Show me your talent and your desire and I'll show you respect.

Show me your talent with no desire and I'll show you the exit.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Look what we have here, the finished project of "Ship Ahoy" and the monochrome stage which will become finished on this show.

So we have the monochrome from last week, Ultramarine Blue and Raw Sienna and white over a priming of 6 white, 1 Payne's Gray, 1 Permanent Green Light.

And when that's done, which it now is dry, the acrylics stage, we're going to go on and put on color that will match this one.

That's absolutely beautiful.

I love it because it's got a lot of mystery in it and yet there's enough details so you know what it is.

I've put Walnut Oil already on this canvas to save time, and then I've mixed up Yellow Ochre and Permanent Green Light, now this is equal parts.

That's exactly what you want, isn't it Buck?

Yes.

So when I put this on,it's not exactly a Saturday night bath, but we'll be pushing around, then go across several places.

If I'm avoiding any places it might be just a little bit of the light spots.

Of course, I can always find them again by just wiping.

For instance, here's a spot I can see through a little like that.

I actually like some of the green over some of them so they're not all as powerful as the ones down below.

So this is doing some glazing and then we'll-- when I say that I'm intending to use several colors for the glazing before we start putting on any real detail.

We'll come down across the river and put some in.

Love that stream; that is really nice.

Okay now let's take the next color, and this one is where I've added yellow to what we've just done.

Let me see if I can give a formula on that.

Take one part of that, one part yellow, I'll take the yellow over there because I think I'm going to start with less.

Yes, so that's two Cad Yellow and one of the first green color, the mixed green color.

We put this right next to the tree there and over here.

You can see how it's a little bit lighter than we had before.

I'll put just a touch down, we might find other places that we want to just sparkle it in, and they're basically low though, they're about from there and down.

Always having a paper towel in hand is good because I can kind of then go back and wipe just a little bit, smooth it out slightly.

No fear of making a mistake-- a mistake is if you don't stand at the easel and try.

That's the only mistake I could see.

As I look at this I see some kind of a brownish golden color, and I've chosen to use my Transparent Orange Iron Oxide.

Isn't that a big term?

Transparent Orange Iron Oxide.

It has kind of a nice flavor.

A little bit like Raw Sienna but by the fact that it's transparent, it handles differently than the Raw Sienna being a little more opaque in its nature.

Come down close to my dear little wife.

And what I've chosen to do is just glaze a little bit across the openings of the sky so that-- and I'll come across these too-- so that when I put them on, they will really glow where I want them to glow.

Okay now, let's take a color-- should we go to the dark?

Yeah, let's go with the Sap Green and Van Dyke Brown.

Are you Van Dyke Brown?

Yes, I'll go sparingly on this because I want the green to be strong.

I'll take this over, so that's 1, 2, 3.

Three of the green, of the Sap Green and 1 Payne's, excuse me, Van Dyke Brown.

I kind of need to lighten this just a little bit so I'm going to put a little white in it too.

So that's 3 of the green, 1 Van Dyke Brown and 1 white.

Dip the brush into the Walnut Oil.

Even though we have Walnut Oil on there, I want to be able to spread this around.

This essentially gives me just a little bit of the darker darks.

I'm going to come down even more for more dark just a little more Van Dyke Brown in it.

Yes, I like that strength, and it's particularly strong as it comes down right close there where you have the nice light showing.

Come close.

"Don't get any paint on my dress!"

Okay.

[soft scraping] Darker on this side of the shore so I'm using a little more Van Dyke Brown again.

Right in here-- this will be a nice little interest when I show over here.

See, that light against the dark is very important.

Come over and get the corners of the canvas, both sides.

I'll push this around just a little bit.

It's a very simple palette, the work is in getting them in the right places and having just the right degree of softness.

Let's try that.

Boy, that's it's a little more golden than that, but oh, do I love it!

Good.

That saying "I love it" doesn't always get by the producer.

She may say well, you said you love it, but I don't think it's quite good enough.

We'll make it good enough!

Do I-- oh yes-- mop brush.

Do you want to go back to the side?

Now that you've-- what's the word you'd say?

You have given or you've doved, or you've dived into the paint?

Okay, this is a blender brush.

And we have not put on the trees yet.

We need to have strong lights coming through for the sky.

Really blend... as compared as not really blending.

All right, why don't we put some of the trees on, then we'll come with the light through them.

This is what are you?

Payne's Gray, Quinacridone Rose and a little Raw Sienna.

Now, as I put this on, there's going to be places that I will kind of sneak through.

It won't be as bright, so you feel like there's some of the foliage covering the trunk.

The next one.

And I'll take and blend these a little bit too so they're not quite as sharp when we get to the finish line.

Oh, I love doing these shows!

It's exciting because I kind of feel like I'm learning with you.

You know, I have the opportunity to prepare but I like to have the painting ready but not just the precise notes-- I want to see if I can make it better or if I can learn from it, at the same time staying very close to what we have.

So I hope I please you, and I hope I please me.

And this one-- let's see what do we have?

This one's just a little more narrow.

Can you hear my fingernail?

I let it touch against so I can control the amount of pressure that I put on the brush.

This one goes through.

A little wider down below-- nice branch out there-- I like that branch.

Might be a little wide, just right.

Then we'll come down and touch against, I know sometimes I pick up the paint kind of fast, but I'm pretty much using the same thing as when I go down, pick up the Payne's Gray and Quinacridone Rose and Raw Sienna.

Okay, when I go down-- and I'll be blending in just a minute-- oh, let's take-- do we have-- the same brush will work.

Let's take a little more Van Dyke Brown in it.

And this is going on the large tree.

Ooh, I like this branch, what it does, it kind of cuts across the whole scheme of things.

