I grew up on a small farm 50 miles from here.

We have both changed.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Have you ever had a shirt, and it says "New to You?"

That means somebody else had it first, right?

Well, today, we're going to do a "new to you" painting.

I've done this from a small pochade that I did, and now, we're going to work it up, and it's completely new to me, because I do not have a finished product till now.

So we'll go ahead and see what happens.

I'm excited; you stay excited.

And if you have a little wonderment, be aware I do as well.

Okay so I'm going to take some walnut oil, and I have a large brush here.

It's almost a miniature Bill Alexander brush.

That wonderful man had his own brushes.

This isn't quite one of them, but it sure works well.

As we've said before when I put this on, it's not evenly distributed yet.

But we distribute it with a paper towel which also removes a little bit of the excess.

So it has a thin layer of walnut oil, but just enough for us to put the paint on without adding any extra medium.

So I believe what I will like to do-- let's see, should we do it that way?

Yes.

Alizarin Crimson, where are you?

You're up in the corner.

We'll take a little Alizarin Crimson with the same big brush, and we'll splash this around here.

I like very much when I do a sunset to splash around very early to see what it's going to look like.

Now if you compare with the pochade, you're going to see that we're a little bit brighter.

Now I don't know if it's going to stay that way or not, but I wouldn't be disappointed if it did.

Now I'm coming down here in the reflection area, but I'll also put some of this Alizarin Crimson over to the left and to the right so when we put paint on, it has a little something to blend into.

Does that concern you?

It doesn't concern me, because I'm going to do the same process that we used with the walnut oil.

We'll wipe a little bit, continuing down.

It used to be when I would do shows, I would just jump all over, get the center of interest, a little bit here and there, but I've sort of mellowed it to being let's come from the top straight down.

It's a little easier for you to follow, and it makes sense.

Sometimes dollars and cents.

Isn't that pretty?

Okay let's sign it!

Next week we'll-- no I guess we better go on with it.

Okay, we have-- I need to go up in the sky just a little bit so this is something to blend into.

So now I'll take a paper towel and just float it a little bit across the sky and the trees.

Also in the sun area, I'll take and blend that so it doesn't have that sharpness.

But I'll leave, I'll leave that for now.

I sure like that.

We'll come down a little bit in here, only because I know that I'm going to have some green in there, and I want it to blend in a little better.

Coming down through the water, and then we have a nice impact right there.

That is beautiful, and often, not real often, but you'll find a painting looks good at every stage.

Oo, there's just a little chunky Alizarin over there.

Okay, let's go to the sky.

My feeling is, when I look at this compared with the pochade is that maybe this is a little later in the day.

So I won't be quite as light up there.

In fact, I'm going to leave the top of the sky, and I'll start in this area, but I don't want to be quite that light.

So what are you going to do?

I don't know yet.

This is Yellow Ochre and White.

How will that work?

I think that will work fine.

This palette has just a little wash of Burnt Umber on it, acrylic.

So it cuts down the glare slightly for the camera, but it's a nice way to judge the paint as well if it's a little off-white, because I am not painting on a white canvas.

If I were, then it'd be nice to relate it down here and relate it up there.

Okay, so let's take this brush.

You're a bristle.

So I'll start right in here.

That looks very good.

I didn't hold it over to check it, because I'm not going to necessarily match that.

See, I'm a little darker, and because the whole day is a little darker, then I can get by with this.

Now, I'm placing this on and then the top of it, I'm kind of debating a little bit.

Maybe just push this up, and it blends quite a bit, because it's more thinly painted, and I'm looking at this as being a little possibility of some upper clouds.

Even to the extent if I take some of this on my brush and push up just a little higher.

Buck, I don't know if I would have done that if I were you.

Too late!

Let's put just a little strength in there, then we'll come over in here.

Again, when I look at the pochade, it really doesn't have that much, but it sort of balances that tree with having a little light on each side of it.

What about over on the right side?

I'm going to go higher.

When I say "right side," I was thinking over further, which I'll jump over to here.

Just a little sort of soft clouds in the distance too.

I'll take a blender brush, a mop, and just soften that.

It's so easy, if you're not careful, to start putting interest that competes with your center of interest.

Now, none of this competes with the center of interest, but if all of the sudden I had real light clouds over to the right and left, you'd think well where am I supposed to look?

Just blend down a little bit there.

I love this aspect of that Alizarin Crimson slightly over that.

That's great.

Okay now we'll come down to the foreground, and I'm not finished with the sun.

I'll put some highlight in there, but I'm finished for the time being.

I want to have now, let's see, this is Viridian Green.

