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[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Now we go for the dessert!

We're going to make this painting look like that painting.

This is the finished one.

This is the halfway point that we did last week.

Now we're going to go further on this.

I'll start with putting some Walnut Oil on, and I have a large brush, and we'll push this on.

You can see just in pushing that on, some of this looks darker already.

Doesn't it?

And that's a good reason to what they say oil up your canvas.

You can judge the colors a little more accurately than if you just started painting on them.

This is a nice Walnut Oil.

All the paints are formulated in walnut oil.

So they're very-- it's not combative-- they go together!

Okay, I feel that in doing this you know, often you'll say you start at the top, you come down.

It's kind of like a portrait-- do you put the eye in first, or do you put the eye in last?

And I say yes-- either one is right.

If you put the eye in first, you work everything up to it or you put the eye in last, it's like going and then wham!

It's there.

So we'll do like the eye in last.

So this is a very strong contrast.

An impact, we'll do that last.

So I'll start with some dark green, and I have Van Dyke Brown and Viridian Green... equal parts, and I'll put this, I'll start down low and after I place this on, I'll decide do I need to wipe a little bit?

And I do so some of the underneath shows through.

That's one good reason to use the Walnut Oil first, because you can kind of remove it a little more freely, easily, What I'm doing here, as I put this on down here, I'm letting some of it just touch up on the edge a little bit so you get a little accent there.

Come under the big tree.

Now, this isn't the big tree, but it is a dominant tree being in the position against the morning lights.

I knew there was a word there-- morning lights.

Okay, I'll put some of this on the interior, and this is where I'm referring to.

It's a nice mystery.

You feel like you can go back into the woods by having some of this there.

A little bit up above.

I don't think I'll put any on this tree yet, and maybe it won't be this color.

We'll put this down, and I like the way it works as you soften some of the previous foliage, leaves.

Let some of this come over.

So it really works double as darkening and also as a glaze over some of the light areas.

Now what I feel since I'm at that point, let's go to the big tree next, and what I see in there, I see a lot of Umber.

When I'm looking at the original, Umber and maybe a little Raw Sienna and White, and then we'll allow some of the red that's showing through to be part of the color scheme.

So the Burnt Umber-- oh, I have some.

You're already on the bus!

I like, this is a fan brush, I like using it like this at a slant.

I can see its reflect-- what it's doing right away, but as I look at that, I realize that I need some darks.

So I'm going to take some of the Van Dyke Brown, and I'll work this in just a little bit for some extra darks.

And particularly down there.

And notice I was saying that, well, I haven't put the Raw Sienna and White on yet, but when I do, then some of the red will be felt, but you can see it even being felt now and if I want any more of it, I'll just wipe a little bit for that.

Let's go just gently on this tree, and the gently on this tree means I want to knock down the lights just a little bit on the tree, and then when I come back with the lighter light, this will really be in control so it's not the same all the way down.

What about the branches?

It's sort of almost like a glaze, because some of this can go across and can be in the background, and it does its purpose of knocking the reds down just a little bit.

Okay, I think what I'll do now, I'll stay on that tree, the big one, and Raw Sienna, you didn't get on the bus.

You had to catch a cab, get over to the game!

There we are-- the Raw Sienna, just a touch of White.

So that's about 3, 4 Raw Sienna and one White.

Let's take a small flat brush.

We'll start right in here where it's quite light, and see, always with the idea that I can even go lighter.

This, I'm sure if I put a touch over there, you'd find that what's there is just a little bit lighter, but we're building to the lights.

I hear that every day when I teach, because the teacher has said it so often himself.

"Build to the lights!"

This has a little wider smash right down there.

I like that.

That gives a good feeling coming through there.

And I have less paint on the brush, and I'm wiping to make sure I have less paint on the brush, and just blending as I go, then adding some small amounts.

Just do that, reflected light just shows a little bit.

That's a great tree.

Thank you.

Okay, so now we blend a little bit on this too, the light we've put on there, just slightly so it isn't too rigid.

A little accidental.

Come over to the back tree.

I can feel just a need for a little in here, and I might be putting in a little bit more than I see.

I like the bouncing light effect.

