Then I said, [in high voice] "Don't you remember me?

I met you in Seattle!"

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ A little explanation.

I was so helped by Gary Jenkins early in my art to receive seminar experience.

He would say in Bakersfield say, "You gotta get Buck Paulson!

You gotta get Buck Paulson!

He does the oceans and so on."

So one time I thought I would show my appreciation.

I went down to Gary's class, which was 50 miles away at that day, and I went in the second day at the afternoon.

They had already worked a day and a half on it, and I went into the restroom and came dressed out as a woman, and I came in and said, [in high voice] "Could I get into the class?"

Well, the people that ran the workshop knew that I was going to do this, and they said, "You'll have to ask Mr.

Jenkins."

[in high voice] "Oh I remember you!

I met you in Seattle!"

I kind of turned a littler bit, and I saw his lips go "Who... is...

that?"

But after I took off my wig and that, he was very friendly, but it was a nice experience and I wanted to say thank you to him.

Today we say thank you to you for watching as we go to lesson number two.

This was oil last week.

It's oil again today!

I have on the palette, this is Naples Yellow and White.

Might be just a touch of blue in it, there is.

I want to put on a little bit of sky work.

This will give us something so that when we put out the twigs and all that, that we don't have to try to work around them.

We put out some suggestions where they're going to go, but we have not completed the edge of the flower bouquet.

Isn't that a nice impact right there?

We'll come down near the lower part of the canvas, and as you might note, as I come down, I have less highlight so that you feel like there's a dome shape to this.

Now we'll go over on the right side, and I'll choose to go just a little bit higher than that.

So we're up over in here, and then this will give us a little opportunity to swing down this way.

Particularly since you already have a wave there that has a lot of interest, so we need something that moves us towards that wave, and maybe just a little lower color that's covering the pink a little bit.

You notice how much of that pink is showing through as we talked about using last week.

Okay, now I'll change brushes.

Why?

Well, I don't know.

This is a little flat, sable one.

Using the same color, and I'll come down.

I want to put this on top of the wave there.

We may even go lighter on that, but we'll establish a beginning, a stepping stone.

A little bit there, and then we want that again to show a continuation of the wave over on the right side in the distance.

This is looking through a window, or you can say it's on a park bench, whatever you wish.

The thing that helps a lot on movement in an ocean is if you have a little bit of dark that comes through which you call the dump.

This is Phthalo Blue.

So I'll put this in right here.

I need to lean.

I'm leaning my hand on the other wrist for stability.

Now some people will take a mahl stick.

You know, lean against that.

Whatever works for you.

I'm going to pull that light down just a little bit on top of the blue.

I have light on the brush as well so I don't have to pull very hard.

It just breaks it up a little bit, and then kind of splash around.

Get a little bit of mistiness behind, a little bit of light down there.

It isn't quite as strong as the big light.

We'll probably go even stronger on that big light.

We'll take some of the same light, and we want to have just a little bit of this light there, and then we can pull a little bit so it further gives movement to the water, to the wave.

Okay, we better get to our flowers.

I think what I will do is first establish a center of interest.

We have this as a center of interest, but let's now work them up a little bit.

So I'll take a knife.

I'm going to use Yellow and White.

Now, if I use equal parts, it's still going to be very yellowish, which I want.

And I'm having the light come from the left that is lighting my bouquet and arrangement and then also on the vase.

So I'll put this on there, and we'll go around a little bit with this.

This, we're pull in towards the middle.

And, you know, we said yesterday or last week that as you do this, you're going to then extend the flowers out a little further, And I like the way it touches into the green and makes use of that.

Here I'll just roll it a little bit.

I like you, but I will like you better if you're not quite as ridgy.

This one you spend time on, because it's the main force.

I will have less on those, but let's come down to the one in front of the vase.

It needs to be strong too, because it gives us a support to the arrangement.

Very loosely done with the knife.

Gary is the master with the brush, so we'll follow him by using the knife.

Okay, I'll take red.

What are you?

You are Rose, and I'm going to put--this was put on last week, but I'll put it on again, push it around just a little bit.

And sometimes if you take, after you do that, you take a little bit of the yellow, just spot in slightly like that.

Good!

