Can you imagine a better way to learn how to paint that watching it done correctly?

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ You know what time it is, don't you?

You know what time it is, don't you?

It's Saturday night!

Saturday night bath!

So let's take the fan brush and go to the Walnut Oil.

Dip it in, we're going to put this on our canvas.

Oh it's so exciting because we have, I'm dipping again, we have the original right next to us and here we're doing the model.

Now, if it comes out a little different, that's all right.

I'll show you the correct steps.

You out there I know you vary a little bit anyway.

Now, I'm wiping this around so it's not too generous.

That previous paint was acrylics; it's dry.

Now we're going on part two with the oils.

And I'm going to dip down-- this is a name you'll be required to remember for the final test.

Transparent Orange Iron Oxide.

Say it real fast, say it backwards-- Oxide Iron Orange... Transparent.

Okay so here we come.

This is going to be so nice because we'll get a real nice glow in the middle of this.

I'll start in the middle of the canvas, and push this around.

The thing about a glaze, it gives unity, it kind of gives an involvement that everything has a little flavor of the Saturday night bath on it.

Okay, I'll put a little more.

See, I want to spread that out, but I won't do so yet.

I'll put some more on.

Right through the sun.

And what I especially like about a glaze, in this case a Saturday night bath because we're doing the whole canvas, that it gives such a chance of working in wet into wet, and yet there's a control with it because it's a small quantity of wet paint on there and its you can always wipe harder.

I'll wipe just a little harder up there, because we're going to put some opaque paint in there and we want to be able to see it.

Oh, I almost burned my fingers coming through that sun!

Boy that is intense; I love it!

Okay let's take the same brush, the fan brush we were using.

This is Yellow Ochre and white.

Let's see if that'll be, oh I think I'll go a little more white in it.

See, some of these paints, you look down you say well, you've already mixed them.

I've thrown a few colors on but with the idea that if we want to change them a little bit-- it's just for speed setting up.

I again, by not having totally mixed, it gives you a little chance to be creative.

So it's a little bit thick right there.

I'll wipe the brush slightly.

As I go to the right and left, I want to have less, so again you're getting a little play of some of the underneath priming being part of the scene.

Go over this way, and we said this before, and I'll make sure that it happens right there, going over the branches I can still see them and then when we put branches on there, we'll have a little color so it looks like the sun is affecting them.

So they'll be just a little reddish on that.

Okay, I need to come down in here.

Oh that's a good one.

That's a good one.

I believe that'll be enough.

Okay, now let's go to the distant trees.

On that we used before... some, well, I'm going to take just a little bit more transparent, of the color in there.

And you notice what happened, which was nice?

Thank you for helping me brush!

I went down and I had a little bit of the light paint still on the brush, so when I picked up that Transparent Orange Iron Oxide it's just a little light, and that's perfect.

That's just what I want.

You know, I'm paying homage to another person too today as I do this and that's by wearing a shirt that my brother Loren had purchased about a week before his death.

He never had a chance to wear it, but now he's up there guiding me saying you paint good!

Oh that's beautiful!

There's so many guiding spirits, you know?

You remember things people have said and told you, and it just helps you; it comes just when you need it.

Okay so let's take the right side.

That stays sort of cool, so that's all right.

Now what I want to do is, I want to get in a little bit of the darker color that comes down on the land and for this, I have already mixed it.

8 Alizarin Crimson, 4 Raw Sienna, and one purple.

So there's no white in it, but it has the mixture that I just said.

I'm using a fan brush, but this time it's dry.

In most cases the fan brush or other brushes will be dry except for when we get the little twigs, because you've put on the Walnut Oil.

So let's push this in.

Oh gee, I think I better use a little Van Dyke Brown in there too.

So we have 8 Alizarin, 4 Raw Sienna, one purple and a little bit of Van Dyke Brown.

See, I like that, they're close but the one is just a little reddish.

So I'm using more of the Van Dyke Brown in it.

So push this up, and as I push this up I'm watching the edges so that you create just a little bit of character on the edge.

The dark, when you put the dark on in this sunset painting oh, it's so dramatic right away, isn't it?

Just a little bit up there, a little higher there.

I wish you could be here for the Friday night auction, not Friday night bath.

Friday night, it's silent auction.

These paintings are going to be there!

Oh gee, and you'd have a chance to have it in your home.

Could've had a chance!

Next year make sure you come.

Okay if you notice I wiped a little bit there stronger, because we want to have some of the sky reflecting down there.

Come over on the right side, pick up some of the same thing and the same thing is with that little extra Van Dyke Brown in it.

This has such a nice feeling, just so early.

Down in the corner-- again, we want to have so you're gonna have some of the reflection coming from the sky will be there, which are not the sunset.

I'm coming over just a little bit creeping into that orange.

I don't have to do too much of that because when I put the sky reflections down I'll come into that.

