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- [00:02]
A
Welcome to how to Decorate from Ballard Designs, a weekly podcast all about the trials and triumphs of decorating and redecorating your home. I'm Caroline. I'm on the marketing team.
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B
And I'm Taryn and I'm a product designer.
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A
I'm Liz.
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C
I head up the creative team. We're your hosts.
- [00:16]
A
Join the expert team at Ballard Designs for tips, tricks and tales from interior designers, stylists, and other talents in the design world.
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B
Plus, we'll answer your decorating dilemmas at the end of each episode.
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A
We love answering your questions, so don't forget to email us@podcastallardesigns.net now, on with the show.
- [00:34]
C
Today we're thrilled to welcome Ann Boney Curtis, one of our very own featured artists. She finds inspiration in natural landscapes of the Southeast, capturing the spirit of her subjects through color, light and brushstrokes. Today we're going to talk all about the inspiration behind her pieces, how to work artwork into your home and also your. Your background a little bit. Because we've worked together in other capacities before.
- [00:57]
A
We have. Thank you so much for having me. And y', all, I'm also a listener, so it's really fun to be on this side of the microphone on the how to Decorate podcast. So thank you so much for having me.
- [01:09]
C
Oh, my gosh. Thank you for being.
- [01:11]
B
I know what an honor that you listen to.
- [01:14]
C
Yes. And the three of us, like we have all known one another for a long time because as I mentioned before, we've worked together in other capacity. But why don't you just start a little bit with your background and how you sort of got into painting and then we'll.
- [01:32]
A
Okay. Yeah. So I have been painting and drawing for as long as I can remember it. Some of my earliest memories. And it's just something that I feel drawn to do and I really enjoy it and it's all I want to do. But when I was in college, we had the opportunity as seniors to present our full body of work as fine art majors to an auditorium of people. And that was part of our, like, final exams and then answer questions about the work that we'd created. And afterward there was a gallery show where you were allowed to have your paintings purchased or. And I had a sold out show. And from that point on, I was just kind of hooked.
- [02:21]
C
So it was all of the work, you know, had produced in college.
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A
Yes, yes, it was. I mean, what a wonderful thing to support fine artists that are. That are entering the workforce. But.
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C
So that's amazing.
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A
It was. I Thought it was really. I hope that they still do that.
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C
Were you like, were you shocked? Were you like, oh my gosh, yes, I cried.
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A
I was like, oh, my goodness, I can't believe that, that people want, you know, my pieces of art.
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B
But how many pieces would you say it was?
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A
I think it was about 10, maybe 8 to 10.
- [02:51]
B
That's amazing.
- [02:52]
A
Yeah, yeah, they all sold. Yeah. But okay, if you're looking for artwork, do not forget those university art galleries because they are one of a great, great places to sell work from emerging artists. True emerging artists, young artists, fresh on the scene.
- [03:10]
C
Yeah.
- [03:11]
A
But from then, I kind of didn't quite know how I was going to apply my, my art degree. And I very luckily came in contact with my boss and mentor, Beth Lacefield. And she was just starting a textile line in 2006. And I started with her and was able to see her first print collection go to launch. And I've been working with her and her company pretty much ever since designing textiles. And it's, it truly is an artistic job because I will hand paint the designs that end up being used in textile art. So anyway, and while I was working for her, I got to meet some great people, Ballard included. And so, yes, that's kind of how we all, we all started and met.
- [04:18]
C
Yeah, our listeners might remember that we.
- [04:20]
B
Had.
- [04:23]
C
Her daughter Frances on the show because we talked a little bit about Lacefield. She has a company called room 422. And we've worked with Lacefield for many years. And one of the things that always has made them so such a great partner is just their beautiful patterns. And many of them, you know, you can see the hand painting that went into it.
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A
It is truly done by hand.
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C
And that was you.
- [04:48]
A
We have other talented designers as well. But yes, yes, it's part of what I love to do. But I took a momentary pause in creating textiles when my children were really young and I went to full time painting then. And it's something that I felt very drawn to do because it's this relationship that. Well, my grandmother was also a painter and she just kind of did it for fun. I mean, she did it because she, like me, just felt like it was something she needed to do. And we have this. We have this like, tangible legacy of hers, of all of these works of art that she's created that my dad and his siblings have been able to share with our generation as well. So. And I mean, I was very fortunate. She. After my family moved to Savannah, she and my grandfather came along from Michigan. Not Too long after. So I would walk over to her house and she would teach me how to shade with oil pastels and bring out all of her materials. And she really made me feel like nothing was too precious that I couldn't as a young kid. She was like, oh, of course, use these oil paints or, you know, just dig in. So it was, it was nice to focus on strictly painting for that time that I was at home with my family.
- [06:22]
C
What is your, your favorite medium now? Like, what do you most work at now, really?
- [06:28]
A
Probably favorite, I would say watercolor. It's. It's the most portable. It's the easiest to kind of jump in and step back because, I mean, it's, it's water soluble. You, you know, you can create something and then if there's a crying child in the background, you can step away for a little bit. And it's still, it's still fine to, to go back and work with. I also work with acrylic, and some of my pieces that are with Ballard are acrylic. And I have some watercolor pieces too. But yeah, I would love to work in oils, but I just don't really feel that I have the space for that right now. Maybe someday in the future.
- [07:11]
C
Yeah, yeah.
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A
Because you really kind of need to have your own kind of ventilated studio in order to produce those works. And my home studio is an extra bedroom in our house that it's amazing to just be there with my whole family and create there.
- [07:32]
C
Yeah, I should have mentioned that. Yes. We have several of your pieces in our collection where there's a watercolor of some pets.
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A
Yes.
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C
And so that's like a series of four.
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A
Yes.
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C
There's some landscapes and there's a still life.
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A
Floral. Floral, yes. Yes.
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C
Yeah. So there's a little bit of a diversity, which I think is kind of fun.
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A
Yeah, yeah. So the watercolored dogs that I have there, I'm a huge animal lover, and usually with watercolor, I tend to work really tight. I. I love creating full color watercolor portraits of people's pets. I mean, I just think what, what could be, I mean, more joyful than being like, oh, yes, okay, here, well, here, let me paint a portrait of your dog. But I'm constantly trying to find ways that I can loosen up and doing those. That sketch style of the dog portraits was kind of a really fun way to do it where I just use like a little bit of watercolor as an ink and sketch it out. So it's, it's my attempt to paint in a Looser style.
