Trenton Reynoldsthis is room in the trees a podcast about composition bold composition
Sabrina Ward Harrisonworking within the structure of a photograph, creating a spread that has vitality and force to it. What's been happening in your world?
Trenton ReynoldsWe were back in the apartment. The painters did an excellent job. We really love the color. It is wonderful. It was a colossal effort. It really was a ton of work, but it's worth it. It makes so much difference having a color up on the wall. I mean, like I was noticing this in the kitchen where our walls used to be white and the cabinets are kind of this cream color. And they just always look kind of sickly, you know, because that kind of cream yellowish color next to the pure white, it just kind of looked like a yellow tooth or something, you know, like... like it was, they were kind of off. But we painted this really nice dark teal color, like dark green blue. And it just offsets the color of the cabinets. They look so much nicer. And when we were putting the spices back up on the shelf and like the red lids to the spices next to that blue green, just like everything feels more colorful 'cause there's that color contrast.
Sabrina Ward HarrisonThat's great. I would love to know the color, Laura.
Trenton ReynoldsYeah, I'll take some pictures and shoot them your way. Anyway, so that's been fantastic. I remember now that I wanted to mention that I have a little seedling grower. from Park seed. It's just a little foam thing with holes in it and you float it in water and plant seedlings in this, this thing. Yeah. And I've got your planter. I do have my planter. And so the thing is is that last year I grew some seedlings and planted them, but it was at the end of the season, right, right before that. So I've been nurturing these, uh, these plants through the winter, uh, yielding no, no fruit. And I have a Russian, he's from Moldova, neighbor who has been my mentor when it comes to planting. He grew up on a farm. Anyway, he came up, I said, he came up and saw my tomatoes. He likes to check in on it, on me every once in a while. Yeah. And he looked at my tomatoes and he said, these are no good. No good. They go away. Okay. And so I have to take all of those plants that I've been nurturing through the winter months, and I'm going to toss those. And I've got these seedlings now that look like they're about ready to get planted. So I'm kind of excited about that.
Sabrina Ward HarrisonThat's exciting. Could you talk a little bit about the – I don't know if people know about this epic thing you built.
Trenton ReynoldsOh, it's a above ground, no, raised planter. Yeah. It's like just on legs and put some wheels on there.
Yeah.
Trenton ReynoldsAnd it just felt like something that I'd like to get to know how to do and something that maybe the girls would eventually like to be involved in just to get out of the house and have...
Yeah. Yeah.
Sabrina Ward HarrisonYou know, get their hands dirty. So what's the goal for this season of things you're going to be planting?
Trenton ReynoldsSo the goal is to get these tomatoes to actually thrive rather than just, you know, squeak by alive. I've planted some herbs that are doing all right but not great. I now have a working drip irrigation system that has taken me this past year to kind of refine. That's on a timer.
Oh, cool.
Trenton ReynoldsAnd that's working really well. And so the goal is mostly the tomatoes, mostly just to get them to grow. I think I might also have to switch balconies. I have to go to the front balcony and try growing there so they get more sun.
Sabrina Ward HarrisonAnd is it true that the soil is supposed to get really, really dry?
Trenton ReynoldsThe soil is supposed to get dry?
Sabrina Ward HarrisonYeah, for tomatoes.
Trenton ReynoldsOh, we'll see. There you go. I don't know. I've been trusting my Russian mentor. He'll come in and stick his finger in the soil. And tell me whether or not I've been watering him. I don't have no idea what he's feeling for. I stick my finger in the soil and can't tell the difference between kind of wet and wet. So that is that's the update on the planter box and the painting. What's going on with you?
