Quitting, and stopping to evaluate may seem to be the same decision but inside, the motor is running when you're evaluating.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Let's go get em'!

Let's go out in the front yard and pick an orange!

Some places you can do that.

We're going to make a little orange picker, peeler for you today.

And I want to show you first the middle stage.

this is going to be a 3-part project.

So this is the middle stage, which has been done in acrylics.

Over to the right is the drawing on a primed canvas and the prime is Ultramarine Blue and white.

You can see on-- we're calling finished one but it's a semi finished one has that same color right now then we'll be bringing that up with oils on two projects.

So this has been put on, outlined with Ultramarine Blue so that we can see the tracing and make a line drawing for you.

Let's go ahead and start with putting some flesh color on and what I have for that is Quinacridone Rose which will be on the final test for spelling!

And then we're going to put on some Raw Sienna and some Raw Umber.

And as I look at that right now it looks like equal parts of all three.

Let's see if that holds up.

And we'll add white to it, of course.

Well, I kind of feel we better double the Umber.

How come you didn't know that in advance, Buck?

I don't know!

Now I'll hold this up to the original and see.

Yeah, that will work.

This does, when it dries, the color fades just a little bit.

I have water in front of me.

This is a flat brush.

This is good flesh color.

And we'll put this on just very easy, and at the same time I'm saving a little bit of the outline of the blue.

You can see on the original over here, you an still see some of that blue outline.

And that's very helpful for you at this stage.

Now I'm placing this around.

I'll come back to the area I just touched there in a minute because it's a little generous on the amount of paint.

The eyes, wow!

What a break!

They're not, they're not... well, they're open!

But she's looking down.

So we don't have an eye to do on this painting.

I will put a dark in there later so it will form up a little bit.

Now I'm coming over to this part where I first placed it on and it's just a little generous.

So I'll make use of it, spread it around and again, coming right near the eye.

Come close to the nose but just enough so you're leaving a small line.

Oh gee, that works so well!

You can just feel blood coming into her system, can't you?

Down under the nose a little bit, over on the cheek.

You'll be tested on these terms later.

So when I say what's that?

If you don't know, if you don't know, it's "cheek."

Okay on this side I'm going to come just a little closer.

I think the drawing, it might be a little wide there.

I painted a Paulson chin; although that is a relative of mine, she is a niece.

Katie!

She loves to come and play.

We play out in the yard but we play a game called orange golf!

So we each pick an orange, and they'd be green, then we'd have a bucket and you'd try and throw it, see how many tosses does it take for you to get into the hole and then we'll go onto the next one.

Oh so much fun!

The kids love the games that grandpa makes up.

From Buck Ball to Orange Golf to Lemon Golf.

Okay, let's come under the chin.

I'll let the chin come down a little bit so it's a little pointed and then underneath here just a little bit on the neck.

You can see that.

On this side I'll place this on now, but it's going to be-- I won't put as much paint so it'll be just a little darker.

We will come more with that.

What's happening over here?

Okay, now I'm going through and just touching a little bit to make sure I don't have too much textures on it.

All right, what about the arm?

That's pretty close to the same color, so if it's close, that's desirable.

But I notice when I look at this that that's a pretty narrow arm.

Let's go with the idea that we'll widen it on the inside.

So I'm going to push across that line a little bit and come over there like that.

And then here, you can come right to the line, so the flesh color can be the new line and we'll eventually put some green out there for the background, the foliage.

This is in our front yard, and I hesitate saying that because you might say, well, when's the last time you mowed the lawn?

[laughs] Well, the last time was the last time.

Okay coming on the fingers, If I'm like this can you see me alright, I hope.

Somebody just posed a thumb, I guess I don't see any thumb to paint, but thanks for being the model.

Oh, is that thumbs up?

Everything's all right, okay.

I got a great crew I work with.

Oh, I wish you could see from this side.

Now I'm leaving just the smallest little blue, and I noticed on the original, and I'm calling this one the original for now.

You see the little dark lines are still blue.

So I guess it's the next stage that we go ahead and put some color on for flesh color.

And you... great.

Okay, it helps to have water because it flows a little more freely and under the lights it dries just a little faster then it would in your studios.

I hope you enjoy doing this.

When you do yours you can take, if you want to make a blonde or-- this, kind of an auburn is a little bit towards red hair because of the sun, the outside.

