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Calvin Liang — Paint Your Personal View of the World

The BoldBrush Show: Episode #83

Show Notes:

Learn the magic of marketing with us here at BoldBrush!
https://www.boldbrush.com/


Get over 50% off your first year on your artist website with FASO:
https://www.FASO.com/podcast/

Order your exclusive da Vinci BoldBrush paintbrush set!
https://brushoffer.com/collections/boldbrush

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To kick off season 7, we sat down with Calvin Liang, a successful landscape artist from China based in southern California. He tells us all about his youth starting with going to one of the most prestigious art academies in China, to when he moved to the US and began a career as an illustrator for projects such as The Little Mermaid and SpongeBob SquarePants, to finally being able to live full time from his paintings. Calvin reminds us of the importance of always keeping a high quality level for your work and why that would help galleries and collectors trust you more. He also advises that your work should always speak to you first before putting it out into the world, and also that it should show your own personal vision and not just be a copy of reality. Finally, he tells us about the pieces he will be sending to a show at Pepperdine University in Malibu with the California art club this month and his upcoming workshop in October!

Calvin's FASO Site:
https://www.calvinliangfineart.com/

Calvin's Upcoming Workshops:
https://www.calvinliangfineart.com/workshops

See Calvin's Paintings at the California Art Club Show:
https://www.californiaartclub.org/event/malibu2024/
https://shorturl.at/adgkS

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Transcript:

Calvin Liang 00:00

The paintings I make are not only a sample; not only Laguna Beach, it's a Calvin Liang eyes' sample. It's a "Calvin Liang's eyes Laguna Beach." Yeah, that's the major thing I learned from animation the design oh! the idea. So, basically with my paintings when I teach a workshop I tell the people painting is not painting the subject, as to the painting the idea; yeah put your idea inside to painting to let people know about the mod, and thinking that's a major thing I learned from animation.

Laura Arango Baier 00:46

Welcome to BoldBrush show, where we believe that fortune favors the bold brush. My name is Laura Arango Baier, and I'm your host. For those of you who are new to the podcast. We are a podcast that covers art marketing techniques, and all sorts of business tips specifically to help artists learn to better sell their work. We interview artists at all stages of their careers as well as others are in careers tied to the art world in order to hear their advice and insights. To kick off season seven, we sat down with Calvin Liang, a successful landscape artist from China based in Southern California. He tells us all about his youth starting with going to one of the most prestigious art academies in China. So when he moved to the US and began a career as an illustrator for projects such as The Little Mermaid and SpongeBob SquarePants, to finally being able to live full time from his paintings. Calvin reminds us of the importance of always keeping a high quality level for your work, and why that would help galleries and collectors trust you more. He also advises that your work should always speak to you first, before putting it out into the world. And also that it should show your own personal vision and not just be a copy of reality. Finally, he tells us about the pieces he will be sending to a show at Pepperdine University in Malibu with the California art club this month, and his upcoming workshop in October. Welcome Calvin to the BoldBrush show. How are you today?

Calvin Liang 02:05

Yeah, really good! Thank you so much. I'm so excited, I can interview and I can talk. You're in Norway! C L C Norway!

Laura Arango Baier 02:12

Yes, I'm all the way in Norway and then you're all the way in? I believe California, right.

Calvin Liang 02:17

Yeah, I'm in, Southern California. Right between San Diego and Los Angeles. Right in the middle. Wow. That's

Laura Arango Baier 02:28

a beautiful area. It's really nice.

Calvin Liang 02:31

Yeah, yeah. Sunny on most days. Sunshine.

Laura Arango Baier 02:36

Yeah, a lot of sun. And it's nice and fresh, which is good. Yeah, I'm really excited to have you on because your career is a fascinating one to me. And also because of course, I grew up watching Spongebob and The Little Mermaid, which you worked on both of those projects, which is so awesome. And then of course your work right now. Your paintings are absolutely breathtaking. They are gorgeous. I love the colors. You're welcome. Yeah, I love the way that you capture scenery. And it's very interesting because whenever I look at your paintings, I do see the bit of you that was in patchy the pirate right in the painting that you did for SpongeBob. I do see the colors and I love it. I love it so much. But before we talk more about your career, do you mind telling us a little bit about who you are and what you do?