Sabrina Ward HarrisonWell, a little update on the ding ding in the car that did not quite wrap up as smoothly as I hoped it would. It was not the sound of the that just happened to be that the the hood of the car was not not locked down. So that was its own issue that, thank God, I noticed and locked it down after it began the freeway. So I got back on the freeway for the second time after the first incident the week before. Got back on the freeway. Same moment. Started going up about 65 miles an hour. It started dinging. ding, ding, ding, ding, ding, and faster. And I'm thinking, what? And I'm seeing the engine light is on. Oh, no. So my heart is racing, and I pull off again, and I'm on my way to a doctor's appointment, and I'm thinking, I have got to get in the... I don't know... the distance I know to get there by freeway. And I know on my Google, you know, on the car navigation, but I didn't know the back roads of how to get there. I thought this must have to do with the going at the speed I was going. So maybe I can get to the doctor's office. But first I was pulled over, went to a mechanic and I said, I'm on my, should I leave my car here? And just Uber,
um, um,
Sabrina Ward Harrisonbut can you just check the engine really quick? Is it smoking or something? And he said it looked okay. So I started to take the backwards. It was just really, you know when you kind of have a close call or some sort of, and then everything, like suddenly I'm just not seeing a car suddenly pass in front of me too fast. I'm thinking, whoa, I almost just wiped out. Like you're just on edge, and you're just so... And so sobs need, you can't just go to a regular place, I guess. You have to go to one that specializes in sobs. So I called around and I found a place and I took it over there and they diagnosed it. And I thought, oh, my God. So I was looking up online, like, what does a sob 9-3 engine light could mean? And they're like, it could mean, you know, $4,000 new transmission light. Or it could be that you know, you just have the gas cap isn't on tight enough. So it's kind of as a medium medium amount it was a $650 fix of Fluid gauge thing that needs to be changed. So it is fixed. I have it fixed but That was a little bit of drama I got it back today. Hmm So today we are gonna dive into talking a bit about composition. I and the love-hate relationship with it, the forever trying to nail it just right and get that the edge and at the same time the balance. So what were you taught about composition? What are your memories of learning about composition? Composition.
Trenton ReynoldsWell, before I even get to that, that word composition, it's one of those words I think that we throw around as artists and in critiques and stuff that can be used in a way that's so vague it's meaningless. Like, "I love the composition." What exactly, what does that mean? What is composition when it comes down to it? I think it's an interesting subject to talk about because we all probably have slightly different ways of thinking about what it actually is.
Sabrina Ward HarrisonI'm going to look up the definition right now. The nature of something's ingredients or constitutes the way in which a whole or mixture is made up. The social composition of villages. It also is a work of music, literature, and art. Okay.
Trenton ReynoldsWhen I started teaching at Santa Monica College, I taught primarily the introduction to design. And so I was kind of forced into talking about and teaching things that I'd always thought of more intuitively or not really even thought directly about at all. And composition was one of those things. And I think the thing that I kind of, that I came away from that experience with was that you've got elements, you've got things, stuff, and you've got principles, which are ideas or concepts that help you to organize that stuff. And you've got a format, some kind of shape that you're putting the stuff into. And composition is how you take that stuff and organize it according to the principles of visual design. So it's designing, it's organizing, it's... putting things in places to achieve a desired result.
Sabrina Ward HarrisonAnd does that, could that include eliminating?
Trenton ReynoldsFor sure. I think editing or what you leave out is just as much a part of composing, composing a rectangle, you know, or whatever the format is you're working with as what you choose to put in for sure. Anyway, I feel like I'm taking this into a way too technical direction, but it's...
Sabrina Ward HarrisonNo, it's a great way to start it off. So I like the editorial part of composition. My focus in art school was graphic design and photography. So we worked with composition and pushing the edges of composition, understanding composition in both of those areas. areas of learning for me. So in photography, that came into focus. I remember my dad also talking to me a lot about it because he would do this thing with his fingers and he'd sort of make an L shape and then make the the gesture with both of his thumb and his two hands making kind of a frame in front of you. And he would talk about looking, he's a filmmaker, so he was making this sort of lens. And he said, you're wanting to look at the world through this, the lens. And you want to have this, you're always wanting to have action and something coming in from coming, entering into the frame, not just already being in the frame. So you want to have movement in and you're wanting to have energy come from all four corners. And that doesn't mean there has to be something in all four corners, but there has to be some gestural, some movement or, or space that makes there be, um, an energy or a force coming from all corners. And so you can really see that in successful, great photographers. For me, Mary Ellen Mark is I think one of the most outstanding portrait and documentary photographers. Her book American Odyssey, it's published by Aperture, is an incredible collection of years of her photographs. and it's all over America and it's over the span of a few decades. But it's a perspective, you know, it's looking at the composition from the, are you down low? Are you up high? Are you coming in from the side? How is there movement in the frame? How off, you know, if you're going to be off balance, like be really decisively off balance, you know, be at the very edge of, That as well then came into graphic design and working with graphic design and typography and how you have composition within a spread. As people who've taken my classes before know how much I talk about how you don't want to just start with a blank white piece of paper or, you know, a... you kind of usually want to work larger and then come down, break it down into something that already has energy all around, you know, working larger and then cutting down into something that is the shape that you're going to end up with. And also working with mark making that's kind of letting marks happen to the page and kind of having that start off as kind of the drop line, like there should be a kind of invisible drop line that's happening in any kind of composition. For graphic design, that's what it would be called. So even internally within, for example, in Spilling Open, there is... I was talking to somebody the other day about showing in some of the pages how there is an internal structure of a drop line that you'll see throughout many of the spreads that happens where I'll work off one page that then the other side will have. There'll be some element that is at the exact same height, whether it's a photograph, but you're working on both the horizontal and the horizontal. and vertical graph.
