No matter how you look at it, you have to agree, this is an "a-peeling" painting!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ The exciting part of this painting is going on to the next stage, which is now the oil stage.

We have completed the acrylic stage.

This is the oil stage, and then next week will be our second oil stage, because this is a little more complicated painting.

I'm so thankful to have 3 times to do it for you.

I have already put on Walnut Oil across the whole canvas and wiped it just a little bit to smooth it out.

Now I want to put on, I can't really call it a Saturday night bath because I'm going to do a little bit more like a glaze.

This will go over the background.

This is Burnt Umber, and it will hit across the basket a little bit.

If it touches the leaves, that's fine.

It goes over that little cooler look and this warms the canvas a little bit, warms the scene.

And I'm going to go right through there where we'll eventually have some highlight but it will have something to blend into.

I'll wipe that a little bit just as a beginning.

Burnt Umber still going on the background, and when I come to the leaves, just touch across that slightly.

In there... and then let's go up higher.

I'm almost tempted to use this as the whole thing but let me go ahead with what I thought would work and that's the Alizarin on the inside.

I'll wipe this a little bit.

The relationship to what is underneath and what goes on top, you can have just almost the color that you need right there.

The value is very good, isn't it?

And when I say "value" I mean it's between light and dark.

[soft scraping] Okay, any more over here?

That's good.

All right now.

What about the basket on the outside?

Yes, I'll put some of this across there.

[soft scraping] And I'm pushing just a little bit across the leaves.

Okay, now we'll clean the brush, and remember what we said to do.

You just dip it in, pull it out, and wipe it.

Okay, Alizarin Crimson.

I'm dipping in again to get a little looseness on the paint.

So this is Alizarin Crimson, one of my favorite glazing colors.

And I'll put this on across here.

See, that apple is the leader.

It's kind of influencing everything around it.

Ooo... you might be a little rebel!

We're going to come out and get you guys.

Go across there.

I like what this does to the orange color that was done with the acrylics.

So we'll put some out here on this.

We'll come across there a little bit.

Across there, across there.

Now what we could call this painting, it's "And An Apple," we could call it "And an Orange!"

There's apples everywhere!

We do "And an Orange!"

Okay, let's just wipe a little bit the glaze color.

You know, it's so hard to tell jokes and nobody's laughing.

Did you hear anybody laugh?

[laughs] No, nobody's laughing.

That's all right, I enjoy doing it.

And I enjoy the letters that say "Oh we just love your little patter, what you do, the things you say."

I don't paint, but okay.

I want to make sure that I have enough time for my little prima donna down there.

So I'm going to start down there.

Let's take, we have orange and a little white.

Oh, just right!

What else would you say?

Oh that's not right.

If it wasn't, I would say it.

You know that, you that've watched the shows enough time know that sometimes mistakes are made and admitted.

Notice again the light's coming from the left.

So I'm pushing the lightest onto the area that would be lit by the light coming from the left.

A little bit around the top.

We'll be putting more character into this fellow.

We have little veins going down, but this will give us a good start and we'll even come lighter later.

Lighter later.

Oh you're so good!

It's nice to paint these things when you're hungry!

Someday we'll paint a jar of peanut butter.

Um, love peanut butter!

Okay, same thing.

Now down on the edge of the rim, and when I do this, it's more like a little bit there, skip a little space, a little bit there, skip a little bit.

It's not an even application in other words.

I don't see any at the top, I see a little bit in here.

Often when I'm doing something like this I'll refer to it like a face of a clock.

So we put some over here at 1:00 and 2:00.

Down here at 4:00.

And then a little bit, let's see, let's go back to the brighter orange.

Oh, we haven't done that anywhere else.

Okay, the brighter orange we're going to put on outside.

This orange doesn't have quite as much yellow in it so it's not going to compete with that.

However, this one will get more light on it eventually.

So I'll push this around with that nice blend.

See the finger is trained, trained to touch, to blend.

