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Let's build a Virtue Rolodex of Artists/Authors/Passionate Experts today!
Yesterday, I spent a delightful hour talking with Andrew Allemann, founder of PodcastGuests.com. I’d like to share some of the highlights of our discussion.
Andrew identified a much-needed service. I can’t tell you how much time I’ve spent searching for podcasts that were still on the air–we’ll just leave it at frustrating countless hours! When I would find a podcast that I would like to be a guest on, I would carefully craft my pitch and send an email. In the majority of the times, I would receive no answer from the host or a response that confirmed my suspicion that the podcast was no longer active.
Andrew is a blogger and podcaster. As he discusses in this interview, he started PodcastGuests.com because he was tapping out his Rolodex of connections and began searching for a new set of guests to interview. He spent that same amount of time I have and then decided to create this service. I joined up and then asked Andrew to join me on All Things Creative.
I found out some exciting information from Andrew. First, I found out my audience is quite exceptional. Many of my podcasts have been downloaded from 2500-3000 times–meaning I have that amount of listeners! He provided that the median number of listeners falls in the 200-300 range. Art Chat/All Things Creative ranks in the top 20% when it comes to the number of listeners. If that isn’t awesome enough, consider this perspective. If you could get the number of your listeners (so, let’s roughly say 2500 of you) all sitting in one room for a presentation, would you be excited about that? You bet you would!
With that in mind and knowing some folks just aren’t interested in organizing a podcast every week or month, let me ask you this. If you could talk about your book, art, maybe your a voracious reader who would like to talk about the books you are reading, or whatever your passion is, wouldn’t be awesome to be able to share that with an average of 200-300 people? Well–then maybe you should become a guest on the right podcast. PodcastGuests.com can help you get linked up with those appropriate shows!
Now, as I noted above, I have joined PodcastGuests.com at the premium level. When listening to the show, you’ll hear Andrew and I talk about building the art side of this business. So, I’m encouraging my fellow authors, artists, friends with a passion, readers–anyone with an interest to listen, guest or become a podcaster–to sign up for this great service. PodcastGuests.com has three entry levels: free, basic ($9/month) and premium ($29/month). Click here to join:
As I said, you can join for free: Click here (You will receive a newsletter with featured guests, but more importantly if you love to listen to podcasts, you will be introduced to shows that you may not have heard of before! Awesome!)
What does $9 a month get you? (This is for those who want to be a guest. You will get a listing which you can check out here.)
Your own online “one-pager”
Profile listed in expert guest directory
Simple profile URL you can share with others
Podcasters contact you directly through your profile
Link to 1 website
Listed in one category
Profile visible in the expert directory
Want to start podcasting and be a guest? Then I recommend that you join at the premium level for $29/month. With this package you get the following services:
The basic package PLUS:
Link to up to 3 websites
Listed in 2 categories
Profile featured above non-Premium profiles
Booking accelerator: Your profile featured in the newsletter on a rotating basis sent to 3,000 people!!
You can unsubscribe from the service at any time, so why not give it a try? Click here to join today! Help Andrew build a virtual Rolodex of artistic experts today!
Here’s the podcast which contains some excellent advice for being a guest and a podcaster. You can listen or watch the video. The video on youtube “introduces” you to the site, so you may want to watch this episode versus just listening.
Thanks for all your support and taking time to listen! Questions? Email me at lfisler(at)lindafisler[dot]com (remove the words at and dot and put the symbols.)
Knowing you all are visual people, it is kind of funny that I don’t have any visuals for this piece. Hang in there. Hopefully, I will have some next week.
I’m working on two painting now. One I have lost interest in and one that I’m excited to get to work on again tomorrow. I wanted to share some of my thoughts on the two paintings.
First painting: Boats
My students like when I paint during class. I get them set up, and then I set up, and off I go! It is more fun, and they get to watch my thought process as I work through the painting. It generates discussion, and it helps them to grow and think as well.
So I started this large painting with no thought about what I wanted to paint. It was turning cold, and I thought: “Let’s paint some boats.” That is the problem with this whole painting. I hurriedly pick some reference photos, created my value study and then throughout the painting became disenchanted with the entire scene. It happens to all of us, and I don’t feel like it is a failure. It was reassuring to my students, and I have demonstrated a few techniques in the painting from which they are benefitting.
Standing back and walking away from it, for now, has allowed me to see the many things I dislike about it. Trust me, they all stem back to not having a clear vision to the painting. I have to say; this painting was started while my husband was recovering from a cycling accident that was horrendous (he is fine now!) and the loss of one of my precious kitties. My mind just wasn’t into painting boats or anything else at the time. I can see it in my work. So, yes, it is time to walk away from that one. I’ll pull it out and make more decisions at some point. When I complete it, I’ll share it, but not before.
