If someone says it can't be done, don't let that someone be you!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Welcome back to "Golden Floral" and stage two, the oil stage.

You will recall last week we have this small pochade, which is beautiful in itself and we're going to make a finished painting from that.

So we have stage one which was done in acrylics.

And stage two it's in my heart, it's in your heart.

You help me paint.

you look through that TV and say Buck use a little more of this.

Help me!

Okay, we'll start by putting on some walnut oil on the canvas.

Now often we'll use the walnut oil and then do a Saturday night bath, a glaze, what have you.

This time I just want so the paint will flow a little more freely.

I don't anticipate giving it a bath.

This is all dry of course, it's acrylics.

All right, now the way I'm going to progress with this is, I'm going to work on the, you say the window, but I'm saying the background and the table, then we'll go to the pot, so we'll do the flowers last.

Okay, so on the background, it's very close to what I want, but I need to have just kind of a repeat a little bit of what's there, but this time, I'm using some Turquoise Blue.

And to soften it just a little bit I'll mix just a little teeny bit of-- you're Van Dyke Brown.

See the difference of where I've mixed it and where I haven't?

So it gives you just a little grayed look to it.

My plan here is to put it on, then to wipe just a little bit, kind of playing with what's there and then on the pochade, I really like that little light, which takes you out into a particular area rather than just one flat window.

Okay, I'm using the bunny brush.

Bunny brush, you used to be the favorite in the family, and you haven't lost this favorite, it's just that I haven't used you much.

Now, as I come over this way, I at the moment, I'm thinking of going a little bit over that frame to soften that.

I noticed in the pochade, that you barely see it.

However, the other thing you have to realize is, on this rendition, it's a little smaller here in comparison to the canvas than there.

See, if I were to double the pot, it goes just about right there.

If I double the pot here, there's still some room on the side.

So I sort of need to have that windowsill to kind of block things off a little bit or support it.

I'm going to cross the leaves slightly that reach out into the window so that when I put them on, I can have them very soft and nice.

I'll put this on and then wipe with a paper towel, and I didn't put it every place.

There's more blank dry acrylic there than other places, because I want to work the light into something that isn't quite as wet.

I'm coming down across there even though I'll put some more paint on that sill later.

Let's go just a little further to the right, and I'm going to go ahead and put on the color over on this side before we come back and put the light in there.

Over on that side it's more in the purple family, so here's a little Dioxazine Purple and I'm choosing to mix it with white and then adding some of the previous color, the window color to it.

Will that work, I think it will.

Let's hold it up to the pochade.

That's close, it might be just a little dark, but I tend to also on that just to wipe and work a little bit.

I'm using the same brush.

I haven't cleaned it since there's some of that color already in the mixture.

Why not?

This again will have some of that same accomplishment, and that being soften the edge of the leaves slightly so you're not tied to a hard edge.

Oh I love doing these shows and we've been doing them a long time!

Gee, this is series number 11 with Prairie Public, of course, I did 6 with the Alexander Art Company and another one down south.

So Buck's been around for awhile!

Some of the hairs on the brush, some of the hairs on the artist are not as many as they used to be!

Okay, let's come down with a little more of a golden tone in the background there.

What should we use?

Buck you're supposed to know.

Well, it's fun to think out loud and I heard this, where if you talk to yourself and that means out loud, then it goes down into your subconscious.

If you just think it, it doesn't and that's a good enough reason for me to talk out loud and evaluate and make a decision.

So I have Raw Sienna and white, then a little bit of the window color into it, the blue and the Van Dyke Brown; same brush.

Good!

This doesn't change it much, but it's just a little lighter.

I like the vitality it gives because you can kind of balance around that great composition.

As I come down, see what I'm saying?

You come across the leaves a little bit.

But down here, I can just sort of blend and say okay, let's use a lot of what's already there in acrylics.

We'll come down the tabletop slightly with this and then as I go over to the left, I'll want to put in just a little more of this turquoise color, turquoise and white.

Yeah that's generous in richness isn't it?

Blue goes so well with the gold.

So we certainly are in the family of colors.

Tapping a little bit there, then let's take a little bit, what are you?

You're-- let's come over oh, I'm going to take some of this.

You're Olive Green.

I hope the flight deck could spot the airplane where he was going to land.

Which airfield is he using?

He landed on Olive Green.

This is right at the edge, and I'll let some of this tap up on the frame.