So let's take the brush, this is the same color we just used and I'm going to use this, this is kind of a liner brush and I dipped in for a little bit of Walnut Oil, and this is going to be where you can kind of really run those through the sky.

By using the Walnut Oil, and having just a little bit of light touch, you can make those just respond the way you want.

See, I have branches from before, and I'll go a little on those, but now I want to add just little teeny incidental ones to it so you're going to have quite a few of these in your finished painting.

Oo boy, you came in a little too quickly, but that's all right.

So it kind of goes several directions right from there.

And then here, I'll leave that for a moment because we'll want to come and have some little more burn on the branches.

Can you see that okay, I'm over on the far right tree.

You at home need to shake your head or something so I know what's going on!

I just love it when I get letters from people or comments that say "I'm not an artist, but I sure enjoy watching you!"

Oh, my mom used to be such a faithful watcher and she, at the last year and a half of her life, she was staying with my son and his wife just 50 miles from here and they would always turn on Prairie Public to watch and when I say "they," my mom would turn it on.

The "they" would have to watch what she was watching.

So if there's an exciting football game, you better go try to get that radio to work, because mom wants to watch her Buck.

Okay still coming across with this good, good tree trunk color.

As you see as I'm doing this, If you look right there, see, you have a couple previous branches.

You don't have to cover every one of them let some of them feel more distant.

This is something that I'm going sort of fast on, but I hope it appears anatomically correct.

What I want you to do is, when you do yours, make sure that you taper, in other words, you go down, down, down, down a little wider, a little wider, so that they feel anatomically correct.

I know one time I saw a tree-- and I've told this before-- that wasn't done that way.

I know my teacher Claude would always say "Be sure it tapers."

I saw this tree once, and it was thin down below, and it got wider up above!

I said "Claude, I saw a tree that it was wide up above and not below."

And he said, "well if you have to send a note along with the painting, maybe you shouldn't paint it that way."

Saying that's the way it was, unless someone has it in their front yard they want to make sure they have it.

Just a little there.

We have a faint one, over here, now what color are you?

You're Red Light, Cadmium Red Light and a little Van Dyke Brown.

What I want on that is just some little, see there, just not much.

But they're a little reddish, so as we were suggesting, the sun is going to burn those.

I really like those little incidental extra ones, and they happen out here in the middle where the sun is the strongest.

Now I'm going to leave that area for a moment.

It certainly could have more branches, but that gives you the idea of how to do those, because I don't want to vacate some of the lower areas.

Let's take fan brush-- you're such a good guy.

Let's take, this is Cadmium Red Light.

And I'm going to push just a little bit.

I had some here just a little further to the right and then on this side we certainly need some.

to kind of separate the near and the far.

I like that, okay I don't think I need to touch any there, no.

Okay what I think I better do is take, I want a little blue.

What are you?

You're Ultramarine Blue.

I'm going to take a little Phthalo Blue, Anthraquinone Blue.

I love that.

Anthraquinone Blue, it's kind of in-between Phthalo and Ultramarine.

Putting a little white with it, and I'm going to come over and come to the distant tree on the right side.

These trees.

And again, I'm pushing up a little bit so that you feel the edges are being addressed.

And what I say by that is, they have the little character of what we've just done.

Now let's come down to the same place, I'm taking some white up and this is Anthraquinone Blue and white, I wonder if that will work.

I'll put a little Viridian Green in with it, so it's one blue one green and some white.

See, this will represent the reflections from the sky in the distance there.

Let's put it down over here just a little bit.

It sneaks a little bit towards the middle, and then we'll go-- this is kind of wide so I'll come up just a little higher there.

And let's go let's mix some more up, not mix some more up, pick some more up and we'll come on this side.

We'll use a blender in just a minute.

Now, here, see, when I look at the original it's kind of broken right in there, or separate, is another way of saying broken.

Okay let's use the mop brush.

It can be any blender, I'll blend this first.

And I'm blending with the water, I do want the horizontal, I do want the horizontal strokes but I'll blend it both ways and still try to retain that horizontal look.

I believe we can have a little more here-- 2 reasons.

We want to go further, then there were a little line I was covering there and some right in front of this rock.

On the other side, you can see the difference between the two, where one has been blended, and one has yet to be blended.

So this is the one yet to be blended.

I can try a little with the fan brush.

I'll push in there just a little, that was a little high.

What I like and I just did, see, I've been blending this, and I have some of this paint on my brush.

I wipe a little bit, but it's still on the brush so when I went up here, you get almost that kind of mysterious second value.

Same way over here, I need it here, so I just put that on, see that's the thing-- if you paint-- and I used to have, well, I still do an author, a writer, a friend of mine, who says, I need to get back to typewriter, I guess it's a computer now, to see what's going to happen to John.

And you say, aren't you the one that tells them what to happen?

No-- you let it guide you, and it's the same way here.

