No plumbing, no electricity, no TV-- sounds like my boyhood home in Minnesota!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ We are in the middle stage of a 3-part painting project So we did stage 1 last week.

This week we're going to do the middle stage, then next week, we'll work up just a little more perfection.

It's great to have 3 shows for one painting.

You know that some artists, they use 5!

Whew!

That's luxury.

Okay, let's do this.

We're going to do a little bit of glazing, and I think for that to be helpful, or help rather, I'll put a little color.

This is not color.

It just happened to look a little green, but it's just a little wetness with the Walnut Oil.

Not much, and what I intend to do is put some soft bluish tone in here, just enough to make it wet so that I can work clouds into it.

So I'll be doing it above the house, down between the houses, and a little bit over to the right of that machine shed.

So here's Blue and White.

You are Phthalo Blue and White with just a touch of Alizarin, or not Alizarin, Sap Green.

See, this will be just a little lighter, and then we're going to work into it, and I'll push this around so it won't stay quite that definite.

A little bit over there too, and then over on the far right side.

All right, I'll take a paper towel, which is clean, and we'll wipe just a little bit the edges, a little bit through the middle of it.

Now, you're going to be tested on this.

Remember the reason I said we're putting that on?

We're putting it on so when we work clouds into it that we have something to soften into.

My teacher's name was Claude Buck, and sometimes called him Cloud Buck, because he really loved the clouds, and these days I go outside sometimes, and I say, "Hi, Cloud!"

And no one says anything.

You can say hi to clouds.

Okay, here's White and just the smallest amount of Yellow Ochre.

There we are, and even if there's just a little blue on the brush, that's fine, because when we go up here you're going into the wet blue anyway.

There's a little one there that rises up, and I'll put these on, then we'll kind of blend them a little bit with a blender brush.

This has a nice contrast right at the corner of this roof.

So that is done on purpose to really feature that rising roof.

And we go down here.

Oh, there was a great joke about, I need to tell you when we talk about roofs.

So this guy, he tells this popcorn master, so we don't say bartender, and he says can I have a free drink if I can have my dog speak?

And the guy says yes.

So he says, "Okay, dog.

What is on top a house?"

"Roof!"

"That's right!

What is it when you use sandpaper?"

"Roof!"

"And who was one of the greatest baseball payers of all time?"

"Roof!"

This guy wanted his drink free, and the guy kicked him out.

And as they're going, the dog says "Was it Mantle?"

Anyway there you are.

I didn't know if I could tell a joke on TV.

As if there's no jokes on TV anymore.

Right?

Okay this, I'm blending down more, and just a little bit in here.

A little bit there, across like that.

I like that.

So let's go on to the roof.

We'll come right down, and I have a flat sable brush.

I need to have a little blue on that roof, and I'm taking, this is Ultramarine Blue and White and this is just going to scrape across a little bit this way so that you get some age into the roof.

And then I'll take some lighter light which we have.

This is Yellow Ochre and White.

And when I put this on the top of the roof, it'll make it stand out a little bit.

You can see it's right against the little pipe there too, and then it sort of skips over to the far edge, And just take and just tap it a little bit.

Just drag a little bit, kind of accidental-looking.

I need to take one thing.

This is Umber, and I need to just peak this up just a little bit more.

It doesn't go quite high enough.

So that will give that a little more of a pitch, and I like that better.

Okay, on the surface of the house, it's going to be Yellow Ochre and White.

It's just a little lighter than what is already there-- hopefully.

Yes, and I'm pulling just with the brush like that.

Just pulling it across, and then where needed, I'll turn the brush and go just a little bit this way.

There is a shadow under the eaves.

So I won't go up any higher than that.

Let's come down, just a little bit of a line there so you've got something to aim towards as you come across.

And like this.

And not much but a little bit out there too.

And in here.

This is so exciting.

I just love to do the paintings for you.

This is Yellow Ochre and White which we just put on the side of the wall, and you know what?

I'm going to add a little Orange to that.

So I have Yellow Ochre and White, just a touch of Orange.

It'll be just a little more golden, I hope.

Not much, but it's enough.

A little more of the Orange.

And a little bit on that door.

