Always paint your paintings to please yourself, because your may have to live with them!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ I think one of the worst compliments you could give a person is saying "Oh, you're so predictable."

Well, you just watch, and I want you to try and predict Buck early in what's going to happen.

Okay?

I have a large brush, I'm dipping into the Walnut Oil.

I'm gonna put the Walnut Oil on.

Yeah Buck we have seen this before.

Yeah?

You just stay there.

Put that on, spread it around.

And you know what I really like is, on these shows is comments from people who will say "I'm not an artist, but I enjoy your shows.

I enjoy your energy!"

I need to tell my program director that!

I enjoy your energy!

Okay now you say okay well, let's see.

Do you do the Saturday night bath or mudpack?"

Yes!!

Okay, so here goes first the Saturday night bath.

And I'm going to put this down below.

This is Sap Green.

And I have a large brush with this.

You can't see much happening there.

It gives a little veil covering it.

As I go a little higher you probably can notice it a little bit more.

Okay, remember that little smart-alecky tone-- and I just dipped some more of the Sap Green.

You know that smart-alecky saying I had-- yes, yes!

Okay I'll clean the brush and then we'll take some Phthalo Blue and white and a little bit of Raw Sienna.

We're going to do mudpack as well!

This is the first time I've ever done this this way.

You're going to have to stay in tune the next few weeks because we've got some real special techniques you're going to enjoy.

Okay so this is Phthalo Blue and white with a little Raw Sienna.

And I'm coming up to the top.

When I put this on, it will be very filmy.

Yeah you're right!

But I will wipe this slightly.

I don't necessarily need to have them blend together.

When I say that, the Sap Green, the Saturday night bath color, and this, but I'm pushing this around because the up above is quite soft, because of that intense light coming through.

[soft scraping] Now what I want to do, when we did this in the acrylic stage-- Did we do the highlight last?

I don't remember.

But anyway, we're going to sort of work it up first.

So I have some yellow and white and this is a touch of, what are you?

Viridian Green?

No you're Permanent Green Light.

Okay, let's see what that'll do.

I don't have much of that green in it.

I'll take a brush first and then maybe with a knife.

We'll take a fan brush.

I love the fan brushes.

I am a fan of fan brushes.

Okay right in here.

See it's just a little lighter than what was there and this will blend into that Saturday night bath color.

[soft scraping] It gives such an ethereal look.

There was a statement that said just putting a mist over something doesn't make it spiritual.

So this almost a mist.

But this is almost spiritual, isn't it?

Let it fan out aways and that will give us an opportunity when we put the little pinks on to have something to blend into.

I'll come down across the lower light there.

Wasn't there a song ♪ Keep the lower light burning.

♪ I think that used to be in with lighthouses and that.

I think there were a couple of lights so the lower light had to be lit as well.

Oh gee I love that.

Now, if this comes out looking different than the original and I like it better, then I'll live with it!

Okay, what do we want to do now?

I don't know!

Let's go with just, oh.

I'll take a little bit of that light.

Could I use that straight?

I'll see.

I'll try using that as sort of the, in between the back trees.

Yeah that works all right.

It works very well.

It isn't as light because I have less paint, and it thins out and is a little darker.

We don't want to compete with the prima donna.

You know what surprised me in opera when you say they're a supernumerary.

I think oh gosh, I'm a supernumerary!

You know what a supernumerary is?

You have the diva then the supernumeraries are kind of some of the ones that sing over on the sides and so on.

They're not featured, but they're important.

So these were supernumeraries.

And a little bit on this side, this side, this side.

Okay let's go ahead and sort of work down.

I'm going to take a brush, this flat one, it's sort of large, and I'm taking some of the Phthalo Blue and white and I want to just drag this just a little bit on some of these distant trees just to give them a little vitality back there.

I'm going to change slightly.

What are you going to change to?

I don't know, I guess we'll keep you.

I'll put a little red with it.

There see it's just a little different, it's a little cooler, and I sort of-- yes.

You knew what you were going to do, didn't you, Buck?

Yeah, I did.

What I've learned that you compensate, you learn so quick when you do things.

Sometimes an accident that are just right.

You don't criticize anything for happening that you didn't want to happen, because it should have happened, and it did happen.

If you can make sense out of that, please let me know.

I'm going a little with the blue here but I'm going behind; I'm going through.

So they sky showing there is darker than on this side.

Okay, now let's go to the trees.

And we've been going to the trees, but now on these trees I'll take, are you Van Dyke Brown?

There's one way to find out-- it is!

It's Van Dyke Brown.

