The New Media, Part Two: Branding Yourself

     What does it mean to brand yourself as an artist?  Most artists run, screaming like their hair is on fire, from marketing terms such as this and “the corporate speak”.   But let’s deal in reality for a moment.  You produce a product to sell (or hope to someday), right?  If you’re not actively marketing your wares then you aren’t really in the game, or as we say here in Texas, “you don’t have a dog in the hunt”.  So, it’s my opinion that if you want to sell artwork, then you best climb your butt on the marketing wagon.

     The stigma of “selling out” touches artists like no other profession.  But Facebook allows you to market, without the perception that you’re marketing.  See if this makes sense:  the “branding” of you, the artist, isn’t the same as “branding” Coca Cola, the product.  “Branding” to me, means creating a microcosm of who you really are to your customer, i.e., the “real” you.

     One thing I’ve learned after all these years is that the customer wants to connect with you, the artist.  Customers like knowing the artist personally and it’s conducive to making the sale.  So here’s my advice in a nutshell:  Socialize with your Facebook crowd.  Talk to them, talk about your real life.  Be a normal, yet interesting person, and try to connect with people who find your way of life interesting.  The leap to seeing your artwork isn’t too far from there.

     What do I do personally to “brand” myself?  I tell people what I’m thinking, what my concerns are, and I give some humorous insight into my real life.  The most popular posting I’ve ever made received an uproarious response.  I related an episode here at my studio involving a very large snake, flip-flops, and a severely damaged little toe.  Did I mention I was armed?  It was Keystone Cops gone awry!

     So what’s the next step?  What happens after you connect with people who find you interesting?  You establish real friendships, go to dinner, and do what real friends do. 

     If all this sounds too difficult, you can remain faceless and nameless and stick with a paradigm that I believe is slowly waning:  gallery representation.  The world of marketing is being rocked by the methods that are the “new media”.  YouTube, Facebook, Blogs, and Twitter are the beginnings of a brave new world.  Stick your toe in, the water is fine!

   

Change Your Thinking On Facebook, Part 1

    

 I’m going to go out on a limb, here, and say that except for your website, Facebook is the most powerful marketing tool available to those artists who choose to promote their own work.  In many regards, I think Facebook is stronger in some applications than a traditional website.  

     But a high quality website will always be the final destination for people considering your work, and it must perform it’s task.  Understanding Facebook, as it pertains to marketing, is the real key.  If you figure out how to use Facebook for its intended purpose, it will help drive people to your website.  The two tools should have a symbiotic relationship..... like the Crocodile and the Oxpecker (Check it out!)  

     Many people use Facebook for nothing more than staying connected with friends and family-----fine, if that’s your goal.  But for the artist who chooses to market on Facebook, a shift in thinking must occur. 

     Many artists think posting their latest painting for review is the most appropriate way to market in this venue.  In my opinion, this is minimally effective at best.  These artists miss the inherent strength of Facebook.  They also risk removal from the Facebook format by breaking their #1 Rule:  no self-promoting businesses.  Facebook is a social networking destination.  I say use it for its intended purpose….networking and socializing.

     Look….if you attend a social gathering or party where many of your collector base is present, you wouldn’t stroll through the crowd with a Cosmo and your latest painting in your hand.  Many collectors would find it offensive to talk with you while you constantly flash your newest 22 x 30 painting. 

     To put it simply, I think you missed your window.  Social gatherings are for socializing.  This is a powerful way for you, the artist, to become REAL to your collector.  The painting, at this point, is a distraction and interference.  Let them get to know you!

     That being said, there is an appropriate time to introduce a new project, a new show, or a new accolade.  When you’ve established a relationship with your audience, they will want to see what you’ve been working on and your latest image.  Just don’t let that be your only conversation on Facebook.

     If you are unable to interact with your collector base without the crutch of your painting, you are at a severe disadvantage among the artists who understand this distinction. 

     I think 90% (or more) of artists fail to make this connection.  My next post will show you the key to making this all-important connection with your base.  Stuff for heavy mediation, huh?       

A Paring Down

     I apologize in advance to those who subscribe to my blog and visit every day.  Additionally, I owe you a big “thank you” for your investment of time to peruse my daily ramblings. 

     However, the time has come for me to re-focus my painting efforts.  Several very interesting projects have been sent my way, but they require great investments of time, research and preliminary drawing proposals.

