Plein Air Podcast 227: What It’s Like to Paint New Zealand

In this special episode of the Plein Air Podcast, Eric Rhoads welcomes three artists from the recent painting trip he led to beautiful, exotic New Zealand, “truly a magical place.” The guest artists are Mike Bonar (who won this trip on the prize wheel at the Plein Air Convention!), Lynda Pyka, and Mitch Neto.

Listen and watch as they discuss the trip’s defining moments (such as visiting the incredible Milford Sound), the challenge of creating your own “atmosphere” to account for the air being so clear, a lesson in “deconstructive painting,” side benefits of going on the journey, and much more.

Bonus! In this week’s Art Marketing Minute, Eric Rhoads, author of Make More Money Selling Your Art, shares motivating words about keeping up your morale as an artist, and how to tell the “story” of your artwork to buyers.

Have a question about how to sell your art? Ask Eric at

Plein Air Podcast, New Zealand Edition:


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FULL TRANSCRIPT of this Plein Air Podcast
DISCLAIMER: The following is the output of transcription from an audio recording of the Plein Air Podcast. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

This is the Plein Air Podcast with Eric Rhoads, publisher and founder of Plein Air Magazine. In the Plein Air Podcast we cover the world of outdoor painting called plein air. The French coined the term which means open air or outdoors. The French pronounce it plenn air. Others say plein air. No matter how you say it. There is a huge movement of artists around the world who are going outdoors to paint and this show is about that movement. Now, here’s your host, author, publisher and painter, Eric Rhoads.

Eric Rhoads 0:19
Thank you Jim Kipping. And welcome to the plein air podcast. Man, it’s been a while I have I have so much been a slacker. I’m just saying, right. So I kind of feel like I’ve let you down. I have not been getting podcasts out consistently lately. And that may have something to do with what this show is about. And some of the other things that were going on. For instance, I took a group of artists, we’re gonna learn all about that today, to New Zealand to paint and I was gone for about two weeks, I took a little time off before that to rest because I was thinking it was going to need it. And then I went off to fall color week, which is an artist retreat I did in Maine, which I do something every fall somewhere. And then you know, I took five days driving from Maine back to Austin, Texas to settle for the rest of the year. So it’s been kind of crazy. And my apologies, I’m going to try to be a little bit more consistent from now on. If you have ideas or things that you would like to see covered. In the plein air podcast, maybe someone you’d like to see featured, please email me, [email protected]. And a reminder now that you you can watch or you can listen to the podcast, we do it on video now. So oftentimes there will be images we’re discussing. We don’t talk about the images because of your listening. We don’t want to frustrate you. But you can you can get that new core course can find this podcast wherever Apple podcasts or any Spotify or any any place that you can find podcasts. We’re honored. We really are honored that plein air podcast has been rated number one in the Feedspot 2021 Top 15 painting podcasts list. We’re hoping to make the 22 list. We’ll just see what happens. Anyway, hope you’ll subscribe if you’re listening for the first time. And if you are welcome. We’re glad that you’re here. We love plein air painting. We’re passionate about it. And there’s a whole story behind how we got here. We’ll talk about that someday. Coming up soon after the interview, I have what’s called the Art marketing minute. And it’s where I answer your questions about how to sell your art or how to market your art. And that’s also its own separate podcast. So you can find it at the end of this podcast. Or you can just go find it as its own podcast if you want to do that. And now in these, what they say are inflationary times. And I don’t disagree with that. You actually have more opportunity than ever. I’m going to talk about that today. So you want to stick around. Just a couple of things before we get rolling means we’ve got some great guests today. If you’re looking to connect with the plein air community, I learned at fall color week there were a lot of people who actually about 60% of the people who were there were showed up for the first time many of them had been plein air painting a long time, but many of them had never really connected with the plein air community. And what was so beautiful is that you saw people setting up next to other people, they’re making a lot of friends and they’re you know, they’re saying, well, here’s what I learned about this easel or here’s what I learned about this paint or here’s what I learned about this brush. And you know, you see how different people attack different things. And that really helps you become part of the whole plein air movement for plein air community. While the big enchilada for the plein air communities plein air convention, and that is coming up in Denver in May. And we also will have a pre convention workshop with the great Lori Putnam, we always pick a great artist and put them on for workshop before the convention. So that’s like a day and a half workshop. And then we have four solid days of instruction with about 60 instructors. We have like three or four stages. We have a big expo hall we go painting together every day. Some people just opt out of that but most people go you know if you’re a little intimidated about it. You don’t have to do it, but we love doing it. Anyway that’s coming up plein air convention. And we have this year the great CW Mundy, who is coming back to the convention for the first time in many years. And he’s not teaching anymore. So this is a great opportunity. Also the great Alvaro Castagnet the watercolor artists, Daniel Sprick, Susie Baker, many, many, many, many other artists, it’s just outstanding. It’s just so much fun. Just go to For that, if you’re, you are a painter and you’re listening to this, and you’re a plein air painter, you’re probably what we would call a realist. Now, what is a realist? A realist is someone who paints something that you can tell what it is. Now, there’s all kinds of things that fit in with being a realist, right? So you could be an abstract realist, you could be a academic real estate, you know, which would be really, really tightly carefully entered. You could even be a photo realist, or you could be an impressionist, which is a form of realism. We have a conference coming up online, it’s called realism live, and it’s all about the subjects within the range of realism. We don’t get into abstract modernism, or anything beyond that we do get into some forms of abstracting in your painting. So this is a three day event. Plus there’s a beginner’s day. It’s online, we have about 30 instructors are pretty incredible. We’re teaching all the subjects so figure painting, portrait painting, still life painting, landscape painting, floral, and of course plein air. And we have some amazing artists, including who I think is the finest landscape painter in the world. No question. And that’s Clyde Aspevig. And Clyde doesn’t teach. Clyde does not appear anywhere. And he is and has agreed to appear on realism, live and teach. That’s a big deal. We also have lots of other people like Juliette Artistides. Todd Casey Michelle Dunaway, Lisa Egeli, Rose Frantzen, Daniel Graves, Cornelia Hearnes, Deborah Hughes, many, many, many, many, many more. There’s too many to mention right now. But you want to check it out, go to That’s coming up. And last but not least, I just want to mention to you that, you know, when you’re part of the plein air movement, you’re passionate, you’re committed, you’re involved in plein air painting, and there’s no better way to satisfy that itch other than getting out painting and being with other people, is to be able to read about it and look at the beautiful pictures. And that’s what plein air magazine is all about. And I don’t know if you know this, but we have a digital version that has 30% more content, you know, print is expensive. And we always have a pretty thick magazine, but there’s always more content. You know, for instance, we oftentimes do articles, so we can’t put all the photos in the articles because there’s no space, but we put them in the digital version, and you have a digital version, you know, you can get in and really get close up and really get into them. And that’s an opportunity for you to to see plein air magazine at a different level. So and we’ve got people listening here in 190 countries, we’ve got over 2 million downloads. And wouldn’t it be cool if you got your own plein air magazine? It’d be cool for us to we’d like that. So anyway, go ahead and subscribe. Oh, okay, now this is a very unusual podcast. Normally it’s an individual artists once in a while I’ll do something a little different. And this is one of those cases from September 15 through the 25th. Laurie and I flew over to New Zealand, we met a group of artists who also flew over from mostly the US we had a couple from Canada. And this is a group that I took painting around New Zealand. I’ve done this before I have tour operators from New Zealand we did all of our research and found all the great paint spots. And we also do meals and all that stuff and a little bit of tourism stuff. But we have some painters some guests today who are with us that I thought would be representative of some of the people who were on the trip. I couldn’t put them all on i My apologies to those people. These people have become friends. Some of them I’ve known from other events. Mitch Neto, I actually met in a painting class in the San Francisco Bay Area 20 years ago probably led to pica. I met a full color week for the first time. And Mike Bonar I met at the plein air convention recently. And I want to welcome all of you welcome to the plein air podcast, everybody.

