Legally Blind Painter: Turning Vision Loss into Vivid Art
“Anyone can paint. All you need is a dream in your heart and a little practice.” — Bob Ross
Spotlight on Trail-Blazing Visually Impaired Artists
John Bramblitt — Painting by Touch and Sound
After losing his sight in 2001, Bramblitt altered paint textures so he can feel every edge and hue. Today he travels the globe teaching inclusive art workshops and proving that creativity thrives without eyesight.
Jim Hansel — Capturing Americana with Stargardt Vision
Diagnosed with Stargardt disease at twelve, Minnesota landscape painter Jim Hansel leans on a high-powered magnifier and his phone’s autofocus beeps to land fine details—yet he has produced more than 200 limited-edition prints.
These artists remind us there’s no single way to “see” a canvas—here’s mine.
My Studio: From Imagination to Canvas
Sketch Fast, Paint Free
I jot thumbnails in Procreate on my iPad, zooming in until the pixels shout. Once the concept clicks, I skip transfers and dive straight onto the canvas—because chasing laser-perfect outlines kills the spark.
iPad = Super-Sight
With peripheral vision nearly gone, I keep the iPad at arm’s length. Pinch-zooming reference photos beats juggling specialty gadgets, and a quick head tilt becomes an optical “macro lens” without losing my spot.
Turning Challenges into Creative Fuel
The brain-to-canvas gap: The image in my head feels 8K, but the first brushstroke looks 144p. Layers, patience, and prayer bridge that gap.
Faith over frustration: Philippians 4:13 reminds me I’m painting with strength beyond my own, while Helen Keller’s warning about “sight but no vision” keeps me grateful for creative insight.
Signature Work & Milestones
“On the Outside” — a soul-first exploration of peace in solitude; it toured Ohio and led to three gallery sales.
Custom magnet drops on TikTok — bite-size canvases that sell out faster than I can glue the magnets.
Library paint-alongs — proving that limited sight isn’t limited creativity, one community class at a time.
Techniques for Blind & Low-Vision Painting
Digital Zoom & Layered Color
A tablet inches from your nose beats any pricey CCTV for quick reference checks. Build forms with thin under-layers first, then refine highlights once the composition “locks” visually.
Organized Palette & Voice Notes
Keep core mixes in the same left-to-right order each session. Record quick voice memos—“ultramarine + burnt umber = deep shadow”—so you can remix the exact hue tomorrow.
Practice, Practice, Practice
Skill grows faster than eyesight fades. Ten minutes a day beats one “someday” marathon.
Resources & Community
Grants & gear: Local Arts Councils or the National Federation of the Blind often fund essentials like tablets or lighting.
Online hubs: Blind Art Club on Facebook; #BlindArtist on TikTok.
Marketing beyond the disability narrative: Lead with subject matter—let the vision story be an uplifting footnote.
Final Thoughts: Vision, Creativity, and Perseverance
My mission through Blind-Sighted Brushwork is to spread peace, hope, and joy in word, action, and color. If a six-year-old who once couldn’t see the chalkboard can grow up to tour galleries, maybe your next masterpiece is just one imperfect brushstroke away.
Water Mixable Oil Paint: The Ultimate Guide for Solvent-Free Painting
“I’d admired oil painters for years but never dared to try—tiny apartment, poor ventilation, you know the drill. Finding water-mixable oils finally opened that door.” — Blind-Sighted Brushwork
What Are Water-Mixable Oil Paints?
Water-mixable (a.k.a. water-miscible or water-soluble) oils are real oil paints. Manufacturers either tweak the fatty-acid chain of the drying oil or add an emulsifier so the paint can form an emulsion with water—there’s no water in the tube.(willkempartschool.com)
Key takeaway: you get all the buttery handling of oils, but brushes and palettes wash up with ordinary soap and water.
Why Artists Love Them
Health & Safety
No turpentine, no odorless mineral spirits, no lingering VOCs—a game-changer for small studios and anyone with respiratory concerns.(oilpaintersofamerica.com)
Your experience: “Switching from acrylics felt almost the same day-to-day, but the air in my 9 × 10-ft studio stays fresh, and cleanup is just a trip to the sink.”
Faster Drying
Thin, water-diluted washes can be touch-dry in 5–10 minutes; average layers cure a day or two sooner than traditional oils.(willkempartschool.com, oilpaintersofamerica.com)
Easy Travel & Plein Air
A single water cup replaces solvent jars—lighter kit, fewer spill risks.
Potential Drawbacks (and Simple Fixes)
Issue Why It Happens Quick Fix Sticky or “gummy” feel Too much water or medium Switch to a dedicated WMO linseed/safflower oil after under-painting.(outdoorpainter.com) Matte finish Water evaporation dulls gloss Final varnish after 6 months restores sheen.(willkempartschool.com) Long dry time when over-thinned with water Water slows oxidation in thicker films Thin with WMO medium instead of water for mid & top layers (your tip #7).
Picking the Right Brand
Brand Feel & Flow Notable Traits Winsor & Newton Artisan Slightly sticky, moderate pigment load Affordable, great starter line (your current favorite). Royal Talens Cobra Creamy straight from tube Faster drying, vibrant pigmentation.(outdoorpainter.com) Holbein Duo Aqua Silky, subtle scent Mixable with acrylics in small ratios.(willkempartschool.com) Grumbacher Max Buttery but firm Good opacity; stiffer feel.
Tip: All WMOs can intermix with up to ~20 % traditional oils before losing water cleanup.(outdoorpainter.com)
Working Methods & Mediums
Wet-in-Wet, Bob Ross Style
You’ve reverse-engineered the classic TV technique:
“Liquid white” substitute: thin Titanium White with a touch of WMO linseed oil and WMO thinner, not water.