Trenton ReynoldsThat's a term that I'm not familiar with, and you just defined it, and I'm not sure if I'm getting it. Tell me what drop line is again.
Sabrina Ward HarrisonYeah, so the definition for it, its definition of drop line is like a newspaper headline employing lines of equal length with each lower line indented consistently. It's a consistent number of spaces more than the line above. So with any kind of magazine spread or newspaper, there's a internal kind of skeleton structure that you start with that can be as in-depth or... minimal. So I guess what I, what I find always interesting is the not, so letting it not be obvious. So letting there, because people will say, well, how does that, why does this work? You know, in school it's like, well, why, what's working about this? And I'm sure you experienced that with your students too, is like helping them understand why, how is this composition working and why is it working within there being chaos and mess making in the,
and, and,
Trenton Reynoldsyou got to start with the supposition or the assumption that the artist was trying to accomplish something, right? Like this is working or not working to achieve a desired outcome, right? So I don't know that the terminology of if it's working or not, I think hides that kind of underlying assumption that there is a purpose to this thing existing. It's trying to communicate something. And its organization, its composition either contributes to that or it detracts from that ultimate goal of communicating.
Sabrina Ward HarrisonWhat would be examples for you?
Trenton ReynoldsWell, so you say like a Rauschenberg. Rauschenberg threw everything in his paintings, right? There was... three-dimensional objects there's photographs there's graphic elements there's
Sabrina Ward Harrisongushy paint there was you know everything was there but when i look at it i see i see
Trenton Reynoldsdesign for sure i see the sense but i think uh there were the the intention of that of using all those things he was using all those things for a reason right to communicate something about Yeah. Representation about, you know, visual communication, about the, you know, difference between a tangible thing and an illusion, you know, between a color and a symbol, all these different things about language.
Sabrina Ward HarrisonBut he was, but the way he composed them, even if it was wildly, there is some intuition, creative genius in him. that knew he nailed it or he, you know, that it was like done. - Right, right. - Like there was something that knowing that that balance of color or texture was, it was not overworked, it was not underworked, it just was, it's saying, you know, it was just,
Trenton Reynoldson point. One of the hard things about talking about this stuff or writing about it is that, you know, that feeling of it working or not, it being complete or it achieving some kind of desired result, whether that is usually that's a feeling, right? Or it's some kind of intuitive response or emotional response. And, you know, to try to put that to words or explanations is almost missing the point. You know, it's like... it's being there in front of it and having that feeling of resolution and like excitement that something hit, you know, or resonated somehow.
Sabrina Ward HarrisonAnd that's the magic of art. It really is.
Trenton ReynoldsOr what are examples that you've come into where something isn't working or is working, and you've been able to determine what that was, you know, or how, how can you define that this or decide that something's working or not working? What is that? Because ultimately, if you want to help somebody, you've got to be able to vocalize that somehow.
Right?
Trenton ReynoldsSabrina, I feel like I've hijacked your subject. I wanted this to be...
Sabrina Ward HarrisonNot at all, my friend. I chose it because I knew we could both talk about it. I knew you could talk about it with me.
