wipe the tip of your pen on a paper towel to keep the tip clean.

4. Dip the size 2/0 round brush in isopropyl alcohol, then in the dried bright green alcohol ink. Loosely paint in the lifted stem areas as shown. Remember to clean your brushes as needed between each color.

5. Dip the size 2/0 brush in isopropyl alcohol, then in the dried magenta alcohol ink. Loosely paint flower blooms on a couple of the stems.

6. Dip the size 2 round brush in isopropyl alcohol, then in the dried blue alcohol ink. Loosely paint flower blooms on a few more stems. Clean the brush.

7. Dip the size 2 round brush in isopropyl alcohol, then in the dried red alcohol ink. Loosely paint flower blooms on a few more stems. Clean the brush.

8. Dip the size 2/0 round brush in isopropyl alcohol, then in the dried magenta alcohol ink. Splatter the ink from the end of your paintbrush onto the background. Clean the brush.

9. Use the fine tip of the alcohol ink blending pen to sketch flower stems for the next layer of flowers. Wipe the tip of your pen on a paper towel to keep the tip clean.

10. Use a cotton swab dipped in isopropyl alcohol to lift away ink where you want to place blooms.

11. Use the orange alcohol ink marker to fill in the base flower color, then use the dark orange alcohol ink marker to add shadow to the bottom of each bloom. Dip the size 2/0 round brush in isopropyl alcohol and blend the oranges on the blooms. If needed, add more dark orange to the bottom of each bloom.

12. Use the alcohol ink blending pen to remove ink to create space for star-like flower blooms.

13. Use pink and dark red alcohol markers to fill in the star-like flowers.

14. Use the alcohol ink blending pen to lift some of the pink and dark red marker ink and create highlights in the petals. Then use the fine tip of the pen to remove ink to create spaces for the lily petals and stems.

15. Use the yellow alcohol marker to fill in the lilies. Dip the size 2/0 round brush in isopropyl alcohol, then in the dried yellow alcohol ink. Paint on top of the yellow lily petals to add dimension. Clean the brush.

16. Dip the size 2/0 round brush in isopropyl alcohol, then in the dried orange alcohol ink. Add orange to the centers of the lilies. Clean the brush. Use the black fine-tip marker to draw stamen lines on the lilies and dots on the centers of the orange flowers.

17. Dip the size 2 round brush in isopropyl alcohol, then in the dried olive green alcohol ink. Dot the green ink along each side of the path and between the flowers in the foreground to create leaves and grasses.

18. Use the blue alcohol ink marker to add blue flower blooms of different shapes in the empty spaces between the other flowers.

19. Dip the size 2/0 round brush in isopropyl alcohol, then in the dried yellow alcohol ink. Paint yellow dots in the center of the blue and purple flowers. Reinforce other yellow spots in the painting as needed. Clean the brush.

20. Dip the size 2/0 round brush in isopropyl alcohol, then in the dried blue-green alcohol ink. Add more foliage as needed. Clean the brush. Dip the size 2/0 round brush in isopropyl alcohol, then in the dried bright green alcohol ink. Paint the lily leaves and stems. Clean the brush.

21. Dip the size 2/0 round brush in isopropyl alcohol and tap it across a marker to splatter drops of isopropyl alcohol on the painting.

22. Outline some of the flowers and add details with the white paint pen.

DELICATE GOSSAMER BLOOM

by Kimberly Deene Langlois, https://kimberlydeene.com

This painting uses canned air to create the flower petals, which takes a bit of practice. Because this is a very fluid technique, try not to have specific expectations of your painting. It’s okay if your petals don’t look exactly like what you’ve planned because once you add a center, it will all come together. The beauty of this technique is that every painting will be different.

MATERIALS AND SUPPLIES

•   Alcohol Inks in the following colors:

-   Purple (Ranger’s Tim Holtz Boysenberry)

-   Ranger’s Tim Holtz Snow Cap Mixative

•   Synthetic Paper Sheet (Yupo)

•   2 Cans of Canned Air

•   91% or 99% Isopropyl Alcohol (in small dispenser bottle)

•   Micro Dental or Makeup Tools

•   Welled Palette

•   Paper Towels

The artist used the products in parentheses. Substitute your choice of brands, tools, and materials as desired.

1. Drop one or two drops of purple ink onto the Yupo paper for the center of the flower. Use a micro dental or makeup tool to shape the ink into a circle. Let dry completely.

2. Add a few drops of isopropyl alcohol along the edge of the ink circle, let it sit for a second, then blow outward with canned air.

3. Repeat all the way around the purple center. Continue to reactivate the ink by adding isopropyl alcohol if needed to blow the ink over the top of existing petals.

4. Drop the Snow Cap Mixative into a welled palette and use a micro dental tool or makeup tool to add dots of white to the center of the flower.

Tip: Create texture variations by pulling the end of the micro dental or makeup tool off and using the plastic tip to add fine lines and marks.

5. Continue to fill in the center. Think about where the light or sun is coming from and make that area the brightest. When the tool is full of ink, apply it to the area you want to be the brightest. As the ink wears off the tool, apply it to the area you want to be the darkest. Layer the dots and make the transition from light to dark very gradual.

TEMPLATES

While most of the exercises and projects in this book rely on the free-flowing nature of alcohol inks to create loose, organic pieces, a few of them are best achieved if you start by copying the templates below. Enlarge or reduce these templates as needed to fit your medium.