Calvin Liang 03:31

Yeah. And I think from the beginning, from childhood talking about that. And when I was very young, about five or six years old I was really interested to draw, to draw the little cartoon everything and I kept drawing all the time. And I was really interested in painting too and then since I was about 8 about 13 to 12 Then I started the watercolor and acrylic so no, gouache at the time no acrylic only gouache. I'll show you a photo there was

Laura Arango Baier 04:19

oh my gosh

Calvin Liang 04:21

it was a long time ago, I was 13 years old. This here. The way I'm still painting. Yeah. I painted in oil I think at about 12 or 13 then started with the oil to paint. Then after I graduated from high school, then I go to the north China Dakota Songhai Academy of Fine Art to study the city. The set designer, you see for the opera, the opera then after Then I bet you can Tong a walking along the Akan Tong opera Institute and instead of set design attend a ping the big thing is the Yeah, so leasing. Hello looking for several years in Canada opera Institute, then I get the foreign student visa from China can talk China. They moved to San Francisco because I get a student visa in Academy of Art College in San Francisco. Yeah, and so after that, and I met my wife in San Francisco. And we got marry in San Cisco. So I stay I was come to California from China in 1987. Long time ago. Yeah. And after I can bury it and get a job. So why are they I think it's a tie to cartoons really popular. This is the Lion King. Yes, this should be the popular tie the knot still didn't know about it yet at the time really popular. Then move all the way from San Francisco to Los Angeles. And because everybody are looking for the job for animation is the art of it. Innovation, liquid and other pay very good. And so then I come to Los Angeles. Then I take a one semester, the quarter to study the animation. Learn the technique, how to ping the background that use air brushes to learn then finally I get a job in this city. The first of Atlanta in the city TV animation Do you know more me? Yes sir underwater. So I'm working for the city and after the little more me and other legal Odeon? The SpongeBob Scorpion they start at the height of people in a boat from DC to Nickelodeon. There's a workaround the beginning for the background painter. And so they maybe very happy about it and so is it a pirate so you Yeah, what Minnesota again?

Laura Arango Baier 07:28

Yet again? And then I can play it later?

Calvin Liang 07:32

Give me really good memory when working on? Yeah. Yeah, the people see it. Yeah. Yeah, now to use every beginning from the soul they see Yeah, maybe medical memory. So working for five years in SpongeBob. So because they wouldn't work along the animation or the for the whole life, and never, ever stop drawing and painting. And even when working on the density or working on Nickelodeon, every weekend, even name holiday vacation, I try to keep printing all the time. Then I submit a print into the gallery at a time by printing and in a market and a kitten is selling really good. They are born and we're painting the soul and made me very very busy. And a member to tie in the force women so this in 2009 2018 a women's of for the gallery. Finally they're more and more currently they want me to join them in a gallery then at an adult and a trial site gallery in Scottsdale. And in Wyoming have two location then they can be in really good caring. And they can be a woman so also an A queen house in San Antonio, Texas and became a woman so it's year, two women so the holder of what it is year, then I think I can hold it for two women. So for like Calendly and a SpongeBob violin. I create a SpongeBob the animation. Yeah, because the tie will be 24 hour every day for people. So I don't have too much time to handle those three things. That's why I chopped the SpongeBob and poke around and find out because basically, when I was child as young, I really want to be at the bar At least, that's a painter thing I want. Yeah, because when I'm working on the C L C animation, you kind of fall on it, you see it as prep everything, yeah. But I find a painting or a painting it, I can make my own, I can control everything 100% This is a way to one, that's why I created an animation, then they're gonna find that. And I need to now. So I, how many years in 2002, full time, in 2002. Better fight all day, I quit offensive spent about an hour more than 20 years ago, then period and doing a fine art. And sometimes I teach a wash up too, because basically, I love the teaching. And because of when a teaching, I can lead the people also, I learned a lot from the people here because the other thing is really good when doing a workshop where I can get a very good balance. And most of the time, I was in my studio, my why and my kid is videotape is very busy, most of the time to stay by myself. And when I'm doing a workshop, then I can pan and some alone data in my studio. So that's another thing. Yeah. So yeah, basically test the, from the beginning. So