Viridian Green, and with Cadmium Yellow.

Let's see what kind of amount we want, starting out with equal amount.

I will hold this up to the pochade.

That'll give me a good start.

And what I plan on happening there is that some of this will blend in and some will be a little brighter.

So I'm using a fan brush.

He said "fan!"

He's used a fan!

Boy, that's true.

When I packed you, I thought you'd be the quarterback, but we found a new rookie that does a pretty good job!

I'm placing this on, and then I'll come back with the knife and just tap a little bit so we get a little feeling of textures.

I don't have a lot of paint there.

And notice how I skip a little bit so there'll be space in between and then when I blend it, you'll still feel some of that space in between.

So you're not dealing with a front lawn.

Where was this in Minnesota?

Could I go and visit it?

I didn't say which direction the 50 miles, did I?

Boy, flying into Fargo.

Oo, it's so much fun to watch.

The Red River runs North, and it oh gee, the circles!

I can't believe it!

What causes that-- the water all of the sudden decides to go this way, this way, this way?

Gee, it's amazing!

I guess somebody must have the solution, the answer.

Just send them to me, and then I'll know!

Okay, what I think I'll do before I leave that, I don't have anything on the knife, but I just kind of want to blend a little that way.

Remember, we talked about blending.

I hadn't intended doing that, but gee, it works!

It's a nice soft blend, and then I will come, let's see, Let's take a little, we'll use what we have here with a little White in it.

There's the White, adding some of the green to it, and this gives me the light path.

When you look at the pochade, you can see right through the middle how that's lighter, and that's, of course, the position of the sun.

Now, on ours we need to make sure we're light there, and then it can go up a little bit on the sides.

And what I just had done with the knife there, I'll take and spread this around a little bit with the knife.

Just a flat knife, no paint on it, and I'll leave a little more texturized in the center there where it's going to be the direction of the sun coming straight down.

I feel like that's a little too much.

So I'm going to take Viridian Green on the knife, and just sort of-- not erasing, but it's blending.

That's a nice little touch too.

That gives me some variety of greens very easily.

Gosh, that worked well!

Be sure and write that down, Buck!

So when you get home, you can do it again!

I love doing these shows, because when you come in kind of unrehearsed, and when I say "unrehearsed" means that I haven't necessarily a finished painting from it.

So it's kind of a discovery time for me too, and I sure like it, and I love my staff!

Oh, the people I have.

If you could see them!

Even if you didn't know what they did, you'd say "Gee, what a good-lookin' group!"

Oh, we'll probably get a little raise in royalties on that one.

Okay, let's see what we have.

Let's come down to the water.

Now when I say "come down to the water," I'm well aware that I have the trees yet to do.

So let's come down to the water anyway.

I like the way it looks, but just in this area we need to have just a little something happening.

I'm going to take Yellow Ochre.

What color do you see there?

Are you Olive Green?

Yes.

I think that'll work.

I'll hold it up to the pochade.

Yes, that's what I want-- right in there.

Okay, as far as putting it on, we will use a brush.

You know, you got a brand-new uniform.

You haven't been used yet, have you?

Flat sable?

That's it.

So therefore, we have a kind of transition from the light, which eventually will be lighter, on towards the top.

And if I put this on as I'm doing with sort of little horizontal strokes, then it gives some rhythm and a vibration in the water, and vibration is such an important word in landscape painting, where you have little colors next to each other, adjacent to each other, showing through, and it gives some great quality to your scene.

I will take the mop brush again, and when I blend this, I'm thinking first I'll blend a little bit vertically without losing the horizontal strokes and then I'll blend more up there.

There is a little feeling of some water going back in the distance.

I see it in the pochade.

So it doesn't just end there.

So I'm taking some of the same golden color and just making just a little path that way.

All right now, down on the grass, there are a couple things that we need to add.

One of them will be just a little broken color, and I'll show you in the pochade.

The broken color-- see that little Alizarin and the little greenish tones?

So that'll be nice.

I think what would make sense, though is, before I put those on, let's go lighter with the reflection in the water.

So I have yellow and white.

This will jump out, it will be lighter than the sun momentarily, but we'll be using that up in the sun.

So right in here.

Then when we put our little bushes and brushes in, we don't have to worry about banging into wet paint.

Okay I'll go, I want to come back down.

I want to use a little bit of orange.

Orange, this happens to be Yellow Ochre and White, a little orange.

I need to make sure-- if the sun's there, okay, we're all right.

So that means right in through here is where we need to have a little light, and there's a good one right there.

You are a good one.

