Plein Air Podcast 248: Guido Frick on the Rules to Follow for Great Paintings

In this episode, Eric Rhoads interviews German painter Guido Frick. Listen as they discuss the controversial reason Guido got fired from teaching at art school; his time with the legendary artist Sergei Bongart; the two colorist movements; and much more.

“The problem is that in painting there is no shortcut,” Guido says. “You cannot go a shorter way to become a good painter than just Exercise, Exercise, Exercise.”

Bonus! In this week’s Art Marketing Minute, Eric answers questions about planning to be a premier painter, and what to do when someone says they can’t afford one of your paintings.

Listen to the Plein Air Podcast with Eric Rhoads and Guido Frick here:


Related Links:
– Guido Frick online:
– Plein Air Magazine:
– Fall Color Week:
– Plein Air Convention & Expo:
– European Fine Art Trip:
– Submit Art Marketing Questions:

The Plein Air Podcast has been named the #1 Painting Podcast by FeedSpot for two years in a row. New in 2023: FeedSpot has named Eric’s Art Marketing Minute Podcast as one of the Top 25 Art Business and Marketing Blogs on the web.

FULL TRANSCRIPT of this Plein Air Podcast
DISCLAIMER: The following is the output of a 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.

Eric Rhoads:
This is episode number 248 with Guido Frick.

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 0:00
Thank you Jim Kipping. And welcome to the plein air podcast. My guest today we’ll get to in just a minute Guido Frick some say Guido, if you’re on the Italian side of the border. Ghetto. Frick is a brilliant artist and a student of the great Sergei Bongart, we’re going to talk about that. So hang in there for that. We are really, really excited. You know, life seems to be resuming after all that time, and I’m getting ready to travel a little bit more again, I was traveling too much, quite frankly, I was traveling, I was out a business wise and otherwise about 40 weeks a year, not all week, all for about 40 trips here. And at COVID time is like wow, I reconnected with my family. And I actually liked them. And they actually liked me. And so I’m trying to travel less, quite frankly. But you know, I’m itching to get out to certain places. And so we do an annual thing. Every year, I do an annual plein air painters trip every year, usually somewhere exotic. Last September, we went to New Zealand, and I’m about to announce a new one for next year. But in the meantime, I also do an annual art collectors or art aficionado trip for fine art connoisseur magazine. And we just announced that we’re going to Spain and Sweden. And we picked two specific cities because they’re rich with art. There’s a lot to do, there’s a lot of experiences we can create. And so we’re going to start out in Stockholm. And then we’re gonna spend a few days there and then we’re going to get on an airplane together. We’re going to go to Madrid spent a few days there. It’s a it’s going to be a brilliant trip. Our trips are excuse me for sounding braggadocious I guess we do the word and that is that our trips are legendary Peter trippier, editor of fine art kind of surges puts together amazing things. We have tribal partners who do incredible experiences. And we have had experiences where they’re just not duplicatable, anywhere, anytime, you know what, like we had a private entry into off on smoke his private family home to see his private collection only because of our connections. Nobody ever gets that and we had to swear we wouldn’t take photographs. We we got into the Sistine Chapel privately that doesn’t happen with the lights on and that never happens. And so we actually did the first Facebook Live ever in the Sistine Chapel. So anyway, that’s coming up. We’re going to be doing that in October, and you can learn more about it at This is a big, big week, the big week as a matter of fact, because in just a couple of days, a big bird is going to land in Denver, Colorado and I’ll be getting off that with my family. They come to help me work at the 10th annual plein air convention 10 years hard to believe this convention is kind of like homecoming for plein air artists. It’s like we all understand each other we love what we do we all talk you know, we sit around and we talk about cadmium colors or, or mediums or you know, or easels or whatever and you know our family when we talk about those things that don’t relate, you probably have experienced that. So anyway, we also are going to be learning from the world’s great masters. We have five stages watercolor, oil, pastel, etc, etc. And we have a big expo hall of art materials. There’s no place in the world that you can go and find all the plein air stuff you make us the art stores don’t carry most of that stuff. You’re gonna see a lot of other stuff too. But anyway, and then we watch these people on stage we learn everyday it’s five day event we go painting every day. Have to cap off the day and capture what we learned to practice what we learned. So I’m packing my gear, almost ready to go can’t wait to get there and see my friends. That’s the best part about it, quite frankly, as you make a lot of friends you see him, I’ve met a lot of friends there. So anyway, that’s the plein air convention, you could still get a ticket. Well, I think you can Anyway, anyway, check it out. If you’re within a two day drive of Denver, which is like Indianapolis, or Minneapolis or, you know, anywhere, you can still get there. And it’s a phenomenal experience. If you live close to Denver, you know, 34568 hours away, don’t pass it up, because we’re not going to be that close. Again, maybe ever again. You never know. So we’re not not planning to go back to Denver, we already know where we’re going for the next two or three years at least. And so you don’t want to miss out on that. So come to the Find out. Coming up after the interview, I’m going to do the art marketing minute, we’re going to talk about getting ready to launch as an artist launch your marketing and also overcoming price objections. We of course want to thank Feedspot for making this the number one podcast two years in a row in their feed spot art marketing, art, not art marketing, number one in Art Podcast list, okay. And, by the way, if you can’t make it to the convention, we have a virtual option, the main stage is going to be streamed, you can sign up for that it’s less money. Of course, you don’t get all the perks of being at the convention. But if you can’t go, you can’t go and so this is a way to watch it, you can get replays and if you can’t make the date, so it’s a good good option for you just solid And then last but not least, it’s getting to be busy season right? So Summer is coming. I always do the spring retreat in the Adirondacks. It’s sold out. We did manage to get a couple more rooms. And so we’ve got a couple slots if you want to go just look it up and and sign up. But we have a lot of rooms left for our Fall Retreat this year in the Adirondacks only this year, which is at a different place and a really spectacular place. And it’s going to be selling out soon. We’re over half sold already. That’s coming up and in October. So you can do either or both or all. Just check it out at By the way, I should mention there’s no invitation required. Okay, now, this is a red letter day. We actually have never met. But today is the first I have Ito Frick, you know, your name is spelled like Guido, what’s the deal?

