You do not just paint what you see.

You paint what you feel.

Do you see?

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ The oranges are ripe, so is the teacher!

Let's go and do it.

And what we're going to do today will blow your mind, especially at the beginning.

So what I want to do, let's see, I want to take, I have put a little Walnut Oil on to start with, but I'm going to use a little bit more.

This is Permanent Green Light, Yellow Ochre, and White, and what I want to do on this is to make a little arch, like that.

And I'll fill the inside of this with this.

You're gonna love the next step, you're gonna love the next step!

Don't you dare leave the room, because when you get back, you'll say what did he do?

Why did he do it?

Of course, even if you don't leave the room, you're gonna ask that question-- why did he do it?

Okay.

Now, hold your breath!

Here comes.

I have a large bunny brush, and I have Burnt Umber.

You're right here.

Oh, you're gonna like this!

Buck, what are you doing?

What are you doing?

You just wait and see.

Even my troops in the studio are wondering what's happening.

Buck, we knew after 18 years, are you still all right?

Absolutely.

Oh, you went over the oranges!

Oh, gee, you went over the jug.

Ugh.

Where aren't you going?

Well, I'm not going to lunch till this gets done.

This shocked me the first time I did it, too.

But, gosh, do I love it.

Okay, this is a thin glaze, relatively speaking.

Do a little-- what is that called when you can use right and left?

Is that ambidextrous?

I don't know how to spell it, but it sounds good.

Okay, now what I want to do is take this same brush, and I'll clean it in the Walnut Oil and wipe off, then the first thing that I'll do is take and zigzag this.

Now, see those, this has nothing to do with form because remember, on the jug, we had very close values, and we zigzag and blend it to make a nice roundness.

This is merely to soften the background with having a real glow around it.

Okay, we see you next week!

No, we can't do that can we?

Okay, I'll probably be back blending this just a little bit as we go further, but now what I want to do is to take a paper towel, and we'll wipe where the number 1 is.

And it's so important to think in form.

It's formed this way, and it's also formed this way, so when we have the number 1 going top to bottom, that didn't show totally what the curve is here.

When you look at the side of the jug, see how that curves?

Therefore, it'd be lighter up in here than it would be down below.

I'll take my bunny brush... just sort of blending those together.

You can zigzag a little bit, anything that will soften.

I'm going to blend this while I'm there.

Okay, we'll stay on the jug.

What I want now, see we've built the form, but we want to have a good strong highlight on there, so let's take some of the number one that we used before, and we'll go in here.

Now, when I put this on, it's going to be blended, otherwise you think well, that's a nice highlight, but we want to build to the lights.

I constantly use that term, "build to the lights."

[soft scraping] Oh, that's a nice blend!

Let's take the bunny just a little bit on that.

That's coming better and better and better and better and better!

Now we need to have a real strong light, so I'm using the same thing.

And here, when I put the light on, I'm conscious that it's coming through a window, that's so you'll almost put the shape of the window on.

I like that, but let's go even lighter.

How about a little knife and some White?

This has just a little yellow in it.

Hurry, Buck!

See that little light?

It looks like it's coming through a window.

We'll leave that.

But I love that!

Okay, now we'll go up on the handle, and I'm taking Alizarin Crimson and a little White.

And we'll put this on for the light handle, always with the idea that you place it, blend it, and then go lighter.

I think I'll let that set for a while.

Why?

Well, I don't know.

Okay, let's take a soft brush.

This is a mop brush, and we can touch this.

And see, on this, I'm just going to blend down a little bit by tapping.

And turn it, come that way.

Always thinking of the blend... form.

What happened here?

You need to go just a little bit more for that handle.

Oh, and that green, you need to come down, so that handle isn't too wide.

There, you all get together, you're okay.

Blend just a little bit.

Soften a little bit to the sides.

Soften inside, soften here.

You're just touching the edge, so it blends into that dark paint that's there.

Then the same idea as we did on the jug, we're going to put lights in.

I'll come with White and Yellow again, and watch this.

I'll just touch it into the center of that... a little highlight there, and a little bit in here.

See, you're very consistent on the light direction.

Just a little softening down there, a little bit more there.

It's a little bit of a rush job, but you're getting the idea of what you can do, and I just love that first glaze.

Now let's come down to the oranges, and we'll start by wiping out like we did on the jug, wipe out the number 1 area.

And actually, when you say wipe out the number 1 area, it's probably like a number 1 and 2 because you don't have the 1 added in yet.

I would find it very helpful if you, after you wipe, if you just softly blend-- where you'd have the most success is if you don't use too much oil, just enough to make it flow.

Okay, we'll come over on this orange.

Boy, you got a big highlight!

I think mine is just a little wetter than I would want it to be.

Just if it's a little more dry, it gives you a little more control.

But it's all right, it's all right.

And then another nice thing on wiping is if I take the paper towel and kinda-- you see that?

It looks like you're saying, oh, Buck, you're adding some gray.

I'm not.

It's the underneath showing through my glaze.

Good.

Now I have just a little bit there.

We want to keep it sorta dark on the very-- does that look like it's copacetic?

This may need to come down a little bit.

Let's go a little bit behind this orange.

And then the back, in between the jug, you see a little bit of the table there.

Okay, now I'll come down on the front and wipe a little.

I'm not wiping quite as hard as I did on the block of the wood.

Block of the wood?

Block?

Wood block?

