Sunday, April 14, 2019

My 5 Favorite Maine Islands You Can Visit by Ferry - #1 - Monhegan

Monhegan Skyline

If once you have slept on an island
You'll never be quite the same;
You may look as you looked the day before
And go by the same old name,
You may bustle about in street and shop
You may sit at home and sew,
But you'll see blue water and wheeling gulls
Wherever your feet may go.
You may chat with the neighbors of this and that
And close to your fire keep,
But you'll hear ship whistle and lighthouse bell
And tides beat through your sleep.
Oh! you won't know why and you can't say how
Such a change upon you came,
But once you have slept on an island,
You'll never be quite the same. 

 - Rachel Lyman Field

There are many more than five islands in Maine that you can visit by ferry, and I'm going to share my favorites in the next few posts. Perhaps these will help you with your summer vacation plans. At the top of my list is Monhegan, the artist's island, ten miles off the midcoast Maine shore.

"Monhegan" comes from the Algonquian Monchiggon, meaning "out-to-sea island." It was first visited by Europeans in the early 17th century and became a British fishing camp and trading post. The island was caught in the conflict between Britain and France for control of the region, but even during the times when the island was not inhabited, the protected harbor was a stopover for ships. The current lighthouse was built in 1850, after its 25 year old predecessor was damaged by storms. There is a wonderful museum in the Lighthouse Keeper's cottage.

 House on Monhegan - Bobbi Heath

By 1890 the island was established as an artist's colony, which continues to today. Edward Hopper, Rockwell Kent, and Jamie Wyeth are names you've probably heard. What inspires artists to paint here? The light and the subject matter. Many places that are surrounded by water are wonderful for painters because the light bouncing off the water is everywhere, sparkling and giving life to the shadows. As to subject matter, the island is made up of the village, the harbor, forests, meadows, and the dramatic cliffs on the ocean side facing the Atlantic. There's plenty there to paint.

Monhegan is .7 mile wide and 1.7 miles long, and is not developed like the rest of the Maine coast. There are less than 80 year round residents, a working lobster fishing village, and a thriving artist's community. The island has no paved roads and visitors cannot bring cars, but if you are willing to walk, you are in for a treat. Two thirds of the island is protected as a nature preserve by the Monhegan Associates, "an island trust which has accepted the responsibility of holding and maintaining the land in its natural form, for all future generations to enjoy". Seventeen miles of natural trails encircle and crisscross the island, through meadows and forests, onto the headlands, and along the coves and ledges. Birdwatchers, nature lovers, and photographers will all find something to interest them. You'll likely see painters in both the village and on the ocean side cliffs. You can download a trail map of the island, courtesy of the Monhegan Associates, here.

How can you get there? Monhegan is served by ferries from three Maine harbors, from southwest to northeast, BoothBay Harbor (Balmy Days Cruises), Round Pond (Hardy Boat Cruises), and Port Clyde (Monhegan Boat Line). You can visit for the day or longer.

 Downtown Monhegan - Bobbi Heath

My recommendation for a day trip is to take a walk through the village and then visit the lighthouse, where you'll get a fabulous view of the village at your feet and the island of Manana, which makes up the other side of Monhegan's harbor. If you have time, continue past the lighthouse and walk through Cathedral Woods to White Head on the backside. To get a beautiful view of White Head, turn right on the trail and walk to Gull Cove. Alternatively, the walk to Lobster Cove is beautiful, and your rewards is the rocky cove and the remains of the wreck of the D T Sheridan. And FYI, these walks are somewhat rugged.

Where can you stay? The largest hotels/BnBs are the Island Inn, the Monhegan House, and the Trailing Yew, each offering an experience unique from the others. And there are 11 rooms/homes listed on and at the moment.

And if you do visit Monhegan, please let me know how you found it.

Sunday, March 31, 2019

Mixing Color

Green Ledge 2003

Rachel Carson Marsh 2014

When I first started painting, I used very bright colors, mostly green, blue, purple, yellow, and white. I didn’t understand that there are 3 dimensions to any patch of paint you put on a canvas: hue (the named color on the color wheel), value (how light or dark it is), and chroma (intensity or saturation). Think about the last one as bright (highly saturated) versus dull (grayed down). Grays are very important to balance areas that are bright, but mixing grays can be confusing, since they can become muddy. As I watch individual painters evolve over time, I often see the same progression I went through; from bright, out of the tube colors, through a phase where the artist is trying their best to paint what they see in nature, to a place where they create their own color palette. And here I’m not talking about what you squeeze out onto your physical palette, but what you mix with those colors and place on your paintings.

