The cathedral of sunset time welcomes all visitors.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Thank you for joining me.

Now, we're going to do some great work on "Sunset Cathedral."

Look at the finished product.

This we will be completing next week.

So this week we are going to go halfway.

I want to tell you a little bit about the preparation.

This canvas has been prepared with 6 White, 1 Permanent Green Light, 1 Payne's Gray.

Dry-- that was done with acrylics, then I outlined it, and I like that so that when I put paint over, I'm able to see through what I want.

The way I'm going to start this is, I'm going to put a band of color at the top, the middle, and the bottom, just for the sky.

The top, well, actually, a lot of what is there will show through as being sky.

You always have to remember that the lights that you see in the opening is lighter, oh, excuse me, it's right, but if you put it through here in the dark, it kind of pops out.

So it has to be a little less light on the inside than on the middle.

I hope that's clear!

Clear to me, I guess.

All right, I'll start, I have a large-- what kind of brush are you?

This is a petal brush, and I'm going to go, This is Ultramarine Blue and White.

It's about 1 to 1, then I added just a touch of Phthalo Blue.

Oo, I love what that does.

Now, as I come over, I want to make sure that I can still see where the outline was so as I put the foliage in, I don't lose it.

We don't come down very far with this.

I want to just show, if we put a little light in the middle, that's fine, that's fine, that's fine.

But when we put the foliage on, we may soften into that so it's not quite as bright as the outside area.

Okay, the next one.

This is 6 White, 1 Alizarin Crimson, and you add a little bit of the blue.

And when I place this on, I'm going to go a little more Alizarin in that.

That'll be better, it'll be more comprehensive.

It'll fit in more with what we're having for a sunset.

Otherwise it will be a little bit out of character.

We'll blend this just gently up, so you have a blend there.

Now, for the real strong lower part, and I'm kind of using this just a little bit brighter than I see there.

Why are you doing that?

I don't know.

Cadmium Orange, Cadmium Yellow, equal.

I better put a little White in that too.

Oh, powerful!

This goes over next to the tree.

Now, the tree has been helped a lot by having them in acrylic beforehand.

And then we won't lose them too much when we put on the foliage.

And the foliage will come soon!

Soon enough.

Now, as I'm going up higher, I'm blending a little bit into the pinkish tone that's there.

Here we need to blend it quite a bit.

I notice when I look at the halfway one-- let me just point out-- see this is, you might say blotchy But it really represents a lot of what's happening in the sky.

A little bit in there.

This will be particularly nice when the branches hang out into the sky.

Okay, I'm going to take a fan brush and just blend what we've done.

A little bit up above, a little bit down here.

This is such a nice transition, from that down into the orangey tone.

Now the orangey tone, I'm going to blend a little bit stronger down below because we have something else that will come in there.

Gee, that's good, I like that already.

Okay, next, we want to have some of kind of distant foliage at the horizon.

So I have Alizarin Crimson, Ultramarine Blue, equal parts into just a little bit of this middle value that I had up there.

I wonder if you're dark enough.

We'll try it and see, we may have to go a little darker.

Yes, we have to go a little darker, so I'll take more of the same.

Oo, you almost cheated, you are Phthalo Blue.

I want the Alizarin Crimson and Ultramarine Blue.

And then a little White.

That's better.

This is the distant trees that are in the path of the sun.

And we will likewise take and blend them.

It almost looks like some buildings over there.

Doesn't it.

A distant city-- but we won't use that for now.

Okay, let's come down to the lower area of the land.

So I have 1 Cad Yellow.

1 Viridian Green, and 1 White.

I really like this color.

And do you realize we have a little viewer there?

So we have an early parishioner-- is that what they call them, the visitors to the cathedral?

Oo, isn't that nice and soft?

And what I like particularly is the priming of the canvas.

You can say, well, what does it do?

It would be a lot different if you were putting this on a white canvas.

You'd have to put it on much heavier to cover the white.

This makes use of some of the paint coming through, the ground coming through, if you want to say that.

Okay now, let's go to the right and left, and I'm taking a little bit of the Viridian Green with the corner of the fan brush.

And this is what our foliage will blend into as it is in the foreground area.

The tree green will have to be a little darker.

Okay, we need some of that over on the left side.

And I see some of this coming over a little bit in here.

What did you get?

I want you, green, I don't want the yellowish green.

I want more-- there, that's right.

You have to speak up when it's your turn.

So I have a little bit of the darker green right below those distant trees.

Oh, it's nice to do this, to have time to do it, to show you, and you, of course, have to come back next week, because I'm here, and I'm not going to be talking to myself.

I'm talking to you!

Okay, so I've blended that quite well.

In my opinion, I've done it quite well.

I notice just a little bit of that Viridian green coming down in here.

So this is almost like the shadows in the little stream we're going to have there... the reflections in the stream.

Oh, we need to bring down this lighter green just a little further.

We have it there, it needs to come down lower on both sides.

[soft scraping] Okay, let's go ahead and put in a little bit of the sky reflecting down below, and that's taking the same color, the orangey color as the beginning one.

And this, you see the little person viewing the scene.

So we have one in there.

Gosh, I love that contrast.

I like that strong orangey feeling that we have.

And then a little lower.

We may have come down too far.

We'll sneak one in there too, and one there So we'll have 3 of them just like the painting that we're looking at has 3 of them.

I notice, and I'm taking just a little of this, I notice just a little bit of a path of that That will really feature the viewer by having something around him like that.

Or her!

Not sure what you are, we'll see, have to get a closer look.

All I know, it was a beautiful sight to behold.

