No art is really finished.

We merely stop at a good place.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Okay, I want to show you the finished product of "A Morning Visit."

Isn't this nice?

This gal, Renée Brenna is standing on a rock watching the water splash around, just picked flowers that she wants to deliver to a friend.

Maybe to me!

And you've got the gushing water, and yet there is a certain safety that is felt.

So when we go into stage 2, I'm coming over to the, well, I hit the Walnut Oil on the side.

I'm putting Walnut Oil on this just to make it a little easier for the paint to flow freely.

Notice as I put it on, I will not cover it, but I will kind of cover it by pushing it out with a paper towel.

That way I can control that it's not too runny, but it has some wetness to it.

Okay, let's go to her.

Let's go to her.

I have White.

Oh, I picked up some from last week and saved them.

This is so good!

Let's take a little Orange, Azo Orange and White.

Are you going to be-- maybe just a little more Azo.

So not to light, I think this will even be light.

but I want to have just a little-- oh, this will work fine-- right next to her hair there.

So you're having, kind of emphasizing-- I say that's perfect, but I'm going to add a little more orange to it.

Then I'll continue by coming a little bit on the nose Not much, just a little wider there.

And there's a little bit on this cheek.

And a little bit here.

Okay, let's take just a little red.

What kind of red should we have?

Let's give her some of this.

What is this?

Is this?

oh, yeah, that's Quinacridone Red.

She loves nice lips.

Quinacridone Red, and a little there.

Ah, you're a beauty.

You are a beauty!

I'm going to take just one touch of Umber.

This is Burnt Umber, very small amount, and just make a little bit, kind of like eye lashes.

Because she's looking down.

You want that feel of looking down.

And a little bit on the eyebrows, little bit on the eyebrows, a little bit under the nostril.

Just right.

Thank you for posing, Renée.

Ah, all right, let's go on a couple other places, and then we'll come back and look at her.

So I need to go up into the tree.

You see it here but on this one we don't So we'll take, this is Umber and Orange... and White.

And I'm touching the canvas with my little fingernail so I can control it, then it's very easy controlling the width of the line.

Ah, like there-- you get a feeling like it's being lit-- where's the light coming from?

It's coming from upper right, so we need to make sure that we get some light on that side.

And this does come down... right in, like that.

We'll go just a little lighter, which means a little lighter, which means a little more White.

I'm going to put a little Orange and Yellow.

I'm putting Orange and White, no Yellow.

Orange and White, go a little stronger here and a little stronger there.

We need to be consistent on the light direction, like that.

Okay, while I have that in mind, I'll take the same, I'll take the Orange, and let's put just a little bit of Red in it, Naphthol Red.

And we'll come over on this side.

These cliffs are nice, but let's put just a little more White in that.

Make up your mind!

No, it's fun to do it!

Fun to put it on and see if it's going to work.

There's many shows where I'd have the colors all mixed, you'd say this is this, and this is this.

I hope my jumping around like this gives you confidence that you can do it too.

Just kind of put what you think would make it look great.

Soften that.

Okay, now I need to look a little bit at the waterfall.

I have a color I've fallen in love with.

And that is White, Titanium White and the Bleached White.

I mix them equal parts.

And I want to put down some Pure White next to that.

So maybe you can see the difference.

See, this one has just a little off-white look to it.

Ah!

Here's power, power!

And it continues down, another point of power right there.

We'll blend these in just a minute.

And this kind of comes down just a little individual runs.

Then powerful down here at the bottom where it hits.

Oof.

Then coming down lower close to where she's standing.

But she feels safe, she feels safe.

All right, then let's take, should we take the bunny brush?

Ah, I like the bunny brush But the advantage is where this has gone on top of dry paint.

So it will be a little easier to control than if this were wet underneath.

It has a small wetness because the Walnut Oil, but nothing in great quantity.

So you get a little feeling it's coming down, splashing down, then you feel it hit against something, hit against those sides a little bit.

And come on down.

I'm going to just take the thumb and that side, just a little softer, like that.

Oof, you just feel the water flowing, and that's what we need to do when we do this.

You feel like it would feel.

Doesn't that make sense-- "feel like it would feel?"

So I want to tell you a little bit about my web page.

Please visit it, it's www.buckpaulson.com.

You can see some of the work that I've done.

I think you'll quite enjoy it.

And I love to hear from people, so it may flood the e-mails, But it's buckpaulson@cox.net I've had letters from all over the country.

When I say all over the country, I'm talking about Ghana and other places-- just great!

Now, I think what would help me is if I have a little blue on the brush.

What was this?

This must've been the dress.

Okay, a little bit of blue and white.

I'm going to push this in just a few places on that coming down.

I'm pushing that one in, I'm going to push it in even more because I don't want it to be quite that wide.

That's, that's what I want.

Let's put some Umber on the bottom of that Let's see, where are you Umber?

You are down here.

Notice the contrast between the light and the dark.

We'll put a contrast on this side as well.

Then continuing down with the idea of softening a little bit here.

I have a little blue on the brush.

Boy, that is powerful, powerful moving water.

These, once they're on, you kind of blend them back a little bit so it looks like it's land.

You might just touch a little there so it isn't quite as sharp.

This one on this side is in front of the water.

This one on this side, the water is touching against it.

Touching against this one too, but you can't see the bottom of that.

Okay, let's come down lower, still using some of the blue.

Then I want to come right on the edge here.

It just makes it a little less brown looking.

Put a little bit on the back side, on the front side And this is splashing up a little bit against it.

Okay now, what I want to do is put just a little bit of color around.

that will be first with a knife, then we'll use a brush.