Let's put the red down in the lower one, and that doesn't have to be a complete circle.

You can push this around so it has a varying size to it.

And then I want to take-- you're a little too much.

Now while I have the yellow on the knife, we'll come up and just touch in a little bit like that as well.

What will help the lower one if I take some of the, you're Purple, and you're Umber.

So which one you going to use?

Yes.

Purple and Umber!

Just a little underlining there.

A little dark there.

That may be generous, so we'll take a little yellow and just touch in just a little bit like that.

All right now I'll come to the flowers that are behind.

I'll first use Alizarin Crimson, and the reason I'm using this is both it makes a nice contrast against the yellow one, and it also represents the yellow casting a shadow on its neighbor.

Then I'll come with red, Cadmium Red Light, straight... and just the smallest amount of White.

When I say White, what do you mean?

I don't know.

Let's try some Yellow and White, almost White.

Good.

Okay, we'll come up to the next yellow flower.

I'm using Yellow and White, but now-- this is equal parts of Yellow and White-- but now I don't want to go around the whole thing.

You might say, okay, the light would hit here, and then you get the feeling like it's turned up and a little bit on the inside.

So that will be enough at least at the moment for that one.

As we suggested last week, when you look down on top, you need to represent the roundness.

So I can't have as much vitality on this side as we do out front.

So we'll put a little bit of Red and peak just slightly in there.

Down here I can have more, because that's also in the same path of its progenitors.

Okay, on the yellow, we have one yellow one, this is Yellow and White, that goes behind this one over in here.

And I'm going to keep going with the Yellow and White.

This can have more.

Oo, you stuck your arm out.

You better get that in.

So we'll take a little green and make it come in.

Very good!

Thank you!

Okay, we have another yellow and white one right in here.

This is a good place to have some strength, and down there.

And as we go out further, I'll go with a little bit on this one, just kind of tapping a little bit.

Now, when I look at the top one, the yellow and white, this being the top one, it could just round a little bit.

That's a little straight, just slightly like that.

This one hits just a little there.

Okay now, I want to do what?

With the red ones, we have some more red ones to do.

Cadmium Red Light.

Oh, what a neat target you are!

If they had, what do they call it-- starving artists, where they're just all in an assembly line?

I could easily be the flowers as they come by; I'd love that.

I guess after you do 10,000 you'd be a little tired of them, but you could probably do them in your sleep.

[snoring] Oh, I was not sleeping!

That noise was from my stage assistant.

[chuckles] So what do we do now?

Okay, let's put-- I have some White, a little bit of Red in it.

I want to take some Rose down.

I'm trying to arrive at a color that I like and I don't know what it is yet.

More of the purple.

There you are.

There you are!

I knew you were in there someplace.

And this is so good, because it's very compatible with the purples.

Now I put this on, and then I'll go a little lighter into it in just a minute, but this is very compatible with the greens, I think you'll see, and I'll put some of this out... some of the edges.

I'm going to come back with a little bit of green and go out just a little further with some of these character notes.

Now this one is large enough, this space is large enough that we can add just a little larger reds and yellows maybe.

That's saying larger than what is going out there beforehand, not larger than the inside ones.

This is a nice place to have a little impact, because you got the cloud there.

Let's put a little bit of-- what do you want?

I think the Red, up here slightly.

What I would suggest doing, be sure and have a mirror handy so you can look at it once in a while and see how the balance is going.

A little bit of the green out to the sides here.

And then I'll take and put some leaves on.

We'll take some Green.

Where are you, Green?

Viridian Green and Umber.

And we just touch it down... lift.

The way Gary would do it, he would go ♪ boo-boo-boo boop!

Gary, I like your leaf better than mine.

Oh, good.

Okay.

♪ Boo-boo-boo boop!

Oh, I think I'll do some of mine.

Okay?

Just touch a little bit out there.

Oh, I like that, the little accents.

Now, that gives some nice height to it.

And here we need to have some character, some contrast, so we put that out like that.

A little down here.

Okay now, I put some up above, it's a little too powerful, too strong.

So I'll take some Blue and White and just touch into it.

I don't need to remove it, I just want to soften it a little bit.

Here.

Now, last week I think I put a couple of those in.

We use some more of the leaves on the front of the vase.

