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[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Okay, let's go ahead and do stage 2 on "Gold Hill."

Stage 2 is oil paint.

Stage 1 was the acrylics.

Now, look at the canvases.

We have the finished product over here.

We have on this side, we have the acrylic stage, and we'll have two shows to do the oil painting on this; that is so marvelous.

I'm going to start with Walnut Oil on the canvas, and then I'll push this around a little bit with a paper towel.

It will make it so the paint goes on thinly and evenly.

[soft scraping] Okay, now I'm going to do a mudpack color that I have not remembered using before.

When I looked at that painting a few minutes ago I thought I know what I want to do.

So I have some Ultramarine Blue and White.

It's very much Blue, a little White, and I'm going to put this on.

This is mudpack when it has some White in the mixture.

[soft scraping] Okay we'll see you next year!

Gee!

[soft scraping] Now, this will be put on, and then I'll wipe it and it will be hard for you to tell that it was ever done.

It softens everything, gives a sort of a unity throughout.

A little bit of the blue feeling whether you were seeing it for the first time or not.

The fact that you saw it, you know it has the blue tone.

Now when I work into that, you can find how easily the vitality is felt.

So let's take a fan brush again, and I want to use Raw Sienna and White.

This, I'll go up to the sky, and you find very quickly that because you're working into a wet tone that it blends very well.

You have a lot of control with it.

Okay, so here comes the Raw Sienna and White.

I filled the whole fan brush in with paint, but I use a lot of the corner of the brush.

See, because I put that mudpack color on, then this is just a little step up in vitality.

Now as I go over to the side, I'm looking at maybe a little more Raw Sienna.

It has one place it has a lot of impact.

Now over here, I have more Raw Sienna in it.

We'll see what happens as we go further, but we'll do that, and then I'll come over to the side right in here.

And this is almost like a combination.

It's not quite that light, it's not that dark.

So it has a little more White in than when I first put it on the other side.

Anytime you have a large area-- this is considered large area-- I add just a little fleeting clouds.

I'm going to come across that just to soften a little bit.

Maybe work a little of this in, which working that in, it cuts down the lightest light just slightly.

It's so easy when you first start, everything's there, and then you think oh gee, that's not the lightest part of the canvas.

Okay let's do this.

I would love to go to the trees, but I kind of feel I want to be on the cliff, and whatever ♪ Bucky wants, Bucky gets.

Okay, I have Cadmium Red Light, and I have a little of this Raw Sienna and White.

The color I'm putting on is going to be just the little first part before we come with the real strong lights.

And now I'll go just a little further to cover that little incline.

It certainly helps to have them, and your drawing will have that.

But this is the time for them to disappear!

I love doing these shows.

It's just such a pleasure to show people how to paint my style.

It isn't the only style.

It's not the correct style, but I hope you enjoy my expressions.

And I gain a lot from people.

They'll say "Well you know, I really like your show, but I wish you would..." and then they'll say something.

I think that makes a lot of sense!

I won't give ya any examples, because I can't think of any.

Okay, we'll take this same color, and we'll come down into this golden area here, and this is a little general.

It's not in little shapes like it is up above, and then as you can see on the original, you can see when we put the impact up above-- there's also a very strong one right there.

I like that very much, because that gives you some space between the building and the mountains.

You feel like you can go back there and discover things.

It'd be fun to know more of the history of Gold Hill.

Okay, do we have any over in here?

I really don't see any, but I'll tell you what I would like to put.

This is Alizarin Crimson.

Alizarin Crimson and Blue and White.

Just as I look up there, I feel something kind of going just a little bit, and I'm going this way with the brush.

It's coming off the flat side.

[soft scraping] Now while I've done that, I notice the little green up above on the hill.

So I'll have-- what are you?

You're Permanent Green, you're Viridian Green.

Okay, and then just a little bit of Van Dyke Brown, not too dark.

And see, there's some foliage over here.

Nice thing about today, where we stop, we say see ya next week!

It's not hurrying to get to a certain point, because when you have 3 times to do a painting, it needs to come out very professional-looking.

Okay, so let's do this.

I won't put the lightest lights on yet.

Let's go over to the tree, and what I'd like to do there is to take some let's see, you're Van Dyke Brown.

Let's take some Van Dyke Brown, and we'll just push this on.

Before I do it, I'm just taking a little bit... yeah, I don't want too much of the previous blue and White there.

Okay, so here comes the Van Dyke Brown.

It's almost saying I'm using a glaze into the mudpack.

This is the glaze, and I'll wipe quite a bit of this.

This just gives me a little darkness to work with.

[soft scraping] Boy, just scrubbing it like that, you kind of achieve what you want-- the little dark patches.

Oh, it's such a temptation when you're here just to jump over oh this could have a little bit... Get away from my original!!

[soft scraping] Will there ever be a time when they'll show the people that I work with?

My floor director, my great Barb, oh, my camera people.

They just have to be silent supporters and they really are.

[soft scraping] Okay now, I'm going to wipe a little bit, because I'm sort of generous right in here.

It's such a good way just to start putting some of the darks in like that.

All right, I'm going to take a round brush, and I have that same, you're-- what did we say you were?

Are you the Van Dyke Brown?

Yes, the Van Dyke Brown, and I'm going to put on just a little stronger on some of the branches.

You can use a little oil or medium, Walnut Oil, what have you, to make these flow gently.

I really think it's important to find your equipment.

If you can get nontoxic, boy, do it.

I have seen artists that all of a sudden after quite a few years, they're walking around with plastic gloves on, because their hands have been so affected by the toxicity of the products they're using.

Okay, little stronger, little heavier there, and we'll sort of stop there on that.

This one jumps out a little bit, so I'll just touch it, soften it a little bit.