Eric Rhoads 9:54
Yeah, so I thought what we’d do is let’s start with Mike because Mike has a really cool story to tell. And I’m just gonna let you tell that story, Mike.

Speaker 1 10:07
Well, thank you, Eric. So let’s see May of this year I was in Santa Fe, at the plein air convention and exposition. And it was last second to last day that next day we were going to go to Phantom Ranch, but I was in that 600 person crowd in the big room. And you were calling out names. And you said, hey, if I’m calling your name you need to answer because I’m pulling these tickets out and you better answer quick. So you last ticket, you call my name. And I’m like, Hey, Eric, it’s I’m here. I’m here. So at that point in time, I realized I was going up to the stage and I started getting tingles in my hands and feet for some strange reason. I don’t know why. But I got up there and did a fairly poor dance. But you know, you’ll move work, I’d say.

Eric Rhoads 10:58
We have we have a prize wheel. And we pull out names. And we used to make them dance individually. But we made them dance as a group just because it’s funny. So anyway, you were up there, and you’d dance.

Speaker 1 11:13
I was up there had had the dance. And I was the last one to spin. And this wheel had 15 or so pieces on it. And one of the I said, paint New Zealand and I couldn’t see it. But I spun it as hard as I could. It was wobbling pretty good. And the crowd was just all into it. And then all of a sudden, the crowd started to die. And I’m like, Ah, and then they go, she couldn’t believe it. Paint New Zealand and I literally, I remember Eric, you passed out on the stage sorry. And so I won a trip that I just went on about I was there a month ago, we were probably on our way to Milford Sound a month ago, but it was amazing. It was meant to be and it was everything that I that I was hoping for. And I’m sure that’s what everybody else feels about that.

Eric Rhoads 12:08
I got to tell a little story about this, uh, you know, this story, Mike, because I told you, but right before COVID, or maybe maybe two years before COVID, we did the spinning wheel. And I said to Tom, in our office, I said, Tom, let’s put the Africa trip on the spinning wheel because we were doing a trip to Africa. And he said no way that’s gonna cost us like, you know, $20,000 or something. And I said, Well, you know, what are the odds? Really? I mean, what, what are the odds? You know, I don’t know what an 880,000 Odds are some. And so he agreed only takes one or two.

Eric Rhoads 12:53
Very first ticket, I called out of the audience, the beginning of that convention, the very first ticket spins that wheel and winds that Africa. And so this time, I said to Tom, I said, Look, let you know that it’s just not going to happen. It’s almost physically impossible. Let’s put the New Zealand up there. And he said, No, Eric, let’s not do it, because it’s going to cost us a lot of money. And I said, well, let’s just do it anyway. And, you know, if it does happen, it’s gonna be worth it. Because everybody’s going to be really excited. And he said, Well, Eric, it’s your money, you know, and, and so we put it up there. And the last spin of the convention, so the African was the first bed, you were the last spin. And you got it. I couldn’t believe it, because the odds were completely against it.

Speaker 1 13:45
It was it was amazing. And that’s one of the things I kept doing this to Mitch. When we were on the trip, my one finger and I didn’t really tell him what it was. He goes, Okay, what’s the inside story about that? It just takes one spin. It’s one spin. Exactly, exactly.

Eric Rhoads 14:04
And that’s kind of an art artists story, too, is everybody gets all freaked out and says, Well, you know, we need to have, you know, the biggest audience possible to sell our paintings. And the reality is, it just takes one buyer, you know, it’s the same kind of thing. So I want to start with Linda. I want to be a gentleman, Linda, and so we’ll start with you. Ladies 31st off what were you What do you say Mitch?

Unknown Speaker 14:30
I said Ladies first.

Eric Rhoads 14:33
I didn’t want to be politically incorrect and say that for Linda, first off, what were you thinking when you saw the paint New Zealand trip? What what’s going through your head?

Unknown Speaker 14:51
I you know what? I just heard about it. I heard that it was really one of the most beautiful places ever And I’ve been to odd places like, you know, Morocco. I don’t mean odd but not like, what everyone goes to Ireland things and stuff like that. And I love going somewhere different. And I think that’s what you do you pick something that we go, what is that? Like, I want to see it. And I was like gung ho just, you know, looked at everything and said to my husband was cheaper for one of us to go and do you mind and he’s like you got to do you got to paint something as beautiful as what we heard. So I went

Eric Rhoads 15:34
and did it live up to your expectations

Unknown Speaker 15:37
beyond beyond because it was so organized to what we all as artists think is beauty. I mean, you know, every boat ride was better than the next. And I mean, starting with that jet boat to ending in an overnight and everything in between. So

Eric Rhoads 15:57
just tell tell everybody what that’s all about is not we made this both a tourist experience as well as a painting experience. And the very first day, our very first full day we get in a bus, we drive to Glenorchy, which is about an hour away. We’re in Queenstown, and we go on these jet boats, and the jet boats take you up the dark River, and they take you up to where they filmed. Lord of the Rings, Hobbit. It’s a place called Paradise. And it truly is paradise. And so there we had several boats, because we had a pretty big crowd, and there were zipping along at 50 miles an hour through two inches of water. It was pretty incredible. So Mitch, well. Now what what were you thinking? Because you kind of came in at the last minute?

