Speaker 1 (00:00):
For the best thing that I've ever done is just... Put it out there.
Speaker 2 (00:05):
This is the Bold Artist podcast.
Speaker 3 (00:09):
You have answers,, and you're expressing them in your art. Your art is important, and it needs to be seen
Speaker 2 (00:18):
Welcome. And let's get started with today's episode.
Speaker 2 (00:26):
Welcome to another episode of the Bold Artist podcast. Today we're interviewing Anita McComas of Kelowna, British Columbia, Canada. Anita is a very accomplished wildlife artist who made the journey from realism into bold color painting. What would you do if you were displaying your art at a professional show and another artist came up to your booth and delivered you one of the most hurtful insults you could ever imagine? How would you react? We're going to find out how Anita reacted because that exact scenario happened to her, believe it or not. Let's go over to our interview with Anita and hear the journey of her courage and determination into the world of bold color painting. Anita McComas, welcome to the Bold Artist podcast. My cohost, Charla Maarschalk, and I, we so admire your loose, beautiful artwork. And of course your use of bold color.
Speaker 1 (01:29):
Wow, thank you.
Speaker 2 (01:29):
Yeah. Maybe you can start off by telling us a little bit about yourself.
Speaker 1 (01:33):
Okay. Well, I am a full-time artist, so I probably paint six days a week. I try not to do more than that, but I'm obsessed.
Speaker 2 (01:45):
Yes.
Speaker 1 (01:45):
And, uh, and yeah, I've been painting for probably 30 years. Um, but only, like, in the colors that I'm painting now for about 14. So had a big shift at one point in my life and just kind of went away from traditional colors and started painting bold.
Speaker 2 (02:04):
So, you started out traditional.
Speaker 1 (02:06):
Very traditional. Yeah, I actually started out, um, painting with a Rembrandt palette, which is all the traditional paints, like the dark burgundies, you know, the there's no bright colors at all in my palette. Everything was mixed and everything was very natural. And then I kind of had this like life change, and, um, I, I became allergic to oils and, um, switched to acrylics and then I found, okay, they don't mix the same. So, I started buying color, and it was like, that's all she wrote, like I was in love.
Speaker 2 (02:44):
Oh, what a great story. And you also had mentioned to me that you had a pivotal moment at the Calgary Stampede.
Speaker 1 (02:50):
Stampede. Yes. Yes I did.
Speaker 2 (02:53):
What's that story all about?
Speaker 1 (02:55):
Well, you know what I, um, so when, when you go from painting very traditional, kind of very serious looking paintings to these really colorful pieces -- um, especially in landscape, right? Like my, I started off mostly as a landscape painter. And so I got into the Stampede in their artists showcase. Um, I had a booth. Um, I actually had a full booth. I was really lucky. The other person scheduled to be with me, dropped out. So, I had this full booth, and I filled it with these massive canvases, just full of color. And, you know, standing there, you get to meet all the other artists that are in the show. And I had this other BC artist come up to me, someone that I actually admired a very realistic painter, and he started talking to me. You know, having conversations in my booth. And, and then one day, like the second or third day he comes up, and he stands in front of my booth and he goes, I know what's wrong.
Speaker 1 (03:49):
And I'm like, what's wrong? What's wrong? And he goes, you need to dip these paintings in black -- like straight in my face. And I just looked at him like I, speechless did not know what to say to that. Like someone said to me, I should dip all of my paintings in black. So, you know, I had a, like I had this moment where I think it's a very female thing to just kind of laugh it off, right? I don't know, it's a me kind of thing. And, um, and then I really got angry and started actually painting even bolder. So, that was kind of what happened to me. And I, and I actually sold paintings in the Stampede. So, it was kind of a, you know, it made me feel good. But, um, yeah, that was, that was it.