Guido Frick 7:45
Well, the deal is north of the Alps. They’d say, Guido and so so if the Alps Italy area, they say Guido,

Eric Rhoads 7:53
senior in the Italian Alps, you’re Guido which means you’re a member of the mafia. But if you’re in the northern Alps, you’re you’re not a member of the mafia. It’s Guido.

Guido Frick 8:04
It’s Guido and I, he doesn’t speak in my name in Italy. I think I hear Pavarotti saying it. You know who ego

Eric Rhoads 8:13
anyway, and are you? Are you Swiss?

Guido Frick 8:19
No, I’m German. You know,

Eric Rhoads 8:21
you’re German. Yeah. So you would be from like, the Southern Germany, parts of southern Germany.

Guido Frick 8:27
I live right on the Swiss German border area. Okay. So down by that area, across from Germany into Switzerland in 30 seconds. Just walk over to Sweden and I’m in Switzerland.

Eric Rhoads 8:39
One step. Okay. Terrific. So you have become quite well known as a plein air painter. And I’m very curious to we’re going to learn about your career. So and we also are going to talk a lot about your time with Sergei Bongart, who is legendary, and you were one of the privileged who got to study with him. We’re going to learn about that we’re going to talk about some of his theories and some of the theories that you have as a result of that and what you’ve learned. So let’s, let’s dig right in. How did you you grew up in Germany? I don’t know much about the art scene in Germany except I know there were some very good schools and Dusseldorf and perhaps in Munich, but how did you end up as an artist?

Guido Frick 9:26
It’s a in uni gun in Dusseldorf. You have some traditional schools, you know, Academy, and I was on a little Academy in my hometown that time. We had a great teacher, it was a professor from Czechoslovakia. He was a fantastic colorist. And I mean, you know, probably Eric, all these guys from Eastern Europe. They are they have a color sense, which is tremendous, you know, if it’s Russian if it’s Ukrainian, if they are from Armenian, from Azerbaijan, from Kazakhstan from Baluchistan, whatever stand they are After all, you know, they just have a great sense for for color. And why do

Eric Rhoads 10:03
you think that is? Is it because of the Russian influence?

Guido Frick 10:07
I think so I think it’s somehow in their genes, you know, they see colors just stronger than we see that if I try to exaggerate color a little bit, they make it much, much more right of way. And he perfectly fits in that painting. It’s unbelievable. I have a friend in in, in Oregon, he’s 90 years old, but you should see his color sense he has, it’s tremendous. His name is Marcus, Marcus antiquarian, he’s an Armenian. And he’s fantastic in colors, too, you know. So I know,

Eric Rhoads 10:35
a lot of time in Russia. And, and I’d seen books on Russian paintings. But there’s no comparison, you know, the thing that that I love are the figures that are done outdoors. And the sense of light hitting those figures is just absolutely brilliant. And you’re right, the colors, you know, they get that glowing sunshine on your face and the glowing colors on the clothing. And it’s just pretty amazing to me. And I, you know, I don’t know how they do it either. I wish I did. But you probably have a better sense of that, which we’re going to talk about in a minute. So you went to art school in your village. And then what happened?

Guido Frick 11:17
What happened was, I was the Speaker of the group, you know, and someone I was studying with this guy for about four years. And once in a while, towards the end of my time with him. He came and asked me and say, Guido, shouldn’t we have women in our class? As a professor? No, we don’t want to have a woman. So a few weeks later, he came again, should we have women in class? I said, No, we don’t want to have a woman. And a little bit later, he came with a woman. And this woman was a beauty. And it happened exactly what I expected. And why I did not like to have a woman in our class. She was a beauty. And from first day on when she was in school, he was dancing around her skirt 24 hours a day. And we did not get we didn’t get almost any more instruction from him. And she could do a show after six months already. We have been told you cannot do a show before you have started with me three or four years. So I went to her show in the neighbor city. And I saw that 90% of the painting he did for including the signature and I told my girlfriend that time I said, Look at this hole in all busted, he painted all the stuff for her. And the waitress ears get bigger and bigger. And she listened to my nasty comments, you know, and she told that to the professor. The next day, we had an open plein air meeting on a field in Switzerland, it was a potato field and he was circling around be like it Hungry Tiger and suddenly came and say, Guido You are fired, get your stuff and leave school. So I put down my French box and took it like a luggage and left Swiss potato field. And this was the end of my academical career, you know, I still knew, I still knew that. I’m not that far as a painter where I want to be. And happily, I had already several years, visited the United States and a lot of his locations, I subscript itself at one of these famous makers things. And I opened it up. And I saw on the second page, a painting from a guy named Sergei Bogart. I never have heard about him. And I saw this picture this illustration. And I was thrilled, you know right away. And I knew this guy has somehow to become a next teacher. So in the matr article about him, I read that he is doing workshops in Idaho, and that he has a real academy or something in Santa Monica. So two months later, I already came to him and got taught by Him. And so I knew him then I was with him somehow for the next two years. So the funny thing was, I think he was a little bit flat out somehow, you know that somebody from Europe came over to get taught by Him, going through all the obstacles to fly from Europe to the United States hardly speak in English, renting car and then spending lots of money, spending time, etc. So I was several times invited after the workshops for a farewell dinner in one of these steak houses in Idaho Falls. And the first time I was sitting opposite of him. And I was scared to death because my English was so lousy and I hope I hope he doesn’t talk to me because I wouldn’t even know what I should answer to understand what he says, you know, so But I understood that I should always take what I did, and this very first time with him at this farewell dinner. I tried to run by fork into the steak and I was so shaky the steak for me to jump and fall down on the ground. You know, it was big embarrassment and I was ready like Tomato. But Sergei, he said, Well, no, to begin, we’re going to take that photo, don’t get back and you’ll get another one, you know. So I had this funny stab with him. But I had a sad ending with him. And that was two years later, in 1985. end of February, it was 27th of February when I got the day before a phone call from his wife, Pat, who was a painter too, by the way, he married her just a few months before he died. And she told me, she said, you know, if you want to see Sergei one more time again, you need to hurry up. I said, why? She said, Well, he’s very sick. And we are in Switzerland, high in the mountains in the hospital, near Geneva. And we tried to give him his cell therapy because he had leukemia or something like that, you know. So next day, I drove down and she told me then, when I entered the hospital, she said, when you go in his room, do not show any reaction, he looks really lousy, you know. So I went into his room. And what I saw it was half cement I had seen a few months before and he was skinny, he was fragile, he was weak, you were sitting in his bed, stabilized by several pillows, so that he could sit upright, you know, he hardly had the energy or the power to rise, he said to say, hi, Guido to me with whispering voice. And I was with him then for about 20 minutes, 25 minutes. And so it’s time to go because he’s getting weaker and weaker. And as I get I have one more question before I left. I have one more question. And I said, What should I do? Should I stay with my journalism chop, which guarantees me every month very good income and in very interesting job because I was writing about soccer World Championship about Olympic Games in Munich, I was writing about cashews clave, Mohammed Ali in Europe, you know, so I had some really great events I could write about was an interesting job. But I was insecure what I should do, and I was asking me, What should I do? Should I quit that and should go for professional painter or full time painter. And he said something to me, which I appreciate more than any of these Rosetta’s, you can get an art competition, you know, which I always think makes you look like the prize pool on the county fair. So he said to me, he said to me, you know, you are very talented, you should go for professional painter. So from that day on, I was working for that. So Sergei was a few one. One week later, I was at 27th of February, and on third of March 1985. He died, you know, and this was very sad for many, many, many students, famous ones less famous ones, hundreds of students throughout the United States. Even a few very famous guys from Hollywood, like Gene Hackman, if you remember him, I just recently saw pictures of Phoebe Lewis is still alive. 93 years old. He lives in Santa Fe. And he has a PhD.