Unknown Speaker 16:55
Yes, I think I did. But I’m sure glad I did. It was truly a magical place. I mean, everywhere you looked was almost unbelievable. In terms of the natural beauty and it was so clean. Everything was so pristine, you just I had no idea that it would be such an incredibly natural environment. I mean, the Kiwis are doing a great job of taking care of their country. And I hope they continue to succeed because I, I love to go back there and see these fabulous views again, in such a pristine environment.

Eric Rhoads 17:35
Well, I’d certainly go live there if it weren’t so far away, you know, I wouldn’t want to be away from my kids or potentially grandkids someday, but I would live there. It’s so beautiful. And people were so friendly. So what what was there? You know, we could go through the agenda and go through the various places we went and painted. We’ll talk about a couple of them. But what was it? What was there a moment for you? That really defined the trip?

Eric Rhoads 18:11
No. Sound? Milford Sound? Yes. Yeah, so let’s talk about Milford Sound for a second. What? First off, we should say that Milford Sound is a quite a hefty bus ride from from Queenstown. So we had to take a bus ride about four hours down. And what was interesting to me is that everybody’s taken constant pictures out the window, because we’re in this giant national park on the way there. And, you know, talking about lots of reference material, it’s pretty stunning. But so Milford Sound went when we went to New Zealand The first time we went we went down there did a quick boat ride for a couple of hours and came back but we didn’t get a chance to paint this the most beautiful place I’ve ever seen in my life. And it was we had it set up so that we could all we went real early. So we could all paint there. So Did did you guys paint because I set up and I painted a big one. On the boat. No, not on the boat before we got on the

Unknown Speaker 19:23
boat. Oh, yes. Yes. Up the mountain thing that that one that’s done. Yeah.

Unknown Speaker 19:30
I painted there, that’s for sure. miters peak was our first scene. And that was pretty spectacular. There was just so much depth to it. The thing that really struck me about painting in New Zealand is you almost you pretty much had to make up your own atmosphere because the air was so clear. Everything looked like it was right there, didn’t it? Yeah,

Eric Rhoads 19:54
we learned something about that. I’ll just mention it on the first day when we all met at the airport. We had to kill some time before the next airplane. So we rented a room at a local hotel, airport hotel. And we brought in a lecturer. And I don’t know if he told us this in the lecture, or he told me afterwards, but he said something I thought was fascinating. In the early days, a lot of Europeans were coming to New Zealand and painting and European style painters. And they were putting atmosphere in their perspective in their paintings. And everybody would look at those paintings and say those aren’t right, they don’t feel right. And that’s because there’s, there’s so little moisture in the air. And the air is so crisp and clear. And so it was not until about 40 years, 50 years later that people started painting it as they actually saw it, which was very, very little atmosphere. Now there’s atmosphere if you’re getting a cloudy day, or a foggy day or something like that, but it was pretty amazing. So how do you deal with that as a painter? Because it’s how do you create that sense of distance and separation when you when you have trouble seeing it?

Unknown Speaker 21:10
I was glad there was a little fog coming in to put that in, in between those two mountains if you guys remember. And, oh, well, little sand flea fell on it. And it looks like a bird and people were loving, even though they’re part of our painting, dying on the painting.

Speaker 1 21:27
That’s like Jennifer, she must have had 100 bugs on her 39 exaggerated a little bit, but still,

Unknown Speaker 21:35
each one was worth 10 bucks when she sold the paintings at least 390. And then whatever she charges I was helping around.

Unknown Speaker 21:43
Got a whole flock of birds. And that

Eric Rhoads 21:46
became a cell and paintings and Mitch and I were set up in Glenorchy. And add these tourists buses were coming in. And these were Asian tourists. I don’t know if they were Japanese or Chinese or what they were. But these two women came up and looked at my painting and they said how much and I said, you know, it’s it’s not for sale. Thank you for your interest, but it’s not for sale because I I want to keep it as a memory. But I said my buddy over there will sell he’ll sell anything he’s got. He sent me. And I said, you know, he would sell his own kids for the right price.

Eric Rhoads 22:31
didn’t really see that much. But they went over to Mitch. And what happened? What what what? What was the story there?

Unknown Speaker 22:37
Well, I tell her it’s not finished yet. I said, But you know, if you come back later, maybe I can. Maybe we could work something out, you know, and her tour bus left before I was finished. And I should have said, well, I should have just figured if she thought it was finished. It could have been finished. Like that, and I wouldn’t have it here with me today.

Eric Rhoads 23:02
If that was the case. Yeah, you’d have it. You have it there handy.

Unknown Speaker 23:06
I do actually.

Eric Rhoads 23:10
All right. Okay, so this is this was what you painted in Glenorchy. Hold it up real close to the camera. Oh, there we can see it better. And here we go. Yeah, all right. Terrific. So Jennifer, did she sell a painting?

Unknown Speaker 23:29
I think she wanted that one.

Speaker 1 23:30
I don’t know where to keep it. Yeah, gotta hang on to it. 50 bugs and

Unknown Speaker 23:38
the painting though.

Unknown Speaker 23:39
I did to another artist and that was thrilling. And I loved painting you were there both you and Eric were there the ship that so that I love to but when it wants to time to go it’s okay to

Eric Rhoads 23:52
well, there’s that there was a ship called the Earnslaw earnest law, MS or Ts and earnest law. And it’s 150 year old ship and it used to go up and down the sound from Queenstown and Glenorchy these the only way you could get to Glenorchy before they put the road in and I think in the 80s and we all we all set up and painted that ship. Tell me about that. Linda, yours was you just knocked it out of the park or so.

Unknown Speaker 24:26
I really I love boats. I mean, my goodness. I wish I had one or something. But we went on for that trip. But the steam one. It was special because it looks like something like kind of Titanic ish, which

Unknown Speaker 24:40
definitely. That’s it. I’m

Unknown Speaker 24:42
painting it. And a little bit of the city in there was good. And, you know, it was the whole idea of what time was that what the ship was poured. It was it was Queenstown. Yes, it was near the Reese right. You Yeah, I just loved it. It didn’t have too many of the pillars. It was a nice stack. And yeah, it was romantic looking. That’s why I painted. I learned

Eric Rhoads 25:09
a really important lesson when painting that ship first off boats or boats are hard, I think. And I, I put in every little detail. And I said to Mitch, who was painting, kind of beside me, I said, What’s What’s it need, he says, it’s just too too much detail. You remember that?

