Wearing a different shirt for each project is very important.

But to have the right attitude is priceless!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Come on with me, let's go down to Mission Creek!

Let's see what it looks like today.

So we look at today, we have what we are calling the halfway stage we started last week.

And I hope it truly is the halfway stage meaning we can make it look like this one on the left and equal somewhat the little pochade.

Oof, that's great.

I'm going to start with, I have a small flat brush, and I have, this is Burnt Umber, 1 part, and Cadmium Red Light.

How many parts are you?

I'll start out with one, I'm going to use 2, so you're equal parts.

You're equal, it's nice to be equal.

Well, let's do it and then we'll see what else we say.

We had put this last week down here, but we'll also come up on the bridge and have some of this show.

There's a nice branch, oh, there's some foliage there too.

So we'll wipe a little spot for the foliage to show there.

And we'll continue across with this, we'll come right like that.

There will be a little highlight put on soon.

If you want your bridge straighter, use a ruler.

But it is older, so I don't quite want the ruler feeling on it.

That's the easy part, yeah, that's a nice copout.

Now I'm putting this, even though I'm going to come lighter on that area.

I ran down and picked up some more paint.

I hope I didn't go too fast.

Are you pretty good?

You are very good.

Come down just a touch lower.

And let's go with just a little bit of what we had last week.

This is Umber and that Maroon.

Umber and Maroon... and we'll put it in these struts.

Somebody will say, you can't just say poles, they have a name-- struts.

Boy, I'll tell you, all the time I'm doing this, I keep having the music in my head.

Cross over the bridge.

Okay, down here.

And then I want to have, and I'm leaning against my arm for a little more control.

I'm scared!

You ought to be scared because you made that too wide.

Well, let's take the little fan brush with a little bit of the sky color on it.

And let's just come across and narrow it.

See, even teachers sometimes make mistakes.

Oo, that's powerful!

Okay, what I want now on that bridge is to wipe a little bit where I'm going to put some light.

And when I do it, I've put on the paint on it.

You say why didn't you just leave it open?

Then you wouldn't have had to wipe.

The wiping doesn't remove all the paint, so you still can make use of that a little bit kind of like slats in the boards.

So I'm going to take now, this is Azo Orange.

I'm going to try you straight.

We'll put a line across here... then we'll go up, vertical.

You can have more than that.

Okay, let's go a little stronger right down at the base.

We'll see if that suffices.

Over here, we'll put just a little bit up there, not much.

It'll blend in slightly, but not much.

Then on the other side, I need to have just a little bit.

Let's see, this is the orange, a little bit of the sky color.

Are you sky color?

You sure are.

And just a couple little suggestions of peeking through.

A little bit further over here, like that.

I don't know if that bridge would hold me!

I'm going to take a little bit of that orangeish tone, and when I put it down here, you won't see much difference, but just a little bit.

Okay, we'll leave that for now.

Let's go to the foliage.

What should we do?

I think we'll take Umber, this is Burnt Umber, and let's take some Permanent Green Light.

Those are equal, equal amounts.

Oh, when I hold that up there, it's close, but it needs a little bit more of the Umber.

So I'm going to take 2 Burnt Umber and 1 Permanent Green light.

And we'll use that favorite brush, the fan brush, dip it into the Walnut Oil, pick it up, come over on the left side.

Now as it comes out to the edge, I want to have a small amount, but I want to come out into that wet blue back there so you have a little character formed by these coming out.

So right now I've kind of, well, I've saved the trees a little bit, but we'll find them.

Come down lower, right in this area, right above there.

Boy, this is big movement now that we have that bridge on.

And down at the lower left, right at the bottom of this.

Okay, now let's go over on the other side.

Before I go to the other side, on the way let's just put a little bit more in there.

This was dark enough there, but it kind of cuts into the brown, so it doesn't look quite so brown, but it does have a little bit of that brown look to it.

Over on the right side.

This is more your spotting.

I'll point out what I'm looking at in here, here, here, here, then we'll see if we want to place some of the dark onto the trees now.

That kind of shocked me when I did that.

I need to have a little more.

Let's try just straight Umber and see what happens.

Yeah see, that's just a little warmer.

This was a little cool.

Grandpa, you're painting cool.

You betcha!

And we have 22 grandkids, and one of them says, when are you going to paint me, Grandpa?

Well, you come next week, and we'll paint one of those darlin's.

Be sure if anybody wants to reach me, buckpaulson@cox.net.

Love to hear from you, also on Facebook.

Gee, that's great.

Okay.

I should have a billboard that says Eat at Joe's.

I'm so used to getting good commercials.

All right, now down below on the rock it would be helpful if I take this large brush.

What are you?

You are a filbert, thistle filbert.

And I'm taking straight Umber.

This is a good enough reason for having used the color we did on the dark foliage there.

Because now when we put the rock darks in, it's just a little warmer; the other is more green.

This is something you really want to take your time on.

What do I want?

Umber?

Yes.

That's right.

I forget what I just said, but it must've been important.

So we're putting the rocks on.

In here, this is going to be a dominant one because it's what the light splashes against from above the bridge.

And over to the right, our staircase rocks.

There's times during the year when the water really gushes through there.

