Don't be too concerned how others see nature.

Your painting should say this is how I saw it.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Now comes part 3 of "And an Apple."

Let's look at the original.

A nice basket that has oranges in it with, "And an Apple!"

Nice leaves that lead up compositionally to enhance the things.

Look at this leaf, how it comes around, picked up a little bit there.

This swirls around.

Everything leads to that apple in the basket, but this one is very important as well, the peeled orange.

So we'll go ahead and start.

I want to do just a couple things just around the periphery.

This will be Phthalo Blue and white and I want to put this on top of the little handle, just a little bit like that; a little bit on this side.

This has a nice graceful little sort of a hook.

Isn't that pretty?

A little bit up here.

The handle needs to continue up there.

Coming across here, and then we'll come down here.

I'll dip in-- more of the same paint.

Like that, and then we get that little hook again like the other side.

This one, you're narrow, a little wider, and like that.

All right now what's holding those up you, say?

I say a little Van Dyke Brown.

Here's Van Dyke Brown, and notice on this side you'll see just a little bit there.

Then it comes through and then it comes over.

Down to there.

I'll take some of that Van Dyke Brown while I'm in the neighborhood and we'll just strengthen a little bit the space between because those are little overlapping slats.

And do we have any underneath there?

We don't but we have a little along here.

More Van Dyke Brown.

A little bit underneath... and you need to be a little darker, the little openings down here.

Used those baskets many times.

Pick up potatoes, take out clothes.

What else?

Tell us about the olden days, Daddy!

Okay, now the staples that come along here are slightly bent.

And on this side we come with the inside staples holding it just slightly.

And there is just the smallest little rim that comes right along here, and when I say that, with the dark.

We're putting a little dark under the rim.

Good.

Okay, what about on this side?

I'm coming back to the other side, and see these little darks need to have just a little light on it.

I used some of the same blue on that as we put on the handle.

Okay, now let's come down to our big important orange.

And I'll take some yellow and white.

I have a small round brush that I'm using.

I like it quite well.

Okay, so when I put this on, I'm more or less putting on and then you skip a little space and put on the next one.

Skip a space here, put on the next one, then on the top it stays just around the top.

Like that.

There is a little gray.

I need to check out what I'm going to use on that.

Let's try the Payne's Gray, maybe a little blue with it so it doesn't get too dark.

Nope, too light.

And you didn't even get much of a chance to be part of that voting group, did you?

Okay, here's just a little of the gray on the shadow side.

And then we have a little bit of, let's see, let's take some red, and let me point to the original.

See these little lines coming through?

So the wedges... and just like cutting a pie.

They're not all just equidistant apart.

Are they on an orange?

Let me look at you.

Well, not really so.

So you still have to be selective when you get to choose one of the wedges.

There may be one a little larger than its neighbor.

Okay now I'll take some lighter light, this is still yellow and white, because I want to come around as we did before on this orange.

We put a little bit, skip a little bit come down a little bit, like that.

And then on the far side.

This is one o'clock, two o'clock, three o'clock rock!

Oh, and we have some of this right along this edge.

Right in there... just the smallest, thinnest little line.

A little along there.

Okay, I'm going to come with practically white.

So what does "practically white" mean?

It means white.

And go in just a little bit lighter in there.

Have to rush just a little bit, but you can take your time and do a real fine job on that.

Okay, while we are in the light mood, mode, let's take some of the yellow and white so it has just a little yellow in it, and I'm looking at tapping on just a little lighter light.

I'll put this on, and then we'll blend it slightly.

Now as I blend it, my paint is just a little wet.

The orange stays wet longer, so.

You know you keep the paints in the fridge or the painting in the cooler, it's going to stay damp.

It's still going to be wet for you to work on.

If it isn't, you could take a little bit of orange and just come across so it's like a little glaze about the size of a quarter, and then you can go ahead and add a light into that.

Okay, let's go up to the apple.

And when I do the apple, I want to have and I'm using Van Dyke Brown.

I want to have that nice little curve.