I'll put a little red with that too, which will warm it just a little bit.

Now, we'll first put in our dominant tree.

And I want to repeat this.

I'm using the little finger to touch against the canvas so that I can kind of control the amount of pressure I put on this.

Otherwise when you're going down, you're just all over the place, so it's kind of a pivot point.

This tree will have some green on it as well, as you can see on the original-- that sort of softens it slightly.

There is a little branch coming up there.

Oh, love this art!

You know, when I was first in Minnesota, that's 50 miles away from here, and I came up here to Fargo to play baseball.

Little did I ever think that I would be now an artist on television.

I was hoping to be a baseball player on television, but they didn't televise the class C northern league professional baseball players.

We were on radio!

That was nice.

And my biggest fan was my father.

Oh, he was so great.

He played baseball too.

I was so proud of him.

Once we had a father/son game and he was up I don't know how many times, it was 4 times or something.

He got 3 hits, and I was, was I 16 or 17?

I wanted to get him out.

I tried hard.

He was a great hitter.

And then one year later, I'm playing professional baseball, so it tells you how good he was.

This what I like what's doing here, as I touch it you are selectively creating some places a little darker than the others, and it's such a great, great, great way to do trees.

Because you don't have that hard outline on them.

This one-- see if I can make it so you can see.

♪ Oh say, can you see?

All right, now the next one doesn't really have much.

It has a little bit at the top, and then it will be otherwise down below.

Okay now let's go ahead just a little bit with the light area that we have.

I'm going to add a little more yellow into it so we can get some of the lighter ones down below.

This is Cad Yellow, and this is the yellow and white.

So it's still cad yellow and white, it just has more yellow.

Okay.

The way, how do I want to fill this.

Just kind of patting it, like that.

I'm patting it like that, but I find that I'm leaning, well, not necessarily so-- I was going to say more towards the front edge of it, but some of the back part is touching a little bit too.

Okay, I think what I'll do is, let's put some of the pink in, then we can come down to this area.

On the pink, I have Quinacridone Rose and white, but I'm going to use a fan brush instead of the knife.

Quinacridone Rose and white, but I'm going to sort of lay it on it's side just a little bit to drag off.

And so often what I find helps and it's helping now is, yes, I'm looking at that.

Yes I'm showing you how to paint that.

But if this comes out a little different, I think it has its own identity.

You don't have to be like your big brother or sister.

Be yourself.

And down in there.

Okay a little knife work and when I have the knife this time, I'm looking maybe to have, what should I have.

Let's take some of this mudpack color.

And I'll come back and touch into that just a little bit.

It sort of softens that down.

It's so fun to discover another technique that works.

And this one does.

See, it breaks it up so you don't find the large individual shapes there anymore.

Okay that will work there.

All right now we'll take some of the yellow.

We'll make a nice green.

This is Permanent Green Light.

I'm bringing it down near the yellow and white, and I'm going to hold this up next to that.

Oh, that needs to go lighter.

So I have more, more white into it.

Do I need to have a little more yellow?

Yes.

I appreciate when you say "yes" and you kind of help me; that's a lot of help.

Okay, so let's go to the fan brush, and we'll bring this down with this technique where we're going to fill it up, it gets pretty full, then we'll just kind of tap off the sides, because you're trying to represent a multitude of little leaves.

Hm, I really like what that does.

Wiping the brush a little bit.

Why did you wipe the brush?

I don't know.

Go right up higher with that.

There's a ton of little leaves, so now I'm kind of using the corner of the brush, just tapping around.

Go up into here... go across this one.

Oh, this one, this trunk gets a little bit of the green on it.

That's interesting.

Okay this, this, a-- boy, are you having trouble talking Buck?

This one has a little bit of branches coming there.

And remember we said earlier that we want to have a little branch come through the red there, so I have just a very thin paint on the edge of that.

Be careful when you do that, you could use a smaller brush.

This was just the edge; it really ends up being almost the corner of the brush doing the drawing.

Okay, what do we want?

A little green, a little green showing on the tree itself.

And I'll let some of this just sneak out a little bit like a silhouette on the right side of the tree trunk.

A little bit across there then I see a back foliage can have a little bit of the palette knife and green.

Oh palette knife, you're a fan brush, sweetie.

You will grow up to be a fan brush.

Okay, put this-- that gives a little character on that little clump that we had earlier, and that's very helpful.

Down below, over on the side, come up here a little bit.

Then next what I want to do is the foliage on this tree.

We can have this, let's see, you're Sap Green, and just a little bit of that yellow and white in it.

So there's a couple places-- oh, just right.

