The innocence of youth makes for a great motif.

Let's do it!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ You know what I like about doing these shows, I make plans, but sometimes I change them in the midst of it.

And that's going to happen right now.

The thing that I was going to do was just go ahead and lighten the flesh color and put it on there.

But my plan now is to take a little, and I dipped the fan brushed into Walnut Oil and a little bit of Alizarin Crimson.

Now this is going to be too much until I wipe it a little bit.

I think I'm going to wipe that off and come with more Alizarin.

It was a little bit runny.

[soft scraping] Now, what this does, it gives me something to blend into, so when I put a highlight on there, it'll soften so easily with the Alizarin being under there.

And I do this a lot of times when I put foam-- I'll have the bluish gray foam, then I'll put a little glaze on, maybe Ultramarine Blue thinly.

Then when I worked the light in, you get that blend that you can't get as well otherwise.

Okay now, I have a round brush, and I'm dipping down.

This is 5 Burnt Umber, 1 Alizarin Crimson, 1/2 White.

This is my flesh color.

So I'll start up on her forehead.

I'll spot in where I want it to go, then I'll blend it, so I won't blend it until after I've placed it on.

This is such a nice controlled way to get quality.

And on the chin.

See, in doing this, it should look good until you blend it out.

But now we'll blend a little bit for form.

And I'm blending the middle of the forehead, then I blend away because I'm very conscious of the shape of the head.

It has a kind of a roundness, and that's what you're aware of.

Down to the eyebrow... then in the eyelid.

What do you call that?

That's not the eyelid-- above the eyelid.

Then this comes over, push that in just a little bit there.

It's a nice cheek.

Oh, this is so much fun!

It's fun to do quality work.

So I'm taking that light on the nose and blending just a little bit so you have a top, a side, and a bottom to the nose.

Just a little bit above the lip there.

Okay, I think we can let that set, Then we'll go to the lips.

I have a little Alizarin Crimson and White.

It's about 3 Alizarin and 1 White just for a little bit of color on the bottom lip.

I'm going to take the smallest amount of Umber and just cut so we get just a little bit of the top lip which is in the shadow.

I'll blend this, I'll push this a little bit towards there to make the mouth just a wee bit smaller.

Oh, I like you.

I'm going to put just one little corner of the nose, right there.

And we have put the Alizarin on the body, so if I just come with that same flesh color on the shoulder, right in here.

Okay now, I'll wipe the brush, and it still has just a little paint on it.

I'll spread this out.

Notice that little dark that separates the shoulder from the face.

I'll come closely but save that little line.

Come down, fade in a little bit as you come lower so we don't go way down.

We come on the back.

Now do we want any here?

Yes, just a little bit, just a little bit on the chest.

Oh, that's great.

Is that me grandpa?

Yes, that's you.

Is that me grandpa?

Yes, that's you.

Say it to each of them.

Okay, so let's go up to the background, then we'll come back and do the hair and that.

But what I want to do on this, I have a mixture of Green and White, This is Viridian Green and White.

It's probably about 6 Green, 1 White.

And I'm dipping a little bit of the Walnut Oil on it.

I have the fan brush, and I'm pushing this around.

I want to do it thinly so you feel it.

Feel it?

You feel it, and you see it.

That sounds like feel it.

So you're making use of what's there, that purple, and you're just adding a little bit of the green around.

Oh, I like what that does.

Let's go over to the left.

Your other left.

See, this gives such nice mystery to it, especially when you put it on softly, and it gets rid of some of the hardness or sharpness of what was there.

But it needed to be sharp and hard so that when you do this you can still see it through the little scrub we're putting on.

We used to call this a Saturday night bath, but that's if you went over the whole thing.

I guess this is sort of a bath too because it has White in it, and you're using it very thinned out.

Just a little bit more over in here.

And what I'm going to do over in there is, come with just a little bit more of the purple to kind of break into that.

And we'll do the same up here a little bit.

We'll do it down here and maybe under the flowers.

Okay, I'm wiping the brush so I have good control as I blend it around.

You will find very quickly the quantity to use, and if you don't use too much, then you have a little more control on it.

But there's always that of not having enough.

[soft scraping] Let's see, is there any over in here?

Maybe a little bit.

Okay, now on the vase, let's see what we should do on that.

Maybe taking a little, oh gee, I have Umber, and I have some of that Purple.

So it's 2 Umber and 1 Purple.

This will give us a pretty good dark.

Oh, good.

And a little down here.

Spread this out.

You don't really see where the edge of the vase is, you just know it's there, and it helps so much.

I'm going to take a small brush, a small flat brush, and I'm dipping in-- this is White... White and a little bit of Cad Yellow... a little bit more of that.

It looks like we're using about equal parts of Yellow and White.

See the nice gleam on that?

What I like is also, if I take just a little Alizarin Crimson and White and just sort of touch around that, It gives it a little more of a glow.

I'm a little generous there, I'll wipe some of the pink off, spread it over there.

Come just a little closer to the face.

Good.

Okay, now let's go ahead and put some of the red-- no, this is Alizarin Crimson in the hair.

What proportion are you?

I'm going to guess...

So it looks like 2 White and 1 Alizarin.

And just tap these on; I'm using the corner of the brush.

Softly blend that-- what do we use to softly blend that?

Well, of course!

We use a mop.

I'm just touching the edges slightly, kind of mushing it down so the one you see the most is on the lowest part of the forehead.

