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On today's episode we sat down with Scott Tallman Powers, a fine artist specializing in western scenes who is always looking to capture the connection between humans and their environment. Scott discusses his artistic journey, from studying at the American Academy of Art to transitioning from illustration to becoming a professional painter. He emphasizes the importance of painting from life, understanding abstract foundations, and the balance between realism and narrative storytelling. Scott highlights the challenges of meeting deadlines while maintaining quality, the benefits of plein air painting, and the necessity of diversifying income streams through workshops, commissions, and selling smaller studies, while also maintaining strong relationships with collectors through genuine communication. He also reminds artists to get yourself out there and find a good artist community to motivate and inspire you to continue on your journey. Finally, Scott tells us about his upcoming workshop and exhibitions, including a collaborative landscape and figure workshop with Scott Christensen and his participation in The Briscoe Museum Night of the Artists Show and The Prix de West!
Scott's FASO site:
https://www.scottpowersfineart.com/
Scott's Instagram:
https://www.instagram.com/scotttallmanpowers/
Scott's upcoming workshop:
https://adventureofpainting.thrivecart.com/capturing-nature-and-the-human-spirit/
The Briscoe Museum Night of the Artists:
https://briscoemuseum.org/noa2025/
2025 Prix de West:
https://pdw.nationalcowboymuseum.org/
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Transcript:
Scott Tallman Powers: 0:00
Get hooked up with a group of people that that get together to paint portraits or paint landscapes together, being around other artists and and sharing your ideas and and their advice. And I learned a lot from people that I painted with about how I could get into shows and get into galleries and finding out a lot more information than I could have ever gleaned on my own and and then doing like competitions, just getting it out, getting your name out there. And because you never know when you might get discovered by a gallery just because you had your work in
Laura Arango Baier: 0:38
a show, welcome to the bold brush 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. Going to be artists at all stages of their careers, as well as others were in careers tied to the art world. In order to hear their advice and insights. On today's episode, we sat down with Scott Tom and powers, a fine artist specializing in western scenes who is always looking to capture the connection between humans and their environment. Scott discusses his artistic journey from studying at the American Academy of Art to transitioning from illustration to becoming a professional painter. He emphasizes the importance of painting from life understanding abstract foundations and the balance between realism and narrative storytelling. Scott highlights the challenges of meeting deadlines while maintaining quality, the benefits of planner painting and the necessity of diversifying income streams through workshops commissions and selling smaller studies, while also maintaining strong relationships with collectors through genuine communication. He also reminds artists to get yourself out there and to find a good artist community to motivate and inspire you to continue on your journey. Finally, Scott tells us about his upcoming workshop and exhibitions, including a collaborative landscape and figure workshop with Scott Christensen and his participation in the Briscoe Museum. Night of the artists and the pretty West. Welcome Scott to the BoldBrush show. How are you today?
Scott Tallman Powers: 2:10
Good. Thank you so much for having me. Laura, yeah, thanks
Laura Arango Baier: 2:14
so much for being here. I know that you are under tons of deadlines, but I just I absolutely love your work. I think there's this gorgeous quality to it. There's this it feels narrative and it feels real, and it feels honestly, like you really capture the beauty of like that cowboy life, which I think is really awesome. Thanks.
Scott Tallman Powers: 2:37
Yeah, to do my best, it's always a challenge, as you know,
Laura Arango Baier: 2:43
yeah, I mean, realism is a very difficult style and very difficult genre to work in because it's, I mean, you're competing, obviously, with reality, and someone can tell when something's wrong, right, But your work is absolutely gorgeous. I'm really excited to discuss it and to discuss your process. But before we dive into all of that, do you mind telling us a bit about who you are and what you do?
Scott Tallman Powers: 3:12
Sure, I'm Scott powers, and I went to the American Academy of Art in Chicago for four years and and I was an illustrator right out of school, and and then I was thinking I was there for about at the ad agency, about four years, and and then went off on my own, and and I was doing illustration work and storyboard work, and and then kind of transitioned into the fine art world, so and doing portraits and stuff, of course, too. Yeah, yeah,
Laura Arango Baier: 3:51
for sure. And I think was also really cool is you're, you're one of the artists. You're one of the types of artists, I think just amazed me, which is artists who start off illustration and then become realist painters. I feel like there's always this, like I mentioned before, like this narrative quality to the word that just comes off so naturally, like and so intuitively, just because of studying illustration. I think it's awesome. It's absolutely it's such a super, super power to have that,
Scott Tallman Powers: 4:19
yeah, well, in art school, I was gonna going to just major in illustration. And when I, when I saw that class, and they were doing great work and everything, but it was more about the technique and and I wanted to learn more about life drawing and oil painting and watercolors and and so, so I switched to be a fine art major, and so I just had twice as much life drawing and and painting and everything else. And that's all I did. Is I knew that getting that, getting that base, that strong base, then I could go off and do my own illustrations afterwards. And. And learn the techniques easier, but without that strong foundation. You know, you're kind of like you don't have as much tools in your toolbox.
Laura Arango Baier: 5:12
Yes, definitely. And I think there's, it's, it's so important to have both, especially if you're going to do like narrative multifigural compositions, which, of course, because there's so much in, like, yes, you can gain technique from, you know, you have the model, you have the cast, you have all of these tools, right? That just give you technique, technique, technique, but technique doesn't inherently teach you composition or color harmony or storytelling through color and composition, right? Those are all things that I feel complete, that picture that, you know, just fine art doesn't quite complete anymore, at least in the modern iterations of art school. I feel like maybe in the past that could have been, you know, more fulfilled. But I think illustration really fills that void that narrative painters really need for their work. Well,
Scott Tallman Powers: 6:09
well, you know all the old illustrators like Howard Pyle and NC Wyeth and all those guys, we just idolize them, and I still do and just with their storytelling abilities. And we all looked at them as like they're fine artists telling stories rather than illustrate illustrators, you know, and right? And I put Norman Rockwell in there too, but I always looked at him as just an amazing fine artist. And used to get in the in art school. We get in these arguments about like some people would think they're just strictly an illustrator. I'm like, Oh, my God, you got to be kidding me. They're amazing fine artists. They just happen to be you for some sort of illustration purposes.