To make sure that those objects are round against round, we wipe a little bit right in there.

Okay, now I need to put some highlight on the oranges.

And then, let's see, what else do we want to do?

Want to put some highlight on the oranges.

We want to put kind of a cast shadow on the wall from the jug, and then we'll see other little things.

On the oranges, I'll take pure Orange.

The thing I like about doing the 1, 2, 3, and so on, and I tell my students, you have that that carries on into a seascape.

On everything you do, you put that big wave, and you want to feel if the light's up behind it, that the light is hitting the top, that's number 1.

Then it fades a little, 2, and then the lower part of the wave is 3, and so many forget to do that, and they'll put the 1 all over, and it doesn't have that good rolling motion.

Okay, so we're using pure Orange here.

If we were doing an apple, we'd say we're using pure apple-- this is pure orange.

It's so tough when I tell something that I think is funny, and no one laughs-- it really hurts.

You can see the difference, can't you?

The impact with that having a number 1 on it, and it still will have some lights added to it.

So I guess in reality, if you saying I'm putting on number 2, but I'm really calling it number 1, and then we'll add a glint into it.

I keep wiping the brush, so I'm working very dry brush.

The next one.

This one, I quite like the way it touches against the dark edge of the front one.

And then when you come down, you're more than ever emphasizing the cast shadow from this one onto this.

So we'll do that.

I sure thank you for watching, and I love the comments that are made.

And oftentimes when people who are not artists, they'll say, I enjoy this show.

I don't paint, but if I did, I'd want to be just like you!

What I'm doing here, you can just see that little edge, and when I say edge, I'm talking about the edge of the orange inside the orange.

So I have it just a little more smoothly done.

It's nice to have time to do these carefully.

Okay, let's go with some Yellow and White.

We've been kind of using that for highlights on the various parts of this, so we'll come over here.

And as you recall, the highlights on an orange are kinda pebbly, pebbly surface, rather than being just a plain bull's-eye.

Oops, I wiped the brush and shouldn't have wiped you.

Okay, now I'll touch this a little bit, and then we'll further enhance them by just a touch of White in the middle of them.

Okay, here comes the White.

I'm using a-- What?

Where'd you go?

Right there.

You hiding on me.

Okay, White.

And what I've done sometimes is made just a little water drop on there, which is quite nice.

What I do like is adding a little bit of green.

It just gives it a little flavor.

So what kind of green are you?

Permanent Green Light.

This is almost just a little darker than that.

Boy, that's just a flitting type stroke.

So... that.

Okay, let's do one other thing there.

Let's take some-- this is the Alizarin and a little Raw Sienna.

Let's do this.

It just gives a little variety to the oranges so they're not all just the same.

And on the others, rather than putting the same thing on, if I just put a slight suggestion... of the top.

Okay, let's see what we have left to do.

I need to put that big shadow in.

And I'm taking the Burnt Umber, and see, I wanna make sure that this has that feeling, that feeling of being a jug.

And when I put this on, notice that I'll be a little stark on it, and then I'll soften.

♪ Dee-de-la bum-bum.

No extra charge for the singing!

Oh, I've told you before, some of the jokes I can tell over, but this one gal, I was coming up, painting on her picture, and I said, ♪ Oh, d-dee-dee-dee, and she said when I was growing up, I wished I could sing.

Now, I wish you could.

So that was kind of nice.

She was such a character.

Let's go a little stronger with the dark that's down here.

See, I have a little bit of a run there that I don't want, that's with the too much oil because what I want to have, and I will show you, I want to have a very nice path, path of discovery.

And a little bit of handles.

Let's blend that slightly.

I can blend that quite a bit.

Now let's go just a slight feeling.

This is where one of the handles will be.

This is so that'll be background.

I'll have just a little bit see-through, and then we'll soften that.

[Buck hums softly] Now, let me just see what we have as far as the first green tone.

I don't remember, I guess I used this brush.

Yeah, let's use it again.

Now that the paint has set up just a little bit.

See, that seems to be more vitality in it now, going in the second time, so we'll continue with the blend idea into the dark background.

Get a little space between the jugs.

And then after you do the zigzags, of course, you blend them out.

But did I surprise you when I first put that dark over the whole thing?

[chuckles] I think we had a few surprises in the studio.

I need to have just a slight feeling of where that edge of that jug is there.

It was lost a little bit.

And then there's a slight shadow from the handle right there.

Okay, I think what I'll do, some of these, it could be done just a little more carefully, so it comes closer to it.

I want to put a little dark line-- good catch, Buck-- under the jug.

The reason it got darker and wider on this side was to bring that jug up a little bit; it was kind of floating.

Okay, we have just a couple minutes left.

I'll blend this with the brush mommy gave me.

This goes under there.

Just soften a little bit that far edge.

I'll go just a little more carefully on the shadow here.

And see, the thing about the shadow, you put in the shape, then your far edge needs to represent far edge.

Therefore, it's not as sharp as the near one.

Does that make sense?

I'm going to wipe just a little here from below.

I don't know why I didn't think of that right away.

That's good!

Now you see!

Okay, we have just, short time left.

Just a little more refinement in it.

It's so much easier to do this, what I'm doing now, if you don't have it too wet.

I'll put just a little bit in there, so you feel like the table does go back there.

So I think-- this is always a good place to soften.

I think we have to say good-bye.

Thank you for watching!

PBS-- the way to go!

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