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C
Yeah. I love how they are one color. It's kind of, it's, it's almost like a more abstract way to do it.
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A
Yeah.
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C
It's not so, like, precise, where you have to get the exact color, color of the, you know, gaut of the Chocolate lab or whatever. Yeah. What about you, Taryn, because you also paint in watercolor, and you also.
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B
Yes, I do. Yeah, I do, too. I, I, I know I have, like, very technical questions. I want to be like, so what.
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C
Is your.
- [09:10]
B
What is your brand of choice for said acrylics and. Yeah, that's. No, your work is beautiful. I absolutely love your landscapes. These are probably my favorite. Just because I, I love, I love a landscape I like. I, Because I, because I do. I love a view. Like, I will stay anywhere where there's a view, you know, so I'm like, I think that's why I do, I love the landscape. So I guess for me, I want to talk back, Go back in your career a little bit and talk about kind of learning to do, you know, surface design, because I know it seems to be kind of a trendy thing now. Probably not in 2006.
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A
Right.
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B
But, like, I do feel like now things are so easily translated to so many materials. So how was that kind of learning curve?
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C
Yeah.
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B
Between digital printing and people can cut their own vinyl with Cricut now. And, like, so I think there's a lot of ways to kind of apply things easily.
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C
Yeah.
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A
So, so earlier in, in 2006, I mean, there was a different way of, of printing and where you had to engrave screens in order to get each color for, for your pattern, and the minimums were high. But now with digital printing, you have such access to being able to create a piece of work, and then, I mean, I bring it into Photoshop and create a pattern out of it. I love figuring out how things repeat and what would make a good layout for a piece of furniture.
- [10:49]
B
So for me, that's such a challenge.
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C
Because of the math.
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B
Like, sometimes you're like, I scaled this incorrectly. But if I want to, I, you know, like the actual pattern, it's like creating a puzzle.
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C
It is.
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B
It is. Yeah.
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A
I'm kind of a sneaky math fan. Like, I, I didn't realize it until I started doing textile design, but I was like, oh, okay. Well, this just seems to work with my brain.
- [11:12]
B
That's fantastic. Because there's even, it's not even just like, you know, you can do them. Brick style, too, is like, So a pattern has many. Anyway, I'M very. As starting at Ballard. And then there were certain places where I also needed to do it. Even, like, working on plates. That's still surface design. But it would become like, okay, we try it one way, and it'd be a fail or a flop. The vendor wouldn't. You know, it'd be. Then the learning curve is like, okay, so I need to do two decals. And so then I would be like, sketch drawing outlines. So that could be gold foiled. And then, you know, so for me, it is so fun to hear other people who kind of. Because I had to branch that learning curve myself. Does that make sense? It was just like trial and error.
- [11:51]
A
Right.
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B
It wasn't like I went to school for 2D. And it doesn't sound like you were either.
- [11:55]
A
No, I didn't. I mean, we just. I kind of learned by doing. And as the. As my career evolved and as the industry devolved. Evolved. Like, we devolved.
- [12:05]
C
Yeah.
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A
Did not devolve.
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C
Maybe not too.
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B
But, yeah.
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C
Slip of the tongues.
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A
Yeah. Yes.
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B
But it's such an interesting, like you said, Florida, making a pattern and then looking historically, too, I'm sure. Did you study a lot of old kind of textiles?
- [12:21]
A
Oh, it's one of my favorite places to come up with inspiration. Looking back at antique embroidery and looking at old pottery and the images that will be used there, and then taking that and translating it into just our own vision of, okay, what. What would work well as a good, like, repeatable motif or. Or as a good floral that can be used at a large scale?
- [12:53]
C
It's.
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A
Yeah. I mean, it's. It's a lot of fun.
- [12:56]
B
Yeah.
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C
I would also think that the. Having the. The home decor sort of angle, like, adds an interesting level to it, because what you might paint for art is one thing, and then what works successfully as a. As a fabric is a completely different thing. But then you kind of get to play in both worlds where, like, you know, would you paint, like, a paisley for a canvas? Maybe not.
- [13:24]
A
Right. But, you know, so I think, you know, it's having the two different categories, I guess, when you are creating a piece of art, or perhaps if you're a collector that's buying a piece of art, you hope that you're creating something that, like, has a real. It resonates with someone emotionally, and it's something that you want for them to hold onto for a long time. And, of course, it's similar in designing fabrics, too, but it's a little bit easier to, I guess, bring in a bit of a trend aspect to that to be a bit more playful with textiles and use some colors that you feel like might be a bit of a reach. So it's really lovely to be able to do both.
- [14:22]
C
But you also have to be thinking about, like you said, like, okay, what's this going to look like on a.
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B
Right.
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C
A sofa? Like, I can't, you know, something that I'm painting for. To have an emotional connection isn't going to translate onto a piece of furniture as yardage, because you're mostly designing yardage. Right. That will then be turned into things. So that is kind of a fun, like, I guess, divergence in the subject matter. So you're. You might have, like, a similar medium, but, like, totally different subjects, which is kind of cool.
- [14:56]
A
Yeah, it's interesting, the balance of, I guess, fine art versus design and being able to do the two.
- [15:07]
B
Well, how has it been kind of diving into the fine art world? And I know it sounds like you painted and then you kind of textile and then you always painted. But now that this is, you know, and we carry some of your beautiful pieces, so getting into that world, how has it been. Have you in, you know, for finding inspiration and other artists? How does that go?
- [15:26]
A
Oh, I mean, I love painting landscapes, as you, as you mentioned, but I find lots of. Are you kind of asking, like, where I maybe draw some of my inspiration?
- [15:39]
B
Yes. Where do you get inspiration?
- [15:42]
A
Well, with landscapes in particular, I mean, we are very fortunate to just live in a beautiful area of the country. And I grew up in Savannah. I went to college in the mountains of Tennessee. I did a semester abroad in Florence, Italy. And I just. I love being able to paint kind of living things, I guess, landscapes and then the animals, and then I got a floral in there, too. But with landscapes, it's so easy to find inspiration. I mean, everywhere that you go. And my phone is just full of, you know, kind of random moments of being like, oh, that's really pretty. I think that would translate beautifully into, you know, and just taking photos from my phone. But with the landscapes, I really love to be able to take some of the images that I've gathered and try to bring in maybe some colors that are a bit more unexpected. Right now I'm really into, like, terracotta and umber and warm tones and SAP green. So one of the paintings that I have with Ballard right now really showcases some of those colors. But I love also focusing on light and attempting to bring light into the piece. The painting that you all are carrying is. I believe it's called August Pines. Maybe. And it's the.
