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Sarah Sedwick on Boldbrush Live! [May 22, 2025]Video Replay of Live Webinar which "aired" on May 22nd, 2025
Sarah Sedwick was our latest guests on our BoldBrush Live! program. As a paid subscriber, we are happy to provide not only the video replay but the full transcript of the insightful session with Sarah below. Please keep in mind the transcripts are generated by AI so there may be some typos. Creatively, Clint Watson PS - This email may be too long for some email programs. We suggest you watch/read it on the web by clicking the button below. Here are some Helpful Links & Resourcesfrom the webinar. Olya Konell 00:00 Welcome everybody to BoldBrush LIVE. We're going to go ahead and get started today. We have a very special guest. Her name is Sarah Sedwick, and she's joining us from her studio. We're going to be chatting with her and learning about how she does things you know about art, creativity, marketing, and we're going to be taking your questions. So if you have not submitted a question yet, if you have we have them. If you haven't, and you think of one, you can either drop it into the chat, or you can use the Q and A feature and submit the question there and then, if we're going to do our best to get through as many as we can. So I'm going to go ahead and do a quick little about us, what we are and what we do, and then we'll dive right in. So this is brought to you by BoldBrush. BoldBrush is a company that offers free and paid resources to help artists, and we do this by offering these webinars. We have our BoldBrush.com kind of blog, where you can sign up to get the newsletter and get inspiration. So it's not just the marketing side of things, it's the inspiration side of things, you know, ideas and how to market your work and and all of that kind of stuff. We have our podcast, which is called the BoldBrush show, and we have our paid products, which our main one is Faso artist websites. And you might have heard us talking a little bit about that with Sarah, she has a Faso site, and it's a very much a plug and play type of website builder. And we also do artful Squarespace by Faso, which is new. You haven't heard about it much, but you're able to join Faso, get all the benefits of, you know, the art marketing tools and resources, art marketing calendar, the community, all of that. But you also get a much better rate for the most advanced plan from Squarespace, and it's kind of brokered through us, so we have that. And then, of course, our VIP options, but all of this will be shared in the chat. So if you want to learn more about what we do, how we help artists, you can check that out. So now I'm going to get to the fun. So Sarah, welcome. Oh, and I'm so sorry, Angela. Angela Agosto is our Artist Relations Director. I normally do a better job, but yeah. So we'll be co hosting, and then welcome Sarah. Thank you so much for joining us today. Your work is incredible. You have such a unique signature handwriting, as I like to call it, like with your brush work, it's absolutely stunning and beautiful. And you're also an incredible teacher. So I would love for you to just to tell us a little bit more about what you do and about you. Sarah Sedwick 02:46 Well, thanks, Olya. I'm really happy to be here. I always love participating in these kinds of things that BoldBrush and Faso host. It's a lot of fun. I am an oil painter, and I live in Eugene, Oregon, and I teach. I've been teaching workshops for 10 years now. I teach all over the USA. I've taught Europe. I call my painting style loose realism. And what I mean by that is a style of contemporary painting that is realistic and representational but also hopefully manages to keep some aspects of abstraction going on and evident visible, brush strokes and brush work. Olya Konell 03:31 Yeah, and I'm just scanning through which you can change your view on Zoom if you want to see my screen or see something else. But I am scanning through some of her work, and it's a beautiful descriptor of of your style, which I think is fantastic. You also do a lot of teaching, Sarah Sedwick 03:50 lot of teaching, and I also now an author. Oh, congratulations. You know, two and a half years later, it's still such a rush to the book, my book, dynamics to life for artists, came out in 2022 and it was really like my COVID, baby. Yeah, I'm super proud of that. But I also, yes, I do a lot of teaching. I teach about 12 workshops a year, and all over the country. So no matter where you live in the US, there's, I'm probably coming to a city near you at some point in the next year or so. So over on my website, under the workshops tab, you can see all my upcoming workshops, even now into 2026 and most of my workshops are three days long, and they're pretty intense. People ask me all the time, you know, why don't you teach five day workshops? Why don't you teach longer workshops? I do teach some five day workshops, but those tend to be more of a like retreat style workshop, where everybody gets to stay on location, they get fed, they get pampered, so they don't have to do the commute and all the life stuff. Because my workshops are tiring, we paint a lot. In a three day workshop with me, you'll probably make three, four, maybe five paintings, yeah, maybe not finished masterpieces that you're ready to take home frame and hang over the mantle piece. But what I'm really interested in is getting students to focus on practicing starts, because I think that many of us really know how to overwork a piece and just beat it to death, but how many of us know how to stop ourselves a little bit sooner so that we can retain some of that freshness? And so my focus is always on how to start paintings with freshness and energy and then stop yourself before you beat it out of your painting. And it's fun to work that way. Olya Konell 05:40 I need to learn that. Because I'm, I'm not, like, a full time artist or anything, but I do, you know, paint on the side, and I have a hard time with stopping, and I've now, and if I ask myself, Am I done? I'm like, wait, maybe if I'm asking myself this, I probably am, because it there's always like, I'm like, Oh, just, just, just, and then then I ruin it, and then it just, it's just, it's, it's over. Sarah Sedwick 06:03 The anxiety really ramps up at that point, yeah, doesn't it? When you feel like you've got something to lose, when you start getting that anxious, tight feeling in your chest of, oh, I'm going to screw this up. I'm going to ruin this painting, and it's going so well, that's probably when you should stop Olya Konell 06:17 Absolutely because you're not in your flow. You're not in that kind of authentic space of creativity. So you're, you're you've taken on the the you put on the hat of the art critic. Now that's when you should step out of the zoom. Now, yeah, yeah, exactly. And so we are sharing your links, kind of dropping your information. Guys, you can feel free to grab that from the chat. We'll also send you these. These links will be with the recording if you want to look at them later. But so this, actually what we're talking about, kind of segues into my second anchor question. Is what I like to say. And then we're going to dive into the audience questions, because that's what we're all here for, because there's many ways of doing things. So your offerings, we talked about your workshops, and I shared or your we have your book, we have your workshops, and then we haven't talked about your Patreon. So if you're not in one of the areas where Sarah is doing, for example, a workshop, but you which I love, Patreon, I support different people that I love on there, and because it gives you It's so affordable, there's these, like price points that gives you an opportunity to get something within, you know, a price range that's just doable. So you have multiple different plan options. And so we're going to share that with everybody. Do you want to add anything about the Patreon or what else kind of what people get with that? Sarah Sedwick 07:45 Well, Patreon has been really a fun platform for me to expand on to. I think I've been on there for three or four years, and I post a full length video monthly. So there's quite a backlog at this point. And if you signed up at the $10 a month tier, you would have access to that entire back catalog of demo videos. I mean, it's a low point, but for only $5 a month, what I think a lot of people are interested in