Speaker 2 (04:40):
That story pierces my heart. And I think it's amazing to see where you're at today now, because if somebody walks up to you and says, you should paint, you should dip your paintings in black, it's such an incredible insult. And yet, you turned it around, Anita, and you turned it into an even further step of being bold. And that is remarkable. And thank you for sharing that here on the bold artists podcast, because that is exactly what we want to do is empower artists to be bold. And if so, let's learn from that. If someone delivers you the worst insults and telling you dip your paintings, I would never even think to say that to someone.
Speaker 1 (05:19):
I think you actually have to double down. That's I don't know. I, you know what, I don't think anything is a, it was never a deliberate reaction on my part, but it took me a little bit of time to kind of get mad. You know, like I made it into the show, like obviously someone sees merit in my work. Why are you telling me to dip my paintings in black?
Speaker 2 (05:41):
And if you're watching on YouTube, you'll see that it, Anita is sitting in front of some of her wildlife pieces. They're breathtaking. They're bold. They're so real. The look in the eyes... I'm looking, I'm seeing a wolf and a bear right now in the
Speaker 1 (05:55):
Yeah, I can move the screen a little if you want.,
Speaker 2 (05:55):
the look that is staring at me... It's incredible. And so Anita's sitting in her studio, in front of her artwork, and has come so far from the day that another artist told her to dip her work in black. So, so, Anita, congratulations on where you are today. And thank you for sharing your time with us here today to tell us more of your story. So, so would you be able to share with us a little bit about your journey and how you specifically developed this very special connection that you have with wildlife?
Speaker 1 (06:27):
Oh, okay. All right. So, um, so, you know, I, I actually, as a child, um, was lucky enough to have horses. I came from a small family farm where we had a lot of different animals, and I was always kind of the one that seemed to connect to the animals. But the irony is that when I actually started painting, um, I only painted people. Like, I, my first bit of painting was people, never painted animals. Then I moved to landscape, and it was kind of like, okay, I don't know why I'm not painting animals. 'Cause I started off like painting horses as a kid or doing, you know, a lot of like horse pieces. And I had this, um, moment that happened in the backyard of my house. My house is on a hill. That's kind of tiered, the house is above and houses below. And I had taken my dogs outside one day, and I hear this crashing above me and above me was an empty lot wooded.
Speaker 1 (07:30):
And I look up, and I see this bear crashing right towards me. And I know I can't make it back to my house with my dogs, and the dogs are trying to go to the bear, and I'm trying to run to the house anyway. So, this bear is just like weaving and crashing. And as it gets closer, it startles a deer, and the deer runs sideways, and the bear turns and chases after the deer. And that kind of moment, which really like, I mean, I'm living in a neighborhood. It wasn't, you know, it's not in the middle of nowhere, it's an actual development. And it kind of made me think about how the wildlife in our area have kind of integrated into our, our man-made developments. You know, lots of, I, at one point I had 10 deer in my yard, you know? And so I started painting, um, this series that had animals and, and man kind of merging together. Right. So I often mentioned this piece called Cityscapes that I did, where it had this bear, very abstracted bear under a tree, and behind it was kind of the city, and the city would kind of transfer some, some of the angles of the city buildings would kind of come into the, into the tree scape and vice versa. So the two were kind of integrating. So that was kind of, uh, what started me painting animals again, you know,
Speaker 2 (08:52):
And you never stopped after for that.
Speaker 1 (08:54):
I am obsessed.
Speaker 2 (08:56):
And how long ago was that transition that you, you went from well from people, landscapes and then to the animals. How long ago was that?
Speaker 1 (09:05):
Um, I would say it's been probably, I would say seven years, maybe eight. I'm not even sure. I can't even tell you like,
Speaker 2 (09:14):
That's great. It's such a, part of your life.
Speaker 1 (09:15):
Actually it had to be after 2015. 'Cause then I was mostly painting landscape. So, it must've been right after that right after the black painting scene.
Speaker 2 (09:25):
Yes. So, I guess with, with that story in mind, it would be fair to, to share with artists who were starting out, that it could take years to discover your favorite subject matter.