Laura Arango Baier 11:29

Yes, wow, that is quite a journey, because you've been doing it for very long time. And your work is again, it's absolutely gorgeous. And it's, you're welcome. I think it's, it's amazing how, you know, you really never put the paintbrush down. And you can tell because like I can tell that in your work. There's a lot of love. There's a lot of joy that goes into it. And you're welcome. Yeah. And then of course, having gone to one of the most, I think it's one of the most prestigious schools in China actually, for fine art. That's also really awesome to have worked on opera and like on these theater sets. Do you think that the work you did in theater sets? Has it affected how you work and also like your illustration?

Calvin Liang 12:20

That's what a good question. You see where they're working on the animation, they really want to get the idea the put into the painting. So that's a good thing to help him be because every, basically the painting, they make it up by the shape, color value edges, and put the credit stamp, you got to have the idea. There's a really major thing I learned from animation, because every painting, you're gonna follow the layout, you got to follow the idea how the Scripture leader, you can think the thing you want and you got to follow the idea. Now when I walk around by my own my painting, the thing I learn, or there's a better way I can put my idea in my painting, like the way I paint the scalpel, or the landscape like I go to a local piece and I painting the painting and make law only to sell purple law, only the L'Aquila Beach is a Calvin learns ice salpo as a Kelvin lens eyes, not gonna pitch yet. That's the major thing. I learn from the animation, the design or the idea. So basically, they took my painting where the teacher was shot to tell the people painting lab painting the subject, instead of painting the idea. They put the idea inside the painting to let people know about the mod, and thinking that's a major thing and learn from the animation.

Laura Arango Baier 14:13

Yeah, yeah, that makes perfect sense. Because you know, it's a little bit boring to just copy something. It is much nicer to enhance it right to have that idea, like you're saying and really translate it on the canvas and capture that idea instead of just copy which is it's okay to copy. But the the idea is more exciting.

Calvin Liang 14:38

For sure more exciting, more interesting for me. Yeah. So that's why when the magazine the interview made a long time ago and finally, and most of the people that interviewed me and the editor they asked me the last question. Catherine, could you tell me For our artists in the world, you want a favor. The first word that pops in my head as a lawyer, the Spanish painter, the lawyer, some lawyers, vehicle painter and law only the tech the law only the shape the car, everything that perfect for him. But amazing things are worth paying to speak to me because the happy mood every pay they see as very happy. That's the happy mood. I really want to put into my painting. And I want to people see my painting feel happy. That desert idea one. Yeah,

Laura Arango Baier 15:38

I think you definitely accomplished that. Because I look at your paintings and the colors make me smile, it makes me feel like I'm in, in the painting. And I'm viewing a beautiful, you know, maybe it's the beach, or beautiful landscape. Or I saw your painting of the church at I think it's I can't remember where but there was, it was a church that you painted. And the front of it is it has all these beautiful architecture. Do you remember which one it is?

Calvin Liang 16:11

I don't want to and San Antonio, San Jose, this lady. Yeah, the team was

Laura Arango Baier 16:21

Gorgeous. Gorgeous. I love the high chroma orange. That's just sleeping underneath. It's odd. It's glorious. I love it. Of course,

Calvin Liang 16:33

I've really enjoyed what a refreshing warm light with a brown. Thank you. Yes, my facial painting. Yeah.

Laura Arango Baier 16:44

So I wanted to ask you also, what advice would you give to an artist who wants to improve at painting? Like what's a tip that you think would really help?

Calvin Liang 16:54

I think basically, and I want the people, they would have to want to be the artists, you got to to keep steady, all the whole life. Because if you don't study, you do know this, why you gotta put your interesting, and you gotta keep studying. And the credit. Maybe the credit, go to school, maybe you've got to pick different people to wash up to learn the technique. And to enjoy the processing of the painting. Yeah, there's everything you got to enjoy. And also you got to keep studying it because if you don't study, you don't know the thing. Yeah, like at a drawing. When you draw the thicker, most of the things inside out, if you do start inside the technique, everything you don't know how to handle the thicker. So that's why everything if you don't study as hard to look at a thing you want to Yeah, that's why one thing that I suggest that people when a teacher wash up, you gotta keep studying all the time. Yeah, that's the basic important idea. Or the artists. Yeah. Yeah,

