For You© the Waterfall Painting from Photographs
Inspiration * Ideas * Instructions
for you© The Waterfall
Painting Boats
Watercolor “Stamping” Techniques
Floral Demo
A Loose “Still Life”
Painting from Advanced Tip: Photographs “Pictorial Space”
Watercolor Tips and Techniques
The contents of this publication may not be reproduced in whole or in part without the express permission of the copyright holder.
Jim Black , creator and owner of Watercolor For Me And Jim’s Watercolor Gallery
Copyright 2014
THE WATERFALL
Lets take a look at this painting that was painted in classroom demonstration and go step-by-step. Step - 1 Was on rough paper, it was wet with just plain water from top to bottom.
Step - 2 Two colors Permanent Rose and Cobalt Blue, were each mixed up (not mixed together). The Permanent Rose was painted with a number 14 Round brush right across the top three inches, then the brush was rinsed out in clear water and quickly brushed down to the base of the waterfall. A graded effect.
Step - 3 The painting was turned upside down and the water painted the same way as you just painted the sky. Dry it with a hair dryer. Never hold the dryer in one spot - move it back and forth. Dry one area while the rest is wet and you will get blossoms.
Step - 4 Wet both the top corners and drop in the Blue color making sure you only paint 50% of the wet area. It will now blend nicely as the Blue will creep into the Red leaving a nice transition between the colors. What very carefully the unpainted water line (where the Blue did not quite reach). Blot with tissue gently if you see a water tide mark developing. Dry.
Step - 5 Now the background trees in the center. Wet area above the waterfall, at the same time saving a dry area for the tops of the trees. Now paint the tops letting the middle part of the trees blend into the wet area (now you have fog or mist).
Step - 6 Do the same for the left and right side trees. Do not attempt to put the two very dark trees in yet. Dry. Now the two dark ones, a mixture of Paynes Gray and Sap Green. Again wet the area at their bases and paint into that area. Dry.
Step - 7 Turn paper upside down, paint the dark area on the right leaving some white places and dilute the brush with water and paint all the shapes to the waterfall. Same for the area on the left. Dry.
Step - 8 Dry brush in the waterfall.
Step - 9 The water ------you do it. Painting Boats
Protecting the Artist Child Within
Remember, your artist is a child. Find and protect that child. Learning to let yourself create is like learning to walk. The artist child must begin by crawling. Baby steps will follow and there will be falls----yucky first painting. Typically, the recovering artist will use these early efforts to discourage continued exploration. Judging your early artistic efforts is artist abuse. This happens in any number of ways: beginning work is measured against the masterworks of other artists; beginning work is exposed to premature criticism, shown to overly critical friends. In short, the fledgling artist behaves with well-practiced masochism. Masochism is an art from long ago mastered, perfected during the years of self-reproach; this habit is the self-hating bludgeon with which a shadow artist can beat himself right back into the shadows. In recovering from our creative blocks, it is necessary to go gently and slowly. What we are after here is the healing of old wounds - not the creation of new ones. No high jumping, please! Mistakes are necessary! Stumbles are normal. These are baby steps. Progress, not perfection, is what we should be asking of ourselves. Too far, too fast, and we can undo ourselves. Creative recovery is like marathon training. We want to log ten slow miles for every one fast mile. This can go against the ego's grain. We want to be great - immediately great - but that is now how recovery works. It is an awkward, tentative, even embarrassing process. There will be many times when we won't look good - to ourselves or anyone else. We need to stop demanding that we do. It is impossible to get better and look good at the same time. Remember that in order to recover as an artist, you must be willing to be a bad artist. Give yourself permission to be a beginner. By being willing to be a bad artist , you have a chance to be an artist, and perhaps, overtime, a very good one. When I make this point in teaching, I am met by instant, defensive hostility: "But do you know how old I will be by the time I learn to really paint well". Yes...... the same age you will be if you don't. So let's start with this quick demo on painting boats. STEP #1 STEP #2 Applied Drawing Gum to the areas that needed to be white. Pencil sketch just for the two boats. You Not sure about Drawing Gum - go to "Techniques" (left side may not be able to see the faint lines. home page) - click up will come Masking Fluid. STEP #3
Winsor Green (Thalo Green - P.G.7 on your tube) - mixed with Permanent Alizarin Crimson. Paint in trees and reflections working from right to left. Add Burnt Sienna far left.
STEP #4
Foreground using Winsor Yellow, Raw and Burnt Sienna. Washed (large brush) Yellow leaving areas for tide pools, while wet paint both Sienna's into the Yellow. Paint in tide pools, Light Blue.