Eric Rhoads 18:00
I’m waiting for Jean to send me an invitation to paint with him.

Guido Frick 18:05
I think he’s, he was a good it was a good I mean, I haven’t met him personally. He was a year before I was responding. But he I saw paintings of him because he’s published somewhere in the book was his stuff. And he was a pretty good painter, you know. So Bolgar was gone. And I tried to follow up his instructions. And that’s what I still do today. And when I’m painting, you know, it happens that I have his voice in my ears. I don’t have the voice of my first professor in law, he is about to kick me out of the potato field.

Eric Rhoads 18:35
Well, he ended up marrying that woman, and then he didn’t get another show. So So Guido, you, you study with with Sergei? For? Would you say two years? Two

Guido Frick 18:51
years? Yeah. Well, I actually states what on and on, you know, I was pretty lucky because my sister that time she was a German flight attendant at the German Lufthansa. So I could afford to financially to come over pretty often. And I came over six, six times a year to meet Sergey and to get instructions from him, you know. So that was very helpful.

Eric Rhoads 19:16
I know. I understand that. While we’re at we’ll talk about Sergei, and then we’ll continue on with your career. But I understand from talking to others who studied with him that he was very tough. And that it was it was very tense at some times when he was was critiquing you. Is that true, or is that not true?

Guido Frick 19:38
Yeah, he could be pretty tough, you know, and, first of all, what he didn’t like was when he did the demonstration, and people made noise a little bit tucking in, in one of these many rows of people that have behind him watching him, you know, it was kind of funny. He had a big bomb in Iraq. whole. And in front of the band that was his setup is still life and he’s either ready, etc. And then he came in from the back door and walked through the whole band towards the front where his stuff was ready for painting. And he was holding a bundle of brushes like, like a candle, you know. And behind him was one of his shows showed that he had small guys as assistant. So one was a Chinese guy. And the other one was an American Chinese guy was a famous painter actually signed up in Japan. And the other one was one Lucas, Osaka, a painter, school assistant, Australia for several years. And they came to one came with, with a pellet in his hand walking behind subasta. The other one came with all the liquid stuff, etcetera, walking behind the master, so it was kind of funny Parade which came in, and the audience already started to laugh about that, you know, that Sergei was a kind of natural authority, I would say, when he came, he was room filling, somehow, you know, the, the attention went right away to him, because he had this kind of aura is kind of interesting, because he that he draws attention right away. So you automatically took a little bit care, because you had the feeling well, is this guy, you need to be somehow a little bit more respectful. And so he got lots of respect, but not from everybody. And sometimes people just annoyed him by talking too much, and whatever, you know, so if somebody was coming with stupid questions or so he could be rude. He didn’t like that. He didn’t like stupid questions. And he also didn’t like

Eric Rhoads 21:41
you know, your questions, stupid or not? Button? How do you know if your question is stupid?

Guido Frick 21:47
Yeah, that’s a good question. But he was annoyed. You know, when he had he explained several things on and on and on. And somebody still did not understand what he was talking about. Then he said, Well, why are you talking by? Are you asking me that? Again? I just told you that. Didn’t you forget? Or did you forget or whatever. So sometimes, then, if a lady or wherever there was, you know, didn’t paint really, the way he could accept it even could be pretty tough in his statement, to tell her that she better might go for another hobby or something. But usually, he did not do that in public. You know, he taught then more more in the eye to eye to her not to embarrass her too much. But it happened. I’d haven’t seen that at all the time but I was told that two or three times, he was really very, almost loud and into lady student broke out in tears because of secreting he had fire.

Eric Rhoads 22:48
So I understand that. My I believe this is true. I may be completely wrong about this, but I think there are kind of two known colourised schools or colorist movements in America. One came from Hawthorne, Hetchy, you know, through their students, you know, Camille Prezwodac, for instance, is one of them. One of many. And then there’s the bunk art school, which I think wasn’t that rooted in fashion.

Guido Frick 23:17
I would say, I mean, Bongart was trained by one of the students of Aelia, Rapien. It says, it says the big boss of the Russian art, you know, still today. It still is,

Eric Rhoads 23:31
even though he’s gone. Yeah. So I was born in Russia, back in March, right before COVID. And I met this delightful little Man and Little Man meaning like, four, four, or five or something. And we spoke, we had a translator. And I, I found out that he had been the director of the great Russian art museum and in St. Petersburg. And I didn’t know what was going on. But there was this massive reppin show the largest reference show in history. And I I inquired about it, I couldn’t, couldn’t get in, it was sold out. So I just happened to meet this man. He says, Oh, I’ll get you in. And he writes a little note on the back of his business card and says hand this to them when you get to the door. I didn’t think it would work. It was for me and my translator. And I got in I got to see that show. I think it was the last day I was able to get the books. But you know, reppin is the master of all masters in Russia. And really, you know, he’s at the level of Sergeant Zorn’s Suraiya. But he approaches things differently. Definitely more more color influential,

Guido Frick 24:49
you know, but on the other hand, would you would you surely know is what I always say? Avant Garde method is actually not existing, you know, when Vanga DT came over to United States and those four days of the last century, by the way, he started in Memphis, Tennessee. He married Miss Tennessee that time. She died a few years later in a car accident. And so he went to California because he by emotional reasoning, he didn’t want to see any longer. But what he did, he brought over eastern European academical training. That’s what he was teaching here, you know. And today, they say it’s onguard medicine. I mean, he was trained academically. And that’s what he passed on when he came over here to the United States. So we

Eric Rhoads 25:35
think of him as a colorist, but he was really putting you through the same training that you would get at the Surkov or the, or the reppin Academy.