I don't know what you mean by "bouncing light," Buck.

Would you explain that?

I don't know either!

Okay, on these trees, I have a dark on them, but I'm going to push the light over just a little further so they're not quite as dark on the left edge.

See, you don't see a lot of dark on those.

Form is one thing, but value is another.

Value meaning in my case light or dark.

There's a little bit on one other tree, right in the midst here.

Then I want to do one small thing.

Did you see it?

It was so small!

Now we'll take some of this golden color, the Raw Sienna and White, and put just-- and I have a round brush here, small round one-- just a little bit of suggestion of twigs.

That is so helpful, because it takes it away from being just a telephone pole.

Let's go to the other tree.

When I say to the other tree, not quite as golden.

I'll take a little of this Green, Blue, and White, so it has kind of grayish look to it, and I would imagine I will be blending those a little bit before we go to the finish line.

There's a couple small ones, and I'll go back to the golden ones, up here.

So I have one there, and then I have one here that wasn't there before.

Now you're here, and I repeat when you put in those little branches, if you can do it almost a little bit of distance, little bit of distance rather than just the whole thing.

It just seems to be so natural, and I really think that's a big step up in my painting, is little branches.

But if you keep painting, then you discover things that work for you.

Sometimes serendipitously.

That's a new word.

You're going to be asked the spelling on that, or if somebody tells you something, it shows you something.

All right, I think what we'll do now, let's go out to that strong glow as our next thing, and then we'll come down lower.

So for that I want to have some Yellow and White.

I'm not sure if that's what I can use.

Let's take, here's White, here's Cadmium Yellow.

I'm taking a little Yellow Ochre too, because I feel a little bit better about having the two of them.

Oh, it's gorgeous!

Yeah, that looks good, doesn't it.

I would've taken it down right away if it didn't look good.

That looks good.

Doesn't it?

Okay.

So generally what I like to do when it's a quantity like that-- let's go ahead and use the knife.

So I'll use it with the knife, and then I'll spread it around a little bit with the brush.

So that's just full flat on.

Don't you like that?

I mean, it's almost a reward.

You're being rewarded, Buck, because you were diligent, and how many fingers did you have up?

Okay, we go over here and here and there.

Now the way I'm placing this on, I'm doing kind of a patting.

It's almost a patting drag rather than just patting.

You're pulling it a little bit as you do it.

Oh, gosh!

If I like you better than you, can I keep you?

I really like that richness in there.

Okay, let's go just a little bit, same thing, but we'll kind of angle a little bit.

See, those branches are on a tree there.

So this is just a glow coming through.

You can't really tell what's happening, but this has a little light on the branches of the neighbor.

[soft tapping] Okay, now I'll push that around a little bit with the knife, and then we'll let it set and maybe see with the brush for a finale.

So if I have too much, I'll just take some of the Green.

See that?

Oh, it's really nice, because it gives a nice accidental effect at the same time it accomplishes that little bit of erasing attitude.

I do the same thing over here.

Oh, see you next week!

That's so good!

No, we'll see you here.

Now down in the grass area, we have, let's do a little bit of the blue first for the water.

This is Phthalo Blue, are you Phthalo Blue?

No, you look like green.

Here's Phthalo Blue.

We use Phthalo Blue and Viridian Green, your cousin.

This is not meant to change too much, but it's to make it wet, so when I put a highlight in there-- and I'm using the same color that I used up above.

So this will work into the wet paint.

Great.

While we're over that area, I'll pick up a little Umber.

You're gonna to have to pick up a little Umber.

Oh, right there, and a little Blue and White.

Brush-mixing, and we'll put this on the top of this rock.

You can see you're using a lot of the priming of that rock as the color for the top of the rock.

So just a little bit like that.

We'll put just a little of this lighter light color just on the edge, so you feel like the sun is hitting it.

That's a little generous, we'll blend it slightly, but I like it, it really stands out and very supportive.

The thing about this is, you have a need for balance.

These kind of balance each other, but the lower right corner needs to have a little balance with the upper left corner, and we'll show you just a minute there.

So I'm not too quick to wipe this away even though it's different than the original.

So if you use less amount, you'll be all right.