Laura Arango Baier: 6:53
Exactly. Yeah. And I think what's really interesting as well is, and I like to use Rembrandt as a very good example, because, or even Botticelli, or any of the painters of, you know, around 1500 1600s because, if you look at a Rembrandt painting of a person, and you really look at it, and you think, no one looks like that. No one actually looks like that, or like you look at any sculpture by Michelangelo, and you see that it's mostly architectural. It's not a real human. Then you realize that there's this really beautiful gray zone between realism and what would be caricature, right, which would be like the extreme version of like illustration, but like that there's that. There's that magic zone of in between where it's interpretation, but also a little bit exaggerated, just enough that it looks good, you know? And
Scott Tallman Powers: 7:54
you can push it, push and pull that a little bit
Laura Arango Baier: 7:58
Exactly, exactly, yeah, that's where the magic happens, yeah. And
Scott Tallman Powers: 8:03
then, you know, painting from life, you can, I mean, the your interaction with the model, it automatically gets into the piece. I mean, you can't help it, and that's why it's always really difficult for me to paint someone I don't really care for that much, if they really bug me? Yeah, I can't even do it, so it's very hard, because I try to act with you so much.
Laura Arango Baier: 8:29
Yeah, you can't help but paint them angry, I guess.
Scott Tallman Powers: 8:33
Oh, something's gonna come out, something you don't know what it's gonna be. Yeah?
Laura Arango Baier: 8:38
Oh, that's hilarious. Oh, my gosh. But actually, also I wanted to ask you too, because I think it's really fascinating to dive into artists paths, because they can be so unexpected and they can range so much. So I wanted to ask you when your artist path began.
Scott Tallman Powers: 9:00
Well, I've been drawing ever since I was little. My birth father was a medical illustrator, and he's rod powers and my my adopted father, David Tallman. So that's where the two names come together. So honoring both fathers, because I wouldn't be where I am today without both of them so but having that, that beginning, the beginning of my life, watching my dad draw and paint, and he was more of a water colorist. I mean, that was pretty, pretty important times for me growing up, because, you know, I just it was always around and, and then I was just drawing, because it just came natural and, and I really wanted to be as I got older. I wanted to be a professional baseball player, because I was pretty good back then, and that didn't work out so well. So that focused on my art. Me, and then went to art school, and that was like a no brainer, because I we were eating and sleeping and breathing art all every single day. That's all I wanted to do. I didn't want to do anything else, and I just worked my brains out. So right up, I had two good, amazing teachers, influential teachers in high school and outside of Chicago, and there were the ones who got me started, got me on my path to pursuing art as a as a life and a career, and and they my Mr. Frank, and was the one that told me you need to go to the American Academy, because I was looking at art center out in California and some other ones around the country, but the American Academy of Art was perfect for me, and I had some incredible teachers that were very, very special. So it came right out of high school. That's whenever I started really focusing on it. So,
Laura Arango Baier: 11:05
yeah, very early, which is great. Gives you a lot of time to experiment and to try stuff out, which is really cool, yeah, yeah. And that goes to show how important it is to have that support system as well. I mean, it must have been awesome to have you know your father, and he's a painter, and observing him and seeing how, you know, how he was probably so focused on his work, and, you know, I can only imagine how awesome it is for him to have shown you what he was up to as well. And
Scott Tallman Powers: 11:33
my mother as an interior designer, and she was fantastic with color composition, and she would irritate me sometimes when I was in school, because she would critique my work, and then she would be right every time, but I would get irritated by it because and I go back and I would say, yeah, she's right. So it was a double whammy. That's
Laura Arango Baier: 11:59
awesome. That is so awesome, yeah, that familiar support is such, such a great thing to have. Yeah, yeah. It can make or break a lot of people. Because, of course, some artists, they might have struggled with that. Because oftentimes, parents might have the old tale of, you'll be poor, you'll be hungry, get a job that, yeah, that's more, I don't know, pragmatic,
Scott Tallman Powers: 12:26
yeah, yeah, there was talks that kind of stuff about having a backup plan and all that. And I totally agree with it. But this, it's, you know, it's kind of hard to find the balance sometimes, like whenever you're getting started out and and, you know, because I, I was an electrician in Chicago for a while, right out of, right out of high school, and learning that trade was really, really great. I loved it. I loved working with my hands, and I loved hanging out with the guys and and learning something new and and I was doing it for about four or five years before I went to art school, and I would do it on the side. And but now it comes in really handy, especially like in a new studio, I do my own stuff, and so I know how to know how to fix and build a lot of things. So
Laura Arango Baier: 13:20
yeah, yeah, you know you got to do what you got to do what you got to do. And I think actually, electrician is very pragmatic, because that's one of those jobs that it's always going to be in demand no matter what. And like you said, it becomes practical later down the line, because you never know when you need to fix stuff up in your own studio.
Scott Tallman Powers: 13:40
And there's a lot of create creativity in it too, to do it really well and, and have it be beautiful coming out of the panel and, and the pipes coming out of the panel. And then, you know, always a creative way of thinking, no matter what. Yeah,
Laura Arango Baier: 13:55
yeah. And I feel like, you know, as an artist, obviously, you have this easier way of marrying the practical aspects of wiring, with the esthetic aspect and also the like. I this is going to sound hilarious, but I have actually seen pictures of really well organized, the well wired houses, because Instagram is just,
Scott Tallman Powers: 14:15
I got older, just with that, because I'm such a geek about it, I look at them, wow,
Laura Arango Baier: 14:21
yeah, because it's there's just, it's pleasing to the eye to just see everything is just perfectly sorted. And you have the the wires that have to go through here, through there, but I can see how then that would, you know, transfer also into, like, you know, painting as well. Because, again, there's that practicality of, well, I have to do it in this order, but then also the playful aspect of now I can move some stuff around and compose things nicely, so yeah,
Scott Tallman Powers: 14:49
strong structure and foundation of a painting, and then be able to let loose and be more emotional and free and and put a lot of. A lot of passion into it. Yeah, that's
Laura Arango Baier: 15:02
a very electrical thing to say. Oh, man. But actually, also speaking of inspiration, what would you say inspires you most in your paintings?
