As an artist you can enjoy nature while you do a little rearranging.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Welcome back!

Stage 2 of "Cathedral Sunset."

Sunset Cathedral-- it's the same place.

Okay, I'm going to take Walnut Oil on a fan brush and put this on, and as we might have stated before for you that have been here and for you that are the newcomers, we put this on just kind of casually around a few places, and then wipe, which spreads it around a little more evenly and removes a little bit.

Now, what I want to do on this, I guess you'd call it a glaze.

I was going to say a Saturday night bath.

Well, we'll see what happens.

I'm going to use Alizarin Crimson, and I'll put this on, and then we'll do some wiping, but it will be very thinly eventually.

[soft scraping] It's going to work out to be the bath!

And it's a lot like the application of the Walnut Oil in the first place where we put just a little generous amount on and then kind of wipe it down.

This works real well so that when we work into it we have something to blend into just a little bit.

Now, what I am going to do next is take some of my middle sky color.

Let's see, are you middle sky color?

You are.

Let's put this right in here.

I hesitated, and I was right, you are a little too light.

So I'm going to come up here.

This is Alizarin Crimson, Ultramarine Blue, and this will be just right.

Oh, that's better.

You can't see much change, but you can see a little bit.

And we push this around, not real evenly.

We want some of the orange sky to show through.

But now watch this.

This is going to take our bright Yellow and Orange, equal parts.

And we're going to come down to the sun area.

See that?

Oo, that's pretty.

I didn't go across the sun yet.

I'll go just a little more, like that.

It subdues the sun edge, then I'm wiping the brush and pushing this up higher.

Now, when I push this up higher, I will also take some of it and just smoosh a little bit in here and there, like I just did there.

Over in here too, so it's not a sharpness where it meets, but it is a definite help.

And I'll come down just a little bit below the sun.

See, that really settles it in.

It takes away from the sharpness there.

A little bit more see-through here and there, a little bit up in here.

Just the corner of the brush; very, very little paint.

Okay, I think that will do.

Let's go ahead on the trees, and I have some Umber and Alizarin.

This is 2 Burnt Umber and 1 Alizarin Crimson with the fan brush, corner of the fan brush.

I'm going to change my mind.

I'm going to pick up some Van Dyke Brown.

Didn't you practice, Buck?

Didn't you know what you were going to do?

Well, sort of.

Okay, this is Alizarin Crimson and Van Dyke Brown.

They look so much the same, the Umber and Van Dyke Brown, but the Van Dyke Brown is just a little darker.

So I have actually 2 Van Dyke Brown and 1 Alizarin Crimson.

No, I need to take that back.

It's 2 Alizarin and 1 Van Dyke Brown.

Because the Van Dyke Brown is pretty powerful.

And notice how I'm spotting this in.

So you're letting a lot of what was there before show.

Come down there, come down a little bit there, a little bit out there.

It's quite spotty, so you don't destroy the previous color.

Over on this side.

It gives just a nice feeling of darkness, depth, contrast-- whatever you want to say.

And the other aspect, once you do this, then you decide how much blending you need to do.

So as I did this, I glanced back on the other side, and I thought, well, that needs to be blended a little bit more.

Then when I'm over here, I think, this needs to be blended a little more!

Back and forth-- it's just like treating the kids equally!

I remember one time at the supper table with 5 children, and my son David had just done a neat job mowing the lawn.

I said "David, you did such a nice job mowing the lawn."

When my daughter, Donde, said "That means you don't like me!"

Gosh, give compliments, but don't feel that you are ignoring somebody else.

She's one of the sweethearts of our life, but she was, she was a character.

I'm using just what's left on this brush, just a little bit down at the bottom there.

That gives nice variety because you have some blue, you have some green, and you have some of this dark color.

I think what would be helpful is if we use the same thing.

I didn't realize that I was going to do that much of it, but I am.

2 alizarin and 1 Van Dyke Brown down in here And the same aspect happens here.

See how you have a little of the previous color still showing through here and there?

The same thing happens down here.

I want to make use of some of that previously applied foliage.

Down in front!

Like that.

Okay, I'll blend across there.

Oh, that's so much-- the blending is so much a part of painting.

What a difference it makes when you do or when you don't.

Okay now, let's just go to that little guy so we make sure that he's there.

I'll take just a small amount-- what are you?

You are Alizarin Crimson, and you are just a touch of White.

Just give it a little cap.

That's our viewer.

And a little bit of the Van Dyke Brown...

Yes.

Van Dyke Brown, just kind of a silhouette on the face, and then come down on the back just a little bit.

And down front.

This is Cadmium Red Light.

I'm going to put just a little bit of that middle sky color into it.

And I'm going to sneak a little bit of green behind there just so the person isn't too large.

And then on the sleeve, I have a little bit of the sky blue color.

I'll put this down on the arm.

Then at the top of that, some White.

Ah, you look great!

Maybe your head's a little big, so we'll take just a little bit of the green color and come around, come in front little bit.

You want to do that carefully.

And I'm talking to me, Buck.

You do it carefully.

Okay, let's go to the trees.

I have pretty much the dark that I want on there.

I might take a little Van Dyke Brown and just strengthen a couple of these branches.

Remember, trees taper.

They are wider at the base.

We'll be putting some lights on those in just a minute.

So I'm using the Van Dyke Brown.

The more carefully you do those trees in the early stages, the better you are when you're coming like now and putting the lights on.

The great sunsets they have up here in the Midwest, I just absolutely love what they do.

All right, this is a way of checking.

We'll go ahead and put some lights on there.

