Trenton ReynoldsThis is Room in the Trees, a podcast about living a creative life. Room in the Trees is hosted by Sabrina Ward-Harrison and me, Trent Reynolds.
Sabrina Ward HarrisonShow notes including pictures, links, video, and more for every episode can be found at roominthetrees.com.
Trenton ReynoldsIf you like this podcast, please consider showing your support. You can become a subscribing patron at patreon.com forward slash room. You just texted me a couple pictures of some products that you just... acquired and it's Nova color, which is based mere minute drive from my house.
Wow.
Trenton ReynoldsSo why Nova color?
Sabrina Ward HarrisonWell, I watched some stuff on YouTube and they were using Nova color and I just, I thought, and I felt like I'm like, this must be what Trenton uses. or has in the studio. And yeah, I thought so. And so I just got this, I kind of got a hit to paint a couple of weeks ago and I'm just going with it. And I started working on some big stuff and big like scale wise. And I've broken through after how many years of just house paint and just the primary colors, which I still believe in firmly and I'm still using. But I thought gonna get me some paints and some paint mediums and experiment and play. And I was excited to share with them with you because I'm like, all right, never use a gel. What's this gel going to do? And I was thinking it'd be fun to maybe do Facebook Live or something with you about some of these materials.
Trenton ReynoldsOh, that's so exciting. I love it. But I think you're absolutely right. Like there's... I, like you, have a really strong belief in just the materials you have access to. Yeah. That's what you got to use, right? But there is also this thing where nicer materials do make a difference, right? There is a pleasure in working with purpose-mixed paint that's specifically for this, using with a paintbrush on canvas type deal.
Sabrina Ward HarrisonNow, what about Nova Paint do you find – this is not an ad for Nova Paint, but how – because you're the product – you're the guy. You're just the guy for dabbling with stuff.
What – you know,
Sabrina Ward Harrisonwhen I see you put, when we did decisive action and you put stuff into those little squeezy bottles, would you say putting the paint for Nova paint in, in there? Like how, how do I extend a court of a, not a court, a pint of paint so that I can actually get some distance with it. with it.
Trenton ReynoldsWhat do you mean distance?
Sabrina Ward HarrisonI mean just like so it doesn't go away. If I'm using a big brush and I'm working on a big piece of wood, how do I use it without just using it in 45 minutes?
Trenton ReynoldsRight. Well, I think there's some practical concerns there of just like the size of brush that you're using and the amount of paint that it just literally takes. Right, right. That kind of surface area. Right. And that can't be, I mean, I think it's hugely important. I can't tell you how many times as a teacher I've gone around the room and see somebody, you know, trying to cover a canvas that's two by three feet with a, you know, with a tiny little... turd of paint on their palette, right? It's like there's a logistical problem here. Like we just, you need a certain amount of paint to cover that kind of surface area. So on one hand, I think like, especially the way you work, you know, you're... If you try to scrimp too much, I think you're doing yourself a disservice. So I don't know if you're talking about making a small amount of color expand and last over a large surface area, or if you're... I guess the one, okay, back up just a second about Nova Color. So Nova Color, the reason I think it is so fantastic is because they don't add any unnecessary ingredients. So from what I understand, and I might be giving some bad information here, so I take it with a grain of salt, but this is what I understand. And that is that acrylic paint, at its most fundamental, is or tends to be very liquidy. And that if you want the thick body paints like you get with golden thick body paints, you have to have to actually add stuff to thicken it up to act more like oil paint. So, when you then try to thin out that thickened paint. Okay. Right. And you're actually going backward to a more natural, you know what I'm saying? Like you're actually reverting back to what it's at its most simple form is, that consistency. And also those thickeners, I believe, have a certain amount of sicative, meaning a drying agent in them. which kind of makes them dry faster, right? So what I've found with Nova color is that it, in my opinion, my experience, it spreads on more evenly. It doesn't dry as fast. You get a little bit more time to blend and you get a better pigment density, which is the amount of pigment they put in the bind, in with a suspender binder, the PVA, polyvinyl acetate. So, so it's just kind of