See, I can be low, you can see some of the frame there and just a little bit here.

Brush back and forth, you can see how much of the underneath priming that we're saving, that we're making use of.

Okay I think that will work.

A little bit in there if there's a little bit too much of the gold showing through, but really, it works just fine.

This one just touch him a little bit.

Okay now let's go to the flowers, and when I do this, I guess I have to use a different brush.

Let's put some of this color, this is that purple and white with a little bit of the blue in it.

Now, when I put this on, I'm going to come right into the flowers, because I'm looking at the pochade, and I feel and see it.

This will give a real kind of airy feeling.

E-r-r-o-r-- air-ei!

[chuckles] Over in here, anything, just a little looseness before we go on with the color on the flowers and the leaves.

Okay I think what will be helpful is, I'll put just kind of a smash of light out the in the sky.

So I'll take white I'm using a fan brush, I'm mixing with the fan brush a little Yellow Ochre and white.

That Yellow Ochre is very powerful.

Okay right in here.

Oh, look at that!

I think I'll be able to use that.

We'll see if I can go that strong there.

I'll go right across the little leaf for the moment.

Boy, that's strong.

Let's take a blender.

You're a blender.

At the same time as I'm blending it, you can still feel the character of those little shapes, it's just that they're softened slightly by the blending.

Now, that's generous, and I kind of like it.

The thing is we're using that pochade to make a painting from, and where we find inspiration, then we go on with it.

We don't have to say it looks just like that.

This is a workshop.

Okay, for the bottom for the bottom of the, you can't say vase, it's the container.

It's brass.

I have, this is Van Dyke Brown.

I'm going to put this on sort of like a glaze.

You can see on the pochade that it's truly that color.

As we push it around, we'll decide how much of the red that was there that we let show through.

See, when we wipe a little bit, you have the influence of that red.

It looks like I'm using that rag, but I'm using my finger.

Is that what you want to use, Buck?

Yes.

Okay for the middle, we'll take some Raw Sienna, and when I put this on, I will kind of go over the light just a little bit, then we'll bring the light back.

So if I say it in advance, you're not going to say oh you made a mistake!

I plan on doing it.

And I'll kind of blend this in.

It's metal, so it has just a little less than a perfect smoothness that you'd find on glass.

Okay, across the highlight we'll use yellow, Cadmium Yellow.

I'll pat this on so you'll get sort of a little feeling of the surface of brass.

[soft tapping] And for glass or metal, you always have that strong capacity of reflection.

So this is Raw Sienna, and I'm coming over on the far side.

This would have, just pick up a little reflected light.

I'll push this in slightly, breaking into that dark just a little bit so it's not quite such an even band-- you can touch down a little there.

Even though I'm adding just a little light there, you still get the feeling that that has form.

Now, let's go ahead with the knife and put on a good gleam.

Yellow and white.

I can be almost white.

Here we are.

Almost white, and just a slight angle, and I'll roll the edge a little bit just to soften it and to make it just a little smaller.

Break it up just a little bit, tap slightly at the top, then I'll take some pure Cadmium Yellow with the knife.

Let's change plans, let's go to the orange.

I know you were sitting there wondering when you were going to get in the ballgame.

I've sat on the end of the bench before wondering coach, put me in!

Put me in!

One of the great stories of all time when I was coaching up in Canada, and this one player didn't play very much and during the tense, middle part of the game I look out there and I hear, "Mr. Paulson.

Mr.

Paulson."

"What, Dennis?"

"What do we have for Science tomorrow?"

What do we have for Science tomorrow?

But what he really was saying-- please notice me too.

Oh, I've never forgotten that.

Okay here I have just a little bit of the rose I'm pushing around, which goes very well in golden metal.

Now, you can just turn your volume up and down on your TV set by saying do you like it so far?

Oh gosh, turn down the volume because, yeah you like it.

All right, now let's go with the leaves so we're kind of surrounding the flowers, and we'll get them last.

Let's see, what should we use?

Let's take Olive Green first and this will give us some of the real darks.

I'm using the corner of the fan brush, dipping in, running up, and putting this on.

Oh, you just soften it in place, okay, and in here too.

So we're not really addressing any character, but rather putting in chunks of dark.

I'm going to push through there just a little even though I don't see it in the original, because I want to feel that this one is going this way, just a little separate from the other one.

Okay, I think what I'll do is start with the flowers, and then we can come back to the leaves.

