Art is like climbing a rope.

To get higher, keep reaching.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ it's so exciting to go on with a painting.

So we went halfway last week.

You can see the halfway point on my easel.

And to the left, we have the finished product, and that's what we're reaching for today.

I want to additionally bring up the pochade so you see that.

I think that's all right.

Isn't it?

Okay.

And this was such an influence.

Do you ever surpass a pochade?

You try.

In trying you come where you want to be, where you are happy to be.

So let's go ahead and put some paint on this canvas.

This has already had a little bath of Walnut Oil on it.

So the paint will move around much better.

What I aim to do first is to take and put on some paint, kind of greenish brown that will give me the semblance of a little foliage kind of covering some of the trees without really being defined.

I like that aspect.

So I'm going to take some Burnt Umber.

I have some on the palette from last week.

I just love the fact that we can save that with a little plastic over it.

I don't know if you dare say a name brand, but whatever works for you.

Okay, so I have that, and then I have some Emerald Green.

So I have two greens, one is Permanent Green Light, and this is Emerald.

I'm going to take the Emerald Green and see.

I know it's powerful; there's equal parts.

Oh, smart aleck!

You're just right.

Let's take some more of you.

And we'll take some more Umber.

So that's 1 to 1.

And we'll take the fan brush.

I put a little bit of Walnut Oil on it, push it into it, and then up to the canvas.

I'm pushing this on, and as I said, I'm going over the trees a little bit, and it will represent some foliage over the trees without saying, oh, it's just on this tree.

And you do allow a little bit of the previous color and priming to come through.

You can see there the places that are see-through.

I'll let this come right down on the land.

You can cover a lot of things with just a little bit of glazing like this.

Glazing generally is where you can see through it.

Glaze, glass.

But this is kind of a thicker glaze, not necessarily to see through, but in some respects you see through.

I can still see the trees slightly.

And you certainly make use of the priming of the canvas.

And what I mean by that is, some of that is just plain color that's just coming on through.

Okay, let's go over to the middle, and first, I'm coming down low so you feel as you go down that path what's around that corner.

Um, this is great.

I had written down one thing I wanted to read to you.

"A landscape is always something other than reality, "other than reality it portrays "It is essentially a product of the mind, an accumulation of memories."

So I'm painting this, and I'm thinking about the times that I've been out in the landscape area.

That isn't just when you're doing the painting, but even when you're there, you have an accumulation of what you've been taught and learned and admired in other art, and you think, oh, I see that great mystery down at the end of the path.

I remember Inness painted that, George Inness.

So then you think, oh, that looks kind of like an Inness, I'll use it.

That's always exciting.

Okay on this side, the same aspect.

We're making a lot of use of this color-- the Umber and the Emerald Green.

Over here, we don't put on quite as much because we want some of that golden green to show through.

Don't we?

Sure would be nice to have a coach here to say yeah.

I have a floor director, and she shakes her head, she agrees with everything.

Does it look all right?

Yes.

But she's a beauty.

Anyway, let's go over here.

And I'm going to go a little higher.

On this, I'm coming across the left tree which is almost off size; he's out of bounds.

You're not on the playing field.

But we make use of him, so you can see him a little bit so when you're needed, he'll be there.

Let's come down lower, down near the rocks, a little bit the edge of the road.

Then on this side, let's do the same thing, let's come down in there.

Notice I'm painting left-handed.

I love that, I love being able to do that.

Why are you doing it left-handed?

I don't know, it's just fun.

Treat it right.

I used to in baseball, was so in admiration of these guys that could pitch either hand, left or right.

Gosh.

Okay, I think that's good.

The brushing across just with softening a little bit, not really moving the paint, but softening it.

Doesn't that look nice?

Now we put in the highlights.

Clean the brush in my Walnut Oil.

When you do that, if you just dip in.

pull it out, and wipe on the towel instead of swishing around and making it all dirty.

That's so much better.

Now let's take some Yellow.

This is Cad Yellow.

And I'm going to take some Permanent Green Light.

That looks like about equal parts.