Scott Tallman Powers: 15:16
Well, people, for sure, and then telling stories about people's lives, because before doing a lot of Western art, I was traveling around the world to different countries a lot, and with indigenous populations, whether it be in Mexico or China or Morocco and and seeing all their beautiful clothing. And I mean, it was just incredible. And being able to be in markets and stuff and just be able to to to paint their lifestyles and like their everyday life. And I'm fascinated with that. And so even with the Western culture, you know, being on a ranch, you know, helping out with the ranchers, and they teach me stuff, and I help them, and they help me, and and then getting a lot of reference material to be able to tell their stories honestly, you got to be right there and feeling it and seeing it, and that's what it really gets me.
Laura Arango Baier: 16:16
So, yeah, there's that human connection for sure,
Scott Tallman Powers: 16:21
yeah. And being outdoors. You know, I love being outdoors, but just tell, just telling that, that story about people's lives, and it just seems like most of my paintings are, like, set outdoors or in a bar.
Laura Arango Baier: 16:38
Yeah, yeah. And actually that that brings, that brings up these really cool images that you showed me when we did our meet and greet about, you know how you paint from life, or we're painting from life for a while. I know right now that's become a bit complicated in terms of deadlines, but I thought it was amazing how, you know you have these gorgeous site size like images that you took of like yourself, painting your your models from life. I thought that was awesome. Do you mind telling us a bit more about that process and how that's changed over time for you? Yeah,
Scott Tallman Powers: 17:16
yeah, I would have a lot of my models, especially when I was back in Chicago, and I was going down to Mexico a lot, so it was great, because there's a large Mexican community in in Chicago. And then had a bunch of friends, and met, met a bunch of amazing people that posed for me and and I would set them up out behind the building, you know, with this barbed wire fence. And then I'd recreate a scene of what I saw down in Mexico. And then they would come back and pose for me for about two weeks and and so we would have like, three or four hour sessions, and in a lot of those were, like, more comparative. And I would do some site sizing too, whenever it was, it made sense, because sometimes I was painting like a whole scene, that'd be really kind of hard to do, the whole site size method, but anyway, but the site size that we've talked about before, I really liked it because it was like we were saying, like, like, go slow to go fast. You know, with all the pacing back and forth, I could paint faster, blocking it all in and getting it more accurate than I could comparatively, because I could just see it right there, right next to each other from my from my point where I went back to and then had my palette back there to where I mixed my colors back there. That made me really focus, my focus, my my attention on the values and the relationships and temperature and everything and and so, and my drawing as well. So I mean, it's, it's huge for drawing. So we didn't do a lot of that in in art school where I went, it was more comparative, but, but we did some cast type drawings with the site size method. But a lot, a lot of what they taught us in school was because they were preparing, they were preparing us to make a living when we got out. So taken a long time to to do a drawing or do a painting. It's great for study, but they are always reminding you you have to speed it up, because you're going to be once you get out of here, you're going to need to paint a lot faster and do it really well. Oh, they taught us a lot of different ways of handling things, and so that comes in handy in my life now, because I could switch back and forth to do more of a site size method, and then get get it really close the way I really want it, and then go more comparative. And then it just bam, bam, bam. And it. You're memorizing everything in your head too. So
Laura Arango Baier: 20:04
yeah, I think that's what's really beautiful about both methods. Because I what I particularly love about side size, especially if you're a person who gets to like me, because I It happens to me, a person who gets too caught up in little details sometimes if you let your mind, you know, wander, side. Size is great for preventing that, because you're so zoomed out, like you have to step back, you have to see the full picture as often as you can and see those relationships. And it's so important because then once you have comparative, right, you can pull it out of your pocket, like another tool, and be like, Hmm, there's something in this weird little corner here that's not quite working. I'm just gonna, you know, compare to measure it and see what's what I need to fix. And I think that's, yeah, like you said, it's both methods just compliment each other so well that it helps you work a lot faster. For sure, it
Scott Tallman Powers: 20:56
does. I love it. I love it. Have you ever seen that photo of an Italian artist, Cesare toloni, I think it is. But He has His model, this woman in a dress, and he's doing a site size method with this big I think it was like almost a life size painting of this woman, and he didn't have it in front at all, and so yeah, right next to her. And you could just see that he would have to pay so many times, but you would be able to get it so accurate so quickly. I just always love those, those old shots of my favorite artist doing site size, yeah,
Laura Arango Baier: 21:44
it's, I mean, it is. It's wild, and it's a workout too. I mean, if you're, if you're tired of being a sedentary artist sitting around in your studio, try some site size, um, it'll, it'll get you moving. And before you know, you got to take a, take a breather, because it's, you'll get some
Scott Tallman Powers: 21:59
steps in. You'll look at your steps at your steps at the end of the day, and you'll be like, Whoa,
Laura Arango Baier: 22:04
exactly, exactly. But that's what's beautiful about it, too. It's there's also from, you know what I remember in the academy, just like, there's this, I don't know, it just feels so cool to be like, I'm moving back and forth and I'm checking, and it's just such a dynamic thing that suddenly, you know, this mind body connection kicks in, and it just feels even more meditative in a different way, good
Scott Tallman Powers: 22:28
way of explaining it. It's more meditative. My mind really gets into that. I can really just just meditate on that for hours and hours and hours and just go back and forth, back and forth, working out the edges, you know, working out your lines,
Laura Arango Baier: 22:45
yeah. And before you know it, like your your your intuition really kicks in, and, like, you'll put down a mark, and then you're about to do something to it. You're like, no, no. And then you step back, and then you check the mark, and then you double check, and then it turns out it was fine, or maybe it had to shift a little bit to the laughter, a little bit up and and it just, it's, I feel like it becomes even more of a dialog with the painting itself, which is really, really cool. I mean, site size obviously isn't something that you can apply to everything, since it's very hard. It's a it's a method that's so specific in terms of location you really need to have your model right there. Obviously, you could play around with the sizes of things by putting your canvas closer, further away. But despite its limits, it can still be a really wonderful method to use, for sure, for sure.