This is the top, so I'll make just that, and then you have that curve down like that.

As far as the inside, we'll tap it a little bit, we have a nice mop brush.

And then lighter, lighter later.

Later is now, now.

We can have a good light there.

That's maybe a little too much so I'll just touch it on the side slightly.

As I look out of the corner of my eye, I see-- oh, what's this guy, what's keeping him up there?

So I'll put that little line that comes over down through there so he has a hook as well.

Let's go just with a little bit of lighter while I'm on the handle.

Right at the corner, you're going to have a little highlight there and then coming down in here you have a little highlight.

And I might put just a smallest thinnest amount on here.

A little bit along there.

What about over here?

Same thing, just on that little curve... and a little bit there.

Okay, now on the leaves, we're going to do a couple of these just so you get the idea of what we're doing.

Let's take some Viridian Green and white.

Viridian Green and white, and we'll start at the top of the leaf kind of going out to the sides a little bit and a little bit down through the middle.

If I kind of angle it like that, and then you get a nice feeling of the leaf.

We have, let's see, we don't have oranges in our yard.

We used to a long time ago, but now we have a neighbor that has oranges right next to his fence.

And he said that anything that hangs over on our side we can pick and eat.

So I... stretched it quite aways.

When I drop that branch it's like a flying missile going back towards his house!

Okay, more of these.

But fresh fruit is so good.

And as we did before, see that little character.

Oh I love that curve there, that nice little curve.

We'll come back with a small brush and maybe put just a little extra on too.

This one a strong curve against that orange.

And oh, these leaves on the side.

So on them, I took a little Cad Yellow and white, came down to the Sap Green.

So it kind of warmed the green just a little bit.

As we said at the second show I think or maybe the first, we have this which leads up so nicely to the handle.

And on this one it just kind of lays across that orange.

And a little bit on this side, and then we always want a little bit of the character to come, so you just add a few little strokes.

So it suggests the character.

Boy, you look like you got little splots of green out there!

I don't know how that happened.

I'll have to check with my floor director!

It wasn't me; wasn't my fault!

More like this.

Probably cameraman number 3!

Okay, so let's take, as I look at the oranges I have a feeling that if we had just a little bit of the red.

What color are you?

Cadmium Red Light?

What color are you?

Quinacridone Red?

Let's use Cadmium Red Light.

Just a slight... oh, that's good!

When I say it's good, it is.

I'm not trying to convince myself or you.

So I was a little generous there, so we'll put just a little bit down in the shadow side.

I feel-- same way here now, see, this has a little bit of sharpness on the edges so I'll just work a little bit of that red in.

And you're establishing a kind of a unity to the painting by adding this on each of them.

This will certainly help you in your quest.

How about this one?

Why not?

I notice that brush I bring along with me, that little finger touch in there.

A little bit here, not too much.

What I notice here is just a little bit of red on the edge.

This becomes almost a reflected light from the apple.

You're influencing your neighbor!

A little bit of the reddish back in there.

Okay, now as I spot certain things, so I'm jumping around a little bit on the final one we have here.

I need to have a little light on the stem.

And then we'll take and put just a little bit, there's kind of it's almost like a little crown.

There's a dot there.

There's one there.

So we're still doing pretty good.

So let's go up higher, and the higher is right in here.

What it is, it's showing the continuation of that stem behind there.

I wonder if I like that.

Let's say I don't like that.

I like it but I don't like it in that spot quite so much.

So let's take some Van Dyke Brown.

I remember one time I was painting this painting and you saw it too.

Just at the end, this little guy walking on the beach and this gal over here I touched her hair, and it flew up.

But we were able to fix it.

Now, I want this just to be seen, but I don't want quite so much out there... like that.

Then it just comes through there.

And somebody's saying I liked it better the way it was!

Well, that's fine too.

Okay, this is Van Dyke Brown and Raw Sienna and white.

I just mixed it together like that.

I want to put this down as a little lighter light near there, and also I will put it on a little bit up above too.