So that's going to need more Yellow.

And I'm going to do one more, so the formula is, 4 Yellow and 1 Green.

Oh, this, this, oh, you're working!

Ah, what a nice surprise!

You'll say, Buck, didn't you paint the original?

Yes, I did!

Didn't you paint the halfway painting?

Yes, I did.

But it's still a nice surprise.

Down here is a nice spot.

The reason that's a nice spot, the sun is going to come down and hit the tree, and further evident on the grass.

Now, after I do this-- I'll go just a little stronger there.

We'll go over on the right side just a little bit.

You have one opening here.

I would suggest on this opening, that you wipe so it's a dry spot.

You know, when you wipe, it isn't necessarily going to remove the paint, but it makes sure it's dry.

Then you're going to have a little brighter spot when you put it in on a dry spot.

Now here, I didn't wipe; I'll just put it on.

Okay, ♪ We are flying along.

♪ ♪ On moonlight bay.

♪ No extra for the singing.

It's just part of the program, it's been introduced.

Ah, my beautiful director might say forget the singing, Buck!

Just do the painting!

We're not paying you the big bucks to sing.

Well, there you go.

All right, now what I want to do is on this side, I'm going to just kind of, not a lot of paint on the brush.

I have kind of, it has that color on it, but I'll just go over and kind of wiggle it, like that.

So no quantity in doing that.

♪ Quantity ♪ Sorry, I can't help it.

I married a beautiful lady, and she loves opera, so I don't do country singing anymore.

[in deep, resonant voice] ♪ I only do opera ♪ She'd just as soon listen to the records.

Okay, now let's take, we'll blend this a little bit.

What I want now to do is what?

Oh, I know.

Let's put a little light on the trees themselves.

I think what I'll do is, I'll use a knife, and this is the Warm White.

Bleached Titanium, gee, I love that color.

And this is the Cad Yellow.

So I have equal parts on that.

I need to do one thing before that.

You just sit there for awhile.

Let's take the Orange, this is the Azo Orange, and watch the knifework here.

You can all of a sudden bring the sun into the picture.

Oh, you're beautiful.

♪ You're so beautiful.

♪ I don't know where these tunes are coming from.

I could go more, I love sports.

But you probably don't want to hear the BYU fight song.

Or On Notre Dame.

Oo, is that a good one!

That's a good one because it's close to where the sun is coming through.

There's a little bit down lower, right in there.

And some of these need to have just a little, let's see, what are you?

Oh my goodness.

I'm using you just because I like your name.

Maroon Peryline and White, equal parts.

Oo, isn't that pretty?

It's kind of a secondary highlight.

Over on this side, I'll put some on, Notice I skip here and there.

So it allows the branches to be felt without being too definite.

And you get some, but this guy is a little special.

Besides having that-- I'll put a little on this one-- besides that, he gets a little bit of the highlight color, but in doing so, I'll do it with a brush, so it's not going to be quite as light as its neighbor that's been put on with a knife.

Now, if you want to do that, what I did with the knife, you could do it with a brush.

There's no rule saying you can or you can't.

On the green that we have, the light green, I want to put just a little bit of that on the edge of this branch.

And it comes down there so you can see that branch just a little bit more.

Is there any more of that?

I don't see it on this side.

Okay now, on the other side, let's start first with the reddish color.

This is the Maroon Peryline and White, equal parts.

I just wanted to do that.

You could have a mahlstick, A mahlstick is a long stick that you lean on, then you come down.

I can't use the brush, so I use the little finger.

I had one fellow that, when he was in my class, he showed me, he had a long little fingernail, so that it would just touch a little bit.

Mine isn't very long.

There.

And then the smallest amount over on this tree.

Okay,what I want to do now, let's see, let's come with just a little, oh, this is the Yellow and White.

I mixed it up and hadn't used it yet.

Okay, this is going to be an impact.

White.

Then I'll put a little bit over here.

And on the other side, same thing, we have this strongly up here.

That is really an important one because the source of the light, and I'll use some of this color to get the source of the light, is right up in here.

