What a thrill to paint from a memory-- and to remember who you were with!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ What a thrill it is!

Series number 16!

Gosh, that's great, and I have such a great painting for you to do today.

It'll be especially good for you and for me, because I've never painted it before.

I've painted a pochade, which you can see on the easel, and I have a little frame around it.

Nice little scene, but it has never been enlarged as it will be today.

So we'll go ahead and look at the final, what will be the final eventually.

This is a canvas that has been prepared with Cadmium Red and White acrylic put on there, and then a drawing was put on.

I enhanced the drawing a little bit so you can see it.

The enhancement is also helpful when I start pushing the paint around that I can see through it and see the drawing still.

So this is totally new territory, so let's go ahead and do it.

I'm going to start with White.

This is acrylic.

You realize this is a 2-part series, so we'll do the first-- when I say 2-part series, I mean 2-part painting.

The first one is done in acrylics, then we'll finish it with oils.

This is Phthalo Blue and White, and now I want to add just a little bit of Yellow Ochre into it so I don't have quite such a raw blue.

Okay, now I'll hold up the palette to this, and I'll say "Oh that looks pretty good!"

It does!

All right, so I'll start with this, and I have water, and I have a fan brush dipping in, and as I put this on as we note, that you let some of the underneath priming be felt.

Now, you don't really see much of the underneath priming there until I cover more of it, then you're going to see the little pink that does show through.

What about in the middle of the trees?

Well, I'll suggest a couple little air holes which maybe later will, as I look at the pochade, have a little different color on them.

Over on the right side, I have the big tree.

We'll come down, and this is one reason that I felt that I should make the lines a little darker.

See how I went over that with the blue?

It saves time just going over, and then if you want to, you can just wipe a little bit like that.

Not necessary, because we'll be placing a color on that.

So where the sun is going to be right now I thinly have it veiled.

Is that thinly veiled?

Thinly have it veiled!

I'm going to come over further to the right and we'll put this on.

A little bit goes in that big tree.

This is a beautiful scene.

Now, this is called a pochade.

What do I mean by that?

It's a painting that was done from either having seen the scene, having done it from memory, or from imagination.

This is a little bit of everything.

So when I did it originally, I decided to put more light on that tree than was actually there.

So that's the liberty that you can take in doing the pochade, and some people will say "Pochade?

Never heard of that before."

Well, you've heard of it on this show.

If you use the French word, I think they pronounce it "poche," but I like "pochade."

It's got some ring to it.

Now as I come down using still the same family of colors, kind of in the blue family, let's take some of the blue and a little bit of-- what are you?

Oh, no you're the Blue.

Okay, what are you?

You're Payne's Gray.

So we'll take Blue and Payne's Gray, equal parts.

It's almost one part Blue, one part Payne's Gray and one part White.

I want to put this down as the water.

Boy, that looks good.

I didn't have a lot of water on the water, but we'll do it now.

So I did wet it-- that's what I meant by water on the water.

I know what I mean, but it sometimes has to be explained to others-- what are you talking about?

I'll leave a little blank spot where I'm going to come with the lightest light.

See, same way up here.

I left a little spot, and this dries very quickly, so I can work right into it in a minute.

Okay now, for the next doings, I feel if I put on some contrast, the big trees and the dark foliage, then we'll get just a little bit of a framing of our center of interest.

So what I have for that is, I have some, you're Burnt Umber, and you are Permanent Green Light.

And you look pretty good, but let's just take a look.

Yes, that'll work.

What I often do, and I've done in this case-- that's not totally mixed.

You can see little flecks around, and I have no problem with that.

So this, I'm taking up with the fan brush again, and I'm going to come over here.

Now, when I come over here, I'll first cover the quantity of the canvas, and see, I can still see through to see my drawing.

In fact, as I do this I'm going just a little more thinly to make sure that I do see the drawing, and then we can always when we glaze next week with the oils, we can go darker.

Okay, I want to come out to the edge of the tree, and notice as I soften that just a little bit, it's mixing in slightly so it's a softer edge.

Oh, you know what I like, and I'm just making purpose of it here is, some of that pink showing through is quite nice.

Oh, that's good!

This is what's fun about painting and doing it excitingly for the first time!

You just discover things that you maybe hadn't planned on doing.