This should be a light gray, but the camera was acting-up a little - SORRY
STEP #5
Paint in boats, you can try any colors you like (not happy with my choice). But create form (volume) with varying the values of the colors, do not paint solid colors, it will cause the boats to look flat, pasted on look.
STEP #6
When the whole painting was dry. Washed a light Perm. Rose over the whole sheet (maybe I should have not done that). But I wanted to emphasize a point if you lay a wash over existing painted items, nothing bad will happen, using a very light touch, do not go over any spot twice. Get in softly and get out quickly. STEP #7
Added a few details on foreground, wiped out base of distant trees.
TIP OF THE DAY
DAMAGING PAPER WHEN PEELING OFF MASKING FLUID
Use "Pebeo Drawing Gum" instead of that gummy stuff.
Drawing Gum is water soluble so you can thin with water. It removes easily with your finger. It's Gray in color so it doesn't distract your eye from the colors you've painted over. Can be dried with a hair dryer, don't overdo the drying.
Don't like the hard edges other fluids leave, Drawing Gum can be applied to wet paper, flaring out the edges. Test ideas given on your paper.
ENGLISH SENSE OF HUMOR
The Nasty Parrot
Jim received a parrot for Christmas. The parrot was fully grown, with a very bad attitude and worse vocabulary. Every other word was an expletive; those that weren't expletives were, to say the least, rude. Jim tried to change the bird's attitude by constantly saying polite words, playing soft music... anything he could think of. Nothing worked.
He yelled at the bird, and the bird got worse. He shook the bird, and the bird got madder and more rude. Finally, in a moment of desperation, Jim put the parrot in the freezer. For a few moments he heard the bird swearing, squawking, kicking and screaming and then, suddenly, there was absolute quiet.
Jim was frightened that he might have actually hurt the bird, and quickly opened the freezer door.
The parrot calmly stepped out onto Jim's extended arm and said, "I'm sorry that I offended you with my language and my actions, and I ask your forgiveness. I will endeavor to correct my behavior".
Jim was astounded at the changes in the bird's attitude and was about to ask what had changed him, when the parrot continued, "May I ask what the Chicken did?" PICTORIAL SPACE
You can probably guess or know what the term means, but here's a full definition to help you.
DEEP
The term pictorial space describes the illusion of space or depth apparent in a painting. This illusion is achieved by replicating the effects of linear and aerial perspective, by changing the scale of objects from big to small, and by overlapping objects (all the devices Delacroix uses in the painting . Deep pictorial space is being suited to romantic landscape painting.
SHALLOW
With the exception of the Romantic landscape painters of the 19th century, most artists since the Renaissance have composed their subjects in shallow pictorial space. By closing off the back of the painting with a surface that often runs parallel to the picture plane, they confine and direct the viewer's attention through the design to their intended subject. FLATTENED
Inspired by Japanese prints, the Post-Impressionists - Cezanne, Gauguin, Van Gogh, began to flatten the pictorial space in their work. By bringing the background area forward, by reducing modeling, and by subtly tipping objects to provide multiple viewpoints, they created paintings in which objects seemed to rise in pictorial space rather than move back. Realistic representation with full modeling of form and the illusion of deep space was replaced by this more decorative, flattened treatment of space.
FLAT
Cezanne's experiments with space led to Cubism and then to the flat approach adopted by Picasso, Braque, and Matisse. Of course, there is nothing new about flat design; the early cave artists worked with flat space; Asian art depends on flat space; and most decorative art from the Egyptians on is designed with flat space. Today most artists work with flattened or flat space, carefully controlling the illusion of depth created by aerial and linear perspective, the diminishing scale of objects, and obvious overlap.
MAKE A CHOICE Which treatment of pictorial space do you use? Why? It is the best choice? Does it reinforce the intention of your design? Think about it. PAINTING FROM PHOTOGRAPHS
On a recent trip to Lake Tahoe, I caught myself studying the beautiful scenery and wondering. "How would I paint this wonderful area in the time available?"
A photograph was the answer, plus a quick sketchbook . Photos are a must for those, whose only time to paint is after the children are in bed.(Been there, done that). I always use photos when teaching my floral classes.
Even though every student is working from the same copy of the photo, their resulting paintings are unique. I also think it's important that the photograph you do paint from, should be YOUR OWN, something that you yourself have observed and experienced first, hand.