Trenton ReynoldsSo the thing that came to mind when you brought up this as a potential topic is... One of my epiphany moments in relation to composition, which was in grad school at the final show, the thesis exhibition, you know, like grad school was all over. This was our big display. I mean, at least that's kind of how you build it up in your mind when you're in graduate school is like, this is it. This is my thesis exhibit. You know, it's kind of a big deal. Anyway, I put these six paintings up that I've been working on.
Sabrina Ward HarrisonWhat was the thesis about?
Trenton ReynoldsWell, those were the six paintings that I did off of the list of things that I said I would never paint.
Yes.
Sabrina Ward HarrisonJust I want people to know that a little.
Oh, so.
Sabrina Ward HarrisonJust to give a little back.
Trenton ReynoldsSo I hit kind of a brick wall in grad school at some point and could not decide what to paint. So I, upon the recommendation of a friend and conversations that I had, decided to make a list of all the things that I had decided for whatever reason. never that I could not paint. And what were they? Mostly cliches, you know, like fall leaves turning, you know, fall colors and sunsets and barbed wire fences and cow skulls and broken down trucks and gazebos, roses, waterfalls. There's a flavor of type of imagery that I've kind of been, through art school, you know, through formal education and just through... you know, interaction with other artists, you kind of get a sense for what kind of people look down on. Anyway, I made a list of all these things and then just made fit as many of the things on the list into a painting as I could. And so I got all these I got these six paintings up on the wall. And after looking at them and having them up on the wall right next to each other, what I realized is that I had made the exact same composition in all six paintings. And they were all different subject matter. So like in one, it was a lighthouse and a syrupy sunset and... like cliffs overlooking the ocean. In another one, it was a broken-down truck on the side of a highway in a southern Utah landscape. But they were both the size of the elements of the composition were about the same, where they were positioned in relation to each other on the canvas and positioned in relation to the edges of the canvas. It was very similar. The way I divided up the canvas into different sections with lines and with color changes or value changes, different kinds of contrast. They were basically organized the same way. The same composition, just with different subject matter plugged in. So it was kind of this revelation to me that I never really thought too explicitly about how I was... organizing space and never kind of had the recognition that I might be doing the same thing over and over again. I kind of assumed that when I was changing the subject matter, the composition was also changing just by virtue of me, you know, it being a different thing that I was painting. Anyway, I don't, I don't think I ever like thought about it that, that, you know, explicitly, but yeah, that was kind of a realization like, oh my gosh, I'm just doing the same painting over and over
Sabrina Ward Harrisonagain. Oh my gosh. So it was by way of seeing them all up together. Right, right. So seeing
Trenton Reynoldsthem all together in a grid and then, you know, it just, it was too uncanny, you know, like it was the same painting. So that was kind of an aha moment for me. And then, you know, like I was mentioning earlier, having to teach this design introduction to visual design class and through the process of teaching and having to critique work, I've always kind of paid attention to that. Like looking at students' work through this lens of like, What are some patterns I see in how they're composing space, how they're choosing to put certain shapes at certain locations in a rectangular composition, you know, or how they're using value, light and dark to shift weight from one side to the other or, you know, whatever the case may be, just how they're using these different elements to communicate, to move me around the image.
Sabrina Ward HarrisonWhat do you think is one of the most common problems that people run into with composition?
Trenton ReynoldsI think the most common one, especially in photography, I think, just because of the nature of how photography works, is putting your primary focal point in the center of the image. And that's for the reasons that you were just talking about. Just by virtue of the format of a rectangle... Your natural focal point, your eye is always going to gravitate towards the center because that's kind of our natural sense of equilibrium and gravity. We find the middle, right? And we're really sensitive to any kind of off balance. And just I think existentially, we're probably very sensitive to finding the middle of stuff like it's safest to be in the middle of a crowd, you know, away from people. predators or whatever the case may be. So that center point, that intersection between the vertical and horizontal axes is going to be a natural focal point. And if you reinforce that by putting your primary focal point right there, then it makes it very difficult for you to get out of the center and move towards the corners of the image, which is what you were talking about is like... You got to create some kind of energy to get people to move around and engage with the whole composition rather than just locking in and staying in the middle. Right. So I think that in my experience has been and people put stuff in the middle by default because that's the most obvious place to put it is like I'm making a painting of this person or this thing. where should I put it? And of course I'm going to put it in the middle because that's the first thing that comes to mind, right? Like where else am I going to put the thing that I care about?
