>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATED EXPRESSION FOSTERING TALENT AND CONNECTING THE COMMUNITY TO COLUMBUS ARTISTS, EXHIBITIONS, CONCERTS, PUBLIC ARTS, AND MORE AT COLUMBUSMAKESART.

COM FROM THESE CONTRIBUTING SPONSORS AND VIEWERS LIKE YOU.

THANK YOU.

>> THIS TIME ON "BROAD & HIGH," A CREATIVE COLLABORATION IN WHICH POETRY INSPIRES FINE ART PRINTS.

THE JOURNEY OF AN ARTIST WHO FINDS JOY IN THE PROCESS AND IN SHARING IT WITH OTHERS.

HEAR THE INDY ALT ROCK FROM AN ECLECTIC BAND.

THIS AND MORE RIGHT NOW ON "BROAD & HIGH. "

WELCOME TO "BROAD & HIGH," I'M YOUR HOST KATE QUICKEL.

FOR ALMOST 30 YEARS, PHOENIX RISING HAS BEEN DEDICATED TO THE FINE ART OF PRINTMAKING.

FRED ANDRLE IS AN AWARD-WINNING JOURNALIST AND BELOVED FORMER WOSU TALK SHOW HOST.

WHEN FRED REACHED OUT TO PHOENIX RISING ABOUT COLLABORATING ON A PROJECT, THEY JUMPED AT THE CHANCE.

JOIN US AS WE UNCOVER THE WORK BEHIND THE CREATION OF A LIMITED EDITION ARTIST BOOK THAT COMBINES PRINTS INSPIRED BY POETRY.

>> FOR MORE THAN 30 YEARS RADIO STATIONS AROUND COLUMBUS AND THEN FINALLY WOSU, HAPPY TO BE A JOURNALIST FOR MORE THAN 20 YEARS.

I WROTE POETRY ALL THE WAY THROUGH.

ONE EVENING A WEEK AND ONE SATURDAY OR SUNDAY MORNING.

I JUST WROTE A LONG POEM.

I FINALLY WROTE HAIKU, AND THAT HAPPENED ALL THROUGH THE 30 YEARS OR SO OF JOURNALISM.

IF YOU WANTED A TESTIFY IN ADDITION OF HAIKU, WHAT A HAIKU DOES IS BRING US TO THE DUTY OF OUR EARTH AND OUR SURROUNDINGS.

YOU KNOW?

WE SLEEP, THE GARDEN GROWS ALL NICE, THE LOVELINESS OF A GARDEN GROWING ALL NIGHT, BUT IT ALSO TALKS ABOUT US TOO, YOU KNOW?

WE SLEEP, THE GARDEN GROWS ALL NIGHT.

HIS FATHER'S OLD BINOCULARS, MORNING STARS.

IT LINKS OUR EXPERIENCE WITH NATURE IN A VERY CONCISE WAY WHICH WE HOPE IS MOVING FOR PEOPLE.

IN PHOENIX RISING, WHAT WE'RE DOING, IS THE ARTISTS ARE DOING PRINTS THAT IS THEIR RESPONSE TO THE POEM.

>> FRED BEING WHO FRED IS, AN INCREDIBLE MIND BEHIND WORDS, SO IT'S A COMBINATION OF WORDS AND VISUALS TOGETHER.

INITIALLY WE HAD TO PICK WHICH HAIKU WE WERE INTERESTED IN DOING, BUT THEN IT BECAME, IN MY MIND, IT BECAME MORE IMPORTANT THAT WE UNDERSTOOD WHAT FRED'S THINKING WAS BEHIND THESE THINGS.

AND THE BASIC TENOR OF HIS WORK SO THAT WE COULD COMPLEMENT IT EFFECTIVELY.

>> IT'S REALLY BEEN A PLEASURE TO GET TO KNOW FRED AND ALSO WORK IN SUCH A BIG GROUP TOGETHER.