Here are a few things I’ve learned.

Guideline 1: Mix efficiently

Regardless of what color you’re trying to create, if you don’t know how to mix efficiently, you’ll end up with lots of paint you can’t use. 

Start by mixing only two colors together. A primary and white is the simplest example. Let’s use white and ultramarine blue. Squeeze out some of both, with some space in between. Is the blue you want closer to the tube ultramarine blue or to white in value? If it’s closer to the ultramarine blue, then pull a little of the white into your ultramarine blue pile and mix them together with the back of your palette knife. It will probably still be too dark, so pull in some more white and repeat mixing. Continue to do this until you have the color and value that you want. If what you wanted was closer to the white in value, then do the opposite, pull a little ultramarine blue into the white pile, mix, and repeat as above.

Contrast the above with plopping down two pretty much equal blobs of ultramarine blue and white and simply mixing them together. To get what you want, you’re going to have to add more and more of one or the other, and you’ll have LOTS of paint by the time you’re done.

The above is illustrated in this video.

Guideline 2: Use a limited palette

Color mixing chart for a limited palette of lemon (Hansa) yellow, cadmium yellow, cadmium red, quinacridone red, ultramarine blue, and phthalo blue, with white (+W)

The more pigments you mix together, the more likely you are to get mud. A limited palette helps prevent this. You’ll also spend less money on paint and have less paint to carry around if you use a limited palette. What is this limited palette? Ideally it would be just the primary colors and white. The secondaries can be made from the primaries, but not vice a versa (try it if you’re not sure). The primary colors tend to have only one pigment in the tube. The problem is that none of them are exactly the color we see on the color wheel. Ultramarine blue is a little on the purple side of blue, and cobalt and phthalo blue are a little on the green side. But we can take advantage of that. If we mix a red and a blue that lean to the purple side together we get a really bright purple. And if we mix the red that leans toward yellow and the blue that leans toward green, we get a grayed down version (see the color mixing chart above). So if we have two of each primary and some white we can make everything we need, with a minimal chance of mud, and control over our grays. My paintings improved so much once I mastered this!

Guideline 3: Limit your use of white

White isn’t always the best way to make a color lighter, yellow can be a better choice, especially with reds. And it’s best to first block in the darks and then the lights (those mixtures that contain white), because it’s very hard to paint dark into light paint while both are wet.

A Great Exercise:

To practice paint mixing, get some pleasing color chips from the hardware paint department, and try mixing them. When you’re close, put a little of the mixture on the paint chip. Is the color right? Squint to make sure the value is right. Thanks to Leslie Saeta for this idea.

Sunday, March 4, 2018

Is an Online Painting Class for You?

Tidewater Marsh - a recent palette knife painting
3"x6" oil on treated paper

I've been disappointed by the last couple of painting workshops I've taken, and it wasn't because I didn't like the instructors, but because there were just too many students in the class. The result was usually lengthy demos, which could be hard to see, and little individual time with the instructor. Add to that the cost of going to an "away" workshop, and I understand the growing popularity of online painting instruction.

I've taken a few of these classes, some were excellent, and others not so much. Why is that? I think it largely depends on how the course is structured. There are several types of class depending on whether there is instructor interaction, and whether you can do the course at your own pace.  Obviously the former is desirable, but it also greatly impacts the cost, which is only fair. I've found that the kind of instructor interaction and doing the course at your own pace can complicate things.

I'm going to talk about just a few examples here, but there are many online painting classes available. I hope these descriptions will help you to choose wisely if you want to try one.

Example 1: Text - Videos - No Instructor Interaction - Work At Your Own Pace

Leslie Saeta offers a set of classes on how to paint with a palette knife. Each class is organized around a painting, and Leslie takes you through the process of recreating that painting. The classes consist of 10-18 videos. Each class is $35, and you have access to the ones you buy indefinitely. It's a great way to learn how to use a knife. This approach has no instructor interaction beyond the videos, you can do it at any time, and take as long as you want. Since the class covers only one painting, it's pretty easy to work your way through one of these. And then there's the option to do it again when you need a refresher, or to try out another one of Leslie's painting examples for the very reasonable price. The lack of instructor feedback or comments from your fellow students doesn't bother me for this price. For me, this is a clean, well organized approach to an online painting class.