- [17:23]
C
Yeah, it's the land. The landscape with the terracotta colors. Yeah.
- [17:26]
A
And that was. That image was taken from. My husband and I were driving our children to St. George island in Florida. And the landscape just looks different there. I mean, they have these beautiful, like, tall, skinny pine trees. And the light that comes through it just thought was so beautiful. And so that was a quick snapshot from the car. And then I actually also have a friend that lives in the area and she had some beautiful photos of the area. So that was a bit of a combination of the two. But, yeah, when it's landscapes, it just seems very easy to come up with.
- [18:10]
B
Your little series of animals too. Is so cute. Your little ducks are so sweet.
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A
Thank you.
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B
I love, love the pink background with the ducks and their orange beaks really, like, pop off the soft pink in the background too.
- [18:23]
A
You are. Speaking of. There's a painting that. It's actually in my daughter's bedroom. When I was pregnant with her, I knew. I was like, okay, I feel like I want to have this painting of all of these white ducks just waddling. It seems like a very sweet nursery type thing to add in. But, yeah, that's still in her bedroom now. And I hope it will be something that, like my grandmother, that I can pass on to the next babies in the family.
- [19:00]
C
When you were in school, you mentioned your art show, senior art show. What were the subject matters of that?
- [19:07]
A
And that was almost all primarily landscapes. I think there were a few more abstracted pieces. Um, but I don't know if. If you feel this way, Taryn. But I think abstracts are really difficult. I mean, it's very difficult. Yes, it's. It's. You're. You're paying such attention to shape and form and color and. But you also want for it to seem maybe, maybe a bit random. Um, yeah, so it's. Yeah, it. It can be tricky.
- [19:39]
C
It's. I feel like there are a lot of artistic and. And I guess sports too, but like, it. The goal is to look as effortless and as easy as possible. But in order to do that, it's, like, incredibly difficult. It's like ballet.
- [19:52]
A
Right?
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C
Like, ballet should look like you're floating, like it's the easiest thing in the world. And then. But like, it's incredibly.
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A
Oh, I commend artists that are talented in creating abstract pieces because it's. Takes a lot of patience. And then also there's such emotion behind it. I mean, I, I personally love abstract art.
- [20:18]
B
Yeah.
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A
In my own home. It's Just. I. I don't. I don't create it as much.
- [20:22]
C
Yeah. Yeah. But you're. You're. Even your. Your pieces that you're doing, like, there's a real looseness to it that.
- [20:28]
B
Like the watercolor dogs again, I think for most people, that would be really hard. Like you were saying, you make it look like an effortless free flow because you forced yourself, a talented artist, to, like, free flow. And it's gorgeous. But, yes, I think most people would be like, you know, well, watercolor is. That.
- [20:47]
C
Is that same way, right? Like, watercolor should look you flowing.
- [20:53]
B
Yes. Like, watercolor is going to move, and you have to be okay with it.
- [20:58]
C
Yeah.
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A
You're going to get what you're going to get. And that's kind of freeing, too.
- [21:01]
C
Yeah.
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A
If you can't control it.
- [21:03]
C
Yeah.
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B
Oh, yeah. I mean, how many times I feel like, when I have worked with people, like, teaching them that, I'm like, if you keep going over that, it's going to go through the paper. Like, you will, at some point, while you're learning, somehow rub some area so that the paper, literally, there's a hole, and. And you'll be like, oh, I get it.
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A
Can't go back now.
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B
Yeah, yeah.
- [21:23]
C
So you have to just embrace what.
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B
Yeah, yeah.
- [21:26]
C
Figure out how to. Oh, my God. And what if you have to duplicate it? Like. Oh, never. Like, you can't. Right?
- [21:32]
B
Can.
- [21:33]
C
I mean, I guess you said she's like.
- [21:36]
A
Yeah. So the dogs. I actually, when I was selling them on my own website, they were all originals. And I would try to.
- [21:49]
C
I guess, replicate within reason.
- [21:53]
A
Within reason and image. And that's. That's why. I mean, it's. It's kind of. We're gonna do a print now. Yeah. There.
- [21:59]
C
Yeah. Okay.
- [22:00]
A
I've got it exactly how I want it. And now it's a print, and it's. Yes, yes. But. But yeah, it was. It was a sketch that I just kind of had some muscle memory for.
- [22:10]
C
Okay. Do either of y'. All. I'm just gonna ask you both, since you both do watercolor, but I've seen. I feel like some watercolor artists, they start with the. The color, right. And then they. And they add the water, or like, they're doing both at the same time. But then I've also seen some artists who, like, put the water down and then, like, put in the pigment, and I'm like, how does that. Do you know what I'm talking about?
- [22:37]
A
Yes.
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B
You know, I know what you're saying. I just want to know Because I took. I took classes in high school. I took waterco classes. So I learned from an artist, so I only. So the way I do it is the way he taught me. Does that make sense? So I want to know, like, no.
- [22:53]
A
And I. In terms of the medium, I didn't have any formal training with, with watercolor. And so I. I almost use it a bit more. Like when I'm doing like a full color painting, sometimes I feel like I use it very meticulously, almost like I'm using a color pencil and, you know, use really small brushes. And there's. There's some, of course, larger areas that. That have that. That watery feel to it. But I actually, I like for my acrylic paintings sometimes to feel a bit. I'd like to treat that a bit more like watercolor. When you really delete.
- [23:31]
B
Yeah, I was gonna say, do you dilute them down on the canvas?
- [23:34]
A
Dilute the paint. And sometimes I'll paint on raw canvas rather than a gessoed canvas because you get these great kind of like splotches and movement, and it's a great way to build layers and then refine it on top.
- [23:54]
C
Does it, like, absorb?
- [23:58]
A
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- [24:21]
C
Learn more@WhatsApp.com Orbit like a raw canvas, does it absorb the paint?
- [24:29]
A
It.
- [24:29]
C
I assume it differently.
- [24:31]
A
Yes. When you have a gessoed canvas, it just kind of sits on top.
- [24:34]
C
Right.
- [24:34]
A
Which is completely. I mean, that's.
- [24:39]
C
That has its own.
- [24:40]
A
That's normal.
- [24:40]
B
Yes.
- [24:41]
C
Yeah.
- [24:42]
A
But it's almost like you're painting on fabric, and so it just bleeds differently when you're painting on raw canvas.