Scott Tallman Powers: 23:39
I feel like it really connects you, connects you with your subject. Yeah, more so
Laura Arango Baier: 23:44
for sure, definitely, yeah. And then I wanted to ask you, because I know now you're, you're, you know, working on a lot of paintings for exhibitions, and I wanted to ask you how your process has shifted over time, and what you've done to be able to catch up to those deadlines. Yeah,
Scott Tallman Powers: 24:03
well, as as I was progressing through my career, I would get invited to two other shows that were there. They're fantastic shows. They're, they're in museums, they're, they're amazing people run it, and, and, and you want to be a part of all that. And so I started relying more on photography than I that I had years and years ago, but always just kind of blended both of them, you know, painting from life and then working from the photos, but, but luckily, I painted from life for a long time, so I I know what's missing in the photographs. If I would have started out painting from photographs like there probably wouldn't be any air in the shadows whenever I was I was working from a photograph, if I didn't really know what I what I was. Seen for years painting from life, and that goes for painting landscapes too. So so I feel kind of, it's like I got this, I got this urge to to paint from life, more and kind of and kind of tip the balance back the way it used to be for me, where I'm not so reliant on the photos as much just for deadlines sake and getting my and getting my deadlines done. So I'm actively trying to do that, trying to get back to that. And that means less shows. And so you'd be in less shows to do better work, you know. So, so if I'm going to be working like crazy to meet all these deadlines, your quality is going to suffer. And and I look, I look back on on my work, and just like we've always do we look back on our work and like, Man, I could have handled that one a little differently. Yeah, I feel like I didn't think that through and and I want to, I want to fix that. I want to, want to try to get better. So,
Laura Arango Baier: 26:20
yeah, yeah, that's the another push and pull within the career, right, which is you need to participate in gallery shows. Of course, if you know the gallery model is the way that you're making most of your income, and that means, you know, pulling some of your time away from painting in the slower way, right? So there's that adjustment that needs to happen, of like, well, I need to turn these in in time, or, like, maybe, um, participate in less shows, so I have more work, but then I need more income in a different direction, right? So there's, there's all these chess pieces that need to be moved about in a particular way.
Scott Tallman Powers: 27:01
It's really hard. It's really hard because it, I mean, my buddies and I, we always talk about this on the phone, or we struggle with this type of thing of we want to do our best work at all times, but we want to be in the shows, but we also want to make enough money to where we can not be freaking out all the time about paying bills and, and so having that balance is is always a challenge and and it just like we talked about before, it's like being in like, I feel like I'm in too many shows right now to where, where it's back to back, and the deadlines are so close together, you don't have opportunity to have a secondary revenue stream going because you're so committed to getting all your deadlines done, and especially as a realist, as we were talking about, it takes us A long time to do these pieces, and so it's a balance, yes,
Laura Arango Baier: 28:06
very delicate balance.
Scott Tallman Powers: 28:08
And I think what I think about, also, I really think about what I'm leaving behind, you know, you know, I, yeah, I want to make a living, but I want to leave something behind that's important, you know, and, and when I look back on some of the pieces, and I'm like, What the hell is I think, you know, that's out there. So, yeah, I don't know issues about stuff like that, about our own work.
Laura Arango Baier: 28:41
Yeah, I think it's, it's natural. I mean, I feel like made many, many artists, maybe many artists, I'm not sure, um, I would say many of us are perfectionists and our worst critics, right? So it does. You know, there is that inner feeling of, ooh, how do I let myself do that? But at the same time you got something done and it was still quite good, right? There's like this, this balance between you have to have like the little, the little positive voice that tells you, hey, man, you did great, and you were able to sell these paintings. And then there's that little Debbie Downer voice. It's like could have been better. You can't fully eliminate it because it's still useful, but at the same time, it doesn't help to minimize your accomplishments either, because you've been able to do a lot of really awesome things anyway, of course.
Scott Tallman Powers: 29:30
And also, you're sharing your work with people who care for your work, and they really enjoy having looking at it every day and and those relationships that you build with your collectors is really, really important and and just to think about like someone bought one of your pieces to hang on their wall every day and live with it, take care of it. That is, that's so special.
Laura Arango Baier: 29:57
So yeah, they have a little piece of you. Just, yeah, it's pretty. Cool, yeah, so you're still putting something beautiful out there anyway, but I totally relate to that feeling of, oh, it could have been better, or, Oh, I wish I hadn't done that. Yeah.
Scott Tallman Powers: 30:14
But well, I mean, it was, it was it was really good at the time. But I mean, if you were looking back and not feeling like you haven't progressed or you haven't grown, that's a kind of a that'd be a problem. I would want to think that what I was doing in the past is just as good as it is in the present. I would want to be growing even though it was good back then, too, you know? But I don't know. Yeah, it's all relative. I guess
Laura Arango Baier: 30:48
it is, yeah. I mean, that's the other really interesting thing now that you mention it, is that we, we, I feel like we're not machines, right? Nothing in nothing in real life is quite so linear, right? It's not like this perfect line that goes up in terms of, like improvement. It's, it's usually like little valleys, and then they go up, and then they Valley a little bit. They go up a little bit, they Valley a little bit. Because, you know, we're all learning as we paint and we improve a bit. And not every painting is going to be a winner, winner chicken dinner. It's going to be, yeah, some paintings are going to be for the bird pile, as I've mentioned before on the podcast. And some paintings are going to be like, Hmm, there's something here,
Scott Tallman Powers: 31:34
a little glimmer, little glimmer of something that you discovered that's huge. I love that, and that's why my buddy Scott Christensen and I, we were talking yesterday. We're we're always talking about, like constantly learning, and that's what I could recommend to people, is just constantly train, constantly try to learn something new by studying past artist or studying different design, different ways of designing, different different color harmonies, different everything, and learning to love the abstract. You know, even as a realist, learn to love the abstract. Oh
Laura Arango Baier: 32:17
my gosh. Do you mind elaborating on that a bit
Scott Tallman Powers: 32:20
well if you were to take, if you were to take any painting that you see, that's, that's, you know, a realist painted it. It's a, it's a realistic painting, you'd have taken it into Photoshop and kind of, what is that filter that makes it all like poster, like, it's like a post drive, poster eyes, yeah, yeah, you posterize it. It no longer looks like it's it's realism. It's like an abstract piece. That's how we block in all of our paintings. You know, whether it be a landscape or a cityscape or a figure or still life or whatever, if it doesn't have that strong abstraction and they're the composition, the design of it's gonna fall apart. And then you're just, then you're just putting a lot of details on top of something that's not structurally strong, you know, and then loving the love learning to love the abstract. You you stick with that more. You don't you don't rush over it to get to the realism, like hanging on to the abstraction longer and tightening that thing up, turning your canvas every which way, to make sure the design, abstract design, works in every orientation. I think that makes for a better painting.