Unknown Speaker 25:31
I do. And then you took out your, your putty knife and you scraped it looked fabulous.

Eric Rhoads 25:40
Well, that was a lesson in deconstructing a painting. And, and not only did I do that, but I took a big glob of white to really make that front of that boat glow. And I just took my palette knife and scrape it down. And unfortunately, I put it in my panel box, and it touched another panel. So completely screwed up. I think we need to reinvent panel boxes, that shouldn’t be happening.

Unknown Speaker 26:05
To say something about the Earnslaw that is an actual steamer, ship and they were shoveling coal into it. And you can look down there into the engine room and see all the mechanical arms going up and down and everything. That’s just one example. What are the special experiences that we get that we get to have when we when I follow you to crazy places like that?

Eric Rhoads 26:35
Well, well, so what we did the following, I guess that morning when we painted the ship that morning, and then we got on the ship. And we took the ship to a place called Walter Pete and Walter peak is what they call a sheep station station is where they farm sheep. And it had a restaurant on it was right on the water beautiful view of the mountains. We went and we had this incredible meal I think probably there were serving sheep, I’m guessing. And and then we got to watch him do sheep herding and then watch the sheepdogs and we got to play with the sheep and stuff like that. And then we all set up and paint it. I did three paintings that day from that spot. Because my goal was not my goal was quantity over quality. I wanted to get studies that I can use for later and so I wasn’t worried about finish work,

Unknown Speaker 27:32
right. Sheep, sheep score five just the sheep were out of control. They’re like

Eric Rhoads 27:43
to be there more sheep in the New Zealand and there were people. I don’t know if that’s still true. Might what what are your thoughts about that? That ship or that day? Anything?

Speaker 1 27:53
Well, I had a lesson learned that day, I was keeping up pretty well. And I out strategize myself thinking I could leave my pack in the back and get it after lunch. So so I didn’t get my pack. But you know what my classmates if you will loan me some paper and pencil. So I sketched I sketched a little house next to the complex where we had dinner. And so and I remember coming over towards the end of the day and seeing your your collection of plein air paintings, and the one that I really liked was the mountains were very, very purple in the background. low lying. It was a elongated picture with the palm trees on the left. Do you remember that one? Yeah, I do. Very nice. Very nice painting. So I I had a great day that day.

Eric Rhoads 28:45
Well, what what I love is that, you know, the we saw so much incredible scenery. I mean, you know, you get to a point where it’s kind of like when you go to Alaska and you want to photograph Eagles, and you see eagles and you’re all excited. And then next thing you know, you see 700 Eagles and you’re not excited. And what I found is that every piece of scenery seemed like it was better than the next and then better than the next. The next and it was it was just so so much to paint. I just I couldn’t wrap my hands around it in our head and around it

Unknown Speaker 29:27
took a while to get get the hang of those craggly mountains. I mean, that way they’re just pushed up and have so much character it’s like, like mountains you don’t see except maybe in the Alps, right? I mean, such character and really, we

Eric Rhoads 29:45
actually did go to what they call the New Zealand Alps, which is the Milford Sound area and they truly were magnificent. And tell the story somebody tell the story of the boat. In mountain Milford Sound because that was quite an experience. Oh,

Unknown Speaker 30:02
I saw my first penguin

Eric Rhoads 30:07
not all of us got to see that.

Unknown Speaker 30:09
I was on that special tender with only two of us. Gabriel I think was the other and because the other one was off when you missed the boat, you missed the boat, but there was another. And he took us around close to the edge, where we were kind of parked. And there was he just popped up for a second is it this is all you get one down. So I was thrilled for the little side excursion on that boat, I get the best picture of it glowing at night.

Eric Rhoads 30:42
Love the through that picture the just so people understand what we did is we took the we took us down to Milford south, we painted and then we boarded the ship. And about three o’clock in the afternoon, we took the ship out into the sound which goes on and on and on and on. And the beauty is spectacular. And he would go up to these waterfalls and so on. And then they park the ship. And we spent the night on the ship. So they had what Linda’s referring to is they had these small boats, and they basically lifeboats the tenders and we would go out and and then we went exploring. So we went we had a chance to go out and get close to the waterfalls and close to the shore and close to the nature, which was really remarkable. We saw these climbers that were had been camping out who were climbing up their hands. But the you know all the photo reference material. I mean, I could pick for a lifetime on the photos from that trip.

Unknown Speaker 31:43
Yes, what was amazing about that is that there were actually glaciers visible at sea level in that location. And, and the rivers coming out of there were just that beautiful blue, and just added to the magic of the countless waterfalls that are coming into Milford Sound. And we were fortunate enough to get out into the Tasman Sea and actually go out on the ocean. The next day, it was calm enough. And I think

Eric Rhoads 32:16
that was a good thing. That was they told me they never get to go on the Tasman Sea, because it’s always too rough. And so that day we went out there, we were able to go out pretty far just because it wasn’t rough. That was pretty special.

Unknown Speaker 32:32
The balls were Sterling falls, that’s the name of it. And they if you stand in front of the theory, or the legend is if you stand and get sprayed by it, you lose 10 years of age. Well

Eric Rhoads 32:48
you got sprayed a lot

Speaker 1 32:54
I guess the other thing that I remember is the the ship had cabins and it was a vintage type ship. I mean I looked at it it was steel, not fiberglass type of thing. And in the front deck, we all had plenty of room to walk out on and so it was it kind of took you back in time a little bit going on that ship versus what you might see today on on the modern. Well, it’s as I would call it a small group cruise ship, you know, I mean, it had what, maybe 20 rooms to it, which something like that, but it was a classic.

Eric Rhoads 33:34
While we dominated the ship, it was mostly summer there were a couple of other people on the ship. And I remember one of one of the members of our group ended up at a table with another group of people. Really cool. I talked to me about the side benefits that you got from this trip what? You went to pain, but what else did you end up getting out of?

Unknown Speaker 34:02
A whole bunch of friends we all keep? We keep sharing stuff on this one. Google doc thing you both are on it. Yeah, just friends. I’m gonna be friends with always.

Eric Rhoads 34:14
Yeah. Yeah. Good time to develop some pretty deep friendships because of the transportation time and the time on the boats and things like that.