just works better in my, in my experience, like I like the way that it goes on with the brush it's more fluid blends better has more better drying time and better pigment density. So all around just I think a superior product. That being said, if you want a more textured surface, you really like impasto, you like working with a palette knife and you like aggressive texture, then maybe the Thick Body Golden Paint or a U-Tract or something that has those thickeners in it would work better because it's going to give you more of a surface. So it really depends. So I like putting Nova Color in the bottles, and you can buy them at the store, or you can get them at Blick, but they're kind of pricey at Blick. The Nova Color, because it's thin, works really well that way, and you can just kind of... you know squirt it out on your palette or if you're working on a large surface like you do i just like squirting it directly onto the canvas yeah cut out the middleman and you don't lose all that you know any of the paint on your your whatever and how do you get it into the little
Sabrina Ward Harrisonmodels
Trenton ReynoldsA little bit of practice. Yeah. So you can, I think it's called titrating, when you take a thin brush and put it down into the hole of the opening of the bottle. Yeah. And then you pour the paint down the brush, and it kind of clings to the sides of the brush and then goes down the thing. Whoa. Did you ever do that in science class? You put that glass rod down into the thing and you pour it down the glass rod and it kind of... No.
Yeah.
Trenton ReynoldsAnyway, so that works really well, but also just holding... I've gotten good enough at just holding that big pint thing and pouring it directly into the small hole of the bottle. And sometimes it flubs over a little bit, but it's usually...
Sabrina Ward HarrisonI could also use a sieve.
Trenton Reynoldsor something. Yeah. Not a sieve. What is it? A sieve is like the thing with all the holes in it. Oh. What's it called? What is it called? Funnel? Yeah. Funnel. You can use a funnel. I've tried that before too with mixed success. I also, what I've done a lot is just take a piece of white paper and kind of make it into a cone shape. Yeah. It's kind of a makeshift funnel. and that works well enough. Anyway, so you have them in the bottle, and it's just a very convenient way to deal with the paint. You don't have to unscrew caps and worry about caps getting lost. Right, right, right, right. but then the spreading that out onto a large surface area that's when these mediums come in handy so if the if there's enough pigment in your paint it can handle being diluted and still retain a no intense color and some of those colors are really good for that and that's where medium comes in handy you want to use a medium and not water to dilute your paint because water doesn't have any binder. And if you use too much water, it separates out the molecules of your paint medium, which is essentially a glue. And if those molecules get too separated, they can't stick together and hold onto the canvas. Right? Right. Whereas if you thin with an acrylic medium, you're thinning the paint out with glue. So you're not compromising the paint's ability to stick to the surface. So I see this happen a lot where, in fact, I just saw yesterday, where people take a squirt bottle and squirt acrylic paint and try to make it act more like watercolor.
Huh.
Trenton ReynoldsWhich sounds nice, but again, you really ought to avoid that if at all possible because you're compromising the paint's ability to stick to the canvas. Instead, you get a really, really thin acrylic medium, which you can get at Nova Color. I believe it's called... It's called Nova Plex I think Nova Plex three to something or other. They have a couple different ones, one that's like almost water, like it's really really fluid. And then another one that's somewhere in between that medium and that, that really watery stuff. So that's a good way to just get it to move around the canvas like water as opposed to you know like thicker consistency that doesn't want to move
Sabrina Ward Harrisonquite so much. So gel mediums and stuff could those really be mixed with with paint?
Trenton Reynolds- Gel's the opposite, it's really thick. - Right, just to make it thicker? - Mm-hmm, yeah, it's also taking the amount of pigment in your paint and spreading it out, so it's diluting the color over more material, more stuff, right? because it's just clear paint. So you're taking all that color and dispersing it into a clear substance. So the particles of pigment are further apart. You're going to have more transparency. But some colors are more opaque than others or dilute better than others, and that's just a matter of experimentation. Interesting. But the best way to get really, really intense color over a large area is just a lot of paint.