Laura Arango Baier: 33:42
Yeah, at BoldBrush, we 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 too, sign up completely free@boldbrushshow.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/podcast, you can make that come true and also get over 50% off your first year on your artist 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, e commerce, 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/podcast. That's FASO.com/podcast, yeah. And actually, it's really great that you mentioned that too, because reality doesn't have lines, right? There's really no actual linear separation amongst things. And having that notion of, you know, like when you post your eyes an image, especially if it's a figure in a landscape, you oftentimes see that the figure loses some of itself in the landscape, naturally and visually. That makes sense with the brain, since the brain is usually trying to process information in the most effective way, and it will join things, right? Which is why, you know, working with photography, it's a great tool, but it's awesome that you have that experience of working from life, because you know how to manage that impulse that some people might have of copying the image,
Scott Tallman Powers: 36:13
yeah, which you get in that trap, and just also listening to yourself and listening to your own frustrations with whatever you're having a problem with the painting I've done that for years, where I'll be, I'll be too tied to the photograph or something, that's just making it look too boring. And I had some with like the the like the market scenes, behind a behind a guy working in the market. A lot of chaos going on behind them, but having to simplify all that. And I was wondering, it's like, why is this thing feel so boring? And I'm like, I got so frustrated, and I just kind of taped off around the with that blue tape stuff. I taped it all off the figure, and then I just completely went abstract in the background. I changed everything and just made, made the abstraction work with the figure in the front. And then whenever I was satisfied with that, and I wasn't doing it just in, like a like a dark, like a dark value, or like an umber, or something like that. I did it within, within the color harmony range of that painting. So but it was simplified. But once I got the abstraction where I wanted it, then I took the tape off and exposed the figure that was almost done and made the I brought out people and people selling stuff within the abstractions, like some of it would be like in shadow, some of it even light, but then the abstraction supported The figure, and that's what was missing for me. Yeah.
Laura Arango Baier: 38:03
So, yeah, yeah, yeah. And the picture is just, you know, when you take a picture of something, it just, it makes everything so even right, like, the like, everything is in focus, usually, unless you're using a very particular lens, right? But everything is usually perfectly in focus and perfectly sharp, right, equally, right? And I think that's, yeah, it was. It's great that you decided to really abstractify, that's a word, that's a background, because you need that balance, right. The eye doesn't work like a camera. We We like when I'm looking at you, everything around you know, my screen is blurry and it's out of focus, and I just see those abstract patches of value differences, not so much color, which is really interesting. But yeah, that's, I think, yeah, you're definitely on to some really good stuff with with the abstraction aspect, because it's something I think we take for granted as realist painters, uh, especially over time. It's one of those things where the more you paint, the less you remember the little things when you were starting out. And that's definitely one of those things that now that I'm hearing it again, it's like, Oh, here. Well, that's important.
Scott Tallman Powers: 39:21
Well, I tried to jump over that, that process art school a lot, because I wanted to get to the fun stuff, you know. And so I kind of jumped over it, and then I had to go back and strengthen it again. And so, and as I advanced, as time went on, I started realizing I was like, man, because I really like abstract work. You know, whatever it's good. If it's just ridiculous, it bores me. But whenever it's really good abstraction and good modern work, I love it. So it's like just embracing that in your own work. Uh. You can make some really strong paintings for sure. Yeah, yes.
Laura Arango Baier: 40:08
Oh, excellent, excellent points. And then I actually want to also touch on when you finished school and you actually when you were working as an illustrator, right? What was it like for you when you decided to quit your day job and go full time as an artist? What was that like for you?
Scott Tallman Powers: 40:30
Well, it was a little bit stressful. I was working as an illustrator at a packaging design firm outside Chicago. It's just some, like, just west of the loop. And I learned a lot there. And I had a, you know, a great experience, and, and I didn't even know how to use the computer at all, and we were doing it all by hand, doing market renderings and doing all kinds of stuff, and then, and then scan it into the computer and manipulate it for comps and things, but I learned how to use the computer at the advertising agency, because I didn't touch that thing all through art school. And so it helps me now that I can actually, you know, do Photoshop and everything else, but, but after four years of working at that ad agency, and I was painting every night after work. I would be, we would be doing shared models. We'd be doing portraits and and I would be doing portraits on the side and other things, and then going to the palette and chisel in Chicago. That was huge. You know, I don't know what I would have done without that place. It's such a special, special, special place and so but I decided that I just got so frustrated that I just wanted to be working as a fine artist. I could just quit. I had like, a freak out moment, and I just wanted to change my life, and I didn't want to work as an illustrator anymore, and so I left. And then I went and I did freelance work. And my buddy Mark worked for DDB Needham and in Chicago an advertising agency, and they did a lot of commercials and things and and so he hired me on for doing storyboard work. And so that was doing the side work like that. I was able to pay, pay my bills, and then also trying to do more painting, and trying to get into galleries and stuff like that. And then I was, I was doing the oil painters of America shows, trying to get into those shows, and and then, and then I got into painting competitions, outdoor painting competitions. And that was a game changer for me, doing landscape, landscape paintings and and so made so many really, really close, good friendships from plein air competitions and and so that just kind of that helped me kind of transition from commercial work into more fine art work, but also doing all these other things then make connections with getting into galleries and get into other group shows and and start like that. So being in a plein air competition is that's huge training ground. Yeah, you have to be really efficient with your decisions and and you start to, you start to to recognize your your painting stamina and your like, you have to really push through these, these parts of yourself and in your work to get it to a higher stage of Finish really quickly. And so that was a really good education, and it helped me all throughout the rest of my career,
Laura Arango Baier: 44:10
right? Yeah, planner will make or break you, for sure,
Scott Tallman Powers: 44:18
it's really important figurative work. It
Laura Arango Baier: 44:20
is, yeah. Because, I mean, the the time pressure, even if you're just, you know, plein air, painting on your own, without it being competition. I mean, you're so dependent on light conditions, and the sun moves very fast across the sky, rather, the Earth rotates quite quickly. So, you know, you're you're limited, and you're forced to really simplify without oversimplifying, which I think is one of the harder things to learn, because if you oversimplify, suddenly you just have, I mean, like the normal shapes of cylinders and combs and and, you know, sphere. Years instead of something a little more abstract, right? So, yeah, so for sure, but that that's awesome that you were, you know, doing all of these little things at the same time as you're building, you know, your career up, and you're really setting yourself up so that it's a lot easier to really, you know, navigate that roller coaster of freedom and discipline that the artist has to live by.