I hadn't planned on that, but it's absolutely such a help.

You let the brush, the guidance come.

Okay now, when I look at that middle, and this is the middle right there, I believe that I'm going to pick up a little more of the transparent orange and come right in here because that got a little bit light.

Okay, there are a couple things we need to do, one is out in this area.

Let's take-- you're sort of an orange, aren't you?

Orange and a little white.

I'm taking a flat brush, are you flat?

You're a filbert.

And I want to just tap on.

Oh, that's perfect!

I want to tap this on so it has a little broken, distant color in there.

Come over on this side too a little bit.

So you're putting some sparkle in the openings.

Now, I'll have to do something else, and I'll show you in just a minute, but let's see if we want any more of this.

Maybe a little bit here and there.

The "here and there" is right against the trees.

Some here against the branches.

Some here, not as much as there.

Let's see what the mop brush will do there.

Now here, I said this earlier and when I said earlier, it might have been in the acrylic stage.

Notice I'm going across the branches just a little bit, that they blur slightly.

Great!

What I suggested was that we want to make sure the sun is coming in a straight line.

So right now, that's pretty powerful.

So we'll take our fan brush.

We use a little yellow and white.

Here's the yellow and here's the white.

I need more white.

I'm jumping all over.

I hope you can follow.

Okay, so I'm placing this on and same idea as down here.

Kind of the broken strokes, but it will be lighter and then you know that that's the source of your sun.

It's not a low sun, but a high sun.

See, I chose to do it that way rather than say, make these less.

I might make them, just little soften but if you make this powerful, then you can still have the emphasis of the lower ones.

As it goes further right or left, it's-- no Joe, it's your other left!

Gosh Buck was right!

You guys watching, you be careful!

You think sometimes that I make a mistake!

All right let's just go across this just a teeny little bit.

All right now we do not want to forget our real strength in this picture, and that is where?

That's down there, down there.

So we'll take the yellow and white.

Of course, what's here is acrylic, acrylic paint.

Should we put any orangey tone on first?

Let's take some Raw Sienna.

Raw Sienna, I don't know why I'm doing this but it's gonna work.

That almost works like a glaze too.

It softens things down a little bit And then I can take and wipe a little bit hard.

More in the middle of it.

Wipe hard right up here.

Now, the strongest source of the light in this case is here.

So in other words, you've got some space back there of water, but it is shadowed by the trees.

So we want to make sure that there's some water back there that is shadowed by the trees.

Okay, now we'll take the yellow and white.

Do we have enough yellow out there?

Probably.

Yellow... and white.

The way I would put this on would be progressing just a little bit.

Yellow and white, and then we might put on just a touch here and there of pure white.

So my lightest light, I will see if this will work or if we come just a little lighter.

Notice all the underpreparation has made it where you can kind of skip a little bit, and it still is not weak.

It still has some of the canvas showing which has been done with the right light color.

Okay I'm taking the knife, pushing down just a little bit.

Let's take a fan brush, a mop brush.

Hope you're clean, moppy!

Okay now let's take that one lighter light, which is white.

I'll come up just with the knife, take just a little bit of you.

Would you come with me please?

Buck has plans for you.

Right here.

Oh, that's just right!

You were needed!

Now let's look in general.

I think when I look on this side, I want to have just a little bit we-- had put some of the lighter color on back here, which we put some of the blue on and it still had some of the dark on so I want just a little bit of that pushing up so that isn't quite as strong.

It is a contrast.

It's always nice to have a center of interest with your darkest dark and your lightest light.

Neat!

You have other places that are just as dark maybe, but they're not meeting the light.

Therefore, this is the center of interest.

Let's go just a little down here.

We have just a couple minutes left.

I think the last thing I want to do is make sure we have enough little blue in the water.

So I'm adding a couple little spots, a little darker blue, so you have variation within it.

You know, you look at it, and as I suggested you're going to have to do some of the branches again.

I went kind of fast on them.

This one is all alone, so we'll just add just a little out there.

Nice accent.

This one can have a little bit more.

As I come on side, if it's a long area, that needs a little being broken up with an extra branch.

Boy, you really did your job.

On some of these in the blending, you may need to come back and strengthen a couple of them.

Oh, I have one last thing, one last thing.

Let's take this orangey tone and let's put just a little bit of this on the tree trunks, even if you don't see it in the original.

I do see it on this one.

And I want to point out one thing, and you tell me whether I'm right or wrong.

I'm going to put it right along there.

If the light's coming down there, can it be on that side?

Well it's going to stay there, because it looks so good.

I really like what that does.

Let's see if we need any more.

You could have spotted just a couple little distant light branches.

They add a lot to it.

Boy, it's been so much fun showing you how we progressed with this painting.

So there it is.

The "Inness Landscape," homage to George Inness.

To Loren Paulson.

And to the rest of the world and to you!

See you next time!

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