Coming down on the edge of the foreground, add a little extra Umber in there.

[soft scraping] Now this, I said earlier, that when I place paint on top of a primed canvas, you always think oh, I'm ok, until you gotta cover it, and then you decide whether those little show-throughs are sufficient.

We'll go over to the big tree on the right.

Oo, heavy up there.

Now I'm going to push this just a little bit so I can see.

I hope you can see the drawing underneath.

There it comes; it's right there.

And you can always take your time and say okay, I want to come down carefully against the branch and still save it, in a casual sort of way.

That certainly works too.

So if you're not in a real hurry, you help yourself by being just a little more careful.

Okay, let's take and see what we have over on this side.

That comes down quite aways.

When I look across, that V there, the foliage seems to come down that far.

So we'll make sure that we're all right there, and then down below.

Okay, now let's come with some distant trees and then the near foliage and then we'll work on the trees and go with it.

It's just so pleasing, the amount that you can do early.

So I have some Raw Sienna.

Putting Raw Sienna out and then deciding-- I guess we'll have to use a little more Umber here.

So I'm adding a little bit of Burnt Umber into it, and then I need to have, let's see, what else?

That's pretty close.

Just a slight indication of the green would be nice.

So I put the green on the side and then just touch a little bit in like that, and again, you have where it's not totally mixed.

Oh, good job!

Thank you!

It's nice to have a floor director and that, you know.

The applause without hitting the hands-- I really love that.

Plus, easy to look at.

Okay, here we go!

I'm using the fan brush so much to get this started.

I'm surprised.

I thought that would be a little lighter.

So I'm going to move over to this section which has more of the Yellow Ochre in it.

Yeah, not much different, but just a little more golden.

You want to be a little cautious when you put the drawing on, if you watch the edges that you don't have too much of a definite line left there.

So that you're not having to work against that all the time.

[soft scraping] And I don't mind this coming down a little bit on the land, so when we put the yellowish- green in, it will just go up.

Okay, the greenish tone.

We have the Permanent Green Light, which you need to come out a little more.

I don't always put a lot out, because the lights will kind of dry up quite quickly.

Okay, let's take Yellow Ochre and the green.

I'm going to put more Yellow Ochre in.

Ah, beautiful!

Okay.

Notice I'm kind of brushing it on.

It has a little bit of character in doing it that way.

I hope you can see.

I stepped back so you can see!

All right, now what's going to happen up here?

Oh, I guess we got a tree that goes up a little bit above the horizon.

So I'm coming back with the Yellow Ochre and Umber.

That's a nice help, so it isn't just two teams lined up against each other.

You see the cheerleader out there; that's kind of helpful.

Okay, let's next go to some of the branches.

So I'll change brushes.

I have a flat sable, and I'm going to put on, I have a mixture of... this will be a mixture.

This is Raw Sienna and White.

This is more or less just a beginning help, and then we'll go ahead with other items.

When I say other items, other colors.

You know what I appreciate is the many, many letters, emails that I receive from you people saying that you like the show, but the many that will write "Buck, I'm not an artist, but I really enjoy watching you," and I take that as a compliment and also as a responsibility to make the show meaningful and educational and entertaining for you.

The nice thing about doing these things here, you know, on the amount of time you have, you do your very best, and you just hope that it will be meaningful to people out there.

Now on this lower part of the tree, you can see that I will be adding some darks to it.

Let's go over to the right.

Same color, Raw Sienna, a little White.

There's a tree over in here that is nice, and this one also, it'll have a little bit of the light on it, and then it will show up more when I put on the dark.

Okay, let's go ahead and put on the dark.

pure Umber, and I have a little bit over in here, And you know what I like when you do that, you have just a little bit wavy, and that's the way trees are.

So it's not just a telephone pole.

Okay, on the other side, I don't think I'll add anything to that.

I do want to come with some of the Yellow Ochre and White though.

Let's see, I changed my mind.

Raw Sienna and White.

For some light on the big tree, the highlight; so I have this.

This is Raw Sienna and White, it looks like it's about equal parts, and I will use a knife on this, because I want the quantity.

Okay, that's very strong, and then we'll go up to the branches a little bit.

And on the branches, if you can notice how I fill the knife, almost what you call the snowplow effect.