Speaker 1 (09:36):
Oh, absolutely. Absolutely. You know, I sometimes don't want to tell people how long I've painted, because then tells you my age, but yeah. You know what, it's a journey and it's like, honestly, I am so thankful for this journey. Like this is, I don't even know how to tell people how obsessed I can be with my art. Like not obsessed in an unhealthy way, but just that I love it so much that I don't want to stop painting. Like I, I, I forced myself to go get lunch. You know? Like
Speaker 2 (10:12):
I love, I love hearing that because I do know that, that at times artists wrestle with their art and their... They can get frustrated, and they can have difficulties learning and breaking barriers in their skill levels. And so sometimes, uh, I hear that that there's ones that are feeling discouraged or, you know, I don't love my art and I'm struggling with my art. And then it's such a breath of fresh air that you say, I don't even know what time it is to get my lunch. I love it so much. And we need more of that, and that encouragement to know that it's okay to love your art. It's okay to, to... Did you always feel that way, Anita? Did you always love it? Were there times that you were feeling frustrated?
Speaker 1 (10:53):
Oh, absolutely. And even now, like I have to say, I've kind of gotten, I've gotten into a habit of painting multiple paintings at a time. So, I'll have a painting that I'm struggling with. Like, I used to say anything that was still sitting around with something I was working on. Yeah. But I actually physically will have two or three paintings on the go. And so when I get to a point with one where I'm very frustrated, like I have one I'm looking at right now, just pass my camera, that I just can't look at anymore. But like, it just, you just need to put it aside. Like maybe that is your struggle. And maybe that painting is going to go into the burn pile. Like, I actually don't have a burn pile. I have a shredded pile. I ripped the canvas into shreds and I'm like, you are a loser, I'm done with you.
Speaker 2 (11:41):
So there you go, there you go, everyone listening. If this can happen to Anita McComas, it can happen to anyone. Any level, any expertise, we can all have a shredded pile. And obviously you don't shred it all because there's these amazing paintings behind you in your beautiful studio. And I would love to hear just a little bit about the studio that's surrounding you because, and I also want to quickly add in here for our listeners and watchers that in case there's a slight echo or you hear that Anita's sound is a little different, it's because she's in this big, beautiful space. And she brought internet in there just for the Bold Artist podcast, which we are so honored. So, thank you for doing that, by the way. I, when I reached out to Anita, would you be a guest on the show? She said, yes, but we got to set the date in such a time that I can get you internet, and headphones, and a microphone so that I can do the show. And so, that is just so kind of you, thank you.
Speaker 1 (12:42):
Well, I have to thank you because actually it was on my bucket list, not my bucket list, my to-do list, which means it has to be done soon. But it just one of those things you just put off, oh, I'm busy. I can't do it. I got to call someone, you know,
Speaker 2 (12:55):
Well, you're busy painting. You don't even know what time it is for lunch, right? So, tell us about this studio that you're in.
Speaker 1 (13:02):
Okay. So I, I actually got really lucky and I, um, made, I bought a house right before the COVID pandemic. So, you know, I didn't have all of the problems a lot of people had getting work done. Um, but I bought a house, a 1976, um, rancher that had a separate two car garage. So, uh, and really, I probably bought the house for the man cave. Like I wanted the studio. That was my, I was going to have the studio. Right? Um, I painted for years and years, usually in my, my lower level. Um, and then I would do such damage to my walls 'cause I, I don't know if you see my painting -- like that's 60 by 60. Right. So, like my paintings can be really big. And so like going up the stairs, you're always hitting something. So, I really wanted to separate studio.
Speaker 1 (13:47):
So, I have, um, I actually have a two car garage. Um, it's... I've put heat in it. I just put internet in it. It's far enough from the house that it didn't have its own, like, I couldn't reach the internet to it. I had to put in some devices to kind of get it here. But, um, but I just refinished the floors, you know, put in that epoxy floor, which is why I'm getting all the echo right now. And I, I haven't put a hole in my walls yet. So, all the paintings are sitting on the floor.