Speaker 1 34:25
I think everybody in the trip, understood that we were you know, we were stealing a little bit. The fun and and, you know, if you look at people’s faces, they’re just having a blast. And those people that do it and experience it together. I mean, we all know it when we’re in the middle of it. We’re loving it and making new friends. It’s not an intimidating thing for me. I’ve been to two pays convention signed up for next year. But I’m a realist, shifting to plein air and learning candidly, From people who have the experience is just helping me get to my goal quicker. And everybody on this trip was free to share their information. And that was made it really nice for me. So

Unknown Speaker 35:13
that’s one of the joys of of these kinds of experiences is you’re with your tribe, you’re with people who appreciate what you appreciate. And you get out there and this vibe starts building on itself in your community and the camaraderie just starts to build. And it’s it’s not a competitive environment. It’s a supportive environment. And what a joy it brings, you know, it makes it a special time. I agree with you, Mike, it definitely makes it a special time.

Unknown Speaker 35:47
I like the memory of the pournami that we all got.

Unknown Speaker 35:54
I’m not wearing mine.

Unknown Speaker 35:58
Just the culture to learn about it that you’re supposed to

Eric Rhoads 36:00
hold it up. Hold it up close to the camera.

Unknown Speaker 36:03
Okay, let’s put it in. There. This is jail.

Eric Rhoads 36:11
Yeah, so the story about that you want to tell the story.

Unknown Speaker 36:15
Go ahead, Mike. Well, the story is that you must you can’t buy one for yourself. So Eric was kind enough, we all had something on our dinner table in a little bag, and we got a little shade of gray and, and to know that this is their culture. And now we get to have a little piece of that. And it’s that was special. And I was

Unknown Speaker 36:40
I was hoping to find gold in my bag. But

Unknown Speaker 36:46
I didn’t know there was so much culture, the Maori culture, nature. Yeah, that they all the tattoos and stuff. And there was a channel while I was painting, the beautiful view from the room. I’m listening to this music and this whole show. So I loved learning their culture.

Unknown Speaker 37:04
I agree the culture is so rich there. And I ended up finding out Shelly and I stayed a few days after. And we went to the treaty location up in the Bay of Islands at the top of the northern island. And we went to a Valerie presentation where they did the dancing and they told the history of the British king. So I mean, a treaty with with the New Zealand tribal elders. So they got to they got to control the destiny of their own people. And the English just basically enforced the law and provided some government. But the tribal leaders were given the authority to determine the autonomy of their own people. And that’s why the Maori culture is still so strong in New Zealand.

Eric Rhoads 37:55
So, you stayed on Did either of you, Linda or Mike Did either of you stay on? No. I couldn’t either. I wanted to. I didn’t want to leave. So not the quantity matters. But how many paintings did you guys get done?

Unknown Speaker 38:15

Unknown Speaker 38:18
I did five.

Eric Rhoads 38:20
I didn’t hire anyone on file. That’s great. All right, but you got it. And then you got a lot of photo reference materials as well. For sure. Which you know, a lot of people say well that’s not plein air painting. Well, sometimes you can’t get paid at all. So I got 26 Done. Amazing. Done. I was going for I was going for speed and by the way I not all of them were small. I did I did probably eight or 1016 20s and I did a one painting where I combined 216 quantities into a big painting and it was a lot of fun.

Unknown Speaker 39:05
I liked I liked when you put two panels next to each other because the scenery is just so big there and then that range is so wide that you really want to go landscape on almost everything good. Yeah,

Eric Rhoads 39:18
that’s why I took all these panoramic panels because I you know, I called up one of our sponsors, multimedia art board, and I asked him to make some special sizes for me and then I call panel pack and ask them to make special sizes for my panel holder so I could get them home. And but I think you know when they’re longer they need to be wider because you know, I had some some touches, which was not a good idea. Well, this has been fascinating, guys. Do you have any final thoughts?

Unknown Speaker 39:50
Thank you. I love it. I just love it.

Unknown Speaker 39:54
I can’t wait to do it again. It’s something like this.

Unknown Speaker 39:57
Yeah, we’re

Speaker 1 39:59
my Final thoughts going back to the fact the fact that I won this trip? Can you believe it? How much more do you need to be grateful and have gratitude, I really appreciate that opportunity. And

Unknown Speaker 40:20
I want to say, I’m glad that Mike won it because he was a great addition to.

Eric Rhoads 40:25
I am too, you know, it was really great getting to know you, Mike, and you’re such a great guy, and you have a fascinating background and, and a good painter. And, and it was a joy, to give that to you, you know, you and I didn’t know each other. And we became friends on this trip. And I think, well, you know, we’ll be friends forever as a result of that. But, you know, sometimes I used to be in the radio industry, as you know, and sometimes you give away a prize to somebody, and they’re not grateful, you were so grateful. And just so wonderful to be around, it really made a huge difference. I you know, I think that these things, I think that they’re important, I look at, you know, what, when I create these events, I look at this, especially these international trips, I look at them and say, first off, I try to pick places that, that not everybody goes, you know, everybody goes to the same six places, but not everybody goes to New Zealand or Russia, you know, Morocco, or Cuba or you know, whatever. And so I want to do things that people might not do on their own. But I also want to do things that create lifetime memories. I think, you know, I will look at this trip, as a lifetime memory is something that I’ll be able to, you know, when I’m when I’m sitting in my rocking chair and talking to my great, great, great, great, great, great grandkids, because I fully intend to live to be 150,000.

Unknown Speaker 41:58
Clearly the case

Eric Rhoads 42:01
you know, I’m looking really good right now, right?

Unknown Speaker 42:04
You want to do okay.

Eric Rhoads 42:07
Yeah, well, we have to keep the plein air movement going. Anyway, but I look at these and I say, you know, I will, the memories are so magnificent. And that’s why I don’t want to sell my paintings because I’ll make paintings from these and I’ll send them to my galleries. But I don’t want to sell them because to me, I can say you know, I painted that one. Next to Mike we we went out to this place. You guys remember this, we went out to this place that that we we stopped in the jet boats. And they dropped us off. And it was this magnificent Valley every direction was 30 paintings and some of the most spectacular scenery ever, equally as spectacular as Milford Sound. And it was a spot where they did a lot of filming for these famous films. And it’s a hard to get to spot and we painted out there we we I I got us a four wheel drive bus because you have to have four wheel drive to get out there. And we go out in our four wheel drive bus and it’s got to be what do you think the wind speed was?

Speaker 1 43:18
4050 That’s what I would Yes. Easy because my my push shot box was like a weather vane. It was in the direction. I couldn’t I was trying to paint and I put a poncho on and my poncho I look in my ponchos painting my painting bungee cords around my waist. It was that morning when we woke up the weather forecast it was 31 degrees.