Guido Frick 25:44
Absolutely, absolutely. He was. There’s a one of his students, one of his assistants one day said, the Teaching of Sergei fits on one piece of paper sheet, you know, that’s what that’s all what it is. And you need to follow a few. He never said formula, he said rules, you follow rules, consequently, strictly follow these rules, and it will lead you to end up with good paintings.

Eric Rhoads 26:12
All right, we need to know what those rules are.

Guido Frick 26:17
I tell that in my workshops, every get maybe one day, we do a DVD, and then I you will see what I mean. But I will tell you, it’s a simple thing. You need to take care of for color, for temperature and for value. But how do you need to take care? You need to analyze your subject, you know, before you grab a brush, you analyze your subject, what color is it? What temperature are the objects? And what value do they have? And what’s important? Now, how do you do that? You compare items from the same color family with each other. You compare red with red, blue is blue, green, is green, yellow is yellow, and so on. You look at the value, but what value is it? Is it darker or lighter by squinting your eyes, you look at subjects with a straight head looking, not moving from left to right, looking over this here and looking over this? No, you look and see in your eyes, this is a darker one. And this is a lighter one, especially some main problem is not the color everybody sees this is blue, this is red, this is whatever, you know, the problem starts with the temperature. How do you figure out if this red is warmer or the other one, by comparing you have to compare them. And then you see clearly Oh, this tomato is more red than the tablecloth or whatever you know, and this is how you analyze your subject. And the big advantage is this analysis creates a kind of roadmap in your head a concept. So you know, before you grab a brush, the main things in my painting is this shape is this shape is just shaped. And that’s how I have to bring them together. So this is what you need to know about, you know, which is so important that you do this analysis before you grab a brush. And then that helps you to paint much faster. That’s a big advantage of that. Usually I see students, you know, they do five brush strokes, and they scratch their head for five minutes thinking what should be my next brush, talk, you know, and so on. They haven’t done an analysis, that’s, that’s the problem. But if you learn how to do that, then you go to your painting, and you start right away and you punch it up and you go fast. And you end up within about one hour, 30 minutes to two hours with a 24 by 30 size. Imagine that you know, and I tell you, since I’m doing this analysis stuff, I don’t care about the sun, I want to beat the sun, I wonder when the race against the sun, the sun is moving the sun is not waiting till I have done my decisions. So I make my analysis. And I put in the basic information in my painting within the first 20 to 30 minutes. And now I have everything that I need to know and the sun can do whatever it likes, it can go or it can hide behind the cloud or whatever, I don’t care anymore.

Eric Rhoads 29:04
So what you’re doing is just for clarity purposes, you’re fixing the light, you’re gonna say alright, I’m committing to the light where it is right now when I’m painting it. If it changes later, I’m not changing it. Is that correct?

Guido Frick 29:18
That’s totally correct. You cannot start let me say painting a sunrise and you follow the sun if you do that, then you still are there when the sun sets. It doesn’t make any sense. So I know exactly after 30 minutes I have the main information on my canvas which I need. And from that point on, I don’t really need the sun anymore. That’s what I said because I can finish this painting with this main information which are there the details they will still be there in the landscape. They don’t go away you know trees and whatever I was on. I don’t know what you know what sell cars or whatever you see that. The only thing what is going to fade away is sunlight by It doesn’t matter because I have my basic information on my canvas already, I just need to follow that. And that’s about it, you know, and some stuff you can even do out of your memory because you know, exactly, well, this is my focus area in the painting. And here, I will have the strongest light even decide this guy doesn’t matter. So this is what I try to, to teach my students to that they will end up in a kind of shorter time, instead of painting hours and hours and hours on one painting that are finished, within about two to three hours maximum is a painting. And I’m ending up as I told you, if you look at my paintings, and most of them are done within one hour, 30 to one hour, 45 minutes, that’s your painting

Eric Rhoads 30:45
big. So what are you are using a direct painting method are you doing you’re doing, you know, thin under painting, what what’s your process look like?

Guido Frick 30:59
First of all, your tone your canvas with any color you like, you can make a decision, you can say, well, I paint a cool ski life, today, I make a warm toning, or reverse, because the toning usually looks a little bit through as a finished painting. Because not every little piece is covered with paint,

Eric Rhoads 31:21
you’re gonna go out and do a landscape painting. You’re telling them in advance.

Guido Frick 31:28
Yeah, I don’t turn it in a 25 minutes before I start, okay, so you don’t care for us. For the toning liquid, I use Daymar varnish. And daima varnish will be dry within two, three minutes. And it gives the kind of stickiness to the canvas. That means the paint, which you apply now sits much better on top of the canvas instead of getting absorbed by the canvas pores, you know. So that’s one of the reasons. So then, if this canvas is, is toned, and it’s dry, it has to be completely dry, I make a simple, let me say more or less outline of the subject, which I’m going to paint. And then I grabbed a big brush, probably a 12 would be probably a bigger one. And I paint very washy and thin and transparent and abstract. My first step is an abstract step, block into color wet is important, thin, washy, and it might dry quickly. And then you can apply in the second step, which is a modeling step. Now you give roundness to items which have volume, like Apple or flowers or whatever, you know, in the second step, you model you load your brush more, and put more paint paint on it, you know, and, and that’s your second step. And the third one is the interest, the finishing one with some excellence, some highlight, not much highlights, not much detail, some details. Most of the folks, that’s what BahnCard used to say, hey, if some funny phrases, you know, he said, Well, they’re a painter, they start their painting with the signature. And then they do the warm and then they paint a warm hole. And then they paint the apple around. And he said we do it the other way he paint first to Apple, and then the wrong hole in the bottom. And then the signature, you know, that means you need to ignore about this kind of method to paint details for a long, long time. Because you paint in big shapes. And what you need to do is you count your big shapes, when you paint outline landscape, you shouldn’t have more than five big shapes, not to get lost in detail are

Eric Rhoads 33:41
not equally sized. Right now just where

Guido Frick 33:45
you’re analyzed, you know, you see all the hills over there, this color the ocean is this color in the foreground is this color in the sky sky, you don’t end up with much more than definitely not more than five big strips. And that helps right away that you will not be drawn into details. And you save the details to the very end. And then in the end, if you like to you can paint 5 million details if you think that’s necessary. But for a long time 90% You work on the big shapes of your painting, and the last 1015 minutes you you punch it up and finish it Bongard usually said, you can think about details for 25 minutes, but you execute them in five minutes. That’s what he said about.