getting from my Patreon are still life picture packs. So every month I post a picture pack of still life reference photos from my own studio and sometimes from my workshops, which those are really, really fun, because you never know what you're going to get from the life. And I post 10 to 15 of those in a pack each month, and I think, Oh, really enjoy those. And you know what? I really enjoy seeing, what people paint from those reference photos, and they tag me on Instagram when they post, and it's just so beautiful to see what people have been inspired to make from my images. Olya Konell 08:48 So it's like, you built your own community there, and It's like a web they reconnect with you on social then sharing what they do. That's that's a lot of fun. I love that. I love challenges, or like, Hey, everybody, paint the same thing and share your version of it. That's fun. Sarah Sedwick 09:04 I giveaway going on on Patreon this month, actually, which even not all of my subscribers might know. I'm giving away a box and paint paint palette holder. It's hard to explain. It stores your paint when you're not in between sessions of plein air. It's a beautiful little gadget, and I love the company, and I'm giving away one of their paint holders to one of my paid subscribers at the end of this very month. So you still have time to get in on that giveaway by signing up for my Patreon at any tier at any time. Angela Agosto 09:34 I was about to ask that that's wonderful. Wow, wow. Very cool. Olya Konell 09:39 Well, and then, of course, you have your YouTube, so if you just want to support her, you know, one of my favorite ways of supporting artists is like following them on on YouTube, because it helps them and it doesn't cost you anything, and there's a lot of really cool tutorials and videos you have a lot of you have a nice library there as well. So you're welcome. Welcome. So let me get right into the questions, and we'll see what folks want to learn. So let's see. Okay, well, let's just start at the top. Do quality of materials really matter? I'm on a budget, Sarah Sedwick 10:17 oh boy Yes, yes and no. So when you're on a budget, absolutely you need to get the most bang for your buck. I completely agree and feel and resonate with that person. When I first started out doing daily painting and started out on my journey, I was using, I think, art alternatives, canvases which were very affordable to me. They were good enough, though. What I think you need when you're buying art supplies on a budget is a the stuff that you're buying and painting with and painting on needs to be a good fit for you and your painting style. And it needs to be good enough. By that, I mean brushes where the hairs aren't falling out on in your paint. If the if the hairs are falling out of your brush while you're painting, throw them away. They're not worth it at any price paint quality. So the main danger with student grade paint, in my opinion, is that because it doesn't have the pigment punch that professional grade paint has. When you eventually level up to professional grade paint, you're going to have a learning curve, especially with things like white, where, with student grade white, you need to add a whole lot more to make a value shift in that mixture that you're trying to make when you when you level up to professional grade paint, you need a lot less, and that might lead to your paintings being chalky, I'm not sure. But the real place that I see people skimp, where they should not, is with the supports. So I mentioned art alternatives to very economical, affordable brand, and that was good enough for me for many, many years, and I'd probably still enjoy painting on it. But if you go to certain big box stores and are buying their she affordable canvases. You may not be getting enough gesso on there, and if you don't have enough primer on the surface that you're painting on, especially oil paint, I'm talking now, the oil is going to get absorbed. You're going to have a very unsatisfying painting experience. And then there are other artists who will just grab like an old piece of cardboard and paint on it. And that's great, because it's very freeing. You're not tense and nervous and worried about wasting something that's precious, something that you spent your hard earned money on, not worried about waste. So painting more freely, using more paint, maybe loading up your brush more and really making big, beautiful brush strokes, but you make the masterpiece of your entire life on a piece of cardboard that you pulled out of the back of your garage. And then what? And then what are you going to frame that? How are you going to exactly you can't so and it won't be archival, so I don't know. I think it's really a balance I am and I'm a, what's it called an affiliate, a sponsored by M Graham oils. And I really, really love them, and I have been using them and loving them for over a decade. One of the biggest things that I love about M gram oils is that they are an excellent, excellent quality for the price. And so when you're on a budget, finding the highest quality that you can for the price, super important taking advantage of sales. I love it when Blick has Canvas sale. Blick canvases are very good for on a budget painters and and, yeah, I think that there are brands like M gram and even Gamblin that are a really fair deal for the quality you're getting. Yeah, Olya Konell 13:54 and I almost think that maybe if you're practicing and you're doing like, short, timed sketches on something super small that you have no plans to turn into a masterpiece. I can see using something right? Because it's the chances of a masterpiece happening on something small are a lot slimmer. I mean, it could happen. But then you know when, if you're going to paint anything that has the potential, like you said, to be a masterpiece that would really suck Absolutely. And I have actually done that. I've done that. I have, I've, I've messed up in that way. So I can relate. Sarah Sedwick 14:30 What I've seen is that students will be struggling, and they will think that the problem is them, oh, I just can't paint. But the truth is, it's your materials getting in your way? Yeah. Olya Konell 14:40 Oh, that's yeah. Really good points. Thank you. Now I want to kind of jump into because we had several people ask about this in different wording. So how do I get people, in this case, I'll read the question melini asked, How do I get art lovers other than my followers on Instagram, to click on my fav? So website, and then a different person asks, How do I get people from social media to my website? So you know any, any thoughts, things that you find, trends, observations of what tends to work for you personally, that doesn't have to be specifically to get people to your website? Sarah Sedwick 15:19 Yes, yeah, it's tough. So anytime you want anyone to take an action on the internet, you need to make it as easy and as few to be accomplished in as few clicks as possible. So saying, visit my website, there's a link in my bio, and then they have to click over to your bio on Instagram, and then they have to click the link tree, and then they have tree, and then they have to click another link. That's a big ask, and there's no real way around that on Instagram, since we can't embed links in the text of posts. So instead of, you know, maybe you're trying to direct people to look at a certain painting that's for sale on your website. Have in you. Maybe you make it the only link in your bio on Instagram, and it goes directly to that painting, or in your link tree, you've got a link directly to that painting with the title of the painting, so they don't have to click to your website and then try to find that painting. They're going directly there. So think about how many clicks someone has to make to get where you want them to go. There's nothing like incentives, so a good old carrot. So like, let's say you wanted more people to visit your website and sign up for your newsletter. One major piece of advice that I hand out frequently to my mentees is, do a giveaway. Make a big incentive. So we could talk about, you know, how to maximize the eyes that are already on your newsletter. But if you're wanting to get more eyes on your newsletter, and in the process, get people to go to your website to sign up for that newsletter, offer them something in return. So say all newsletter subscribers are eligible to win whatever it is. If you