No work of art is ever really finished-- it only stops at a good place.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ You have arrived back in the studio of Buck Paulson, and you're going to have some great fun today because we're going to show you how to go on to the next step of a painting that I've never painted before!

Ah!

I have the little pochade which I painted, but I've never made a painting from it till now!

So we'll start with Walnut Oil, I'm taking a large fan brush and dipping this into the Walnut Oil, and I'm putting this on the canvas, and you can't really see anything.

I don't think the glare or anything; maybe it's there.

Maybe you can see some of it, but I'll take a paper towel, which sort of pushes it around, and then it makes it so you can work paint in gradually.

The Saturday night bath, I love the attitude, because it gives a kind of a tonal quality, a sameness throughout, and as you work into it, you can highlight places that ordinarily jump out now.

And see, when I look at this, the tree jumps out and the sky and so on.

So we'll take Alizarin Crimson, and same thing here.

I'll put this on, and you think oh my gosh!

And then I'll kind of wipe and push it around.

I need to hear an "Oh my gosh" from somebody out there in TV land, not just from the sound box on stage here.

Although, if it's one of my people in there, I listen.

Okay, that is the Saturday night bath.

Now after you've had a bath, you need to wipe down a little bit.

So I wipe just gently to start with.

Actually, I have pretty good pressure on the paper towel.

[soft scraping] I love the glow that it achieves.

It works very well with that first priming that we had before we started painting with the acrylics.

[soft scraping] Okay, there we are.

Now let's kind of go with the same procedure.

When I say the same procedure, I'll start in the sky and work down.

Often when I'm doing a painting, I want to start with the impact right away, the contrast, which would be the strong light against the tree and then on down through.

But that is another way.

I like dessert!

Sometimes you eat dessert first.

This time we're going to kind of wait till the end of the wedding party.

Okay, so we'll mix up, and here's the thing that you have to kind of watch as you're doing a Saturday night bath and then putting the color on, you may have to change it just a little bit.

Actually, you won't use as much, because it'll thin out well in the bath.

I'm going to hold this up to the original.

Oh, maybe just a little more Yellow Ochre.

but you realize when I'm doing this, I don't have to match that totally.

That pochade is my inspiration for painting a big painting from it.

So when you do it, you might say oh, I would like it a little more greenish blue or so on.

You can do it!

This gives you just the technique.

Okay, I'm cleaning the brush that we used the Walnut Oil with and wiping off and then I'm picking up this color, which is the blue and White with a little Yellow Ochre.

and I find that when I do the Saturday night baths, and you work into it, you use a lot less paint.

Now I need to make a decision down here at the sun, and the decision will be, I'll come into it lightly so that when I put on the strong light, it will show.

What I especially like is the little red that shows through there also shows through having done my acrylic underpainting, because the priming of the canvas had a lot of that reddish color.

So that reddish color isn't necessarily from the Saturday night bath.

Come over here.

I'm not going to really address the through the tree look yet until we put foliage on.

Then we'll decide if we need to have little places where the sky shows through.

Let's put a little bit on the right side of this tree.

What I did there, and I want to show it to you on the palette, see, this is the blue and White and then this is with the ochre in it.

So I'm taking some of this that has more the blue and white without the ochre just to get a little darker blue, and I'm glad I did that.

That works very well.

And you don't have to be overly blended on it.

It blends in quite nicely, and we'll come up the top of the sky and make sure we have some of that in as well.

Now I hope you don't mind when I talk that I'm kind of excited.

I absolutely love doing this!

I love the crew, the whole facility here, the whole whatever you want to call it is great.

The whole procedure, project, experience... plus that Jacuzzi!

Okay, let's see what we do over here.

I think we're all right.

Do we want any of this in the water?

I don't think yet, because we'll be putting some darker color in there, and then we'll come there.

So we're still staying up at the sky.

We're in that area.

I'll make a little bit of start of the sun area so that we get an idea what that's going to look like.

I'll take Yellow Ochre and White with the idea that I'll come later with a little Cad Yellow Light and White.

So as my students always hear me say, "build to the lights."

That means you go light, not real light to start with.

You build to it.

Lighter, lighter, light!