Eric Rhoads 43:48
And it ended up doing is we ended up asking the bus driver to park the bus so it would break the wind. If not everybody did it. But I was holding my easel down it was shaking and blowing. And it by the way is a heavy and fairly sturdy easel. And all of a sudden it blew up on me. And I look like a homeless person. My my coat had paint all over and we started looking like George Van Hook. And I actually had to buy a new jacket because you know I go into the stores after that they’re like, Oh, who’s this weird guy with all this paint all over it. But but it was such a wonderful memory and then the following day. You guys may or may not know this because we had a free day you guys could go paint you could go shopping but I found a driver who would take us back out there and had the right kind of vehicle to take us out. And I found a couple people from the group and and we went out and painted there and the next day. It wasn’t windy. It was buggy. But we painted there for several hours and that’s I got I think I got four paintings done from that spotcrime day. You And it was just remarkable. And I could paint in that spot every day for a month, and still not run out, as you know, you turn one direction. And you see, you see the mountains with the shape. It’s another as you see the river with the mountains. Another is this area called Pluto, which is in Lord of the Rings. And just in the the fog and the color and the water glowing in that blue. Just

Unknown Speaker 45:27
changing, constantly changing views. And the

Unknown Speaker 45:31
rocks, the rocks, everybody was collecting them.

Eric Rhoads 45:38
Yeah, they’re bringing that in their baggage was. Yeah, so what would you say to somebody who, who said, you know, these things? Mike, you can’t say this? Because you got it for free? But what would what would you say to somebody who says, Well, you know, I’ll do it someday. But you know, there’s never there’s never the right time, because you know, cost a lot of money, that kind of thing. What are your thoughts on that?

Unknown Speaker 46:06
Well, if you get the opportunity, if something is once in a lifetime, then don’t hesitate. It’s once in a lifetime, it’s right, then you’ll find the money somewhere else. It’s worth it in every one of Europe’s trips. All right, did Cuba this one, I want more. But it’s you gotta do it when it’s

Eric Rhoads 46:27
done. I think to that point to not only is it about having something to look forward to, but I’ve had because we’ve met and, and, and experienced so many wonderful people at these events in fall color week in the Adirondacks. And Linda will talk about fall color week in a second. But, you know, things happen. I mean, we had a woman who, who was with us every year at Fall, color week, and then all of a sudden, she was gone. And her husband said, you know, we’re so glad that she had that, you know, that she she talked about not going she went several years, she didn’t go because she wasn’t sure if it was right for her. And then she went and she found out, you know, it was really a great experience. And she got in 334 years. And then then we get the call that all of a sudden, you know, they found some, some disease or something and boom, she was gone. So life is short, you know, and and I’m not saying this to pitch trips, I don’t even have a trip to pitch right now. But I think the idea is, whether it’s us or whether it’s something else, you know, whatever your dream is, live it, go for it. Because, you know, you don’t know if you’re gonna wake up and not be able to walk one day, I talked to somebody last week, you know, one one day he woke up and he couldn’t walk. And, and, and I talked to another guy last week, you know, he was in great shape and his life was going great. And then he got hit by a car and a motorcycle. And you know, so you know, I’m not trying to be more, but Let’s live our lives

Unknown Speaker 48:04
in a different direction. Yeah, I agree with both you and Linda. It’s all about opportunity. You know, and, and life only only gives you so many, you know, money comes in money goes and it always will. But and so do opportunities, but you don’t want to miss these opportunities if you can take advantage of them. So on the fine art trip to Rome, which I thought was just going to be you know, another tourist trip. We actually got a half an hour of our, for our group alone in the Vatican Museums, and the Sistine Chapel. And one of our groups brought a flute that was playing it in there and it was one of the most beautiful spiritual experiences I think most of us have ever had.

Eric Rhoads 48:58
I did the first Facebook Live from inside the Sistine Chapel until the guards shut me down

Unknown Speaker 49:05
and threw you out on your air

Eric Rhoads 49:10
to get you guys that experience

Unknown Speaker 49:13
you did and then we had dinner in this fabulous like 11th century palace in the center of Rome, where there was actually cannon ball embedded in the marble floor there. It was just just you know, were you ever going to experience it like that again? You know? And yeah, these these kinds of things are what really are the gyms in life that carry you through right let me Yes, relate to that. Right.

Unknown Speaker 49:44
You made me think we had five course meals. I think every night like it’s the fifth meal. Food was incredible. Venison air things I never ate. Oh my god.

Unknown Speaker 49:56
Exact right. I tried to please five things I’d never eat It’ll be hard there.

Speaker 1 50:01
We had a welcome package every time, you know, we don’t want it to Reese, and then we’re in Auckland at the M social. And those cookies were, I don’t know what they were honey. And they were just little, little touches that you get this type of trip?

Eric Rhoads 50:19
Well, we try, we try to make it fun and try to make it memorable. And and you know, we’re always trying on these trips to come up with something that nobody else can do. That’s my goal is, what can we do that nobody else can do? And I put these tour operators through that test and say, All right, let’s let’s do something that, you know, doesn’t happen. And like painting and Milford Sound not not exactly easy to pull that off. But, or going into the Sistine Chapel or going into the homes of artists, families and seeing their private collections and you’ve met, you’ve experienced a lot of that. Well, folks, thank you so much for being on the plein air podcast today. And thanks for everybody for listening. I’ve got a little marketing minute coming up here in a second but Lenda Mike Mitch, it was a pleasure being on the trip with you and everybody else who’s not on the podcast that was on the trip. And, and it was really fantastic. And I value your friendship, and I value the time that we spent together. Thank you for doing this. Thank you.

Speaker 1 51:26
Thank you so much.

Eric Rhoads 51:28
So what we’re going to do now is headed to the marketing minute and then we’re going to wrap it up Don’t miss this marketing minute. We’re going to talk about the economy.

Announcer 51:36
This is the Marketing Minute with Eric Rhoads, author of the number one Amazon bestseller “Make More Money Selling Your Art: Proven Techniques to Turn Your Passion Into Profit.”

Eric Rhoads 51:49
And them marketing minute I try to answer your marketing questions I you know, I do marketing and and so you can upload a video question by going to Or you can email me [email protected]. I also have a website called, where I write a lot of stuff on marketing. And some of its old some of its new but it’s always relevant and continues to be relevant. So the way we do this is Amandine, my producer, who is from France, is going to read the questions and then I will come up with some answers. I have seen this question today. Amandine, let’s go for it.