On the flowers, let's do this, let's take-- you're yellow.

Cad Yellow, what shall we put with you?

Let's take some Raw Sienna.

I'll just scrub over the flowers, just thinly like that.

See how it softens that edge?

Then we'll come back with some vitality of lights in it, but I really enjoy what this is doing.

Look at the difference in softness between those and the one we haven't done yet, and the one we haven't done yet is the most important one, and will be.

Oh gee, what a great discovery!

Give all you know, you'll never be short-changed, because when I give all I know then all of the sudden you discover something accidentally, it's just beautiful.

All right, let's on the reds, the same way is to put a little color on, then go past what is there.

You're rose, let's put a little white with you rosy.

There we go; now same approach, being that we'll go just real soft out past what's there.

You know, I find myself speaking quietly, because I don't want to disturb these things.

I don't wanna talk to loud, and the petals fall down.

Over on this side a little bit.

Okay, for the middle of the flowers, I'll take some of that rose as well, just a little corner of the brush, and we used rose and white on the little ones around there, but in the middle, just a little bit of an accent.

Okay, now stepping it up with highlights.

Oh, should I go right to the knife?

No, I'm going to take white and yellow.

I think we have time to do this.

We'll put on just where the lights are going to go.

I can pretty much do all the flowers just with this one filling, because I intend to come back with the knife.

See, going with what I suggested, the light's coming from this way, so this is full-on light, it just hits a little bit there, it might hit a little bit down there.

Oops, I said one brush, and I went down and picked some up.

See how that one is looking up, then this one-- that's an edge.

That's the near edge, then you just pick up a little bit across the way.

You kind of clumbered on this guy.

But let's put a little bit up here.

Are there any more yellow ones around?

Okay, now we'll come with the knife.

This is so much fun.

It's almost hard to stop once you start.

This is yellow and white.

I better deliver some more white.

You know, I love doing these shows so much.

You kind of, you don't really rehearse, you don't practice, but sometimes my wife will call upstairs from downstairs she'll say "Buck, who you talking to?"

Well, I get so excited when I'm teaching, that I just in many cases, I'll just say see what this does!

And maybe there's nobody there.

This is with the knife.

You're just a little far out.

Let's see, where's your lightest light?

I think it needs to be down on the edge, so it's an open flower.

Yes.

And then you always watch, you're using a palette knife that's got a little bit of a straight edge, but you can almost kind of round them a little bit as you do it too.

Not much up here, this one sort of has one, but it's just one spot like that.

And it's so easy to come back.

I use a knife and a little bit of Olive Green just to change it a little bit, and some of these, you can push it out a little bit to kind of round it.

See how it rounds it slightly.

Boy, you sure have got a long leg there.

Okay now, let's go with some of the leaves.

The leaves are so much fun to do because you can just kind of spot dob a little bit.

Here's some Permanent Green Light, you're Sap Green.

Are you Sap Green?

Yes.

Just a little white with it.

This, see, we'll just take just a couple little flowers out.

Not flowers, you're leaves.

And then some of the darker ones with the Olive Green.

This needs to be dark, so it will stand away from the window.

Just kind of dobbing a little bit with the corner, sometimes more of the brush.

And a couple that are coming down right on the pot, so you're putting some character into those dark areas.

And what I like to do very much to is just take a fan brush, corner of the fan brush.

This is yellow and white.

Just kind of tapping around a few little spots here and there.

And then you do the same thing with the red, let's see, yeah the red, the pink.

Quinacridone Rose and white.

All right and then just a little bit of red suggested and eventually some yellow too, just down on the tabletop just a little bit.

Let's take some yellow, yellow and white.

I'm hitting against that edge so it softens so it wasn't real sharp or hard.

Now I'm going to take a fan, you're not a fan brush, you're a mop brush.

I want to take the mop brush and just gently tap it.

So it's not really being used as a blender, but just tapping the side of it, because it's very soft.

I guess we should have a leaf or two to come out from this way.

And even a couple of the reds could come from that way.

Okay let's go on with the softening.

This has been such a joy bringing a bouquet to you, one that you can use and develop and if you're just watching the show to enjoy, I hope that it's been rewarding for you as well.

This is just the way to go.

Be sure and support PBS so that I can come back and do some more of these shows and bring you flowers.

Thank you for watching.

We'll see you next time.

Bye-bye.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...