See, that door sits back in, so you don't put the light all the way around.

A little bit of light on this guy.

What you can do is, as you put this on, you can be a little more careful with it, but I'm not; I'm kind of in a hurry.

I'm taking this is Blue and White with a little of the Van Dyke Brown, and just to get that shadow just a little bit more there.

All right, let's take that same color, and we'll go up and put a little bit of dark.

I don't know what you call this.

It's not just a chimney.

There's gotta be some kind of word that I'm not familiar with that shows that little thing, but for now it's a chimney.

And we'll put a little light on that with our Yellow Ochre, excuse me, Raw Sienna and White.

You always need to give credit.

It's so tough when you play a ballgame, and they'd say, "Ah, Paulson scored 2 points."

I actually scored 3!

Why didn't they get that other point?

What was the game you were playing?

I don't know.

Okay, that's good.

There is just a little bit of that light right on the edge here.

It'll let the roof kind of jut out a little bit more by having that along there.

And just to disguise it slightly, I'll take a brush and just push that top edge.

Okay, what do we want to do now?

Let's go to the distant building, and when I say distant building, I'm talking about the one that's between.

This is a little White, a little lighter than this.

That's the neighbor.

What I like on the farm, we would share.

We'd go help somebody with their crops, and then they'd come and help us with ours.

But I wasn't a great farmer.

I wanted to be playing ball.

Here's Raw Sienna and just a little bit there.

But boy, those are great memories.

And of course, Minnesota's the land of 10,000 lakes.

Oh, we had a lot of good times at the lake, Fishing year around.

How can you fish year around?

This is Burnt Umber, or yes, Burnt Umber.

How can you fish year around in Minnesota?

Though the ice or from a boat.

This outlines this rather nicely.

Let's go just a touch darker, and when I say that, I have some Van Dyke Brown.

Let's go a touch, what are you?

Oh, yeah you are Van Dyke Brown.

Do we want any of that in here?

There could be a little here, and then this window that's partially down needs to have a little bit of dark right there.

And I think what will help while we're doing those windows if you take the smallest amount, this is from the clouds, just a little bit, because you're going to have reflections in the glass.

Okay now, I want to come down on the grass, and what I think will be very enjoyable on that, I haven't done this before, so let's see what happens.

I am taking some, I have to read it to you because it is good.

It's Transparent Yellow Iron Oxide.

Great.

It's very like it says-- transparent.

So let's put this down.

I'll first put where I see it a little lushly-- oh, this is all dry, so I'm okay.

So what I want to do is put this on, and then we'll work with it just a little bit.

Here I'm working it a little bit by pushing it around.

I'm going to take a paper towel and further push it around.

So it becomes like a glaze.

That's what you are-- you are a glaze.

I wonder if I should put any in the middle.

Even before I could answer that, he's doing it!

And I'm a little more sparsely applying that.

Is that a word?

Sparsely applying?

So that'll have that area a little wet, and let's come then.

The color I want in there, I look at this, and I'm pointing this out to you.

I mean, there's a variety of colors in there.

We have it quite light.

There's some kind of greenish tones over there and around.

So I will start with some of the greenish tones.

You are Sap Green and White, and I'll mix just a little, the Yellow Ochre with you.

Yeah, that's better, that softens it slightly.

Now, let's see what this does.

I'm sure when I put this on I'll have to wipe just a little bit of it too.

This is just kind of dobbing it on to get it on in the places I want to work with.

Okay, now before I work with it, I'll blend that out and I'm choosing to use a paper towel.

It's on a dry surface before I did the glaze, so there's a lot of control in doing this.

Okay, that gives me my greens.

Now I'm going to take the Yellow Ochre and White, and I have a feeling for doing this.

I'll do it where I'm pleased before I put it up there.

This is White with Yellow Ochre.

It needs to be quite golden.

I'm looking-- oh gee, Orange, you're so tempting.

Okay, let me hold this up there.

Oo, I like it, but it's a little orange.

So let's go just a little more White and a little Yellow.

I think we'll use that, because we have another week on this, and when we come back if we have to make any adjustments we will.

So I'm doing this dry brush as compared maybe a little medium on some of the other stuff.