Speaker 2 (14:18):
Yeah. Do you have that moment where you're like, it's all just so sacred and pristine right now. I don't want to put that first one. 'Cause you know, once you put the first hole in, and the first canvas is up there, you're going to be painting on those walls.
Speaker 1 (14:28):
Oh yes. I know. I know. So I, I have already, like, my flooring, I put in like a white epoxy, like, it's a white speckled epoxy. 'Cause I wanted, like, I wanted all my colors to just jump. So, everything is white, which sounds very medical, but it's not meant to.
Speaker 2 (14:42):
No, I love it. My studio is very white, as well.
Speaker 1 (14:45):
And then, you know, because then you really see your colors. You're not seeing them versus something else. Right. So
Speaker 2 (14:51):
For me personally, it's also that I get distracted by other things. So, if I have too much decor or too much other going on, it distracts me from my, my artwork. So...
Speaker 1 (15:02):
Absolutely I'm with you. Like, honestly, like if I didn't need stuff, like you need stuff, right. I would have a perfectly empty space. Like, but I have to have stuff.
Speaker 2 (15:13):
Yeah. And then you transform it into what you need in that moment. I like that approach. Yes. So you have this beautiful space now, and you're working big. Did it take you many years to transition into a large scale style painting or was that a natural for you?
Speaker 1 (15:30):
So, I guess, I guess it became a natural for me. Um, I love to paint with very large brushes. So, my normal brush is about an inch and a half, two inch. So, painting small and moving to smaller brushes to paint small, it just, I just tighten up in the painting. And I'm, I'm trying always to kind of keep that loose feel, but I don't quite get it. So, I mean, I don't, I mean, for me, I paint, um, I don't paint perfect paintings. Like I'm looking for imp imperfection in a way. Like, I want a little bit of a quirky feel to it. I want it to not feel like somebody's traced it. Like I didn't, I don't care if it's like a little more abstract, a little less abstract. It's, I want those brush strokes to be really powerful. So, that's what I'm always looking for is how to create those brush strokes in an acrylic painting. Because if you were ever an oil painter, and you put down a brush stroke, you can physically see it. But as an acrylic painter, you put down a brush stroke. I don't care how thick your paint is. It's going to kind of flatten. Right? So, I guess for me, I want the illusion of the brush strokes. So, I really like large brushes.
Speaker 2 (16:41):
Yes. I completely understand. And you're achieving it. I can see the brushstrokes from here as I'm looking over your shoulder. It's so beautiful. And so, um, can you tell us a little bit more about your approach to the canvas when you go to start a piece? Um, there's so much that I'm wondering, Anita. I'm wondering if, how you find your, your specific subject. I know it's wildlife, but that particular wolf that I see, is it a photo that you took, or a friend took? And then once,,, do you work from a photo? And then once you do, how do you approach these magnificent colors, turning that reference into all this glorious, bold color that we see. What's that process look like?
Speaker 1 (17:23):
Okay. So I don't have, um, a lot of opportunity to go play with wolves.
Speaker 2 (17:31):
I don't know if I would want to, although it just, before you start your story, I'd say I've met a bear twice. Well, probably a different bear twice. Um, I was living in Peachland at the time, which is not far from where you live. And I met, uh, bear face-to-face one day and I did not enjoy it. I prefer the kind that I'm looking at over your shoulder. When it's a beautiful, uh, painting there, I love it and deeply appreciate the bear. But when I'm face-to-face, and I actually see myself in it's eye reflection, that's too much for me.
Speaker 1 (18:06):
Me, too. I'm with you. I don't like the crazy friend that if we go on a hike, I have bear spray, and a knife in my backpack, and people are like, we're still just on Knox mountain.
Speaker 2 (18:16):
Fortunately, the day I met the bear, he or she was not interested in me, at all.
Speaker 1 (18:24):
That's good. Well, that bear that actually ran at me. It's, it's the true story is the bear was drunk on grapes. So, a lot of the vineyards throw away their like end of season grapes and the, and they ferment on the ground. So, the bear had been eating these piles of grapes, and that's why he was kind of crazy tilty running down the hill. So, you never know.
