If you're not happy with your painting pretend that you didn't do it.

Pretend that Rembrandt did it!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ There's more than one Rembrandt, right?

There was a Rembrandt Peale too.

Maybe I got that mixed up with Walter Peale, a fine artist as well.

I have a project today that might surprise you a little bit.

We have an unfinished final painting that we're going to work up to today and we're going to work it up in oils instead of acrylics so that's a little bit new, isn't it?

This has been primed with Cadmium Red Light and white with just a touch of blue in it.

I really like the way that is, and I've outlined it with Ultramarine Blue.

That's for your benefit.

When you do it, it can be just lightly done so you can see what your subject is.

We want it so when you download a tracing that it comes out so you can make use of it.

Okay, I've put just a little bit of Walnut Oil on in advance and spread it around and then we're ready to paint.

I think what you'll find is a little bit helpful today too is, we have what you can either say a base color or a mother color.

It's two Alizarin, one Anthraquinone Blue and then white and what we do with this is, we'll put some on for the sky then we'll add a little red in to put down for the tabletop and then a little alizarin over on the right side.

I'll explain more, but that's what I mean by having a mother color.

So let's go ahead and dip in, let's see, do I need any Walnut Oil?

I'm going to put just a touch in.

This is the lightest part of it.

Oops.

I'm going to-- I ran quickly away from you.

I'm so sorry on that.

I'm putting more white in.

And when I place this on, then I will come and take a paper towel and wipe just a little bit.

The impression you have right here, it's quite runny.

It really isn't because I put the Walnut Oil then kind of wiped it a little bit.

When I put this on, I always like the idea of going past the line.

For instance, the mountain line, go a little bit past it so that when you put on your next color you can soften into it.

So you watch the quality of softness for your edge, the mountains So I'm wiping a little, I wipe just a little harder there.

Isn't that beautiful the way the pink shows through.

That is so attractive and a great paper towel that does not leave itself on the canvas.

That's what you need.

I want some of this down, the same thing, I want it down on the wave.

So when you have a floral splash, boy it comes from two different subjects, the seascape and the flowers.

I love that.

What probably would have been better if I'd put the mountain in first, then you can splash against it but either way we'll make it work.

Now, I'm going to come with the mountain color and this is just the darker of the Alizarin and Quinacridone Blue, less white in it.

And remember what I said.

In other words, if I wiped away too much, I'll choose to go just a little taller than that so it softens in.

It's right into the blue, I mean that outline so it isn't much different.

More right down there and here see, I'm approaching the foam kind of gently so you still have that softness to it.

For now we'll put this down in the water and then we'll-- I'll use a larger brush-- this is the same as the mountain color.

Then we'll add a little dark for accents underneath it.

And the shore.

Then you have what looks like a window.

We may have to go just a little darker.

This is Anthraquinone Blue, you're Alizarin and that's what we've been using.

Oh, let's put some of this under here, yeah that works.

I'll soften that in just a minute.

I'm placing it right now, then you have another little wave there.

Then watch what happens right at the bottom.

This is Quinacridone Rose, you're Quinacridone Blue-- boy you got a new name there.

Alizarin Crimson, equal parts and we'll put this down on the very bottom of the canvas.

That should be quite straight across.

Notice that you're not.

But in the next stage we'll make it-- you could use a ruler and make that very straight.

But in the next stage it's going to be all right.

Okay, on the wall itself under the window I have the same mixture-- this is mountains just darkened a little bit with the Quinacridone Blue and the Alizarin Crimson.

And I've said this before, when you have a primed canvas and you start going, you say oh a little pink there that's okay, but the more you cover, the more you're aware of hey, I need to cover that, for instance, there.

If that pink is covered just a little bit.

I don't have a problem with the pink being part of it, but make sure it's doing its rightful part.

Okay now we'll take some Cadmium Red Light, and we'll bring some of this sky color over to it.

And the place I want to put this is at the bottom on the table.

I'll hold this up-- I may need a little Alizarin Crimson in there.

Yes, we'll use a little Alizarin Crimson too.

So it's Cadmium Red Light and Alizarin Crimson equal parts and then some white.

I'll take a fan brush because it's clean and always wants to be a part of Bucky's painting.

[soft scraping] You won't see a lot of difference in that.

I'm gonna put a little more Alizarin in it.

See, you won't see a lot of difference in this.

The difference will come when we have put color on the other pink areas.

[soft scraping] Okay for on the wall, let's see what we have there.

I'm going to just brush-mix.

You're the base color, aren't you?

What if we put a little more Alizarin in with that and because I have a rather large area, let's put a little bit of Walnut Oil with it.