- [24:49]
C
Yeah. Do you. We were talking a couple of weeks ago about, like, doing your own canvases. Like, what is that process like? And what kind of scale are you painting in compared to the final prints? Right. Because you can order our prints in, like, a variety of sizes.
- [25:08]
A
Oh, Caroline, I am very blessed with a super handy husband. He stretches my canvases and he makes toasters. Yes. Oh, my gosh. You all didn't hear this story, but.
- [25:21]
C
Sorry, Yes, I forgot we talked about that. Yes.
- [25:26]
A
My husband is. He went to school for industrial design, and when we were set up On a blind date. We were told like, oh, okay, so she designs textiles and she's an artist. And my now sister in law jumped in and said, my brother in law designs toaster ovens. And it was just a match, a match made from there. But anyway, so it's very handy. It's very handy. Yeah, sounds like it.
- [25:52]
C
Yes.
- [25:54]
A
He no longer does that. He's in tech now, but yeah. So he stretches canvases for me. And he also built this fantastic. It's a piece of furniture that goes the length of my studio that has storage and material storage and completed painting storage. And then at the end of it, he built this drafting table. So.
- [26:18]
C
Amazing.
- [26:19]
A
Yes. So in terms of stretching canvases, I'll leave that to the pros. Yeah, yeah, I'll buy canvases too. Or sometimes it's. It's nice to work on. Birchboard is another platform that I think is really fun to use. In fact, the Zinnia's painting, the floral was originally painted on a piece of birchboard. And.
- [26:49]
B
So how do you frame something like that?
- [26:51]
C
Birchboard?
- [26:53]
A
I love a floater frame. I mean, I feel like it's a little bit more of a contemporary way to let the art shine and just give it. But it makes it feel very polished to have to have a frame on there. So floater frames. I tend to lean towards that for almost all of my acrylic paintings. Kind of like the one that you all have over here that's in a floater.
- [27:22]
B
Okay. As somebody who kind of is starting out collecting, I know you kind of give a great tip again, to be kind of checking into some schools even for some pieces of art. What are some recommendations you'd give to people as they continue to collect as an artist?
- [27:38]
A
Well, okay, first of all, collecting might be intimidating to some, but it's really fun if you can just kind of let loose. And I mean, go to an art gallery, you don't have to buy anything, but just go to an art walk. Go to a gallery, see what speaks to you. Because you should have some kind of reaction to a piece that you're even. Even if it's just like, oh, I want to spend a lot of time with that painting. You know, it's something that I want to have in my home and in my family for a long time. But there are lots of different entry points for being able to collect art. And you could look through galleries. There are emerging artist shows which are a wonderful way to get to know some new artists and get to a varied collection of works and maybe get in on some of the works before the artists become very well known. Then there's also, with. I think it's a wonderful way to collect art when you have the option to get a print, you know, to get a giclee or a watercolor print. And then lastly, I personally love framing my children's art, and it's. I like having a framer that I have a great partnership with. So when I'll bring something in and say, like, you know, my daughter made this butterfly out of a paper plate, and I just think it's really sweet. I want to hold onto it for a while. And they're like, oh, we've got the perfect. We've got the perfect frame for that. So, yeah, there's. It's just. It's nice to be able to collect various types of art that you can put on your wall to really make it feel like home.
- [29:31]
C
Yeah. I do feel like sometimes people, like, really overthink an art purchase in. In that, like, they're. They're asking, is it good?
- [29:41]
A
It's an investment.
- [29:42]
C
Yeah.
- [29:42]
A
I mean, I understand why that. That can be intimidating.
- [29:46]
C
Right. But it's like, just buy something. Like, do you think it's good? Like, you don't. Who cares what other people.
- [29:52]
A
Yeah, it doesn't matter what I think. Like, you know, get something that again that you want to spend some time with.
- [29:59]
C
Yeah, yeah. What about in your own home? Do you feel like the art piece needs to reflect the room in terms of, like, color?
- [30:10]
A
No, because I. I love. I. I start with pieces that I just. And I collect work from other artists, and if it's something that I. I like and I want to purchase, there will be a place in your home for it. And feel free to. I move my pieces of art, my collection, around the house. So, yeah, I don't. It's. You can either start with an art piece to design around a room, and I think sometimes it's. Sometimes it can be the last touch that you put on a room too. But that's the beautiful thing about art, is that you can move it.
- [30:55]
C
You can.
- [30:55]
A
Yeah.
- [30:56]
B
I think most designers do seem to give that as advice. Like, sometimes it helps you to re. Notice something too.
- [31:02]
A
Yes.
- [31:02]
B
When it's been like, again, you just walk past it every day and you don't. So if you shift them around sometimes all of a sudden.
- [31:09]
C
Yeah. Yeah.
- [31:10]
A
It kind of makes your room feel feel fresh just by, you know, changing out the pillows or changing. Moving the art around. Yeah, it's. It's an easy way to Do a quick update.
- [31:20]
C
Yeah, well, what about sizes of art? Because I feel like it's easy to move things around within reason, depending on the size of the painting. Right. Like you may only have a certain couple walls that make sense for one piece, but are there sizes that you feel like are more universally like, like easy to work in?
- [31:46]
A
You know, the two sizes that I continue for commissioned pieces that I continue to make again and again just for me personally are 36 by 36 and 36 by 38. And those, they're big enough to be a statement piece for the room, but you can still move it to other locations. But I also love having smaller pieces. In fact, the works that I've collected from other people are mostly on the bookshelves that are in my living room. And I really love collecting. I have a piece by Rachel English who is. She's an artist out of Texas and she does these gorgeous cloud paintings and I love her work. And I've also got a piece by Hayley Mitchell. She does these faces that are somewhat abstracted and stylized and I just think really fun. And then we also have a piece by Teal Duncan who I was so happy to be able to add that into my collection. That was actually kind of a wild story because when right after my husband and I had gotten engaged, I had been following along with her. I'm a fan of hers and, and one Christmas she did like a, a Christmas giveaway of, of her work where she said, oh, just, you know, these, these actually do work sometimes. Post a picture of, of a painting that, that you love and I will be giving away a, a new painting to a lucky winner. And on Christmas morning, it was my.
- [33:42]
C
First.
- [33:44]
A
My first morning for Christmas with my husband's family. And my sister in law looks at the phone, she goes, oh my gosh, Anne, you just won a painting. And it was really just. I was like, oh my gosh, are you kidding me? I just got engaged and I'm spending Christmas with my husband's family. And now I'm also winning a painting too. Yes. Yes.