Now what I kind of like doing is, with this balancing this, this needs a little balance.

I've already put some there, but let's go up to this area, and there needs to be just a little light showing through there.

I put that on, and then I'll blend it softly in.

And a little bit over here.

And I notice when I'm doing this, there's just, and I'll point out in the original, there and there and there.

There's some of the little sky showing.

So I have the same mixture.

No you don't.

Well, I have a little bit of this mixed in with the blue color.

So that's what we have.

Okay, down below and this is in the grass area, I'll first see what happens when I wipe.

Not much of anything.

Okay, so then we'll add in some-- where are you brush?

You were here just a minute ago.

Did you?

Oh, you didn't leave me.

Here you are.

Okay, let's take just-- this is Viridian Green and White.

See, it really helps if you put a lot of the foliage in before we ever start on the final touches.

We had to rush a little bit on stage 2, but it certainly works well when you do it right.

Okay, besides this, what is very nice is the Quinacridone Violet and White.

It goes so well in green foliage or skies, or what have you, I'm turning the brush.

I use the little corner of it just about every way instead of straight brush strokes.

And I like it like what it just did there.

It touched in a little bit with the green, so you have almost a little green on that.

Those are serendipitous moments.

They really are helpful.

That's almost a little too much.

You don't need to go up there too much.

I don't want to take away from that tree.

Okay now, I need to do a couple things.

One is just to get a little more light on the tree bark, and to do that, I'm choosing a knife, and this is Raw Sienna and White.

This is the first place I'll place it.

Oh, you're doing your job!

I like it.

It's so nice to send in the star player, and the star player performs!

All right, now let's go over to the entrance of the diva, and that's over in here.

I think it'll be easier now.

We put it on with the knife, kind of spread it around, but we'll take a dry, clean fan brush, and I'm touching just the corner of it.

This is a stiff brush, which is very desirable for this work.

And I'm touching just about every places, because-- every place?

"Every places?"

Every place, because even though I want a lot of light there, I need to have it just a little more mottled together.

I like especially what's happening down on the edge of the grass.

See, and that's simply from having this color on, the light color, and as you come down, you make it so some of that just stays untouched, and it looks correct.

Come over here, a little softness.

Come up in here.

I might be a little generous there.

I'd take a little blue just to cut this down slightly, and a little bit peeking through there.

Gosh, this is so exciting.

Now I look, and I see just a little need for, let's see.

This is a little Ochre and Raw Sienna and White with a touch of red in it.

Just a little-- I am in the path for that, and probably over on this side too.

I don't see it on the original, but if I have a little bit here, it feels like it's related to it.

Okay now, I need to make sure, well, let's see.

What should we do?

Let's try this blender, Then I want to have the smallest amount of green.

What color are you?

You are Phthalo Blue, a little Viridian Green and White, and this will just let me have the smallest endings on these.

So it gives just a little like they're in the light, but they have a little character of their own.

I sure am blessed to have such a great crew on my ship!

Gee, I'm a passenger on theirs!

I'm not the captain!

We got a captain named Barb, who is beautiful in every way.

Okay, let's see here.

It might help if you have just a little bit of dark, and when I say that, I'm looking towards the Van Dyke Brown, if just a little bit in the middle of this, and it's so subtle.

You want to feel it, but you need to discover it rather than say, oh, that's where that is.

A little stronger there.

I'm going to go even a little bit stronger right down close.

Ah!

Let's see what we haven't done.

I kind of feel like when I look at this tree going up, I don't really want to see the top of it.

And I'm going to touch across these a little bit so there might be just a slight bit of foliage on them rather than being quite such a stark ending, even in here.

And if I had time, I would do this.

I'd even put just a little bit... That was good.

I almost had it right.

Just a little not quite as light, but just slightly bringing into the tree just some of that so your interest is more in the focal point rather than being just going from top to bottom.

Just a little something in the distance there.

I think we've done "Morning Whispers," but it's now we change the name to Morning Shout!

[soft tapping] Okay, that does it for today.

Thank you for watching.

It's so much fun to do these in stages so you can see the development, and you might find things that you would change.

When we do the end of the DVDs, bonus points, we always show how to go a little bit further.

See you next time!

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