Now and then you meet someone who changes your life.

Thank you, Gary!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ You're going to enjoy this, because I'm going to do a painting-- oil and oil, no acrylics.

We do have a small priming on the canvas, which was a Rose and White in acrylic.

Then I've sketched just a little bit a feeling of a distant cliff, a wave, and then we have down front, we have a bouquet of flowers in a vase.

There will be one little flower in front and kind of a little table, so you're looking through a window.

So tribute to Gary, Gary Jenkins, one of the finest living artists, and it isn't just flowers.

That's his mainstay.

But he is great!

Okay, I'm taking White, and I'm doing brush-mixing.

I'm taking White, and I'm taking some Turquoise Blue.

This will be very light.

Yes.

When you compare it on the palette, you can see how light it is.

I'll put some of the dark right next to it.

So I have a little bit of the oil, and we push this around.

What you want to do is make use of that priming so that some of that pink will show through.

I've said this before, but let me say it again.

When you have a canvas that has priming all over it, you're thinking oh, that's all right, let the pink show through a little bit.

But the more you cover, then you realize some of those areas need to be covered.

As I push this down, I have no concern about coming in a little closer than I want to end up with, because when we put the leaves and the little twigs up there, you'll have something to blend into that will make it nice and soft.

So I'm not totally sure how this is going to go, because we have no model.

This is from imagination, memory.

It's a great way to paint, especially when you know subjects.

You know, I could do this, and I'm not bragging, I'm just guided, but I could do this with a seascape as well, and you know the principles.

You know rules, and it helps you.

Okay, additionally, my feeling is if I take a paper towel and just kind of wipe a little bit, this will smooth it around a little bit and again you're letting some of the pink show through.

So I believe one of the first things I'll do, or after that, which is on now, would be to kind of continue to block things in, getting rid of all the pink there.

We won't do it on the inside right yet.

Where'd you come from?

Oh, you're a nice color.

You want to be there?

You just stay there.

I may not use you, but you at least sit there for a little while, time being.

I'll come down with a little bit of-- let's take some Viridian Green and White.

And what else?

Are you Umber?

You are Umber.

That gives us kind of a nice gray, and I'll use this on the tabletop, or you could call these floorboards.

And whoever built the house, maybe they didn't get the window straight!

I'm just a little bit-- let's measure on this side, there and there.

So I need to go up just a little bit, so all the time, you're kind of casual with this and not too concerned if it isn't just exactly right to start with.

[soft scraping] Push this around, I have a little medium.

You can see I'm using a little medium, but it's a lot of dry brush moving, and I have this large bristle brush, which does a lot of good work.

Now to have it change in direction at the bottom, I'll have a little more of the dark, which is Umber and Green with less White.

It's just amazing, you know, always having accuracy, and I remember my teacher, Claude Buck, studied with a very famous artist named Emil Carlsen.

You can find him in the encyclopedia of Carlsen, But anyway.

I went to a museum once and I saw a painting that Emil Carlsen had done.

It was a pheasant lying on a table and it had a vase, and the vase was not symmetrical.

One side wasn't as bowed out as the other one.

So I said to Claude, "Oh, that vase isn't quite right."

And he says, "Oh, that's the way he wanted it."

He was protecting his teacher.

Oh, I was so impressed.

So we protect our teachers.

Here again, let's take the paper towel, and we'll, just one at a time, thank you.

We'll push this around to soften that, and then I think what would be helpful if I put just a little dark at the window edge, which is almost like this.

Same color, Umber and Green.

Like that, and then before we go into the flower area, let's put a little bit of color in the water.

What color is water?

Depends where you are.

I have some Blue, that's pretty.

Oh, let's see... Oh, here's some Phthalo Green!

Thank you, Cassie!

Phthalo Green and the Blue.

Oo, isn't that pretty water?

Um hm-hm.

We'll put this on just solid right now, and then we'll put character into it later.

You can see that little wave there, right?

Right there.

This will be another good place to measure, and you say okay, the horizon is right there, and then we go across here.

The horizon is right there.

That worked.

