Some people claim to be over the hill!

I wonder if they were ever at the top.

[piano plays in bright rhythm & tone] ♪ ♪ It is such a pleasure to be with you today for two reasons.

One, I love an audience, and second, this is the 3rd week on "Gold Hill."

What an opportunity to develop it a little bit further for you.

You realize on these shows, they are quick draw or quick paint, whatever you want to call it.

So we'll have that extra half hour today.

Okay, as you look at the original, that has everything that it should have.

It has good composition, which means good placement of items on the canvas.

It's got a mood to it, kind of a nostalgic, "I remember when."

I wonder what happened in that old mercantile, and that's great.

So now we show you what we've done after week 2.

Week 1 we did the acrylic stage.

Week 2 we did the oil stage, and now week 3 we're doing a little bit of further work on it, And the way I want to start this is by taking-- I have a color, this is Cadmium Red light, a little Umber, and White.

I want to come over to the bricks here, the brick wall.

I'm just pushing a little bit of this on, and I'll wipe just slightly.

Do we want any more of this anyplace?

I can't think of any-- oh maybe, oh that, I'll take more Umber there.

Where are you Umber?

You were here yesterday.

Well, you're up here, so you haven't played the game yet.

The score is such that you need to get in there and make a touchdown or a home run, whichever sport you're playing.

This is Burnt Umber right between the two buildings, and then I'll blend that just a little bit with this excellent brush that you can get at your "locer" hardware store.

You know what "locer" is right?

Okay, let's go with he next area, and I want to put-- Well, before we leave that, that has been sort of set up so we can go ahead and put a little character into it.

So I have some Alizarin Crimson and White, and I want to put this down.

That sort of shows a little bit like bricks... or blocks of stone, I guess that's what it is.

Okay, then we'll make some vertical, little lines.

All of these things can be done very carefully, and they will be an enhancement to it.

And a little bit down this way.

Not much, it just starts, and it kind of fades out slightly.

Okay on this, I'll let that set for a while, and then we'll come back and we'll blend it slightly.

As I'm in that area, I'm going to take-- you're Phthalo Green, aren't you?

You're Payne's Gray.

Are you Payne's Gray?

Yes, Payne's Gray and just a little bit of green.

Permanent Green Light.

Just to touch a little bit on the edges of these trees, because the details there help push the mountain back a little bit.

Not much, but a little bit.

Now while I have that paint on the brush-- I'll put some here first.

Now while I have the paint on the brush, let's see if we can just-- I don't know.

I'm going to wipe a lot on the brush and just come out.

I have the corner of the brush, just a little bit of character out into the sky.

And if it blends a little bit with the wet sky, that will soften the edges of the addition.

This one, this one, this one, is a little sharper.

A little more definite, because he's kind of the balancing rod for the rest on this side.

And the same aspect there is, we'll let it set, then we'll come back and as we blend each things, it will further soften.

I look down at the trees there, and I can find just a little bit of an accent.

So I'm using the Permanent Green Light and Payne's Gray-- just not the whole thing, but kind of on the edge a little bit.

I'm wiping because I don't want too much paint.

Oh, while I'm there, notice what I notice.

Right above me.

That needs some light on the cliff.

So we have Raw Sienna and White, and it looks like we have a little green in it.

Raw Sienna and White.

Well, okay if you insist.

If you want to come up there, green, you come on up.

What the green does, it grays it slightly.

So that was a good addition.

He insisted on being on the bus, and when we arrived, he got off the bus first.

You know, some of these things that I say, you think, I wonder if that was funny or not.

I'm not hearing anybody laugh.

They don't laugh in the studio.

Are you laughing at home?

Or are you laughing at me?

You be careful.

Okay on that, I want to have a little bit of the Orange and White, that will give me just a little sparkle.

Doesn't take much.

Okay, I notice over there as well that-- let me point to the original.

I have a little bit of foliage over there like we do over here.

It's kind of a nice balance.

So I'll take a little bit of that Payne's Gray and Green, and just touch a little bit.

There's a little bit in here.