So this is Yellow, and let's take, you're Permanent Green Light.

Oo, that's a good green.

So I'm basically looking at for some lighter leaves, particularly in here.

You notice how I've cut across the neck slightly so you don't have to follow that.

And then maybe a little bit right in there.

And I want to have a dark one.

So this is the Umber and Green up in here.

See, if I have those near a light flower, it helps a lot.

So I would do that further in a couple, 3 places.

I've chosen to take Purple and Permanent Green Light.

More, more, more up in here.

We have one there, let's put another one in here.

A little one there... and one in here.

None, none, none, none, one there.

And out here, and then you're kind of protecting that red one there.

What kind of flowers are these?

They're Buck flowers.

Fantasy flowers!

Okay, so let's go ahead and put some light on here.

Light on there.

I'll use what we used out for the clouds, and we want to have a good light, and it slants just a little bit.

I can touch that with a mop brush.

I'm going to knock that down just a little bit, the textures with the knife, and then almost white or I can use the same-- the White that I used for the clouds.

And we started last week, where we put just a little reflected light on, I'll put just a little bit more.

This is Phthalo Blue and White, because it's more dry now.

And see these don't hurt your form, because they're not competing with that.

They just give a little added interest.

I have them on, then I'm touching them slightly like that.

Okay, let's look further at maybe the cliff.

Take a little White, and you're Umber, and you're Orange.

Boy, Orange, you waited a long time.

You waited 2 weeks, or 1 week.

A week and a half.

I want to outline that a little bit with some stronger Umber.

And see, at last week I think we were talking about we didn't want to make that compete with this, but now we want it so it isn't just so... nothing.

I want a little Blue and White and I'm going to put this on the edge right there.

So I'm going to put this on and then pull it up so it'll look like-- oops, that's not light enough.

This is lighter.

So it looks like a little space between the wave and the distant cliffs.

I'll come in there just a little bit so you get a little misty feeling against the cliff, and then the rock that's in front.

Well, where are you, Orange?

We better use you again.

Maybe a little water coming off it.

And then what is always helpful when you have that good strong wave coming against it, if you have some accent.

I'll take Umber and a little Purple.

And this is what I mean.

See the accent that is against the foam?

So that really is an eye-catcher.

Okay, I'm going to take and put a little bit of blue, a little white with it, just in here.

So you get just a little feeling where you can see where that top of the wave is, and then the bottom.

A couple small little splashes of the Blue and White, sort of represents some little foam going up into the wave.

Okay, now on the sky, now that we have that kind of established, then I'm looking at the possibility of going just a little bit lighter.

So that's Naples Yellow and White, as we said before, but this time there is no Blue in it.

You can see I'm mixing them nearby each other, and this has just a little bit more, and if I put this in just for impact.

It's right close to the bouquet so that I'm keeping the interest in here rather than pulling it over here, although some of this could come a little more close to the cliffs, and then we had some up here.

I don't think it will hurt if we just strengthen that just a little bit.

I like that.

I like that, just peeking the light there against that shoulder.

Let's put a little bit here too.

Okay, then down on the table, I'm going to take White and this is Orange-- you've made the trip!

You've made the team!

We'll put some of this, and this will be giving us some good path of light.

And I'll push this hard right down there so you have a definite change of direction from top to front, bottom.

And what you might do, since it's kind of, not archaic, but primitive, I'll take some Umber, and let's say, okay, out there would be my line of perspective, so I'll draw a table line there, and I'll draw another one over here.

So you get the perspective, and this one will go right here, and this one right there.

So because I've done that, let's take just a little bit of this and put on the edge, edges.

Soften that slightly.

Well, thank you, flower for loaning us some of your color!

In appreciation, I'm going to give you just a little bit of clouds, clouds... whatever you are.

Oops!

Leaves!

[laughs] Oo, you're wild.

Hey, we have to say good-bye, but it's sure been great being with you.

We'll have just a leaf up there and there and there, so you've been taken care of too, flower.

Thank you for watching!

Gosh, it's been great doing this!

It's just total energizing to do.

I hope you enjoy it, I hope you'll try it.

I hope you'll send me photos of what you've done with it.

See you next time!

Bye, Gary!

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