Oops.

I want to-- let's see, what do I do?

Are you left-handed, are you ambidextrous?

I think so.

Okay that brings it real close to the line.

Come there, then we'll come down here and just fill that in.

Just a little, little bit of an elbow bone.

What do they call that?

There was a name-- they don't call it crazy bone, do they?

I can't think of any other name.

I know if you sure knock that, you feel like it's crazy.

Okay, into the other arm.

What you watch for when you do this is-- now look from here to here.

I want to make a nice curve, so I put the brush on and just flatten it, it's such an easy way to make it, and then this comes down.

That's the think with flesh-- you want that absolute grace.

Come right there... and then on those fingers-- it's neat that we can use that flesh in so much of the painting.

It's just, it's interesting here, for instance, where I don't have much paint on, then you see some of the blue coming through.

But I shouldn't worry too much about that.

You in your time scale, you do it like that and fill it in, it'll work out all right.

Here... here... here-- how many fingers you got?

Oh, I know what happened!

That's nice, because right now you got 6 fingers.

I'll take a little Umber, and let me point out the original, see, there's a little shape there, but that's between the fingers, so you have right in here is between the fingers.

Good Buck, now you know what you're doing!

Continuing with that same color, flesh color, a little water with it, and we'll put this on.

Again, fingernail sometimes sits on the canvas so that you can control your pressure on the line.

What I mean by that, see, for instance, here I just put the little fingernail on so I can make a very soft little line.

Okay, what else should we do?

Well, let's go back to the flesh just a little bit.

We'll take this you're Raw Sienna?

Yeah, you're Raw Sienna.

A little Raw Sienna and you are Cadmium Red Light.

That's about equal parts with a little white.

So I'm placing this on just as a little highlight... a little bit under the cheek.

The important thing is, where you place it and then you sort of decide upon the values and so on but this is going to be the highlight for the face.

Add a little bit of reflected light right along there.

Oh, that's good!

Now what I-- oh, I see one other little light kind of like the same thing right down here.

And I'd better put a dark-- I'll take blue because that's what we used when we first put that on.

There's a little line separating that, so you get part of the underarm and the top arm.

I think it'd be helpful if we quickly put in some hair, and I'll take just Raw Umber with water.

When you're doing this, I'm so recalling what my teacher would say on whether you're painting a rock or painting water or hair.

You feel like you're touching the actual surface of, in this case, hair.

I'm actually touching hair, So it helps your strokes just a little bit.

And when you're doing flesh, flesh is very soft, and if you're doing rock, of course, that's very hard.

This has a nice framing quality as the hair comes against the face.

You notice here, like this see, so when I put that on, if I just curve it just slightly like that, you get the grace.

I did the same thing here, I curved that out, I curved that out.

Let's put this on, then on the other side, which is here, I'll put just a little dark there.

We'll go ahead and put some color on there, and surprising, out in the sun you're going to have a variety of colors.

So let's see what the Raw Sienna and Red Light do, Do you need any, maybe a little Umber with that, kind of brush-mixed, equal parts.

Little short strokes, and they can go a little curvey this way and some like that.

That stays pretty dark over there.

Doesn't it?

Well, why would you do that then?

I don't know it should be pretty dark.

That's better.

Okay, coming down on the blouse area we'll take Thalo Blue first, this is Thalo Blue and white, just again brush-mixing.

It's about half and half equal parts.

Then come over on this side.

Then just Ultramarine Blue, a little bit just to kind of wash in a little shading here.

So glad we're doing this in three stages.

Whoo!

There's a lot to do.

I have never taught this painting before too.

I kind of keep discovering paintings, and after I do them on the television, I think, oh, my gosh, I'd love to teach that!

And that's what we did on one of the last seasons ones, "Salty Sea" I believe it was and that became very popular across the country.

Down below let's stay with the Ultramarine Blue, but it's without white.

Great.

Okay then let's put a little Thalo Blue and white on the lighting of the shorts.

Look at the nice contrast, and I just love the stroking, the vitality of the stroke.

It kind of has a pure feeling if that's possible with a stroke.

Okay I'll go up onto the shirt and we have, this is white, and I'm looking at-- what are you looking at?

I'm looking at some Raw Sienna.

