
Painting with Paulson
Pochade Part II
5/1/2024 | 26m 46sVideo has Closed Captions
Buck paints stage two of Pochade with oils.
On the second stage of Pochade, Buck adds foliage and details to the trees as he brings this landscape to life.
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Problems playing video? | Closed Captioning Feedback
Painting with Paulson is a local public television program presented by Prairie Public
Painting with Paulson
Pochade Part II
5/1/2024 | 26m 46sVideo has Closed Captions
On the second stage of Pochade, Buck adds foliage and details to the trees as he brings this landscape to life.
Problems playing video? | Closed Captioning Feedback
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Learn Moreabout PBS online sponsorshipPochades are a combination of what you see, what you know, and what you feel.
[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ What we have ahead of us is stage 2.
We are going to do stage 2 of "My Pochade."
You can see the original over on this side.
I do not have any other finished picture of it-- that's it!
Now on this side we have what was done last week with acrylic paint.
Now we're going to put oil on top of it.
Well, we'll do work, but we'll put oil on top.
This is Walnut Oil, and I'm going to end up having our Saturday night bath.
Oh, I had one of the viewers send me a picture, and it showed a Saturday night bath, and he had drawn his little figures around, and there were about 7 of them all waiting to get into the tub.
A couple in the tub-- it was really nice.
Oo!
It looks like rain forest.
So we'll wipe this just a little bit.
This I do most often is, put it on and wipe, just to thin it out, even it out.
Okay, now our project to make the Saturday night bath we are going to use Alizarin Crimson, one of my favorites for the bath.
What I'm doing is, I'm mixing it a little bit with oil on the palatte so I have a real thinness.
And same thing with this--you'll find once I have it on there, and as I wipe around, it'll work quite well.
I don't want any thickness, Right now it has little combination, a little thickness.
Even if it stayed just that way I think oh, that's going to work in so well.
We're going to wipe it a little bit.
More on the right side.
The purpose of this is, as I put the colors on it will soften the colors that you put on, but at the same time you have sort of a unity throughout that elicits feeling.
Here we go!
This is wiping, this is wiping just to thin it out.
Have it there, it's still wet, so that makes it nice for the blend.
But you can see, you can feel a little bit of its influence there.
It doesn't have to be what you'd say a real even coverage.
There are times you might want that but not necessarily on this one.
Okay, I think what would be helpful I'll start with the lightest light, and then we're going to be breaking into that a little bit from the sides, as you can see as we add the foliage and the greens.
So for the strong light-- I have a Cadmium Yellow light.
That's good, Buck, use it.
And White.
As we've done, I think, in stage one, we put on this Yellow and White then later we came back with a little knife work on it.
I'm going to use the knife work a little earlier, and I'll put it on and kind of flatten it out.
[soft scraping/tapping] Okay, that looks good.
Let's go in between the two trees.
These two trees.
Okay, then I'll come back with just pure White just to make that a little bit lighter.
And that's not signing off on that.
We'll see if we need to come back and put some on.
Now, the way I look at this is, I'm going to put on the trees next and then you can see, I'll point out on the pochade See the little color there?
It almost is best to have the trees on and then let that little color play over them.
So we'll take some Burnt Umber.
Here you are, and I have a nice flat brush.
I love these brushes.
Ooo, ooo.
Doesn't that look good?
And when I'm saying "looks good" it has the contrast.
You don't judge its color yet because we're going to be having some things come across that that will diminish slightly as the darks.
Let me just repeat-- I said we'll put the trees on first, then the foliage around, so the incidental and accidental look can touch against the trees.
You could do it both ways, but I like this way.
What color are you?
You're that.
Okay, you're Van Dyke Brown, which is just a little darker, so let's go a little darker down in here.
And this, as it comes down-- oh, I like this-- where it comes down and touches against that gleam of the water!
Come across there, spread it back here just a little bit.
That gives a good foundation.
I keep waiting for somebody to say, yes, Buck, you're right, it does.
Okay, what about the other tree?
My thought is, the big one on the right, I can put some on that, but these in the middle I would just as soon-- no, we will assume anything-- we'll put a little dark on them to.
But it won't be quite as dark as the other one.
So first, far right one... And you need to be consistent with where the light's coming from.
The light is going to hit them on the left side, so I don't have any light on the left side of them yet.