Stay good!

What's happening?

Great.

Just right.

I'll spread this one out just a little bit, give it a little length.

And what that will help represent is more just a little moving water.

But it's stronger right in the path, and this being the path.

Okay, now let's come down to the lower area that we spoke of.

We'll take a little bit of Alizarin Crimson on the edge of the fan brush, and we'll sneak this in here.

See how that color harmony is helpful?

And then over to the side, this is Dioxazine Purple with the-- well, let's say it this way-- it's Alizarin with a little Dioxazine Purple in it, and I want to have just a little bit of suggestion of growth.

So you're addressing the edges of the foliage.

Here, we keep that pretty much the way it is and then over on this side too.

And if I bend them just a little bit towards the middle then see, this one goes up straight and this going back this way, but if this goes this way, it all helps towards the composition of focusing on the path of the sun.

See the sun doesn't have any real competition, but some of these items enhance its nobility by cooperating with the composition, the direction and so on.

Don't mumble, Buck!

Can't hear ya!

I didn't mumble!

Oh it's like I was in the army one time, and basic training-- that's tough-- basic training.

So the sergeant comes up to me and says, "Soldier!

Don't talk with your mouth full!"

"It's not full, sir!"

"Well, keep it full!"

That was a way of-- don't say anything, I guess.

Okay now, for the foliage I have Viridian Green.

Where are you, Viridian Green?

Oh, you're over here, and you're a little dirty, but I like that.

The dirty is from having the Alizarin and the purple on.

So I'm taking Viridian Green with a little bit of that.

Why I like it, it makes it just a little more kind of in a grayish family.

[soft scraping] This, if you compare it with the neighbor, it takes out that stain slightly.

So I jump down, I took some of the purple and Alizarin, and I mix it in with the Viridian Green.

I'm a little darker, but I absolutely love it, because it just gives such a mood to the front part.

Okay, now let's come in here.

That'd be a good place to have just the Alizarin and the purple right along in here, because you get such a dramatic feeling against the sun, and when I look at the pochade, see, I'm quite light over there.

I'm quite light right under there, but I chose not to be here.

Well, how are we supposed to know how to paint that, Buck?

Paint it this way!

Ah!

Very lovely.

I'm touching down below so it blends a little bit into the edge of the grass.

So you don't really see where that grass ends.

You just know that it goes back and is shaded.

Okay, now on this side.

Okay, I'm going to take one little liberty and that's-- what are you?

You're Turquoise Blue.

What would you look like?

Let's see.

What that will do will be to soften that tree slightly.

Go through the middle.

Okay, let's go over to the right side, and we'll do the same.

I have, this is Turquoise Blue.

I'm going to give you a little neighbor to take along.

Phthalo Blue and Viridian Green, equal parts.

Here you are.

♪ Dee dee dee dee, boomp boomp.

♪ Letting that go right up like that, and then let's see what happens when we come down on the left side, which we're not there yet.

This is the "there."

I'm going to suggest a little bit, you're Cadmium Red Light, and you're mixed with a slight bit of orange.

Let's have just a little burn happening there.

Same way here.

This is a little intense, so I'll just let some of that red come down.

You know, when you look right at the sun, I mean, it's just so glary that you have to have either sun glasses or something.

Now this has a little red peeking there.

Let me point out.

You see that, don't you?

Okay now one thing before I leave the trees-- well, a couple things.

One is to take and make little air holes.

So that's the Turquoise feeling, so there's going to be a couple little air holes there.

Come on the other side, do the same thing.

This could be a little more carefully done, the air holes, but they definitely need to be there.

Let's come back over here.

Okay, I'm going to do a quick addition of the sun, then probably for, we don't have a lot of time left, we'll take and put a little light on the tree trunks.

So for the sun area, this is Cadmium Yellow and White equal parts, and as we suggested earlier, this is just later in the day than the pochade, because it looks great.

I love this time of the day in looking at landscapes, seascapes, or mountains or anything.

I wonder if I can go with just a touch of almost White.

Oh, push it, Buck, push it!

Just slightly like that.

Okay, now I'll take a small brush.

This happens to be a chisel brush, and this is the orange and Alizarin, and I'm not going to be able to complete all this, but you can see it; you'll see it.

This gives such a great feeling for light coming down.

And this one has a good strong, dominant one.

Sometimes you can just take too, just a little bit, what are you?

Payne's Gray?

You can have just a little accent, silhouette trunks.

It's been great being with you.

I hope you've enjoyed it.

Great Memories!

So we'll see you next time.

New show!

Um, I can hardly wait to do the new one.

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