I've been painting on PBS for the past 20 years.

While not a single painting has been repeated, one thing remains the same.

I love you.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Third week on "Apple Blossoms."

We did stage one in acrylics, I have stage two completed on my easel to the right and we have where we're going, the completed painting, on the left.

And you can just see the quality in that.

The quality of colors, the quality of blending.

We're showing you the techniques and hoping that we get somewhat the same quality.

We have placed oil on top of all this previously.

So now we're going to start zooming in on the birdie.

And what I'd like to do is come down to the palette.

I'll take a little walnut oil with this brush.

This is a very small brush, and I have orange and white, maybe a touch of green in it.

And when I put this on, I want to outline the birdie, so we have the yellow there from the acrylics, so I'm just outlining him slightly.

Right down, come right down on the leg.

You don't have to cover it with any degree of quantity, because I don't mind a little bit of the yellow that was there in acrylic showing through.

We'll just outline the head slightly, go up the beak just a little bit and a little bit on this side of the neck.

Let's stay on the bird.

I'll come down now to the palette and I'll pick up some red.

This is Cadmium Red Light, just a little bit and this goes as a little oval on the head, inside, and what's in the middle of that little oval is the eye, so when we cut away we just leave the eye.

How big of an eye do you want?

That looks pretty good, I think you're okay.

Next we'll take some gray made from Paynes Gray and white.

This will give us a little color on his body on his chest.

And as I do this, you'll see that if I feel that that yellow line on the outside edge is a little wide, see, you can just cut into it there that way.

In the olden days, when Claude and I used, Claude Buck my teacher and I used to paint, that's the way we would do it to make a small line.

Nowadays, boy you have brushes from all the way from a lot of hair down to almost one hair, and those work quite nicely.

Now we'll put a little bit of color on the wings that'll separate on the body.

let's see what do I have?

Let's take some this is Raw Sienna and a little bit of Quinacridone Violet.

This will come along the neck... and it pushes just a little bit over to the left, and then as we come down on the wings, like that.

I'll just just slightly soften, not much, and a little bit down towards the tail.

All right, on the left side let's just, a little teeny bit there.

Just on the neck area.

Now I'll take some yellow and white, Cad Yellow and white, and I'll come on the chest of the bird.

So this will really make him a proud birdie.

Just blend it slightly into the gray.

It can touch a little bit over into the brown.

I'm coming up just a little bit on that side of that red, just a little more refinement on that.

I'll come with this beak, just touch a little bit so I don't have that black spot in front of it.

Fine.

Now what will help if I take this color we outlined with, and I'll make just a little shape on in this area so it looks like you're putting a little bit of wing on, a little bit of the edge of the feathers.

Come down towards the tail, same thing.

Just a little "v" shape like that.

All right, let's go out on the feathers and remember that color that we put on the neck and the light side of the bird, kind of a gray.

So we'll put this down, and first we'll have a line.

We'll make, that's going to be one line where the feathers are.

This will be another line where the feathers are and this another line.

Then you take, same thing, I have just a little bit of liquid on this, and I'll make just a little simple kind of "s" shape, just continuous, and as I do it, you're a little less paint, little less light as you come down into the shadow area.

Put some more on to come closer to the birdie.

A little bit on this one.

I'll blend those in just a minute.

We'll let them set for a while.

Let's take a little bit of this tan color.

This is Terra Rosa.

Oo, what a neat sounding name.

Terra Rosa and a little bit of the green, little bit of the white.

This will give us a little color on the branch that the bird is sitting next to... and down by its legs as well.

Goes on past the little claw and comes down like that.

Now we can have just a little highlight on it, this is yellow and white.

You see up at the top, right close to the birdie, just a little light there.

Okay now I'll take and blend just gently.

I'll even blend just across the bird a little bit.

When you blend, you might you might soften some of those a little bit and you might say, too much.

But that's all right, I'd just assume have it soft and then we would go on.

If we need to we could add some back.

Just even a touch in on the body there.

Now let's take and put on some leaves.

This is Raw Sienna and I think the green and the Raw Sienna will be a good a good mix.

More Raw Sienna.

Let's change brushes.

I thought you'd work, but you're not quite up to it.

So Let's take this one.

This is a little round brush.

When I come over here, I'll just spot these in, I'll spot like that.

4, 5, 6, whatever number of petals, you're not counting, they're not all the same.