Oh, this is really responding the way I want it to, because again, I like the color, but it does look even better when some of the pink shows through.

[soft scraping] Come down just a little in there, and then I have just one little last spot to put in.

[soft scraping] And you can always come back after you've done more work up above.

For instance, I'd come back and say what happened there?

Why don't you come down all the way?

While I do that I'm picking up a little of that color on the brush and notice what happens here.

It becomes the cast shadow.

Wipe the brush a little bit, cast shadow from the vase.

And I'm going to let some of this go up on the wall just slightly so it gives the impression that it is near the wall.

This side, just maybe touch in like that.

Okay, now we're ready to go ahead further, and I think it would be helpful to have the vase in.

So we'll use some Anthraquinone blue and see if that will be enough.

I have a little purple and Anthraquinone blue, so that's equal parts.

You know it's like taking players on a bus and you think oh, gee be nice if we could get them all to play in the game so that's why the purple is being used.

It was just sitting there on the bench.

And I've told this story before where I was coaching a basketball game up in Canada and in the middle of a tight game, I was coaching and I hear somebody say, "Mr. Paulson, Mr. Paulson" and I looked down and I say "Dennis, what?"

Thought maybe he had a special play or something.

"What do we have for science tomorrow?"

What do we have for science tomorrow?

Good gosh!

But what he was saying is please notice me too.

I've told that story before and I'm going to tell it again, not today, I absolutely love it and it made me realize you need to consider everybody.

We weren't being paid to win a game or anything like that so why can't you play everybody?

What's more important-- the people or the game?

Got to be careful where you ask that question.

All right in the highlight area, we'll take and wipe out... and then Dennis you go back to the bench, that's the purple, and we'll put just a little Turquoise Blue into the highlight area.

Turquoise blue and white, and I'm using a fan brush.

See, I sort of wiggle it in like that and because it has height to it then you want to make sure that you're putting the highlight in more on a vertical instead of round.

The easiest thing to remember on-- the shape inside merely imitates that on the outside.

If this was perfectly round, you'd make that perfectly round.

Since this kind of this shape, then we make the highlight to match that.

And eventually, this is now eventually, let's go even a little lighter.

This has more white in it.

Now, I'm not going to paint on this one next week.

This is the one I'm going to paint on.

You have no original to look at.

We're going to paint on that, I want to show you something.

Let's take white with the knife.

See, you're ahead of next week already!

I'm proud of you!

Now we're going to take-- I'm going to clean the brush in the Walnut Oil, and I've told this before, but let's do it again.

When you clean in the Walnut Oil, if you dip in, then just kind of off the side, then you're going to keep your Walnut Oil pure, easier to use.

All right I have some Turquoise Blue again.

We're going to take this and push around a little bit in-between the flowers.

What's different this time on the flowers is, yes, I have a little shape there, but we're not just going to fill those in solid the way I've done before and then put character on.

We're going to use character very early in the ball game.

[soft scraping] I'll wipe this, kind of spread this around a little bit more.

[soft scraping] I look down here I thought I didn't paint that yet.

But it is painted.

Let's take, what are you?

You're Alizarin and some of the gray.

I'm just wondering if we can get just a little more gray in that.

I think even though I see-- the pink in the flowers is confusing a little bit now in judging this, but see, if all the flowers were covered, that pink down there would have screamed!

Okay, let's take where the blue we just put on, this is a paper towel, I'm wiping this around.

I guess I need to put some in there.

Put some what?

Put some Turquoise Blue.

I ran quickly to cover my mistakes and a little bit stronger.

Let's take some Viridian Green.

Viridian Green down, that's pure Viridian Green.

A little pure Viridian Green acting as the first stage of some of the leaves.

All right now we have that opportunity with the flowers.

Oh, I just love this!

Okay, let's come in for instance, this flower, and what I want to take as we suggested is a very broad approach.

This is Quinacridone Rose and I'm going to come over to the base color which is actually the sky color.

So rose into the sky color.

And I'm going to go-- which color are you?

Yeah, let's come down to this one.

Oh, you know, you need to have some dark behind you.

and we'll eventually go darker.

Is this eventually?

Yes, this is eventually.

Purple, Dennis come back off the bench!

We need to have you right here, right there, right there, right there, and right there.

Those can be softly blended.

This is a mop brush.

Okay, now we have, you're ready, this is the rose and sky color.

Now watch this, I don't fill the whole thing in right away, I'm kind of jabbing around doing character.

Oh the slash and dash, I just love it!

And then in the middle, let's take pure rose.

Pure, are you pure rose?

Why doesn't that look brighter?

I'm gonna take some Alizarin Crimson and darken it.