Now I'll tap this on for the areas I want it, which will be kind of generous, and then we'll blend around and make it look right.

And as I come lower, where I use less paint, then we'll achieve some of the soft greens down there too.

Okay, that's working.

That's working.

I'm working.

I'm working.

Across like that.

A little bit up in here.

There's just a little bit there.

This comes a little closer to his leg.

Good!

Okay, now I have two thoughts.

One, in blending that, what if I just take the knife, which is dry and flat, to kind of tap it around.

And when you're tapping around, you're pulling some of the larger quantities down as a blend.

You want it to be accidental-looking.

[pop!]

You're accidental; you're just right.

Okay, let's go ahead with this.

I will push this up just a little bit.

That works fine into the previous tone you had there, and then some of this needs to go up just a little bit.

Look at what that does, it gives character on the grass.

And we'll do that over in here too so you don't have too straight a line there.

Okay now, down below, I'm going to choose, let's see, I think I'll use the Van Dyke Brown.

Let's see if that's true.

That's pretty dark.

Let's try some Umber with it, And this will be down here just wiggling along there, and then we'll let it come up a little bit with character.

What I notice we'll do next week, we'll add a little bit of the purple flowers down there, which is so complimentary both with the gold and with the green.

So when I push these up, notice that I'll make use of some of what's already there.

So this won't be a total silhouette.

The silhouette in this case is a little lower than the edge, but here and there, I'll let some of this go up just a little higher.

Here we go.

Along over in here, and I notice when I look at the original, it's not just solid all the way across.

See, you can see some here, it's a little less in there.

There's more in here and more in there.

So this is sort of towards the post it's pretty dark, and then we kind of skip a spot and come over here, And you know what I like is the choice of the priming of the canvas.

That little pinkish red showing through all over, and you can see it down in through here.

It's very, very desirable, because somebody doesn't come along and say oh, I can see through their canvas.

They're saying oh, they put some pink down there too.

So that's what it is.

You're making use of the priming.

Okay, I think, let's see.

Should we do it?

Yeah, let's put a little bit of dark on the posts.

What's quite nice on the posts is, they have a little reddish showing them.

I'm taking the finger and just coming a little closer there, because that pink was a little strong.

So let's see if that's dark enough, and then we'll take some Cadmium Red Light and some Raw Sienna, And I'll just lean on this.

I try to come in a little ways so you still have an edge to the post.

What I especially like, and I haven't done it is, when I look at the original, that there is a little secondary post there.

We'll get that in just a minute.

This is again the Red and White, with, what else did I put in that?

Was it a little Umber?

Could be.

Blend over slightly.

That post-- pretty pointed.

I'm going to add just a little top to it with the dark.

There.

Okay now we need to have that secondary post, and what I like about this, it's down just a little bit, let's see, about there, so it's not quite as high as that one and it's lower than this one.

Need the Umber, need the Umber.

There you go.

What we'll do next week as well, and you can see it, just the smallest wire along there.

I don't see it over there, and I don't know if I'll want it over there, but we'll see.

We don't want anything to get out of the gate.

Okay, what do we want to do now?

Maybe just a little bit of work around on the house.

I'm going to take a little bit of Umber and just outline just slightly.

That's good, good accent.

We have it there, but need just a little bit out there.

What happens on the inside?

Well, I can establish that window just a little stronger, and then there's a little overhang back here, which does have a pole supporting it, which needs to be just a little stronger.

What about the distant house?

Well, there's a small amount of the Umber, and you already have it under there, but on the far side it could have just a little bit.

Now the tree we have here, wow.

Well, let's put some lights on, then we'll water it overnight, and the next week we'll get some leaves on it.

Okay, so this is red and White with a little bit of the grass color.

And I don't know if you can tell, but I'm leaning my little fingernail on the canvas.

So I have a very, very light touch.

It makes it so securely on coming down with the same size line.

And any lower?

Yes, there's some lower, and oh, let's put just a little branches out front.

When I say out front, right here.

I really like that leading up to the house.

And you know, this is all a help in composition.

So you have things relating to each other and so on.

So next week you come back.

We'll put the final touches on "Nevada Again," and we'll see you soon!

Bye-bye!

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