Take a photograph with a painting in mind, and record all the information you need in the sketchbook. Any photo you take, must be things that interest you, they do not have to be perfect, because you can make changes to suit your purpose. You're the artist.
Choose interesting subjects, show something new or present an old subject in a new way. Natural poses (un-posed) of people and particularly children often make the best pictures. Try to take many photos in rapid succession, which will stop the posed look.
Best time to take a photo is...... early morning or afternoon. This time of the day casts great shadows. What I do when taking a shot, be sure to include surrounding subject matter, incidentals supporting images, flowers, stems, buds, leaves etc., boat, include close up ramps, docks, surrounding items, nets equipment etc.
DO KEEP THIS IN MIND
Combining photos you must have the light source coming from the same direction. Multiple light sources create confusing shadows (I know it was not necessary to draw that to your attention).
Shadows can make interesting shapes, side lighting produces better shadow shapes than light from overhead or directly in front of the subject.
Never, never try painting from a photo taken in a professional studio, the photographer usually tries to eliminate any shadows across the face of the model.
Catalogs also might be "shadow less", example pictures in catalogs (seed catalogs) are flat looking floral's.
HERE IS AN IMPORTANT TIP Painting sunlit objects is simple. The shadow side must be 40%+ darker than sunlight side. With a value scale from 1 to 10 you need only count up4 values from the value of the sunlit side to arrive at a value for a good looking shadow. Don't have a value scale, you do need one. Make one or buy one.
MAKING A VALUE SCALE Take Black Paint very little water and paint strip of paper, call this #10. This is the tricky part, the next strip of paper#9 strip has to be whiter, so you gradually adding water diluting the Black . Paint strip #8 even whiter then #9. Repeat diluting until you reach # 1 which should be white . May require several attempts to get it right. But it's all good practice. PAINTING A STILL LIFE VERY LOOSE
STEP#1 First I drew a pencil outline (greatly darker than actual drawing).
STEP #2 Then I started to lay in very light washes. Never, Never commit yourself by painting the final color, it is much too early in the painting for that. Dry painting.
STEP #3 Add more light washes, second wash over the kettle, don't darken the color, just re-paint with the first wash. Might have darkened the wine bottle too quick, but did not get myself into any real trouble.
IMPORTANT:- Leave some short vertical areas unpainted going in the direction of the neck and leave one bending as the bottle widens out. - (which I did not do) - DUH! STEP#4 Continue to increase strength of colors.
For items that have surfaces that reflect light (shiny, glazed, metal, glass etc.) make sure to leave an unpainted small area with HARD EDGES. Always remember this, this tip is well worth writing down. Pencil ready. Orange plastic or glass ball "vs" an Orange (fruit). The reflection of light on the first would be Hard Edge. Reflection on the fruit would be soft edge.
So in the finished painting we should have hard edges on bottle top, kettle, apple & grapes (could go either way), but grapes look better with hard edge. Lemon with their rough textured skin would produce soft edges. soft edge on straw bottle holder. Now also start laying in shadows and other details. Overall maybe wish I could take the background back out. PAINTING A FLORAL
This is not as loose as the previous painting. Drew a nice circular flow to the painting. Positioned the bird to catch the eye first, and the branch will take you to the flowers.
Normally a person or animal will catch your eye first, then...... on to the rest of the story (painting). Then back to the bird. See the small branch left side pointing to the bird, it was put there for that very reason.
See if your eye wants to wander off to the right, it will not (I hope) go back to the bird, flowers, up to the bird and round and around you go.
Oh! now I see Jim teaching beyond the "basics". Very crafty these instructors. Each petal, each leaf was painted one at a time.
Applying paint, water, fading out to make a three dimensional look.
Dry painting between applied fresh washes. Painting each petal and leaf separately . This is not how to paint as such, but more on training how to control the viewers interest. The eye starts with the bird, the bird is leaning towards the flowers, you travel down the flowers, then suddenly the lower branch swings you towards the bird. The only place the eye could wander off the painting ,would be the branch the bird to sitting on, BUT not completely shown is some leaves on the branch ,blocking you from leaving. WATERCOLOR STAMPING
Sky was painted in with a few strokes of Cobalt Blue. Masking tape was applied to horizontal line. This would produce a straight line. A small touch of Red was added for the island shape on the left. All the Gray dots are Drawing Gum (frisket) applied with the tip end of the brush (not the hair part).
This will give you some sparkle on the water when Blue paint is applied over them and frisket removed.
Started to apply paint to the water, watching Putting the paint down and softening the edges very carefully not to develop any hard lines. with damp brush and tissue.
