It is not promising at the beginning. You put alcohol ink on the surface and in a second it is sitting there, too dark, too concentrated, rather awkward. Then it begins to go viral and it turns out to be worse. There is blooding and dissolving of colors, and blurring of edges, and you are left to stare at what appears to be a mistake. Find for more bonuses here!

It is the puddle that most people distrust more as it is messy.

I didn’t either. I had a desire to correct it at once. Put in more liquor, shake it up, try to squeeze it into something well-known. It was normally aggravated by this.

It is when a person learns to stop that the turning point has been reached.

You give that puddle a few moments, and the ink begins to separate itself. Pigments change a little, light colors appear, and the edges start creating these organic lines, which are soft. It is mild and yet it is the point of the change.

You cannot cut it short you miss that stage.

And when the ink has a little settled, is not quite dry, but not quite wet, then it is that one little touch will disturb the whole. A single drop of alcohol. A gentle tilt. A single puffing of the air.

Here the puddle starts to move willfully.

It stretches itself and forms those sweeps of which one would have known with the alcohol ink painting. The colors are contrasted and made more vivid. What seemed to be flat a minute ago is now starting to be three-dimensional.

It is a strange turnabout to see.

You also have to choose whether you want to continue or not. That is easier said than done. It begins to look good and the desire is to do it better.

Here is where a majority of the paintings fall apart.

Any further change poses the risk of smattering those clean edges once more into the mud. A single or two purposeful movements frequently are the best and not continual readjustment.

I have killed more through overworking than underworking.

The other assistance is to start with less amount of colors. A puddle which is chaotic and is composed of three colors acts in another way than a puddle which is chaotic and is composed of six. The minimized amount of colors suggests a smoother flow of the ink.

It is also supportive of the transformation.

Such change in practice is gratifying to behold. You will not get the impression of producing the image pixel by pixel. It is as though you were discovering it.

It may sound to be dramatical but so it is.

It is not the puddle that is the problem, but the start. The whole process is not so disorganized when you no longer struggle that stage and start working with it.

And that is when the results are what usually start surprising you.