     Realistically, the early phase of my blog has run its course.  I’ve given you some fundamental basics that will serve you well as a beginner or a working professional.  The beauty of fundamentals is that they serve us all the same, at whatever level we find ourselves.

     At first, it was my intention to end the blog and move on to something new, but after much reflection, I’ve decided to post once per week, until a definite new direction arises.  I know that several new and interesting thoughts and techniques will appear on my horizon, and I think sharing our thoughts, even sporadically, will be a benefit to us all.

     So look for my weekly post, keep in touch on Facebook and Twitter, and don’t stop painting, writing and creating!

Your friend,

Mark

   

Soul Window

Soul Window

I am always amazed at the horses that working cowboys will ride.  Most big outfits average forty dollars a day on wages, so the working guys have to make the most of average horses.  This mare belongs to Tanner Bell, a Piute Buckaroo living near Battle Mountain, NV.  This mare is one of my favorite subjects.  Obviously a desert mustang, she is alert and built for endurance.  The horse crowd wouldn’t give you a plug nickel for her, but the working guys are masters at taking an average horse and doing remarkable things with them.  What she lacks in conformation and pedigree, she more than makes up for with heart and try and loyalty.  Look at her eye and tell me that isn’t a window to her soul.  She gives of herself and asks for nothing in return, but a good day’s work and a pat of acknowledgement and mutual respect.

Have a good weekend and I'll see you back here on Monday!

All content and images © Mark Kohler Studio.

Simply Simple Things

     I’ve been contemplating the significance of importance…. As in what’s really important….in this life, to me.  I’ve come to settle on these few “things”.  Simple things:

Holding my grandfather’s tools and wondering who will care for them when I’m gone.

A new Isabey #7 Sable brush

The little mesquite table Chris McLarry gave me

The feel of a new Nicholson mill file

© Joel Ostlind

Cast Iron cookware

The sound of Sitka spruce arrows out of a traditional bow

Enstrom’s Toffee

Splitting mesquite with a maul

Re-reading Plummer’s “Nathan”

Kimber 45’s

Joel Ostling Etchings

Wood burning stoves

Tom Ford cologne

Jeannie’s Christmas Fudge

Dietz Lanterns

Leafless oaks against a winter sky

Tom McGuane books

Old Creels

Re-runs of Northern Exposure

Thunderstorms

International Artist Magazine

Wetterling Hatchets

My Filson shooting coat

A flask full of Cat Daddy

The way a Randall knife fills your hand

Quattro, my Granny Dog

My 1973 Vietnam Era Benrus watch (which I won on a bet on the skeet field)

Cooking outdoors

Granny dogs, “Old Men”, and puppies

Wondering who will care for my grandfather’s tools. 

All content © Mark Kohler Studio.  

Remembering Granny Dogs and Old Men

     Granny Dogs is a term I picked up from my sculptor friend Jan Mapes.  It’s more a term of endearment for our retired or oldest dog.  Right now, my granny dog is a half blackmouth cur/half redbone I call Quattro.  Quattro had 4 white feet when she was born, so the name just stuck. 

     She’s nine years old and still quite capable.  In fact, last week I turned her loose to run a big boar hog that’s been dipping his big toe in my tank.  She ran him about a ½ mile while working his hind end til he gave her a close shave across her flank.  No one got hurt and he got the message.  Detente! 

     It’s nice to watch my bulldog puppy loosen up Quattro’s stoic personality.  Quattro accidently found herself playing among the puppies.  Then she suddenly comes to her senses and tries to recompose herself into the old worker she exemplifies.

     My last granny dog (Jewel-see previous post) maintained her composure right til the end, but her pen mate Bodie (also a previous post) could bring out the puppy in her when she least expected it.  It’s an interesting thing to see. 

     I guess it’s hard to maintain all that dignity even if you’re a dog.  I like puppies, but old dogs touch my soul.  There is some kind of connection I have with old dogs.  You can see what they have given and the tolls that have been taken. 

     “Old Man” seems to be the terms of choice for the battle-scarred males that are hanging on.  I remember an old catch dog that belonged to a hog hunter around Quihi, Texas.  He was a Catahoula/Blackmouth cross that was a mess of dark keloid scars  from terrible cuts received while working big boar hogs.  He was a dead ringer for Fred Gibson’s “Old Yeller”.