Eric Rhoads 34:32
In other words, keep keep it simple, stupid, keep

Guido Frick 34:35
it simple. That’s one of the most important things of difficult things as you know to as a painter. You keep things simple, that’s so, so difficult, because we all have a tendency to get drawn into details way too soon, you know, and this needs to be overcome this power

Eric Rhoads 34:56
the Russian method 10 If you follow a rep and you know you’re those, those paintings probably weigh 50 pounds. There’s so, so much thick paint on them. Is that what Sergey taught you to use a lot of thick paint, you do the thin wash first and then thick on top of it.

Guido Frick 35:18
You did a thin wash first to abstract step very much. Yeah, I thought I always kept the color might even drip. So once you do that, and I tell my students, you painted almost like a border color. It doesn’t matter if the color it’s a it’s a paint strips. Because of so much liquid which you which you use that that’s totally okay. But then in the second step, when you come to the modeling step, then your paint, half pastels, so you have a load, good load of paint on it. But not full pastels, not too thick. Only when you come to the focus area, then you show all your power and put strong light with a great amount of paint on your brush onto this focus. And that pops out there right away. This, I always said now he’s switching on the light in his painting, he has his last few brush strokes, bam, bam, bam, you know, like that, like hammering, and the whole painting games alive.

Eric Rhoads 36:13
That’s like, you know, he’s got one streak. It’s got a beach scene, and it’s glowing with like, but he’s got one streak where he’s just taken, you know, almost pure indian yellow, brightened up, you know, just all the way down the edge of that figure with one big stroke and it makes the painting

Guido Frick 36:33
that makes the painting you know, and what you need to know is you need to paint in the so called middle key, you know, high key low key middle key. So a big advantage of painting in the middle key is if you need something late, you you pick it up from it because your neighbor of like, if you need something guard, you can pick it up from low key because your neighbor from low key to but now remember, he paid hokey if he needed light came from Dolby Theater, A to B, it will not look in this painting. So he got his light stuff from the middle key area. And if someone said somebody is painting Heike almost towards white, he cannot have been when he needs dark stuff, he cannot have a jump down from high key down to low key this is just reverse a too big jump to start stuff from the middle. And I say we are painting intermediate key we are unable to Heike naval to Loki can pick whatever we need, because we are unable we are not that far away from each other.

Eric Rhoads 37:39
So when you’re in the middle, and you’re in the middle key, is it more like mud? Is there some brilliant color in there? Or are you trying to keep it all very tonal.

Guido Frick 37:51
It’s kind of brilliant color. But because the middle key has only let me say three more or less three different values. It’s very close together in devalue the whole thing. And in the very end, as I said, you can miss the details, you can miss the highlight. And you come with the darkest spots. And you come with different kinds of calligraphy strokes and accents. And that’s all in the end in the end to make European your painting alive. When we watch conga doing demonstration, he did demonstration leprosy painting 36 by 40 for about three hours. We looked at it and two hours and 50 minutes, it looked relatively boring, you know, and we looked at each other and said, Oh, that’s not a big deal. We chopped our canvas and to paint and after five strokes, we were lost right away, you know, but that’s what what what it was what the what the stuff looked like it was not swelling for quite a long time till he came to the final step where he really punched it up and switched on the light in his canvas.

Eric Rhoads 38:52
Alright, so if I do a video with you, it’s gonna be five minutes long. The last five minutes

Guido Frick 39:02
I hope you knew that day, you know,

Eric Rhoads 39:05
I’d be honored. So. So people listening to this podcast are at all levels, you have people who are highly experienced and people who are not. And everybody’s looking for ideas. And you know, we have this tendency in our world to talk about secrets. I’m just as guilty as anybody you know, and that sometimes gets people’s attention. But what are the things that you other than what you’ve just described, that you talk to your students about that you find are really helpful tips that will will help resonate with people and help them become stronger painters.

Guido Frick 39:47
Me the problem is in painting there is no shortcut you know, you cannot go a shorter way to become a good painter than just Exercise Exercise Exercise. Sorry about that. You need to Do you need to follow in first of all, you need to make your thoughts about what kind of painting you you want to do, you need to look around, which are paintings which are attracting me is this guy during the workshop, for example, then you’re gonna go for that. But you need to stick to one guy, which you are convinced about that he gives you the right way. And then to write the instructions, and then you just have to go for that. If you jump around by going to too many different artists, it doesn’t help you, you know, it hurts. Everybody gives you some interesting information, but sometimes they are contrary to each other. The guy one guy, say like this, and the otherwise I know, the opposite is right. So why would you do it, you know, you need to

Eric Rhoads 40:45
like I said, I get that and and you know, I had that disease because I would shoot all these videos, and I go in and watch the shoots doesn’t help you to find you’ll be changing things all the time. And I finally studied with Joma girl and he said, Listen, you need to just stabilize, pick something, whether it’s my style, or somebody else’s style, just stabilize and stick with it for a while. Don’t keep changing your colors. And, and I did that. And it, it really had had a big impact, you know, and I love to go to different people’s workshops and learn new things. And I still do. But I do think that that tends to be a little bit of a disease because then you’re just kind of like you’re bouncing all over the table.

Guido Frick 41:31
That’s it. You paid for a couple of weeks like this guy taught you then a year later you was at somebody else and you paint like he’s in Where are you then you don’t find your own your own way, you know, this, how

Eric Rhoads 41:43
are your own way?