And I'm going to take just a little round brush and take some of the Burnt Umber, and I'll go just a little darker on her hairline.

One there, one over here, and one here.

Up here I'm going to push the flower back just a little bit.

I want to make sure that that hair melts into the vase.

So I have a little Umber on the brush to make sure you don't have a hard outline there.

Okay, let's go ahead with some of the flowers.

And we have, let's see, let's take some Red Light and White.

This is a Red Light, this is kind of brush-mixing.

Equal parts, let's start with that.

This is right over here.

And I want to be conscious of getting rid of some of the dark lines that I have.

That one is pretty much in the background, so I'll take a little Alizarin and a little Red.

Whoops, too much, I need to use more Alizarin.

Oo, I like that, that's a good color.

That's Alizarin straight.

And I want to use some of that Alizarin to put in the middle of some of the flowers.

Come over to the left, and let's have this.

See, this one, if I put the middle down lower, then it looks like the flower is going that way.

I'm going to put some highlights on these, but I'm just sort of establishing some of the darks in them first.

So let's do it, same thing, Alizarin Crimson on this big guy, and some on this one.

Okay now, on the big flowers, I really like where I can take some White, and let's see, what proportion Orange?

T Let's try equal amounts Orange and White.

Now watch the loading of the brush.

It's more than just the side, but you put this on and oh, watch what it does.

I'll put some on the other side of the knife, and when I say the other side, the lower part.

This is, this is heaven when you can use the knife in working like that.

I'll take a little bit of the mop brush and sort of pull these down in just a little bit.

Eat your heart out Jenkins.

He's great flower painter.

Gary Jenkins, his wife is too, Kathwren.

More down here.

This again, I'm sort of placing it on, then we'll blend it around.

What I could've done, and I didn't do was-- let me just get this one a little bit-- is to put on a little bit of a glaze of Alizarin or Red, then work into them, and that would make it even softer, easier to blend.

But you can do it this way just as well.

Let's take the same brush.

This is Cadmium Red Light and White.

It looks like I have 2 White and 1 Red.

This is what we sort of put up there.

I changed my mind, it's going equal parts of Red and White.

Just a little peeking there, get the middle little bit so it's not a perfect circle.

And I'm going to take and just-- this is Orange and White, what we put on a little bit with the knife.

We'll just pull a little bit in with the brush for little more grade to it.

Now the next one, the lower one.

It's so tough, you know, usually when you do a demonstration for the public, they're ooo, ah!

But here with just cameras, nothing-- nods and approval.

But I know, I can feel the good vibes, so that's great.

Okay, up above, I want to have, this is Alizarin and White.

I have about 2 White and 1 Alizarin.

And I want to do these just kind of loose like this.

And some over here-- see, there isn't even a flower situated there.

But you get some of the background feeling going around.

Did she get anything on her?

No, I'll tell you one thing that would help though, if I put just a little pinkish next to there, and then pull it away so it doesn't look like another flower but just a kind of a glow on the vase.

I have one orangey one that's right in this neighborhood.

We still have a little time left, we're going to be okay.

We are going to be all right.

Now let's blend these top ones that I sort of spotted in.

I'm pushing kind of hard in the middle of them.

So they are incidental ones.

Then what I want to do just to help a little bit, let's put a little bit of the dark, this is the purple.

Great, okay.

So I'll put a little Orange, Red and light.

Red and light?

It's Cadmium Red Light and White.

I just like when these have just that looseness on the edges.

Sometimes what I'll do is take a fan brush, nothing on it, and just gently sweep across there.

This is so lightly touched, but you can see it takes some of the sharpness out of the edges.

Yes, I'm glad that was recalled.

These stay rather sharp down there.

Let's do a couple things down below, one, we'll take some Green and White.

This is Viridian Green and White, just to give us a little bit of an edge on the table.

You notice that I went above that line?

Because that had a slant on it, and I didn't need to have a slant, because the original doesn't have a slant.

Okay, I want to take now just a little bit of the green, and let's take this and almost make it look like some individual leaves hanging down.

Out to the sides just a little bit.

And I'm conscious of how a leaf looks, so when you put it on, you're just drawing them without drawing them in great detail.

I want to do one other thing that I'd like very much to do, and that is, I'm going to take some of the Alizarin Crimson and White, and I have quite a lot of light in this.

This is what I call kind of little flicks.

So doesn't have any actual definition, but it gives the vitality of light behind.

If they get to be too strong, let's see, we've got this fan brush, it has a small little purple on it.

Again, I love using that fan brush just to soften across some of your latest additions.

I don't know if that's a flower down in the corner or not.

We'll pretend that it is.

It's just hanging down off stage.

And I'm going to also take, when I've done that, let's take just a little bit of Alizarin and White, and just here and there.

Now this gives me just a little more red on the vase.

So you have kind of the neck of the vase there.

I guess what would help, if I go a little bit darker, and this is Burnt Umber, just down on the lower edge of the table.

So we have about a minute left, so we're going to wrap this thing pretty fast.

I like what we've done, I like the way it's turned out.

I hope that it's been meaningful for you.

And we'll see what yours looks like.

One little touch-- I want to just come a little closer there so the side of the face stands out, like that.

Now is there anything else in the last few seconds?

You might consider just going a little darker in the middle of some of these that are up there loosely done.

Okay, we have to wrap it up.

We have to be on our way.

Thank you for watching.

See you next time.

Bye-bye.

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