And that's what we'll do now.

So this is the Yellow Ochre and White, and I'll do this with a brush and later when we go with the lightest light, we'll even use some knife.

and I use a lot of the corner of the brush, because I can flutter it and sort of control it, don't get too much quantity at the time.

Blend this out away from it.

Isn't that dramatic?

And I see as I look there, I see some over to the right.

So we'll put some in there, and it also looks like just maybe a spot down in there, spot in here.

That looks nice.

I'll take a mop brush.

You da mop.

You've never been used before.

Oh, I give you my blessing as you go out into the world of art.

That's a nice aspect, because when I blend it, it softens it, but it doesn't lose its character.

So the blending is not meant just to have an absolute change in value.

It just softens in its position.

Okay, now we'll take and put some color on the big foliage, and what do you suppose we'll use for that?

What are you?

You're Sap Green.

Oh, I like Sap Green!

I'll put some Sap Green down, and let's take some Burnt Umber, and it looks like we have equal parts Burnt Umber and Sap Green.

I'll dip into the Walnut Oil only to clean the brush a little bit, and then I'm dipping into the paint.

So there's not any real oil on the brush.

And I'm being a little careful on this that I don't cover too much-- the branches.

Okay, now let's see what goes out on the edges a little bit.

Oh, nothing yet, because that color has to be other than this.

This would be a little too dark on it.

[knocking] If you hear knocking, you should answer the door!

[knocking] Okay, but I'll paint while you're gone.

Okay, here we come to the next side.

I like that red, but I don't know how much I can allow to stay there.

So let's push this out.

And see on here, when I say here, this side, I'm letting some of these edges show which I didn't on this side, because they need to show with a different color.

I will touch that one spot; it's a little bright red there.

Picking up the same color, coming over here.

Oh, it's so exciting to do these paintings!

And it's exciting to do a painting that you haven't done before.

I've done the style before and that, and you have great confidence that it's going to work, but I like the idea of discovering with you.

It's so much fun to learn as I earn.

Oh, no!

As I paint, as I teach!

Okay, now down below, I'm going to let some of this come along the base, and then we'll be a little lighter at the top of it.

And this is where I'm talking about the top of it.

Okay, so let's go ahead and do that.

What do we have?

We have Raw Sienna, and I'm going to take some Sap Green, mix those two together, and then just a little Umber.

So what I have is 2 Raw Sienna, 2 Sap Green and 1 Burnt Umber!

Corner of the brush... and it doesn't change much there, but we want to address the edge of the canvas.

This is the edge of the canvas-- I mean edge of the trees.

So I have very, very, very little paint on the brush as I bring that up.

Okay, coming down, let's take some Cad Yellow, and I'm just brush-mixing this.

Sap Green.

It looks like it's 2 yellow and 1 Sap Green.

Put it on, and I wipe the brush so I can just work with a kind of a small amount on the brush.

Notice how you flip it just a little bit so that you feel an edge of a character of grass so it's not too sharp.

This one hasn't been mowed in a long time!

Great.

I can hardly wait to get to the strength!

Strength, strength!

Okay let's come to the water, and I'll take some this is Phthalo Blue, and you're Alizarin Crimson.

So that's equal parts, and then just a little White.

See what that looks like?

It's got that Alizarin; I need a touch more Alizarin.

Alizarin and the Blue and White.

Ah!

I like the way that meets against the green, and then it goes in just a little bit there, And I'm glazing just across those rocks a little bit with this color, and then we'll take and push up some lights onto the rocks.

Let's see.

What brush do you want?

You want to do it?

You want to do it?

Okay, so we have, this is Alizarin and Blue and White.

It gives you a kind of a nice-looking gray.

And this again is just kind of basing it in, and then we'll eventually go lighter.

So in each case, the sky and the river and the rocks all have a little enhancement to take place.

Okay, I'll leave that part, and now I want to come to the tree, and I have-- what do I have?

I have some-- you're Raw Sienna, and you're Cadmium Orange, equal parts.

Changed my mind.

Two Raw Sienna.

Two Raw Sienna and one orange, and this, I'm just letting it kind of come as a little what you call a flitting type stroke.