do greeting cards, you could give away a pack of greeting cards. If you do prints, it could be a print. It could even be an original painting. If you were so inclined, it would be a great, beautiful gift to offer up to somebody. And I've seen giveaways be an extremely effective tool to get people to move their feet in any interaction, yeah, that's it. Olya Konell 17:25 Yeah. That's a really good point. And if somebody, and you know that, if somebody is willing to do that, they already love what you do, yeah, Sarah Sedwick 17:34 and they want it and they want yeah, maybe we'll even share it with their friends, with people love sharing an opportunity to win something. Yeah, Olya Konell 17:43 I read a statistic somewhere. It still holds true. I checked it recently. But artist newsletters, you know, even though newsletters are now kind of turning into snail mail, where we still get a lot of junk mail and stuff, however, artist newsletters tend to have the highest open rates compared to like so you have, like, government emails, your doctor, your accountant, like those kinds of life things, you know, maybe the school, and then you have artist newsletters. There. They are definitely up there. And people want there is a side of the human being that I think, craves that creativity, that that inspiration, even, you know, if they're not an artist, you know, collectors, other artists, students, anybody, yeah, Angela Agosto 18:29 I definitely agree on that, especially if maybe they're procrastinating on opening that mail, whether it's like a bill or some kind of a notice, I feel you're, you're Yeah, you're right. They prefer to see, let me just see something beautiful before I have to, kind of like good news before bad. Good Olya Konell 18:42 news before bad news. Yeah. Do you notice that on yours, as far as with your newsletter? Do you? Do you notice that? Sarah Sedwick 18:53 Well, I think I have a pretty high open rate, and I'm very happy about that. It shows me that I have authentic followers, and it shows me that they're actually engaged with me or about me. Some of these people are former workshop students or mentees, or people I've had relationships with for many years, and they are actually interested in what I'm doing. So I do a couple of things to maximize the open rate of my newsletter. One, I do not send it out very often, and I could blame that on procrastination and generally not liking writing newsletters, which is nothing against Faso at all. It's a purely me thing. I don't send them very often. When I do send them, they're short. And then you also, I also try to mix in some life stuff along with the art stuff, so or giving something away. So this is not a piece of advice that I came up with. This is a piece of marketing advice that I picked up along the way from someone way above my own pay grade. But. That you should always be giving something in a newsletter and not just taking So, for example, linking to a little instructional video clip or a discount code for something so it's not so a newsletter shouldn't just be like, ask, ask, ask, ask, ask, it should be ask and give. And I try to follow that, and I try to keep it interesting with little, little mini life updates here and there as well, or Yeah, or big one, if I have Olya Konell 20:29 and you're so good with video, I can totally see you just not having the mood to write and just recording a sit down. Hey guys, this is what's going on in my world. And I think people would truly love that, because I love Sarah Sedwick 20:40 that too. I would love to do more of that, especially on YouTube, and really have, like, a vlog, but I kind of do that on Patreon now, where I heard all my demo videos with a little sit down I answer some audience questions, because I'm always getting, you know, Patreon questions, and so I'll answer a couple of those just sitting like this and speaking to the screen and then launch right into my painting demo of the month. That's awesome that, yeah, Angela Agosto 21:05 I feel that is a huge trend right now, even different different age groups, like from older people to college kids, they want to hear and see the video and participate in the Q and A's. Sarah Sedwick 21:16 yeah. Comment in the chat if you want to see me start a personal vlog on YouTube, Olya Konell 21:21 I, you know, and I saw recently, because I follow with what's kind of going on on YouTube, there's been a surge in just an observation of vlogs coming back, but less edited. Super, like, it's like a home video, like, super, the days of the perfectly curated vlog, blog, you know, video are kind of like phasing out. Mean, people still enjoy them, because it's the, you know, the the video work is, is is appreciated as well. But people are really like people that barely edit their videos. Their videos are just exploding because other humans just want to see the raw, the real, like, hey, shaky camera, whatever. Next thing you know, put together tastefully, of course, but it doesn't have to be fancy. So I think you should do it. So I'm going to vote. Angela Agosto 22:15 Like I said, there's been such a huge trend on blogs coming back like, I asked my daughters, who are like, in college, and they're like, oh, yeah, but a vlog, I'm like, wait, a vlog that's back. And they're like, Yeah, every I mean, I'm watching this person, whether it's like a life coach, or they're in the industry, whether it's, you know, some kind of art thing they're going or some celebration or just whatever. And I'm like, Oh, okay. And then my mother, who paints for fun, she's watching it too, and she's 80, and I'm like, Okay, so maybe so I'm like, it's, it's really coming back. So yeah, you should that would be wonderful, especially to add it to your Patreon. Olya Konell 22:51 Yeah, I'm gonna grab I see a question in in the Q and A box. So Roby or Robbie, I'm not sure. A lot of us artists have the tendency to paint diverse subject matters or use different techniques that make an inconsistent presentation. Do you have any advice for artists as far as as far as resist surge to experiment in order to create a consistent body of work? Sarah Sedwick 23:12 Good question. And hi, Robbie, I remember you. She took a workshop from me about six years ago. Oh, in Columbus. Good question, really good question, because a lot of us are secret dabblers, or we've got a hobby within a hobby, which I think is totally healthy, because sometimes you do get burned out on your main deal, and you need a way to still feel creative, but take a break from your main thing, and then you end up with dueling bodies of work. I think it's a really smart idea to curate your Instagram platform to be consistent, because let's be realistic, you have about what three seconds from when someone looks at your profile page to whether they decide to follow you or not. So A, we need to keep the top of the grid really nice looking. And B, we need to keep the scroll down part fairly consistent. So if you've got landscapes in pastel, and then you've got still lifes in oil, and then you've got portraits in charcoal, and you're going to mash that all together into one. Instagram, it's not going to have that cohesive look, and your identity as an artist will not shine through that page. And let's, let's be honest, when we go into a gallery, we see some intriguing art by someone we haven't heard of. Where do we go now? Not Google, but Instagram. Yeah, look for that person. And so that's really your calling card. It's your first impression. It's important. So what do you do? You make multiple Instagrams. Make one for your charcoal portraits. Make one for your landscapes and pastel. I do think it's healthy to spread yourself out. I've known lots of representational artists who have like closet abstract practices. Is, and I say power to you. It's a beautiful thing, but keeping your wherever you're putting, most of your eggs in the social media basket needs to be pretty consistent and have an identifiable you quality. Now let's talk about in general, like growing and expanding ourselves as artists. Is it actually a good idea to get involved in using a ton of different media simultaneously? It depends what our goals are. So if our goals are to just enjoy our art practice, flex our creativity and expand and, you know, have that experience as much as possible, then I say, go for it. But if your goal is to get better at one specific thing, then I really advise sticking to that one specific thing