Is this going to be my best painting ever?

Them are painting words!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Let's back up the fighting words!

[laughs] Last week we did stage one.

And this is all dry.

You can see the finished product over on the left.

We'll do some work today, then we'll finish it next week.

The way I intend to do this, is to do sort of the hair first, a little bit of the background and the dress.

That will probably take care of this time.

Then we can really focus on the face, and it will still be dry.

Okay, so the way I am going to do this is put a little glaze on the hair.

So I'm taking Burnt Umber with Walnut Oil.

Thank you M. Graham for the Walnut Oil.

And what this is on the glaze-- let's see, I don't want you, here's the Umber.

On the glaze, it's just with a little oil thinly, and it makes it so we have something wet to blend into.

Down by the ear.

What?

Down by the ear.

And same thing here, you'll notice I'm going to even glaze across this light just a little bit.

And I'll wipe it gently so that when the light goes on there it will be strong.

And inside on here, even if I wipe just a little bit you can see you establish a little bit of the character by the wiping.

And when we put the background in, we'll be able to soften those two together.

So I'm going to take, this is Orange, Azo Orange, and a little of the Umber.

So I'm saying--what are you saying?

I'm saying 2 Orange, I'm saying 3 Orange, and 1 Umber.

Now I'll put this on using the fan brush.

Oh, great.

I love doing it this way; you work into a glaze.

Start putting in some of the character.

El, you're going to like this.

This may be your Christmas present.

Then to have the DVD to carry with you forever and say this is what Grandpa Buck did!

That's going to be marvelous.

On the back part, I'll take just a little red.

This is Naphthol Red.

And I'm going to just sneak into a little bit of this mixture that we used on the first hair.

The unity that you have is a lot because you have red in the background, you have red in the hair, you'll have some red on the face.

Look at that nose.

See that little red there?

Isn't that pretty?

And on the ear-- those are all things that are going to help.

Just a little bit there.

Oh, beautiful.

I almost think, and I came with the solution.

I'm not going to put the highlight on there until I've done the background so that it will have an impact, and there's no chance of bumping it.

So let's take, ah, let's see what we want.

I really like taking the glaze.

This is a little Red and the Umber.

It's left over from there, I add a little oil in it.

And what I'm doing here is making it so we can have a little bit of a glaze again.

So that doesn't look much different than what's there, but its function is that it will have something to blend into.

Oh, I really like glazing.

You can control the degree of softness and everything with it.

So the glaze can be a very light tone, or it can be a little bit more.

Okay now, to work into this one, let's wipe a little bit where the light's going to be... and then we'll add the light.

So I have, this is Orange.

Do you like this brush-mixing?

I do.

A little Red and Orange.

That, I don't know, well, let's try it.

Oh, I'm glad we tried it.

A little down there, and then we blend that slightly.

That's reflected light, as we explained before, because the powerful light is coming from the left.

So this is reflected light on the other side of the direction of the source of light.

Just a little softness.

Okay, on the left side, I have the same thing.

We'll eventually put a little extra color in here too, but let's for now just make use of that.

And when I say make use of that, I'm using less paint than I had over on the left side, but it is working into a glaze, which makes it very soft, very controlled.

I'll take a little bit of that same thing, and I'll come over in here.

I need a little bit more.

Because that's quite light, that is quite light to allow the chin to come out.

So next week we'll spend our time up there.

That'll give us a lot of time to do good, careful work.

Now let's do a little bit on the dress, then we'll go to the background.

The dress, ah, I'm not quite sure how we should do that.

Let's take some Blue.

Thanks Buck!

We came to watch you, and you don't know what to do.

I know what to do.

This is my Phthalo Blue Red Shade.

Whoo, love that name.

This is White.

I have the White first, then I have a little bit of-- you know what I'm going to do?

I'm going to take more White, more White.

Even more White, not straight White, but darn close.

This will give us a chance to have something started on there, then we can see what we want to do later.

I'm going to take some of the Blue straight and just touch a little bit around in here.

And I did notice one spot that we need to consider, and that's on the area over here.

See, you have the top of that, I guess you can't really say blouse, can you?

That's not what it is.

But anyway, her dress, it has a kind of a suspender type thing.

You see a little of it on the back side.

Let's even darken just a little bit so you get the feeling like it's going under the hair.

Oh, this is so much fun.

I love, I love doing Miss El.

All done for you.

Really Grandpa?

Yup.

And it's so pleasing when my grandchildren will send pictures of their cats and dogs and babies watching the show.

I had people send, it was cats.

Oh my gosh.

End up with a few scratches.

Okay, I think that'll be enough for this, just a little bit in there maybe.

Okay, down below I'm going to have a little White and Blue, it's the kind we first started up here.

Just a little bit across here.

Then it just has a little bit of a shape there... and here... there... and here.

There's other things that will go on that.

Okay, we'll do it.

Okay, take the Naphthol Red with a little White.

It looks like it's about 2 White, 1 Red.

Just a little bit in here.

We've said this before, but the balance you have-- you have red in her hair, you have red in the background, then out to the left of her face, then just a little bit on the dress.

I think it would be a good idea to sign this one in red.

Buck Paulson, Grandpa Buck.

Let's take and go to another fan brush.

This is going to be some big scrubbing out in the background.