Not much, little bit of Raw Sienna and just a slight touch of blue in it... and that'll be on her shirt.

This may be a little light, but when we do the original it's quite light so I'll keep this, no problem.

A little bit under the orange, and just that little light under the orange, how it goes against the dark of the orange and lets the orange stand away from the body slightly.

So you're making use of a lot of the priming of the canvas still being part of the color scheme.

Oo, I see something we need to do where's my, here's my small brush.

This is flesh color, let's work just a little more of the Quinacridone Rose in it and see what happens here.

That needs to be just a little darker.

So I add a little more Umber to the Quinacridone Rose.

And the lower lip... and see how you leave that dark there?

I'm going to put a darker dark under the lower lip though.

And since I have that dark-- this is the Umber and Quinacridone Rose-- let's use that as, through the eye, eyes, then just a little bit at the bottom.

I think I need to go darker in the eyes, so we'll take pure Umber.

Then she can see her orange.

We'd better put a little color on that orange, and then we'll have to just scrub in some of the background color.

So for the orange I have Yellow and Red Light.

Isn't that a brilliant orange?

Ah!

And since this is in the front yard, there's going to be a couple oranges over on the trees!

We'll do that sometime.

A little water, it'll flow a little more freely.

So are you sure you're staying up on this?

I really enjoy having you there, I feel a little more confident when I have people that are there and say why don't you do this or that?

I can read your thoughts, I can feel them.

Not read them, but feel them, and they feel good!

It's like I remember in the service one time, my friend and I, we went, and there was a fortune-teller.

Well, we couldn't afford the amount that it would take to have our fortunes read, but she agreed to read our one hand each if we each paid half price, which we did.

So here I am, and I'm so impressionable.

"You're going to go on a far trip."

I'm in my soldier's suit!

Of course, I'm going somewhere but I didn't realize that-- "Oh, I am?"

You know.

So you got a little naive artist.

It reminds me, the fruit, a time when there was a real polio scare in Minnesota many years ago.

And my mom, she wasn't sure that I should be playing baseball, but I just begged and begged, and she let me.

But my friend, he said-- I need to put a little flesh color on there because I hit it a little bit.

He says the the polio comes from the fuzz on peaches.

Why don't they listen to him?

I thought.

Why don't they listen to him?

So I'm 12 years old, so naive, oh my gosh.

I guess it's a good quality, but boy, I just wonder.

Okay, what I want to do now is to quickly take, we don't have a lot of time, but we'll take a fan brush and water and Viridian Green and we'll go up and put this on.

Did I get some other color in there?

I might have got a little white.

Oh that's beautiful though.

Scrub it around and I'll go on both sides, possibly just a little touch of blue what kind of blue do we have?

We've got Ultramarine Blue and that green.

Yeah that gives me a little darker look.

We'll work those trees up a little bit when we do the oil stage.

Now, I won't necessarily take time to fill that all in carefully.

Why not Buck?

Because I don't have a lot of time left.

So let's go on the other side and we want to make sure here, being right-handed, I can come a little closer right early.

So if I were at home, and you say you need to do that side too, I'll often turn it upside-down so that I'm always working away from the line.

So if you're left-handed you'd do that one and turn this one upside down.

[soft scraping] The front yard, we'll do a little bit-- we've got the get that gardener in there.

He needs to mow some of that lawn... and on this side.

Okay, so I'm going to just stop there as far as the grass.

I want to take just a little look.

There's a little red, this is Naphthol Red That goes up here; this is very pretty.

Kind of flitting across there; you can have a little bit of the Quinacridone Rose there too.

You can see there's a little bit of flag there that we'll be featuring a little more soon.

Let's see, there was one other thing that kind of made me wonder what I should ♪ do.

Oh, we could use a little lighter light on.

I'm using the orange and white and flesh color-- just a little bit for-- not quite that light.

Make it a little lighter on the fingers... and on this side.

Oh, Katie, you're beautiful!

Little dark under the chin on this side... just a little bit.

I think we're getting pretty close, we're close.

We're going to stop and we'll pick this up next time bring the foliage over just a little bit further to the right.

Okay, that is a wrap!

Come back next week for the taste of oranges.

We'll see you, we'll see you then!

Bye-bye.

Katie, in another week we'll get you lookin' good!

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