And a few that just sneak down over further away from the light, so they're in the shadows.

Isn't that marvelous to be on a series 20 years?

Oh, love PBS!

Oh, it's great!

Okay over on the left, let's do this first.

Let's take a little light, this is yellow and white, and we'll blossom that up.

See, we'll get some strength in that vase.

And notice how, as I do it that way, it's not a real solid application, is it?

You can see that broken color.

That broken color means when it's separated, it's not all smooth.

All right Let's take some of that same color we were using.

This is the orange, excuse me, the Raw Sienna, green and white which we made on the other side the leaves.

We'll put some over on this side.

That makes that such an attractive little vase.

Now, as I go higher, first I'll come up in here.

This will actually darken some of the light as it touches the edge.

Then to go right in the middle of the vase to get a strong highlight, I'll just pick pure white up.

Notice by picking it up I pulled out a thread and you can put this on, it can almost represent the a leaf as well, yes, some of the leaves as well in the shape like that.

Now let's take some blue.

What kind of blue are you?

Turquoise blue.

"Turqua."

I'm going to push a little bit of that into the gray, so it softens it slightly.

Watch the very fine addition that makes.

I'll blend it just a little bit.

I'll put it on both sides.

See on that side you could see where the edge was maybe, but over here we want a reflected light so you can truly see where that side is.

And again, those will be blended a little bit.

I'm just going to add a couple things.

We'll just put a little of the blue and light white down there.

I'll come back into there with a lighter light.

Let's let those sit for a minute.

Let's come with the Raw Sienna.

Where are you?

Oh here you are, Raw Sienna.

We'll put this on so you have the lip representing a golden feeling.

Let this sway down just slightly and then at the bottom, the base of the vase.

And as it mixes in with the purple, you see how it softens quite well.

All right let's just just touch that edge, touch this edge.

Now I'll blend the blue a little bit, then we'll come with a highlight into the neck and onto the lip.

Okay, this I'm pulling towards the middle, and as I do it it will soften and be much less.

We just want that to be felt just slightly like that.

Discover it.

Always with the idea, and this is one of the times, we'll say okay, we put that blue on, but let's have one spot that's just a little lighter than the rest, and that would be it.

On the left side, I'll touch it gently because there's a lot of the wet Raw Sienna nearby.

Kinda push back and forth just a little bit.

They can blend slightly.

Isn't that beautiful?

All right, now we need to do just a little lighter light and this in the lip and the base.

This is yellow and white.

This is Transparent Yellow Iron Oxide.

Ha, I got it!

I didn't even need a cue card.

Okay let's put this in here.

And down below, consistent light direction.

The light is consistent.

Now a stronger light, we'll use yellow and white.

It's just a little bit of a gleam on there.

A little bit of a gleam on here.

Then I'll use some white, because remember that little neck we put on?

You want to feel, we've talked earlier about having hills and valleys.

Now the neck would be a valley because it's scooped, and it would capture a little light.

That is a valley.

Scratching just a little bit is a nice way of softening edges without smearing.

This little birdie, we kinda need to give him two things.

One is a little crown, so I'm picking up oil, I have a small round brush coming down to the yellow and white.

I don't want that, I'm coming back down to the palette.

I'm coming with a little bit of that orange color and just a little yellow and white so it won't be too white.

This gives us a little crown up here.

Just a little feather there, another one there, and a third one there.

Then he also has a little, what should I say, claw.

Do you see this little claw?

It just comes right away just slightly curved like that.

I'm going to come with a little dark.

This is purple, we used that before.

I want to push this purple in here.

It'll make that neck just a little more graceful, you can see that, and it separates slightly the highlight on the vase from the edge of the bird.

Birdie, birdie, birdie.

Let's see what else we might want to do.

I'm just touching a couple of these, just to soften them so they feel like they go around.

Might just check a feather here.

Make a nice, nice line there.

Just a little feather line, so it's soft but it's there.

I think what I would like to do now is to go to the apple blossoms.

The way I'll do this, remember before I put a glaze on this and I never I never wiped that so we'll just slightly touch that.

What this will let us do, allow us to do is, we'll have partial shaded colors in advance.

See, the red is already there.

It gives a little shadow, so we'll build some lights.

The way we'll do it, we'll use a red and white, then we'll see if we need to go any lighter than that.

Okay, I have a round brush and here's white.