USUALLY WHEN WE COLLABORATE IN THE STUDIO, IT'S LIKE THROUGH A GROUP SHOW, SO WE'RE ALL SHOWING WORK WE CREATE SEPARATELY BUT TOGETHER, WHERE THIS IS ALL OF US WORKING TOGETHER.

WE'RE GIVING EACH OTHER FEEDBACK.

AND FRED IS REALLY JUST EXCITED TO BE THERE, WHICH IS SO EXCITING TO SEE SOMEONE WHO'S BEEN WORKING ON THEIR CRAFT FOR SO LONG BUT ALSO BE SO HUMBLE AND WILLING TO GIVE CONTROL OVER TO ARTISTS HE DOESN'T KNOW.

SO THAT'S BEEN REALLY A PLEASURE AND REALLY JUST KIND OF HAVING --WITH A HAIKU, IT'S SO SHORT, SO COMPROMISED, AND HE IS, LIKE, SUCH AN EXPERT AT IT.

YOU READ IT AND THEN YOU TALK TO HIM ABOUT IT AND YOU GET A WHOLE OTHER SIDE OF IT.

AND SO THESE SKETCHES HAVE CHANGED QUITE A LOT SINCE I FIRST STARTED, BECAUSE I THOUGHT IT WAS SOMETHING DIFFERENT AND ONCE YOU HAD A CONVERSATION, I SAW SOMETHING NEW.

AND SO I THINK THAT'S --KIND OF SPEAKS TO THE WHOLE PROJECT IS REALLY JUST, LIKE, WHAT DIFFERENT PEOPLE COLLABORATING ON THE SAME SUBJECT MATTER CAN BRING TO IT BECAUSE THERE'S SO MANY DIFFERENT PERSPECTIVES YOU CAN HAVE WITH IT.

AND I THINK SHOWING HIS VULNERABLE SIDE THROUGH HIS POETRY KIND OF, I THINK, A LOT OF US ATTACH TO THAT, BECAUSE HE DIDN'T CHOOSE THE POEMS, WE CHOSE.

WE CHOSE THEM.

SO IT'S POETRY WE CONNECT WITH.

EVERYONE'S GOING TO CONNECT WITH A DIFFERENT THING.

FRED ALLOWING HIMSELF TO BE VULNERABLE IN HIS POETRY ALLOWED US TO BE VULNERABLE WITH THE WORK WE'RE MAKING.

AND IT WAS, LIKE, A VERY INTERESTING THING TO KIND OF SHARE OUR THOUGHTS ABOUT BRINGING THAT TO IT AND THEN WHEN WE WERE ALL IN A BIG GROUP TOGETHER, HE WOULD SHARE HIS OWN VULNERABILITIES ABOUT WHAT WENT INTO THE PIECE OF KIND OF LIKE HIS LIFELONG EXPERIENCE BEING THE AGE HE IS AND WHAT THE LIFE HE'S TRAVELED AND WHAT LED HIM TO WRITE THAT POEM AND HOW IT'S, LIKE, AFFECTING US NOW.

>> MY JOB ON THIS SUN AND SHADOW PROJECT IS TO TYPESET, TO SET THE ACTUAL TYPE OF THE HAIKU OF THE POEMS IN THE BOOK.

SO I'LL BE USING OUR METAL TYPE, WHICH IS IN THE DRAWERS BEHIND ME, TO PUT THE LITTLE METAL TYPE TOGETHER TO MAKE THE HAIKUS AND PRINT THOSE ON THE PAGES NEXT TO THE ARTWORK.

METAL TYPESETTING IS A VERY OLD PROCESS AND A LOT OF WHAT WE DO IN MODERN TYPESETTING ON COMPUTERS SORT OF COMES FROM THAT PROCESS, SO PIECES OF IT ARE GOING TO SOUND VERY FAMILIAR.

BUT SORT OF FIRST THING YOU DO IS DETERMINE YOUR LAYOUT, SIZE TYPE YOU WANT TO USE, HOW WIDE YOUR WANT YOUR BLOCK OF TEXT TO BE.