Let's not do that quite, well, yeah, you said you were going to do it-- do it!

This is Cadmium Red Light, and I'm mixing a little bit of that middle sky color into it.

That's not going to be good enough-- more red.

Okay, so you are aware where the sun is coming from.

This is going to bring the trees into the picture as well.

You are selective on this so that you feel like some of the foliage is coming over the tree branches.

We have a good one that comes down along here.

Then the other thing about that one is, we take some of the light, and we'll go right to the, let's see, let's go to the sun, the orangey yellow sun color.

And maybe even a little bit of yellow on white.

That has a nice kind of pointing direction.

You see the person looking there, and you come right on up.

Then what will happen when we put some branches out there, it'll come down, around like that.

You are very conscious of movement through the painting-- how do you want the eye to go?

Okay, so on this side... putting a little light there and a stronger one here... and over on this side.

Before I go on that side, I want to take a little of the Van Dyke Brown and make that just a little darker.

That didn't do much.

Get darker-- that's more like it!

Sounds like my dad saying, "I don't want to tell you again-- make it darker."

Oh, okay.

I remember many nights him coming home and saying, "Get up!

You didn't milk those cows right!"

Oh my gosh, we'd go out in the barn in the middle of the night, seemed like the middle of the night.

Ah, what a great place to be.

I love the fact that I grew up on that farm.

Okay, light on this side.

And this will come down too.

And what you will notice in just a minute is a continued movement through the painting.

And that happens here.

See this, we said the fellow comes there and you kind of follow around, come there.

This has pushed the guy down because he's facing toward the left.

So I'll take a little bit of my sun color, a little yellow and white in it, and just get a little more emphasis on this and this area.

Before we leave today I'll blend those just a little bit.

Now let's take and, let's see, we have that, that, that.

Okay, I want to take now some Viridian Green and Cad Yellow.

I love the power of the paint as it goes on.

Okay, so this is, you are Viridian Green.

You're Cad Yellow.

We brush-mixed it about half-- half of each.

I'm going to put a little more Yellow in it.

2 Yellow, 1 Viridian Green.

See how that adds to what you are seeing?

And you put it on kind of broken like.

"Broken like" means you are kind of dabbing it on.

And I'll have some vertical strokes there that gives a little indication of the grass growing.

That's beautiful.

Thank you.

Okay, now let's take just a little bit of green.

And I'm looking at Viridian Green.

Let me just see what that looks like.

I can use it-- Viridian Green!

And this is going to tap on just a little bit into those darks so you get some character in the foliage.

And I do come across here and there on the branches just to break it up a little bit, maybe just slightly there.

Okay, now I'll go up to the left one.

And this one more than ever cuts across some of those branches.

Oh, it's so much fun to have the things respond to what you are doing.

Okay, now let's see, there was something else I wanted to make sure that I do.

Oh, I know.

[laughs] We need to put some branches through the middle.

And I'm looking at Alizarin Crimson.

I wonder what it would look like straight.

Yeah, that's going to work.

This really helps when you put this on.

I'm going to change to a liner brush, often called twiggy.

Do you remember Twiggy?

I remember Twiggy.

Yeah, this really responds well.

And it looks like I could almost use just a little bit of blue in there too.

So I'm touching a little bit into the Ultramarine Blue.

That's a little more what I see over on the left.

♪ You had it at home when you left.

You're right!

♪ That was one of our Army marching things.

♪ You had it at home when you left.

You're right!

♪ ♪ Sound off!

1, 2, 3, 4, My sister, we used to have where you could make little recordings.

She listened to that, and then she recorded it, but the title she put was "Down Dog."

That's what it sounded like to her-- ♪ Down Dog!

1, 2, 3, 4 I thought you should really know that; might be on the final test.

These go up just a little bit, which is a nice variation from all of them going down.

Although on this side, on this lower one, we do want it to come down a little bit.

It all features the sunset.

Let's see, anything else?

Maybe a little bit up above too.

It doesn't take much to do the character on these, but it adds so much when you do it.

You are a little strong.

Okay, now let's see if there's anything else we should do.

I kind of like the idea of that little extra red.

So this is yellow and white and a little red.

I want to put this in here.

And maybe go just a little stronger on the sun area.

Yellow and White, come on Yellow, do your stuff!

So I've got 2 Yellow and 1 White.

Oh, see, that's a little better.

Isn't it?

And likewise, when we come down in the path, we'll make that just a little stronger, one spot, and one spot here.

I really don't want to put any down there, except I do want to put some of that orangey yellow.

Just soften a little bit from the sides.

Let's see if there's anything else we need to do there.

I think we might settle our little walker or our viewer down a little bit.

This is Burnt Umber, so I'm going to put just a little shadow there, a little under there.

Then when I look at the original, I notice just a little bit of light right behind, which is good.

Okay, now let's just see what a little blending will do.

Gently.

Now when I do this, when I say gently, I am aware of what's happening on the small branches, on the highlights on the tree, on the foliage, then down below That just softens it, it doesn't change it that much.

Then over on this side, same need.

You have to go so gently on that otherwise you're going to have to repeat your project.

And here, as I come out on those little branches, I'm tapping with the corner of the brush rather than brushing across them.

Now I'll come across again.

And then down in here.

There's one final little thing we'll take.

We'll take some of the orangey color and just a little bit on the land there.

Then it relates to what's happening up in the sky.

So I really appreciate you watching this.

I hope it's been sensibly presented to you so that you will be able to do it yourself.

There's always little bonus features on the DVDs that show how to go a little bit further.

Anyway... see you next time.

Bye-bye.

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