Why are flowers such a treasured gift to receive?

Because their fragrance is love.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ I have something special for you today, something that I have not done on TV before.

And that's the technique that we're going to use.

I want you to look at the original that we're going to use as the model.

This is called "My Two Loves," but let me tell you something, when we get to the second stage of this, we're going to do something a little extra too.

Not much, but just, when I look at my paintings, I'm a spectator, and I'm making observations without saying, oh, it's my painting, it's okay.

So let's come over to the canvas that we have today.

I'll tell you about it first then I'll tell you about our plans.

This is Burnt Umber and a little White.

I've outlined it in blue just so I can see it, and you can see it better.

Then the same thing out here-- a little Payne's Gray, Phthalo Blue, and White.

So that's the canvas preparation.

Now, what I think would be helpful is, if I start with acrylics; I won't use much acrylics.

Often we have done the whole half hour in acrylics, then the next week, when it's dry, we do oils.

We're not doing that this time.

So I dip into the water.

And I'm going to come with, what should I come with?

Well, one thing I'm going to do different, I'm going to make a vase that has just a little bit different colors in it.

Is that all right with you?

It's all right with me.

This is Umber, Blue, and White.

Not too much different, is it?

Go right over there.

I'm sort of saving just the smallest bit of the line so that I know that I'm inside the lines.

So we'll put this on, and then we'll add some lights into it.

Now, form-wise, you would kind of fade this out, because this outside edge tells you what it looks like inside.

That has a curve; this needs to have a curve.

Give you a little more shoulder there.

So this is what I mean by just a little thinned out, a little darker down there.

The bottom of the vase, generally, if you had it setting on someplace, you'd see the bottom of it.

But this is set at such a height that you don't see it.

You don't see the bottom.

Okay.

Now, let's take, and staying with the vase, we'll take some Yellow Ochre and White.

This is being done all as you watch.

I haven't done it this way on television before.

At home, I would do the acrylics, let it dry, and then come on.

This way, we're going to do a little bit of acrylics, let it dry, and come on.

See, again, I'm conscious of the shape.

So this has a shape this way.

Now we'll put on sort of a strong light right in there.

And of course, when this is dry next week, then we'll work further on the vase and get more light on it and vary, varied colors.

I'm going to go just a little lighter.

Oh, such a temptation to make you perfect!

The other little subtleties that you see on the vase, we'll do those with oils.

Now, the other thing I want to do with the acrylic is to come out in the sky.

I have Blue and White.

You notice I'm doing a lot of just brush-mixing.

Why?

I love it.

This is meant to on purpose go just a little lighter.

Don't be afraid to go on lighter.

[soft scraping from the pressure of the brush on the canvas] Great.

Good.

We come down there.

Come over here.

And why did I leave that little opening?

Probably because when I put the highlight in now with acrylics, it'll be a little more pure in the middle, and then as it touches the edge, it'll turn just a little greenish.

So, this is taking the same brush.

Oh, Yellow Ochre and White-- that's what you will be.

This is the same light we used on the the jug there.

In the painting, that's a little subdued, so I probably will make it stronger.

In fact, the whole outside through the window needs to be a little stronger, because if that is my true love, one of my true loves, then it needs to be treated equally.

Just the smallest amount of White in the middle of that.

Okay, coming down to the water.

First, I'll just kind of blend by wiping, softening.

Good job, almost dry already.

So I wet it just a little bit.

Okay, now, let's put some of this blue down in the water, right in here.

This is under the big wave... and in there, And we'll use some of that same sky color that we have up there for the splash-up of the wave.

It's so inviting, I mean, just that beautiful purity is so refreshing.

Just a little one out there, and then there's one down here.

And a little blue.

And the flowers are saying, what about us?

Don't forget us!

One more color, and that's Burnt Umber that we'll place on the rocks.

So for now, it just, put it in there without any form.

I'll have water coming off the rocks next time, not this time.

Okay.

Whew.

I think you're all right.

What might be nice is to put just a little bit, let's see, you are Yellow Ochre, and you're Blue.

It would help just a little bit to have this go on through with the acrylic into the acrylic.

Oh, you didn't go through.

I don't want to go through yet.

We'll go through you next week so we don't lose you.

All right, let's start in on the flowers.

And that means put the acrylics away, and you don't have to do quite that rush.

I will take and put on some greens.

You're Viridian Green, and you are Yellow Ochre.

We'll give kind of a big swish on it.

I'm taking fan brush, Walnut Oil.

Yellow Ochre and Viridian Green.

Now, I'm not, at this point, see, I see a lot of little darks and other things in there.

I'm just ignoring that.

This becomes kind of the background.

Some of it will show, some of it will be covered.

Okay, I think what would be kind of nice is if I take the same fan brush, and let's go to putting a little bit of background color dragged on.

I almost jumped over because I saw the Blue.

I wanted some of the Blue.

But we'll use it from this side.

This is Blue, what are you?

You're Payne's Gray.

Good, good, I recognized you.

The thing I like about the blue up there, it's almost an echo with what's happening outside.

And I should say isn't it?

And you can say yes.

Okay, now this is Quinacridone Rose and White, and just a touch of Blue.

You're making use of what was there as a priming of the canvas.

You know, that Umber and White that's all there?

That's very helpful to have.

Oh, gee, while I'm there, oh, I was going to jump over on the vase, which would have been fine, but that's acrylic, and this is oil.

So you can't do that; you stay away on your own side.

Okay, a little bit of Ochre and Van Dyke Brown.

That gives kind of a grayish green.

I notice behind that flower, that I'm at right now, has a little bit of the yellowish halo showing, so let's do that.

I like that very much in doing flowers.

Well, actually many different subjects.

You let some of the glow be there.

All right.