     I saw him maybe two, maybe three times, but never got his picture.  He always came up to me with a happy tail wagging posture, and only answered to “Old Man”.  When I think back on all the headers and heelers, bay dogs, catch dogs, big-country pointing dogs, close range “foot dogs”, and the little game terriers that will dash down the dark hole, I realize I’ve been blessed with the greatest gift in the world.  I think it’s the ability to enjoy the smallest of things.

     Tomorrow---More on the small things.

Soper's Horses

     As a watercolorist, I am on an eternal search for quality resources to further my craft.  The great majority of watercolor-related books have little to offer.

     My friend Jason Scull recently gave me a remarkable book that is definitely worth adding to your collection, whether you paint or not.  The title is George Soper’s Horses, A Celebration of the English Working Horse by Paul Heiney.  This book is not only rooted in good foundational drawing and painting, but is directly targeted for the western painter, because Soper’s subject matter is draft horses.

     Soper’s affinity for farming horses is crystal clear.  He spent a lifetime studying the European draft horses and his dedication is evident in his drawing.  Soper’s body of work was produced in the first half of the last century.  He died in 1942.  He was typical of an artist who totally immersed himself in his subject matter.  He could move seamlessly through different mediums to illustrate his passion.

     Watercolors, etchings, scratchboard and simple sketches are handled with the knowledge of a Master.  Of course, I lean toward the watercolors as my favorites, but you will appreciate Soper’s gift with a brush or pencil.

     Two of my favorite paintings in the book are shown above, and they are handled so brilliantly they need no further discussion. 

     If you don’t have this book in your collection, please consider a visit to Amazon.  You won’t be disappointed. 

P.S.  The last time I checked Amazon there were only 4 copies available.  Don’t delay!

All content © Mark Kohler Studio.

Collaborate!

         I try not to fence myself in when it comes to art and marketing.  In talking with other artists, it’s apparent that this economic decline is taking a large toll on the galleries.  Marketing artwork is difficult, and artists, by the very nature of their craft, would rather paint than market.

     One tool I’ve found that can be a great asset for artists is collaboration.  Collaboration is defined as:  the action of working with someone to produce or create something.

     I like to collaborate with a partner who brings as much or more to the table as I do.  By combining the talents and resources of two, we double the chances for success.

     I’ve become adept at looking for just the right situation where collaboration will achieve my goals.   My last collaboration was with my friend Kathy McCraine.  It was born during a short drive to the O RO ranch in Arizona.  Our casual talk lead from one step to another.  In the span of an 80-mile drive, we hatched the idea of a cookbook, developed a passable marketing plan, and set a schedule to meet a Christmas deadline.  That short drive was the impetus to create Cow Country Cooking.

     Was the collaboration a success?  We paid the printing bill in just over a week, and in just two months we have sold well over half the edition.  So why was this collaboration a success?  Several reasons come to mind:  1).   Kathy and I both know our subjects.  We had emotional connections to cowboys and Northern Arizona, as well as the O RO ranch.    2)   We combined our talents into one concerted effort.  With Kathy’s writing and photography skills, and my paintings and storytelling, the bases were all covered.    3)  We both had mailing lists and contacts.  We doubled our outreach just by collaborating.

     One word of caution:  I think we must be careful as artists what we put our name on, always keeping in mind our collector base and their expectations.  But collaborating on the right product or project can be a huge success.  Keep your eyes open for opportunities and good luck!

    

Another Great Year At The Coors Show

     Well, Pam and I just wrapped up a 2700-mile loop from Yorktown to Denver.  And except for a stomach bug knocking me out on the Friday we returned home (with a visit to the ER), things went good for our efforts.

     It’s always exciting and a bit tense to exhibit with your artistic peers.  This show had many rewards beyond selling all five of our submitted paintings.

     The Coors show gets better each year---with improved work and a greater sense of camaraderie between the artists.  It is truly a quality show, in every sense of the word.

     I thought I would share with you some of my favorite paintings from the show and wrap up with a spectacular highlight.  I want you to know that my camera does not do justice to these spectacular works of art.  So here we go ….

     Douglas Fryer, who is a painting friend of the noted artist Michael Workman, did this painting titled Barn Cat.  The subject matter was good, but I especially liked the paint application and the layering of the paint.  This, in my opinion, was the strongest painting of the show.