And there's some through here, so you have a cast shadow from this peeling, and then you have a little opening there so the light shows through.

I'll push this around just a little bit blend just a little bit and then up here.

No, that really didn't change it, did it.

So let's go a little more white in it, let's see what happens.

Yeah, yes you changed.

Ah, just slightly like that, and then I'll take-- let's see.

Do I want a fan brush?

Yes.

Fan brush, just to push this around a little bit.

It will blend slightly.

Oh, it's so much fun to do.

Okay, this one up here.

It's always helpful to have a little light like this.

It gives you the kind of feeling like this is sitting away from the wall.

And I'll come down, I just have a little hardness right there so it breaks across that.

Same way here-- I'm pushing this in so it just softens a little bit as it meets into the shadows.

Okay, as far as what else to do... we can do something that you might see.

There's just a little bit-- and I'll do this, just a little bit of-- let's do it right here.

This is just kind of not exactly an oval, but close to it.

Then I put a little bit of light, this is almost white, as a reflected light which is right there and then a highlight.

The light's coming from the left.

And that lower one may have to just soften a little bit, and then you have the little dewdrop.

♪ Doing!

Don't drop yet!

Okay, let's go just a little lighter.

This is Raw Sienna and white, maybe a touch of yellow just right in the bottom of the basket just a little lighter through there.

That's nice.

Let's take just a little Van Dyke Brown, a little Raw Sienna, so it's not too cool a dark, a light dark.

And I want to have just a little bit more character on those lines coming there.

We keep it soft down near the apple so the apple can stand away from the background.

This is nice, we're having enough time to look around at each thing, and you're saying okay, well, you haven't done all the leaves.

That's true, we'll do a few more leaves, and we'll take the Sap Green and white.

Then why did you jump up and get the Viridian Green?

Sap Green and white with a little Viridian Green.

See the character?

And this way.

Now, I'm going to take the small brush and just have, this is yellow and white, just a little bit of light on a couple of these edges.

This is a nice one to feature because it's supporting the little dewdrop.

A little along here.

This also would be helped if it had a little bit of a middle through it.

Same way on the other side, other leaves.

Just a little bit of a middle through it.

And a little middle through it.

Oh, you need to have a middle, and you need to have some stronger lights on the character.

You know, these are done quickly, you can do them very carefully.

I'm showing you the technique.

This is how I painted that.

And of course, when you do it very carefully, it will pay you dividends!

Let's see, let's take just a blender.

And I'll go several places.

I notice one thing that would help.

There's a little bit of a quatiunkis?

That's a new word, "catiunkis!"

So I need to pull this out a little bit.

So this is ok, this is okay, but this isn't.

It needs to come out just a little bit more so you get a little more of the fullness.

Let's see, let's see.

Let's go a little lighter with yellow and white, a little Raw Sienna.

I want to emphasize right in here.

So that's stronger by making it lighter.

And you, similarly, you come right down there because that's really the fullness of the outside of the basket.

If you were to touch it, that's the part you would hit first and then you do the other.

Now, I'd like to continue that across over here.

So we go a little stronger right there.

See, it's all complimentary.

I hope you have enjoyed "And an Apple."

I've sure enjoyed doing it.

I'm going to take a little Sap Green and white just to get a little lighter light here.

And then, of course, the little stem, this is just a touch of yellow and white, just a little bit there and just a little bit on the stem.

That came down too far.

"Perfect," as Barb would say.

Okay, what can help an apple too, and when I say an apple, can help an object-- see, if I go lighter here.

This is a clock this is at one, two o'clock.

See, when I go lighter there how that stands away from the background.

Give you your shoulder back.

Oh, that works well.

Okay, we just have time to put a touch down below, and then we will say see you next season!

Yeah, that's kind of emphasizing the entrance, the entrance to the grand stage.

Boy, this has been a great, a great visit with you.

Thank you for letting me come into your home.

Thank you for watching me produce "And an Apple" and feeling hungry while doing so!

See you next time!

Thank you very much!

Bye-bye!

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...