Amandine 52:33
Eric, today we received a question that isn’t pure marketing, but that feels appropriate to address it anyway. So let me read this question from Bree Dotson from Virginia. What do you do when the world seems to be collapsing around you? How to maintain morale? How to continue believing that easel time, or one’s personal statement even matters?

Eric Rhoads 52:56
Well, you’re right. I’m a dean. It’s not a marketing question. But everything relates, right. So if you’re in a position where you’re creating artwork, and you have to make your living for it, and you’re not feeling up to it, because you’re going through something, then it’s it’s an issue in your business. It’s a business related issue. It’s like an employee not showing up for work. If you’re not showing up at your easel and doing your job because you don’t feel like it. It’s going to impact your business. So in reality, it’s very important. I think that first off, you said, if the world is collapsing around you, I think you we oftentimes tell ourselves stories that are not true. And sometimes we get into a funk or we get depressed or we get into an attitude where we start looking at everything through a negative lens. So the first thing is ask yourself, is my world really collapsing around me? Right? Is this true? And if so, what is it you know, make a list down to the list. I’m big on lists, what write it all down? What’s collapsing around me? What can I do something about what can I not do something about and if it’s about you, you can do something about it. If it’s about something someone else is doing well, maybe you can or can’t do something about it, but start there. This The next thing is you might have some depression or anxiety issues. I don’t want to get into that but that is something that I’m not qualified to deal with. But there are pros who are and you might want to think about talking to somebody like that, but I will tell you this, I have experienced anxiety and I’ve experienced depression. And I have moments in my life still where I wake up and I feel like I’m in a funk and I don’t feel like doing anything and sometimes I feel you know like weepy or want to cry or something. I know that’s hard for you to believe. But at the my best way of dealing with it as I go out to the to the elliptical machine or I take a walk, I tried to get my heart pump and get my blood going, because I get a dopamine rush right from that. And that really makes a difference. I have a family member who does experience some depression and that person, when that person is going through that the first thing I say is get out there on that elliptical machine or on the treadmill, and do 3045 minutes and I will hear whining about all the reasons not to do it. But it ends up that that takes a lot of it away. So So try that I think that might help push yourself get some exercise, and that that can help regarding maintaining your your morale, the sense of feeling like you want to paint or you want to do things, this probably is gonna sound a little bit odd. But look for ways to be more grateful. And it’s a really great trick, it’s a great way to work with your brain. And I do this, I don’t always do anything, but I try to do this whenever possible. Look for three things that you’re grateful for every single day, start your day by saying, what are three, three things I’m grateful for, and try not to make it always the same three things, you know, I might say, Well, I’m really grateful for my kids, or I’m really grateful that my kids are doing great in college, or I might be grateful for my wife or I might be grateful that that I had a, you know, had the ability to have a good meal last night. But you know, when you start thinking about what you’re grateful for, that helps, and I try to do it in the morning, before when I get up first thing and I try to do it in the in the evening, when I go to bed. I oftentimes do that in in prayer as well though, you know what I’m grateful for. And, and I also find that whenever I’m feeling down, if I help other people, it makes me feel better. And so you know, just the the act of you know, sending an email to somebody on my team and complimenting them for something, it not only makes him feel great, but it makes me feel great, you know, or going out and helping and feeding the homeless people or something which we’ve done, you know, those things make you feel great. But, you know, I think also important is, is to have a routine, right? I get up in the morning and get up, make your bed, you know, have a routine, I get up, I get a cup of coffee, I sit down, I don’t open up social media, I don’t open up the news, because I don’t want to get flooded with negatives while I’m still waking up, you know, it’s a period of time when I want to enjoy the morning. So the first thing I do is I open up my Bible, I read my Bible for a few minutes, and then I will then start looking at some other things, but I always start there just kind of sets the tone for me, you know, I’m not pushing that for you, this you, you each have to find your own thing. But you know, have a routine, I try to follow the routine, I try to exercise for an hour daily, I try to take a walk or get on the treadmill or, or do something to get get the blood pumping, because that seems to make a difference in terms of painting. This is gonna sound odd, but treat it like work, right? Follow his schedule. If you work for somebody else, which you might do, you’re gonna have to, you’re gonna have to show up at work. You know, you can’t just say, Well, I don’t feel like going to work today. I mean, you probably have I have but I think the idea is, you know, if you’re going through this several days in a row, you can’t not show up at work. So you show up at work. Just show up at your your, your painting space and start painting. Now I have mornings I write this thing called Sunday coffee, it’s my philosophies on things. And on Sunday mornings, you know, sometimes I don’t feel like it, you know, I’m tired, or maybe I had too much to drink the night before. Or maybe I just, I’m tired, I don’t feel like it. But I’ll sit down and know that I have to type something out. And I’ll sit down and start. And I don’t ever know what I’m going to talk about or usually don’t. And then you know, I’ll just start typing and, you know, eventually something comes to me and an idea comes it’s the same thing with painting. If you get out you just start painting or drawing or whatever your art is, then you will find that you’ll eventually kind of get into it. And so just get into it just start so I think that that’s the best thing but if you’re having some depression, you know seek some help. I think that would help.

Amandine 59:44
Next question is from Melinda S. Marina from Connecticut. What makes a good story and how to become a better storyteller of your artwork?