- [34:07]
C
It's a good day.
- [34:08]
B
Yeah, I never feel like anyone wins those. Congratulations.
- [34:11]
C
I don't want any of them. I stopped. I'm like, I mean.
- [34:15]
B
Exactly. We gave up. We gave up because we didn't win.
- [34:19]
C
You're proof that. Yeah, yeah.
- [34:21]
B
No, and it's a good reminder to that if you like someone's work and you're following along to again to try to support them by.
- [34:28]
C
Yeah, yes.
- [34:29]
B
By purchasing their stuff as well, so.
- [34:31]
A
Or winning it for Free winning it for. I mean, well, if they give, if.
- [34:35]
B
They have giveaways, I mean, it's fair.
- [34:37]
A
No, I mean, she is somebody that I absolutely would purchase from, but it was just like, oh my goodness, it's such a, such a lucky thing.
- [34:45]
C
Yeah, yeah. What about, what about now? What are you singing in terms of like colors or patterns that you feel like in. And maybe this is back to the textile world that are speaking to you or things that you hadn't considered you know, working with, that you're looking at now.
- [35:13]
A
We have a creative team that we, we all meet on things that we're drawn to. And I still, I keep coming back to antique textiles and embroideries. And as I said earlier, I'm really drawn to some of those muddier colors like terracotta and greens.
- [35:33]
B
And I know personally it does seem like right now there is this strong trend for these muddier colors, these like muted, muddy, layered colors. Because if we think about the colors that have just been seasonally in, there hasn't been a lot of very clean, crisp colors. I mean, even the lavenders and lilacs have been very, they've been in tons of browns. And I know even myself it's like the terracottas and sitting next to us. So it does seem to be. The colors are definitely, like you said, very important right now too, to make sure you hit.
- [36:15]
C
Well, it seems like I've been thinking about it because it seems like florals have been just so popular and so strong for so many years that I'm, I'm curious, I guess, as to whether we feel like that's changing. Is that fading? Are there, are there new things like, you know, more geometrics that, like paisleys or something that might like, kind of come in to like support those florals or take over?
- [36:43]
A
Currently I'm looking for and drawn to because we do create a lot of florals and they're beautiful. I mean, I personally love a floral, but I'm also trying to look for things that could be a bit more masculine, some geometrics. So I'm looking at architectural designs and like the moldings that go along the top of older buildings and trying to work that into something that can be used as surface design for textile. And I love the look of block printing also and being able to take just like a little motif. And we don't block print, but we do lots of hand painted work. And so it's fun kind of coming up with a little design that were a ditty for those that don't know what A ditty is. I mean, it's just a small motif that's repeated over and over again. But I really like finding those tiny elements, even in antique textiles that you might not notice and say, like, oh, let me just pull that. That tiny element out and tweak it a little bit and kind of give my own spin to it and see how that repeats out. Because it looks completely different once you. Once you have it in a. In a repeat.
- [38:08]
C
Yeah, well, because, like, you know, I. We probably all love florals, like you said, but, like, you need those go with patterns.
- [38:15]
A
Right.
- [38:15]
C
Like, you need those other supporting things to support it.
- [38:18]
B
And.
- [38:18]
C
Yeah, I love a block print for that purpose because.
- [38:20]
A
Yes.
- [38:21]
B
The.
- [38:21]
C
The regularity balances the more organic flow of, like, a floral or something like this, where you, like. You want the. You want, like, some structure next to it.
- [38:34]
A
We're constantly talking about, like, okay, so what. What can we create that maybe could. That would be a good. Go with. It almost reads as a solid, you know, that has some visual interest to it, but you can pair it with those bolder patterns. So that's. That's. That's something that we're constantly looking out for.
- [38:55]
C
I feel like a paint and painting is kind of like that same thing, though, right? Like, it's like the. It's the floral in this situation. Yes. Right. Like, it's the organic. Big organic thing most of the time. And then you maybe have, like, lamps or accessories or, like, a furniture piece that go under it that sort of, like, support it and add the anchor that then, like, the. The art piece sort of creates the focal point from.
- [39:22]
A
Yes.
- [39:23]
C
Yeah.
- [39:23]
A
Yes.
- [39:25]
B
Yeah. From, like, a trend part. I'd say florals are like. They're just always.
- [39:30]
C
Oh, they're here to stay.
- [39:31]
A
Yes.
- [39:32]
C
Because.
- [39:32]
B
Yeah, it's like they. Flowers are beautiful, but they. They always will. Like, they always go right again.
- [39:40]
A
It's natural, living things, you know, that. Yes. That I think resonates with.
- [39:47]
B
So I think there's, like, moments when things are beautif. Oh, is that. Is the pull to.
- [39:52]
C
Yeah.
- [39:52]
B
To capture it.
- [39:53]
C
But you don't feel like they. They have, like, had a real resurgence recently. Like. Yeah.
- [39:58]
B
I feel like we went through a geometric. I feel like.
- [40:01]
C
Yeah.
- [40:01]
B
I feel like somehow gray and geometric came at the same time. A little.
- [40:06]
A
You are right about that. Yes.
- [40:07]
B
And then we came out of that, and we've been a lot sort of.
- [40:11]
C
Like, on the other side of the coin. Right.
- [40:12]
A
I think.
- [40:13]
B
I think we swung. Yes. We swung the whole other way.
- [40:16]
C
Yeah. So I'm sure.
- [40:17]
B
The swing will happen again.
- [40:18]
C
Well, because there was like a. There was a period where I feel like damasks were like, really. They were like the bold. You know, like, maybe in like, the early 2000s, late 90s. Like, there was a lot of that where it was, you know, it's traditional and it's very bold and it's. It has, like, some organicness to it, I guess, sometimes.
- [40:40]
A
But one of my favorite patterns that I'd painted actually was a damask, where elements were taken from a piece of embroidery. And it's watercolored, so it has all of that toning on top of it. I mean, I wonder if. And it was printed on linen in lighter color, so I wonder if maybe the material that it was printed on gave it a bit of freshness. But, yeah, you get to see all of that texture and the puddling of the watercolor in the print of the fabric.
- [41:16]
C
I don't know. I mean, I. I don't want to see florals go away because I love them too, but I. It just has seemed like just a real, like, dominant.
- [41:27]
B
It is interesting how flowers, you know. Yeah.