for a set period of time. So let's say you want to become better at figure drawing, do only figure drawing for three months, six months, see how you feel, see how much you improve over what you may be already doing, where you just mix in a little bit of figure drawing with some abstracts and printmaking, whatever else is on your plate, dedicating your sole attention to the thing that you really want to improve on is my biggest piece of advice for you, know, seeing rapid growth in a certain area, Angela Agosto 26:32 that's great. Olya Konell 26:34 The power of consistency cannot be under like you don't underestimate the power of consistency, even if you only do the same thing couple times a week over that three to you know, maybe you're, you're working full time, and you only have X amount of hours to practice. That is such good advice and that, you know, I think, going back to what you said earlier about, you know, your Instagram the first place people look. Unfortunately, that's just how it is. It's the first place people look. It is what it is. I think when people see consistency, there's something you know versus the opposite of unsettling. There's something comforting about consistency and seeing somebody that that you feel like you know they know what they're doing, and that builds confidence and trust, like when I look at yours, for example, it just makes me feel good. I can't explain it. I'm in shock, and come up with better words, but it's it's satisfying, makes me feel good, and I automatically trust you. If I didn't know you'd be like, she knows what she's doing, so she's passionate, she's dedicated, and that's like, what consistency says, even if you're struggling on the back end being consistent, nobody knows that. But the what they see is, is that? So I think that's really Yeah. Angela Agosto 27:50 And I just wanted to point out that I love that you have that consistency in Instagram, because I feel like on Instagram, since it is images that's kind of what it's known for, that's important. Then I went to your Facebook and I see that you have a portrait, and that it's different because and it was beautiful to see that like I think you did was the Zorn portrait. But it's okay to have something different there, because that's not what you expect of that feed on Facebook, right? Sarah Sedwick 28:16 And now, would I put a portrait up on Instagram if I did one. If I was gonna get back into doing portrait in a major way, I might because, you know, it would be oil. It would be all oil. But if I do like portrait, I used to do a lot of figure drawing and graphite, and I would post that right on my feed. And I think people liked it as a little, you know, condiment side. But I do think that if you're going to dabble in multiple genres, that maybe you keep the medium consistent, and that's the way that you Olya Konell 28:50 create consistency, because you can improve Sarah Sedwick 28:53 your oil painting skills, painting in any genre. Yeah, Olya Konell 28:58 that's true. Yeah, no, that's really good, really good advice. Thank you for that question. Robbie, for submitting that. Since we're talking about Instagram and Facebook, there's a couple questions on that. So first of all, how do you how well? First of all, how much time and activity to best manage social media effectively just your thoughts from your own experiences, Sarah Sedwick 29:26 as little as possible. I love that possible. It shocks me. You know, I was much more into marketing and social media. Years ago. I was really I got really excited about reels when reels first came out, and tried to learn how to do all that, and watched all the YouTube videos, and then I realized how much time itwas taking. It wasn't until I started really trying to create videos for Instagram that it started to become a real time suck. Because I had to learn how to do it, and that began to distress me, so I backed off of it, also because I started feeling like a content creator and not a painting creator. So that didn't really sit very well with me, either. How much time should you spend? So you know, you hear a lot of mixed advice on the algorithm, and I am not an expert. I have heard you should post every day. I think if you post every day, depending on the quality of your posts, you may be risking alienating your followers. You know, you can oversaturate your own market, but consistency, again, is going to be a buzzword, because I think if you aren't going to post every day, you won't you don't paint every day, you need new content. We can't just be recycling old content, even though, yes, you are getting new followers all the time. And so it's a smart idea when you don't have anything to post and you haven't posted for a week, to go back in time and grab something that you love out of the archives, throw it up there and say, Hey, Throwback Thursday or whatever. Not that, you know, I use that hashtag myself, but everybody loves to see where you came from. It's really fun for me periodically to do an Instagram post where I'll say, Look, this is what I painted 10 years ago. Is this my best work, no, but is it interesting? For if you know, if I think it's interesting, chances are my followers will also think it's interesting, I hope. And I've moved away from the drive to post every day toward the drive to post bi weekly, I suppose, and just have really good kind of mix of new stuff and older stuff to throw up there. And then as far as what you should write or how much you should write, that's really up to the individual. You know there, there are lots of people that I follow on Instagram where if they post, like a three paragraph description. I'll read it because I care about that person, or really love what they do and I'm interested in what they have to say. But in general, my advice would be, keep it short and sweet. People aren't going to click on See more, so you either have to really tantalize them with the first few words out of the gate, or you need to get your message across in one sentence, and yeah, and yeah, it's it's such it's so interesting. And I think that we all develop these social media personas or personalities that aren't exactly who we are. I ran into this when I was writing the book. I'll give you the real the real lowdown here, when I was writing my book, I found myself using millions of exclamation points, and there are still, I think, too many exclamation points in my book, but I was feeling enthusiastic when I was writing it, and I realized as I was going along that I was writing my book in my Instagram voice, because my Instagram voice brief, it's positive, it's excited, and I am all those things excited and positive about the work that I share on Instagram and about the community that I feel when I log on to that platform. But I was writing this book and I was going, you know this, this is not a blog post. This is long form, so let's cut some of these Angela Agosto 33:27 combination points. That's great. Yeah, that is so interesting. I Olya Konell 33:31 I've heard something similar word in a different way, like we have these voices, kind of like how you talk to a child in a certain way you talk to, you know, we have these different of how we talk to our friends is different how we talk to our parents, you know. So that's interesting, good analogy. Yeah, interesting observation, for sure. Sarah Sedwick 33:55 Now and I'm answering the question, Olya Konell 33:56 yeah, no, no, you totally did. And I actually want to ask since, just to kind of shift away from, you know, well, I want to make a comment about something you said first, and then jump to the next thing. Yeah, we you mentioned, before we jumped, before we went live, that you grew your following, which you have a large following. You started early on Instagram. So a lot of your growth happened under the older algorithm. And as we know, the algorithm changes. It's always changing. It's very much AI driven now. And you know, things are always changing. And so you grew it. And then this, you know, we had the question of, how much time you should spend? Would it be fair to say that if your goal is to grow your following on a platform, you're going to dedicate more time to it, and then once you've grown your following to a size that you're comfortable with, you are now able to kind of reap the benefits of that, because hopefully some of those people will see the new things that you post without you having to devote so much energy