Scott Tallman Powers: 45:27
Oh, yeah, yeah, it's but it also instilled discipline too. You know, discipline is huge, just to have a, you know, any kind of career, and in fine art, and being a gallery artist and being a show artist and discipline is huge, you know, because you got to make the deadlines, otherwise you're going to be in any shows,
Laura Arango Baier: 45:55
yes, and you're not going to have, you know, like your teacher or Your boss, because you really, you're your only boss knocking on your door or, like, calling you up, like, Hey, I remember you got that assignment due, right? There's, there's no one to really tell you, which is, you know, why I mentioned that? It's, you know, you know, it's a quote, great, with great freedom comes great responsibility. You can't, you can't get lollygag too much if you got bills to pay. So there's that that balance as well, which actually brings me to my next question, which is about, you know, how have you diversified your income streams in order to be able to handle the roller coaster life of an artist?
Scott Tallman Powers: 46:35
Yeah, it's not easy, as you know. You know, doing workshops, doing commissions here and there. Commissions were really tough for me over the years. I do them every once in a while, but I had different, different, different rules about how I handle it. I need to have complete freedom. And, you know, selling sketches and and other little things like that. But workshops is a pretty big that's a pretty big thing and and I highly recommend, I highly recommend people keeping that extra keeping that if you're doing workshops, keep doing workshops, even if you start to sell everything you paint in the galleries, keep the workshops, keep that extra revenue stream. Always hum it. I made a mistake. I I stopped for a while, and I shouldn't have. And so I'm starting back over these past few years of, you know, teaching and everything else, and, and, and now that I have a new studio here, I'll be teaching out of here and bringing people from out of state and then locally, and also doing some little videos from around the mountains here and other things, and doing some online stuff. But, but I just think it's so important to have that extra thing going on in the background, you know, you know, because it's, it's a roller coaster ride. And even whenever you're selling everything you paint, you're not always going to sell everything you paint. You know, you're going to have some dry spells. But if you have a good engine humming in the background, that's, that's, that would be a wise choice,
Laura Arango Baier: 48:28
for sure, for sure. Um, and I think also, like, you know, if, and I believe you mentioned that you do this, you know, if you have any small studies, right, that you can sell on your own through social media,
Scott Tallman Powers: 48:38
yeah, I have a little category on my website that I do little rounds of, you know, whatever things I have in the studio that I've never put in the gallery, but it might be interesting for some people, because it might be some experiments that I'm working on, but they're good, you know, they're, they're, they're good pieces, but they're not anything I'm going to show in a gallery. But sometimes I put those things out there. So, yeah,
Laura Arango Baier: 49:03
yeah, yeah. And then another important aspect, and you mentioned it a little bit earlier, but how have you maintained your relationship with collectors? Like, how have you navigated that? And then, what would you recommend for someone to do to maintain those relationships, man,
Scott Tallman Powers: 49:24
my collectors, there's a lot of them that they have turned into, like family members and really, really special people in my life. And, you know, obviously carve out some time. Make phone call and catch up with them, send some emails, just to, you know, let them know you're thinking about them, or share them with them, some with some new stuff you're working on, or whatever I'm it makes me nervous sometimes, because I don't want to like be too. Business like it, you know where it's like, I don't want to have them all like on a you can definitely do that if you want to. Just want to give them information about the shows you got coming up. You have your your email list of all your collectors, and put it out there and just show them, but, but the more, the more the other types of just communication is just not, not trying to push a sale, you know, it's like your friends and they're taking care of your babies. So it's pretty special. And so I try not to be too business like and just, you know, you have a friendship so, but there is a place for the doing all the the email newsletters and things like that.
Laura Arango Baier: 50:51
Yeah. And actually, now that you bring it up, how do you personally manage your newsletters?
Scott Tallman Powers: 50:56
Uh, through my website, through through Faso art studios. So I have my my my, my website through, and they've been fantastic for 20 years. I've been using them, I think, a long time, yeah, so I couldn't recommend a better website provider for artists,
Laura Arango Baier: 51:19
for sure. Yeah, yeah. I mean, that's, that's the really great part about it, is the the ease of use. But then also, I wanted to also ask, like, you know, in terms of, because this is something that really makes me curious. Obviously, Faso has, like, really neat templates and stuff for the newsletters and stuff. But do you find, like, how often do you like to send your newsletters? Because, like, do you find that sometimes you feel like, oh, I don't want to annoy my people. Or, you know, maybe I don't have energy for this right now. Like, how often do you like to send them out?
Scott Tallman Powers: 51:53
Oh, I am horrible at it, and I'm trying, I'm trying to get better at it. I mean, it's, I mean, I get so bogged down with so focused and in finishing my paintings and and getting all my subject matter together and everything I forget sometimes, to be honest, and thank God for my girlfriend, because she she Harry, she helps me a ton, just like saying, Hey, you got to get that email newsletter out. You got to do this. You got to do that. Oh yeah, yeah, I forgot about that, you know. So it's really helpful to have a partner that keeps you on track. And because as artists, we can get pretty scatter brained and and kind of go into your cave and not come out for a while. So yeah, I would, I don't know I would. What do you think I would recommend, like, once a month, or once every two months, or depending on what you have going on in your life. I mean, you don't want to be repetitive.
Laura Arango Baier: 52:51
Yeah, I think so much goes into painting already that it's, it's sometimes hard. I know some artists maybe struggle with writing. For example, like, you know, like, it feels like I'm talking too much about myself, right? So, I mean, like that, that's like you've said about the collectors, right? It feels weird to be salesy or to be, I don't want to say boastful, but to be so self centered in that way. But I think it really depends. I mean, a lot of the people that I've interviewed, they might do, like, a recent person interview, she does quarterly, like a year, which is really nice, because it's, yeah, it's less frequent for her. And she she likes writing, but she likes putting thought into it. So she can send longer newsletters. And then there are people who send them more frequently, but they're usually shorter or to the point little vignette style, you know stuff about well
Scott Tallman Powers: 53:45
and and you can, through the newsletter, say, if you're doing it quarterly, I like that. That's a good idea. You can put a lot more information into it. And then you could recommend, if you want more information on you could go to my Instagram account or my Facebook account, where I do more intimate type scenes or intimate informative types things going on, and if they want to see more otherwise, people get everyone has busy lives. They're going to get annoyed if you're sending it too much.