Guido Frick 41:46
Yeah, that’s that’s exactly the first of all, you find your own style. By not thinking about style, it doesn’t make any sense. You know exactly how little boys and girls in elementary school, when they start to write each one looks like the other one. There’s no individual differences. But as soon as his focus has grown up, if you get today a letter, you see already the way the address is written, or this comes from my daughter, or this comes from my son or who from ever, because they have developed this writing style. And that’s exactly the same in painting, but you need to act, you need to work you need to paint otherwise no studies coming along, you know, and sometimes I have students and they come in and say, Oh, I’m happy about that. No, I’m gonna get a new style, you know? And I wonder, I thought, Gosh, God, what are they expecting that they can buy a new blouse, you know, they need to work when they want to have a new style. What happened to me, Eric was says, I was painting very loud for many years. And sometimes I was ready to throw my brushes either in our lake, whichever I live for, or hang myself in the bathroom or whatever, you know. And but then someday, after many years of frustration, I was looking at the paintings, which I have done the last five, six months. And so well, something has happened. It looks more and more like this is done by one guy who has his signature handwriting now, his own style. And I was so happy about that. I almost went with a tie around my neck into bed the next evening, you know, because this was a great a great moment. But I had this after years of frustration I must have made you know, and I’m surely not that super genius painter or talent which fall down from the sky as a great muscle already. I needed to work very hard. And sometimes I thought, are you too stupid to get that? Try that again. And I came home I tried and disappointing. I said okay, next day again. And this was going for several years, you know, until I really came to a point where I say now I’m quite okay with that what I’m doing. And still today, I don’t talk about paintings, which I do that I say, Oh, this is a great piece or this is ignore. I said well, it’s kind of acceptable. That’s what I say. Because I always think we could it could be better.

Eric Rhoads 44:09
Yeah. Well, I like your humility. I think that’s important. You know, and there’s nothing like painting little kick your butt. Just when you think you’re getting good.

Guido Frick 44:20
Right that’s that’s one of the and it’s another thing is you need to go out you know, this landskap on United States is so gorgeous, that you should go outside and paint Oh, they’re not sitting in a studio, the cat on your lap. You know, the husband on the back gives you a leg wrap or something. And the music plays and the coffee machine runs and once in a while you do two brushstrokes and think you are a great artist that’s not working like that. You have to be more seriously you need to you need to go out and and study nature. And by the way, nature is such a great influence on the way you paint. I always say that lousiest outdoor painting has more true atmosphere and mood than my best indoor painting. And that’s one of the reasons why very soon I started to paint landscapes indoor, because this is totally against what the Impressionist said, and told the world, you know, they said, You need to grow out of the of your of your studio, you need to paint the landscape where the landscape is, you need to be in the landscape. By the way, the critiques as you surely know, they praise the Impressionist is how genius they have been that they discovered ordinary things just around their house, in the neighbor’s garden. And so one, well, I don’t know what his chin is about that, you know, you know why they did that, but I discovered that because they didn’t have a car, they could not drive around to look for subjects. The easiest way to step out the door, set up your easel and start to paint, you know,

Eric Rhoads 45:55
I think that’s a, that’s a great workshop, I, I was with Randy Sexton one time at a workshop and, and we set up at an alley. And I was like, what, and he said, find beauty, you know, find something here to paint. And you know, it was a, you know, usually you’re like looking for the Alps or something. And so when you thought you, you have to find beauty wherever you are, I think, you know, we spend hours driving around when it’s right next to us.

Guido Frick 46:24
That’s the point, you know, you need to see beauty just where you are. And we need to forget names, terms, labels, all that stuff. Because you see when people start to paint the Grand Canyon many hours, or they shrink down to, to whatever, you know, because it’s such a mighty thing, it’s such a big name. So that could be a kind of, of stress, you know, to end up with a good painting. So find more simple things, find the beauty in trustor out of your house, in your garden, or in the neighbor’s garden or near the beach, or wherever you live, you know, that’s much better than to hope that you drive out and somewhere something super spectacular, chumps will volunteer on your canvas that is not working that way. You need to train your eyes to see the beauty and out there is so much beauty. And well, this is what I like to do in America. That’s why I’m love to paint here, you know, much more than then in Europe as a way because also the students are much more pleasant than in Europe. I mean, I have my experiences on both sides of the ocean, you know, and American students, they are enthusiastic, they are willing to accept certain circumstances, they know they cannot change the elements anyway, you know, so they need to accept the elements. And in Europe can happen that exaggerated No, I can tell the students a student one and one is two. And she might say, Well, maybe it’s five I need to do research, or something like that. So I think my lady shut up and swing a big grass. That’s it, you know, don’t make it so complicated.

Eric Rhoads 48:05
Yeah, have some fun and don’t Don’t be so precious about it. No,

Guido Frick 48:09
that’s right. You know, it’s much more simple. Many students are doing it very complicated, you know, because you’re,

Eric Rhoads 48:16
you’re in the lineage of reppin because of your teachers. And, you know, in the Russian Academy, plein air painting is a very major part of their academic study, they study, it’s a matter of fact, the students are required. They have to spend all summer at one of the locations usually the academic Adarsha in Villy, Vostok and they, they have to paint plein air all summer and landscapes figures outside. And it really is part of what informs them in their painting. And that may be why the Russians just get such brilliance and color.

Guido Frick 48:55
Right. And they live on the countryside. You know, I’m also not a big city person. You know, I like the small towns here in United States. They are very charming. I’m thinking about places like let me say, Well, maybe blending in southern Utah is a gorgeous place with all the surrounding canyons and stuff, or Dimopoulos in Wyoming or Chadron in Nebraska, which is close to my favorite Indian tribes and Sioux Indians, a Lakota you know, so this is where I find my subject out on the on the countryside. And nowadays in our high civilized world, especially in Europe, we are more in danger to lose contact to nature than you are in United States. You still have wide open untouched areas. We hardly have that in Europe, you know, Europe is overcrowded.

Eric Rhoads 49:43
I cannot we all want to go to Europe and paint and not funny. Yeah, you will

Guido Frick 49:46
see, well, if you’re in a big group, it’s okay. But I’m by myself and I tell you why that’s terrible for me. Because when I set up my my easel at our lake to shoreline, I tell you in two minutes I have 50 folks around me, who tells me all kinds of story which I don’t need to hear, you know, and one of the things is, yeah, my grandpa was a painter too. So what should I and

Eric Rhoads 50:11
I use it as an opportunity to tell people about why they should become painters. So cuido this has been absolutely fascinating. We’re out of time, but we’re gonna have you back some time because we could go on time and time and time again. You’ve got a lot of great stories, and there’s a lot more to learn. Thank you so much for being on the plein air podcast today.