to it. Does that make sense? Like you've built your newsletter list, you put a lot of. Energy into growing it. And now you can periodically send out these things without having to, like, figure out ways how to grow your newsletter list. Sarah Sedwick 35:08 Yeah, that's true. I suppose it depends on what level you're satisfied with. There's always another level to get to. So, Olya Konell 35:19 yeah, am I? Sarah Sedwick 35:20 Am I satisfied with where my Instagram is now, and am I reaping the benefits of all that growth? I don't know if I'm reaping the benefits, to be honest, because my number of likes per post has stayed pretty consistent from where it was 10,000 followers ago. So I despair about the algorithm, and I just can't, I can't get too worked up about it, because I'll, I'll get upset, and I'll start getting resentful against Instagram, and that's not a good place for anybody to be. Yeah, I did grow my following a lot. I don't know exactly when the algorithm changed, but I feel like the late 20 teens was sort of the peak. I really grew my following a lot between about maybe 2017 and 2020. Was exponential growth. I think I went from 3000 followers in 2017 to maybe 50,000 by 2018 2019, and that was like the golden age of Instagram, when all you needed to do was post consistently and your thoughts would grow. Yeah, yeah, Olya Konell 36:26 And I feel like artists. We all feel the same way. It's like we have a love, hate relationship with it, but it's one of those useful tools occasionally, that that's why people always ask about it. Sarah Sedwick 36:37 And I think you can maximize 10,000 followers just as much as you can maximize 100,000 followers, if those are quality followers, they're more valuable than quantity. The only value of having a large quantity of followers, in my opinion, right now, is it looks good to people who are potentially scoping you out like galleries. But how far is your reach really? You know, I used to sell a lot of art on Instagram. I would say something in the comment LIKE, COMMENT sold to make it yours. And that really worked for me. For a while, people were engaged. I was getting a lot of traction, and people would see the painting, like the painting, and buy the painting from me directly through Instagram. That is happening very little anymore, but one piece of advice that I can give about selling paintings directly through Instagram is, if you don't ask, it won't happen. You know, like the number one rule of negotiation is you don't get what you don't ask for. The number one rule of selling online, on Instagram or Facebook for that matter, is you have to say it's for sale, and you should clearly state the price, and you should clearly state how to buy it, whether it's send me a DM comment below, visit my website, which the link should be clearly in your bio, and it should be easily purchasable, which through my Faso website, it is a very it's just one click away to buy a painting when it's available. So yeah, just make it as easy and clear as possible. Angela Agosto 38:18 And hopefully that will help about the price, because that is one thing that some artists don't do. I include the price, but I think you're right. If you have the price, I know personally, when I've shopped for something, if the price is there, great. But if it's like, oh, contact me, you know, email me, then it's a DM is different, like, if, like on social media, I feel that's fair. You can probably just do a DM, like you said on your site, you should have a price, unless it's through a gallery that's different, but don't make them, guess, don't make them go through hoops to kind of get there. I mean, Clint has talked about that so much, where he said he just stopped, even he was because he's a collector, and he just stopped respond, because the person didn't even respond right away, where? And he's like, had they had the price, I would have just bought it on there, yeah, or if they had a link or something, yeah, exactly, yeah, yes, yeah. Olya Konell 39:04 We briefly talked about Pinterest a little bit, and I see you guys as questions in the Q and A. I just wanted to let you know I see them. We'll jump to those next. Pinterest. You were surprised, like, oh, I have a pretty good you do? You have a pretty good following on it. Pinterest, your raw takes, is it? You know what you shared with us? You know what are your thoughts on it? Artists always ask, I don't Sarah Sedwick 39:24 really know. That's a valid question. I didn't, I didn't really realize that I had a large following on Pinterest. I don't look at that. I do use Pinterest for certain aspects of my business, but advertising myself on Pinterest is not one of them, but I am talking to more and more people lately. You know, when I when I start working with a new mentee, for example, I always one of the first questions I always ask them is, where do you look at art? It's very important to me to know that, you know, and a lot of people are have moved away from Facebook, and a lot of people are even moving away from Instagram, if they were ever on it. And. Do those people go to look at art Pinterest? So I know Pinterest is still a thing, and I'm glad that it's there. I use it. I do throw some things up there periodically, but I don't advertise on it. I don't really check my statistics. I'm not good at checking my statistics on any platform, frankly, but I, yeah, I my personal feelings about Pinterest are that there are a lot of ads, and they kind of get on my nerves. But and the other my biggest pet peeve about Pinterest is it's very hard to find information about who the artist is sometimes. So if you're going to use Pinterest to promote your art, make sure you fully tag it with not just a link to where you want people to go when they click, but like your information in the description. Because I get so frustrated coming across beautiful work on Pinterest, and then I can't figure out who it's by, Angela Agosto 40:54 yeah. And make sure you have your website or link something on your profile, even on Pinterest, and in the description have your name, you know all of the basic and information about it. Olya Konell 41:01 But would it, you know? Maybe it would be safe to assume or say that if you're an artist that wants to get started on Pinterest and you don't really know what you're doing, that the bare minimum, when you create a new painting and you put it on your website, have a checklist of all the different places that you're going to put it. So then you pin it, and then you link to it, add the description, just put that as your like. Every month, when you upload new art to your site, you'd view that, and then you schedule it to go to your socials. You know what I mean? Something like that might be a good, safe place to start. Maybe. I don't know. I'm just guessing. Angela Agosto 41:39 I think you're right. Sarah Sedwick 41:40 Now I'm going to start using Pinterest more. Maybe conversation, yeah, Olya Konell 41:45 it's you know, and I would love to hear your thought like it if few months go by, shoot me an email and let me know if, if things are, you know, livening up on there, because then we'd love to bring you back and hear more about your thoughts. Blog about it, yeah, or Yeah. Do a newsletter, and we'll be like, Hey, you have to read Sarah's take on Pinterest. Thank you. And then so I have another so this is art show. So online is great. And I want to preface this so when we talk about marketing, I want everybody to understand that when how we, how we at BoldBrush, define marketing, is marketing, that everything an artist does online and offline, to meet people and to tell them that they're an artist. So like, that's that's the simplest form. Like, you could be at an event, you could be at a party, you could be at a barbecue down the street that somebody invited you to and you're shaking hands. Be like, Hey, you know, your name is Sarah. What do you do? Sarah, oh, I'm an artist. Oh, cool. Let me see your work. And then, you know, they that's marketing like, so at the bare minimum, it's just meeting people and telling them you're an artist. The tools that we use to do that. So we have Instagram, we talked about Pinterest, we talked about, you know, our Facebook, websites, YouTube, all of that stuff. Now the in person stuff, is it worth the money to enter art shows and be in art shows from your experiences? Yes, Sarah Sedwick 43:12 absolutely, yes. So with it depends on your goals. So