Can you ever return to the same memory?

Yes with a pochade, and yes with a camera.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ This is going to be an enjoyable adventure for you and for me, because I haven't done it before.

I started oiling out the canvas with Walnut Oil, but first I want you to look at the pochade.

This is what we're using as a model, and then we're going to stage 2.

Last week we did the first stage and worked up to this point.

Now, I generally just put Walnut Oil on and tell you that I've done it, but I want you to watch this.

I have Walnut Oil over there, but watch what happens in dark of the trees.

See, that's bringing back the original color, and that's another reason for oiling out a painting, particularly if you paint on it over kind of a sequential stages.

So if I work on it today, then maybe next time-- there won't be a next time on this one-- but if I wanted to come back then I would oil it out and then you're able to judge the colors that are there in anticipation of what you're bringing this time to it.

Okay, now what I want to do here, it's just a little different, but I feel very inspired to do it, and that's to take, I'm going to put a little glaze in the middle with one color and work into it, and then I'll use a different glaze on the trees and work into them.

So it's really a nice process.

I have some Sap Green, and when I put this on, it'll be a little strong, but I'll wipe it gently before we go further with it.

It makes it so that when you work into a glaze, you achieve nice blends.

Okay, I'm going to take and wipe that just a little bit.

There might have been a little too much Walnut Oil on it, so it beaded up a little bit.

Okay now, that's a nice glaze, and then I want to work that up just a little bit more.

So I'm coming back with, this is Yellow Ochre and White... and I'll push this in here.

Look at the difference between where this has been worked into the glaze and where it hasn't.

And you achieve another thing.

You achieve a stronger light when you do this, and then you have a nice blend on the edges.

Very nice.

I love the response that it's giving.

Now, sometimes I'll come later and put on the lightest light.

I feel now I want to have something to judge by.

So I'll take a little White and just a little-- what are you?

You're Cad Yellow.

Great, that's what I want.

Yellow and White, and this will give me my lightest.

And what you might note-- I'm using the pochade, but I am not your slave.

I'm using you, but I'm enhancing this painting.

Do you ever go back and enhance a pochade?

Yeah, I've done that.

It's not the best thing to do.

You save what you want, but sometimes I'll have a pochade that I'm not real happy with, and I'll just work on it and hopefully make it better.

Let's see, you look like you're the waterfall, but I-- are you a tree?

Oh, yeah, you're a tree.

Let's just push that out, and then we'll come with pure White, and when you say pure White, it will blend in a little bit with what's there.

So there's I was; this is where I want to be.

A little closer to that tree, of course, that tree has a little bit of significance in that it's a nice tree, but it's almost parallel to the waterfall.

So I'm going to take a flat sable brush, take the smallest amount of Umber and White and maybe just a touch of the Green.

Perfect.

But again, with it being very parallel to the tree, I'll address that in just a minute, and the way I'll do it is take the same color and we'll make just a little bit of branches.

Remember how I told you about the branches last week?

That when you put those on, you kind of go long, let them grow, let them grow under your brush.

That's not quite dark enough; a little more Umber.

I don't believe I better go across you, waterfall.

So at the moment, we'll just come above you, like that.

All right, now I'm going to glaze again.

I'll glaze over on the left side, clean the brush, and what color do I want?

Oh, I think Van Dyke Brown.

Van Dyke Brown is right here.

Is that going to be too dark?

Boy that's pretty dark, but if I put it on thin enough, then I can use it.

See, that's a little dark, but I'll-- oh my goodness.

My goodness!

I don't want quite that White in it.

Let's take another player from the bench.

Great.

You're ready to go.

So we're using the Van Dyke Brown.

Oh, it's so embarrassing when you put in a player as a coach, and he makes a mistake, and you have to put a sub in right away.

It's embarrassing for the coach, it's embarrassing for the player.

You need to give them another chance.

When I put that on, what I'm noticing is that I have places that are a little lighter so we won't necessarily put an addition to that.

Rather than that, I'll come down on the edges, let some of this come out Just so you get the character out there.

Not too definite, not too pointed, And let's, down below, oh, gee, I just love what I see there.

I'm going to take some Phthalo Blue as a glaze.