Second Painting: Giverny lily pond
Last week, I decided that I just couldn’t work on the boat painting another week. I have two new students–well one new student and one “featured” artist who is young and things he is a master artist even though he has never worked in oils. Sense any frustration here?—Yeah–I thought so, but that is a whole different blog.
Anyway, My husband took many beautiful photos when we visited Giverny a few years back. I decided to use his one photos of the lily pond for the reference for my painting. After getting everyone stepped up, and realizing I left my Michael Harding Ivory Black in my downstairs studio, I mixed up a warm, grayish color from the primary colors. It is a beautiful mud color that is a little on the warm side. I created four values and went to work. I squinted and searched for shapes. I studied what I loved about the painting. I made mental notes what I might take out. It was fun actually to be painting again.
I’ll take a photo with my phone before I start on this one again. I’ll share the process of both shortly. Stay tuned!
PS–just to tease you–the featured image has nothing to do with this blog. It is France, but not Giverny. It reminded me I need to paint this one too!
It is always fun when you connect with friends in the industry. When I say industry, I’m thinking of both my art and writing careers. In the end, we are all entrepreneurs in this field.
Today, my guest was Jamie Markle, a former publisher at F+W Media. Jamie left his job a year ago to become a full-time artist, writer, editor, and entrepreneur. It was so much fun to talk with Jamie about his journey to date. He provides some great business advice and what he has been up to this last year. Have a listen!
Just a quick little blogcast in which I talk about the MAC’s Area Art show and my entries into the show–which ones make it and one that didn’t. I also talk about the books and the progress on book four.
Check it out and have a great day!
From time to time I like to share my process and latest paintings here. This one was especially fun. “French Kissed Sunset” started out as a photograph taken by a friend and collector at his place in France. It was a gorgeous sunset and I asked Peter if I could use his photograph for a painting. He agreed and then we discussed his favorite artist–JMW Turner. After the conversation, I knew exactly which Turner painting Peter had in his mind. The challenge was made and accepted! Could I paint something that would remind Peter of a Turner painting? Our styles are so different–so very different.
I love challenges that make me think. As many of you know, I usually start my paintings with a gray scale or value study before I lay down the paint. My concern with this painting was that the gray value study was that I would not be able to get the painting as bright as I wanted it in the final stages. So I decided to start with a series of glazes to set the value and tone of the painting. Here’s the result.
While I was playing with the glazes, I was breaking down the basic color that I wanted in each area. I changed up my palette–I used Michael Harding Brunt Umber, Amethyst, French Ultramarine Blue. I didn’t grab my Michael Hardings Cadmium Yellow because it was buried on my table and I did the glazing for my class. I used instead Gamblin’s Cadmium Yellow. After having used Michael Harding paints for so long and their reputation for high pigment content, I was really disappointed with how dingy the yellow was in this first and second pass.
While I worked, I had in mind values and how I wanted the land to lay, placement of trees and all that good stuff. The sky and its reflection in the water were the star, so as I worked, I was also thinking composition. Here’s a black and white of the first pass glazing:
Not bad, but I wanted that water and sky to sing.
The second session I decided that I would use brushes and lay on a thin layer of paint. As I anxiously waited for my Michael Harding Cadmium Yellow to arrive, I ended up using the Gamblin Cadmium Yellow again. I thought maybe the medium I used to glaze with might have interacted with the Gamblin paint and dulled it. Here’s the result of the second process side by side with the black and white photo to check values.
I definitely did not like that Gamblin Cadmium Yellow. It was not doing what I wanted. I looked at the black and white, and even the lightest value was too dark. I over-played the trees too, but I wasn’t worried about that as I was going to paint them over again anyway. I was still playing with composition and placements too.
So, the last stage was my palette knife and laying on some thick paint. My Michael Harding Cadmium Yellow arrived, and I changed up my palette a little too. My palette consisted of Michael Harding French Ultramarine, Brunt Umber, Alizarin Crimson–which I mixed to make the “black,” Cadmium Yellow, Cadmium Red, Amethyst (which I also mixed with the Brunt Umber to use in the dark land mass), and Lapis Lazuli. Well–that Yellow Cadmium of Michael’s made all the difference as far as I’m concerned!
Here’s the final painting–and you can tell I wanted an O-shaped composition, keeping the eye of the viewer in that O of reflection and sky.
The happiest of all endings: Peter, my friend and collector, loved it! It will be shipped to hang in his home in France where they can compare the sunset de jour to my painting every day!
How cool is that?!!