I'm going to block in-- oops get away from the water, Buck!

Don't go near the water.

Here's my Walnut Oil.

So I'll clean the brush.

And what I want to do now, I'll put just a little bit of, let's see, you're the greenish and you're the blue.

Could you come together for once?

A little more of the greenish.

And we'll put this down as the start of the first folds.

And maybe it's a different piece of drapery than is over there.

It doesn't bother me.

Does it bother you?

I'll use that same, let's see, this is Permanent-- the acrylic, Quinacridone Rose.

Gosh, what a name you have.

And a little White, and it has just a touch of Blue in it.

Oh, I love doing these shows!

We've been doing these a long time, and I hope you've been watching a long time.

And a long time in the future!

All right.

Now, we'll take and put some of the petals in.

And when we're doing it, we're going to do it just as a simple color.

So this is what I'm referring to.

Quinacridone Rose.

That simple color.

Rose over here.

Isn't there a saying, "A rose by any other name" is what?

Also, a rose?

I don't know.

Some of you at home probably cringe a little bit on my brilliant observations.

What I'd like on this, I have the shape, which is represented just by a circle.

So when I put this on, I can be less than just a perfect circle.

Let's see, we've got this one, this one, and we've got this one.

So we have those.

Now, when I go higher, I'll put some White in it, white into it.

Okay, way at the top, up where the air is pure.

Ah, I won't put anything out on here yet.

Let's come inside, well, there's a good one down here.

that's for sure.

I like the way that just touches against the line and actually breaks the line a little bit.

We'll go a little more of the pure color to its neighbors.

Oh, I was surprised when I looked at that, I thought does that cut in on the bottom of the vase?

It doesn't.

We cut in on one side, this side, but not that one.

And then just a few little flitting strokes.

I almost debated, I thought is that acrylic or oil, because I don't want to mix the two.

This is a new experience for me.

Okay, more White... and still in the pink family.

We'll be doing-- next week we'll do some brushwork, but we'll use some knife work to finish some real power on these.

I think I'll leave that open there.

What about you?

Oh, okay.

Now let's just make sure we have all the flowers in before we get too fancy.

I'm going to move you over right there.

Now, I can see you!

Now, I can see you.

Don't run away.

Okay.

The yellowish ones, let's take them.

A little more White.

Got it.

Clean the brush.

Yellow and White.

There's one up here.

Now this one, which is kind of nice has, you see, kind of 4 little sections.

Whether we do it now or next time, it doesn't matter.

Sometimes I just place them in around and then put the character in the following day or week.

This has some yellow in it.

And just a little aura.

I have to tell you that this is so enjoyable.

And, of course, any hint from you would be helpful.

But you're going to have to send them real fast.

Okay, still yellowish tone.

And I like the little yellow that we spot on, not necessarily as character, but just some background-- the supernumeraries!

Gee that word so impressed me when I heard it.

It sounds like that's a real important thing.

But a supernumerary, in opera terms, is just one of the ensembles off-stage.

Not off-stage, but it's the diva who gets the acclaim.

We have a lot of divas in this studio and I'm the supernumerary.

Okay, what do we want?

This?

This?

I think that's going to be a help.

Okay, let's go a little stronger on the yellow down here.

And when I say stronger, I mean a little more character.

Okay, I think we have time to start-- oh, we're missing you.

Get on stage!

You're so important!

Basically, White but just a little Yellow in it too.

Oh, I love that stroke!

And over in here.

We'll have such a good opportunity when we use some knife work on it.

So we have time to start building these, let's see, Quinacridone Rose, ones just a little bit.

And the way we'll do that, we'll still use the Quinacridone Rose, but now we have some White in it.

Oh, great!

And this one, always in mind, where's the light coming from?

Where would it hit?

Now this one-- you can see that we have a near edge here, and then this is the far edge.

So the light's hitting there and there.

Please don't judge these too tough yet-- this is stage one.

Lighter... lighter.

And then, we have one down here.

I'm going to take some Rose and White.

It's still fairly dark.

And I'll pull this up, up, down, down.

And we have its neighbor-- its competition.

They're both trying to impress that gal, these two guys, I wonder who will be able to take her home.

And then, again, you watch down here the direction this is going.

And I'll come over, just touch it a little bit here and there to refine them slightly.

Now there's another aspect that we can do.

We'll start it and then we'll finish it next time.

What color are you?

Okay, you're Viridian Green.

I think I'll just use the Viridian Green.

This, if we get just a little bit of a feeling of some of the flowers, I mean-- what are you?

You're not a flower, you're leaves.

And this is tribute to Jenkins.

♪ Beep, beep, beep, beep, beep.

♪ ♪ Beep, beep, beep, beep, beep.

Beep.

♪ He's a good guy-- he's done so much for me and helping my art career.

So I have this one, and let's come down.

We don't have a lot of time left, but what we can do today will be a help.

A little dark there sure is nice.

And then there's the stem coming down there with a little flowers on that, or leaves on that.

And I'm using the corner of the brush, just kind of touching it.

Oh, you need to have something holding you up.

And then underneath, I want to make sure that the acrylic is dry.

So I'm taking a little bit of Blue and Green, which doesn't make sure the acrylic is dry, but it'll give me a start on position of the darks that need to be there so you feel like it's coming forth.

This one has a little dark as well.

And then we'll put some in there.

Oh, this is great.

All of this will be softened, and we'll give great vitality to it, but this sort of shows us what it looks like now.

That's already dry, so we can touch a little bit.

We don't have much time, but you be sure and come back next week, because we want this to be a beautiful bouquet: "My Two Loves"-- the ocean and nature.

So I'm going to say good-bye by that.

That wasn't good-bye, I was going to say good-bye bye, bye.

See you next time.

Thank you for watching.

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