Chinese ink was quite a challenge for me but well worth the training. The exercise of loading ink on various types of brushes and trying them on a variety of paper is a good warm-up for my journey through watercolor.

I started experimenting with watercolor in April, 2001.

The rich texture of collage and the depth of mono-print were captivating. Mono-print presents me with the same pleasant surprise, as a potter nervously meets his work as it emerges from a kiln. The spontaneity and marvel of paints coalescing on wet and dry paper is truly fun to watch, whether the colors are carefully placed by brushes or nonchalantly applied with a saturated sponge.

Great masters taught me the magic of watercolor. J Chiu , who is now semi retired, introduced me to the basics of chinese ink and western watercolor. F Zittin , www.floyzittin.com , who is by education, a biologist, successfully brings out the latent possibilities of us students during a 3-hour watercolor class. Zittin respects the characteristics of watercolor and explores the medium in unique and innovating ways.

I have taken workshops from prominent watercolor professionals:

G Brommer , www.newmastersgallery.com , author of Watercolor Collage Workshop is a master collagist. He uses natural-colored hand made papers like washi rich in textural variety.

Author of Exploring Color , N Leland , www.nitaleland.com , knows the history, science and theory of color. Extensive clinical research of key manufacturers' paints from all around the globe are published and serves as valuable tool for many professional and amateur artists.

J Hofstetter , www.scvws.org , is recognized for fish, particularly koi paintings.

M E Bailey, energetic coach pushed me way beyond my limits. Result: I was able to paint two whole sheets of 57x77 cm per week. -- jb