Sabrina Ward HarrisonNothing wrong with that. That's where I find the house paint is kind of great because you can get a sample at Sherman Williams and you have the color swatches and matching a color and a piece I like and then I can get a sampling of that in just a small sample.
Trenton ReynoldsThere's nothing wrong with working that way, but again, there are advantages to nicer materials. Yes. With professional grade acrylic paints, they're thinking about how archival it is, how brittle the paint will become over time, how well the color stands up, doesn't yellow over time. There are different levels of quality of the actual medium itself, and so... You know, like you look at Jackson Pollock paintings and some of them haven't held up so well over time. I love that stuff, though. I love thinking about it.
Yeah.
Trenton ReynoldsSo how are you? I'm doing well. I sent you that quote the other day, right? Yeah. I want to read that right now because it is so perfectly encapsulates kind of what my experience has been these past couple weeks. And let me see if I can find that in my... Okay, so this is a quote from The War of Art by Steven Pressfield, who is an author of The Legend of Bagger Vance, among other books. But it is a fantastic little book and highly recommend reading it. But this is a quote that came to mind over the past couple weeks. And it says, resistance is directly proportional to love. If you're feeling massive resistance, the good news is that it means there's tremendous love there, too. And I kind of, you know, ever since school ended, it's been this, it just feels like this deluge of stuff, you know, of things that have come up and it just being able to get enough time to sit down and focus and concentrate on what I'm doing, you know, and what I need to be about. It just feels like it's impossible. You know, it just feels like there's something, you know, things that come up and chop up my day into little bits and I can't, you know, get enough time to really sit down and focus. But amongst all of that, there's this like bubbling excitement that I have of, you know, work. of what I'm working on. So there's just, you know, kind of those opposite, those extremes feel like they're very close right now in my, in what I'm doing. Like this, the extreme of frustration, like I can't feel like it's hard to kind of get everything like how I feel like I want it or need it. And then the other side of just like really excited about what's coming about.
Sabrina Ward Harrisontell me about what you're excited about coming about.
Trenton ReynoldsWell, you know, the, the thing that has been kind of surprisingly satisfying about this process is just feeling a freedom from having to make a class and, for the environment I'm so used to existing in. Ever since I've started teaching, I've always existed either in or very near a kind of standardized traditional type of art education. Yeah. Right? And I don't think people appreciate how limiting that really is. You know, there are practical concerns of just location and amount of time and facilities that really govern and limit what kind of information can be shared and how things can be taught. And so this time where I've, you know, I just have that deep realization that I don't have to make this class to fit in with, you know, this, how art is taught in this school, right? Or it doesn't have to be encapsulated in, you know, two sentences that go in the course catalog. Right. Or, you know, I don't have to worry about just having, you know, access to my students or ability to communicate with them for, you know, 10 minutes at the beginning of class and then five minutes for setup and five minutes for cleanup and 10 minutes for critique at the end of class. And, you know, there's like these structures and practical considerations that I don't have to even...
you know, consider.
Sabrina Ward HarrisonThat must feel so exciting too.
Trenton ReynoldsSo it's liberating, but it's also, you know, it's kind of a hard habit to break as well. Like that has been so omnipresent that it is, it's kind of challenging to figure out how to structure this and what does that actually mean I can do? And what does that mean? Like, what do I really want to do? How can I use that extra freedom in a way that's, you know, not just...
you know,
Trenton Reynoldsdoing more for more sake, but actually making a more compelling, uh, experience.
Sabrina Ward HarrisonYeah. And like making the kind of course you would want to really take that would really excite you.
