It's too hot to work in the yard.

Let's go play some baseball.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ Painting is next to playing ball.

So we'll paint first and play ball later.

I want to show you the finished product of "Nevada Again," and then we'll take this off, and you'll see the middle stage, and then over to the right, I have primed the canvas.

I put a little Red and White in the foreground.

I put some Phthalo Blue and White in the sky and I let them blend together a little bit so it's a kind of a mottled type beginning, and what I intend to do is to go to the sky first with a color that will be just a little lighter than what's here.

We'll blend it around.

I won't go clear to the corners, which I've done there.

This is Phthalo Blue and White with a little Viridian Green in it.

Now, did I already state that I put the Walnut Oil on?

If I didn't, I did.

If I did, I did.

I will go over to the right, but at the time, I'll go thinly enough that I can still see the branches of the tree through there.

What will make this quite nice on the next week, boy, this is a 3-week series, is that we'll have some of this wet so the clouds can blend in a little bit.

That is just very nice.

That Walnut Oil helps it spread so thinly, so nice.

You know, I was raised on a small farm in Minnesota, and oh my gosh-- brings back memories!

Okay, I'm going to now-- and they're good memories.

We didn't know we were poor.

How can you be poor?

We ate, we slept, We had fun, we laughed-- we weren't poor.

This is Burnt Umber and White, and I'm putting this on the roof.

I love painting!

I'm saving a little bit of the line so that I know that I'm within in the lines.

You can see when we get to the stage we're working towards that all the lines will have been softened a little bit.

So to do that, just go up a teeny little bit into the sky.

I won't take time to do that all over, but that's what you will need to do.

I like the little effect, the mottling on the priming.

It's just a gesso, or acrylic rather, but sometimes I put a little texture in just to get an impressions of what we want.

Now, did I mumble or did you understand that?

This is Burnt Umber and White, and that's what I just placed on, but this, you can see, is a little darker.

And you will see it will be even darker.

Burnt Umber and White.

This is the shadow side.

And then down below here, you have a little door there, so I'll go right-- are you a door?

I don't see the door over there.

Well, what are you going to do?

We're going to do it like you're looking at it.

So we'll have a little window there, but the door is kind of on the front of the house.

Isn't it?

So let's come down the steps with just a little bit of this in, and when I do it, I'll skip just a little bit so you kind of have a light on the edges without adding anything to it.

A little bit on that post, and then we have a little post back here, maybe one that my brother forgot to put away when he finished using it.

Okay, like that.

Do we want anything on the back ones?

Maybe just establish a roofline slightly.

Slightly, and then along this one.

Oh, I see another use for this, and that is the tree.

There's a little bit of pink showing through there, but I'll kind of ignore that and just take the Umber.

And what's the best way to do-- to go up or to come down?

I don't know.

I think it'll be easier for me to come down.

So that means these outer ones have to be very small, tapered and I've said this before, but I want to repeat it.

When I put that on, I kind of lift the brush a little bit so it has just a little character in there instead of doing like this where you just put it long like that.

Oh, you don't look too bad.

The working into a wet surface, the blue being the wet surface, it does allow you to get a little more softness and that, but I certainly like the attitude of character.

And of course, we know that the tree always tapers.

So it's a little more narrow at the top and it widens a little bit.

And this is in front of the little shed.

Oh, you really tapered; and out here.

I was looking--these out there-- where are you coming from?

I don't know, it must be another tree someplace.

So this, yeah, I don't have it coming from this guy.

So taking some more of the Umber and that, and we'll just, there, and if we put just a little extra branches on it, then it won't look like somebody's pole vaulting stick.

Oh, that's so clever, Buck.

How'd you come up with that?

It was easy.

All right, I will do a little Umber under the roof over here.

Then let's go ahead and put some color on the side of the house.

If I remember correctly, Raw Sienna and White.

What do you mean if you remember correctly?

That's what it's going to be, and it's always helpful when you have something to look at is to hold the knife up to it and see what happens.

So we'll start out and see what this does.

Yup, Raw Sienna and White.

Did I say Yellow Ochre?

Raw Sienna.

Very good, Buck.

So that was equal parts of White and Raw Sienna.

Flat sable brush.

You notice, I said earlier that I had placed on some oil on the whole canvas.