Cirrus Cloud Painting - Painted Sky Class

Example 2: Text - Videos - Instructor Interaction by Comment - Work To A Schedule

Deborah Paris' Landscape Atelier offers online classes in numerous aspects of landscape painting. I took her Painted Sky class a few years ago and it was excellent. It included an introduction to several historical painters and their approaches, homework assignments with video demonstrations, and feedback on the homework. The homework paintings were done, uploaded, and commented on by Deborah on a schedule, using a class blog. This worked well for me. I also learned a lot from the other student's questions and their work. This was effective because everyone was working on the same lesson at the same time.  The individual classes run for six weeks and are $250, with bundles of related classes offered at a discount. Access to the class videos is available for a year. In my opinion this is a very effective way to take an online class. I was able to stay on the schedule, finished the course and learned a lot.

Three value study from an online class

Example 3: Text - Video - Live Instructor Question and Answer Sessions - Work To A Schedule with option to Work At Your Own Pace

As bandwidth has increased, instructors have begun teaching classes that include live interaction via a Facebook group. The interaction is often delivered as a weekly Q and A session and is recorded and posted for students who can't meet at the scheduled time. Costs start at a few hundred dollars for a class that targets a particular facet of painting. Some classes delivered with this approach teach a complete method and have a large time commitment with a commensurate cost ($1,000-2,000). Most  offer a year of access, followed by additional years at a reduced rate. These could be characterized as an online atelier, with students working with an instructor over a multi-year period. I follow several instructors who teach these, but haven't yet taken one myself. At the high price, the competition is a live workshop, which could work for me, if the class size is limited.

And finally a caution. When instructors use the third approach and repurpose the material for subsequent class sessions, there can be problems. Repurposing the video content is fine, the instructor interaction is the issue. If, as in Deborah Paris' case, a new blog is created for each session of the class, everything works well, all the students are working on the same time line, and the instructor is giving feedback on one lesson at a time. But when students can start the class at any time after the first time the class is run, and there are no live Question and Answer sessions, it gets very lonely. It can be hard to sift through the past classes' comments to find out how they approached an assignment, and you won't have any interaction with those students, since they're long gone. Finally, watching a Q and A from a class that was given months or years ago, where you can't ask your own questions, is pretty unsatisfying. It's like eating leftovers by yourself instead of going to the dinner party! If you are considering an online class that the instructor offers regularly, my suggestion is to make sure you know how you'll be able to ask questions and receive feedback and whether there will be other students taking the class with you. As to whether you'll do the work if you're allowed to work at your own pace, only you can answer that!

Monday, January 29, 2018

Painting in a Series

Dinghy Series 2017

I like to paint in a series. It's a satisfying way to explore a subject or idea and to create a consistent body of work. I've painted two series recently, an eight painting series of dinghies (or as my friend Michael calls them, "rowboats"); and a 16 mini-painting series. You may also remember my series of lobster buoys from late 2016.

 Some of the Mini-Paintings series 2017 - 3"x3" each

Buoys 2016

What makes a group of paintings a "series"? There needs to be a common thread, which could be subject matter, as in the dinghy and lobster buoy series. It could be a palette or a composition. It could even be size and medium, as in the mini-painting series. A good way to think about it is like variations on a theme in music. And there needs to be enough of them. I like to have at least eight.

One of my favorite series, which continues to inspire me years later, is the 100 Variations painted by Marla Baggetta in 2009. Marla developed a composition and painted it 100 times using different palettes and value structures. The referenced article from the Pastel Journal is a treasure trove of painting advice.

What are some of the advantages to painting in a series? There are many, some in terms of growing as an artist, some in terms of providing your collectors with insight into your work, as well as more interest from galleries and other show venues. This article is good reading.

Here are a few pointers if you want to try a series yourself:

- Gather and cull your reference material.
- Do some sketches first.
- Take at least one painting through to the end to make sure that you don't see something in the finished work that you'll need to change at the composition stage.