Now what I've done there, I really like that, that's strong, but let's make sure that this is wide enough to go with that arm that's up above.
Just a little one coming here.
Oo, you need to be a little wider too so it doesn't taper too fast.
Those are the little things you watch That's why I'd love to have a mirror to kind of look at the reverse image, then you can make a better judgment on-- do you need more?
Let's see, we'll go a little dark on this one.
Wait, you're dark, you've got white in you.
Oh, I know why it is, because you've got the paper towel-- it had a little dark on it.
Oo, now we solved it.
Down in there.
Okay, where I need to have another dark would be in this area, so I'm looking at-- what color do I want?
Gee, I love that Ultramarine Blue.
Can I use you straight?
Oo, I love it, I'm using you straight.
I might change my mind, but we'll not change it yet.
A-ha!
I moved without being told.
Wasn't that great?
Can you see it all right?
Good.
And down front here.
See, that really gives you a nice path.
Doesn't it?
This supports the leaning towers.
Now over on the left, I'm taking Umber and a little of the Blue.
Oh, gee, I just, I love landscapes, I love the painting of them, I love the accidental qualities that come.
I really appreciate the guidance that I received in my art.
And that guidance comes from my beautiful wife, and from above!
And it's always helpful to have friends that you trust and respect because you can always ask them-- let me say this.
You have to be a little careful-- I need to talk to you.
If I use this as a comment coming to an artist and show him a painting, and I say tell me what's wrong with this painting?
I'll guarantee you he'll find something wrong but he might not say it.
If you showed me da Vinci, Mona Lisa, and say, tell me what's wrong with this?
I probably say oh, this little foliage over here should be a little higher.
There's a time to stop, but there's a time to have that right attitude and not say, tell me what's wrong with this picture.
Baloney!
Show them the picture and say, I really enjoyed doing this; I want you to see it.
And if they feel like making an observation, fine.
I think it's so nice when a person will make an observation in such a gentle way.
You might consider just blending a little bit more on the foliage there.
So there's different ways of approaching, judging art.
And I've found, oh my gosh-- when I've been a judge at a contest-- I remember this with the Alexander people Because they'd have all their certified teachers would commit paintings to us.
A kind of a contest to be judged.
So Buck Paulson is one of the judges.
So several people put up seascapes because Buck likes seascapes.
But here's the thing about that-- I like seascapes, and I don't feel that I am perfectly accomplished, therefore if I see one that's inferior to even my work, then I'm not apt to give it a first-place thing just because I like seascapes.
So that's the fallacy in a person saying well, what does the artist like?
That's a horrible thing to have to do anyway is to try to please a juror rather than do your own work.
Let's see, I want to take just a little bit of this, which is still on the brush, the Umber and Blue, Just shade across there slightly.
You can see it doesn't do much, but it kind of breaks up the stark contrast where it meets the frame, the tree trunks and the frame.
You know, I just, I love doing that.
Okay, now what I want to do is a little bit of some of the other work around here-- that orangish golden color-- there, there.
Then we'll see what else we need to do.
We'll do this with a brush, but always reserve the privilege of coming back with a knife.
So what do we have?
We've got Raw Sienna.
Thank you Cassie for putting the Raw Sienna out there!
Okay, this is Raw Sienna and Orange, and I have very little on the brush, and I use so much, the side-- when I say the side of the brush, the edge of the brush, but notice how parallel I am to the canvas rather than this way.
Because I want it to blend right away.
That's something I hadn't intended to do, but gosh, I sure recommend it.
That's a nice color, Buck.
Thank you.
You're welcome.
Come over in here.
Oh, gee, you guys, I wish you could be here for the silent auction.
This painting is going to be one.
Okay let's go higher, same color, and I'm looking in this area, and I'm walking out a little bit towards the light.
That's a little generous, so just wipe a little bit-- works, works for me.
And there's none up there-- how come?
I don't know.
A little bit down here, a little bit over in here, a little bit more down in there coming down to the water on this side.
Now the other side, we'll go over there.
I'm looking right in through here.
There's just a little hint of it right in there.
I don't see any coming across the tree, but when I look at those trees, there's something a little softer, so I'm using the same thing, but I've wiped the brush down, so it won't look quite as bright.
That's very subtly done, but it breaks into that a little bit.
Down in the left corner we are back to a little more quantity.
Great.
Go higher.