It's not solid down.

And I don't know if you can see or not, but I use my fingernail to lean against the canvas so I have a little more control as I do it.

You were a tree back here.

You better come back!

What did you used say when you'd play hide-and-seek and you couldn't find everybody.

You'd say "All everybody else in free" or something.

I don't know, but that's what we're doing there.

We found that guy; he was really hiding.

Okay, now it's time to have a little fun.

So we'll take our knife, and I'm taking yellow and White.

Cadmium Yellow and White.

My Cadmium Yellow, I absolutely love it, but it's a little richer than some of the Cadmium Yellows.

It has a little more to it.

Okay, so this is Cadmium Yellow Light and White, And I'll push this a little bit like this.

Now before I leave that area, I have to take just the smallest amount of, this is Alizarin Crimson.

Now watch this-- just a small amount and kind of come out like little branches.

The edge of the foliage is being affected by the sun.

Mop brush, your turn again.

And then let's go just a little lighter.

I'm taking Pure White.

You're pure!

You've been pronounced pure!

You can play baseball, no foreign substance!

Down below, let's come with that same yellow and white.

I'll take a little Sap Green, and we're going to come down on the land.

Boy, that's generous.

I'll take a little bit of Sap Green and just touch against the bottom of it so it isn't too far down.

That's just right, and then going with the idea of just a little lighter, let's push this over like that.

We can have a little bit-- what do you want to do?

Just a little bit of white right there, And, of course, the lower water, we need to have a strong light there.

So we're going to do that now.

I'm starting with some orange and White.

A little more orange showing, please.

I'll take a fan brush and just swish it a little bit to kind of blend it in.

It's different than the mop brush, because we want this to move a little bit more than it is.

I'll take a little bit of the dark, where we used the dark water over there, and I'm pushing back towards into the light slightly just to diminish its size slightly, but it has its impact, Then maybe one speck of the Yellow and White, which gives us the absolute gleam.

So when light is reflected in water, it's almost 100%.

It's just as light as it is there.

Okay, let's go over on the side.

We have a little time left just to push down.

Where are you, brush?

There you are.

We'll take and put just a little bit of light with a brush-- this is Yellow Ochre and White-- over on these.

Let's go a little stronger light on the tree trunk.

So this is my orange and white, and on this, I'm kind of filling the brush in.

It isn't just that snowplow, it has a little bit more.

So when I put this on, I can use the flat part of it rather than just a single line.

Now I'll take some of the orange, and I'll do a little bit of that snowplow where I push it like that, and you can see it's just on the edge.

I hope you can see that.

Not there, right down at the edge.

Oops, I just knocked it off.

So we come up here.

The thing I like about this besides making a small line, you can even put a line in where there wasn't one.

It's a nice aspect of drawing through wet paint.

Okay, I want to come over on this side just a minute.

I have some Sap Green and Umber.

I need to come out just a little bit, And it's always nice to have some variations within the foliage.

So down here, I've taken some Sap Green and just touch in a little bit.

It gives a little bit of character to that foliage that's in the corner, And I always like the feeling of taking some of the sky color, blue and white, again with the snowplow effect, just a little bit of gleams down in the water.

So you get a feeling like the water's moving.

I'm pushing a little bit so it blends in slightly.

And what is quite nice there, I just noticed it, is if you have just a little bit of kind of reflections down below the rocks.

Okay, let's see what else.

We don't have a lot of time left.

We'll push this up a little bit so you get some character against the light.

The big tree could have a little bit of, what are you?

You're Burnt Umber?

Okay, come on up!

Burnt Umber on that side.

I'm going to put a little blue with you.

It'll make you a little darker.

Yes!

You worked again!

Thank you!

Then I'm sort of softening some of the edges so they kind of go into the foliage.

Here we'll put just a little bit.

I like the effect of some of the orange sort of playing through there.

I'll take some orange just maybe to make a touch or two over in here.

Not much, but I think we've pretty much put up there what we want.

You know, it's fast!

You take your time and do a good job and let me see some of those projects, and many of you do!

You send what you've done, and I like it!

We'll see you next time, new project.

Bye bye!!

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