It's not real runny.

So when this goes on, it goes on a little bit dry, and it has nice control.

Above here... like that, and over to the right side a little bit.

I need to go higher.

So that will cut down that blue a little bit there.

You are there.

There is little light line that comes here, and it comes down here.

So this juts out a little ways from the house.

Do we have?

Yes.

I answered the question before I answered it!

Do we have any other golden tones?

And you can say, yes, Buck!

What about that front yard?

That's true.

You are more observant than me.

The distant building.

Okay, I think that will be enough of that for the buildings.

Now, almost the same thing for down front.

Let me just see with holding this up.

So it's pretty close to the same.

There might be just a little touch of Umber in it for the front yard, and when I say a touch of Umber, I'm looking at bringing over some of the roof.

It's not much, and it really maybe wasn't necessary, but we got it anyway.

So I'm picking up the brush that has just a little Blue on it, blend in there.

Oh, we cover a lot of territory.

Was this grass ever green?

I don't know.

It's sure brown now.

Use a little bit of Walnut Oil.

And here see, I don't mind if I come across the posts just a little bit, because when I put the posts in, it will soften their edges by going into the wet paint.

So that's more on purpose than avoiding them or accidentally hitting them, and same thing down here.

If I come a little past the line, then you can blend the dark into it, it'll really help it.

Get out of the way, farmer, I'm coming your way!

Oof.

You know, when we put the light around him, his jeans are going to be pretty close to be looking good.

Okay, what I like about that, it has a nice sway to it along there.

That's a nice feeling of movement.

Already you have it very stiff and all that, so any little grace in it which we have achieved with that back line is very helpful.

Okay, I'll bring this down, and then we'll take a small brush and push in between the pants legs.

And the front just a little higher, 'cause I notice on there the soft green hits up near his head.

So in order for it to be soft green, we need some of this higher for the green to blend into.

Okay, so I think what would be good now, I'll use a little Umber, and I'll put on the posts, and I'll put a little bit down here in the dry grass, and then we'll put the green on and see how much time we have.

How much time do we have?

I don't know.

Yeah, I do.

We have enough time.

Okay, Burnt Umber!

When I look at it here, it's pretty soft.

So I'll see if I can use just straight-- what are you?

You're Burnt Umber; straight Burnt Umber.

Yeah, it's going to work, 'cause you thin it out a little bit, and remember what I said, that we push this up just a little bit for an edge of dry grass.

This is the largest gap, and it leads right up to the house, which is very nice.

You always want to watch your composition.

You know, this flows in nice down to the man.

The line there is so graceful, and then when we put a few clouds in, it will further accentuate the sky where we need it to be accentuated.

Okay, now if I can find those posts.

You know, we had one year, my dad, we had a small farm in Minnesota 3 miles from Pelican Rapids.

Are you large enough.

Yeah, let's try this.

You're a little larger, you're a better one.

We did some poles for the fences, and we did cement.

We had these forms, and they came out.

They looked absolutely beautiful.

They were kind of tapered and had little ridges on them.

Just absolutely beautiful.

One of the problems was, we didn't quite get the mixtures right so they broke quite easily after a month of hot summer.

This one is nice.

We have him slanting just a little bit.

See how he's towards the man; towards the man.

So these are just there, but this one you achieve that help.

And then I hope you notice-- I don't know why that one's out there.

I wonder if I should have it there.

Well, let's do it, because it's going to be there when we come back.

All right, let's go to the fellow a little bit before we put on any of the green and that, because we can kind of rush a little bit on that.

So he has a little bit of blue.

I'm looking at Ultramarine Blue instead of the Phthalo.

And this is Ultramarine Blue and White.

So you're putting the lights on in this case first, and then we'll take the Ultramarine Blue straight for the dark.

You see a little bit of his foot there, his boot, and a little bit on this side.

I came right down through, and we'll have to put a handle back in there.

So, okay, you have kind of the shovel there.

Is that what it is?

Is it a shovel?

Boy, I don't know.

I'm going to take a little bit of the background color and just kind of push that in so you're just seeing the side of the shovel.

Okay, let's go up to the shirt, and on the shirt I have Phthalo Blue and White.

This is what we put in the sky, and we'll put this on and then a little highlight on it.