More stamping with cut stencil applying more color to base of tall grass.
Don't be in a hurry to go dark or try to finish any section of the painting. Bring the whole painting along together not in any particular area. Even add some Blue into the sky. Add more dark Green (Sap Green) + Antwerp Blue. Introduce some Burnt Sienna then Perm. Alizarin Crimson along the base. Sprayed a few dots of water onto the darker Green areas. Loaded the brush with Permanent Alizarin Crimson and threw on the paint with a snap of the wrist similar to shaking thermometer.
This is the finished painted sketch; it was never intended to be a painting as such. THE CONSERVATIVE POINT OF VIEW
The traditional painter uses line, color, mass, and other abstract elements to express the emotional message of his art, but he feels this is not enough. This is only his framework, upon which he builds naturalistic form which also carried his ideas. He does not see nature as restrictive, but as a teacher of the ever deepening beauties of life.
This scene was drawn exactly as it appeared. However, changes must be made in order to make it a sound piece of work. On closer examination you will note that each tree follows the perpendicular lines of the buildings, the road starts in the center of the picture, the fence is static, and the limbs of the trees all have the same direction.
This is an abstract of the above picture. It is broken down in terms of composition and design. Note how the space is divided using only large forms and no identical sized area. Also note how the branches are used to divide the spaces interestingly. This is one way to make a better picture..
Here is the result of the abstract re-alignment of space. The trees, as you can see, are placed in such a manner that they frame the buildings. The new arrangement of the road gives the picture a base, the fence is more interestingly broken up, and the whole picture comes back to realism through the strength of the abstract. GRAY
One of the most interesting and exciting colors on your palette is GRAY. Surprise Gray is not a muted color, nor is it muddy. Gray can be one of the most vital, varied color's on your palette.
Since transparency, clarity and harmony are vital even in the darkest grayest area of a painting, you as a master watercolorist must be able to fill those neutral areas with colorful grays. Here is a start, use a triad of Raw Sienna, Ultramarine Blue and Carmine to produce a lovely warm Gray. Try different Red's, changing the proportions of all three listed colors. Try what is know as a colored neutral. This is how:
A mixture of the three primaries will result in what is called "Triadic Gray". If all colors are adjusted equally the result will be an unsaturated or completely neutral Gray. Triadic Grays can be created from any mixture of Red, Yellow and Blue, but if you require transparency, clarity, and know which are your transparent colors. Permanent Rose, Cobalt Blue, and Aureolin are one place to start. When mixing a triad, begin by making a secondary color - such as a Violet from Red and Blue using equal amounts of color.
Then add a small amount of the third color Yellow to produce a warm neutral. Adding a small amount of Red to Green will give a nice Gray. Take a day off, play around with different colors and combinations.
DO WRITE THEM DOWN, MAKE IT A REFERENCE SHEET.
A nice warm Gray that I like is, Perm. Alizarin Crimson with Thalo Green. Warning - wonderful Grays but will be a heavy stainer and will not lift well. To make this "short-cut" work the two colors must have all three primaries in them. These two do.
An iridescent Gray can be created by combining colors that have a natural tendency to separate and applying them to a rough surface paper which are Ultramarine Blue, Burnt Sienna or Cerulean Blue.
Another example would be mixtures of Blue and Brown produce an incredible range of rich Grays. Why do they work, well the earth Browns have elements of Red and Yellow (sometimes traces of Black). Of particular delight are combinations involving Cerulean or Manganese Blue with Burnt Sienna or Burnt Umber. These Blue/Brown mixtures are particularly valued in painting Gray subjects such as metal or weathered wood as well as outdoor scenes. They create rich darks that when diluted can be adjusted toward a warm Brown/Gray or cooler Blue/Gray. They will lift nicely.
Floral subjects, when it comes to leaves, try to be adventurous sometime. Yellow/Green leaf, drop in Mauve or Red/Blue Violet color onto the wet surface to create colorful shadows. When mixing Grays adventurously it is important to evaluate their color content (BY LOOKING).The simple way, make swatches and keep record of findings and colors used. Doing this you will be able to choose Grays appropriately to your paintings needs .
Some Artists like to vary their shadow areas with tube Grays. Using a variety of tube Grays they model the folds and patterns of white linen, the texture of lace, and the shadows and shapes of porcelain, china, silver etc. etc. Don Andrews made this statement to a group of us Watercolorists. "most Watercolorists seem wonderfully color oriented when painting the lights in their landscapes, they fill these areas with vibrant and lively color. When they address the shadow areas, they seem to lose their concern for color and resort to COLD, INKY DARKS. In truth the shadow pattern in painting is where the richest, most exciting color possibilities can be found".