AND THEN THERE ARE VARIOUS TOOLS, THERE'S A COMPOSING STICK, WHICH IS A LITTLE METAL DEVICE THAT I'LL HOLD IN MY HAND, PUT LETTERS INTO IT, ACROSS --CAREFUL, YOU KNOW, IN TYPE EVERYTHING'S KIND OF BACKWARDS.

IT COMES OUT THE OTHER WAY.

I DO IT UPSIDE DOWN, SO IT ENDS UP BEING FORWARDS, EVEN THOUGH IT'S BACKWARDS.

MIND YOUR Ps AND Qs, THAT COMES FROM THE PRINTING INDUSTRY.

I CHECK THAT I DIDN'T PUT IN A Q FOR A P, A B FOR A D, MAKE SURE EVERYTHING LOOKS RIGHT.

IF IT LOOKS RIGHT ON THE PROOFING PRESS, I'LL TRANSFER ALL THOSE LITTLE BITS ONTO THIS MACHINE RIGHT HERE.

PRINTMAKING IS ALWAYS A VERY SORT OF PROCESS-ORIENTED KIND OF ART FORM BECAUSE IT'S SO MUCH ABOUT MAKING YOUR TOOLS, YOUR BLOCK IS LIKE YOU'RE MAKING YOUR TOOL.

AND SO THEN YOU HAVE TO, LIKE, THINK ABOUT THE FUNCTION OF YOUR TOOL, HOW YOU DESIGN THAT TOOL, AND HOW IT WORKS WITH THE OTHER EQUIPMENT.

BECAUSE IT'S SO PROCESS ORIENTED, EACH PROCESS REQUIRES, LIKE, SOME EXPERTISE.

SO MORE THAN ANYTHING, I'M BRINGING EXPERIENCE WITH THE PROCESS.

AS FAR AS THE CREATIVE PART OF IT, I'M BRINGING EXPERIENCE WITH LAYING OUT THE TYPE IN A WAY THAT LOOKS PLEASING, THAT FITS ON THE PAGE THE RIGHT WAY, THINGS LIKE THAT.

THIS KIND OF A PROJECT, IT'S NOT AS SORT OF, LIKE, OUT THERE CREATIVELY WITH THE TYPESETTING.

THIS IS A MUCH MORE FUNCTIONAL SORT OF TYPESETTING JOB, BUT THE SAME SKILLS APPLY.

AND THE SKILLS OF, YOU KNOW, MAKING THINGS CLEAN, READABLE, LEGIBLE, THOSE ARE ALSO SORT OF CREATIVE SKILLS THAT I'M TRYING TO BRING TO THE TABLE.

>> I'M PRIMARILY INTERESTED IN THE NATURE ASPECT.

MY WORK IS CENTERED AROUND THE LANDSCAPE.

DESIGN ELEMENTS THAT COME OUT OF THE LAND.

AND SO I'M FASCINATED WITH ROCKS, TOPOGRAPHY MAPS.

A LOT OF THOSE ELEMENTS ARE IN MY ART.

TRYING TO PRESERVE THE LAND AND WHAT OUR RELATIONSHIP IS TO THE LAND IS A KEY FACTOR IN MY WORK.

FOR THIS PARTICULAR PROJECT THAT WE'RE WORKING ON, I'VE GONE BACK TO NATURE BUT IN A MORE TRADITIONAL WAY.

>> THIS ONE IS ABOUT SPRING AND KIND OF LIKE THE OVERWHELMING AND BOISTEROUS NATURE OF SPRING IN, LIKE, A QUIET, SUBTLE, BEAUTIFUL WAY ABOUT HOW THAT'S WHEN FLOWERS ARE BLOOMING.

WE HAVE ALL THESE, LIKE, MASSIVE RAINSTORMS.

WE SEE, LIKE, A BURST OF LIFE, AND THAT TAKES OVER IN A REALLY COMFORTING WAY RATHER THAN WHEN THINGS BECOME OVERWHELMING AND GROW, IT CAN BE REALLY SCARY.