Barn Cat by Douglas Fryer

   

  My second favorite painting was titled Steel Arcade, and was painted by William Matthews.  This painting was an exceptional piece for its’ size, about 11” x 11”.  It really captured the feel of a brutal winter’s day on his cowboy subject.  

Steel Arcade by William Matthews

     Gil Dellinger’s huge landscape painting (60” x 48”) captured appreciation from most every artist at the event.  This large landscape was magnificent and I’m sure my photo will do little justice to this monumental effort.  Gil is a great artist and contributes interesting breakfast conversation.

Lake O'Hara, Canadian Rockies by Gil Dellinger

     The highlight of the show for me (being a watercolorist) was Dean Mitchell’s body of work.  My favorite painting was of a midwestern farm landscape.  The leafless winter trees and earth tones are painted with such simplicity and grace, that you know immediately you are looking at the work of genius.  Dean and I discussed the art of watercolor in general, and how it related specifically to the Coors Show.

Midwest Mansions by Dean Mitchell

     We agreed that there are advantages and disadvantages to watercolor as it pertains to shows.  We also covered papers and drawing.  The handmade paper I used for one of my submitted paintings fascinated Dean.  His paintings were all done on Crescent plate finish board, and I could tell by our discussion that he prefers a support that allows the paint to stay suspended, or “float”.

     He said he liked to glaze, but the plate finish won’t allow much reworking because the pigment is suspended on the surface.  All in all, it was a great art discussion, and I can tell you first hand that Dean Mitchell is a class act.

     Thanks again to Rose Fredrick, Curator of the show, for an outstanding exhibition.  It is always an honor to be included with this caliber of artist.  I also want to give a shout out to all the volunteers who make this event such a great success.  Our docent, Linda, was definitely instrumental in our success that night.  And I owe a sincere “Thank You!” to Ron and Cille Williams.  They always see me through the last hurdle.  My final thought:  Art and Good Friends!  Who could ask for more?   

Swayze's Favorite

     In keeping with our finished dog portrait, I thought I would end up the week with another painting of man's best friend.  This painting is included in my recent collaboration with Kathy McCraine, called Cow Country Cooking.  I hope you enjoy it!

Swayze's Favorite

     They say you can tell a lot about a man by the dog he chooses.  So, in my book, Swayze McCraine is one helluva man.  Loupy is a Border Collie-Catahoula mix that quietly gets his work done --- sometimes, a little too enthusiastically --- and asks very little in return.  Because he has the brains of the Collie and the grit and drive of the Catahoula, Loupy is where the action is at the right time.  These are two valuable traits that elude a lot of cowdogs. 

      I think highly of this dog, and as 33% owner of the 7-Up Ranch, he gets in his share of cow work.  He’s almost the perfect dog.  You know, they say you can tell a lot about a dog by his owner….              

     Well, we're already one week in to the New Year, so what do you say we embrace 2011 and blaze some new trails with our art?  Be bold and unafraid!  And if there's anything you want to discuss or any question you would like to see answered, bring it on.  Let's support and encourage each other!  So have a good weekend, and I'll be back here on Monday.

  

White Dogs Are Tough: The Wrap Up

     My final pass through the painting requires beefing up the muscle forms and modeling. I add some Cadmium Red to warm the underside of the chest that is receiving some reflected light. 

     I also use my white gouache to indicate some wisps of hair in the lit area.  My background washes had bled into some of the areas and polluted my first gouache application.

     At this point, I don't want to overdue it, which can be a temptation to a lot of painters.  The simplicity and "cleanness" of this painting is what I find so appealing.  So I decide that at this point, it is a finished painting.

     I hope you found this portrait interesting and helpful.  It was a difficult undertaking, but I’m pleased with the final work and I hope my collector will find it a welcome friend. 

White Dogs Are Tough: Day 4

     I start Day 4 with the knowledge that I need to establish some washes in the background.  I realize that to make Sugar appear to be a white dog in shadow, I will need to darken the background around her.

     Remember, with watercolor, the only way to lighten a color is to preserve it from the beginning, or darken the area around it (darkening the value around a color makes it appear lighter).

Background Washes

     I lay in an atmospheric wash of Burnt Sienna and Ultramarine Blue to form a nice gray.  I then start layering in several glazes in sequence …. Burnt Umber around her legs and feet and an even darker glaze of Cadmium Orange and Ivory Black.  My shadow on the ground is a mix of Sap Green with Alizarin Crimson to gray it down.  I keep this simple so I don’t distract from Sugar’s head, my center of interest. 