if your goals are eventually to get gallery representation, and maybe you don't have any right now, one amazing way to make contact with galleries is to enter juried shows hosted by those galleries. It gets your work in front of their eyes, and best case scenario, they don't send it back when the show is over, and then the next thing you know, you have a contract. And that's one of the two galleries that I show in regularly. That's how I got hooked up with them, was by participating in a, I believe it was like a small works holiday show, and then they just didn't send my work back. And I was like, Where's where's my stuff? Is it coming back? And they said, No, we want to keep it. Can we have some more? Oh, that's wonderful. Wow. And 656, years later, I'm still with them. They sell really well, so that's fantastic. So that kind of show, a jury show that's run by a gallery, wonderful. And then there are organizations like oil painters of America, American impressionist society, American women artists, etc, etc, that are national oil and Acrylic Painters society, if you're an acrylic painter, those kind of societies that have several shows a year are a really good way to get your work out there among your peers, but also among collectors in all kinds of different parts of the country. So let's take oil painters of America, for example. They have three in person or four in person shows a year that are juried, and they're all in different parts of the country at different beautiful gallery venues every year, a different venue. And so you're getting your work in. Front of eyes in places that you would never get your work in into, necessarily, because you live all the way across the country or something, and bringing yourself to the attention of not just collectors in those areas, but the gallery owners as well. So I and you have opportunities to go to conventions and paint outs that are hosted by these organizations and help build up your own network of artists friends. And I can't say enough about how much fun those kind of events are and how wonderful it is to have a community of artists friends around you to bounce ideas off of, to critique each other, to support each other, to alert each other to opportunities that are coming up, like really cool juried shows that might be happening in your area that someone else might not hear about. So really, yeah, organizations and groups and juried shows now, is it worth the money? It kind of depends. Some juried shows are more expensive than others, and you really have to weigh it like we're going back to the early questioner who was saying, I'm on a budget. Well, you probably don't want to spend 35 to $50 entering a juried show where it's a crapshoot, maybe right now, but maybe you have $15 to enter an online showcase, or maybe you have a Faso website, you could enter the BoldBrush contest each month, and that's free with your website membership. So that's a great place to start. And, yeah, I don't know. I used to not enter a ton of juried shows, and I've gotten more back into it in the last couple of years. I think it's kind of fun because, you know, not only is it really an honor to be accepted into a juried show, even though it is a little random, sometimes I always try to comfort myself when I don't get in and say, well, it was just that juror. Maybe they just weren't liking what you had to offer that day on a different day, they might have liked it a lot, and then you just move on to the next but it's been really fun for me to get to ship paintings off to Charleston and Montana and Florida and all these different places. So Angela Agosto 47:22 that's awesome. It's especially how you said that. That's how you got into a gallery. And people are always asking, like, I'm remote. I kind of don't have anything near me, but if you can send it somewhere, and then the chances are that whether you'll win or they'll keep your stuff, just the exposure I feel is worth it. And then you did mention, like, our contest, and then there isn't a few others I listed that other artists have shared that are free just to enter. And we have a lot of collectors that tell us they purchase the stuff from contests or juried shows. We sponsor a lot of juried like oil paint in America, American impressions that just a bunch we sponsor every time, every piece that's entered it ends up being featured in one of their look books. Sometimes we actually get hard copies of the books, which we love to have. And it's just these great opportunities. Like you said, it just depends if you are ready to spend that money. Olya Konell 48:15 Can I ask you a question, Sarah, when does an artist know they're ready? That's a like, there's that. Because I'll be honest, sometimes I will talk to people and they're like, oh, like, I'm just not getting any traction on social. I'm not none. Nothing seems to be working out, or I'm struggling with marketing and this and that, and then I'm trying to help them. I look at their website, and then I am like, you know what? They haven't been painting for that long, and it looks like they don't realize they're not ready yet. So how can we ask ourselves that? Sarah Sedwick 48:47 How do we do difficult without a ton of painting experience? It is really difficult to self critique and be positive and negative. Have a balanced self critique. A lot of us have an easy time beating ourselves up, but we can't be objective about the positive aspects of our work. So my best advice is get some other eyeballs on your work. Are you ready to start entering juried shows? Maybe your best friend who's not an artist can't tell you that, but maybe if you make a friend that is also an artist that has some experience entering juried shows, they can gently tell you, maybe next year, because putting the cart before the horse is a real thing, and trying to jump into these juried shows when you're you're swimming in a, a really big pond and B, a really diverse and experienced pond, when you go for a national organization like oil painters of America, a stiff competition. So how do you know when you're ready? I. I always counsel people to start small when they're starting to show and enter contest, start local and see how you do on the local level. If you even enjoy the hustle, because it is a hustle. It's like you got to keep track of what you sent, where, which, what you entered, where you have to frame things learning how to professionally, or, you know, pseudo professionally, in my case, make it look good enough frame things and present them is really important. And the way that I learned to do that was by exhibiting purely on a local level. For years, when I started painting coffee shops, boutique galleries that had all kinds of different crafts in them, local galleries that weren't that big of a deal, local juried shows, plein air paint outs. Great way to get exposure, if you do plein air at all. So how do you know when you're ready? Oh gosh, you know you got to get another pair of eyes on your work, the best way to gage your current progress. Oh, and you know, is a really good way to gage where you're at artistically at any given time is to get together a body of work, dress it up in frames and stick it up on a wall somewhere, even if it's just the CO the coffee shop in your neighborhood, because looking around at your work presented like that in a body that's all cleaned up, is a really great way to see where you're currently at. Olya Konell 51:29 That's really good. Yeah, that's really good. And I like the suggestion about getting a different pair of eyes. And this is where the value of and this is something every single accomplished artist that we've had on has shared, even once they get to a level of mastery, they're still taking workshops from other masters. They're still learning there's so much value of going in and learning from another master and having their set of eyes on your work and giving you feedback that's constructive. It tells you, okay, if I have a lot to work on, this is a really good sign. Maybe instead of spending that $35 and that $15 I should just spend that on learning a little bit more and getting more critiques and, you know, and then, but then also, because not staying in that learning bucket forever, you know, we need to branch out. Sarah Sedwick 52:19 Yeah, stay in the learning bucket for Well, having beginner's mind at any level, yeah, is very valuable asset for a person, no matter if we're talking about art