You're Phthalo Blue, And often when you put on a glaze, you can just leave it.

When we put the glaze on there, I'm not necessarily working into it.

Down here we're putting on a glaze, and we'll see about working into it.

That's a great color!

Thank you.

Over here... and I'll continue over to the right, and that would be in this area.

[soft scraping] And a little bit behind that tree.

Okay, and you're making so much use of what was there when you first started from week one.

Okay, I've done that, but I kind of feel I need to look in there a little bit, and let's take some Viridian Green and White.

So the Viridian Green is just a little more cool than the Sap Green.

You can see those two.

And that's what I feel.

It's just a little soft almost kind of bluish tone in there.

Isn't that a nice enhancing quality?

Thank you for agreeing!

And I just love the incidental looks that some of those little strokes make, and what they make is a feeling that you're going back into the woods, that it isn't just sharp there and instant waterfall.

You'd have to walk to it just a little bit.

I'm going to come down across that slightly so that I will put, even though I maybe don't see it in the pochade, I want to have a little feeling of this waterfall lands back there someplace and has a little river, then you have another little waterfall.

So on this tree let's go with the same idea of a glaze.

And I took Van Dyke Brown there.

I'm going to use Van Dyke Brown over on the side too, but I almost hesitate and say I'll use Burnt Umber.

So, why don't you use Burnt Umber?

It'll be a little warmer.

Oops, when I say oops I'm wondering if I did the right thing.

It's just, to make it right it's just watching the quantity that I have there.

And down in here I'll go across those greens just a little bit that's peeking through.

And then I need to wipe back for them slightly.

Not too much, because the color, the light that's going to go on the tree will be the dominant thing.

So I don't want a backlight to be quite so evident.

Okay, so we're just working down the canvas.

I'll put a little bit more of the Payne's Gray in here.

So this represents looking back.

This is separate from the foreground land.

I love nature, it just makes you appreciate all is well.

Isn't that pretty?

I just love something like that.

Oh, I wake up every morning grateful for the opportunity of painting, and I start my day on my knees.

Oh, this is so neat!

And I'm going to go across that light just slightly.

The reason being, so that when I put a stronger light in the middle, you already have the blend out to the sides.

So we'll do the same thing coming with the Van Dyke Brown down close to this one.

This has a real nice dark right in there, so it's just little lighter between those two, but right down near the surface is rather dark.

A little bit underneath it.

Okay now I want to come down to the near land, and I'll go with the same idea of just a slight glaze that we'll work into, and I feel very much that I'll use Sap Green.

I don't necessarily when I do a pochade that I write down and say I used this or this or this, but when I look at it, I think, yeah, that looks like Sap Green.

That looks like Van Dyke Brown, this looks like some blue in it.

So you really have somewhat of an idea before you start working from it, And I have some pochades that I don't touch, or I don't enlarge.

They're just paintings in themselves, and I just love them.

Okay, Sap Green.

Continue over to the other side.

There's a certain richness with the glazing.

And glazing-- what does glazing mean?

Well, it means that you can see through it, you can see the underneath colors through what you add on top.

And so there's certain colors that they say work better as a glaze because they're more transparent.

That's true.

So if you were to use something like Yellow Ochre or Raw Sienna, some of the thicker colors, but if you use a very small amount, you can make it work for you.

Okay, I want to stay down at the shore just for a minute, and then we'll kind of work back up.

I want to have some Yellow and Sap Green and White.

What do we get from that?

You know what?

I don't think I'll use you.

Let me take a check.

No, see, that's a little too yellowish.

So instead let's use the Permanent Green Light and I'll use some of the Yellow Ochre.

See, if I compare these on the palette, you can see the one on the right I feel is a little more cool than the first one.

I could have used either one, but I'm going to try this.

Oops, a little more Green please, Buck.

Okay.

Let's go back with a little lighter again.

Oh, I know what's happening.

See, this needs to go up a little bit to get rid of the sharp edge.

Thank you!

Although it will look definite, because of the color value is different.

That's darker, and this is lighter.

Now, I'm going to do something that we'll kind of experiment with in just a second.

And that's this.