Problem Darks
A common problem I continually see in the classroom is a lack of color excitement in the shadow patterns of my students' paintings. Their shadow area appear murky or unnecessarily dark. It seems that artists automatically reach for dark blue pigment whenever they describe a shadow. In truth the shadow pattern in a painting is where the richest, most exciting color possibilities can be found. When observing the passages of light and shadow on a model or in the landscape, notice that a strong light source can make the subject's color seem diffuse or washed out. The shadow areas will report a deeper, richer value of the local color. While the lights in your subject are usually quite limited in value range, the shadow patterns offer a wider range of values from light-middle, middle-dark, to dark. This fact goes to the heart of this color concept. I believe the most vivid color range on our palette revolves around middle-values and that's exactly where most shadows exist. We're limited when we paint light values: we either leave white paper or dilute our colors to indicate illuminated areas. However, then we paint the shadows, we're able to use pigment much stronger and, if we're willing, just as creatively.
Solving the problem of murky darks
There are a couple of factors that contribute to the problem of murky or overly dark shadows. Many shadow problems develop from a poor color/value selection. For instance, if you first paint in the lights with warm, dominant washes and then overlay the shadow pattern with cooler washes in a similar value and intensity, these opposing color temperatures can create a murky, neutral shadow. To overcome this problem, try to mostly stay in the same color temperature for shadow patterns as in the lights. Richer mixtures of similar colors or color temperature will keep the shadows clean and vivid. Not all shadows have to be painted in analogous colors. It's O.K. to have color temperature changes in the shadow pattern, if these colors temperature changes are strong enough to overpower the underlying wash. Put simply if you're going to switch from warm to cool, or vice versa, put the pigment down powerfully.
SHADOWS AREN'T NECESSARILY COOL OR DARK
Shadows aren't necessarily cool or dark, though there's nothing wrong with occasionally describing them that way. Shadows can be as color-varied and experimental as the lights. Try painting the shadows with rich middle-value Reds, Greens and Violets. The trick is to use richer, undiluted mixtures of local color rather than automatically reaching for the Blues or dark neutrals - or both. Remember to paint through the value scale with your subject. Don't skip the middle-value range - live there! Build as many steps around middle-value as possible. Middle-value are where your best color opportunities lie, and that's where the majority of the shadows are found. LIFTING DRY WATERCOLOR PAINT
Have you ever tried my Magic Eraser idea?
This is an image painted with various colors some powerful stainers Thalo Green - P.G.7 Winsor Red - P.R. 254 and a collection of Non Stainers.
All I am going to do is wet the "non-chemical" foam block and gently work the block across the colors. Then when part of the paint is removed, paint back in. While waiting for the batch of colors to dry, let me ask you this, what do you erase pencil lines with? If you are not using an eraser named "Design Kneaded Rubber Eraser", you should consider buying one. Kneads into any shape, erases cleanly and picks up all the "crumbs" and does not abrade the delicate surface of the paper, like others on the market.
O.K. - Paper is dry. Now brush a 1" block of foam across the painted strip, up comes the colors leaving a nice white, back to the paper, did not even have to blot any part of it with a tissue. Re-painted part, as you can see the surface is as good as new. It took the new paint easily with-out any marks what- so-ever.
Watercolor Brushes
Any of your regular watercolor brushes can be used to lift dry watercolor paint. But do not do. Using your good painting brushes for lifting paint can wear down the fine tips over time. If you've invested money in high quality brushes spend a few more bucks and keep some synthetic watercolor brushes handy for your dry color lifting needs.
Using red sable or other soft hair brushes creates a softer edge but is less effective at loosening the dried paint from the paper
Acrylic or Oil painting brushes
This is the best choice of brushes The tough and resilient synthetic and natural bristle brushes used in acrylic and oil painting are the more traditional choice for "scrubbing" lights into watercolor paint.
The stiffer hairs can quickly scrub an area covered in paint down to the paper surface.
Control is rather coarse using bristle brushes. . This "scrubbing" method is more aggressive and can harm the paper if used with too much enthusiasm.
Spray and Blot
Spraying clear water on an area of your painting and blotting it with a paper towel can lighten large areas of a painting by degrees.