Sabrina Ward HarrisonAnd I think there's a composition when you get into sequencing, when you're thinking about pages of something where you want to have this dissimilar, like you said with your paintings, you don't want to have this... expected next page. Like, you know, when you see a great children's book, picture book that just has suddenly there's a huge cow. Like it's just the nostrils right in the center. You know, like you want to continue to change and throw off the like, oh my God, you know,
Trenton Reynoldsoh now they're super tiny and the little tiny mouse has gone the very tiny
Sabrina Ward Harrisonedge of the page and you can't find it. and I think Siblet will also in film that way.
Trenton ReynoldsYeah, you talking about it that way made me think that, you know, that is so similar to the edits in film, right, from one cut to another. That's really interesting. That's something that a painter doesn't the type of composition that a painter doesn't have because you're just working with one, you know, mostly singular image. That's really cool though. I had never thought of books that way.
Sabrina Ward HarrisonYeah. I think also in advertising, you know, just looking at great graphic design and just you're, you're using the negative space. You're using the fact that, you know, trying to be very, get as bold as you can or, or as elegant as you can with, with balance with the typography and the image. I love that. I'm crazy about that.
Trenton Reynoldshonestly. Can you talk a little bit more about, because this is something that I've always admired about your work and your process is, and you alluded to it earlier, is having a more reductive approach to composition. Just allowing yourself the freedom to move and work and compose more naturally, and then going back in and editing or cropping or finding the moments of energy, you know, and framing them.
Yeah.
Trenton ReynoldsI think that's so fascinating. And it kind of runs contrary to the way I think art is often taught.
Sabrina Ward HarrisonYeah, I love that kind of approach. And I then love the feeling because it does a couple things. It eliminates the preciousness, eliminates the feeling that you can't make mistakes. And by making the mistakes, then you get more interesting spills and lines and gestural marking. that I think gestural marks that happen more fluidly naturally are much better within a composition anyway as elements for line and shape I think again you it's yet I think that's where then collaging is a great is a great form because you just can keep pull you can put stuff on and then keep pulling it off pulling it off pulling off and even the marks made from friggin peeling the paper off where it's too much, then you get sort of this bit of paper stuck still with the glue, and that's kind of cool, and that's a mark in itself that works. I even find when you're using the under paper when you're painting something and then you've got the paper underneath, that kind of is then a great graph. They're great graphic lines. But that's really what I encourage people to do, especially when it comes to book... making, creating book spreads when you have, you've established that the text you want to be using. And then you're going to start by working really large on a big rolls of paper and just starting to make big gestural marks over that large amount of paper and then coming in and cutting, you know, deciding on It doesn't have to be all the same size, but it has to be the same ratio, whether you're doing one page or a spread, which I think it's best to start with, you know, just a spread like a base, cutting those out from within the larger mass of paper. It's funny, I was looking at, finding these old photographs to share, and there's a picture taken out of my sunroom window where I'd made spilling open down at the garden where my students were, when I first started teaching, they were in like third grade, and they were outside in the garden. And I could see the crappy yellow mustardy paper that... I kind of always have hated that yellowy orange paper, but it turns out that they're... Like, looking down at this crappy paper that I got from the reuse center, and I see them, you know, starting to paint on it. It must have been a roll of paper. And I'll see if I can post it in the show notes. And then I look at that paper, and I'm like, that's the frigging... There it is before anyone knew that the cover of Spilling Oprah and that paper down there in the garden that people are walking on, that, you know, there's... I like seeing something before it becomes something else. You know, it's just kind of got someone's walking over with, you know, turquoise paint on their feet. And then so I think letting I just think and I also find the composition within nature. So you're looking at, you know, the natural form and pattern within anything. And you start seeing the compositions within. you know, a flower within leaves.