Laura Arango Baier 18:19

I completely agree. I think, you know, it's, it's very easy to stop studying. I think that's, for a lot of people, you know, you paint and you're, you're satisfied. But I think for sure, you know, to improve, I completely agree. You have to keep studying and you have to, you know, there's so much to learn. There's so much about painting, even just, you know, transparent versus opaque pigments and how they behave in a painting or anatomy, like how you were saying with the figure, right, and understanding more anatomy because that helps inform the painting better. Like there's so much even brushwork, you know, like, wet into wet versus painting in layers, like, so much that has to be learned. I completely entirely agree. Yeah, um,

Calvin Liang 19:05

that's why sometimes when people ask me when I taught a workshop with Calvin when you think about a painting is finished, I think basically for me, the painting never, ever finish. Because why? Because when you study you can improve when you can improve the see the PowerPro see, the dependent never ever finished, because keep studying. Yeah, that's the important thing.

Laura Arango Baier 19:38

Yeah. Yes, definitely. I agree. I think no painting is ever finished. It's just abandoned or you reach a point where I don't know how to improve this anymore in this moment, like how you're saying, and then you know, in the future, you see it again, you're like, Ah ha, yes, that's right. Could have improved, but I didn't know. So It becomes like a memory of the things you knew and how you know you've improved after. Yeah. Which is really great. Yeah.

Calvin Liang 20:08

Because if you don't learn, you don't know, you can see. Yeah, see, when I go to outdoor the premiere, so many information. So which information you're going to capture to make a painting? You got to learn. Yeah, we don't learn. You don't know what kind of thing you got to capture on a painting. That's why don't keep practicing. Yeah

Laura Arango Baier 20:34

BoldBrush inspire artists to inspire the world because creating art creates magic. And the world is currently in desperate need of magic. BoldBrush provides artists with free art marketing, creativity, and business ideas and information. This show is an example. We also offer written resources, articles and a free monthly art contest open to all visual artists. We believe that fortune favors the bold brush. And if you believe that to sign up completely free at BoldBrush show.com. That's BOLDBRUSH show.com. The BoldBrush Show is sponsored by FASO. Now more than ever, it's crucial to have a website when you're an artist, especially if you want to be a professional in your career. Thankfully, with our special link faso.com forward slash podcast, you can make that come true. And also get over 50% off your first year on your artists website. Yes, that's basically the price of 12 lattes in one year, which I think is a really great deal considering that you get sleek and beautiful website templates that are also mobile friendly ecommerce print on demand in certain countries, as well as access to our marketing center that has our brand new art marketing calendar. And the art marketing calendar is something that you won't get with our competitor. The art marketing calendar gives you day by day step by step guides on what you should be doing today, right now in order to get your artwork out there and seen by the right eyes so that you can make more sales this year. So if you want to change your life and actually meet your sales goal this year, then start now by going to our special link faso.com forward slash podcast. That's faso.com. Forward slash podcast. Yeah, and plein air is definitely one of the best ways to really practice in a really challenging way. I think printers so hard. I've actually never done plein air because I'm terrified.

Calvin Liang 22:29

You know, the premiere and really important why? Because even the people that bring up the painting in the studio, and the people but enjoy the painting the collar everything look like outdoor. That's why you gotta understand the color relationship from the nature. That's why you gotta go out into pain. So even me now, all the time, sometimes when I got out of the pain, if you don't go out of the pain, pretty soon you lost everything. They let you out and in, out and in. Yeah, so outdoors very important.