[in high voice] Go high.
[normal voice] Up in here.
And a little bit over in there.
Okay, I'm going to take and just sweep a little bit with the fan brush that which I have done.
Now, as I did that I discovered one thing that I want to do and that's taking the Blue and Umber, and if I come down in the right corner... [Buck laughs] That's too much, I'm going to take a little green and kick back into that just a little bit.
Okay, now let's take the light green and what I'm looking at here is on the left side as well as maybe in the middle a little bit.
So what color do I want?
I want Permanent Green Light.
Are you sure you want that?
Yes.
The Red and Green would be just a little cool, so I'm going to put some Yellow Ocher in that.
Can you see the difference in those two?
And I notice some just kind of up above in between the branches.
I have a lot of people that write and will show me their work, and I like that.
You can see my e-mail, and send me your image.
I get a lot where people say we purchased the painting, it says B. Paulson, is it one of yours?
And I asked them send a photograph, then I can tell you.
Invariably, it's not-- it looks just like my signature, but I sign Buck, not B.
There was a time when I was with the Alexander company that we'd shows, you'd do 13 shows, each show, instead of having it 2 times, you had one time.
So if it didn't look as good as I wanted it to, I'd sign it Paulson.
If it was a little better, B. Paulson, if it's great-- Buck Paulson!
And the owner of the company, he says Every painting you do is the best you can do in the time allotment, so sign them Buck Paulson.
So I did, and that was great advice.
But the B. Paulson's these days seem to be little fashionable Victorian ladies walking by the ocean.
Not the ocean, a lake.
Doesn't that look good?
Now let's take and go a little lighter on the lower right foliage.
And when I say that, I still have a little bit of Raw Sienna with it, so it steps up, but it still has some of the two colors in it.
Go over to the left.
Oh gee, this is so much fun to do and yet you are always wondering how much time do I have?
Okay, so I am going to take a round brush, a little Burnt Umber, and let's see, I need some Raw Sienna, Alizarin Crimson-- that would be a better color.
So if I get these little branches-- don't they look nice?
And I'm using my little finger and hoping that I don't leave a clue of who did it.
Now I'll go just a little darker under this branch, so it really comes out there.
And then its trunk can be a little darker as well.
This one.
In the tree above to the right-- I have some of this little golden color here, and I want to make sure that this tree has some good work on it, because it's such a help.
It's directional-- it points where I want you to go.
A little bit up there, but not much; it doesn't go to the top.
And then maybe a little bit on the wing.
Okay, what I want to do next is to take some... Green.
Where are you Green?
I have for Viridian Green, you're right here, you haven't been used yet, touch you into a little bit of white.
And I want to come up here which is touching into the tree and just a little bit past so it looks like it's some foliage.
What happened up here?
You need to have a little light that shows so this trunk isn't too wide.
Let's go there and then a little there.
So this, there, we follow that up.
Okay, so on the other tree, a little bit of the greenish tone showing.
It's pretty much the same height as that one on the right.
Okay, I'm going to do just a little bit of this.
I need to have a light that comes on this branch.
This is such a nice additional branch.
Okay, now I'm putting that down, and I'm taking the fan brush-- are you a fan brush?
You're a knife!
When I say knife, you jump up.
Okay, you jumped.
Here is the Orange and Raw Sienna, maybe a little Yellow and White.
Oh, there's a good spot for it.
See how that touches out into the sun area a little bit?
I like that aspect.
Oo, did you ever get...
I'll put little dark back in there.
Good.
Beauty Mark.
Over on the other side, Some of the green with the knife And let's just hit across the trees, come down there, Oh, I know what I see, I like it a lot, is a little bit of the blue right down in there.
Right down in here.
Did we give that stream any additional light?
I don't think so, so let's go-- oh...
Perfect!
Great timing!
That was good, thank you for coming.
And some of the green of the tree like we put up there with a little brush, if you have just a little bit, and I'm putting it on with just a flat knife, not a lot of paint, but just kind of touching it around.
We don't have much time left, but pochades are the thing to do, and then paint from them.
Often the pochade in itself is a finished painting.
How do you account for that-- that a pochade you've done quickly?
I don't know, I don't know, but I sure like that aspect.
A little lower on the light here so we have more of it here.
Oh gosh, we've done it!
We'll see you soon!
Thank you for watching.
Bye-bye.
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