I need to wipe the brush, because I need very little, so it sort of softens as you go.

Okay, that'll work.

Whether it does or not, we say it, because we say it, it's true.

Okay, on the big tree, I want to have a little bit of extra twigs.

I have the Payne's Gray and green mixture, but I've put Walnut Oil in it so that I can make it very soft.

See that little branch?

Some of these branches, they go out past the edge of the tree.

Oh, now on these, when you have your tracing of this picture, you can see that you need to save those little lines, because they're all there.

We just find a couple we use.

Let's see, let's put one out here.

I think that will work.

What's surprising is, you don't have any light on the branches.

They just stay as they are.

I have one big branch that I need to put on, and that would be right in here.

Now when I put this on, it's kind of a broken type stroke so you feel like some of the foliage is still over it.

I'll take a paper towel and just touch that edge a little bit, the top edge.

Right there.

Good, because you want to see it, but you don't want it to take over.

I'm going to go down at the bottom of the canvas, and I have-- what color do I want?

Well, let's use our small twiggy brush first, and let's make some of the little grasses grow.

So this is the Permanent Green Light with a little White, and likewise, we'll add a little juice to it, a little Walnut Oil.

I'll put a few of these in, but you need to have a whole-- there must be a word that describes a whole bunch.

A quantum.

And remind me when we blend, we'll also blend those.

We'll have some that come down just a little bit.

And over on this side... and then I'll go just a little darker, and you're putting a few little character leaves in the bush over here.

Okay then, what is quite helpful just because my director noticed it, we'll come with a little Alizarin and White, maybe a touch of blue.

Yeah, that's good, and what I'm saying is, and I jump back and forth between the Blue and the Alizarin and White, is that as I put these on, they will all have a little extra color put on top of them.

So this is the building aspect, building to the light.

I think what I'll do, I'll go ahead and blend a little bit of what I've done, and then we'll come down and put more lights on there.

So what we first need to blend is what?

The wall, there's no special order in the blending.

There's a nice little highlight on the wall.

I don't know if that's from... is that from chalk?

Let's say it is, so we'll use a little Orange and White and put just a little sparkle right on the edge there... and then along this line.

See, those things make it all feel like the light that's hitting the mountain also hits them, which is very pleasing-- the continuation.

Okay, let's come over where we've put the extra color on the edge of the leaves, the edge of the trees.

See, that can change it quite a bit from sharpness to a softness, and that's what we're doing.

Kind of a blend, and then even this that we worked over on the far hill.

Hill?

That's a mountain.

There was a song, "Climb Every Mountain."

What was that in?

Was that "Sound of Music?"

We can change it to ♪ "Sound of Painting."

What a neat aspect.

Climb every mountain that comes before you.

Okay, now down below, we did put on some color that needs to be blended, the green.

Then let's do it with the knife.

I'm going to take just the end of the knife.

I will show you.

See?

Just on the end of the knife.

I want to make sure I have enough pink in that, because this again, you're building to the lights.

You're not saying this is the lightest light.

So I ask, Barb, is this all right?

Oh, what a great friend she is.

Okay, if I have any success, she gets the praise.

Now let's build to the lights, and we'll go a little lighter.

So I'll pick up some White.

When I say White, it has just a tinge of Orange with it.

And you're just aiming at those little pinks that you put on, and sometimes like that, you can have one that just stands out a little stronger than you intended.

I wouldn't change that.

Okay, I want to come to the right just slightly, and this will be putting a little light on the little stones that are there.

And I'm using the same, I'm using the Orange and White, but I'm using the corner of this brush, and see I already have them established.

So this gives just a little more light to them.

It all is very supportive of this building, which needs to be done.

We don't have a lot of territory down here to do that, but we'll do some.

I notice just a little bit, well, what are you?

Yellow and White, and a little Orange.

Let's come over on this side, and you're putting just a little grass in next to that, and then you put just a little bit of this down front, because it becomes an entrance.

It becomes an entrance to your building.

And then just a slight bit of this will start your feeling of the steps.