- [41:29]
C
Like chins, for example, was. You know, I feel like we had like, the Laura Ashley period. And then that's sort of like, okay, can you take a backseat for a minute? And then like, oh, it's back.
- [41:39]
B
Oh, yeah. And some. And there are people now who.
- [41:41]
C
Yeah.
- [41:42]
B
Down the road be like, what was that?
- [41:44]
C
And it's in. It's in everything too. Like, you know, fashion and like, I feel like you can. There's always like, you know, little calico print, like, liberty inspired, like, wrapping paper. And like, just it's. And like the little. Have you all seen those, Like, I feel like quilted bags, like, the Vera Bradley is all back all again, like in little calico floral prints.
- [42:09]
B
I didn't see that.
- [42:10]
C
Oh, gosh.
- [42:11]
B
Well, I did, but maybe my.
- [42:12]
C
All of my algorithms are very much towards, like, little girls.
- [42:15]
B
Yeah. So if you've hit a lot of calico, that might be why. Yeah, I haven't. I haven't hit any of those girls.
- [42:21]
C
Yeah. Yeah, exactly.
- [42:22]
B
Well, we were just listening. My team was just listening to Coloro presentation on the colors for, like, fall winter 27, 28. And they said hunter green. And I. And I was.
- [42:36]
C
It's that.
- [42:37]
B
It's that.
- [42:37]
A
Oh, take me back to the 90s home alone.
- [42:39]
B
Yes, it is my. And I have said this before on the podcast. My parents house that was built in 1990 had the corner tub, toilet, shower and sinks. All that green all that green.
- [42:52]
A
Oh, that.
- [42:53]
B
That hunter green.
- [42:54]
A
The sink itself was.
- [42:55]
B
The sink. Yeah.
- [42:56]
A
Okay.
- [42:56]
B
The towel was white tile, you know, tiled.
- [43:00]
C
Yeah. And don't we all remember how, like, what toothpaste looks like in that hunter green sink? Oh, my God. Like the toilet.
- [43:08]
B
The toilet, right.
- [43:09]
C
I mean, the whole.
- [43:12]
B
The whole set. The best part is knowing that it came as like a. You know, they're like. And here you go. But anyway, speaking of again, I mean.
- [43:20]
A
I love hun green. It. Sure. It can come back in elements in different ways. And I mean, I don't know that we'll be seeing sinks or toilets, but. But hunter green.
- [43:34]
B
Yeah, exactly.
- [43:35]
C
It's.
- [43:35]
A
I'll take it.
- [43:36]
C
But it is.
- [43:37]
B
But it's a.
- [43:37]
C
The worst colors.
- [43:39]
A
There are worse.
- [43:39]
B
There are worse. Of course they showed it and it was beautiful. But then we, like, started diving into. Especially once they said the name of it. Like, they. You know, they use such beautiful words to describe it. So, you know, and you're like, yes, yes. And then they, like, said hunter green. I was like, oh, you, me. And I'm back. But yes. I mean, speaking of things resurging.
- [43:58]
C
Yeah.
- [43:58]
B
But you know what has always stayed, Caroline?
- [44:00]
C
What?
- [44:01]
B
Your favorite stripes.
- [44:03]
C
Oh, yeah.
- [44:04]
A
Oh, I love a stripe.
- [44:06]
B
Everyone loves a stripe.
- [44:06]
A
We were joked.
- [44:08]
C
Oh, my gosh. We were just looking at a book that we're going to interview the author, and she. I mean, she is like, stripe on stripe on stripe. I'm like, wow, I like stripes. But, like, I didn't. I don't. I mean, I didn't know that.
- [44:20]
A
I like.
- [44:20]
C
Like, she likes them way more than me. Let's just say it is.
- [44:23]
A
It is the majority of my wardrobe and my children's wardrobe.
- [44:26]
C
We are.
- [44:26]
B
Oh, yes, yes.
- [44:28]
A
We are constantly in strike.
- [44:29]
C
Do you use them in your home?
- [44:31]
A
I do. Yes, I think. Okay, well. All right. Honestly, living room I have been peeking at. I'd really love to buy myself some Larkin chairs and have that. Y' all have some gorgeous stripes right now that are performance grade. And I'm like, oh, okay. Well, I think that would be.
- [44:59]
C
Yeah.
- [45:00]
B
I'm so grateful for performance patterns, like, because I feel for a while, performance was like, it. It was solid.
- [45:08]
C
Solid. Yeah. Yeah.
- [45:09]
B
So there's something. I just am so excited the amount.
- [45:12]
C
Of time and unfortunately, I have learned the lesson that. But even if it's performance, if it's solid and one color, like, you can get it out the stain, but you have to always be getting out the stain. Right. Like, if you have. If you have some tone and you have Some pattern. Then it camouflages to where you don't have to. Like, you are not gonna see every little.
- [45:35]
A
We really like to test the limits of our performance.
- [45:38]
C
Sofa, right?
- [45:39]
B
Yeah. You. You're really in the. In the dream.
- [45:44]
C
We all are. I think we all kind of have kids the same age. Yeah, yeah, yeah. But. But, like, the pattern adds a. Adds a little bit more of an insurance policy, and.
- [45:53]
A
It does. Yes.
- [45:54]
C
Whereas, like, a stripe. Yeah, yeah.
- [45:57]
B
By a stripe. Yeah.
- [45:58]
C
That's a good. Well, stripes, to me, are kind of like a. Denim. Right. Like, you can kind of put it with anything, and it. Yeah. I just don't know if I.
- [46:06]
B
And they work with other stripes.
- [46:08]
C
Like, I would usually do, like, a stripe. Stripe in each room, but not in bold. Like, four stripes in each room. But it looked great. It was beautiful.
- [46:19]
B
You got to know what you're doing to do that.
- [46:20]
C
Yeah, yeah. She's a. She's up here, and I'm down there. Yeah. So in terms of color, you feel like the terracottas, greens, ochre. Yeah, yeah.
- [46:32]
A
Some of those warmer neutrals. I think we saw gray for a long time. Time. And I'm.
- [46:38]
B
I mean, we loved it when it was. I was gonna say we all loved it when it was happening. So it's not to.
- [46:43]
C
Yeah. I think when you started seeing too much of. Eventually you're like, okay, I'm tired of this. So it's not that there's anything wrong with it. It's just anything in excess. It's like you then kind of want to go away from.