SO THIS IS JUST A REALLY SOFT PIECE ABOUT REALLY HOW COMFORTING, LIKE, NEW TIMES CAN BE.

AND THEN THE OTHER PIECE I'M DOING IS ABOUT RACING THOUGHTS AND HOW NATURE CAN KIND OF CALM US DOWN AND GET US OUT OF THESE CYCLICAL THOUGHTS.

AND SO YOU HAVE THIS, LIKE, BRANCHES OF TREES.

I ADDED VICTORIAN FLOWER LANGUAGE, WHICH I DO A LOT IN MY PRACTICE OF, LIKE, MEDICINAL, HOLISTIC, HERBAL REMEDIES TO SOMETHING WE MAY COME ACROSS AND SHARE.

SO YOU HAVE ALL THESE, LIKE, KIND OF REMINDERS OF HOW TO BREAK OUT OF THE CYCLE.

AND THEN IN THE VERY CENTER OF IT YOU HAVE A ROCKING CHAIR OF KIND OF THAT PACING, RACING THOUGHT OR LIKE A HORSE DASHING ACROSS THE IMAGE OF JUST SHOWING THAT MOVEMENT OF CYCLICAL THOUGHTS.

BUT I KNEW I WANTED THESE PIECES TO BE MORE OF A COLLAGE-STYLE OF DRAWING, WHAT I DID IN SCHOOL.

I STARTED WITH A DRAWING AND GOING AND DEVELOPING FROM THERE BECAUSE OF HOW IT IS, IT'S A LABOR INTENSIVE PROCESS LIKE ANY PRINTMAKING.

YOU HAVE TO KEEP IN MIND THE LAYERS.

I WAS EXPLORING KEEPING COLORS SEPARATE AND KEEPING IN MIND HOW THESE COLORS WOULD INTERACT AND LAYER ON THE PAGE.

AND I HAVE FIVE COLORS IN BOTH OF MY PIECES, SO THEY ARE GOING TO TAKE QUITE A LOT OF TIME, BECAUSE YOU PRINT EACH COLOR ONE AT A TIME, AND SLOWLY YOU GET A PICTURE THAT'S THAT'S DEVELOPS THROUGH A STENCIL PRINTING PROCESS BASICALLY.

WITH THIS, THERE'S KIND OF A LOT OF FRONT WORK UNTIL YOU CAN BRING IT TO THAT, SO YOU HAVE A DRAWING, YOU WORK WITH A PHOTO SENSITIVE NERL THE DARKROOM AND GET A SCREEN, AND THEN YOU BASICALLY GET A STENCIL AND A SCREEN.

THE PRESS COMES IN, THE PRINTER COMES IN, AND I'M PUSHING INK THROUGH A SCREEN THROUGH THIS VERY FINE MESH AND THROUGH ALL THE PREP WORK I HAVE, THAT'S WHERE IT REALLY ALLOWS ME TO PRINT THE WAY I WANT IT TO AND PRINT WHERE I WANT IT TO.

AND THEN WE JUST HAVE TO KIND OF HAVE A SYMBIOTIC RELATIONSHIP OF YOU DO YOUR THING, AND I DO MY THING.

HOPEFULLY AT THE END EVERYTHING ALIGNS AND WE GET A PRINT AND IT'S REPEATABLE EN MASSE.

>> FOR THIS PROJECT, I'M GOING TO DO AN LINO CUT AND AN ITALIO.

I LIKE TO EXPERIMENT.

AND ALSO I'M NOT A PURIST, SO IN ONE IMAGE, IN ONE PRINT, I WILL SOMETIMES COMBINE PROCESSES.

I MIGHT DO A HOLOGRAPH AND AN ETCHING PROCESS COMBINED.

FOR ME IT'S NOT SO MUCH THE PROCESS, IT'S WHAT THE FINAL IMAGE IS AND WHAT YOU HAVE TO DO TO GET THAT IMAGE THE WAY YOU WANT IT TO BE.