Speaker 2 (18:46):
But back to your story, you're going to share with us your approach to the canvas.
Speaker 1 (18:51):
Okay. So, so basically I, um, I actually purchase images. So, I have, um, I try to buy from local artists, or local photographers, um, or I have a photographer that I know from the states that travels up north to do excursions. And she sells me the rights to paint some of her photos. I'll buy some rights from stock images. Um, because for me, I'm not painting realism. I'm painting, maybe that pose, I'm painting parts of what I'm seeing. So I, but I need a reference, like I need a reference. Um, with a reference, I can move a leg. I can still move the animal. 'Cause I understand enough of the anatomy to do that. But, um, but I do need a reference, right? So, um, so I start with my reference image, and generally I basically will do a little thumbnail. I'll try to figure out where I want to position the animal on the canvas, how close up I'm going to show it, how far away, whatever I'm going to do.
Speaker 1 (19:52):
Um, and before, before when there weren't some shortages on certain colors, I would always paint, um, a color on my canvas. The entire thing would be nikocado gold -- that's my go-to color.
Speaker 2 (20:05):
I love that color.
Speaker 1 (20:05):
Um, and lately, because it's been a little scarce to get that color, I've been kind of keeping it for painting some of my animals rather than using it as a background. So, um, but, but generally I kind of go right to it. I don't, um, pre-draw, like I draw with paint. Um, I, you know, because I'm not looking for perfection, I, I don't, um, I don't really care how perfect my drawing is. I want it to be realistic enough. Um, so I will, I will draw my painting, my piece, whatever that bear or whatever that creature is on with paint and move it if I feel like it's not quite right. Um, but then I just start painting, and I generally start with my darkest color first and then kind of build to light. So that's the process for me. Um, but, and I do preplan in my mind, my main colors that I'm going to be painting in. So, yeah.
Speaker 2 (21:02):
Wonderful. And so backing up again to the reference image, what makes you choose that particular image? What catches you when you're looking at an animal in a photo?
Speaker 1 (21:12):
Um, sometimes it's the expression. Um, sometimes it's the position. It could be that it's a horizontal versus a vertical position of that animal that I can kind of stretch it into a certain canvas size that I've been wanting to use. There's a lot of like a lot of things that kind of come into my mind when I think of that. Or, and sometimes I'll take, like, a couple images and combine them. You know, so, so I'm reinventing the images in some ways. Right? So, um, because I'm trying to keep, I'm trying to keep them always fresh. I'm trying to really put an original spin on them and that's like, I, I, to me that's really important not to just paint what I see, but to paint kind of what I'm feeling in that photo. So, I don't, can't quite explain that, but..
Speaker 2 (22:00):
Oh, that's okay. It shows, it shows. And for anyone listening, do check out the show notes, see Anita's links and check out her website and portfolio because you will know when you see it, that there is definitely a lot of emotion tied up into her process. A lot of emotion has put in there and I can see it in the animal's eyes, the colors of the brush strokes. It's really wonderful. Thanks for giving us a glimpse into your process there -- a little bit of data. And so are you generally bold by nature? You told us the story about that confrontation at the Calgary Stampede and, and, uh, someone telling you an insult and, you know, dip your paintings in blac and it stirred up an anger. and, uh, I would say it's a feistiness that came. You know, a little feistiness that said, you know what, you're not going to tell me to dip my paintings in black. And I am going to show the world that I'm made to do this. And here you are all these years later. Is that by nature, Anita, that you would be bold and brave with the brush, with the decisions you've made?
Speaker 1 (23:00):
No, I have to say no. Um, I was a extremely shy person as a young person. And like, even through my university years, like I was not naturally bold. I was not naturally a risk taker. Like I'm, I have a very, um, I say this sometimes, which my daughter probably would hate if I say this, she hears it, but I could have been an accountant. Like I have, um, I have, uh, a more, uh, sometimes a mathematical brain. Like I, I, my, my actual trade before I became a full-time artist was I was a buyer. Right? So, so like that, that's a very controlled kind of side. Right? And so for me to get freer and freer with my paintings is something that kind of came out over time. It wasn't a natural, like I've seen some people who are very naturally just bold. They just go for it.