When you say the source of the light, the light is coming through there.

you can't really see where the light is.

And let's likewise put some in-- what happened?

Get on there; get on board.

We pulled the bus away, and the team was left at the gait.

And a speck of this down here.

Someone asked-- I'm going to put some more White in there.

So I'm using one more White.

So how did I start that?

How many White did I have in there anyway?

This is equal White to what was there.

Now I understand, Buck, I understand exactly what you're saying.

Okay, we have it there.

Let's wait a minute.

Let's take some of that Orange, Azo Orange.

Brush that just a little bit.

Very good, and there's just the smallest suggestion of some of that Peryline Maroon, Peryline, oof, Maroon Peryline-- whatever your name is.

Oo, gee, did you jump out.

I don't understand you.

I just called you your name, but you should have just a little bit of White with that too.

We already have it up here, so let's go for that.

White and the Peryline.

Oh, that's the same thing.

Well, I think what we're doing is stalling.

Okay, this is White and Peryline.

There you are, that's the White and Peryline.

Oh, there you go, see, when you're right, you're right.

That really helps you go into the picture.

Down on these two light spots, let's put just a little bit of the same highlight we put on the trunk of the trees.

It's always a nice smash.

You really feel like the light is showing through when it does that.

We have a little bit of that.

I'm going to add more White to it, equal parts there.

And this comes down very strong along there.

That's a little too strong; put a little bit of the green on top of it.

Yeah, that's better.

It's nice to mix in front of you.

I hope it doesn't mix you up!

It's a little more authentic rather than I have everything just planned, formula and all that.

Oo, I like these incidentals, accidentals.

We'll come on the other side.

More White.

We want to show the result of the light that's hitting against that tree.

It also shows along here.

And I'm using the knife, just a silver knife, like that, very thin, small amount of paint, then I just sort of float it down, and it comes off just right.

Just in the right places.

Ah, you're great, okay, let's see what else we want to do.

Often the blending is the coup de grace.

Is that what you say?

This, I have a mop blender.

Dry.

I'm going to go back and put just a little light in there.

There.

But see, like even on these trees over here, I could even come back with some of the early darks I put across them.

And here and there, see, this will stand out just a little bit more against the trees.

And it really will saddress-- "saddress?"

-- that's a new word.

It will address or suggest foliage on the trees.

That's enough, but down here, we want to come across there just a little bit.

Ah, I love, I love art.

It's something that's not boring; it's very exciting.

Now let's come down, over on this side we'll blend just a little bit too.

This would be a reason why, when I paint in my studio, I have a mirror nearby so I can look at the image in a reverse.

It makes things that you've grown so accustomed to, you know, it then shows another view, and in many cases it will point out little things you need to do.

Now, when I go out painting landscapes, it looks a little funny, I'm looking in a mirror, people think, what's a matter with him?

I don't use a mirror when I'm out in landscapes!

Might try it sometime.

But in the studio, a great mirror.

And you know, people always talk about, you can step away from a painting, give it some distance.

That's a good way of judging.

What Claude used to do, and I've been doing recently is, at the end of the day, take the painting downstairs, I have an upstairs studio, and set it in front of an easel.

You don't have any brushes in hand, nothing to change anything, so you observe it, see what you think what might need to be done later.

I'm going to put a little on the rock.

Let's take, you are Van Dyke Brown and White.

Those are equal parts, and I'm going back and making 2, 2 Van Dyke Brown.

You're making use of that underneath priming.

See, the little highlights on there are very desirable.

I'm going to take just a plain Van Dyke Brown, use a little juice on it.

And this will give me just a little start there.

I need to quickly do one other thing.

And that's, if I take that Orange... and put just a little bit down here, so you have a little bit of an entrance.

Okay, I think we have had a nice walk down the landscape.

Hope you enjoy it, I hope it's been meaningful to you.

When you do yours, use your imagination.

Bye-bye.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by... To order the complete 13-episode series 20 of "Painting with Paulson" on DVD including Bonus Features and Line Drawings, please visit or call...