THE LINO CUT ONE, IT'S SIMILAR TO A WOOD CUT, ONLY YOU'RE CARVING YOUR IMAGE OUT OF A PIECE OF LINOLEUM.

THUS THE NAME LINO.

YOU'RE CARVING AN IMAGE AND THEN APPLYING INK TO THE SURFACE, PUTTING IT ON THE PRESS BED, LAYING A PIECE OF PAPER ON IT, GOING THROUGH THE PRESS, AND VOILA, YOU HAVE A PRINT.

>> MY PRESS PROCESS IS SITTING IN A CHAIR WITH A NOTEBOOK AND PEN.

IN A HALF HOUR I'LL WRITE 20 TO 30 HAIKU.

BUT NOT ONE OF THEM IS NECESSARILY GOING TO HAVE QUALITY.

IT'S VERY DIFFICULT.

I MIGHT HAVE 120 HAIKU, HAVING WRITTEN A NUMBER OF HALF HOUR, AND MAYBE ONE OR TWO WILL BE QUALITY ENOUGH, I CAN WORK WITH THESE TWO.

SOMETIMES WHEN YOU WRITE A POEM, IT MOVES YOU, NOT ONLY THE PERSON WHO MAY READ IT BUT IN THE WRITING OF IT, YOU'RE MOVED TO TEARS, YOU'RE MOVED TO LAUGHTER.

AND SO IT TOUCHED THOSE EMOTIONS FOR ME, EVER SINCE THE FIFTH GRADE.

YEAH.

IT'S WONDERFUL FOR THE WRITER AS WELL AS THE READER.

>> FIND FRED ONLINE AT FREDANDRLE.

COM.

TO SEE THE LATEST FROM PHOENIX RISING, GO TO PHOENIXRISINGPRINTMAKING.ORG.

EMERGING ARTIST LISA ROSE MILLER DESCRIBES HER JOURNEY AS HAVING MR.

M FORMS, INCLUDING LOOPS, PAUSES, AND SPIRALS.

IN THIS SEGMENT, WE TALK WITH THE FORMER HOME-SCHOOLING MOM WHO NOW SHARES HER CREATIVE TALENTS WITH A NEW AUDIENCE WITH CLASSES LIKE "A DATE WITH MONET. "

>> THAT WAS IN DRAWING WITH A MINOR IN PRINTMAKING.

WHILE I WAS THERE, I TOOK A PAPER MAKING CLASS AND FELL IN LOVE.

I LIKE TO CALL MYSELF NOT ONLY A RECYCLER BUT A PRECYCLER.

I HAVE FOUR BAGS UNDERNEATH MY DESK.

I HAVE AN THIS GOES TO THE CURB, I CANNOT USE THIS BAG, AND THE REST ARE JUST BASED ON SORTING OUT COLOR.

BUT I THINK THE MOST REWARDING THING IS WHEN I CAN TAKE MY BILLS, MY MORTGAGE STATEMENT, MY SON'S HOMEWORK, MY JUNK MAIL, AND I CAN MAKE THEM INTO SOMETHING BEAUTIFUL AND MAKE MONEY OFF OF THEM.

SO PRETTY EASY TO KEEP THE BILLS BEING RECYCLED, BECAUSE THOSE NEVER STOP, RIGHT?

AND THE JUNK MAIL.

I USE MY PUFF-SIZED CHEETO BIN.

WHY BUY SOMETHING NEW WHEN I'VE GOT THIS THAT I'M GOING TO, YOU KNOW, TAKE OUT AND PUT IN THE RECYCLING BIN ANYWAY?

SO I SAVE THOSE KINDS OF THINGS.

PARTS FROM OLD REFRIGERATOR DRAWERS THAT I NOW USE.

BECAUSE AS A SINGLE MOM, YOU KNOW, YOU GET TO BE RESOURCEFUL SO YOU CAN USE THE REST OF YOUR FUNDS ON OTHER MORE IMPORTANT THINGS, YOU KNOW?