Guido Frick 50:33
was a pleasure to talk to you, Eric. Good luck for your enterprise. Thank you.

Eric Rhoads 50:37
Yes. And we’ll go painting together soon. Okay. All right. Cheers. All right. I think I said, Guido, it’s Guido. My apologies, Guido. All right, are you guys ready for smart marketing? Let’s do that.

Announcer 50:53
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 51:04
Our goal is to help you learn to sell your paintings in one form or another. And if you learn marketing, you embrace it. It will help you we have questions that you send in sometimes we record them if we get a chance, you can send them to [email protected]. And we have a great website you can look at to, which is a terrific place for lots of stories on how to market your art. Okay, what’s our first question, Amandine?

Amandine 51:35
The first question is from Joanna Pyramind. From Glenwood Springs, Colorado. My goal is to be the premier local landscape artist in my Colorado ski town in five years. But my art isn’t ready yet. How would you work smarter to improve your art if you knew your art wasn’t ready. I also want to use this time to plan, save and understand marketing so that I’ll be ready when the time is right. What should I be doing? Lastly, with selling “underbaked” art be a bad idea.

Eric Rhoads 52:10
All right. Well, Joanne, thank you. I love the fact that you have goals. And I think it’s important to have goals. But you know, it’s a, it’s potentially a big, audacious goal. And I think it’s good to have big, audacious goals. But if you are not selling your art today, and you think that five years from today, you’re going to be the best artist in your town, you better hope the best artist in your town is someone you can easily overcome, right? I mean, there are painters out there who’ve been painting for 40 or 50 years who are brilliant. And brush time does matter experience does matter. And we want everybody I want to encourage you, we want everybody to dig in to study to learn, and to practice. So, you know, there’s there’s a lot of issues here. So I’m going to touch on some of these things. But first off, you got to do the best thing you can to make yourself as good as you can. And I don’t know what that is for you. Because I don’t know where you are. But what I like to do, I, I don’t just ask anybody, because my mother would tell me how good my paintings were even when they weren’t. And you know, it’s like, no, I need to know what I’m doing wrong. And so you need to get your paintings in front of somebody who will tell you the truth. And you’ve got to give them permission to tell you the truth. And the only way I do that is I say look, I don’t want to hear anything good about it. I just want to hear what’s wrong with it, tell me how to fix it, tell me what I need to be working on. Because you know, when I go and study with somebody, oftentimes they’ll say bring a couple of your paintings or some slides or your work or something some you know pictures on your phone, because they can instantly see where your weaknesses lie. And you know might be composition might be values might be brushwork might be who knows what, so you need somebody to give you some feedback. So you need a couple of trusted people to give you feedback. And I include in that somebody who would be a gallery owner or to not to not to get into their gallery, just be upfront say look, I you know, maybe I’d like to be in here in the future. But right now, I just need to know what I need to work on from their perspective. Now they’re gallery owners aren’t painters, but they can see things because they’re around art all the time. I think that the most important thing for you to do after that is to say okay, well what’s my target look like if your goal really is to be the top painter in your, in your small ski town in five years, you know, where’s the bar and what do I have to be? And who’s going to be judging that how are you going to know when you’ve accomplished it? And so, you know, I think studying I don’t really think in terms of competition and painters because you know, I don’t look at my goal isn’t to try to beat another painter out at its you know, or to be I just want to be the asked I can be, and, you know, I think what you’re really saying is I want to make a living equal to or better than the best painter in my town. And that’s a handsome goal. So you need to kind of get the details, you know, if, if that’s your goal, why is it your goal? Why is it important to you? And then what are the specific keys to that goal? What do I have to do to match it? Well, you know, what kind of sales? Do I have to do, you know, yearly, monthly, weekly? And is that really the right goal? I mean, it might be, but you got to figure that out. Now, if you are not ready, and you know that you’re, you’re on the right track, I mean, sometimes I painted for a lot of years, and I still struggle. And I know I’m not as far along as I could be, if I if I could find the time. And you know, if you can put in 810 hours a day, just painting, it’s gonna, you know, I’ve watched Richard Lindenberg, who went from a full time job to a full time painter, two years later, by painting eight hours a day, he was phenomenal. And he just continues to get better and better, you know, and is he had a level of some of his mentors. He’s pushing on it, but he’s not there yet. But most of us aren’t most of us, you know, we’ll never get to those levels, because those mentors are always pushing themselves and getting better and better. So, you know, don’t don’t compare yourself to other people, I think that’s the biggest way to get frustrated. If you’re not selling, and you want to be selling, I will tell you this, there’s no second chance to make a first impression. And if you, if somebody perceives you as a bad painter, they’re going to hold on to that for a long time. And so before you start putting your work out there, make sure that you’re comfortable with it, make sure others who you trust are comfortable with it, because, you know, nobody expects you to be John Singer Sargent, or under Zorn, but they do expect you to have a certain level of quality. Now, different galleries have different levels of quality, different buyers have different perceptions of quality. So you know, you can kind of ease your way in, get used to it get known by some people develop an audience. And you know, just continue forward as you grow, but just be ready. That’s the best advice for you in terms of marketing. You know, marketing takes planning, it takes strategy, I think, you know, really, if I were to bring it down to a nutshell, number one, be the best painter you can be. Number two, be the kind of person that people want to help, you know, some people come in and say I deserve to be in this art gallery will look at you. And that’s not nice, you know, people want to help nice people. So work on that, if you’re not, because you need people to help you out along the way, I wouldn’t be where I am. And others wouldn’t be where they are without the people, they’re helping them. You need people. So start working on relationships, you know, if you if you target a gallery in five years, start getting to know them, help them out, hang out with them. But don’t ask for anything, just help. You know, I think that matters. And then what’s number three, ultimately, it’s about visibility. Visibility gives you a critical advantage be everywhere in network and involved, when the time comes advertise like crazy and never let up. Once you decide to be a professional painter. Advertising is a cost of doing business for the rest of your life. You have to admit that and but advertising is almost like cheating. You can’t cheat painting, because you got to learn it. But you can cheat advertising, I don’t mean to be dishonest. I mean, the fact is that you can if you do it, right, you have really great creative, and you have really great buying, and you spend the right amount of money to hit the right audiences. You know, we do very targeted audiences at my magazines, you know, with rich art collectors, for instance, a fine art connoisseur. So the idea is, you gain every advantage from visibility. So you got to enter every show, you got to win as many shows as you can. Even if you win as a finalist in something, you got something to talk about on your website, you got something to talk about to other people. All that builds up into becoming your brand and who you are. Getting into the right shows is a big booster. You know, some of the shows that one big artists told me he applied nine years in a row to get into a major show and he didn’t think he’d ever get in and boom, one time he was in and now he’s in forever. Winning top awards is going to build visibility. You just got to do a lot of different things. Don’t focus on tactics, focus on strategy, you know, learn where you want to be. Learn what you need to do to get there, and then figure out what the steps are. Next question.