     Tomorrow, we'll wrap it up!

White Dogs Are Tough: Day 3

     We’ll start today by concentrating on our washes.  The next wash will separate my light side from the shadow side.  This is also a preliminary wash that sets an overall tone for the shadow side.  This particular wash was a very weak wash of Cobalt Blue with a touch of Permanent Rose.

Photo 5

    

Things seem to be progressing nicely and I feel as though I’m generally heading in the right direction.  I’m still moving slowly and making very measured color decisions. 

     I’m having a bit of trouble judging the value range because my darkest darks are only the nose and eye, while most everything else in my subject registers in the Value 7 or 8 range on my scale. 

     To get a better feel of the value range in my painting, I decide to add white gouache to my lit area.  This is the “pop” we discussed earlier, and I think having my lightest lights indicated will make judging my values and colors a bit easier.

Photo 6

Photo 7

     Photo 7 shows all the gouache whites added.  Additionally, I start sculpting some of the descriptive forms in the dog’s body.  This was completed with my usual purple mix of Ultramarine Blue and Alizarin Crimson, with a bit of earth tone to soften the hue.

     Tomorrow we begin the background.  See you then! 

White Dogs Are Tough: Day 2

     OK, we’re ready to start our painting, and since I must achieve a dead-on likeness of the subject, I chose to begin with the drawing of Sugar’s head (Photo 1). 

Photo 1

     I wanted to make sure I captured a perfect semblance of her before I invested several more hours of additional drawing.  If I don’t peg a likeness in the head and eye, I see no use in continuing the process.

     In Photo 2, I used some Burnt Umber and Ultramarine Blue to establish the darks around the eye, and darks in the nostril.  I also laid in some preliminary washes in the nose and ears.

Photo 2

     At this point, I’m going slow and being very careful.  A snap color decision here can ruin my early efforts, so I’m evaluating my color choices with care.

Photo 3

     Photo 3 shows the collar blocked in with its first wash, and at this point I felt comfortable enough to continue on with completing my drawing.  I used a soft B pencil and very quickly indicated some of the form in the muscle groups.  With long-haired animals, the muscle groups don’t show up so well. 

     To define my subject, I must depend on edge changes in my photo and look for the subtle value changes that will make up my portrait.

     With the drawing completed, we’ll start on washes tomorrow.

White Dogs Are Tough: Day 1

      I debated whether or not to pursue this painting as a demo.  Initially, I discounted it because I felt there just wasn’t enough going on in my subject to make it a good demo piece.  After some thought, I concluded this is actually a perfect demo painting because it presents several challenges, that as painters, we must deal with in a logical, well thought out manner.

     As I see it, the two greatest hurdles we face with my photos of Sugar, the English Setter, are the following:  1) There is a very compressed value range, and 2) I’m going to try to paint a white dog with a very limited pattern and virtually no color indications.

     This painting is a commissioned work for a very good friend and collector, who is a lover of good working setters.

     Prior to starting the painting, I had some decisions to make.  My first major decision was which paper would be appropriate for this subject matter, and would actually help me with the process, since I had the two hurdles to deal with.

     I had one piece of a cool gray, handmade paper I had procured many years ago.  I knew that my whites would “pop” on this paper, but my shadow side might be a bit more difficult to deal with. 

     Everything is a trade off and this paper selection would be no different.  I also made an early decision that I would probably need some gouache to bump the intensity of my color.

     So now that I’ve identified my subject matter, and am aware of the issues I will be dealing with, we’ll begin tomorrow with the preliminary drawings and start our painting. 

How To Grab Life By The Horns!

     As I promised yesterday, we’re going to start off the New Year with a unique outlook on life.  And it’s provided by my good friend, Lowell Goemmer.  Lowell and his wife, Karen, are the parents of Shawn Goemmer, whom I’ve often featured in paintings.  And you’ve met their granddaughters, Dally and Riata in past blog posts.  But now it’s time to get to know Lowell.

Lowell and Karen

     There are many adjectives to describe Lowell, and high on the list is “colorful”.  Life takes some big ol’ nasty bites out of him and he takes it in stride….kicks life back into his corner and turns it into a good story.  He’s proud of his scars and his setbacks and doesn’t blame anyone or whine about his troubles.