- [46:57]
A
And with both painting and textiles, it's a great way to bring in elements of color into your home and find something that feels really fresh to you. So it's. I mean, I love the whole rainbow, so I just kind of. When I'm painting, I just work with whatever feels right on my palette that day.
- [47:22]
B
And if you're working a lot in nature, again, and being inspired by nature, you're gonna get those. Again, those tones that are muddier as well.
- [47:31]
A
Absolutely.
- [47:31]
B
Naturally, I want to go and talk about matting, because. Are you in. Do you like the kind of pattern mats, or do you like a good solid white mat?
- [47:43]
A
So I have been known to. I do love a good, solid mat. White. Solid mat. But recently I have been. I've worked with my framing partner. They will cut mats for me, and then I paint on the mat, too. And just that's. You know, have that be its own piece of art as well. And, you know, paint just, like, a little border in gouache.
- [48:12]
C
Around it.
- [48:14]
A
So I'm for both, you know, Amazing. I'm in the camp of. Both are great. It just.
- [48:21]
C
Yeah, but only the two of you can do that. Like, that's not true. Well, but, like, I can't paint, so how am I gonna get it? I can't.
- [48:30]
B
Your husband can.
- [48:31]
C
Well, I know, but I'm just saying that, like, I feel like that is a level that, like, the artist can. Or would you ever have a client who would say, like, will you paint me something? And paint the mat too? Like, have you ever done that for someone?
- [48:43]
A
I have thought that it would be beautiful for people that are framing their wedding invitations. I mean, have, like, a. Sell just the painted mat as a piece of artwork. Include elements of florals that were in their wedding, or maybe they. Maybe they got married on the coast, and you can include.
- [49:05]
C
That's a nice idea.
- [49:06]
A
Birds or. Or fish.
- [49:07]
B
That's hers. You can't steal that.
- [49:09]
C
I can't steal that.
- [49:10]
B
She's got a website.
- [49:11]
A
She seems fine with me.
- [49:12]
C
Just wait. You got to do it before this episode.
- [49:16]
B
Just scheming. No, I. I mean, I. Like, I did. I did. See, you had some on your website, and I thought they were so precious, so I.
- [49:23]
C
That's a great idea.
- [49:25]
B
Painted matte.
- [49:26]
C
Because it adds, like, a little bit more of a dimension.
- [49:29]
A
It just gives a little pop.
- [49:30]
C
Yeah. Yeah.
- [49:32]
A
At home, I have a photo of my children that I have. The mat has just all of these, like, decorative florals all the way around the border. And it was a picture of the two of them when we were in the mountains and they were illegally picking flowers at a garden. But it just kind of felt like a fun little nod to.
- [49:59]
C
Yeah.
- [49:59]
B
To what was.
- [49:59]
A
Put that in memory.
- [50:01]
C
I love that. For family photos that I've never thought about that. Yeah, that's a great idea.
- [50:06]
A
Do you.
- [50:07]
C
Have you been doing that? I feel like you've been painting mattes a little bit.
- [50:09]
B
I've done a little bit of painting mattes. I've wrapped them in fabric, too. I followed that trend. Did a few of those, but.
- [50:16]
C
Okay. What is the. What about. What fabric did you use? Because I feel like you would have to use something really thin.
- [50:20]
B
I did use a ticking.
- [50:21]
C
Yeah, yeah, yeah.
- [50:23]
B
Ticking is hard to get those edges.
- [50:25]
A
Right, too, when you're.
- [50:27]
B
Yeah. But it's in my personal hallway upstairs.
- [50:31]
C
Yeah.
- [50:31]
B
Like you said, it's like, I'm the only one enjoying it, so.
- [50:35]
C
Yeah. Perfect.
- [50:37]
B
Yeah. No, or even the wrapped frames. Have you seen. Or, like, have you painted the frame.
- [50:42]
A
Themselves or wrapped Yeah, I have.
- [50:45]
C
You've done it all.
- [50:46]
A
No, I haven't done it personally, but I love the look of it.
- [50:48]
C
Yeah. Yeah.
- [50:49]
A
When it's a patterned mat and then the pattern continues around the frame too. I mean, how sweet. It's just beautiful.
- [50:58]
C
It seems like a great way to maybe, like, recycle a little bit. Right. Where like, if you get something from a family member and you're like, this is a great frame, but, like, it's.
- [51:10]
A
Comfortable with a diy. Like, it's. I mean, especially when. If you're going to add some pattern to a mat board, I mean.
- [51:18]
B
Yeah, yeah.
- [51:19]
A
The investment is low.
- [51:21]
C
I could probably handle structure.
- [51:23]
B
Yeah, very much. You can do that? Yes, exactly. I think you can do it. That's just math.
- [51:27]
C
Yeah. I have tried to get Will to paint me some lampshades. I. I love that painted lampshade look. You know what I mean? Where, like.
- [51:34]
B
Yeah. Has he done it? Do you want me to do it?
- [51:38]
C
Not yet, no.
- [51:39]
B
Anne can do it. He probably do it.
- [51:40]
C
What if you could do it for me way faster.
- [51:43]
B
I did paint lampshades for. Or my sun's room. He needed something in there, and I couldn't find one. And I just was like, I'm gonna paint a stripe on it. And I did.
- [51:51]
C
It's not perfect, but I had this idea that I want. Wanted to do basically, like, a similar pattern to the powder room. Like, it's for sconces outside of our powder room as sort of a little, like, preview going to the powder room. So I was very specific. Of course, I did.
- [52:11]
B
For someone's baby room. I did, like, the wallpaper in the. Like, I copied the wallpaper onto the lampshade because I wanted it to be. Yeah, it wasn't that great.
- [52:20]
A
I mean, is there any room that is more fun to decorate than a nursery?
- [52:23]
C
No.
- [52:24]
A
I mean.
- [52:24]
C
Yeah. Right.
- [52:25]
A
Come on. That is. Yeah.
- [52:26]
C
Well, because they don't have an opinion.
- [52:29]
A
I know.
- [52:29]
C
It's like, you can do whatever you want.
- [52:31]
A
It's so true.
- [52:34]
B
I mean, I've taken the same approach in my dining room, but I feel like that's not a.
- [52:38]
C
And you can be, like, more whimsical in a kid's room. Right. Like, you can just kind of.
- [52:43]
A
I think that's what I felt about.
- [52:44]
B
The dining room too, though. It was like, it's a place. It's a special place. It's in general.
- [52:52]
C
Yeah.
- [52:52]
B
I should say it's where in my house. It feels like more special events are in there.