We'll start with just Burnt Umber, and I'm using some oil with that.

Don't worry El, we'll take care of you.

And behind the hair.

Oh, you know as I do this, I think, gee, how can you tell the hair from the background?

Well, you see there's a little bit of light right there that will separate it eventually.

One more of those swabs down here.

And something just happened that I like, and that was taking some of this color.

This is a little White and Umber, a little Red, and just whack it out there, and let it flow together.

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

Why not take some Blue... and Umber?

This is Buck Paulson and his abstract show.

Hope you enjoy, hope you learn.

I put a little Blue in there.

We'll come over to the arm, so the arm will kind of stand out a little bit.

I need to cut that in just a little bit; that's good.

Okay, go back to where you were.

It's more fun than anything because I-- here's a little green and a little bit of the flesh color.

No rules.

I do want to have a feeling of the impact right there, so I haven't covered that up.

Let's go over into the backside.

And if I accidentally hit the hair... just wipe.

You just don't panic on things, enjoy them.

There's no such thing as mistakes unless they're left.

Otherwise it's just technique.

We're getting technique.

There's been times when I've taken a canvas without anything on it as far as a subject.

I'll put some, I'll often do it with acrylics, put some water on it, put some colors on, and push it around.

Oh gee, it's so enjoyable.

Then you put something on it.

Like this almost suggests that this was done first, then we're working around in it.

You can do it last too, there's no reason you can't.

Just be brave and use a lot of different colors.

Okay, above her head, let's see, we have some, this is Red and White.

I'll put the White over here.

Then I need just a little Umber with that because it's a little raw otherwise.

Let's see if that works.

Hold it up to the original.

Oh, it's going to work.

It may be more pink than that, but I like it, so I'm going to use it.

A little bit in front there, a little bit around in here.

Look at just the little floating pink out in the distance.

And let's come over here.

♪ Dee dee-dee dee-dee.

♪ I've got time to sing!

Oh, it's so neat.

And I'm pushing into this pink just a little bit just to disguise it slightly.

I'm going to start with some of the lightest light.

Let's see, let's put out a little more White and what else?

Ah this, what color are you?

You are the Yellow, the Nickel Azo Yellow.

Gee, what a name.

But what a paint.

I guess it's kind of fun to have strange names when you're needing to be recognized.

I'm really emphasizing this, which means I'm making it quite bright, with always the idea, if it needs to be toned down a little bit, we can glaze it.

But I like it.

And the way I like it the best is if you put it in, then you have a little knife, which we won't do yet.

But what I would like to do would be to take, this is the Azo Orange.

What are you?

Oh, you're the Yellow.

That's right.

Okay, I've got the Azo Orange, I've got Umber.

We got White... more Orange.

So it looks like it's 2 Orange, 1 Umber, and 1 White.

Now this is impact.

Oh.

Take some more of that.

Buck, you're dipping all over the place.

How can we follow you?

I don't know.

Oo, and see what we said, down here by putting that on, you separate the hair from the background when they're very similar in color.

Let's take a little bit of the Orange and Umber, and we'll just sweep just a little extra highlight.

I need to measure you.

How far out are you compared to...?

Oh, you're the same.

Good.

That's what we want.

And up on the top, this being the top, we'll put just a little light there.

And I need to have that so it comes down looking a little bit like a loose hair there, so it's not just necessarily you're seeing the flesh continue up.

Let's take, we've got kind of a dirty brush from having put these on.

Then we can go just a little bit more in there.

And I want some of that to be felt on her-- what do you call that-- bangs?

I don't know what you'd call that.

It's just a lock of hair coming down.

It's a lock of hair, El, that's what it is, a lock of hair.

Now with the background in, it's a good time to kind of get rid of that hard line.

Isn't the teacher supposed to talk?

Yes!

Good to have you!

Thank you for watching!

Gee, shame on me.

Okay, let's see what else we'll do.

Let's go just a little lighter on her shoulder.

Love that Azo Orange.

A little Yellow and White with it.

I don't know, I don't quite like that.

More Orange.

You're supposed to be lighter.

You are, but you can even be lighter.

Okay?

I'm talking to you.

That's better.

That's stronger.

And the thing about the glaze, it allows you, for instance in that case, if you can just soften a little bit.

And you notice how nicely it blends.

So the glaze is something that adds to your paintbox.

You look pretty nice now, El, but we need to make you look better.

Having done this with the fan brush, it just makes it sensible to do a little bit of the bunny brush up in the background.

And thank Laurie for sending it.

Alexander bunny brush.

Oh, I love it.

Eventually we'll put some light up in there too.

I want to come over on this side, gentle blend.

So the blending because it's all so wet is just short strokes, or additionally just tap strokes.

It's more of a tap stroke when I'm coming into the lightest part.

Well, we've kind of come to where we need to be on stage 2.

This is a 3-parter, so you need to come back next week.

And the nice thing is, when you come back we will have a section called Tips, and we'll show a little further what you do on this.

So be sure you get that DVD.

Gee.

All right.

That's it.

Oh, I'm warm, I'm happy, and El is looking good.

See you next week.

Bye-bye.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by... To order the complete 13-episode series 20 of "Painting with Paulson" on DVD including Bonus Features and Line Drawings, please visit or call...