And having grown up 50 miles from where I'm filming, I've seen sunsets like that, the most beautiful sunsets in the Midwest, really nice, near Fargo and near Pelican Rapids.

I have to tell you this.

I was one time-- I'll hold up the napkin to represent what I'm talking about.

I was down in Mississippi teaching, and a gal, they are kind of polite, and they say "Where do you live?"

I said, "Minnesota."

So I held up a canvas, And I went like this-- it's about halfway up and 50 miles from the North Dakota border.

She says, oh no, I don't know Minnesota.

I've only been to Pelican Rapids.

That's my hometown!

She had been there fishing.

So anyway, I can brag about my home area, because it's world famous.

Oh, I love it!

And we were just there, kind of a mini sibling reunion back on the farm where I grew up.

And I saw a sunset, not exactly like this.

They are all different.

Gee, it was great!

Okay, let's do this, let's come with, I have 1 Burnt Umber, 1 Viridian Green and a half a part of Cad Yellow.

And I'm going to push this around on the foliage.

And I'm using very much the corner of the fan brush.

I like that aspect, because when I come out, I can get a little incidental, accidental look.

Go up higher.

What I'm finding, which is quite enjoyable, and I'll point out on here is, look at that little kind of greenish tone.

That was not added; this is blue from the sky.

But this is from the priming of the canvas.

So when I put this on over here, I certainly can do some areas like this just a little more thinly because it allows the canvas color to show through.

Oh, that's a great choice.

When we come back next week, of course, we'll work more on the trees and on the darks and make them stand out just a little bit more.

This is kind of all one color, just varying amounts.

What you might do as you prime your canvas is to use the same prime color around on the sides.

You can almost put up your painting without a frame!

It looks really nice.

Okay, I have some distant trees that are calling my name, and that's in here.

Let's see what we have I have some Phthalo Blue.

of course, you want to get into the game, don't you, Phthalo Blue?

And a little sky color, and just a little Alizarin Gee, I don't know what you are but you are going to work.

You better work!

These are just some distant trees on this side.

That may have gotten just a little dark, but I like it.

Why not?

Why not like it?

Come over on this side, over in here a little bit.

Okay, we'll come across on the other tree.

You say that, then why are you peeking back at the right one?

Okay, I'm going to put a touch.

The peeking back was right up in here.

It's just a little weak, so we do that.

These trees, the blue ones that I put back there, I'm touching them a little bit on the edges with the green too.

Okay, you don't have much there-- yet.

I like to start on the inside so that when I've gotten a little of the paint off the brush, then I could approach the edges a little more carefully.

[soft scraping] And, you know, I'm anticipating the beauty of doing that sun and then some of the branches that hang out-- they are so much a part of this.

More.

[soft scraping] And I like the feeling of that slant going down.

I think to emphasize that, I need to take some of this light green and go just a little higher there.

That'll be better; then you can ski down there.

There is a little flat.

19 years of showing you how to paint.

Have some of you been there all the time?

Thank you!

Gee, this is so great!

Then the 6 years before that with the Alexander Art Company-- my gosh, 25 years!

Great!

It's nice to have a profession where you don't have to retire.

Oh, love it!

Okay, now let's see what we want to do.

I think two things, one for sure is to get the sun in.

This is Cadmium Yellow, and a little bit more 2 parts Cad Yellow.

Anyway, here comes the White into that.

I'm going to try first half as much white and see if that will work.

Now, I'm going to go total, so you have 1 White, 1 Yellow, equal.

Notice how I put this on the knife, I'll go back and do it again.

The reason I did it again, I didn't want a long line around there.

Okay, I have just a little bit of a slant... on the sun, on the application of the sun.

I'll blend that in a minute.

So we must have that travel in a straight line.

Let me just check and see if we got a straight line.

That's the sun, I'm holding from the edge of the canvas.

Straight line there, there, there.

Okay, we've done it.

We've done the straight line.

Oh, great!

Okay, let's blend those out just a little bit.

I could use my mop brush.

Let's flatten first with the knife, then we'll use the mop.

Isn't that great the way that flattens?

You still have quantity, but it's not ridgey.

New word-- ridgey.

Okay, we're... got that in.

And then just touch these a little bit.

The other aspect of the sun at the top, when I put that on, you notice how the bottom is very sharp.

So if I take the same color that we have here on the brush and just work it just a little bit... like that.

Then down below let's take-- you're Burnt Umber.

Burnt Umber and Viridian Green, equal parts.

Put that on, and you can just, on the top edge, just have kind of varying heights on this.

This will be quite a nice contrast against the light right down there.

Sort of blend a little bit there.

You are wanting things to focus there.

That would be the same reason I'm going over here and just blending this up a little bit.

I notice one thing I quite like, and that's taking some Alizarin Crimson.

Are you coming out pure or not?

It appears that you are not.

And I have just my smallest fingernail touching the canvas.

I had a fellow once that, he came and he had one long fingernail just for this purpose of touching the canvas and not making a miss.

Oo, I like that.

Now, what's going to help a lot down here too is if you get some secondary branches that are coming up and have that Alizarin on them.

It makes it look like some of the trees are closer to us.

Another one coming down there.

And where are you?

Oh, right in here.

We have one real nice long one in there.

What you might do is just a kind of final going away present is taking some Umber and Alizarin, equal parts, and just get a little preparation for yourself.

So I hope that you have enjoyed watching my "Cathedral Sunset."

And we will be seeing you next time when we go on with the finishing of that one.

So I think that's about it.

See you next time.

Thank you for watching.

I've enjoyed doing it, and I hope you will too.

Bye-bye.

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