>> I'M THE YOUNGEST CHILD OF ONE OF THE OLDEST BOYS IN A FAMILY OF 13.

SO MY DAD WAS RAISED DURING THE DEPRESSION, AND HE HAD VERY MUCH SO SURVIVALWISE AND VERY SMARTLY HAS VERY PRACTICAL VIEW OF LIFE.

AND I THINK THAT'S WHAT WAS INHIBITING ME FROM GOING FARTHER.

HE WAS SUPPORTIVE.

HE DIDN'T SAY, DON'T DO THAT, THAT'S RIDICULOUS, NONE OF THAT.

THEY WERE VERY SUPPORTIVE AND GAVE ME LOTS OF OPPORTUNITIES, ARTISTICALLY, CREATIVELY, BECAUSE THEY FORAGED FOR WHAT THEY HAD.

EVEN, YOU KNOW, ON THEIR OWN PROPERTY THEY WENT BERRY PICKING AND MUSHROOM HUNTING AND ASPARAGUS.

AND THEY WOULD FISH THE CREEK ON THEIR, YOU KNOW, OWN PROPERTY SO THAT PRACTICALITY OF ARTWORK BEING ON THE LOW END OF THE TOTEM POLE AND IMPORTANCE LIST WAS --WASN'T EVEN ART SPECIFICALLY BUT JUST AS A WAY OF LIFE, YOU KNOW, THAT YOU WERE FRUGAL.

MY MOM WAS A MAJOR CREATIVE.

SHE HELPED TO KIND OF CHANNEL MY PACK RATTEDNESS.

SO WHAT SHE DID WAS, BLESS HER HEART, I DON'T KNOW THAT SHE EVER PICKED UP A JIGSAW BEFORE THAT, BUT SHE GOT THE PATTERN AND CUT OUT AND BUILT WITH MY DAD'S HELP, BUT SHE WAS THE PRIMARY FORCE, SHE BUILT A VICTORIAN DOLL HOUSE, TO SCALE, ONE INCH TO ONE FOOT.

I PUT INSIDE THE GREEN TWISTY TIES AND TURNED THEM INTO PLANTS AND FURNISHED THE DOLLHOUSE WITH ANYTHING FROM KITS TO DOING THINGS FROM PATTERNS IN MAGAZINES TO SCRAP IDEAS OF MY OWN.

I WAS IN PUBLIC SCHOOL, AND SHE DECIDED, YOU KNOW, SOME DAYS SHE LET ME DO HOOKY RESPONSIBLY.

SO SHE WOULD SAY, OKAY, DO YOU HAVE ANYTHING IMPORTANT THAT YOU'RE GOING TO MISS AT SCHOOL?

DO YOU HAVE ANY QUIZZES, DO YOU HAVE A TEST, OR DO YOU HAVE TO DO A SPEECH OR ANYTHING DUE THAT YOU HAVE TO HAND IN?

NO.

OKAY, SHE WOULD CALL UP THE SCHOOL AND SAY, THIS IS LISA'S MOM, SHE WON'T BE IN SCHOOL TODAY.

AND SHE WOULD KEEP ME HOME AND WE WOULD MAKE MINIATURES AND SPEND TIME TOGETHER.

WE ARE ALL A PRODUCT OF THE INFLUENCE OF EACH OTHER AND WHAT EACH PERSON HAS TO CONTRIBUTE TO US AND VICE VERSA.

SO I LIKE TO GIVE BOTH MY PARENTS CREDIT FOR, YOU KNOW, WHAT THEY HELP ME TO DEVELOP.

>> KARA CAME ALONG AT A REALLY PERFECT TIME FOR ME, BECAUSE AS A HOME-SCHOOLING MOM WHO WAS GETTING MY LAST MORE AND MORE INDEPENDENT, THAT'S WHEN I PLUGGED IN WITH TARA.