Eric Rhoads 59:56
Well, in my art Marketing Boot camp, which I do at the plein air convention every year, I do differently every year, but one year, I did a thing on storytelling. And I, there’s two kinds of stories, right. So the story story that you’re telling in your painting is different than the story you’re telling about your painting. And so the story you’re telling about your painting is an important tool in marketing. I don’t again, I don’t always do anything, but I oftentimes will, will write a little story, a very brief story about one of my paintings, and I’ll type it up and I’ll slap it on the back of the painting. The gallery then knows that story. So if somebody somebody wants to know about the painting, they’ll say, Oh, well, this is a story, you know, Eric was in New Zealand, and he was painting next to, you know, this person, and that person, and the wind was blowing 60 miles an hour, and he was holding on to his easel. And he didn’t have time to think he just had to, to get the painting down. And he discovered something about himself that when he did that, he had that energy, he actually created a better painting. And so you know, that’s the kind of story that I’ll tell. And sometimes I’ll put some fantasy element to it in terms of creating a story with in your painting. You know, that’s, that’s not necessarily an area of expertise. For me, we just produced a story, painting video, it’s called, it’s Nicholas Coleman. He’s a great painter. He’s world renowned. He’s got posters, and all these massive stores, you know, reproductions is big deal. And he tells stories with his painting. And so we did a video called Story painting, which you can find at And he, you know, he talks about it, but for me, I, I like to create stories where I leading someone into a place, focal point. And Eric Koeppel, the artist who we also have a video with told me that he creates portals, right he’ll like have trees that you’re looking through, that will pull you into a particular place, he’ll oftentimes put something in that portal, like a waterfall or a waterfall with birds, or some a finger or something like that there. And the idea being that, you know, you want people to kind of tell their own story, but they’re going to they’re going to say, Well, why is that person cutting wood? Or why is that person fishing or what is what’s going on in their head, I like to use roads, you know, it’s my name. So I put a lot of roads I was out in fall color week. And we were in this what’s called a blueberry pound, which is giant fields of blueberries. And it’s these glowing reds and Ilizarov and crimsons and purples, and was a stunning, and I had the scene that had the, you know, the beautiful foreground and had that had full color trees in the background, and then a beautiful purple mountain. But then I had all this big space of foreground, and I wanted to break it up. So I looked to the right, and there was a road. So I painted that road into that into that area, and it just made it come alive. And and so it kind of was a story of taking you down, you know, you’re, you know, you want people to go, I want to be there, I’d like to drive down that road. And I’d like to see that color. Or I’d like to walk there. And you know, sometimes I’ll put a figure in or a painter, or a fisherman or somebody walking down the road. Anyway. That’s, that’s it. But I wanted to say one other thing. You know, before we go, there’s a lot of negative chatter going on around the economy. Right. And you and I both know that a lot of the negative chatter that happens happens because there are people who want us to be afraid, right? There’s an election coming up a big election, midterm election, if you’re listening to this when this is being recorded. And so you know, both sides both parties are trying to make us all nuts, you know, the world is going to end if these people don’t get elected and and so they’re you know, they’re playing up the whole economy thing, you know, in the cost of everything and how bad things are. So keep in mind that we are all being manipulated a little bit now there’s probably a lot of truth to the economy. And what’s happening and, and the first thing you’ve got to do is you got to make up your mind you’re going to succeed no matter what, don’t tell yourself, you can’t succeed because there’s inflation or because you know, there’s a recession, which right now, we’re not officially in supposedly, but don’t tell yourself, that’s not possible, you have to tell yourself is I’m going to succeed, no matter what I will find a way now you might have to work three times harder or five times harder. I sat down with my team and I said, Okay, what happens if, if this stuff happens? What are we going to do? And the answer was we’re going to be more creative. We’re going to try more Things You know, when COVID hit and we were like, not sure we were gonna survive, we created realism live and plein air live and watercolor live and pastel live virtual events online. And, and as a result, we actually were able to make it through it made a little money when we didn’t think we were gonna make any. And so you can come up with creative solutions. There’s a, there’s a gallery, it’s a very well known gallery today. But in 2008, when the recession hit, it started and everybody’s like, why is this gallery starting in 2008? When everybody’s screaming how bad things are. This guy and I talked to him about this. And the story he told me is, he said, I knew when a recession hit all of the other galleries, or many of the other galleries would stop advertising. And what happens when you stop advertising is you actually hurt yourself, because you don’t realize how much advertising is actually bringing in the door. And so he said, I started advertising heavily. I was the beneficiary of that he bought multiple pages with us, and launched this gallery in the middle of recession. And he said, you know, the people who would have been buying paintings from gallery a, started buying paintings from me, because they were top of mind anymore, because they stopped advertising. And you know, I got some from this one, and this one and this one. And soon he became one of the biggest galleries in America and one of the most prominent, and it happened almost overnight, because he was aggressive and he continued to market. You, you have to understand that. Just because the way you and I think or the way you and I live doesn’t mean everybody’s in the same boat, right? There are lots of people out there, millions of people out there who have money. There are people who have money. In recessions, there are people who have money in depressions or people are making money. Don’t assume people aren’t buying things because they are friend of mine at a gallery in New York said when during the last big recession, I said, you know what’s happening are people spending money says well, they’re not buying the $400,000 paintings early buy in the $100,000 paintings, while they’re still buying, right. So think in terms of the I’m going to succeed no matter what. And also keep in mind that you need to stay top of mind, right? If you lose the momentum you built, if you’ve built advertising, and you’ve been advertising somewhere, you’ve got to keep it up. Because if you take it away, it actually is going to hurt you, you’re going to hurt yourself. If you keep it up, you may not get the same kind of results that you were getting before. But you’ll be getting money that’s being spared by whoever spending money, and everybody else is going to be going away. I mean, we watched during the last recession 200 art galleries go away a lot of artists stopped marketing themselves and then as a result, ended up unable to make a living and had to take other jobs. And so you want to look for a way to continue to be creative and aggressive and stay active. Anyway, that’s today’s art marketing minute.

Announcer 1:08:08
This has been the marketing minute with Eric Rhoads. You can learn more at

Eric Rhoads 1:08:16
Quick reminders to come and join me at the plein air convention 2023 Just go to And we’ve got coming up in November realism live you don’t want to miss this 30 Incredible instructors teaching realism all kinds of realism from loose to tight. Lots of subjects from landscape and we’ve got the great Clyde Aspevig being the only time he’s going to be teaching that you’re going to be able to see that’s worth the price alone. That’s it And of course, we’d love for you to subscribe to plein air magazine. It’s kind of all about the plein air movement. It’s been going on for a long time, and we are really happy to be part of it. And if you’ve not seen my blog, where I talk about art and life and philosophy and all kinds of other things. It’s called Sunday coffee and you can find it and subscribe to it for free at I should mention I’m on the day on the air daily Facebook sometimes live sometimes recorded lately recorded because I’ve been in New Zealand but I’m gonna go back to live here in a minute now. So it’s called Art School Live. And we do lots of artists demonstrations and learning a lot of different things. It’s noon, Eastern every weekday. You can go to YouTube and subscribe just search art school live and hit the subscribe button. And also, if you don’t mind, I’d love a follow on Instagram or Facebook. It’s at Eric Rhoads, R H O A D S Okay. And that’s me. I’m Eric Kreutz publisher and founder of plein air magazine. Thank you for listening today. Thanks for listening about the New Zealand trip. It’s unusual. We’ll be back to normal format in the next podcast but remember, it’s a big world out there. Go paint it.

This has been the plein air podcast with PleinAir Magazine’s Eric Rhoads. You can help spread the word about plein air painting by sharing this podcast with your friends. And you can leave a review or subscribe on iTunes. So it comes to you every week. And you can even reach Eric by email [email protected]. Be sure to pick up our free ebook 240 plein air painting tips by some of America’s top painters. It’s free at Tune in next week for more great interviews. Thanks for listening.


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