Okay for now, I'll leave that it's a little tough to leave you when you don't look so complete, but let's go ahead with the same color and we'll come over and I'll spot it so since we're doing oils, we can put this on without worrying about it drying before you're ready to blend it.

This one is such an attractive thing.

I call him Hercules because he's holding up the whole basket.

You stay there, Herc!

And the distant one, the distant on back here, just barely touch a little bit like that.

Okay, let's go ahead and blend some of this.

I need to do one thing before I blend that one, and see, there's shadow that's coming down on that part.

See, this basket shades that.

So I need to make sure that that rides along there too.

And I love that clock idea.

That's between 9 and 12.

Okay, here's the, and I'm going to hold the canvas a little bit just so it doesn't spring quite as much.

After I pat on, which has a little quantity, when I get lower, then I'll kind of with less paint kind of scrub it around, advance it out to the edge.

Isn't that attractive?

I said!

My dad'd say, "When I talk to you, you answer me!"

Oh okay dad!

It's attractive, dad.

So on the set you say, "When you ask me a question, answer it yourself!"

That's what I do, we just answered it.

All right, I'll take the same color and I'll come back in with the light.

See, we sort of established it, but by having more orange, it'll look more fresh.

It turns just a little greenish as it goes out to the side, which you want it to do as long as you come back and you put more on the inside.

Oh I love that!

I wish we had all day to do that, but we don't.

Okay, let's come down to this one, and we'll do the same thing as we just had done on this, and that is push it out a little bit, come a little bit further out, wipe the brush, and then as I go out further, I have less paint.

You're just rolling this around.

Oh, I did bring you.

You did make the trip!

Oh, I didn't think your grades were going to be good enough that you could make the trip.

But you did!

Okay, so this is a mop brush.

Look at the difference by the quantity on there.

Oof, you sit in the front seat.

Like that.

Okay now, I take that same brush, the mop brush, put just a little bit more paint on there.

Oh, you're like the star of the team.

That comes right close to the leaves.

So where you have a shadow is down below there.

Just a little fading out there.

Okay, what about the other side?

We'll do the same thing.

I'm finding because I saw you sitting there we need to have you right away.

There's no reason to do that little blending first.

This is good.

Um.

Oh, I like you.

Okay, each of these, of course, will have a lighter light eventually, probably the next week's show.

A lot of repetition, so by the time you do them, they should be good.

On the inside orange, I'm going to come back with the Burnt Umber and make that a little darker, not quite as red looking.

And on its light, I'll use the small brush.

And right away I want very little paint, and we'll push this around.

It blends a little bit in with the Umber that's there.

And same with this one, we'll decide later how much lighter to make that.

Okay, I think I'll go to the apple, and this is taking Alizarin Crimson.

And when I come over to the side, I feel like maybe we should have just a little darker, so I'm taking a little purple with the Alizarin to make this a nice dark edge.

And of course, there's just the smallest shadow from the orange onto the apple.

All right, let's take some good red.

What is some good red?

Quinacridone Red.

Oh you are right where you should be.

Clean... Oops!

Clean the brush, just dip it in and lift it out.

Isn't that a pretty red?

Oh!

I wonder if you had an orange and an apple together and you were hungry, which one would you eat if you had the choice of just one?

We've talked about this before, but I would be Solomon.

I would cut them both in half, eat part of one and part of the other.

But what if you couldn't do that?

Well you have to make that choice.

I don't have to.

Okay, let's put a little green, this is Sap Green and white, a little bit of this on the far side of the apple, up here.

I think when we put this on, we might have been just a little low in here, so we've moved it to greater heights.

Stand up straight!

Okay, so let's, well, we'll add just a little light there.

You're Cadmium Red Light.

And we'll do this just to get a little bit of flavor of highlight color on that.

Okay I want now to go to the leaves.

This, if I use Viridian Green and white, ah no, let's go with the Sap Green.

Sap green and a little white.

And I'm going to go up to the top of the leaf... and just pull it in like that.