Speaker 1 (23:53):
Mine was way longer of a process. Like it took me a lot of time, you know. And I have this theory in life, which I would like to share. Um, and I, and I tell this to my daughters. I mean, it doesn't just apply to art. It just applies. I think it's been a really key thing for me in my life. I really think the biggest or the best thing that I've ever done is just put it out there. Um, so when, when I see something that's interesting, and maybe I don't have the credentials for it, I apply anyway. Um, if I, if I, if something kind of strikes my curiosity, I put my name forth. You know, if someone asks me to do an interview, I say, yes,
Speaker 2 (24:42):
Yes. You say yes. Then I'll get the internet and have phones to do it. It's amazing.
Speaker 1 (24:48):
Yeah. So, you know, like that is really my best advice for artists that are kind of struggling with their art or start applying to things. Apply to shows. Go into juried shows. You know, what I used to, I used to go into this particular organization, they'd have these jury call for art. And I would always pick, I was very strategic, which was my math side. And I'd pick a piece that I knew they would like, right? Like it was my very traditional kind of piece. And then I picked my piece that I would call my screw you peice. Well, I actually didn't use that word. I used a different word, and it was my screw you piece. And so, I would submit these two very different pieces. One was, I'm sure I'm going to get in. And one was screw you. Right? And it was kind of very rewarding for me when the screw you piece got in. I thought, woah.
Speaker 2 (25:40):
Yeah.
Speake 1 (25:41):
So, yeah. I mean, honestly, like if, if you painted something and you're not, you're not sure people are gonna like, it, it doesn't matter. I say just, uh, just submit. I mean, just, you know, put it out there. Like, you'll, you'll, you'll eventually kind of be, you'll eventually steer yourself in a direction that will be authentically you.
Speaker 2 (26:05):
That is so profound. So if we were to create the quote, Anita McComas quote, it would say, "Artists, put it out there." Do you want to, do you want to alter that quote a little before I start quoting you?
Speaker 1 (26:15):
No, I like it. Put it our there.
Speaker 2 (26:19):
Yeah. We're going to put it out there, and boldly put it out there, which yes. Which is, yeah. That is just such a breath of fresh air and a good, really good reminder. Not just for artists, but for people in general, not to be afraid to take that step, even if you, I like how you said, even if you didn't feel like you had the right credentials. 'Cause I think sometimes we're looking for permission, or we're looking to be validated to say you're qualified for this. And then we take the step and put ourselves out there. But you're, you're encouraging us to do it the other way around saying before you feel qualified before anyone gives you permission, put yourself out there and see what happens.
Speaker 1 (27:00):
And what do you have to lose, really? Right? Like you might, you might have someone judge you, and you're never going to see that person. I mean, you have nothing to lose, like, put it out there.
Speaker 2 (27:12):
Yes. Now that is such good advice for the soul, and for just, you know, practical ways of becoming an artist. But would you mind sharing a little tip on more of a skill matter? Like something that would just be a real, um, tip for those who are starting out in the skill building of being a painter. What would you share with us?
Speaker 1 (27:39):
Hm. You know, I guess I would say, keep it simple. Um, I know a lot of, like, I teach, too, right. And I'll have students who might show up with a massive amount of paint colors. And, you know, yes, it's great to have all those options, but in a single painting, you don't need a lot of different colors. And I think that if you keep it simple, you're probably going to make some very powerful paintings. And so, that would be my first advice kind of start there. Right.
Speaker 2 (28:15):
Start simple.
Speaker 1 (28:15):
Yeah.
Speaker 2 (28:17):
Yeah. That's beautiful. And then as far as practical techniques, what would you encourage people to be looking at? their, their color mixing? Their composition? Or like, what would you say to dig into?
