Why do they call them the good old days years later?

You can enjoy them now.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ We're ready for part 3 of "Nevada Again."

Here is the finished product that we've been working on, towards.

The "on" is over to the right.

So there's many little things that will enhance the painting that I'm working on.

I need to have little leaves.

I need to have some accent around the chimney.

I need to do detail on the bushes, and then some work down below.

So let's get started.

So we'll start with, I have a round brush and a little bit of Burnt Umber.

And first I'll underline this and put an edge on it and then come down the side so it's got a little bit of width on it.

I need to underline that too.

So you can see how that stands out now.

Okay, let's go then over to the trees.

I think what I'll do is take a bouncy fan brush.

And this Viridian Green and White and just a small touch of Burnt Umber with it.

See, that will give just a little semblance of-- even though we don't have much rain, and it's not green below in the field, we do have some moisture being used.

Oops, get the right green.

I love doing this, and you relate it from one side to the next.

See, I got a little generous there, but I like it.

It kind of brings the tree and the house together a little bit.

They're related.

Love those days on the farm.

Love that they're history.

You always look back, and you say those were some of the great days.

You had plenty to eat.

If you were poor, you didn't know you were poor.

Now what I see there, and I look over to the original, and I'm missing just a little bit.

I'll point to the original.

I have a little foliage come out this way, and that's kind of nice, because otherwise it's a little bit heavy that way.

So let's pull this over.

I need to have more dark, you need to be darker.

Burnt Umber.

There you are.

And then we have one that comes right off the side here.

And notice how you let them curve just a little bit.

They've been swaying in the breeze for a while.

Okay, that will be enough on that.

What I will do now is, I want to look at the green that we have, and I need to have just a little step up in a lighter green.

What kind of green are you?

Oo, here's Permanent Green Light, take a little bit of that.

Normally, I would just put a little White in that.

So I'm not normally.

So we'll use a little bit of this grass foreground color.

Oh, that's a nice color.

I hope you work.

Yeah, you're working.

It just gives some character to the bush.

Doesn't it?

And the way I'm touching this, I tap a little bit but sometimes I kind of mush it just slightly so they're not all identical twins.

A little bit over on this guy.

And some on this one.

Did everybody get the same amount?

You know when you pass out candy to your kids, you think this piece is bigger.

Oh gee, it's tough, it's tough.

So if you're arguing about how many leaves you have compared to the other one, then you're in trouble.

I'm going to touch just a little bit on this edge, to soften it.

Now, I need just to blend that a little bit.

Blend without disturbing it too much, and if you're a little generous, then we take you down.

What I find is a little helpful, the same round brush, and let's use some of this.

Where did we use this?

I don't know, but it's Orange with some of the grass color, and just the smallest suggestion of branches in there.

It makes it so it's a nice jump up to the house.

A little bit on this guy, and you don't get any, but you do.

You do.

It makes a nice foundation for that tree that's growing up behind it.

Okay, do we need to do any stronger lights on?

Maybe a little bit.

This is Yellow Ochre and White and Orange.

I'm making a lot of use of that.

That's the color we used down there just to accentuate that light.

It really gives a nice, graceful-- you're a supernumerary.

You know what a supernumerary is?

They're kind of secondary.

They're not quite the diva, and it sounds so good.

I'd say I'd like to be a supernumerary, but I don't want to be second class.

There we go.

I think that will be enough.

Let's look just at the roof itself.

I'll take a little Burnt Umber, and I want a little semblance of this being outlined just a little bit.

And what my purpose in doing this is so that it separates just a little bit from the sky.

Okay, is that enough?

I think that's about enough.

If you're a little strong, just wipe you down slightly.

You've been wiped out.

Okay, in looking at that roof, I look at the front part, I'm calling this the front part, and I need to have a darker wedge.

Right in there.

That will have an uplifting dignity to it.

Okay, so let's take a little bit of the Umber again, and we'll sort of undercut these steps.

So you see a very definite change in direction between the up and the flat, and a little bit along here.

Okay, let's leave that area, and we'll go down to the lower part, and what I want to do there-- You know, you came along on the bus, Purple.

It's now your turn to be part of it.

So I have White and Purple and a fan brush.

You're not doing much.

Let's put more White in there.

Okay, I think that will do.

It's just a little lighter, and you see some of that little color down there, which is kind of helpful.

And what would be nice too is if we put just a little bit of Red.

You are Cadmium Red Light.

I'll put just a little touch of medium with it.

I'm even mixing it slightly with the Purple so it doesn't jump out too much.

See, they're good partners, these guys, And I feel also down there, we could take a little bit of White, and I have Yellow and a little bit of the Green.

What will you give us?

♪ Give said the little stream.

♪ This is kind of near the edge, so it kind of rounds off that golden tone coming down to it.

You know what?

I like the aspect of that little greenish, and what I want to do is, let's take some of the same, but I'll put more-- this is Yellow and White.

I'll put just a little bit of green in that.

We'll see what that is, that's the Permanent Green Light.

So it's yellow and White with Permanent Green Light.

And as I point out at the original, there's a little bit of that there.

It's almost a little bit of hope.

If I dig this up, maybe the grass will come back!

And over in here, and you might note what I'm doing there is having a little bit of a composition help.

So the green's here, and as it comes over, it rises a little bit, and that's good for the composition.

Now this is a little strong, so if I just tap it, it'll mix in with the color that's already on there.

And tap that a little bit more too.

And down lower.

I kind of like that being just a little more shaded over there, so your eye tends to come over in here.

We'll put this in near the fellow, and we'll put some over in here.

Okay, what I mentioned the last week was that we would look at these poles a little bit.

First we'll put some Red and White on them.

Nope, you're not enough, you need more red.

♪ There you are, Miss America.

Buck, could you do the show without singing?