Trenton ReynoldsI think that's such an important thing. Yeah, it is. When you just strictly work from your imagination, I think you're limiting yourself tremendously. Like looking at nature for the way nature organizes and creates shape and composition, you know, opens up a whole... you know, area of potential that if you just stick to your imagination, you don't have access to, I think. And of course, there's other artists too that you can study, but nature, I think is the best. You've gotten me thinking about composition. It's not necessarily over time, but it kind of is when you're flipping pages. and how you develop expectations as you flip through the pages of what you're going to see in the next page, and how that becomes an opportunity to create contrast and meaning. Anyway, I think that's fascinating. But what I was going to say, listening to you talk about working on a big piece of paper, And one of the things that I've found as I've worked large is that I don't think we realize how restricted we are being when we are working on a piece of paper. How restricted, even if it's a big piece of paper, how restricted we are by the edges of the paper. Right. Like sometimes we're worried about getting the table dirty, right? There's just this kind of natural aversion. It's like we can't get too close to the edge of the paper. And that limits what you can do with that space, right? It limits the kind of marks that you can make. It limits how expressive you can be. And when you take that out of the equation, when there is no boundary within your area of natural movement, that frees you from that feeling. And I don't think you really understand that you're feeling that until you don't feel it, you know, until you have this big piece of paper in front of you and you don't have that anxiety of where to stop because you don't have to stop.
Yeah.
Trenton ReynoldsYes, you're right, exactly. You come in after the fact and then worry about how you're framing it. Then worry about where you're drawing the borders. I think you're absolutely right. It takes away that most evil of adversaries and creativity, which is preciousness. It's getting too locked into... trying to protect something.
Sabrina Ward HarrisonAnd you're using the materials with too much preciousness because maybe that's what you just said, but you're just, you're like holding you're moving the pen or the brush slower because you're not wanting it to go over the edge or something instead of this, you know, it's not this rhythmic, natural, gestural engagement.
Trenton Reynolds- It's funny to me, when I've taught figure drawing classes, there's this kind of natural force field at the edge of the paper, where when people start to get too close to the edge, they start squishing all the anatomy of the body together. and just so they're at least, you know, like a centimeter away from the edge of the paper. So it'll be a naturally proportioned torso down to maybe mid-thigh, and then you get these totally legs that are all smushed, scrunched up just to try to keep the figure from going off the page, right? Yeah. And it's always like there's this little extra room for her, you know, or the model's little toe to stay on the piece of paper, even though the whole drawing has been warped to accomplish it, right?
Sabrina Ward HarrisonThat's so true. Yeah.
Trenton ReynoldsAnd I think that happens no matter if it's a figurative or abstract painting, right? It's like if you have that edge, you're always going to feel this kind of force field keeping you inside that boundary. Yeah.
Sabrina Ward HarrisonSo how do you resolve that as a painter?
Trenton ReynoldsI don't know. I think it takes practice. Part of it is just learning how to... The ways that you can trick yourself out of getting too precious. You know, standing back a lot. So you can see when you're starting to create a force field that you're working within. I think also just... For me, it helps to be aggressive physically with a painting, like to swipe at it. So I can transgress those boundaries and not get my body tensed up to try to stay in it. So with a piece of paper, I usually just take my pencil off, flick it off the paper, scrub it back and forth, and the edges of the paper will be all dirty. And that's just so I can assure myself that I'm not tensing up and trying to work within the edges. Or with a painting, it's a little bit easier because you're not worried about getting a table messy. If you're working on an easel, you can just run your brush right off the edge of the page.
Sabrina Ward HarrisonDo you ever take photographs of them or sketch out? the composition at first as far as the subject you're painting?
Trenton ReynoldsOh, for sure. And I've done this, but would like to do it more, take pictures and take it into the computer. I'd like to do it with an iPad with like an Apple pencil or something like that, or being able to take it in digitally and mess around with it. So there's not that sense of preciousness. Yes, I've done that. Also, it's interesting. I've got a book of Degas sketchbooks. And there are, you know, pages where he's obviously taped a piece of paper on to a drawing that he had done to add more space to his composition. You know, it's like, he sensed that there needed to be more space there for him to work into. And so, you know, he pieced together all these different pieces of paper. paper. Anyway, I think composition is an endlessly fascinating subject and probably something we'll ultimately come back to. As we were talking too, I was thinking that maybe for our Patreon subscribers, we could on occasion, maybe once every couple of months, choose one of our subscribers and do a video conference critique of their work.