Laura Arango Baier: 54:17
Yeah, yeah. Though it's really interesting that statistically, artists newsletters have the highest open rate and lowest like unsubscribing count compared to other types of newsletters, which is something to really Yeah, it gives you peace of mind that the people who usually sign up for your newsletter are people who actually care and want to hear from you. And you know, doing it quarterly is really great too, um, because they're, they know when to expect it, and they're more excited about it because they're like, oh my god, there's artists that I love, and like, I haven't heard from them in a while, and it's, it's their one out of four newsletters a year.
Scott Tallman Powers: 54:55
And there's stuff going on in that amount of time, you know, because that guy. Gotten some artist email newsletters where they were coming out every two or three weeks, yeah. And I was like, holy moly, how do they do that? You know, that's a that's a lot of lot of work in that and, and how could you have that much stuff going on in that amount of time? You know, that would be different,
Laura Arango Baier: 55:20
you know. Yeah. So, yeah, yeah. So it's reaches
Scott Tallman Powers: 55:24
on whatever works, you know, it's also, you know, everyone, everyone has a different work pace to where, you know, it takes me a long time to do my work, and I can't just pump it out. And so doing them on a quarterly basis would make more sense, because then you would have a lot more stuff to show and and stories about it. Yeah,
Laura Arango Baier: 55:47
exactly. I mean, it's one thing to be, you know, the studio painter, or even you know, someone like you, who does, you know, this very intense realism, versus someone who does, you know, smaller plein air, right? I mean, if you do like a small plein air painting. You whip those out, easy peasy, and you can whip out a lot of them, which is nice. So it makes it makes it seem like you're pumping out a lot of work, but it's really just dependent on subject matter and process.
Scott Tallman Powers: 56:14
And that's really cool, too. I mean, I love seeing that stuff, you know? Oh yeah,
Laura Arango Baier: 56:18
yeah, no, I love it. And I Yeah, again, I think it's awesome that they can pump it out quite quickly. So it's, you know, there's that balance of, like, again, process. Like, what's your process? What do you care about? What do you want to focus on with your work? Because there's really no right or wrong answer, right? It's whatever makes you happy. Kind of, like, the timing for newsletters. It's whatever. As you mentioned
Scott Tallman Powers: 56:42
that quarterly though, I think I'm gonna do that.
Laura Arango Baier: 56:46
Yeah, go for it, and then let us know how it goes, because I should also do a quarterly newsletter. We'll tell each other how it goes. Yeah,
Scott Tallman Powers: 56:58
I was talking to someone about about that, where they were giving me advice on how to, how to structure all that stuff. And so she was mentioning, like, preparing, like your email newsletter, like, like the first two, like, even, like the body of it, preparing it for the first two or three emails, you know, in the future, just prepare the body of it and then, and then, that way you can just start putting in your images, and then, kind of like tweaking it up, and it takes way less time than start from scratch. And I thought that was a good idea. Haven't done yeah, that's
Laura Arango Baier: 57:42
all in due time. All in due time, you are, of course, pressure to buy your deadlines. So I think, you know, focusing on your your paintings is probably it's always going to be the, the higher priority anyway, compared to newsletters. But newsletters are definitely very useful for the future. Um, yeah. And then speaking of the vice as well, what advice would you give to someone who wants to become a full time artist? Well, it's
Scott Tallman Powers: 58:07
kind of like what we were talking about before is, is get hooked up with a get hooked up with a group of people that that get together to paint portraits or paint landscapes together. I started this, this group called plein air painters of Chicago, years and years ago, and they're still going on now, and they have a large group of people. They go out every Saturday, and they paint outside, and just being around other artists and and sharing your ideas and and their advice, and I learned a lot from people that I painted with about how I could get into shows and get into galleries and finding out a lot more information than I could have ever gleaned on my own and and then doing like competitions, just getting up, getting your name out there, and because you never know when you might get discovered by a gallery, just because you had your work in a show and and just constant, constantly train, constantly practice all the time. And because it's always going to be your work is going to be the most important thing that you're going to be leading with, and you have to constantly get better and, and we're still doing it now, you know, constantly training, constantly trying to get better and and talk to somebody that has some good business sense with, with building the business side of your of your career? Yeah, I wish I would have done that earlier on. You know, I was just so fixated on the painting, I wasn't thinking as much as I should have been about building a foundation, like a business foundation. It, because that just wasn't the way my mind was working. I was obsessive compulsive artist. So,
Laura Arango Baier: 1:00:08
yeah, but I think that's natural too. I think for us, you know, it's such a passion that the business side is always so secondary. And I mean it, it's also kind of prioritized that way anyway, because without art, you don't have a business anyway, you have to create in order to sell to have that income. So I think it's totally normal, but I agree, you know, having that business mind kick in in the background, you know, playing the background while you're painting as many paintings as you can, and you're learning on the go. You know, doing all these things, it's very useful, for sure. Yeah, it's very, very
Scott Tallman Powers: 1:00:49
important, very important. You know, I always really admire some of my friends that can do both really well. And I'm like, Man, that is so incredible. You know, I admire so much for being able to do that. Because it's always like, if I'm not painting or working on one of my pieces or sketching and coming up with ideas, doing the whole business side, frustrates me. And I think I probably just, I should have embraced it a lot more. I'm embracing it more now, but, but it's like, like, Okay, let's get this done. Okay, get back to the easel, you know. But, but also, some of my friends too, they hire someone to take care of that part time, and that's also an excellent thing to do. Yeah, that's just not your strength or someone to do it part time. It's worth the money.
Laura Arango Baier: 1:01:48
Definitely, yeah. I mean, there's, you know, there are a few ways to go about it. Like you said, you know, you do it yourself, you hire someone, or you could also just take maybe some business classes. Because, I mean, I have, I exactly so that you know, you know what you really need in order to function as as a business, and to also see your work in that sense. And then if you do have someone in your family or in your friend circle who's quite good at that, you know, you could hire them as well. That'd be great. Yeah. Yeah, totally, but yeah. And then I want to ask you about your upcoming workshops and exhibitions.