What I think I'll do is, I'll do several leaves and then some of these you say, well, they're going to be the same so I'll just do those later.

I don't want you to miss some of the details that we need to do on the main ones.

This is just lightening the inside and notice how I sort of stopped and then I'll just blend down a little bit.

This will have character added into it eventually.

As I put these on, I'm always conscious of, what is its relationship to its neighbor?

And this one, what is your relationship?

Well, we're best buddies.

This comes in, flows in nicely, this flows.

It gives a nice feeling because you have, this one too has a point down there.

And then the 3 of them sort of help lead you in this way, and then once you get here we have a little bit of the grace of this one against the orange.

And then its neighbor up above, the snooty-tooty, will have a little highlight up here.

I like putting in the grace of that, so you just arch it slightly and make use of that nice curve.

Okay, I'm going to leave those two, because I can do those just very simply.

So we'll now going to come over here.

This is such an important one.

Let's see, it has like that, and then on this, see how the inside has light on that side and dark on this side.

But this edge will have just a small little line of light there too.

And then we have one that comes down this way.

Like that.

All right what should we do next?

Let's go ahead with some light on the basket.

This is taking Raw Sienna and white.

Where are you Raw Sienna?

Right there.

I thought I had already used you.

Almost tempted to jump in there with a brush mixing, but we'll use the knife.

Okay this is Raw Sienna with maybe a stroke of white.

I'm trying to save those little lines in between that go down there, so that's why I'm putting it on individual strokes.

As I go lower I have a band here that gets some light.

And then below that, not a lot.

Let's see, where did you run to?

Where did you go?

There you are.

Let's put just a little bit of this same color just down at the bottom.

Just a slight little curve, like that.

Ah, that'll work for now.

We'll go on the inside of the basket.

Same big brush, same Raw Sienna and white.

These are long strokes.

Let's start up here.

What I want to make sure happens is that they fade out a little bit as they go down to the bottom.

Actually it's either they fade out or we just go lighter up above so you get the same effect.

All right now watch this.

This is taking some of the same Raw Sienna.

And I'm going to come right down in here and put a little halo around that apple.

Because it's sitting away from the basket so its shadow is down here, but this, by doing this you create the illusion of space between the near and the distant.

The distant being the basket, the near being the apple.

Make that strong because that will further make the apple stand out.

Take some of the Raw Sienna and white and go along the inside here right about there and there.

A little bit down there.

Okay now what I want to do, I'll blend that a little bit with a large fan brush, and then we'll see where else we go.

You need to have a nice shoulder.

Both sides, both shoulders!

It's like my father used to say-- "Stand up straight!

Shake their hand.

Shake their hand like you mean it, look them in the eye!"

So if any you camera people and so on if I shake your hand, that's dad speaking to you.

Okay, the color we want is-- oh, I said I was going to blend this a little bit.

Oh, I see something that's quite ideal, and I will reveal it to you as we speak.

This is the inside of the basket.

Let me point to the original.

You have a little highlight coming there, very small amount.

I'm going to use, let's try the Raw Sienna and white there too.

It has a little bit of a slant.

A little bit there; not much here.

A little bit there, and oh, there is a third one, but it's just a little bit there.

Okay, same thing, we'll blend that just a little bit.

Okay now let's take and put just a little stronger light on the basket, so I'm taking Yellow Ochre and white.

We'll do this, we just about need to say good-bye to you.

Just lighten the inside slightly.

I'll pat this on, then it needs to be blended a little bit.

And on the outside too, the real nice band that's right there.

In a band contest, you win.

And also this band.

Okay we'll blend those slightly.

That is strong.

That is a further help for the apple.

It's sort of the spotlight near the apple, on the apple.

So we have a good start with the oils.

We'll finish this next time, and it'll still be the oil stage.

So we invite you back.

Come hungry!

I know I am!

So I'll see you then.

Be sure to come back to "And an Apple!"

See you soon.

Bye-bye.

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