Thursday, November 2, 2017

Oil on Paper

November 2017 Day 2 
3"x3" oil on acrylic primed paper

Generally oil painters don't work on paper. Chemically, oil paint and paper are enemies, over time the solvent and oil in the paint will literally eat the paper. Historically painters have added a protective layer between the paper and paint. Gesso, shellac, and acrylic paint are commonly used for this purpose. In the last few years paper makers have been helping out by creating papers that are treated to allow oil painting. I've tried both the Arches Oil Paper and Canson Canvapaper. I prefer the Canvapaper, though both of them absorb the paint much more than a gessoed canvas. It's annoying to be unable to scrape paint off the surface the way you can on canvas or board.

Why paint on paper? It's less expensive than canvas or board, and you can cut it to any size you want. I love that flexibility! Because of the cost advantage it's great for experimenting, and it allows us to offer paintings at a lower price point.

I recently did some experiments to try and create a surface that I enjoy painting on with Canson's Canvapaper. In this case, I didn't need to protect the paper from the paint, but wanted to create a surface that I can remove paint from as well as add paint to.

I tried these coatings:

1) thin burnt sienna oil paint
2) thin transparent red oxide acrylic paint
3) acrylic white paint
4) acrylic burnt sienna and white paint mixed
5) acrylic transparent oxide red and white paint mixed
6) white gesso (to make this work, you need to apply the gesso to both sides of the Canvapaper, otherwise if will buckle)

My favorite is #5, the mixed transparent oxide red and white acrylic paint. The acrylic paints (numbers 3-5) gave a good surface in terms of removal of paint, but the burnt sienna mixture is too cool for my taste. I might use the white acrylic paint when I want to create a glow with a thinned layer of oil paint. For most of my paintings, I like to work on a warm surface. I use thinned burnt sienna oil paint, which I wipe off with a paper towel, to provide this on canvas.

November 2017 Day 1 
3"x3" oil on acrylic primed paper

I'm using #5 for my 30 Paintings in November this month. I'll be painting a mini-painting every day, with the idea of saying a lot in a small format, and experimenting with composition, value, and color. I'm learning a lot already!

You can follow along with me on Instagram (@bobbiheathart) or Facebook ( And if you aren't fond of those, I'll be happy to email them to you. Just let me know at that you're interested.

The collection will be available on December 1st for $35 each, which free shipping in the US for blog and newsletter subscribers.

Friday, October 13, 2017

The Oxford Comma of Painting

Sky Before Sunrise
6"x8"oil on canvas
Black paint was used in this sky.

You may never have heard the term "Oxford comma", but you've likely seen it many times. It's the second comma in the phrase "red, white, and blue". Also called the serial comma, whether to use it is a matter of personal preference. You can read more about the pros and cons here. Recently overhearing a conversation about the comma, I started to think about what is a similarly controversial topic in painting, of which I'm sure there are many!

The topic I came up with is whether to include black paint on your palette, or to mix your blacks from other colors. Once again, this is a matter of personal preference. Those on the pro side include the tonalists, who use black to limit chroma, even in their skies. Deborah Paris' online class "The Painted Sky" is a great way to learn this approach. I painted the top example in that class. Black is also commonly used with various yellows to make greens. Of course there is more than one black paint on the market. The most common are Mars black, Lamp black, and Ivory black. Mars black is made from iron oxide, Lamp and Ivory black are made from carbon. The later are somewhat transparent and slow drying, the former is opaque. For more information look here and on I've read comments online as to which of these blacks is more warm or cool, but it sounds like the variations between the manufacturers may swamp this. The bottom line is you'll have to try them for yourself.

16"x20" oil on canvas
There was no black paint used in this painting.

On the con side, black paint is said to dull or kill whatever it's mixed with, and thus mixed darks, lacking this characteristic, are preferred. Some popular combinations are burnt sienna or burnt umber with ultramarine blue and alizarin crimson with viridian. If you're willing to mix three colors, there are many possibilities. Personally I like transparency in my darkest darks, so burnt sienna and ultramarine blue work well, and can be mixed to a strong black. And I use ultramarine blue and cadmium red medium with differing small amounts of cadmium yellow medium when I want to steer the mix towards dark purple (least cad yellow), dark red, dark blue, dark green, or dark brown.