What do you think about that? I love that. Yep.
Trenton ReynoldsLet's do that. Speaking of having the difficulty of talking about it without having something to point to, I think that would be a great way to solve that. Anyway, I think that I'd love to do that.
Sabrina Ward HarrisonSo what would they do? They would submit. They would email. Us?
Trenton ReynoldsYeah, so you'd have to be a Patreon subscriber. That way we can get a little bit more support for the show and make sure we can continue doing it. But yeah, they would, you know, we'd choose somebody and they'd send in a couple images or somebody would volunteer, however that would work. They'd submit a couple images and then we could either do a screen share with, you know, one of our computer screens would have the image on it and we could talk about it. Or we could just do a straightforward like video conference and so everybody could see what we were talking about rather than just hearing.
Sabrina Ward HarrisonI think that's a great idea.
Trenton ReynoldsAnd then, you know, last, maybe just if you're interested, you're listening to the podcast and you're interested in something like this, you know, let us know. send an email to roominthetrees at gmail.com.
Sabrina Ward HarrisonFor Liberate, as with Untethered last year, both courses will be available to people all over the world. Last year, there were quite a few people from Australia and South Africa who were taking the course. So the times that the course will be live will vary. So people don't feel left out if you are on the other side of the world and want to take the course. Someone just emailed in from Australia asking why. how they could take it and it's going to be available at different, I'm going to be doing different times live. So it will have a variations of opportunity to be live for it. And also you don't have to be, quite a few people have given me feedback that they love just watching, you know, not having to be there live for the calls or video that they were, they love just coming home, be able to watch it at night, sort of Netflix and chill style, or watch it all later, you know, weeks later if they're away. Doors will open for registration on May 1st and then close, I think about five to seven days later. So you'll want to get in there as soon as they open. Then of course the class will begin. probably the third, second to third week of May. To be sure you're on the wait list, just go to my website, sabrinawardharrison.info and make sure there should be a window that pops up that you can add your name into that box. You can find shorter videos if you go to my Instagram page at sabrinawardharrison in my link tree bio link. there will be something that's a funny video about my trifecta of page making, spread making. Anyway, I'm super excited about it. And what about you?
Trenton ReynoldsShow's coming down next, this weekend, I think. That's as far as art goes. That's, that's all I've got going on right now.
Sabrina Ward HarrisonCan you share some pictures of the show?
Trenton ReynoldsMaybe, maybe not. No, I'll see if I can get some pictures. put up on your Instagram
sure
Sabrina Ward Harrisonso Trent your Instagram is
Trenton ReynoldsTrent Reynolds Art and yours is at Sabrina Ward Harrison
Sabrina Ward Harrisonand we would love you to take a screenshot of listing to the episode and share with your friends and tag us in the in your stories we would love that it's so fun to see that we've had some great ones and oh and there was a great review I want to share I think I I sent you a picture of it. Julubj.u.l.b123 said, great, I enjoyed the first few seasons like talking to friends in the studio, but this third season is really hitting the nail on the head. Thoughts about making such wisdom. Thanks, guys. Yeah. That's awesome. Thank you. Thank you. Thank you. So we appreciate you so much for listening.
Trenton ReynoldsThanks for joining us. Another week.
Sabrina Ward HarrisonAnd it's over.
Trenton ReynoldsAnd there we go. Actually, excellent conversation about composition. I like that. Really enjoyed that. That was cool. Hopefully we'd like to continue that at some point. And again, if you're interested in having your work critiqued, and if that sounds like a good idea for you, for those that subscribe, send us an email. Let us know if that sounds good.
Sabrina Ward HarrisonYeah, send us an image and what you'd like some feedback about, what you're wrestling with. We would love to deep dive about it.
Trenton ReynoldsWe should probably say, if you want to check out show notes, go to roominthetrees.com. It would be fantastic. if you left us a review on iTunes, because that helps us reach more people.
Sabrina Ward HarrisonAnd if you want to see pictures of that yellow paper and that, I found those pictures. I'm going to send them to you now that we can put up on the show notes.
Trenton ReynoldsPerfect. Have a good week, y'all. ♪