Laura Arango Baier 23:13

Yeah, yeah, yeah, especially for painting those nice landscapes. You know, like I've seen a lot of painters who they'll do a plein air study and like you're saying they'll come back into the studio and they'll do the bigger version and then they'll go back out and they'll come back Yeah, and and continue and maybe change a few things. But yeah, I think plein air for sure. It's something I'm considering trying but I'm very scared. Very scared. Yeah, um, by the way, since you work mostly with galleries, right? And it seems like that's the way that has been the easiest for you. I wanted to know what are some of the ways that you have been able to maintain a relationship with galleries like how has that been for you? Yeah,

Calvin Liang 24:00

and I think it's a really good question. What a gallery will walk along for the gallery for a long time but the years and I have a piece in here for it. You got to pick one thing you got to keep the high quality pen they do the best you can so make it up every painting youth You see you cannot be really allows these then senators gather I think the Galilee not all not only the Kerala happy even the the client, the collector, they don't like it. That's why. The fourth thing is you gotta keep the high quality painting, but you can do high quality painting which you enjoy to do. You got to enjoy yourself first. Then you send it to the gallery. The first thing the second thing I think one calories the connection if they have the soul to have the growth, so everything if they want you to join them in, you can't have to agree. Don't say no. Because, like at the Callahan bookstore, they said, Oh, no, I don't want to do it. I can just record it and you get it to follow. Yeah. Listen, some idea that Kelly audio, they have Picasso, and they have the data that you gather to build a good relationship with them, then you get the idea. And also, you kind of make up your own style. Your own Id just have to weigh like, so many, like a Kenyan in a gallery. So many artists that bring the Kenyan because of paying your Calvin lens is Kenyan? Yes. Yes. The important thing for the gallery because I call the icon. You're going to pick up your own icon in the gallery. That that's an important thing for the gallery too. Because the gallery they say, Even so like with a gallery in the SOTU, they want your signature style. That's an important thing for the soul. Bullet gallery. Yeah. The major thing?

Laura Arango Baier 26:22

Yeah, that's that's a very good point. Yeah, it's, I mean, I see your work and I know it's your work, right. I can look at a painting I've never seen before. That is yours. And I know it's yours. So because it has that Calvin Liang's eyes as you're saying, like it has yeah,

Calvin Liang 26:37

those are signature style will create an E one. I don't say the name. They're going to see the painting. Oh, that's cool. That's cool. Yeah. Do you recognize the artists? Yeah. This way? Yeah. Yes. No way. We the court way for the for the soul for the for the gala. Yes. Yes.

Laura Arango Baier 26:59

Definitely. Do you have any tips for someone who wants to find their own style? Or their voice? Like how can they find it?

Calvin Liang 27:06

Yeah, I think basically, when I teach a wash, I tell the people, you're going to change in your eye, but a normal people's or look at the nature look at the thing, you gotta change the space. So artists eyes, what else are they gonna pay? You're gonna pay, keep the eye on the Shea column, value the edge. Because those four elements to make a painting just like a music, the music, every music they got told me if I saw right, I told him if I saw them, every music, pull up painting the same thing, shape, color value, add to it and make the portrait still life. seascape landscape. Everything this way, you can look at a process that I got to keep thinking about those four elements. Yeah, that's a very important thing to keep to learn how the way to be artists? Yeah. So also, they can go to WCM and take a workshop for the people get a different idea. Just like a building a house, you're going to learn the different people the different way to pick up their own house to finally you kept it that way. You're interesting. You can handle it that way you make appeals up your own house. That's the way to walk along. The whole life or the style does the icon. Yeah. Do you like your own icons? Very important, I think even in your marketing, in the show in a gallery URL if even for you, by your own. This feel more happy about it. Because there's my eyes to warm my eyes and nature. There's the interesting part to be the artist. Yeah.

Laura Arango Baier 29:08

That's very true. It's definitely like, a lot of exploration that you have to do a lot of experimenting and learning like you were saying, like you have to continue studying and you really have to take into account those, you know, those things, those elements that make up a beautiful painting. And that's a great point. Yes. Wow. Yeah, I love it because it's so simple. But it's so difficult at the same time. You know, it's very simple. It like set of things, you know, in the way that we say them, but then when you do it, it's a whole other

Calvin Liang 29:43

thing. Okay, that's easy, but what a door is ready to go it's easy to see got it?