SO THAT FREED ME UP TO DIVE BACK IN AND PURSUE MY TALENTS AND MY TRAINING.

SO AS I WAS IN --AT TARA AND DISCUSSING WHAT MEDIUM I COULD USE, I REMEMBER LOOKING DOWN AT THE COUNTER AFTER WE HAD EXHAUSTED SOME THINGS AND I WAS LIKE, THERE'S A PAPER BOWL, OH YEAH, I USED TO LOVE MAKING PAPER, YOU KNOW.

AND SO I SUGGESTED I COULD DO PAPER MAKING, I COULD DO --I ENDED UP CALLING IT THE PULPING AND SCULPTING SERIES.

AND I DO A LOT OF TALKING UP FRONT BECAUSE WE CAN'T DO EVERYTHING IN THE --IN THE CLASS FROM THE PULPING AND THE RECYCLING TO THE CLAY PART SO.

I EXPLAINED THAT PART SO THEY HAVE A LITTLE BIT OF BACKGROUND AND THEY GET SOME KNOWLEDGE ABOUT WHAT PAPER MAKING IS AND WHAT THEY'RE USING.

I LAY OUT THIS, YOU KNOW, A KIND OF A BUFFET OF MONET'S IMAGES AND THEY CAN PICK WHICH ONE THEY WANT TO IMITATE OR IF THEY WANT TO MAKE THEIR OWN.

WHEN I SEE WHAT THEY DO WITH IT IN THAT SHORT OF AMOUNT OF TIME AND HOW HAPPY THEY ARE AND HOW RELAXED THEY ARE, THAT'S SUPER REWARDING TO ME.

IT ALWAYS AMAZES ME TOO, YOU GET TO THE SAME EXACT SUPPLIES, SAME EXACT COLORS IN FRONT OF EVERYONE, AND EVERY SINGLE ONE OF THEM WILL BE SO DIFFERENT AND SO CREATIVE IN THE WAY THAT THEY'RE EVEN IMITATING THE SAME STYLE OF PAINTING, YOU KNOW?

AND SO I THINK THAT'S --THAT'S WHAT'S MOST REWARDING IS SEEING PEOPLE BE ABLE TO DO SOMETHING THAT THEY'RE VERY PROUD OF AND THEY'VE USED THEIR CREATIVE MIND.

ONE OF THE BIGGEST THINGS THAT I'VE CONCLUDED AND MORE AND MORE CONVINCED OF IS THAT IF I DON'T KEEP GROWING PERSONALLY AND BECOME A CONSISTENT STUDENT, I WILL NEVER BE A GREAT TEACHER, BECAUSE I'LL ONLY BRING STUDENTS UP TO WHERE I AM AND WE'RE BOTH PLATEAUING INSTEAD OF KEEPING GOING AND KEEPING PULLING AND INSPIRING.

>> TO SEE MORE OF LISA'S WORK, FIND HER ON FACEBOOK AT LISA ROSE MY CREATIVE JOURNEY.

NEW MOTHER NATURE DESCRIBE THEIR SOUNDS AS COMFY JAMS AND ENERGIZING GROOVES, AND WE COULDN'T AGREE MORE.

JESSICA, HALEY, LUKA, AND MADDY JOINED US IN THE "BROAD & HIGH" PRESENTS STUDIO TO RECORD ONE OF THEIR LATEST RELEASES.

TAKE A LISTEN.

>> TO HEAR MORE, FIND THEM ON INSTAGRAM AT NEW MOTHER NATURE BAND.

WELL, THAT IS OUR SHOW.

REMEMBER, YOU CAN FIND ALL OF OUR STORIES ONLINE AT WOSU.

ORG AS WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE AT WOSU, I'M KATE QUICKEL, THANKS FOR WATCHING.

>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATED EXPRESSION FOSTERING TALENT AND CONNECTING THE COMMUNITY TO COLUMBUS ARTISTS, PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART, AND MORE AT COLUMBUSMAKESART.COM.