In the winter, our winters in Santa Barbara are just a little bit more rushing water.

But there have been some problems there with fires, so, oh, there's so many people that suffer in various ways.

And there's so many good people that reach out to those people that are suffering.

It's very impressive.

All right, let's go now, well, we probably should take the Umber one more time and just come down the tree, the middle of the tree, and over here.

I'm next going to put on greens around, then we'll come back and put some little details in.

We do have two over here.

Let's see, this is the color I put up here on the bridge.

I hope that's not too bright.

It allows us to see them.

Here I come down a little ways, skip, and then it shows again so there's foliage over it.

All right, let's see, let's do this.

Let's take-- where are you Maroon Perylene?

Oh, you know what you are?

You are Quinacridone Red.

That's great!

Thank you for coming.

Then the Umber, we'll put you in so you're equal parts.

We'll add some White, and I want to add some Blue.

Boy, that's quite a mixture.

So you have 1 Umber, 1 Quinacridone Red, and just a little touch of the Blue and the White.

Okay, this is going to be my first color on the rocks.

It gives a kind of a nice grayish look to it.

When you put this on, you put where you want to start it, then you let it pull down in the rocks.

A little bit there.

You have just a little indication of rocks going under the bridge.

It's done the same with each rock.

You put it on, then you instantly pull it down so it isn't just a play block.

Bunch of blocks.

Umm.

I like the way that's turning out!

First time I've done it this way.

I taught this in, I guess it's all right to say, in Salt Lake City about a year ago, and they liked it.

But I was never satisfied with the rocks.

I think we got a little too light on this first application.

So I suggested to the gal, the next time I come there, let me see each of those paintings if we can't make the rocks a little better.

Well, today we're making the rocks better.

I think we were a little too light to start with.

That's what I find many artists will make a mistake with when they put rocks near a river.

It's just too light, they just jump out.

Great, now I'll take and soften this just a little bit at the bottom... so it kind of sits down in the water.

You didn't get any, you're out there so important, but you're treated last.

In some respects it's nice to be treated last because you've corrected everything by the time you get to you.

So that's a good reason!

Now let's put a little more work in the water.

I'll take the blue.

This is the Phthalocyanine Blue Red Shade.

Whew!

It looks a little strong when I start, but I'll make a soft touch with it, then I won't have to reload.

A lot of movement, huh Barb, there we go.

We'll take a bunny brush; get ready bunny.

Your number is there, go check in at the score table.

[chuckles] Reminds me of the score table.

Once I was coaching a basketball team in church, and in the middle of the game the whistle blew.

You have a technical!

You don't have a number 30, let's see, you don't have a number 31 I said I know that.

Or you don't have a number 13.

I looked down, this player I had, his number was 31, but he looked down at it upside down, so he wrote 13.

Gee-- don't look down on yourself!

Okay, now I'm taking the fan brush, and when I'm blending this, I'm going horizontally.

And the whole fan brush is touching the canvas.

The whole edge is touching the canvas, not the whole fan brush, the whole edge.

I'm going to pick up just a little extra.

You can see what that does.

I'll pick up a little extra.

Extra what?

Blue... and make it darker down there, so then your interest stays up higher.

Let's go ahead and put the highlights into the water.

This is White, this is White, one Unbleached, and the other isn't.

I really like that.

There is the dominant one.

Then we'll use a smaller amount, over various places.

That's still in the path.

There's a good one there.

Right here is a good one.

We used to have a classmate, his name was Goodwin.

So this is Goodwin, there is a good one there and there.

Get off the rocks.

And down underneath closer to us, right in here.

See, those are placed.

Which means what?

Which means we'll blend them just a little bit.

I'll put a little paint on the brush, the fan brush, of the white, so that when I touch this I don't really remove anything, I'm just stretching out what's there.

Probably it would be helpful if you just flatten a little bit so you don't have textures there.

Each one adds its part.

Oo, I like that, okay, I need to put a little highlight, when I say highlight-- on the rocks.

This is the Azo Orange, and I'll take some of the Unbleached White.

Just near the front-- nothing happened there-- near the front so you get the direction of the light from the sky.

Here I left a space open.

And there really isn't that much on here, maybe just a little bit.

Then let's put just a little medium in so it maybe will come off a little freer.

We put some here, then we want some there.

Yeah, the little medium on it makes it respond a little faster.

Okay, going up the trees-- oh, we need to put some light greens on first.

Light greens, you are Emerald Green.

I think I'll go with Permanent Green Light... and a little bit of the... Nickel Azo Yellow.

Oh, I love doing this!

This is energy and a response.

Oh, more Yellow, pure Yellow.

Oh, pure Yellow mixed into that green.

And the last thing I need to do, and I need to rush on it is put a little bit of work on the trees.

Okay, let's take some of that same Orange and that Yellow.

Great.

Put a little bit on the back side, but not as much.

Reflected light is not as strong as the front light.

And we sort of have it there.

We'll just blurr that so it looks like some of the foliage is coming over the tree.

I have a little bit of my sky color, a little bit of the green, just to go a little lighter on the edge of the foliage on each side.

Boy, we rushed, I hope it makes sense to you.

Thank you for watching.

We'll see you next time.

Hope there is a next time.

Right?

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...