Trenton ReynoldsYeah, absolutely. And I'm, uh, I'm, I'm pretty excited about what, what I'm, you know, what's happening. So, um, and it is coming very, very, very, very soon. So close. You know, things are just starting to fall in place, which is awesome. But it's like the expectation, though, is when your expectations aren't met, it can be just so incredibly frustrating. I had it in my mind that, you know, I was going to end at the high school, and I was just going to, dig right in. I felt like it was already really far along the process. And then these past couple of weeks, it's just been like, why can I not get this? You know, it's just felt all this resistance, but then, you know, things are starting to pop into play. Did I, did I show you a picture of that, of the guitar that I finally got cut out? No.
No.
Trenton ReynoldsSend it. Send it. So this is a project that I've been working on. I've had on the back burner for two years. I've always wanted to make a Fender Stratocaster guitar body. Yeah. And we have these machines, or we have these machines up at the high school, and I could either mill it out of a solid block of wood, or I could use a laser cutter to cut it out of multiple layers of birch plywood. Anyway, so I finally, because I was going to lose access to the lasers, I finally just buckled down and spent five hours at the Fab Lab. My kind of farewell night to the Fab Lab. Got a pizza, went up to the Fab Lab, and locked myself in there for like four or five hours. And I pounded it out. I did it. It was 10 layers of birch plywood, six unique cuts, and then all stacked up, they make up this guitar body and it looks really cool. I'll have to send you a picture. I've got it.
Sabrina Ward HarrisonYeah. And then you put the strings on it?
Trenton ReynoldsSo first I got to glue all those layers together and then I'll, you know, sand it and there's grain filler to make the body smooth and paint it somehow. And I've already bought the guitar neck, and then I've got to put all the electronics in it. It's a, it'll take another, you know, that's all, it'll have to go on the back burner again for the moment anyway, but I was really stoked to actually, to get it completed.
Sabrina Ward Harrisoncut out.
Trenton ReynoldsSo it was actually-- it ended up being a lot trickier than I thought. I had to use this virtual 3D model of the guitar body to get all the measurements to figure out how deep to make each one of those holes. And then I had to have digital calipers to measure the thickness of each layer to try to align it with the right measurement. It was just a lot of work. but I got it done.
Sabrina Ward HarrisonVery. And so will you stain it?
Trenton ReynoldsAnd I think I, I originally, the whole idea was that I was going to use the laser to, to try to etch in some cool pattern on the guitar, but I don't have the laser anymore. So I'm going to, I'm going to experiment with something I've got. Have you ever seen people do water dipping?
Yeah. No, what's that?
Trenton ReynoldsSo you use this solvent-based spray paint, and you spray on the surface of water so the solvent-based paint kind of sits on the surface of the water. And then you can kind of make patterns in the paint. And then when you dip a piece of wood, like a guitar body, into the water, that solvent-based paint kind of wraps onto the guitar body and sticks to it. And you get these kind of weird model, like... Like... like rock-like marble, marbling patterns and stuff. Anyway, I might try something like that. I tried doing, I should take a picture of that too. I tried doing that water dipping painting process with some, just some boards that I was painting on and it worked, it was kind of cool. I'll have to show you a picture of that.
Sabrina Ward HarrisonHow do you put, how do you immerse it in, what kind of container?
Trenton Reynoldscontainer. It's like a big five gallon barrel. So you fill it up with water. It's got to be big enough that you can, you know, get the object all the way underneath the water because the paint
Sabrina Ward Harrisonsits on the very surface. And then how do you get all the water on it? I mean, sorry, all the paint on it.
Trenton ReynoldsThe paint's sitting on the surface, so as you push it into the water, it's going through that layer of paint on the surface, and it kind of wraps around the thing. And then you push it all the way under the water, clear all the excess paint that's still on the surface, and pull it out of the water, and you've got a fully painted thing.
Sabrina Ward HarrisonAnd I missed the part about how the paint floats on the surface.
Trenton ReynoldsWell, it is solvent-based, so it's not water-based.
Okay, right. Okay.