- [52:56]
C
So it felt random when you walk in the door. Taryn's painting a mural in her dining room. Yeah.
- [53:00]
B
But I. I had a little too much fun. Like, I didn't want it to feel overly formal.
- [53:05]
A
Do you feel like you want to keep adding to it or evolving it?
- [53:09]
C
Yeah. Yes.
- [53:11]
A
That's the fun of creating something in your own home.
- [53:15]
C
Yeah.
- [53:15]
A
Yes.
- [53:16]
C
Are you sitting at dinner being like, I need to add a little shading?
- [53:19]
B
Oh, yeah. Well, because it kind of went in phases, so the first trees need more lemons. And, like, because I filled in more over, you know, like, as I went. These leaves are way fuller and this side needs.
- [53:31]
C
Yeah.
- [53:31]
B
So, yes.
- [53:32]
A
It's a little fertilizer.
- [53:33]
B
Yeah. Those trees need some help.
- [53:36]
C
Yeah.
- [53:37]
B
It's fall over there. It's summer over there.
- [53:40]
C
Yeah. Do you. Do you ever feel like at your house, you're. You're like, oh, I need something on this wall. Like, I'm just gonna go paint myself.
- [53:45]
B
Yeah. Do you whip over.
- [53:46]
A
Oh, I mean, I'm sure you all feel the same way, too, that I constantly want to redecorate my house because I. I mean, just as there is a new collection of fabric coming out or if I'm creating a series of paintings that I'm like, oh, you know what?
- [54:06]
C
This.
- [54:06]
A
Really love how this is going. I mean, I am constantly inspired to just redo everything. I can't say that I haven't at home, but there's just. There's so much good out there.
- [54:20]
C
Yeah. Yeah. Well.
- [54:21]
B
And it's always coming. And I think that's the beautiful part to what we do. The space we're in is you.
- [54:25]
C
You're just. As you.
- [54:26]
B
Like you said, you start working on something, you're like, well, I really like this, but it doesn't fit in my current space. What if.
- [54:33]
C
Yeah.
- [54:34]
B
You're always looking for a room back to, like, finding a fun room to do things.
- [54:37]
C
Yeah.
- [54:38]
B
As nurseries are.
- [54:40]
A
Oh. Some of the. My most favorite pieces that I have painted have been commissions for nurseries.
- [54:47]
B
It's really sweet.
- [54:48]
A
It's. Yes, they're. They're sweet. And you just think about. About, okay, well, this is going to live in a room where this, like, cherished child is going to. To grow up. And.
- [55:00]
B
Yeah, it's.
- [55:00]
C
Yeah. I feel like we put more, like, thought and care into nurseries in the way that it, like, you might neglect your living room.
- [55:13]
A
Right.
- [55:13]
C
Cause, like, it's fine. It's fine. But then with your nursery, you're like, I want it to be.
- [55:17]
A
There's a time stamp on it.
- [55:18]
C
Yeah.
- [55:19]
B
You're like, oh, that's why it works though. Right. It's almost like you have a, the, you have in general, the lead up.
- [55:25]
A
Right.
- [55:25]
B
In general, small. And you have a due date.
- [55:28]
C
Yeah.
- [55:28]
B
And so you really are truly working towards. In general.
- [55:31]
C
Yeah.
- [55:31]
B
Like you, this room has this one purpose and here is, it's like the data has to be done where, you know, you're never moving into a house. I mean like the dining room has to be done unless you plan a party specifically. You know.
- [55:43]
A
But it's true.
- [55:44]
B
Like your bedroom, you're like, not like.
- [55:45]
C
Well, no one goes in there but me. I can do whatever. Yeah, yeah.
- [55:49]
B
When do you take the time to.
- [55:50]
C
You're like, I, I, it needs to be done by this due date because I'm not going to do anything after they're, you know what I mean? Like once they're born, like I'm going to be occupied.
- [55:59]
B
Yeah.
- [56:00]
A
What is the phrase? The, the cobblers.
- [56:02]
C
Yeah, yeah, of course. Yes.
- [56:03]
A
I think it's easy to fall prey to that. And Doug, here we have the limu emu in its natural habitat helping people customize their car insurance and save hundreds of. With Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug.
- [56:24]
B
Limu is that guy with the binoculars watching us.
- [56:26]
A
Cut the camera. They see us. Only pay for what you need@libertymutual.com Liberty Liberty. Liberty Savings. Very unwritten by Liberty Mutual Insurance Company affiliates excludes Massachusetts.
- [56:36]
C
Yeah. And thank you so much for coming by. Your paintings are beautiful.
- [56:42]
B
Oh, yes. No, thank you. Your work is just so beautiful and so inspiring and your website is a great. You know, you have so much of your work on there for people to enjoy. So if they want to go and check it out.
- [56:56]
A
Thank you.
- [56:57]
B
Or commissions. You do commissions as well?
- [57:00]
A
Yes, happy to do them. And it, it's a real love of mine to have the ability to be able to paint something that either meant something, a place that meant something to someone or a subject matter. And it's just really special to be a part of people's homes.
- [57:21]
C
Yeah. And when you're collection.
- [57:23]
A
Yeah.
- [57:23]
C
It's your collection of painted mattes.
- [57:26]
A
Coming soon.
- [57:26]
C
Oh, gosh.
- [57:27]
A
Coming soon. I know I need to get on that.
- [57:30]
B
Well, until then, they can purchase it on our website. They can purchase your other paintings. So we're lucky to have you on there.
- [57:36]
A
Thank you so much.
- [57:37]
B
Everyone can enjoy your beautiful work. Work.
- [57:39]
A
Thank you.
- [57:40]
C
Okay, well, can you tell everyone where they can find you, follow you and see your work?
- [57:44]
A
Yes. So my Instagram is Annboniart and my website is annboniart as well, so you can can see my works there.
- [57:55]
C
Awesome.
- [57:55]
B
All right, that's our show.
- [57:58]
C
And that's our show. You can find all of the show notes on our blog howtodecorate.com podcast to.
- [58:03]
B
Send in a decorating delay, email your questions to podcastallarddesigns.net so we can help you with your space.
- [58:10]
C
And of course, be sure to follow.
- [58:11]
A
Us on social media.
- [58:12]
C
AlardDesigns.
- [58:13]
A
Don't forget to subscribe wherever you get your podcasts so you never miss an episode. And please leave us a review. We'd love to hear your feedback.
- [58:20]
C
Until next time, happy decorating.