Bonus Technique: Painting with Alcohol Ink Markers, here

Impressionist’s Golden Iris, here

Push and Glide Painting, here

Layering Inks, here

Elegant Flower on Silk, here

Sunset Bird, here

Masking Method 1: Using Frisket Film or Contact Paper, here

Masking Method 2: Using Masking Fluid and a Brush, here

CONTRIBUTORS

The projects in this book have been graciously provided by some of the most talented alcohol ink artists and instructors in the field. These contributors consistently support the alcohol ink community and share their expertise at our Alcohol Ink Art Conferences. Each contributor has her own unique style and approach to creating with alcohol ink. Be sure to visit the contributors’ websites and see https://alcoholinkbook.com/contributors/ or scan the QR code to learn more about them and their art.

Andrea Patton https://apatton.faso.com

Beth Kluth https://www.inkartbybethkluth.com

Francine Dufour Jones https://francinedufourjones.com

Kellie Chasse https://www.kelliechassefineart.com

Kimberly Deene Langlois https://kimberlydeene.com

Korinne Carpino https://korinnecarpinoart.com

Sandy Sandy https://www.sandysandyfineart.com

Serena Webber https://www.serenawebber.com

Sharen AK Harris https://sharenakharris.com

Teresa K. Brown https://www.tkbrownart.com

Teri Jones https://terijones.com

Vera Worthington https://www.veraworthington.com

ACKNOWLEDGMENTS

We would first like to thank our fellow alcohol ink artists and members of the Alcohol Ink Art Community and the Alcohol Ink Art Society. Many of you have been on this journey with us over the years, and together we’ve forged through uncharted territory and continued to discover the wonder of alcohol ink. We dedicate this book to each of you. You know who you are, and we are excited to continue the journey with you.

While alcohol ink has been used for many years in stamping and mixed media, a few pioneers shaped the path for the rest of us. Thank you to Karen Walker, June Rollins, Cathy Taylor, and many other innovators for breaking through the boundaries and inspiring us all.

Our extreme gratitude goes to the creative contributors who graciously provided their expertise and talents by sharing their artistic projects in this book. Without your input and support, this book would not have been complete. Thank you, Andrea Patton, Beth Kluth, Francine Dufour Jones, Kellie Chasse, Kimberly Deene Langlois, Korinne Carpino, Sandy Sandy, Serena Webber, Sharen AK Harris, Teresa K. Brown, Teri Jones, and Vera Worthington.

Thank you to everyone at Fox Chapel Publishing, especially to our editorial and PR team, Amelia Johanson, Sherry Vitolo, and Elizabeth Martins, who kept us on track and provided guidance through the entire publishing process, and to our designer, Wendy Reynolds, whose clever design gave life to our vision.

And, last, though certainly not least, we would like to thank our families and friends, who continue to encourage and support us.

“I would like to thank my husband, Jim, and daughters, Christina and Michelle, for their unwavering support and for picking up the slack around the house while I pursued this adventure. I would also like to thank Sheryl for collaborating with me on this project. I couldn’t think of a better co-pilot. I’m ready for the next one!”

—Laurie “Trumpet” Williams

“I would like to thank Laurie for her joy and creative energy, smart ideas, and drive to complete this first book. And I also want to thank all of my online alcohol ink students who pushed me to find ways to always be clear and concise and effectively share my love of the medium.”

—Sheryl Williams

ABOUT THE AUTHORS

Laurie Williams

Laurie “Trumpet” Williams is a mixed-media and alcohol ink artist, instructor, and influencer. She has been creating with alcohol ink for over a decade and is a community builder and unwavering evangelist for the medium. She has an unbreakable bond with the vivid colors and spontaneous nature of alcohol inks and loves spreading the joy they bring to everyone she meets. She believes that alcohol ink is a gateway medium for many beginners and that anyone with a will to create can become an artist.

Laurie founded the Alcohol Ink Art Community™, the Alcohol Ink Art Society™, and Mixed Media Mad™ to bring together artists of all levels and mediums from around the world. Additionally, Laurie, along with coauthor, Sheryl Williams, founded the CreateSmART Academy™, an online marketplace for alcohol ink and mixed-media instruction. Collectively, these educational and inspirational resources inspire over 70,000 artists.

Outside of her art career, Laurie is a professional graphic designer and internet marketing consultant, helping creative entrepreneurs succeed online. She’s the founder and CEO of Trumpet Marketing™ and she runs an art marketing and consulting business called ArtBugle™, which helps fellow artists build and promote their brands online. She lives in Boyds, Maryland, with her husband, Jim, her lovely daughters, Christina and Michelle, and her maltipoo, Ruby. She enjoys music, art, theater, and being outdoors.

To learn more about Laurie and her adventures, visit her online at https://laurietrumpet.com and https://trumpetart.com, and on Instagram, Facebook, YouTube, and TikTok @laurietrumpet.

Sheryl Williams

Using the deep, rich colors in alcohol ink, Sheryl Williams plays with light and shadow and brings her heart, laughter, and joy to her paintings. She only paints images that touch her soul and hopes they will touch you as well. She pushes the envelope to create realistic, vibrant, detailed paintings in a medium best known for abstract beauty. After many years of experimenting with this new medium she found success and joy controlling the “uncontrollable.”

An award-winning artist in watercolor, alcohol ink, oil, and charcoal, Sheryl loves to teach. Her greatest thrill is the moment when a student “gets it” and can truly express themselves in their art. She teaches her skills online to through the CreateSmART Academy, offering an online Alcohol Ink Master Course that starts at the very beginning and works all the way up to advanced representational art. She is excited to bring the joy of alcohol inks to students who love color and want to try their hand at combining representational art with beautiful, poured backgrounds.

You can see her art in multiple mediums at https://sherylwilliamsart.com.

Alcohol Ink Art Community

Learn, create, and share your alcohol ink art at https://alcoholink.community

Alcohol Ink Art Society

Join an inner circle of alcohol ink artists at https://alcoholink.community/society

Create SmART Academy

Explore courses and lessons for alcohol ink and mixed media at https://createsmart.academy