Keep misting your palette very lightly to maintain open time without flooding the paint.
Load a large synthetic filbert for those trademark “snowy mountain” sweeps.
Under-Painting
Use thin layers of a mixture that includes burnt sienna and thinner.
Building Body
Switch to WMO stand or safflower oil for mid and final layers to follow the classic fat-over-lean rule and avoid cracking.(karenascofield.wordpress.com)
Surface Prep & Tools
Grounds: Acrylic gesso or “universally primed” canvases are safest when you begin with watery washes.(willkempartschool.com)
Brushes: Sturdy synthetics stand up to occasional soap scrubs.
Water Cup Hack: A metal brush washer insert keeps sediment off brush tips and speeds rinsing.
Archival Quality & Longevity
Early research (and 30-plus years of use) shows WMO paint films cure comparably to traditional oils, provided you still wait roughly six months before final varnish.(oilpaintersofamerica.com)
Creative Highlight
“On the Outside” truly clicked when I layered neon glows: first a white acrylic paint-pen highlight, then transparent WMO color washes. The luminosity held up without cracking—a win I’ve struggled to achieve in pure acrylic.”
Quick-Fire FAQ
Q: Can I mix WMOs with acrylics?
A: Holbein Duo Aqua says yes in thin passages, but keep ratios low and respect differing dry times.(willkempartschool.com)Q: Do I have to buy special mediums?
A: Dedicated WMO linseed/safflower oils work best. Ordinary linseed oil strips the water-friendly chemistry.Q: Is Liquin OK?
A: No—Liquin contains solvent; use a solvent-free gel like Gamblin instead.(outdoorpainter.com)
Conclusion & Next Steps
Ready to dip a toe—or brush—into solvent-free oils? Start with a Winsor & Newton Artisan starter set, add a bottle of water-mixable linseed oil, and try the wet-in-wet landscape exercise above. Share your results or questions in the comments—let’s compare notes!
Overcoming Obstacles:
My Journey of Faith and Creativity
As an artist with a visual impairment, I have encountered various difficulties over the years, such as struggling to perceive details in my work and making my art accessible to others. However, I have drawn strength from my faith and the conviction that my artistic abilities are a gift from God.
One significant challenge I faced was learning to work with heavy textures. With my limited vision, it can be tough to work with the intricacies of a heavily textured piece. Yet, I chose to see this as an opportunity to create something distinct and tactile. Through exploring my art using my sense of touch(even through a brush or palette knife), I discovered new textures and techniques that I might not have discovered otherwise.
Heavy texture is not my only obstacle. Being legally blind, I have developed the desire to find ways to make my art accessible to all. To achieve this, I have created visually appealing pieces that are also interactive and tactile. For instance, I have thought about incorporating braille into some paintings and making “sculptures” that encourage touch, making my art available to everyone, irrespective of their visual abilities.
My faith has been integral to my artistic journey, providing me with the strength to persevere in the face of difficulties and view my visual impairment as a blessing. I believe that God gave me my talent for a purpose and that by sharing my art with others, I can inspire them to see the world's beauty.
However, I have learned that I don't have to face these challenges alone. When I feel discouraged, I turn to prayer and meditation to find peace and clarity. I also rely on my loved ones and my community for support.
Although my journey as a visually impaired artist is unique, I believe that my experiences can inspire others to see their challenges differently. No matter the obstacle, whether physical or creative, we all have unique talents to share with the world. With faith, determination, and creativity, anything is possible.
So, if you are facing challenges, take heart. Remember, you are not alone, and with hard work and faith, you too can create something meaningful and beautiful. With faith and creativity, we can turn challenges into opportunities and overcome any obstacle.
Elevate Your Acrylic Landscape Painting with Heavy Texture:
Tips and Techniques from a Visually Impaired Artist
Tips and Techniques from a Visually Impaired Artist
Hello, my friend welcome to Blind-Sighted Brushwork! I'm Rick Fravor, a visually impaired artist who loves creating landscape paintings. I started painting as a hobby after graduating college but that soon became my passion.
In this blog, I hope to provide my favorite tips and techniques for creating acrylic paintings with heavy texture, inspiring you to experiment with your own painting style.
Adding texture to your paintings can create depth and dimension, making them visually appealing and interesting. To achieve heavy texture, I use a specific type of paint that is thicker and heavier than regular acrylic paint. I also use a combination of palette knives, brushes, and other tools to apply thick layers of paint onto the canvas. I experiment with different textures and mediums, such as gels and pastes, to create unique effects.
In future posts, I plan to discuss with you all the materials and techniques involved in creating heavy-texture art. Since discovering this style of painting, I have included it in almost every painting and plan to do so in the ones to come!
I’ll also post some content about my digital art process as well because, to be honest, I have been doing more of that lately than painting with acrylics. Those two may seem disconnected but I promise you, the way I use them, they integrate quite well with one another.
Through this blog, I hope to inspire you to try new techniques, experiment with texture, and find joy in the creative process. Whether you are an experienced artist or a beginner, there's always something new to learn and discover in the world of acrylic painting.
Thank you for joining me on this journey. I look forward to sharing more tips, techniques, and inspiration with you along the way and hopefully, it will lead to success for you. Don't forget, if you enjoy this blog you can get more of the inside scoop by following me on the socials (Facebook, Instagram, and TikTok).
Do you have a technique to share? Send me an email – I would love to hear from you! Until next time, God bless you, my friends!