And finally, there's another option, Gamblin's Chromatic Black, a mixture of their quinacridone red and phthalo emerald, which "gives painters a dead-center black with life to it and a clean transparency". This one is my preference for black and white value studies.

Friday, September 29, 2017

Style is in the Process

Last week I had the pleasure of visiting New York city to see my cousin perform on opening night in the Broadway play "The Play that Goes Wrong". Amelia McClain is a star! What a fun night of theatre!

On my last day in the city I visited a dozen galleries in Chelsea, and did I get an eyeful. As you can probably guess, much of what I saw was abstract, or at least abstracted. And there were several that caught my eye.

At the UNIX Gallery, I fell in love with "Something Surprising" by English artist William Bradley. I love the white negative space, the colors, and the composition in general. I was told that Bradley first mocks up his ideas in water color in a small format and then translates that onto the larger canvas.

William Bradley
Something Surprising
Oil on canvas

79 x 55 in | 201 x 140 cm

Courtesy of William Bradley and UNIX Gallery

At the Morgan Lehman Gallery I was intrigued by the work of Tim Bavington, whose current work is inspired by music. The vertical bands of color represent melody, beat, etc., in the particular piece of music, translating aural experiences into visual ones. The gallery has examples of both the initial watercolor on paper and larger synthetic polymer on canvas pieces as well as archival ink jet prints. I particularly enjoyed seeing the pieces where the artist had tested the synthetic polymer colors against the watercolor or ink piece.

Tim Bavington
Study for Highway 61 (Revisited)
Archival ink jet print with synthetic polymer
25 x 24 in | 63.5 x 60.96 cm
Courtesy of Tim Bavington and Morgan Lehman Gallery

Tim Bavington
Between the Lines of Age
Synthetic polymer on canvas
48 x 48 | 121.92 x 121.92 cm
Courtesy of Tim Bavington and Morgan Lehman Gallery

At the Kim Foster Gallery I found a new twist on encaustic painting. Christian Faur uses crayons, pointy ends sticking out, to create beautiful large mosaic paintings. He uses the handmade crayons like pixels, arranging tens of thousands of them to create each painting. Think painting, Pointillism, and digital photography all rolled into one. There were other types of Faur's work in the exhibit, including portraits in a more classic encaustic style, though you could see the melted crayon shapes. I thought these were also fabulous.

Christian Faur
43,680 hand cast encaustic crayons
20 panels, 55 x 69 
Courtesy of Christian Faur and Kim Foster Gallery 

While the finished work of each of these artists is compelling, it's the process that grabs my attention. And it's the process that makes them unique. When most of us think of process, we think of how the paint is applied, the steps used to create layers (or not), how the drawing is created on the support (or not), etc. But these artists are going one step further, or starting a few steps earlier, and using their medium in a new way (Faur's crayons), gathering inspiration and structure from an auditory experience (Bavington), or prototyping the work in a different medium (Bradley). We are probably more familiar with Bradley's approach, since many of us were taught do a value sketch before we paint. His was the first work to attract my attention (I won't tell you about all the paintings that didn't reach out to me AT ALL). And it was a great introduction to the more abstracted processes of the other two. Yes, I think you can abstract the process, not just the subject matter! I'm using abstracted here to describe the simplification of the process into a structural/design phase and an assembly phase. The brain work is in the design phase, though careful assembly is required.  My little foray into abstract art in Chelsea has left me with a lot to think about as I continue the journey of abstraction in my own work.

While I usually show some of my own work in each blog post, I won't attempt that in this one. If you'd like to get a daily view of my work, take a look at my Instagram or Facebook page.

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Tuesday, September 19, 2017

Sunflower Time!

I've gone a bit sunflower mad.

Three Sunflowers 8"x8" acrylic on treated paper

Sunflowers are one of my favorite painting subjects. There's so much to them, they're "chunky", in that there are lots of shapes and angles, and they have mass and weight. And bright colors too. There's a lot to love about a sunflower. I'm not the only artist that as loved them, Van Gogh sunflowers, anyone?

Vincent Van Gogh - Three Sunflowers

I've been using sunflowers this month as a way to learn a few things. One of them is how to make a time lapse video. Another is to play with abstraction in my painting. To do that I'm experimenting with acrylics. Well, to be honest I've painted sunflowers with oil, acrylic, and pastel in the last few days. It's so much fun to stretch my wings!