or life or what. But I agree like keeping yourself humble and always growing by staying engaged with learning at any level is super important, and it'll also help you make friends connections, people who can look at your work with you and help you like the artist, friends that you meet at workshops. I do a lot of mentoring online, and I have been doing that for almost 10 years now, and it's been really eye opening for me in terms of how much insecurity people bring to something that's supposed to be a relaxing hobby. How many times you've been told, Oh, you paint. That must be so relaxing. Well, maybe some days, but people come to me and they say, I want to find my style. And that's one of, like, the biggest questions. People say, I want to loosen up my painting. Number one thing that people say to me when they want to engage in mentorship and the number two is, I want to find my style. And I say, Well, the good news is, you've already got your style. It's part of you. It's like your fingerprint. And the other news is that the way that we find your style is you do a lot of painting, and then we step back and look at it together and say, Okay, where are you what are your strengths? What are your weaknesses? How can you improve from the individual piece level to the body of work as a whole level, Olya Konell 54:03 that's so good. Yeah, yeah, very and I know we're approaching the hour. I'm going to grab a couple more questions here from the, you know, from our live audit audience. I can't talk Angela Agosto 54:18 one thing about critiques that we do up in the Marketing Center, part of our community, we do have where you can actually get critiques from other artists. There's over 6000 members on there that are pretty active, and just, you know, make sure you are prepared if you ask for a critique, they're everybody's really nice, but they're honest with where they think you should go. Sarah Sedwick 54:37 Yes, that's totally fabulous. And the point you brought up about being willing and able to take constructive criticism is big. We get pretty touchy about our own art, don't we, and I know I do, but it's important. And you know, the the moments in my life that really catapulted my art making, not so much my career. Year or anything, but like my personal growth and making as an artist have been the moments when I have received the toughest critiques. Yeah, those are the moments that have really catapulted me into growth and change and have been eye opening and they hurt, but they've been eyeopening and have really molded me for the better. Angela Agosto 55:21 You probably improved because of those. You were open to them. Olya Konell 55:26 Yeah I mean, I've experienced the same thing regarding all sorts of stuff. I mean, going to the very basics,where even making dinner, my husband will mention something, and he's so nice, but he's like, Oh, canI have a little more, you know, like salt or this or that, or did you do something, you know, you know, I became a better cook, you know. So it's true about like, we get a little bit, you know, are the, you know, we get a little defensive, but if we humble ourselves and just try to see it from that perspective. Because, again, beauty is in the eye of the in the eyes of the beholder, we can ask ourselves, okay, this is what I'm doing. This is what I want people to see. But am I succeeding and making them see it this way? What can I do differently to help them see it the way I see it, you know? And then probably opens up your mind to try new things and, you know, take some risks. Yeah, Sarah Sedwick 56:14 yeah, being willing to take suggestions. And I love what you said about how even the best artists still take workshops. I've taken two workshops this year already, and that's it. No more like I you can go through it. You can have too many voices in your head. Yes, but I really enjoyed both of them, and my goal is to take about one a year, one every other year. Oh, Olya Konell 56:40 I love that and that, yeah, Angela Agosto 56:41 Yeah, that's continuing education which is so important in any career. Sarah Sedwick 56:46 Also, it's inspiring self in the place, putting myself in the place of a student also is very valuable to me, because I am teaching so much, and I want to be able to really empathize and relate to my students. There's a lot of insecurity in the heart of a painter who's walking into a workshop classroom on day one. Don't know how good the other students are going to be, how experienced anyway, the other students are going to be. You don't know if the teacher is going to be kind. You don't know if you're going to get, you know, criticized, or you're afraid you won't paint well, you're afraid you're wasting your time and your money. I know there's a lot of fear that is present in the room on day one, and I am learning not just as I'm taking workshops and as I'm teaching more and more workshops, I'm learning not just how to recognize those things, but how to help people overcome them, be more comfortable. You Angela Agosto 57:39 have that wonderful and generous that's Sarah Sedwick 57:42 really enjoy teaching. Yeah, Olya Konell 57:46 you have such a good tone you have. And I, I love even some of the points that you make, and just how animated sometimes you get, like, I love your facial expressions that go along with it. It's so interesting how as communicators, those little things make such a huge difference in connecting us with our listeners and the people that are watching, or Sarah Sedwick 58:07 the days of teaching in a mask. Oh my gosh, I actually Olya Konell 58:11 realized side note. I realized that I am a partial lip reader. There's certain things certain I have a hard time at the grocery store when they're giving me my total and I hear it, but I it's more jumbled. I don't know how to explain it. Angela Agosto 58:25 I just love eye contact and just to, like, look at the person, give them my attention, and I feel like I get more. If not, I'm if I'm looking somewhere else, I don't think I'm going to get the whole thing, Olya Konell 58:33 everything. Yeah, yeah. I just, I had a hard time understanding things. Is what I realized is like, when I'm not face, face to face. I want to grab something here from the chat, as we kind of and then I want to shift to wrapping things up, because I know people have to go, but there's so many good questions, guys. So just a really quick one like this will be kind of a yes or no. When you list a painting for sale on your website, do you include a frame? Is the price reflective of a frame piece? I Sarah Sedwick 59:02 don't, okay, and so the price is generally unframed. I will frame things if asked. But you don't get to choose from a wide variety of frames. You basically get to choose a black floater frame or a white floater frame. Okay, right? And there is an extra cost associated with that. I don't advertise that. I offer that, but if people ask, I will do it. Olya Konell 59:26 And that's smart, because it saves you so much time. Sarah Sedwick 59:31 And people like to pick out their own frames. They do it Olya Konell 59:33 has to match their house, their decor, their style, like there's so many nuances they Angela Agosto 59:37 They can add their personal touch to your work. Sarah Sedwick 59:39 I need Steve Jobs of framing. I like to put the black turtleneck on every single painting. Olya Konell 59:46 I have several of these black like I get it. There's something comforting about that. I agree so. And then going back to really quickly, about sizes, so I the. Like Kate writes, I know one woman who tends to send smaller to mid sized pieces to those shows in the sense of being more likely to sell and not need to spend shipping both ways. But of course, a larger piece might get more attention any thoughts, because it's not just a jury fee. So obviously, larger paintings take more time too. It Sarah Sedwick 1:00:17 is not just the jury fee. It is the framing fee. It is the box that you have to buy a lot of times, the special art shipping boxes. And then, of course, the shipping is getting worse and worse by the second. Yeah, it's expensive. And when I participate in shows where I'm shipping paintings away, I if I sell that painting, I'm basically going to break even. So that's, that's that's a that's more of a career advancement thing than it is a money making thing, and I'm happy to do it, but yeah, so Yeah, feel the pain. Olya Konell 1:00:54 It's like a marketing