I think you find after you paint a while, you get sort of an, oh, you get an eye so you can-- I'm adding White to this-- so you can make judgement on things and they're a little more accurate, but it doesn't hurt to check further.

For instance, on the vase itself, the drawing there, you can say well, is that symmetrical?

If you have a straight line down the middle.

Now there is a fellow, Lowell Speers, that I painted with a few years, wonderful floral artist too.

He'd put a straight line, he'd draw one side, and then he'd flip it over and make it match, and that was very helpful.

I'll put a little bit of Umber on the cliff.

You had some green left in you.

Thank goodness for coming up dirty, because that's the color I want.

A little more Umber.

This right now is kind of sharp.

I have a feeling I might soften that a lot when we get the flowers on, we'll see, because we want this just to be kind of a little bit of a help going through the picture like this.

Okay, now the vase itself could use some color, I'll put that on and then I'll wipe it a little bit for form.

So what color do you want the vase?

Would Purple work?

Or a blue?

Let's take Purple.

Like that.

Come on this side.

Remember, I said that when, like you're right-handed here, it'd be best if you turned it upside-down so you could come carefully against the line without going out past it, but we can do it anyway.

And then you can say ha-ha, it looks a little crooked!"

Well, it's going to be all right.

Okay, so now we've put on the Purple, and as I suggested, we'll wipe a little bit.

So that's not real even.

So I'm not going to wipe for evenness, I'm wiping more for form.

So I'll leave it a little darker on the edges, and you always establish-- where is the light coming from?

See, we're indoors with this, which means what?

It means we can have a light on this even though the sun might be out there coming someplace.

And I've done this with various things.

I think some of my baseball paintings we say okay the light's coming from this way and hitting this shoulder on the batter and so on, and yet we show a very intense light out in the sky a different direction.

You can do it with fantasy.

Are you pretty close?

I'll go up just a little higher there.

Before we get to stage 2, we'll give you a little test.

All right I think now, the next thing is we'll put on a general-- where are you?

Where are you, general?

You're right there.

We'll put on some Green and we'll sort of circle the flowers, which are not there yet, and my thought is, we'll leave spots for the flowers.

So we'll circle around them.

And let's say for instance here, this is the Viridian Green, I'll use just a little oil with it.

So see then I've left this, and in leaving that I would want it maybe just a little smaller now, so when we put the color on, it can expand into that slightly.

And thinking of composition, I kind of like the idea if this comes down just a little bit, because it's going to pick up that wave and go up.

At the same time, I need to go over this way a little bit more, because we don't have anything to balance there, and we don't need to have a perfect balance.

Then down below.

Right now, you can't see that green very much, because it's against the vase, but when we add lighter greens, it will show.

Probably, let's see about the stem.

If you wanted to have any stem, I would let it go out that way.

So again, we kind of lean over this way, but we get some strength on this side at the same time.

Just kind of feathering it in.

Not quite sure the total height, how far out the flowers will go.

The more expansive feeling you have in the bouquet itself it's kind of refreshing.

Still with the green, and we'll have to make a decision.

We'll have a light flower, maybe yellowish white and a red one.

So we're pretty much going to go with the whites, the reds, the yellows.

Sometimes they touch against each other on purpose like these two, but then you want to have some freedom so they're a little space in between them.

Purple, you still there aren't you?

You're not leaving.

Maybe a little higher up there, a little lower over here.

Okay, now what this makes me think of before I do any work in on the flowers is, I want to take and wipe a little bit on that cliff, because value-wise, you need to be down just a little bit.

I don't want you to compete too much with the main diva.

I love using that word.

"Diva!"

You're a supernumerary, and my opera friends will understand immediately.

There could be just a smallest amount-- I have a Blue, maybe a little Umber with that.

More Umber, more Blue.

Make up your mind!

And then we'll have just a little distant cliff.

So it isn't just this one that's going to be staid right there.

This will give a little bit of distance, and relax it slightly.

Don't relax too much, Buck!

You sound like you're going to sleep!

No, I'm not.

I'm excited!

I'm excited!

What else do we want to do?

Nothing yet.

We'll clean up things along there.