Oh there you go.

Together.

Out to the right, we have some red.

So this is Cadmium Red Light and same thing there-- no filling in the area-- you do it with character.

It's a new way to paint, just absolutely love it, and some little broken ones up there.

Okay I'll wipe the brush.

Oh shoot, you know I said just dip in and wipe off.

I done smeared the whole thing.

Hello down there!

All right, let's go with some more of this rose color that was used with the sky color; we used it here.

We could put a little bit of that up here.

So you establish a little bit where your boundaries are so you don't make too much of a caricature out of each new color, because as you do each new color, it has an identity of its own, it has its own personality.

And you almost overdo it-- it's just like meeting people.

Each one, if you take time you can really get to know them.

Well, in this case, we need to have some that are more important than others, and that's not so with people.

Okay I'm taking some Alizarin Crimson straight and this is going to go up into the middle here.

Now while we have this on the brush, I'll go up a little bit further, and I'll just kind of tap, just put a little sparkle around in there.

What are you doing?

I'm going just a little darker there.

Okay do we need to have, oh I see something.

Right here, we have some Alizarin Crimson that is a nice accent there.

You just cover things when you do this.

It's such a fun way to paint.

All right let's go with the yellows.

And I'm just mixing the whole thing.

we'll have to throw that Walnut Oil out and get some new stuff for next time.

You just check me on that.

Yellow, we have a kind of a pure yellow, pure yellow and then we have a little mixture.

We'll take the pure yellow first, Cadmium Yellow.

And you'll notice as you do it, you're near paint that's wet which means that some of it will blend in a little bit.

See, as I touch over there, it turns a little more greenish, which is great.

And here I'll be a little cautious as I come onto the vase, though.

So I'm pushing down hard so it doesn't blend back on me.

A little bit of Alizarin in the middle of that.

Now we have other yellows, the yellow up high appears to be, well, we can take the pure yellow I'm almost thinking, and a thought came through-- I'll put a little white with it.

So that's one white and one yellow.

See, it's still pretty bright, isn't it?

Yeah.

Okay now we have the one over there.

I believe it would be easiest to start with a Raw Sienna.

How about Yellow Ochre?

Yellow Ochre, this is the one, right.

[soft scraping] This time instead of just pulling in, I'm scrubbing it.

[soft scraping] That's a good basketball term-- scrub.

That's so unfortunate, we label people and players scrubs; they're not scrubs.

Okay, yellow and white.

This again is equal yellow and white and we're putting this on, see, I'll put it kind of on the edge and pull a little bit in.

Now, your question might be what if you painted the painting completely in one time this way?

I do like the ability of having a little dry to work on because you do little glazes and things that are kind of special.

You could do it if you had to do it, but I'd rather do it this way.

This again, Alizarin Crimson.

And oh, we have a kind of a bluish gray one right there.

This is very close to the sky color, aren't you?

As I do this notice that I completely ignore the fact that I'm touching a little bit into the neighbors.

Go a little stronger here so you get a definite edge there, right there.

Okay now we're going to put a little bit of Yellow Ochre in the middle here.

And we have a little flower down on the end that's yellow but it's really not very light.

So I have white, here's your yellow.

Yellow and white.

I almost want to have a little of the sky color with it.

A little more yellow.

Boy I sure can follow that.

What kind of directions are those?

So it ends up being a little yellow, a little white, and just a little sky color.

And a little vase mixed in.

Okay Yellow Ochre, and in the middle of the Yellow Ochre, some Quinacridone Rose.

Okay let's take, I'm going to take a fan brush, and what I want to do on this is just kind of push things around a little bit.

Just staying within the area but making it just a little more easily read.

[soft scraping] You're a little strong, I don't see those points, we're knocking those down.

I like this, that's my favorite one right there.

And this, you're a close second.

See, your center of interest is going to be those two, because they're surrounding this, and you have the light there and the light there meeting the dark.

So you really establish a nice center of interest and when you go up higher, I'm just taking some of what the mix, mix, mix like that is, just touching out so it looks like some incidental leaves.

We're getting close to the end.

You be sure to come back next week, because, because we're going to have a lot of discovery in painting the one on the left which is dry but unfinished.

We don't have any original, that is going to be the original.

I'll spread some of this out, I notice that it has a little bit of looseness up there and that's good, because you don't want that flower to take over and compete away from the other ones.

So we're getting down to where we're going to have just a nice little bouquet.

Okay, there, a little there, So I hope you've enjoyed this and I hope it'll make sense to you that you'll be able to use this, and next week don't miss us!

Because we're going to do a finished product from a nonfinished product.

Okay?

See you then, bye-bye.

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