Using the force of the spray in a "sandblast" manner to force pigment loose and off the paper is effective also Sandpaper
Sandpaper can be used but with extreme caution , i will use very fine grade rarely. . Tiny sharp shards of sand or other abrasives rip layer after layer of paint and paper away with each stroke.
Sandpaper, when it IS used, is best used as a final touch for subtle textured highlighting.
If you try to paint over a sanded area, your paint will suck into the holes of raw paper fiber like a blotter.
Razor blades, pen knifes and Xactos
Be careful.
Single-edged razor blades can pick out individual highlights and scrape rough lines.
Sharp pen knifes offer a safer alternative to razor blades. The handle offers a better grip for control but make sure you don't accidentally fold the knife blade into your fingers while using.
“Xacto® blades can produce finer linear highlights. Take time to find out which blade angle works best for what effect you need.
All of these methods are destructive in nature and somewhat risky due to the sharp tools used.
As you can see, many techniques for removing dry paint can result in damage to your paper surface. When scraping, scrubbing, or picking out highlights with sharp or rough tools it can be easy to make a mistake that won't be easily corrected. LIFTING WET COLOR
Facial Tissues
Wad up some facial tissues and use them as a negative painting tool.
Facial tissues are absorbent and leave a softer-edged impression. Use gentle pressing and twisting, or a dabbing motion.
If you try to scrub with a facial tissue, most will fall apart and soil your washes.
Excellent for clouds, soft lighting effects, and puddle control as you paint.
“It's a sponge, Bob."
In the band of green in the middle-ground I used a wrung out natural sea-sponge.
Natural sponges will lighten a watercolor wash in a little more dispersed and textured manner.
Light texture will be more pronounced if color is lifted as the wash is getting drier.
You CAN scrub your paper with a natural sponge, just watch out for paper damage.
Synthetic cellulose sponges abound in my studio. They can blot large areas (and your brushes) quickly and can be cut into any shape you need.
Paper Towels
Here, I blot some simple shapes with a folded paper towel to lighten the foreground.
Paper towels can impart an more angular and mechanical texture as you blot a wash. Paper towels can suck up a lot of paint VERY quickly.
A large fresh wash of non-staining color can be completely removed at times. If you lay a glaze over another wash and it was a mistake, quickly lay a flat section of paper towel down and blot the entire wash up before if has time to affect the underlying wash. Negative brush work
The brushes you put the paint down with can also pick the paint up.
Rinse clean and squeeze out excess water. Your brush will wick up the wet paint.
Using a damp 1½" wash brush, I blotted the brush to keep it's edge.
Sweeping back and forth I pick up the color with the edge of the brush, blot the brush dry, and pick up some more. I "drew" in a line of fence thingies.
The finished lifts
See the results of the wet lifting techniques described above.
Other techniques for lifting wet color I've used:
Spraying water to wash away areas of color. Using various absorbent fabrics and towels. My hands or parts there of. Your skin can pick up color like a stamp pad. You'll leave personal textures. DON'T PICK UP TOXIC COLORS IN THIS MANNER! (and don't use your tongue either, duh...) Several cats in my lifetime have lifted paw prints out of a wet wash. Sgrafitto techniques will scrape away color but bruise the paper in the process. Jim Black was born in London, England where he studied commercial art and engineering at the Northern Polytechnic School in London. Working as a design engineer, Jim traveled widely and diversified his work.
He and his family moved to the United States where he sought out Masters of Watercolor Medium - notability, Michael Atkinson, Darryl Trott, Tom Lynch and Nita Engle, studying with them in workshops.
For several years, Jim lived in Southern Mexico where he taught at the Art Institute in San Miguel de Allende. Then, five years later, Jim had an opportunity to teach in the U.S.A. where he held on-going classes and workshops year round until he retired in 2010.
Jim started a website, www.jims-watercolor-gallery.com in 2007, which he and his family put together. Jim has become a great success, both as a professional watercolorist and watercolor instructor, but it's helping others improve their watercolor painting skills that he finds most rewarding. Jim has earned a reputation as a First Class Artist and Instructor.
Many of his students have gone on to become world famous watercolorist in their own right - including Beatrice Uribe, who was one of Jim's students from 2002 to 2004 and now has many of her paintings hanging in Galleries all over the world. She is known as one of the best watercolor artists specializing in painting people in watercolor and credits Jim with much of her success. Jim's Watercolor Gallery
The contents of this publication may not be reproduced in whole or in part without the express permission of the copyright holder. Jim Black , creator and owner of Watercolor For Me And Jim’s Watercolor Gallery Copyright 2014