Let's put just a little bit of the foam color, which is the same as the sky on the wave, and then we know it's there.

This is Blue and White.

Turquoise Blue and White I think we used there.

Pretty close.

Notice as I go over into the cliff area, I let it mix in a little bit so it looks like it's being shaded by the cliffs.

Oh, that's going to be great, and then just a little lighter for-- that didn't work.

Use Yellow and White, for the eye of the wave right in there.

And not today, but on our next week's lesson, we'll put some highlights on the wave.

Okay, I want to establish a little bit of the color scheme on the flowers.

[sighs] I think, and therefore I am!

I'm going to use Yellow and White for the big one.

So I want it to be yellow, but with a little White.

So we'll push this on.

It almost has a little green flavor, maybe because there was a little blue on the brush or we picked up a little bit from the neighbor.

Oo, I like you already.

Okay, what do we want as far as red?

We'll put the red on there.

The question is--okay, we'll put the red on.

This is Rose.

So I'm a couple steps ahead of you.

I'm thinking what do we want down on the front of the vase?

What color is that one going to be?

Don't worry about it!

We'll make it.

Here's more of the Rose, and we'll make some of these as they go higher just a little bit smaller.

Oo, you got a red neck.

You're a redneck!

Okay, one over in here, and eventually, not yet, but eventually, we'll tap just a little color out on some of those.

Let's go with Alizarin Crimson.

We have one over on the side here.

Could I do something on the palette?

Let's say you have the bouquet, and this is the top view, and this is the center, this is looking at it head on; head on.

Okay, as you have very strong lights in there, but then as it goes around on the sides, there's not as much light, so you can't make this as light as what will be there.

But in this stage, which we're using no light, we're just using the pure color, you won't tell a lot of difference yet.

Okay, that's not my final decision.

We'll go with more yellow.

So this is Yellow and White.

Where do I want this?

Up in there for sure.

It has such a nice rising feeling.

And even as I place this on, if it bangs a little bit into the red, so what?

So... bang!

Do I have any white flowers?

I don't think so.

We'll go with Red and Yellow, and we'll add some other little colors in too, so maybe little purple colors and so on.

But I need to make a decision on you.

Because the vase is in the purple family, then it seems like we could get by with a complimentary color.

Yellow and purple!

Did you see how glibly I threw out that complimentary color?

Oh, good, Buck, you know what you're doing.

Okay, we have some more room.

Yellow!

It takes a little thinking when you don't have a model to look at.

Oh, you're kidding, Buck.

You got one over in the corner someplace.

Do I?

No, I don't think so.

Um, Red.

This is going to work.

Good, I like the way it came down there.

Okay, now I'll come back with just a little bit more dark, and this would be between the flowers.

So I have-- it seems like Phthalo Green, where did I put you?

Are you Phthalo Green?

Yes, you're Phthalo Green.

You got to speak up when I ask you, Phthalo Green!

Oh, good, good, good.

One thing that I want to make sure that I do on this early stage is to get a little light on the vase, a start of that.

So what should I use?

Let's take the fan brush.

This is White, just let's add some Rose into it.

See, I'm very conscious in looking at the outside edge to tell me what happens on the inside of this.

We'll eventually have a real strong light there, but this is building.

As I tell my students all the time, and they mimic me-- they say "Build to the lights!"

That's what we're doing, building to the lights, so you progressively go a little lighter, a little lighter.

And then when you have that on, then it's always addressing the edge of the vase.

So we'll have just a little bit of reflected light.

I have Blue and White, just a little bit.

See, that's not going to compete with the main light.

So we'll leave that for the moment.

What I intend to do is a lot of palette knife work.

I hope you will be back for that.

I can now just add a little bit of Alizarin Crimson in the middle.

Gary's done some great flowers.

I don't know how he does his, but this is how I'm doing mine.

And we'll put one down here too.

Well, we've gotten a start, haven't we?

I want to put just one touch on so you just get a little idea.

This is Yellow and Green.

See we'll be putting some leaves down and so on.

I just wanted you to see that before we go.

You have to come back next week, because I know I have to.

We'll see you then.

We'll see you soon.

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