This is too straight, so I'll just take the side of the brush without paint and just push it up and down.

Notice how much a play that the pink pays.

"Pays?"

Plays on this picture.

It is so helpful to have that.

Okay, now I'm going to do a little bit of blue.

This is Ultramarine Blue and White.

What brush do you want to use?

I think I'll use my big favorite bristle.

Bristle, badger bristle.

You won't see much of this until you look for it, but it feels good.

It helps the greens.

What a nice compliment.

The greens and the blues working together.

Do I have that?

Well, there's some stuff there that matches.

Okay, we'll call that enough.

Let's go a little lighter on the side of the walls.

This is Orange and White, right along here.

And notice how it just hits at the top, so I don't go all the way down.

There.

What about in the windows?

Just maybe a little stronger right there.

This one doesn't get it, but I do need to have a little ledge.

So I got blue and White, Ultramarine Blue and White, and I'll just lean like this, put just a little there, and a little bit along here, and over on this side.

A little bit at the top of that "winder," and at the bottom of the "winder."

That's such an nice word.

I love it.

I don't know where it came from.

"Winder."

Who ever heard of "winder?"

Although there was a great buttermilk that was made by Winders.

Um.

Okay, a little bit on the top there, and you can see the broken glass means that it isn't probably being used tonight.

Okay, I want to go just a little lighter on some of the poles so you get the idea.

This is Orange and White, so some of these can be lighter.

Now, they are all quite light, but I just have so many to do that we'll just kind of give you an idea of what-- you would do each of them.

Then over on this side too, just a little bit lighter.

And on the railings.

And this would go all the way down.

We need to have a good strong one down as the beginning and over here, and then you put light along the top.

I'll just start it a little bit, because that needs to be done very carefully.

Okay, there is a little light I notice as, let's see.

What color do I want?

Then I'll tell you.

This may be just right.

Let's go up here.

This is the Orange and White with a little green in it.

And that's this facing right here, And as I do that I need to have just a couple of the little grass strokes coming up.

On this side, what happens?

Well, not much.

I think what I'll do is take and put a dark.

I have Payne's Gray.

I have Burnt Umber.

I'll use the Burnt Umber, and we'll make a good strong place here.

See, that would be such a good hiding place to go under there, and then they come looking for you.

I'm going to put a couple rocks there.

This is the blue and White.

So that bottom isn't too straight across.

All right, now I'm going to-- is there another way of introducing it?

[loudly] Next we will...!

Let's take the Orange and White, and we'll come over to this window, and we'll make this a little bit stronger.

See, you get the balance.

Look at the light on this side, and then this sort of balances up on the other side, and I notice as I do this, well, there's just a little peeking through here and there, so you know the window is long.

But as you look over to the left, you see another see-through.

So that's-- what is that?

It must be a back window.

So we'll put that on... like that, and then the front pane of that window, this one, gets a little extra light.

Another thing that I find is if I take that blue and White-- remember, I just put that in here, but as I go above this now, above the building, and I can see places that suggest a see-through.

And then this goes down over in here... like that.

I don't see any over there, but I'll tell you what I do see over there is a little bit of, and I have Umber and Payne's Gray, I see a little bit of a trunk... and maybe a branch or so.

Then you don't look at it and just say oh, what's that?

Large bush?

It is a tree!

This one we put in earlier.

I'm just strengthening it a little bit.

Okay, so let's see what we might do next.

We got that, we have this, we don't have a lot of time left.

Maybe just the smallest amount of top to this bush over to the right.

See, it looks a little straight across.

So I'll go up just a little bit, and it's a little bit lighter.

So it becomes an edge that doesn't hold your eye as far as contrast.

Just when you look at it, you know that it's right.

Putting a little bit under there, and there's just a small amount of growth, vegetation growing against that shed.

Is there any green in here?

Yeah, I see a little green in here.

Let that come over like that.

Thank you!

You've been a great audience!

Where are you?

There you are!

I hope Gold Hill inspires you to paint it!

See you next time.

Bye bye!

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