Speaker 1 (28:32):
I think composition's really important. Um, and there's some very basic rules that make for better paintings. And I don't think you have to take it to the nth degree. Like you do not have to learn about very advanced spirals or anything like that. You just need to kind of have an idea of composition, and I think you need to plan your paintings. And that's really like, that's what the point of the thumbnail is.
Speaker 2 (28:58):
Right. Let's talk about that because I think some, uh, newcomers to painting, they just want to start painting and they don't know that a huge aspect of being successful in a painting is the planning. What does planning look like? We talked about reference photos. We talked about your, your stage of, you know, uh, drawing with the paint you called it, which is a great way to, to describe that part of the process. But the planning, the planning of the colors and all of that. What does that mean to you?
Speaker 1 (29:30):
I, you know, when I, when I'm deciding on what to paint next, okay. I start with the image. Um, but, and I, and like trans start putting it on the canvas. That's another thing, but I know when I start painting, if that bear is going to be blue. I know if it's going to be purple. Like, I have decided my main color. And you know, when I say keep it simple, like I, I actually have a color wheel right across from me here. And I generally will use the opposite on the color wheel as my secondary color. Right? So, if I'm doing a blue bear, there's a blue bear there. I don't know if you see him, I'm going to move him. Blue bear there.
Speaker 2 (30:16):
Beautiful. Yeah. We were, we were texting this morning, Charla and I were texting about your amazing bears.
Speaker 1 (30:22):
Well, if you look at his face, it's got these really bold strokes of orange, which is the compliment of blue. So, I deliberately know that if I'm, you know, in my, in this simple painting, 'cause it's really got limited colors, it's, I'm using the complimentary color as my accent. Right. So I'm, I know that before I start painting. Like, I know if my bear is going to be, I don't know... If my moose is going to be magenta, which he is, if you see him...
Speaker 2 (30:53):
There he is, magenta moose. Yes.
Speaker 1 (30:55):
Like, I'm going to use, I would, I could have used a turquoisey color, but I wanted to kind of put something in the green tones. Right. So, you know, I will shift a little bit, but I will generally kind of be aware of the colors on the color wheel and look at putting compliments, um, on the same painting.
Speaker 2 (31:15):
And that's such a crucial part of the planning is just planning out those colors accordingly, which is really such good tips. So, thank you for that. Just a skill of keeping it simple, making sure to plan. And I love what you said about putting it out there. Put it out there, put it out there. That's the tip of the day. Yes,
Speaker 1 (31:35):
I had that. I had a little necklace at one point that just said, just do it. And that was my, that was my mantra. Just do it. Just apply for that. Just put your name out there. Just, you know. Yeah.
Speaker 2 (31:47):
Yes, yes. Okay. Here's a surprise question. What's currently on your palette?. Well, you said you work on like three or four at once, but what's, what's going on in Anita's painting world.
Speaker 1 (31:56):
So, I actually just finished, I didn't paint today. I was actually varnishing this morning because I was, you know, I had to put on a nicer sweater.
Speaker 2 (32:07):
That's funny. I don't do anything else on podcast days, either.
Speaker 1 (32:11):
OhI know,. You know, like you have to take the shower. You have to do the hair.
Speaker 1 (32:16):
And some varnish, you know, it's not going to show up if it's on my face. But, um, but no, I'm, I'm actually right now I have, um, I have a show like a solo show coming up in Kelowna in, um, on November 9th at Tutt Art Gallery. So, I'm, I have a, I don't know, 20 some paintings that are kind of in various stages of ready for them. And then I have another shipment I'm sending out to another gallery. So, I'm varnishing those. So yeah, that's just kind of, you know, you caught me at a day where I actually have like lots of stuff happening in my, in my studio. So, yeah.
Speaker 2 (32:51):
Wonderful. Thank you for sharing today with us.
Speaker 1 (32:53):
Thank you for inviting me.
Speaker 2 (32:56):
Ye, we really appreciate having you on the show.