Sunflowers in gouache from a few years back

But the most exciting sunflower adventure I've had was visiting a field of sunflowers in eastern Massachusetts. Wow! Colby Farm is something else. You can wallow in sunflowers there. I was interested to find on a late afternoon visit that the flowers were not facing the sun. In fact the leaves of the sunflower follow the sun by a process called heliotropism, but only the budding flowers do this. Once the flowers are mature the stem stiffens and they always point east towards the sunrise. I was rewarded one morning last week by sunflowers awash in light.

Sunflowers in the Morning
8"x8" oil on canvas 
for videos of the sunflowers at Colby Farm see below

If you want more sunflowers, there are lots of them (including videos of Colby Farm) on my Instagram, along with a selection of my sunflower paintings. I've spent the last few weeks re-launching my Instagram presence, which includes beautiful images of paintings, studio shots, my new demo videos, and what I'm working on "right now". I'd love to have you follow me there. You can do that on your phone with the Instagram app, or online at

Saturday, July 29, 2017

Always Design First

 Seal Ledge 1

Seal Ledge 2

Seal Ledge 1 Thumbnails

Seal Ledge 2 - Thumbnail

You might think that when you're at a plein air festival and you've only got two and a half days to paint six paintings, that you should just get right to it, and skip doing a thumbnail in your sketchbook. You couldn't be more wrong. The most important thing in this situation is to not make mistakes, because do-overs take a lot of time. I tried to remember this last week at the Castine Festival. Above are two paintings that I very much enjoyed doing, because I love the structure of the subject matter and because I was able to stand in the shade!

Coming up with three thumbnails for the first painting only took about 5 minutes or so, and from those three I was able to move the trees around and design a new scene for the second painting the next morning. What a time saver!

Wednesday, July 26, 2017

No One Will Steal Your Chair

 A tale of two events on the same Maine weekend 

Chairs lined up for last Friday's Yarmouth Clam Festival Parade
No one will steal your parade chair at the Yarmouth Clam Festival. Even if you put it out on the sidewalk two weeks ahead of time. It's a tradition, everyone stakes their claim and no one messes with the process.
Yarmouth has held its Clam Festival annually since 1965.  The festival food booths are put on by local non-profit organizations to fund their activities. My favorite is the pancake breakfast at the Congregational Church. There's an impressive parade, fireworks, live music on three stages, clam shucking contests, a firefighter's muster, fine arts and craft shows, a bike race, and a carnival and midway. People come from miles around every year for the festival.
I've been to the festival many times, but the last few years I've missed it. That's because my favorite plein air event of the year is on the same weekend, and it's 85 miles away in Castine, Maine. The clam fest had another successful year in 2017 and so did the Castine Plein Air Festival. I thoroughly enjoyed it!
Fuel Dock - 8"x10" oil on Raymar panel
One of the best things about this year's plein air festival was the buyer's stories about what drew them to each painting. I spent a lot of time painting at one of the boatyards this year, and enjoying the scenery and the welcome shade. I love painting in boatyards, they are kind of my comfort zone. This was my first painting and I almost ditched it part way through. I'm so glad I persevered (thank you for your encouragement, Carol). It went to the boatyard owner's wife, who sent her father on a mission to find it.
Holbrook Ledge - 6"x8" oil on Raymar panel
I painted this one on the first day as well, in a shady spot at Fort Madison, at the entrance to Castine Harbor. The Guildive, a local ketch, oblidingly glided by in the distance three times, so that I was able to sketch it a few times and put it into the painting. At these festivals you aren't' allowed to use any photos, it all has to be done by eye. The buyers love this view, which they can see from their house. They kept bringing people by my table at the show to see their find. The art lovers of Castine are a very appreciative and lovely group of people.

If you'd like to learn more about the Castine Plein Air Festival, here's a post I wrote in 2015 that describes the town and all the fun you can have there.
Tomorrow is my last week of co-hosting the Artists Helping Artists Show with Leslie Saeta. It's been such fun and I've learned so much! If you'd like to listen to the shows, they're available as a podcast on iTunes and on Sticher. The shows have been "How to Use Lists to Organize Your Art", "What we can Learn From the Top Rated Artists Blogs", "It's Time to Organize Your Mailing List". And tomorrow's show is about what you can give away to boost your art business. You can join us here live at 9AM.