Trenton ReynoldsI believe that's... Yeah, so there's that... It just naturally separates. Anyway, you can look at videos on YouTube. It's pretty cool to watch. But I've actually got ideas for things that I want to do with that. You can actually buy paper... that dissolves in water. So you set that paper, you can print an image on the paper, set the paper on the surface of the water, and then put your object, three-dimensional object, through that layer of image, and it wraps around a three-dimensional object, just like the paint dipping. This is hard to verbally explain. It's much easier to see. But there's a lot of really cool stuff that you could do with that. And once again, proving Trent's inability to focus on one thing for any extended amount of time. There's too many cool things in this world. Too many ways to... And just even – and that's kind of the focus of the whole class that I'm working on is there are so many ways to combine these materials. And we kind of take for granted that the materials have to be used a specific way.
Right.
Trenton ReynoldsAnd there are so many other options of ways that we can – apply paint to objects, to surfaces, ways that we can combine different mediums in really effective ways. I think just because of the practicality of our education, we tend to silo mediums into individual, like this is acrylic painting and this is oil painting. And this is, you know, when reality, all those things can be, mixed, not mixed, but used in combination in really, really compelling ways. So raw materials, guys. It's a class. It's coming. It's coming for you.
Sabrina Ward HarrisonYes. What would you say are five of your very favorite raw materials?
Trenton ReynoldsFive favorite raw materials. So acrylic matte medium is the nectar of the gods. It is bar none the most useful art material. It is. It is. It comes in so handy in so many different ways. So I would say that is just you should have a gallon of that available to you at all times.
Sabrina Ward Harrisontimes. Acrylic's not medium. I don't want you to give away all your secrets, but...
Trenton ReynoldsI've got more secrets than can fit in one class. So whether you're... I know you've
Sabrina Ward Harrisontalked about using it with the charcoal or that... Yeah. So you can use it in combination
Trenton Reynoldswith charcoal or chalk pastel. It's compatible with gum arabic, which is a... aqueous binder that's used in like watercolor and chalk pastels and
Sabrina Ward Harrisoncharcoal and stuff like that how do you use it with chalk pastel let's have a
Trenton Reynoldslot of those I just like you draw with the chalk pastel and then take your matte medium with a brush and start painting into it and it will mix in with the matte medium and create this really nice transparent layer of paint or a layer of color. - Really? - And then using that with like matte medium for different kinds of collage. You could use matte medium with bleeding tissue paper to create like we did in the video that we shot in Decisive Action. Oh man, there's just so many ways. You can use it as an adhesive or as a, Um, sealant, sealant, sealer. There, there is just, it is, uh, it is just a really good all purpose art material to have close by. Um, and that's one of the things that I'm going to, uh, that I'm going to get into in, in the class is talking about just the extreme diversity of, um, of techniques of ways that you can manipulate the substrate, the thing that you're painting on, like before you even get to any color or other art materials, just the thing that you're painting on can be manipulated in so many incredibly interesting ways. And part of that is using matte medium and part of, that is some other other stuff to be disclosed during the class but but yeah so you asked for five medium yeah no that's right so matte medium definitely one more and more I'm getting into resin I think it is much more I malleable, much more wide-ranging than people tend to use it. People tend to use it as just kind of a glossy, final, finished surface. But it is so... I'm searching for the word. It's so flexible in what it can be used for. So that's definitely one of them, resin. I love, love, love wax for so many reasons. It is also both a very forgiving and very unforgiving in different ways. But also extremely versatile and useful in a lot of different contexts. So what is that the matte medium wax resin. And then, yeah, like the surfaces that you're working with whether it be plywood or canvas or fabrics that are not canvas. And then the fifth would be collage as a material and as a process.
Yeah.
Sabrina Ward HarrisonAnd that's what you're going to be able to be going into in your course.
Trenton ReynoldsSo, yeah, a lot of those things are definitely going to make appearances in the course. But the focus of the course is not just introducing you to a wide variety of these materials, but discussing how they can be used in concert and in combination with each other.