     We only got crossways once over a comment (I supposedly made) about Lowell packing his own wheel bearings.  He claims I made some snide comment about “I usually pay to have someone do that kind of work for me”.  To this day, I deny the comment (hell, I pack my own bearings!) and we have some good verbal sparring matches over the remark.

     In retribution, I emphatically state that Lowell cannot cook a burger beyond “cool rare”.  I realize that “cool rare” doesn’t even exist in the cooking range, but I’ve seen it in Willard, New Mexico.  “Cool rare” will most certainly not kill e coli and other friendly bacteria, waiting to wreck your colon.  But again, Lowell and I must agree to disagree on this subject.

     So without further adieu, enjoy Lowell’s Christmas letter.  It will show you just exactly how to grab life by the horns.

Merry Christmas and A Happy New Year!

     Ended up with less than I started off with.  Cut my thumb off in October….

     Shawn and Mindy are buying cows and a Nevada lease.  Shane and Sherri sold their house and they will run some cows here in Willard, NM.  I would think them damn kids would be smart enough not to get in the cow business after being raised in it.  Shane loved flying, but didn’t care much for the corporate world.

Lowell

     In May, we all got together for Karen’s Mom’s 90^th birthday party in Denver.  All 9 of her great grandchildren made it – ages 11 down to 5 months.  In June we all met in LaVeta for a memorial for Mom and Dad.  Mom passed away last year in December.  Turned out real nice.  Rained and country looked good.  About enough of this togetherness.  I think we were pushing our luck.

     In late June we hauled to Montana.  Karen was leading the world in the 60’s Barrel Race so we decided to take the plunge and go to Canada and the Calgary Stampede to insure it.  DAMN bureaucrats wouldn’t let us in!  They had changed their entry requirements and told Karen that New Mexico had sloppy vets.  They are a sorry lot no matter what country you go to.  Then her dog got run over up there and about got killed.  Good vet up there saved her.  1400 long miles home.  Got dog on road to recovery and went to AZ to the Cowpuncher’s Reunion (big gathering of cowboys, lots of visiting and roping---very big for ranchers and families).  Both granddaughters, Dally & Riata, won belt buckles and got baptized in a stock tank.

Reata and Dally

     My old calf horse “Cap” got crippled this year so had to borrow my blue mare back from my grandson, Kade, to rope on at the rest of the rodeos.  Have 5 calf horses, Cap is crippled, and the grandkids have the rest of them—two in New Mexico, and two in Nevada.  Fun watching them; all 4 of them have won all-arounds this year.  Makenna, age 2 ½, even won a buckle and enters every boot race.  She and Fallon share Porky.

     After fall Nevada rodeos, we came home and Karen turned around and took her mare to the vet, and went back to Nevada to run barrels with Mindy and the girls.  I was practicing team roping at home and cut my thumb off, so she flew home after the barrel race and we headed back to the Finals in Winnemucca (NV).  She was sick when we got back to Shawn’s; took her to the emergency room and she had SHINGLES!  She was as sick as I ever saw her.  She tells everyone to get a shingles shot.  She managed to run one round and turned out the other three.  So, no saddle this year, but we had a good finals, watching our kids.

Karen

     National Senior Pro Rodeo Association inducted Karen into the Hall of Fame and her whole family was there except her brother.  All the grandkids were pretty proud of Grandma, and to top it all off, Sally, her barrel horse was voted Barrel Horse of the Year.  SO IT HAS BEEN A GOOD YEAR.

     Didn’t have time to sit around and feel sorry for myself.  Got home and headed to Amarillo to the Ranch Rodeo Finals.  My sister’s kids were on a ranch team.  Now I’m back home and getting ready to go to the National Finals Rodeo in Vegas.  Oh well, people die in bed.

     A friend in New Mexico told me that the way I operate, it’s a wonder I didn’t do it 30 years ago.  With friends like that, who needs enemies?

God Bless!

Lowell and Karen

     So when you feel like life is getting you down, and you don’t have the stamina to go on, just imagine living a day in Lowell’s boots.  I’m 20 years younger, and I can’t keep up! 

     On Monday, we will begin the New Year with a demo.  It’s time to get back to painting!  Tune in!      

    

 All content © Mark Kohler Studio.