expense. It's Sarah Sedwick 1:00:56 a marketing expense. Yes, it's all it's all deductible, but it it is, I just try not to think about it, be honest. So is it better to enter small paintings in juried shows in the hope that something at a lower price point will sell? I think you should enter your best possible work into these juried shows, no matter what the size is, because I don't actually think that a smaller, cheaper price point painting at a high end show has a better chance of selling? Yeah, you gotta know, like your audience, and if it's the local coffee shop or a winery or something, then absolutely it's good to have a variety of price points, so that your mid tier prices and maybe your lower tier prices will sell more and the higher ones, you know, they've got something to compare it to the consumer. So maybe they'll go for the higher end one, but they still have the options. But if you only have one shot and you're putting one painting into a group show. I say, make it your best work, no matter what the size is, because those high end, higher end shows are going to have higher end audiences, and being at a lower price point may not be to your advantage. Olya Konell 1:02:15 Yeah, and really good point. That's somebody previously, oh, sorry, Sarah Sedwick 1:02:19 might actually make your work less desirable to be on the cheaper end of what's in the gallery, 100% Olya Konell 1:02:25 and I mean, I think, like a lot of artists have also said this, that most people, if you're going to sell a painting at that is at a lower price point, you are more likely those are the sellings that Those are the paintings that could sell through your website. People see it online, on social media, it's easy to package. It's a smaller price point. It's easier to pay for something less sight on scene, in person and buy it. The paintings that are larger, more expensive, you're going to have a hard time, I think, selling it directly from your website. You're going to have an easier time selling it seen in person most, and so using the shows and the, you know, those galleries and those types of in person opportunities, putting those paintings in there, I think is, is it's good? It's good for those ones? Sarah Sedwick 1:03:14 Yeah, and you're hitting on one of my main reasons why we should still engage with the traditional gallery system. Why should we, if we can do it ourselves through the internet, and one of my biggest reasons for still engaging with the traditional gallery system to retail my work is that that is where I can sell larger paintings, and it is much harder online when the price point goes over $1,000 yeah, you, you may, you may. You may not. I don't know, but you may struggle more to sell those pieces sight unseen. Angela Agosto 1:03:46 oh yes, a lot of artists tell us that in a gallery, anything over 6000 has to go. There. On my site, I won't sell anything that's over 6000 that's kind of and then Olya Konell 1:03:55 somebody else said 1000 too. Like, we've had artists have their price, they have their number that Anything over that, they don't even put too much energy into marketing it. I mean, they'll share it and whatnot, but they will opt to use a gallery instead for that, which is such a good point. Yeah, because people want to see it, they want to smell it, they want to get up close. That's a lot of money. It's legitimate, you know? Yeah, yeah. If you're gonna be dropping that much money, you want to make sure that it is something that you generally have fallen in love with and can be in the presence of it. I so I like to ask this question to everybody, as we kind of land the plane, so reflecting on your career, was there a piece of business advice you received early on that shifted how you approach being an artist? Sarah Sedwick 1:04:49 So this is not exactly like a capsule piece of advice, but it's something that it's like, it was like a way that I operated it, and then it changed based on. Uh, hearing what other people had to say about the business of art, other people's experiences being artists and networking. And so when I first started painting and putting myself out there, I said yes to everything. My whole business model would say yes. Workshop in Florida, yes. You know, show at the local winery, yes. It commission, yes. It was always yes, no matter what it was. And that went on for several years. And then, through having a conversation with a friend, who's also an artist, was she was relating a story about how an opportunity had come down the pipe that she really wanted, something she really wanted to be able to do artistically, and she couldn't say yes to it because she was overbooked. And I was like, oh, okay, so there does come a point when you need to start saying no to protect your time for the thing that comes down the pipe that you do really want to do. And I don't know exactly when that shift happened for me, but it's was fairly recently, maybe a year or two, where I've shifted from saying yes to everything to saying yes selectively, save a little mental Time, space energy and an open slot on your calendar for that dream project that is going to come your way. Olya Konell 1:06:30 That's so good, so good i Yeah, that is such, such good advice, because there's, there's a benefit to saying yes to everything. But I love how you explain that there comes that time where you have to realize that you are hunting for that big one and you need to leave room for Sarah Sedwick 1:06:50 it. Yeah, Olya Konell 1:06:53 kind of and then last words of advice. If there was only one thing that someone could take away from today's conversation, what would that piece Sarah Sedwick 1:07:04 of wisdom be? Well, we talked a lot about marketing, and that's appropriate, because you guys are my website company. I think the number one takeaway should be, keep an eye on your social media. Don't let it get out of control. Make sure it's consistent, clean and represents you, or at least the you that you want to be on social media. Have your voice. Think about what's my voice, still having it be authentic, but definitely having it also be in line with your vision for your presence in that critical space of social media, and don't give up. You know, if you need to take breaks from social media, we all need mental health breaks from social media. It is okay. Your followers will forgive you and have a newsletter, have a website, have Pinterest. Who knew, have you know, an Instagram that is clean and represents you and the body of work that you're posting there? Olya Konell 1:08:17 I love that. Yeah? Such good. Yeah, such good. I love, I love the insights and the fact that you you the insights are coming from a place of experience, not just from your own, but if you're pulling from what you experience, or other artists experience and share with you. And I feel like there's so much more that you know, we can all learn from you. And I hope that if you are here today, live or watching the replay, which a lot of our registrants love to do, they love our replays. Check out Sarah's links. I'll include them in the email. We'll also have all the links that we shared as like a document that you can access and check everything out to learn from Sarah, she will, she'll remember you. She'll remember where she met you, which I think I mean your memory there. I don't remember what I wore yesterday, but I'm like, Oh, she remembers her name and which workshop it was Queen. Sarah Sedwick 1:09:11 Well, it was a very memorable workshop. Angela Agosto 1:09:14 Oh, that's awesome. Thank you so much, Sarah. You've been such a delight, and I love everything you've shared. I am a fan. I was a fan before, but I feel like I'm a bigger fan now, and I'm going to join your Patreon. I'm a hobbyist, but I really loved what you said and what you show on there and share. Yeah, thank you. Olya Konell 1:09:34 Thank you. And yes, guys, we will have the replay. So if you logged in late, you'll get the recording sent out next week, so stay tuned for that, and I hope you all have a wonderful and creative rest of your week. And again, thank you, Sarah, and I'll touch base with you after the show. Angela Agosto 1:09:50 So see you guys next month. Thanks everyone. Sarah Sedwick 1:09:53 Thank you. Everybody. Olya Konell 1:09:54 Have a good day. Bye. Bye. You. You're currently a free subscriber to BoldBrush. For the full experience, upgrade your subscription.
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