Mm-hmm.
Trenton ReynoldsRight? Because I think that feels to me like a huge gap in art education a lot of times. Yeah, you're right. It's like, you know, you go to the acrylic painting class, learn how to do acrylic painting, and then you go to oil painting class, learn how to paint with oil, and you completely miss, well, what if I want to use acrylic and oil together? Because they have different strengths and weaknesses and can do different things, and they definitely can be used together.
So...
Trenton ReynoldsSo yeah, that's kind of the focus, in addition to just materials, is how can we combine these things in an interesting and unexpected way.
Sabrina Ward HarrisonThat's really interesting. I love that.
Trenton ReynoldsYeah, so that's what's been so exciting to me, and just thinking about what becomes possible when you're not limited by these traditional ways of thinking about how we aren't. There's so many cool things that you could do. And I'm so excited by the idea that there would be this community in a private Facebook group or on a website where people are showing what they came up with that day, right? Like, "I just did this," in the moment where they're excited about it, they're pumped about it, and they can share that energy with other people and get feedback. back and encouragement and stuff like that. Like that stuff is just gold. I love it.
Sabrina Ward HarrisonAnd so when you talk about that quote about resistance and love, where's the, what's the love part of it? Because when I say resistance, I'm like, well, where's the, where's that love part? Yeah.
Trenton ReynoldsWell, the resistance is like whatever, like all it's like capital R resistance. It's like this force that is out there trying to stop you from doing what you want to do. Right. So the more you want to do something and this is the war of art. You got to read the book. It's really fantastic. It's it's his kind of model between, you know, the resistance on one side and what he calls the muse on the other side. But capital R resistance, like, it's like the more resistance you feel to doing something and resistance could be internal it could be like your like negative self talk yourself doubt. But it could also be external like you know a friend calling on the phone like totally something that you want to do but it's keeping you from doing what you ought to be doing or need to be doing in creating your artwork. And so his idea is that they're kind of equal and opposite. Like the more you want to do something or the more you need to do something because there is a need in us to create, the more there will be resistance to keep you from doing that or accomplishing that. And I really believe that's true. I feel like that's been borne out in my experience in my life. The more I want something to happen or the more important or compelled I feel to do something, the more I meet up with resistance. So that's where the love is. It's like I really love making art. and the more I love it, or the more I love whatever it is, creating, making this class, connecting with the community, the more I love it or the more it needs to exist, the more it seems the world or this capital R resistance tends to push back. Does that make sense? I'm not sure if I'm explaining it. I'm not explaining it nearly as well as Stephen Pressfield does in the book, so definitely check it out. Have you experienced that, though? It's like the more you want something to happen or the more you feel strongly that something about a direction that you need to pursue, the harder it becomes.
Sabrina Ward HarrisonI guess, yeah. I don't really put resistance and love together. I can't match those up.
Well, they're opposites. Right.
Sabrina Ward HarrisonRight, right, right.
Trenton ReynoldsSo you don't see those as antonyms or opposing forces. Got it, got it, got it. Right. So it's like an example might be, or another example in a different realm might be, like you really love a person and you want desperately to be with them and you know you're supposed to be with them. but the more important that relationship is, or the more important anything is, it seems like things crop up to keep you from being with that person. I don't get that either.
All right.
Trenton ReynoldsWell, I don't want to do a disservice to Stephen Pressfield's book.
Sabrina Ward HarrisonAnd the book, I love that book. okay good good yeah i love that book um i probably should reread it well i'm i'm just not doing a
Trenton Reynoldsgood job of explaining it no i think no no it's a compelling model though yes and i think there's
Sabrina Ward Harrisoni'm just digesting and wrapping my mind around it because because it's always yeah we're always trying to understand why like the idea of procrastination when you want to go in and do art and you're like all I do, all I want to do is just go in and create. And then there's like a billion things that come up that you think, well, I can, I should, I could probably do it tomorrow is better. Maybe tonight. And then there's different things that come up, even though you just know you'll feel better doing it. And you'll, you'll, the act of making art kind of clears your mind to make other kinds of better decisions about other things.