Let's take some Quinacridone Rose.

Oh, you are beautiful!

Yeah, this will give us a nice middle tone, then we can have some lighter lights with it too.

So we can step up.

When I do this, I touch in the areas where I've previously had it, but you can see that there's still some of the dark left.

As I go further out, they would be a little smaller.

So you have a good strong support, or base system, to these.

I just kinda put on the round brush, flatten it a little bit, so it's right in place.

Right in place rather than drawing and so on.

A couple of them I may have done the drawing, but it just, the flattened with a little quantity of the paint on your brush.

What happens down in this area is that you have one that comes over over the lip, and that makes it quite nicely.

Then you don't have to follow the lip around and see if that's done correctly.

Just a little oil, more of this.

Actually the oil made it so it was a little easier to do too.

It responded quite nicely.

Remember how we spoke last time and we said that you want to have these reach into the plate so that it breaks that perfect circle coming around, and you go in compositionally into the inside of where some interest is as well.

Where is your center of interest?

I would have to say the little vase is, but these certainly balance well.

It's almost like when you have a landscape and you have big foliage and green over here.

You have then some over on this side not as tall.

It's just a nice rhythm to it.

Okay before we go lighter on those, I'm going to take and go down to the ones that are in the shadow or lying on the table.

I guess could say laying on the table because I did place them.

As we go further, and I'm talking about further out on the limb the stems the twigs, let's go a little darker.

So this is rose with maybe a touch of white.

So here, I'll touch just a couple of those because they're not as open yet and therefore, you have more of the little bud type things.

You have some of that down close too, so when I say out further, this is a small one, it's up further on that.

It isn't necessarily only the top giants get this.

So we're going to come down here, a little bit further out light.

Now I'm going to do one other thing before I put the lightest lights on and that would be to take a Viridian Green, and I'll mix it with a yellow that's right nearby.

What this should do, I'll put a little Yellow Ochre in it too, this will gives us just a little feeling of some foliage.

I need to go more towards the green.

You have this, I'll continue just a little bit with this.

Then you have this-- also down on these.

What would help a little bit, I have a liner brush, so I take just a little bit.

Let's see, what color do I want to use here?

You're Terra Rosa and white.

I want to have just a little bit of a feeling of a little light on some of the stems so you can see the stems just a little more clearly.

I think that was a good observation.

All right what about down here?

Oh down here, let's put just a little dark so you can see this stem as being in the dark.

Let's go back to our petals and I have white and it's very, very light, so when I do this, I'm selectively placing this on this one, which is a large one.

I put just a little more paint on, then here I'll hit just partially the side of it.

Maybe just a little bit there.

So I keep this used most sparingly.

And let's, this guy.

I know what I'll do.

I'll take some purple, and if I cut around him, you'll get a nice accent and maybe the petals just a little better.

Down on the table, we have a couple of these.

Let's make this one stronger.

This one, this one.

Oh, I want to be here 20 years longer!

Will you be here 20 years from now?

You better be!

[in high-pitched, aged voice] I think we'll do this this time, okay?

That was one of the cameramen speaking, it certainly wasn't Buck.

Okay, let's take this, and when I say "this" I'm taking the palette knife, this is Viridian Green, yellow and white and I'm coming up and just tapping a little bit of this just near the bottom so you get a little impact, a little foundation.

Stronger foundation.

Look at what we'll kinda do, we don't have a lot of time left.

It's almost dangerous to have a couple minutes left.

Oh, just a little knife work.

Oh, there's one else I want to do before I leave and that would be to take this green, Viridian Green and white, mostly Viridian Green.

I want to make, it's almost a little "S" shape and just for a design around on that.

That would go around the whole thing.

Just, it just softens it just gives a little variation on the edge of the plate.

Have you ever done anything where you wished you hadn't done it?

I'm glad I did this, but take your time and do it carefully.

It just has a little bit of feeling of more than just plain copper.

Blend that slightly.

Oh that's much better, when it softens into the wet paint that's there.

Okay, we have done three parts to arrive at "Apple Blossoms."

I hope that you will feel comfortable in sending me a picture of your apple blossoms and we'll see how you do on them.

Thank you for watching.

It's been a great trip!

I love the instruction, giving it and I hope you love receiving it.

You've told me that in your letters so far.

Any suggestions you have-- we listen!

We'll see you next time.

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