Scott Tallman Powers: 1:02:30
Well, my buddy Scott Christensen and I are going to be doing a workshop together at the end of May, May 30 through June, 3, and it's a combination of landscapes and figures and figures in the landscaping, and kind of blending the two, because he's amazing landscape artist. And so blending our our skills with is going to be a very interesting workshop that'd be very unique. So because, you know, we both love to paint outdoors and and I love to paint the figure and paint portraits, and we're going to be sharing a lot of those ideas and and how to and how to put the figure into your landscape, where it's believable as well, you know, where you have your color harmonies syncing up with with everything, and it looks natural and and a lot of other, lot of other things that we're gonna be going over. So it should be a fun workshop. And so that's the only workshop I got going on right now. And then got the Brisco show, Briscoe museum night of the artist show coming up this weekend. And I just have one piece in there. And there's a lot of fantastic artists in that show. And and then the the pre to West Show. This will be my 11th year in that show that's coming up in June. And so that's what I'm finishing, that that one behind me is going to be in the pre to west, and then that the horse that's right there, that's just right in the beginning stages, but I got to finish that soon. So that's due next month. They get ship it out of here, actually, so don't have much time. And yeah. Yeah. And then, then it's just, then it's just going to be putting getting my place ready for classes here and and, and then putting together some workshops around the country. So,
Laura Arango Baier: 1:04:35
yeah, that was so exciting. Yeah,
Scott Tallman Powers: 1:04:39
it's gonna be fun.
Laura Arango Baier: 1:04:41
Yes, yeah, it sounds amazing, especially like I'm really, I think you know anyone out there who really wants to figure out how to put a figure in a landscape believably, they would totally benefit from doing a proper workshop on it, because I think that's one of the hardest things to do when you're making a narrative painting. For sure.
Scott Tallman Powers: 1:05:00
Well, yeah, I mean, just, just like at the American Academy, Mr. Kajecki, my fundamentals instructor. He was my teachers are always like, coming around in my in my mind all the time, even when I'm painting today, and and then learning perspective, learning how to put a figure in there, and make sure that they're in proper relationship to everything else, and then, and then having all the, all the colors that are around the figure in the figure, you know, and it looks believable where it's not looking like a cut out, you know what? I mean, we're and I see it all the time where you'll have someone like it with like blue jeans on, and it's like cobalt blue, light and dark, maybe just a few touches of other colors, but they're in with a bunch of green grass around them, and there's no green in that in those pants. And so it's like, you got to put that green in the pants in order for it to look believable. And it'll still read as a boujee, but it will look like it's in it's it's harmonized with the air and the scene seeing around it. So that's what like. Painting from life is huge. Like doing landscapes from life, doing everything from life, and putting the figure out there and and isolating your isolating your colors and relationships, to everything that's that's around it, you'll start to see, holy crap. There is so much influence of that green into the clothing or into the flesh, you know? And so, yeah, so I love all that stuff,
Laura Arango Baier: 1:06:40
yeah, yeah. And you bring up a great point, because, I mean, the the way that, you know, most people might, you know, attempt to paint, you know, jeans, like you said, right, those two different blues that, that kind of reminds me of, you know, when you're a kid and you have a coloring book, right, where everything is its own, separate thing, instead of, like this, like, you know, whole image that, of course, like I mentioned earlier, like with side size, for example, like you have this whole environment around it as well, that you have to see, like the big picture, you have to step back and really focus on that as
Scott Tallman Powers: 1:07:12
well. Yeah, right. You have to when you're when you're painting and you're making your relationship decisions, you have to think and feel all the way around the subject, on how everything is influencing what you're painting, no matter what you're painting. And so if you have that train your mind to think larger, instead of, instead of, like right at your subject, do your painting always think about the air, always thinking about the reflected light, everything that's going to be influencing I'll be, I'll be looking over here because I'll notice something in this inner, in the side of someone's leg, in their flesh. I'd be like, why is that? Have that red color in there? You know, I'll start looking around at everything, and then noticing that there's some strange thing. It was catching the light that was influencing the model and and then I put my mirror upside down on my head, look at the model, and I'd be like, holy crap. That was way stronger than I thought it was, you know? So
Laura Arango Baier: 1:08:10
the delicate balance of person and environment and color and value and
Scott Tallman Powers: 1:08:16
yeah, man, painting all those threads keeping all those threads connected.
Laura Arango Baier: 1:08:21
Yeah, painting is just a beautiful, crazy puzzle. And that kind of reminds me again of your work as an electrician, puzzle that has to come together
Scott Tallman Powers: 1:08:32
on overlaps there, yeah,
Laura Arango Baier: 1:08:34
oh my gosh, amazing. Oh man. And then where can people see more of your work?
Scott Tallman Powers: 1:08:41
Well, my website, Scott powers Fine art.com, and at sellers West galleries in Tucson and a loon gallery West in Phillipsburg, Montana. And just my social media, my Instagram and Facebook. My Instagram handle is Scott Tolman powers. And my Facebook Scott Tolman powers, and then I have another one. Scott powers fine art. But I haven't figured out, I haven't figured out how to to to make like a business page, a Facebook business page where you don't have to have like a friend thing, they just follow, right? Then you can have unlimited amount of people. Yeah,
Laura Arango Baier: 1:09:22
yeah. I think, I think, yeah, there's a way to do that. But I did that forever ago, and I honestly don't remember how he did it, yeah,
Scott Tallman Powers: 1:09:30
but someone told me recently that you can't take your your your page and just transfer it into and keep all your followers. Oh, I don't know that you can't. Oh, yeah, because I think they could do that before, but I don't think you can do it now. I could be wrong, but that's what someone told me.
Laura Arango Baier: 1:09:53
Well, it's worth attending to, just in case. Yeah, yeah.
Scott Tallman Powers: 1:09:56
And so then you got to start, start one from scratch, and then just. Like, get people to sign up for that or,
Laura Arango Baier: 1:10:03
yeah, build it up again. Yeah, bang. I know lot of work. Oh, man. Well, thank you so much, Scott for your awesome company and your advice and all of your awesome stories.
Scott Tallman Powers: 1:10:17
This has been a pleasure. Thanks so much, Laura, and thanks for everyone who's watching,
Laura Arango Baier: 1:10:21
yes, of course, yeah. And then, of course, all your links are in the show notes for anyone who wants to go check those out. Sign up for the workshop or your newsletter. Check out your beautiful work. And yeah. Thank you. Bye.
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