So I can just hold it, and it comes off just the one side.

And then the tree that's out here has some.

All right now, we still have some rocks to put on, and I'm looking at maybe some Payne's Gray, which is here, and White.

That looks like about equal parts.

You're always conscious of where the light's coming from.

The lights coming from there will hit the tree on this side and will hit the rocks, the top of the rocks.

And I haven't outlined every small rock.

So we'll just put a few in like that, and then a couple-- this is a larger one.

You can see that I could use a little more green just to fill in around the bottom of that tree.

And this goes up a little higher on that side.

But that has nice balance, doesn't it?

It looks very good.

Now, let's come with a light, and what I'm going to use on the light is not yellow and white in the acrylics stage.

We'll use that in the oil stage.

So we'll have Yellow Ochre and White... and apparently a little blue.

Okay, that looks just like I want it.

And I hold up; it's pretty close to that.

What my feeling is, that when we put oil on this, we might even go a little stronger in the sky area, the source of the light.

[soft scraping] But notice how I'm putting that on.

Can you hear it scrub?

[soft scraping] You should say well, you shouldn't hear it scrub.

You say I hear it scrub!

Good, that's what I want!

I want you to hear it scrub!

Okay, coming down lower, and this is into the grass area.

I'm looking at maybe a little bit of green next to this Yellow Ochre and White.

There, that gives us a little bit of icy look, which is kind of neat.

I'll kind of push this down just a little bit.

Let's see, is there another place we got texture?

I'm just going to soften those a little bit.

When we put the oil on, we can put texture on and allow it to stay.

That will be very nice.

Okay, using some of the same lighter color that we have here-- we'll advance over to the tree just a little ways and right in here.

[soft scraping] And on this side.

Now the big impact, pointing out, of course, the sun will be impact, the light below it on the foliage on the grass is impact.

Strong here.

We'll be very strong here, because water reflects almost 100% and then we're strong over there.

So now I'll add just a little bit of strength to the lower water, and we want to be pretty much in a straight line.

So I'll push in just a little bit there.

[soft scraping] Sometimes a little sparkle in between helps, in between there.

[soft scraping] Now we'll evaluate all these things as we get to the oils.

I'm pretty strong right now.

I picked up a little bit of the blue just to cut that down just a little bit.

[soft scraping] Okay, going over to the right, let's take some of that same blue.

This is from the sky and we take and put this just a little feeling like a stream out there.

Let's go a little lighter on the rocks, and when I do that, I want some of the pink.

What color are you?

You're Alizarin Crimson.

Alizarin Crimson and White.

It's a nice addition, because you get the highlights and it makes it kind of harmonious with the other pink colors coming through the canvas.

Okay, now we have just a little bit need of taking some dark, and I'll take the Umber, for touching the dark side of these rocks.

It's so nice to be able to do these shows.

Gosh, I love them, and I'm so appreciative-- I'm going to take Burnt Umber-- so appreciative of PBS doing this.

You need to support them.

You need to tell them you appreciate the shows, and it's a way of doing it.

That will keeps us on, keep us coming back!

So I put the darks on against that, and you can see I don't always have to blend that; I can have it like that.

Now let's take a further look at what might help.

It might help to have a couple more rocks down in the lower right.

Okay, is there anything that happens in here?

I would suppose just a little bit of green.

Yes, that's good, and we'll be doing some of that on the big trees too.

I want to take just a little orange, since you came along on the bus.

Oh, gee, you just hate it as you watch a football, basketball team, and there's guys that have practiced and made the trip, and they don't get in the game-- okay, I'm going to put this on the other side-- and you think, oh, you admire them.

That didn't show much.

That's a little more.

Oh, you're too strong.

So I'll take you down with just a little bit of Umber.

That's better-- it's a little more narrow-- it's better.

Okay, so let's see where we're at.

We have about a minute to tell you where we are at.

I like the idea of just a little bit of green, and this is the green I'm talking about.

Just a little bit as a slight drag on the distant foliage... 'cause certainly there's some green leaves over there.

Aren't there?

You come back next week, because we're going to have some real excitement as we put that on.

But I'm very pleased with that.

For having been done the first time, you're all right.

You get on the bus!

We'll see you next time!

Thank you for watching "Painting with Paulson!"

I'll be here next week!

You too!

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