Laura Arango Baier 29:52

Yeah. Oh, that's so funny. But yeah, um, I wanted to ask you though because you mentioned you know, in your marketing, how have you, you know, tried to use your personal vision and your brand and put that into your marketing

Calvin Liang 30:15

um, most been kind of most of a painting, but you have to submit to the gallery and what a pain in the market is stop the magazine with a magazine in the wheel me and depending on the market, it's really good chance for bigger promos by my marketing. So see the more and more actor in the soul at the gallery and some care some the magazine interview me more and more that day, the market and the book clear the market, what else they need at a warehouse I'm more interesting for their part can be easy to get into the good marketing stop for my painting. Cinder is experience get a kick a time to leave the facility to to learn so it will have to tie you gotta to participate in for the reception to see the whole group, the people that see the people more interesting and more interesting, which were stopped. So everything together there's a little by little to array. Yeah, the marketing is really hard, because there's some kind of bug and the chance to do it keep changing. Yeah, so you got to keep the eye on everything. So some people aren't. They love it a little bit modern. And some people really traditional and a different market. You got to to get different marketing load upon it. read a magazine, go to the online computer reception, talk to the people talk to the collector Potter Archies The only thing you can do it. Yeah. So to take all the chance that you learn. Yeah,

Laura Arango Baier 32:02

yeah, it's the same as how you were saying with painting. It's a lot of exploration, a lot of going out there and asking and talking and investigating. Because it is definitely you know, a different beast, right as, you know, having to talk to complete strangers and you know, ask them hey, beast, right as, you know, having to talk to complete strangers and you know, ask them hey, you know, what do you think about this or, or even like you said, you know, it's so important to go to like shows and receptions, especially the very first day of the group showed and meet other people because you never know, who you meet who might, you know, become your next collector or they might help you understand a little bit how the market has shifted. If there's a new sort of interesting type of painting that people are looking for, like there's so much that goes into the business of being a painter. Yeah, so do you have any advice for someone who maybe wants to start working with a gallery? who maybe doesn't know how to approach a gallery like how can they like do they just show up? Or do they like what do you recommend?

Calvin Liang 33:12

I think basically I'm so lucky at the beginning because when a participant for the California art club so the callee they do the power me at Snowdin they call me Calvin do one in a gallery then why not? Dances I call it to tech Galilee and that they kick me at the first gallon in Pasadena California pronounced more because the God and when a kid into the calories a lot of big carrots are the small calorie they call me Want me to submit a penny to the calendar and getting selling and that can be really good promotion that the time they can turn it for home years went by stop in the American Art Review for the magazine for whole year that can promote promoting me then since then, so better the better attack yada and then the other quality can't help be a lot of candy me so they make me so happy. Yeah. If I suggest to the new people now to work on an account and basically the biggest thing there is that there are different types there before. Now you can go to your own website or you can just from the website a contact a gallery. So to send the image of the painting to the gallery to let them to see if they feel interesting. You get a contact them or maybe send a painting to them to see it too. Try it. Yeah this way but the way like, I am so lucky I haven't cut it together but Kenny Can you help me? So then I can basically I heard about a lot of people they looking for the clarity now they just sent me the email. So the gallery because every gallery has email, so send via email to them email that item is interesting then you get a connection for them.

Laura Arango Baier 35:28

Yeah, yeah. Oh, that's so awesome though that they contacted you you know that's the ideal situation because that means the gallery definitely loves your work and definitely wants to promote it you know, there's a big difference you know, when it's a gallery who you approach them and maybe they're like a little bit but when the gallery really loves an artist's work it's so much easier for them to sell it because the gallery loves it you know, it's so important Yeah, so really great.

Calvin Liang 35:58

When a character they call you that the easiest then you take Yeah, it's a lot easier. Yeah. Yeah, I think in the beginning I think when I was in America a long time ago the owner I Taiwan was in America in about one a couple of years beginning looking for a calorie to or looking for a calorie it's a lot easy because the people they don't know you they not interesting for the painting. But finally, I have a one agent the contact me that because I get a so two from the tie for a long time ago I participate a local show, then a one agent with another real agent. So the people they want to represent a couple of people they asked me Kevin, do you want me to be your C L C agent will because I handled about couple artists. Every one I can be agent and I agree. Then they get me some gallery? I got before long time ago. Yeah, up delay. I turned the animation then according to the fine art gallery, then get lucky. The current Academy. Yeah, different way and yeah, I knew they're looking for the currents that are easy. Yeah. Because the people just see the gallery is the only the wall. They still have a lot of artists. Why occur to get in? Get you in because you gotta think you're really good. In a gallery. That's why it's a lot easier for them deal gallery, the new artists it is Ty and your students you chance we're gonna walk along, you have a good painting against your people. They want you. Yes, yeah, definitely. That's the quality paintings.