Doesn't it?

The green that I put on earlier did need to be wiped just a little bit so I can see that light again.

This is such a nice color when you have what we're using, the Quinacridone Rose and the Payne's Gray and a little Raw Sienna, especially when you have the blue showing through with, near it, that is so complimentary-- the colors to each other.

A little more down there.

Where are you Van Dyke Brown?

Using some Van Dyke Brown in it too.

Okay I'll wipe slightly.

You see how much of the underneath becomes part of the color scheme.

Okay now, let's go over under these trees in the middle, and I'll go just a little darker... [soft scraping] and we'll come down under him, there's a little shadow close to the sailboat... and in the water.

More Van Dyke Brown.

A little dark in there.

All right, let's take the mop brush... and a good paper towel.

Okay, so we'll blend a little bit across the trees up high.

When you do it, you might have a little where it smears a little bit, but then just go sort of vertically to make the smears go away.

I like that impact that we have right in there.

Okay I really need to soften this one, maybe remove a little bit.

And blend the bottom of that tree.

Put just a little bit of that same dark over on the left there to darken that a little bit.

I need a little bit more there, I'm using the same dark.

I think it'd be good now to put more of the lights on.

I'll wipe a little bit where the lights are to go.

Then we'll come down with a flat brush.

Are you flat?

You're flatter.

Okay, Raw Sienna and white.

I'm brush-mixing... is that advisable?

Not overly-- let's see if that works.

That works great.

So that's a lot of white and a little Raw Sienna.

When I put this on, you're going to notice that rather than spreading out to the whole opening, If you can just kind of sparkle a little bit and this will need to be mop brushed too.

Ooh, there's a powerful one right there; right there.

And we'll come across-- not across-- we'll come through the water.

I like to do these through the water sort of in a horizontal pattern.

It's easier to represent it being water if you do so.

Where?

Oh this strong light is right in there.

Okay, then there is a little bit of and I have some Turquoise Blue and white.

I'm checking, that's going to work.

This is where some of the see-through up higher, where the sun is lower causing these brighter ones.

Right down in the grass between the two, it kind of holds it together a little bit.

A little bit in front of him.

You know what?

We better give him a sailboat.

I need to be darker near him.

Okay, then let's just take and put on just a little sail there.

This is the same light that we used up there.

It's going to sail Joseph, it's going to sail!

And let's go darker on his hat, Thalo Blue.

A little darker on the pants again, and then-- oh, what's happening in front of him?

I guess we need to have a little light there, a little light here, yes.

It separates his head from the ground there.

Now I'm going to take a little Turquoise Blue and white.

Is that what you are?

And put on his shirt so he has a real nice color on his shirt.

Just a little skin showing under that shirt.

Good Joseph, I think you're going to sail all right.

Put a little green down near the feet so you can see them.

And on her, let's take-- what are you?

You're Raw Sienna.

Oh here we are.

This is Quinacridone Rose, Ultramarine Blue and Ochre.

My gosh, you would never realize that, but that's what that is.

And we put that just on her face on that side a little bit.

A little bit on the hand, a little bit on the leg, particularly in the front so you feel like there's light on it.

We don't put any on the far side.

A little bit more on the face, a little bit of a neck there and I'll take a little blue, this is Ultramarine Blue and just go on the hair so it's darker.

Oops, I don't want that, I want the same color we were putting on the trees.

She's got long hair, gotta work just right.

A little bit on this side.

A little bit showing right there.

Okay now, here's something I quite like to do on a painting like this is, we'll take some of the green color, this is the one that we put on as a wash, Yellow Ochre and green and I have just a little white in it, and I'm using the knife.

and I'll come up and just kind of drag a little bit so you get a feeling of foliage.

[soft tapping] Let's try some more, I'm going just a little darker with it.

Oh, I see something I need to do.

Don't forget me Buck!

I'm over here patiently-- my big tree.

I'm patiently waiting for you.

[soft tapping] ♪ I'm coming.

I'm coming.

Okay, let's blend a little of this before we get too far away from it and see, when I blend, it smears just a little bit, but then go the opposite direction.

I was blending across and smearing it, then go vertical.

Okay for the big tree, we need to put on some of this-- looks like flesh color.

Boy, that's nice; I'm glad you're available!

I sure hope that this has made sense to you because it's such a great way to paint, to block in with the monochrome, then come and put color on top.

We're a little limited when you're doing something in 24 minutes, but we certainly hope you get the idea.

On a tree like that it's always nice just to have a little green, it kind of feels like some of the foliage is coming across it a little bit.

In the middle part, let's take-- you're-- what are you?

Payne's Gray, Payne's Gray and friend.

Payne's Gray and Sap Green, just to have a little bit of darker palette knife work down below too.

There's always little things you can do, but this certainly gives you the opportunity to experiment and find what you want.

You know, anytime you have red in a color where there's a lot of green is nice.

Watch just a little bit on this, taking the rose and white, just a slight little feeling of the reflections of her in the water.

In kind of a going away thing, I'm taking a little bit of the same color here, and just a here and there just a little bit of the lights on the trees too because the light is filtering through.

I'll hurry but I'll take some of the yellow or the Raw Sienna and white and put just a little bit, oh, there!

Don't you feel like the light is coming through and smashing against that?

Oh, I really enjoyed doing this!

I hope that it's beneficial to you, that you will feel that you can do it too, or give you an idea of what you want to do with the subject that you've been considering doing.

Just one last thing a little dark right down in here, we talked about this before, I lost it a little bit.

Okay, that completes our "Ship Ahoy!"

And I hope that it's been smooth sailing for you as you've been watching it being done.

It's so much fun to do!

The palette knife always helps as a final.

See you next time.

Bye-bye.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...