I suppose.

Now, I see on the original I don't see a fence coming all the way across.

I kind of like that openness of him being there, but I do have the smallest suggestion.

So let's try the small suggestion, see if that works.

This is with Burnt Umber and kind of juice so it's not too dark.

We'll at least have it come over to this guy.

See if it were my dad, he'd say "Okay, I want you to go out and make that fence work so the cows don't get out."

So we'd go do it.

Umber.

And you say well, it doesn't go all the way across, but I'll tell you what helps if you take some of the same thing and just let it kind of come down into the grass.

What about over to the other side?

I want to do it there too so you feel like it has a little bit of an opening, but that this fence does surround the farm.

I remember the first time we put the electric fence around our yard, and my dad says, "You want to touch that?"

"I don't want to get a shock."

He says "Okay, well do this.

I'll hold your hand and I'll touch it and show you."

And naturally the shock came right through him to me, and he laughed uproariously.

Okay we have, let's see, I'm taking Umber and Sap Green, that's about equal parts, and I want to have, just make sure that these are just a little stronger.

Push this up, and put some in there.

Okay, I think that will work.

This tree kind of evaporates a little bit there because it's behind a bush, but I'm pushing some of this dark just a little bit so you kind of feel it goes back behind that.

Now let me take this brush that came along on the bus.

I really like that, and I'm going to take-- where are you?

I think-- is this the Raw Sienna?

This is the Raw Sienna look.

Just a little bit of this.

Do we want to go straight?

Okay, I'm going to put a little Orange in it and the smallest amount of White, then I discovered on the back of the bus.

Where you been?

Transparent Iron Oxide.

I don't know which one's best.

We'll see.

Well, you're both alike.

Just come up in this area, and look at this brush.

Oo, it's great.

That gives a nice transition from the yard into the distance, and not too distant, just little bit behind it.

So we'll do this over on the left side.

And then over further to the left-- I'm just showing that you don't have to use the same color to do this.

This is more the golden tone.

Okay, now here is one small item that will help.

See, we have the bush against the house, but you don't really see it like the original, which has a silhouette.

So I need to come up and I'm going to use-- you're Viridian Green, you're Sap Green.

All present and accounted for.

I think I'll use just a small amount of White.

And so I'm going to spot on, like that, just a few accent leaves.

And at the same time as I do this, I'm losing some of the orangey tone that was coming through, which I want to do.

You know, when you first do it, you think oh, that's all right, that's all right, let's have it come through.

But the more you cover with things, the more you realize I need to be a little more accurate and not let quite so much come through.

Okay, a little check of Burnt Umber under this windowsill.

And we have it on this side.

What about over here?

This corner got lost a little bit.

Like that, and then there's just a slight feeling of it showing underneath there.

I'm so pleased that we got the extra time to work on this.

It just makes it better.

Now, on the front side of the building, if I'm calling this front, there's a dark, and there's the window, but if we have the smallest-- and I'm using Burnt Umber and White with a touch of Red.

Let's just put this right against that; a little more White.

So you're kind of outlining that window a little bit.

It gives just a little more accuracy.

All right, do we need to do anything else on there?

I think not.

I look at on the roof, and I feel just a little lighter, so I'm taking the color of the grass, dried grass, and I'm going up and I'm going to just touch the upper shingles.

And on this side as well.

Right against there.

If the edge of the roof doesn't quite show out against that sky, I'll take just the smallest bit of Umber, and we're touching the edge of the house so you kind of separate it from the sky a little bit.

Boy, that's a light touch, and that's what it needs to be.

Okay, we probably could just emphasize the clouds a little bit more, and when I say that, when I look at the edge, I see that, and I don't quite see one there.

So let's take, this is White, and the brush-mixing man is in town.

This is a little bit of the lower grass color.

This should work.

Okay, so I'm placing this on, and notice how I am able to get a little bit of that edge showing, and then a little bit on the interior.

You're always conscious from which direction the light is coming that would lighten the clouds as we just did.

I'm going to go over to the right here.

Look at this.

This could stand a little more strength in there, and particularly since you have it coming down against the roof.

So I'll put this on, and then the dark of the roof is very helpful as an accent.

Okay, now I have it on where I want it, but I need to blend just a little bit.

I sure hope you will use this project, and that you will send me a photograph, email me... or Facebook.

Not much over here, just a teeny little bit, and then as I go over to the right-- I haven't gone there yet-- when I go over to the right, I have a semblance of a cloud there, but since I've strengthened the ones in the upper area, then I need to put just a little character on this one as well.

Just a little bit on the edges, not as much as the first one, first ones.

But it's so surprising what little things like that will do as far as your total composition.

I'll have the smallest amount of light in here, so lower clouds, but not any significant size.

and over to the far left-- I have to hit my hand, and say, oh yeah, you're left.

Okay.

Far left.

That gives a nice accent against that tree, and you notice the tree--oops-- how it sort of rolls up.

Well, let's say this, because of its angle there, it supports all of this.

So you get this coming down, moving around, and it's always in mind-- composition.

How does the eye move through the painting?

Let's see, I know one thing that would help a little bit.

This is very thin paint.

This is Burnt Umber, and I put it just a little bit of the board divisions.

Same thing, I ran down and got it quickly.

Now I notice, I see some of this.

I don't see much, but I'll put just a little bit.

When I place the paint on, it was in brushstrokes, which sort of helped this look right without doing too much of this.

See, I don't want the lines to be strong, but it gives a little more correct character to it.

There is one other thing I'd like to do.

That's the Burnt Umber and go just a little stronger under the roof, the eaves.

Oh, thank you for watching; this has been a grand trip.

I've learned on it, and I hope you have too.

We'll see you soon, I hope, and good luck with this project.

It's a good one.

Bye-bye!

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