Amandine 59:55
The next question is from Judy app from Canada. When a person says I can’t afford that when they have expressed interest in a piece, what they are really saying is, I disagree with the value given to it with dollars. How do you make a person understand what those dollars are really paying for in original art?

Eric Rhoads 1:00:16
Well, Jody, I think that people say a lot of things when they’re trying to get out of a purchase. And you may be assuming that they’re saying I disagree with the value given to it in dollars, right? They may not be saying that at all, they might be saying, I just want to get out of here. I got lunch in five minutes, I gotta get out of here. You never know people, people tell you things to get out of purchases. There are Little White Lies We all tell. You know, like, when you’re shopping and a salesperson approaches you can I help you, you say what, I’m just looking right? Little White Lies. And it’s just because you don’t want to be bugged. You’re gonna find what you want. And sometimes you’re going to ask, sometimes you’re not people have excuses they use including the excuse if I can’t afford it. And that’s a pretty hard one to come overcome. Because if you if you can’t afford it, you can’t afford it. So that doesn’t mean they don’t value your work, it means that they can’t afford it, or they’re lying to you. So you can’t necessarily change people’s minds. Now, selling begins with the word no, or I’m not interested. Because if you push a little further, you might help somebody break through, you can’t change their mind, but they can change their mind. So if you ask questions that help them change their mind that can help. I like to understand, do they really want it? And can they truly not afford it? Or can they afford it? And so how do you get there, you ask questions, I don’t ever want anybody to feel pressured. But you can lead them to a solution that works for them. Sometimes I can’t afford it might mean I’m looking for a better price. Or it might mean I’m just not fully committed yet. Or it might mean I need a creative solution, like a payment plan or something. So I might say, you know, Mrs. Jones, I hear that a lot. Some people say they can’t afford it, because they’re really looking for a better price. Other set, because they really just don’t want to say no and don’t want to hurt my feelings. But you know, either is okay. Because after all, not everybody’s a buyer and you know, I have thick skin. So which are you? Are you really looking for a better price, you really can’t afford it, or is this just not for you, that sometimes flushes it out, pause and listen, if they say it’s not for them, thank them for being honest, tell them that you hope to have a great day and that you hope they’ll find something eventually. And by the way, if you send me your email, I’ll put that on my newsletter. And that way, if you see something you like, eventually, maybe it’ll come back in and get something you know, just very low key, you know, only 20% of the people are ever ready to buy at that moment. It’s that continual exposure and contact that brings them back in eventually. Sometimes that takes years. Sometimes it takes weeks, sometimes it takes days. And you know, you can give them a postcard or calendar something to remember you by if you want to. If they say I truly can’t afford it, then you can say something like this, I understand that that’s not unusual, I find that sometimes I have to work with people. And I do it when I can. Sometimes people just need to put it on their credit card and make payments that’s planting that idea. Sometimes they make payments to me, sometimes they pick it up once it’s paid off, you know, whatever works for you, you know, I’m pretty flexible. If that route doesn’t work for you then simply ask, well, what can we do together to make sure we can hang this in your home tonight? Ask him you know, where do you think you’re gonna hang out, get them visit, envisioning that a little bit and listen, don’t talk. And then they might add, let them make an offer. And you know, if you’re far, far apart, you say, well, that doesn’t work for me, but this works for me. And understand that whatever you say they’re going to come back and come back with half of that. So, you know, I really can’t make that price concession. Now, anytime you do give a price concession always give an answer a reason. Because if you just give a price concession, it feels a little dirty sometimes. But if you say like, well, you know, my accountant has told me I can never discount prices. But once in a while, I really see somebody that I know they really want it and I just want to help them out a little bit. So he has given me or she’s given me leeway, I can do it three times a year, but I can only do it three times a year. And I haven’t done it this year. I haven’t had to but I’d be willing to do a little bit of a concession if if that’ll help you and then you know, maybe pay me in return in the future by buying something else or you know, whatever. So sometimes little things like that, you know if the if the number is too low, say here’s here’s what I can live with. And sometimes you just have to say I can’t take that I apologize and walk away And you know what, I’ve walked away from deals, thought about him come back and bought things I have. Sometimes I thought about him for weeks and come back and bought things you just never know. So I think it’s, it’s a good idea to just get some practice. Now some of us just are not good at that we’re uncomfortable with it. So a really good way to do it is if you have a friend, like have them work at your booth at an art show and have your and you work their booth so that you’re talking about them that way. You know, I can’t give you a discount because the artist isn’t here. But you know, here’s what I can do. Here’s what I’m allowed to do. They’ve allotted me 10% or something like that. Anyway, I hope that works for you. That’s the art marketing minute.

Announcer 1:05:40
This has been the marketing minute with Eric Rhoads. You can learn more at

Eric Rhoads 1:05:49
See you guys at the plein air convention so excited if you’re not coming get in the car and come Right. And looking forward to seeing you guys in the Adirondacks and fall color week. Just go to And if you want to go to Europe with me and Peter Trippi, and we’re gonna go see some great art from behind the scenes, go to Now, if you’ve not seen my blog on Sunday, Sunday coffee, check it out. And you can find it at and I’m on daily weekdays on Facebook. Just go to YouTube and look up art school live. I have great teachers teaching daily for free. How’s that? All right. Anyway, that’s it. Thank you to Guido Frick. It’s fascinating. I could talk to him for hours and I hope to again I’m Eric Rhoads, publisher and founder of plein air magazine. It’s a big big world out there. Go paint it. We’ll see you bye bye.

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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