And skip and come down here and then one lower there.

Okay now, let's kind of sneak through with the knife early and kind of blend this around.

[loud scraping] What I'm trying to do here is to break so the clumps aren't as obvious.

[loud scraping] I'll take a little bit of the knife work over on the side.

This is the yellowish green, maybe just a little more yellow in it.

This is right in the position of where the sun is shining down through there so this is the neighbors.

They get a little of that respect too.

So I want to have some more green on on the left side.

So this is Permanent Green Light and white.

And when I tap this, see I have it-- not full brush.

It's kind of just on the corner-- a little more ability to draw with it.

You want to do this quite carefully so it feels good so you put a few in, analyze it, rather than just saying oh I need to fill this whole area in.

Drrrrrrt!

It's so dangerous when you try to lead.

Let the brush, let the angels guide you.

That's what my teacher would always say.

He says when he made a right stroke, he felt like he was embraced by an angel.

What a neat feeling, what a neat man.

And I have his name, his name was Claude Buck and I'm Buck Paulson.

I remember when I first signed my paintings people would say "Why doesn't he use his own name?

Why...

?"

They're gone, the people that complained are gone.

I pay tribute to a man.

I'm not hanging on him.

I love him.

Okay now, down in the water we need to have a little excitement, so let's take-- you're, what are you?

You're Payne's Gray and red.

Is that going to work?

You bet.

It's very close to what was there but it will make it wet so when we add the highlights down below, it'll be good.

Okay, push over in there, push over in here.

There are a couple highlights in the water, then I need to make sure I have just a little bit of rocks.

You going to do the rocks first?

Yeah, I'm going to do the rocks first.

So this is-- where'd you come from?

This was the mudpack color originally, and I think we added a little umber into it.

And there's just a couple little rocks out there too.

What's nice about that, it gives you just a little slower trip from the top down to the bottom so you have just a little highlight showing over on the rocks.

A little bit on this.

We can outline those, and they'll look a little more secure.

This is with the Payne's Gray and the red that we used down in here.

Okay, so we'll get some highlights in the water.

I'll start with just pushing some greenish yellow in, and then we'll go lighter into it.

It's the old building to the lights.

I don't want it to go out too far so I want it to sort of blend in place so I'm having just a little dark from above so it doesn't go too high.

Then with the knife, I have the yellow and white.

I need to have just a little more yellow in a portion of it, This is, when I put this on, it's kind of a broken stroke, in other words, you can almost count how many little strokes you used instead of just one.

Then we'll use some of the lightest light right there.

See now, once you get this all built up then you think oh my gosh, this could even be a little stronger.

So we'll do it.

We'll take our yellow and white.

It seems like we're having plenty of time to do this.

We did have a real nice start in the acrylic stage.

And with the acrylics, you can go just as far as you want with them.

It just makes it that much easier to finish.

Isn't that a nice impact?

Now when I say "impact," it's got the vitality.

It's got light, but it's sort of a broken feeling so that you feel like it's coming through some distant foliage.

Okay let's come over on the left side.

This will give us just a little more strength along there.

A little bit through there and there.

I want to have just a little brighter red along here.

And that can also go on the big tree.

I didn't get much there.

Come on back.

Thank you.

Okay, so let's take some of the red, and we'll go down to the area here.

So we sort of have a few little incidental ones down below.

And remember we said that we want to sort of feature them down in this area as well.

I'm putting it on, then touching a little bit so it blends in slightly.

There's just a little bit over on that side.

I guess this lower right corner could have just a little bit more foliage coming there too.

And a couple little loose ones.

Okay, I want to just see.

What do we have?

Are any of you brushes, are you kind of tired, are you ready to go?

Let's take you.

This is a round brush, and it's soft.

What I like about it is you can kind of just do a multitude of dots, like that.

So you do these little individual ones over top of what's been done with larger shapes.

I see a need for a little bit of red on the far left tree, just sort of down at the bottom.

And the one next to it, has a different type light.

It has kind of almost a soft green.

I think I'll just extend you up just-- oops!

Oops!

Takes just a little correcting.

Perfect!

Okay we have very little time left, what should we do with it?

Just maybe a little stronger on the trunk there.

Might have one that goes out a little bit there.

That'll balance a little bit more.

I'm strengthening slightly in a couple of those spots.

This looks pretty good, this could have one more stroke too.

That did it!

That stroke made it!

I hope you've enjoyed watching "Noon at Silver Falls!"

It's probably afternoon now because we had a time to work on it.

Thank you for watching.

Come back for mystery and excitement in the weeks ahead.

See you soon!

Bye!

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