So we'll take some Yellow, and I'm taking the Emerald Green.

I don't want much of it.

I would say that's 5 Yellow.

Geez, I'm going to use even more.

Well, on one of them.

So I have 1 Green and 5 Yellow.

We'll use that first.

And the nice aspect of this is that the underneath is dry, so you can just kind of flit it, flit it across.

Is that a word?

It doesn't completely cover what's there, which is our function-- don't cover too much.

A little bit down here.

I keep jumping back and forth here.

I want to soften that just a little bit as it goes away from that sharpness.

I love that sharpness.

If camera number 2 would kind of bounce, I know that he loved it too.

Okay, next, same color up in here.

This is such a joy to do.

I just absolutely love color, and I find many artists are afraid to use that color.

Well, you use what works best for you.

I'm not afraid, and I guess that's through years of experience.

My gosh!

It's been over 50 years I've been teaching and doing this.

This is great, this is my 25th season on PBS, so there must of been a few years when I wasn't on PBS.

And I'm still an artist.

I travel across the country.

I've traveled into most states and done workshops.

I was over in Dubai and taught there; I went there 3 times.

I went to Hawaii 8 times.

It was just marvelous, I love people wherever I go.

The way it used to be, I would teach, just stay in Los Angeles, and somebody would be visiting, they'd say I'm from Albuquerque.

Would you ever consider coming to Albuquerque?

Yes!

My sister's there!

Then I had this gal in Sacramento teaching, and a friend of hers came-- it was the one from Hawaii!

She said would you come to Hawaii?

I said absolutely.

So I went over there and taught 8 times.

And then, I went to Dubai.

A gal came home for the summer, and her husband was working over there.

She took art classes from me.

Would you be willing to go to Dubai?

I thought where is Dubai?

She kept saying the Tressico (ph) Coast, or something like that.

I don't know what it was, but I ended up going over there 3 times.

It was a little scary the first time.

The American hostages where there 1,000 miles away.

Iran was 60 miles away.

But it felt absolutely more safe than I was in California!

Because they didn't have that blaring news every 5 minutes telling what was going on.

Okay, enough about me traveling, let's travel through this.

Now let's take some Red.

This is Naphthol red.

And I'm going to see-- oh yes, I can put this on kind of just pure.

Isn't that pretty?

It goes so well with the green.

And there's some along here.

I'm just using the corner of the fan brush.

If you prefer a round brush, great.

And on the other side, there's something here.

Whoops.

What you mean whoops?

I got too much.

Okay, take some green and just touch it out.

Oh, that's a great idea!

So you find by correcting mistakes, you say okay, I can use that, that technique where I corrected now becomes a regular technique for doing these.

Back to the real; the full-bodied Red.

And I see one in there.

That needs to be brighter.

Oh, that's so pretty, there is so much color in this, I love it.

Okay, I do want to put some of the yellow in there too.

I'm going to start with the Azo Green just to kind of give a little backdrop for when I go with the lighter light.

Okay now let's go with the brighter light, which is the Yellow.

And 1 Yellow, and 1 White.

Brush mix.

This is an important spot because it kind of balances a little bit the gal on the rock.

Let's go up just a little higher.

And maybe a couple over in here.

See you next week!

Oh no.

What do we have left?

We still have got a little bit of time left.

Let's take the round brush, and we'll take some of this, it's amazing, this is some of the flesh color, and we'll give a couple little more branches on that.

Can you see that all right?

I need to make this thicker.

The thing about trees and branches, if you remember this, they taper, they taper-- larger at the trunk, smaller as it goes up.

I remember once I went over to Claude, my teacher, and I said Claude, I saw this tree, it was small, and the bottom, it got larger as it went up-- just the opposite.

He said well, you probably shouldn't paint it then.

[laughs] That was his answer.

I don't think you're going to have it happen very often that the top is wider than the lower part.

I have just a little highlight here.

You might want to tell the people what you use.

Well, it's taking a little White and a little bit of the other tree color.

I'm just softening that a little bit.

See, all of that helps frame this gal.

I'll explain in just a minute what I'm talking about.

You want to surround her, and this is what happens when you emphasize certain things around like the highlights here.

This red, I'm just going to blend it a little bit with some green so it's not quite as powerful.

And let's see, what else?

Just a little bit up there and down in here.

I still have the green on the brush.

I kind of feel that the Umber here should be just a little bit wider.

That gives a nice balance for this highlight.

It really features that, and that in itself balances the gal.

So I think that's important.

Now as I come down lower, I'm going to take and just blend so I have less paint on the brush, just so it's sort of softens in there.

We'll go to the green and add just a little bit in there.

I wish you could come to my demonstration, public demonstration Friday night.

If you can't come this year, be sure and come next year.

Because we have these products, these demonstrations that I'm working on.

People have the opportunity to bid on them, and boy, they go pretty reasonable.

Pretty, very reasonable.

Okay sharp, when I put this on, I'm kind of a little bit of angles with it, because you are representing land there-- rock.

A little there, and just a little bit in here too.

That looks great!

I'm going to take just a little round brush in the last couple seconds here, take some of that pink.

Just a little bit there, just a little bit here.

Blend this out just a little bit more.

It's sort of helpful when you put these on if you let them settle a little while, then blend.

I need to put just like a thumb going in there.

Oof, missed that.

Okay, I think we're just about ready to say good-bye.

So we'll see you next time!

Thank you for watching.

It's been glorious!

What a great day at the river, Bye-bye.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by... To order the complete 13-episode series 20 of "Painting with Paulson" on DVD including Bonus Features and Line Drawings, please visit or call...