Now the foliage on top of the tree, we'll start with one color, and it's Permanent Green Light.

I beg your pardon.

Yeah, you're Permanent Green Light.

You know that, don't you?

Permanent Green Light, and I have just a little bit of White with it, and a little bit of Van Dyke Brown.

And when I place this on, corner of the brush, and you sort of tap around a little bit.

Then we'll blend it, And as we've said on other shows, you build to the light.

In other words, we can go lighter in a few places in a minute.

The other colors I see there as I'm doing this, and let me point to the original, there's some blues in there that are quite nice.

It gives a nice feeling for this type of foliage.

You might find a favorite brush.

I quite like the fan brush, everything it does for me, and also that filbert, because I can do the large areas with that.

Let me see.

Do you want to try this?

The reason I probably would like the filbert is because I have a little more control.

The fan kind of splatters around, but this, you can make definite areas.

And see, when I'm putting that on, this area, I'm tapping it, so it's not real solid, and I like that for foliage.

I'll go back up here to the edge.

We're not signing off on the distant hills.

So I won't make my tree go out there and be finished and then try to work around it.

[soft scraping] Makes you think as you're doing this, is there any way of doing both at once?

No, that's a bad idea, floor director.

Bad idea!

Oh, she can't even answer back!

That's great!

Okay, let's come down here... and... over to the left a little bit.

What I intend to do, and I'm not going to put the blue on today.

We'll do this next week, the blue that goes in there.

So on the end of the trees, the foliage, I'm looking up at the top with the idea that-- I have clouds there, so if I just touch it ever so gently, you'll achieve the edge that you might want.

There may be some, and I see that would be one of the cases, where we'll have to go a little more of an accent eventually.

Go right across the trunk a little bit... down here.

Okay, I believe what I'll do now is, I want to go out to the distance, because we'll kind of surround our little prima donna, our diva, and then we'll do that.

You know in opera, they have what they call the diva, and that's the big star and that, but they use a word that seems strange to me.

They say he's a supernumerary.

You know what a supernumerary is?

That's one who's over the chorus or something or a side part.

but gee, it sounds so good.

Supernumerary!

Okay, what color do I want?

It's in this yellow family.

Let's start with Cad Yellow and Yellow Ochre, equal parts, White, equal parts.

I'm going to hold this up.

I think we're going to need more White.

Okay, so I have 3 White, 1 Yellow Ochre, 1 Cad Yellow.

Oh, I still have to go lighter.

More White.

So the only thing I can tell you is, the amount of the 2 yellows are equal, but it's a lot of White.

Okay, I'll take a flat brush, because I can do two things with it.

I can put on a little bit of quantity.

I'm right against the roof.

And then when I go up, I can use the side of the brush.

Just a little bit up there, and I'm working oil into oil.

Thank goodness you checked that out!

But I can soften into what's there.

This golden tone is wet... and it makes it easy to soften into.

And you'll find when I blend this, it has a nice effect.

I don't want too much blending.

I want some character showing.

There's less over here, and then as we spoke earlier about the impact down there.

And because it's a straight building, I can just draw right sharply against it.

Oh.

Can you see my canvas dancing a little bit with me?

Kind of springy?

You know, my first 7 years that I painted with Claude Buck, he always used Masonite or hardboard, because he said it won't wrinkle, and it won't tear.

So it was quite nice, and I got so used to that, it took awhile to feel comfortable using the canvas.

There is a touch of green.

No, I put some up on the top of the hill.

I think I got a little generous there.

I'm going to take some of the blue and maybe just push that back down just a little bit; get back down there.

So it doesn't start quite as high.

It's down lower, and then I'm taking some of that same green that we put up here, and there's just a small little bit along in here.

Kind of gives you the foothills, the foothill look.

Let's put some of this gold on.

Where did we use that?

Oh, that was up on the cliffs.

Oh gosh, there's so much good work to do.

Let's take and put a little green over on this guy.

This is the same green I had there.

And as I touch this, it softens a little bit.

It was a little sharp against that distant light.

Boy, that's powerful.

I probably need to blend you, but let's wait.

I'm taking a little bit of the green.

I have a little White in it, and we'll just kind of flip this up a little bit, and then we'll get a small brush to put a little character on that too.

You should see Buck!

He just flipped that, and it looks good!

Yeah, accident, right?

Okay, I'm going to take and blend.

This is a mop blender, and let's go first in the sky.

I think we did a little of you already.

And then we'll come down on the cliff, and the blending, I'm sort of blending a slanting vertical.

In other words, instead of across, go with the direction of the slant.

That needs to have a little more gold right in here.

It sort of separates this light down here.

Wipe the brush.

Gee, not any mystery to where to find the gold in that hill.

It's right there!

So I'll take some of this, I'll clean this brush, the mop brush, and come over to the big foliage.

Remember, we said next time we'll put some blue in there to go with all the green look.

Okay, I have just a couple minutes left.

Let's take Van Dyke Brown and put down under that little awning.

What is that called?

It's not a ledge.

It's not a roof.

Eaves?

I don't know, It's been so long.

But I love the contrast that gives, And I have just, it's almost felt like a little window there, so we'll leave that.

A little dark here, And you do as my good friend Bob Dambach says, there's some broken windows there!

He is one of the best.

Oh, nice accents!

And I'll put just a little in the last-- I don't know how much time left, maybe 30 seconds-- I'll put just a little line under there and under here.

The thing I like about this line is, notice the contrast it has with the distant light on the hills.

Okay, this is stage 2, the first application of oil paints to "Gold Hill."

We have one more week to finish it.

You be sure to come and see.

Bye-bye!

[piano plays in bright rhythm & tone] ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...