Trenton ReynoldsYeah, so when, and that's part of the joy too is like, when you can finally overcome whatever is keeping you from making art, there is that like the payoff of how much you realize like that, how much it brings to your life like how much value is really there.
Sabrina Ward HarrisonYeah. yeah i i got this rush of wanting to paint and it's just now now i'm ready to face the fact that it's just suddenly so hot like and i can't the pieces i need to be working on are outside and now it's just too so it's yeah it's uh it's always something though right like it is like stuff comes up. It seems like such a stupid excuse. And it's, it, what's been a couple things that your kids have been, like, what's been the latest phase or fad or things that
Trenton Reynoldsa couple of them have been doing? Liv is the one that kind of, well, she's the oldest, so she hits new, new ones. Whereas the other ones, we just see they're going through the same different phases as, as Liv went through. So it's It's not as, you know, doesn't stick out quite as much. But Liv's discovered TikTok.
Okay.
Trenton ReynoldsAnd she started to kind of make up different dances. And she's always done that. She's always made up like choreographed little dances and she gets her sisters to do them. But the new ones, the ones that she's started to choreograph are more kind of booty dances.
Oh.
Trenton ReynoldsWhich is kind of alarming.
Yeah.
Trenton ReynoldsYou know, she doesn't realize kind of the suggestive nature of that kind of dancing. Yeah. But like, she'll start choreographing these dances like, oh my goodness, where did you get that? that yeah so apparently we've got a little work to do on how would you explain that and do that um don't know that's something we're kind of going through right now we're figuring figuring it out part of growing up right you gotta figure that stuff out how old is she she is nine nine nine she years. So, so apparently, apparently I'm just needing to gear up for, for 13, 14, 15.
Sabrina Ward HarrisonOh my gosh. How should we kind of wrap up the episode? Do you think?
Trenton ReynoldsI just want to get it out there that I am super excited about this course that's coming up. It's going to, it's called raw materials. A Reckless Approach to Art and Craft. If it is something you feel like you might be interested in, I will be posting more about it on Instagram. You can go to, you can find me on Instagram at Trent Reynolds Art. And then I will also be posting more on my website, which is dabblon, D-A-B-B-L-E-O-N.com. And actually, also, you can get there by going to TrentReynoldsArt.com. just going to be really cool. I'm really excited about it.
Sabrina Ward HarrisonI'm so excited about it. It's like, ah, you have so much wisdom and just be fun to be in your class. So it's a real treat and gift for all the artists out there who, whatever level you're at, just, just to get into it. The physicality.
Trenton ReynoldsYes. Yes. So, and you and I, hopefully, if we can get our schedules to cooperate, we're going to be doing Facebook Live.
Yeah.
Trenton ReynoldsAt some point. And who knows what else might happen.
Might arise. Yeah.
Trenton ReynoldsAnd with that, I want to invite you all to overcome the resistance. Overcome whatever is keeping you from doing the work that you're meant to do. The artwork, the creative work of any variety.
Get out and do it. Do it.
Trenton ReynoldsYou must do it. Do it. Thanks for listening. We'll be back next week.
Sabrina Ward HarrisonPlease help us grow our audience by rating us or writing a review on iTunes. To do that, you can use the link roominthetrees.com forward slash iTunes.
Trenton ReynoldsYou can follow us on Instagram at Sabrina Ward Harrison and at Trent Reynolds Art.
Sabrina Ward HarrisonAnd check out the show notes at roominthetrees.com where you can also get in touch if you have any ideas you'd like to share.
Trenton ReynoldsRate us on iTunes and share Room in the Trees with a friend. With a friend. With a friend. ♪ ♪