I saw this brush get on the bus, and I thought, what's your purpose?

You got kind of a Buck haircut.

There's a lot missing there, but that's what it's called.

I think it's called a rake.

and you use that for little grasses.

Did you see those, or was I blocking the way?

Isn't that a nice edge?

You're good, I like you.

You're a keeper.

Oops.

Oops doesn't mean much if you correct it.

What I was going oops on that was, the bottom was a little sharp.

So just touch it slightly.

Get back in the game!

We'll come near the lightest light.

Gee, why paint with any other brush?

Sometimes I use a twiggy, you do a little individual one, but oh, this does 5 or 6 at a time.

You want to feel like they're growing from the bank.

What would happen if we start the other way?

No, I think it's best this way.

I just picked this brush up in town when I came to film these.

I didn't have one in my personal possession.

Okay, enough for you.

All right, let's do just a little bit of special effects.

I have Yellow Ochre and White.

No, you're just Cad Yellow and White.

When I look at the pochade, I see just a little peeking through lights.

There, and I don't think I'll go up in there, and before we finish, I hope to be able to come and blend a little bit of these.

So right now they're in a stage where they all jump out a little bit.

Okay, on the tree trunk, we have Quinacridone Violet.

I like that just for the name, and White.

And I skip just a little bit here and there so it's not just a long road.

Let's see, do we want to do anything else on that?

I think we need to go darker, and we'll take Van Dyke Brown, and just have a little outline on there, like that.

And I do same thing there.

I make skipping strokes so it's not just one long, long one.

Let's look at the other side, and when I say that, I'm going clear to the other side.

Might take a little bit of Green.

This is Sap Green.

Sap Green, what will do?

Sap Green straight?

Sap Green straight.

See how I dance that up there?

Dance, baby, dance!

Oh.

You know what's kind of special is doing these shows and then you know who your noontime companion's going to be?

You can't hurry these, they have to be there.

Okay, so let's get back to the painting, like that.

Out here, when I say out here I'm looking out there, just go up a little bit, and I'm putting just kind of a variety of heights on the back foliage.

What about over here?

I want to have a little more dark.

This is Phthalo Blue and a little Sap Green.

Right in here, if I put this on, then you're going to have just a little more of a contrast of that light on the tree against the background.

A little bit on this side, and here I'll go right across that branch so it sits under some of the foliage.

Okay, let's do a little bit of that blending we spoke of.

I wonder.

Are you available?

Are you clean?

Put down your toys.

Okay I'll start in the middle, and we'll just blend gently.

Here's where I go very gently is when I go across the waterfall, but it does push it back, doesn't it?

And before I forget it, I'll take a little bit of light.

You don't see it on the pochade, I have Yellow Ochre and White, just a little bit there.

That didn't do anything.

There we are.

And it's not as light as it changes its direction.

You have at the top, the light hits it, it's down, coming over, and then let's go ahead with taking a little bit of the Yellow and White, and I'm jumping over here for the White.

And...

So right in the middle of that.

Remember we talked about being a blend out to the side.

So we have a little bit of that right down here too.

So it's a little stronger.

And what I'd like to do, and I'm going to do it, this is a little of the Blue and White just inside the water, if there's just a little glimmers.

That's not much.

I wonder what would happen if we put just a little bit of a path.

I think that's better so you're not just taking a giant step from there to there.

I'll blend this just a little bit so it's not quite as strong.

That's better.

Okay, is there anything else we need to do?

I'm blending this tree, we added the Sap Green to it.

Kind of blend the middle distance.

And I like the way that that allows this to stand out a little bit of a contrast.

I'm going to go across the tree trunk a little bit.

It just gives it a little variety rather than a straight stroke.

And I'll tell you one thing-- the brush that did those things, you're going to make the next trip!

You've earned your letter!

I hope each of you have enjoyed this, and I'd love to see what you do with it.

That's what's so encouraging about these shows is, people will say well, I did your painting "Serenity," and I want to show you what I did--, and I love it.

Okay, I think that's about it.

Boy, that was just right.

Thank you for watching, watching me play, and enjoy and meditate.

Stay focused on Prairie Public on the television!

PBS!

It's a winner!

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