Laura Arango Baier 37:51

Yes, exactly. The high quality work keeping up, you know, the really good, good work, because then that's, you know, that's what the gallery is going to expect and want. And like you said, it keeps the gallery happy, keeps the collectors happy. And it makes you feel a sense of pride as well in your work that you're always giving your best, which is so important. And I agree, you know, today it is a little easier, I'd say to to find galleries at least, also because of social media, and you know, having a website, all of that makes it a lot easier. I think back you know, even just 20 years ago, it was a lot harder to get with a gallery because he had to physically print out, you know, maybe images or maybe if you had like a CD with your images in it, right? If if you wanted to have a CD, and you'd have to go and you know, it was a lot more work. I think today everything is so much easier because of the internet for sure. Yeah. Um, so do you have any final advice for anyone who wants to become a full time artist?

Calvin Liang 38:53

If starting the painting, practice, keep the high quality stuff. That's the only way to be the artist. Keep started the whole life. Pick up the hype. Try to do the best of you can get a high quality stop. Yeah, so the painting, you want to speak to the people. You're going to speed yourself first. To see the painting. Speed yourself, the heart to speak to other people. Yeah, so

Laura Arango Baier 39:34

yeah, that's a great point. Yeah, you have to like your work has to speak to you too, right? Yes, it's where you're even doing it. Yeah, or else it's just a painting. Yeah. It's missing the magic. It's some assume the that vision like you're saying that unique. Insight is very true. Well, Calvin, do you have a Do you have any galleries that you want to tell us about where people can go see your work?

Calvin Liang 40:04

Oh yeah. And I will show up near someone. I will be Sunday. There are two people for the letters of the California art club with the Pepperdine University. They make up the soul and obviously to painting for their soul. Unless Amana we try all the time to sell Baraka understand Monica in Baraboo. Asuka painting. Yes. Yeah, this two painting this one of descending? Yeah, gorgeous battable The logo was invaluable. Yeah. One. There's a one of them. And the second one? Yeah. This one?

Laura Arango Baier 40:53

Oh, that's so nice. Yes.

Calvin Liang 40:57

Yeah. So I will submit those to painting. A to the peptidic. They will what Steve? Yeah. For the so. Yeah. So maybe the California cloud by somebody printing for diesel this year in August. The California art club every year they have the annual show. Yeah, I don't attend during the workshop. There we have three wassall comes out. One is invaluable. Yeah. One is in Carmel, California. One was in Scottsdale, Pasco. Yeah, you want me to show the information?

Laura Arango Baier 41:45

Yeah. And I will also include it though in the in the video, and in the show notes so that people can go out and sign up. That's awesome. And then where can people go online to find your work?

Calvin Liang 42:00

Yeah, you go to my website wwlp.com. And they'll find o.com Then you can check it out by worship, worship information. And the gallery I showed her the gallery leads you can keep the work in the gallery you can see by stop in the gallery. I have so some gallery set represented me to every meet every information that go to my website. And if you forget my website, you just go to Google hit my Calvin Lang. Then you'll see my information. Everything. I think from Google, you can see everything.

Laura Arango Baier 42:41

Yeah, Google is easy. Yeah. Yeah. Well, awesome. Thank you so much Kelvin for sharing all of this awesome information with us and for telling us about your your you know, your vision and how you really enjoy making other people happy with your work. That's wonderful.

Calvin Liang 42:58

Thank you so much. Thank you so much, Laura. Thank you.

Laura Arango Baier 43:01

You're welcome.

Calvin Liang 43:02

Thank you so nice and have good evening. You. Laura Arango Baier 43:07 Have a Good morning. Calvin Liang 43:08 Thank you. Yeah, pretty, pretty happy for the interview. Thank you so much. Of course.

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The BoldBrush Show. Interviews with today's finest artists and creatives. Watch here or listen on all major podcast services.