See, it looks kind of off-white, but we'll build to the lights.

We'll go a little bit more with it.

A little Ultramarine Blue as a kind of a, underneath the arm.

What kind of hat do you have?

He's got a golden hat, but I'm not ready for that yet.

Let's put the handle in.

I have the Raw Sienna and White with this little brush.

Oh, I need a different brush.

You too big.

Oh, there's a good one.

You haven't been used yet, kind of like an extra point kicker in football.

You sure you have to use him before the game's over.

There, that's the spirit.

All right, now I need to put a little light on the back of that shirt.

I have Yellow and-- I don't have Yellow!

I now have Yellow and a little White.

A lot of White, a little Yellow, And it's almost desirable where it's a little dirty, so it's not too clean, And on this, I'm pushing enough so that I do cover the line.

And he's got kind of like my shirt.

It hangs down just a little bit instead of being tucked in.

I think if you've been watching the series, the first shows, I had the shirt tucked in.

That was to let you know that hey!

I'm not fat, The reason I have it hanging out, it's just comfortable.

I need to take a little bit of the golden tone and just come in slightly on that so he's not too round-shouldered.

That's better.

A little bit of Umber.

This is what we put on the roof.

Boy, I hate to tell him, but your face matches the roof!

And then pure Umber both for the shading-- and what else?

Just a little bit on the outline of the hat.

Actually the hat has a drawing so we don't have to do much on that.

Let's put just a little bit of the sand-- this is the grass, I hate to say grass color, but it is.

Where I live in Santa Barbara, we're on a moratorium and no watering, so I could just look outside, front yard-- that's what I would see.

Okay, let's go ahead with some of the greens, and I have a fan brush, and I'll take, it looks like you are Sap Green.

I want to mix this just a little bit with the White to see what it looks like when it's thinned out, and I like that.

So this is Sap Green with just a little bit of the grass color into it.

Now when I place this on, I'll put this on knowing that I'm going to have a dark underneath it.

And I see one other thing that I need to have as well, and that would be, see, I'll put the dark under there, but then there's just a little bit of cast shadow along there.

So let's first put the green in, and when you put this on, if you can have just a little variety of heights, varying heights.

Oh, what did you do?

Just went through the gate.

Okay, over to the area under the porch and the house.

Over in here.

Now, I'm not getting quite the use I want out of, see, I have those lines that would give you a little trouble.

What I would probably do if this were to be a finished one, I'd take some of the house color and come down, and cut into that edge a little bit so you don't see it.

Okay let's continue with the green, and this is, I had said.

It's green and it has a little bit of-- what are you?

Oh yeah, the grass color in it.

Okay, I'll go ahead then with a little bit of the dark, and the dark, I have Viridian Green, but let's put just a little Umber in it.

I'm already to paint up there.

You're next!

You're next week.

We'll make you look like the original.

See how I'm coming along there?

That little shadow, little shading-- Viridian Green with a little Umber in it, and it's not solid.

I like that where it's sort of broken along there.

And then over this side, we have more of it, and when I say more, it goes up just a little higher.

Okay, I want to do a couple other things.

We have time to do it, and one of them is to put some color on that building.

That's Blue and White with just a little bit of-- what are you?

Van Dyke Brown.

The Van Dyke Brown will gray it enough.

It's not much different, but it's there.

Oh, did I hit your hat?

I'm sorry.

And as we mentioned having just a little bit of golden color.

This is pure Raw Sienna under here.

I'm going to put a little Umber in that.

That's better, that works.

What happens back here?

I guess you should have some blue.

Take your middle finger.

Whatever it is you look great.

Thank you for looking great.

Okay, I see there's still some things to do, and some of them we'll just tell you what to do.

Oh, we need to go a little darker, a little higher on this tree.

I have a little Umber and the Viridian Green, or Sap Green rather.

A little darker right in there, and we could put in just a little window in this building.

This is Burnt Umber.

And we have a couple little windows back there.

On the front windows, it seems like we should have just a small amount of sky reflection showing through there.

Boy, this is exciting!

It's so warm I feel like I'm in Arizona!

So we'll go on next week.

The model will become the subject.

See you next time.

Thank you for watching.

I hope you enjoy the shows.

If you have questions, contact me.

I'm reachable!

See you then!

Bye bye.

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