By using color and principles and energy I want to create a painting that will be appealing to you!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ I'm armed, I'm ready to go!

Let me say something about my brushes.

I use them kind of intermittently sometimes with acrylics, sometimes with oils.

The purist would have an acrylic selection and an oil selection.

But I do take good care of my brushes.

I clean them very well with soap and water at the end of the day, I'll clean them with Walnut Oil throughout the day so I give them great care.

But if you find a brush that's 78 years old, it might have a few missing hairs!

Take care of your brushes, take care of yourself.

Let's show you what we have to work on today.

This is the finished painting of "The Orange Peeler," and this is stage one which was done with acrylics which means we'll work on it today with the oils, and then the next time you come together with me, we'll refine it further with oils, so we have time to do it and to do it well.

We'll start by taking Walnut Oil, and I'm dipping in with this big brush and putting this over the canvas.

[soft scraping sound] And even though you've heard it several times let me repeat it, and that is that I don't worry about covering the whole thing because I pushed it around with the paper towel to make it evenly spread, and you certainly can control the amount of oil that you still have on a canvas.

And it'll vary, there'll be some times where you may want to have a little extra on, and there may be times where you don't want as much.

Now, I'm going to put on a Saturday night bath, and I debated back and forth, should I use a blue?

Should I use a green?

I came up with Van Dyke Brown, which is a little bit surprising-- to me too!

When I put this on, it'll be very dark but I'll wipe around so it's not as dark, and then it gives me just the smallest little veil to work into.

If someone is coming in the room right now, will you tell them just wait a second!

He told us what's going to happen.

Okay, so this is very sparsely, spasmodically just scrubbed around very unevenly that's probably the words I should use.

And you ask, was that painting done that way?

I don't know.

[laughs] Doesn't matter, this one is.

Okay, now the wiping, for smoothness.

And you can see how it gives just a little bit of unity to it, then, of course, when we work up our lights on the face or on the hair you have a chance for quite a jump.

Look at the paint cloth that I'm using.

This was clean then it was just the Van Dyke Brown Wipe, so you wipe quite a bit off.

I'd prefer putting on some I'd rather wipe off than not have enough.

The other thing, by having the oil on not too runny where you kind of wipe that around, it seems to be a controlled basis at each step.

Okay, now we're going to go ahead with this, and I think what I'll start with is on the hair.

The hair, let's take some-- you're Van Dyke Brown do I want you no, I want Burnt Umber.

Burnt Umber, and I'm going to put just a little bit of Raw Sienna in that.

Raw sienna, you're late for the bus you almost didn't make it.

There you are, you stay there, and you keep your hat off in case I need to see you again.

Now, this won't be much of the Raw Sienna and I mixed it down in the edge just to see what I what kind of mixture I want.

So that looks like it's equal parts of Burnt Umber and Raw Sienna.

And we'll come with this.

This becomes kind of as I've mentioned before, sort of a building process, so we can always go lighter lighter, we don't start with our lightest light.

But see, even like that, I'll have one other fan brush to just use as a little bit of a blend, as a blender.

Because I put that Van Dyke Brown on, then it softens into something.

And I'm always conscious in doing the hair that what's the relationship of hair and shapes.

It has little kind of curve movement.

You want to feel it's growing from the scalp.

Okay we'll come here even though this color is just a little more reddish, we'll start with this one to give us a base.

Work down in there just a little bit.

Then you're going to have a very strong nice light eventually right on the edge of the hair as you can see.

So we'll come down here, just again moving the little strokes.

The strokes are just a little curve this way or a curve that way.

Both directions curving.

Maybe the smallest amount of little reflected light over there.

A little inner movement there too.

Okay now, let's go lighter with that and as I look at that I know there is some kind of orangey red in there.

So let's take you are Cadmium Red Light... and I'll mix a little Raw Sienna with it kind of just brushed-mixed it.

Equal parts Red Light, Raw Sienna with a little white.

Oh I love that!

That is strong!

And Katie, if you want to be a little more of a redhead, Uncle Buck will take care of that.

Coming down is where you see more of that red and there's such a nice one right at the shoulder.

One by the cheek.

It's nice by the 3-stage thing-- I shouldn't say thing-- 3-stage production, we have time to do careful work.

All right, let's take a fan brush, the dry one, and we'll just brush across that a little bit, and that's kind of the blend slightly.

I won't take time to do much down here until we put the blouse on.

So is there any on the other side?

There might be a little touch of red there but it would have to be a little darker.

Let's go a little lighter since we have the opportunity.

Yellow?

How about Yellow Ochre first.

Yellow Ochre and white, boy, I'm doing a lot of brush-mixing.

That looks to be about equal parts of white and Yellow Ochre.

You can see as I point over here, this is a strong one, this is a strong one, not quite as strong, not quite as strong and a little down there.

So you kind of control your use of it.

Oo are you powerful!

And down here, and just the smallest little touch across there and a little bit down here.

Those need to be blended further so I'm using two fan brushes one to place it on, and one to blend with.

This one, as a blend I'm almost needing to touch it like that... and down in there.

I'm going to come back to the top part, and we'll wipe just a little bit to clean up that edge, and the other thing I'll do, I'll just narrow that light in slightly so it isn't quite as far out.

Okay, that will give me a good gleam and a good basis to work with.

So let's come to the flesh color on the face.

And you want to know what color we're going to use on that?

it needs to be in the red family, so I'll take Raw Sienna and Red Light, and I think we'll need to have just a little bit of the Umber with it too.

So that looks like equal parts of the three and then a little white.

Here again you're always talking about, do you build to the lights?

This... a little too light so I'll go over here to where I have the same three but not as much white in it.

Right over the eyebrow, right on the nose, and then I have very little paint on the brush so you're just kind of dusting it off.

It's the same color that I want, but I can control the amount.

Let's choose to have a little more Umber in that.

Yes on this side.

You can see that it still has that red flare that we're been wanting but it not quite as light.

Oh gee, you got something in your eye, Katie.

Reminds me of your sister that was at the beach-- got a little hair in the sky; you got hair in the eye.

Same way here, I'm selecting to remove a little bit of that, that's just a little strong.

That works real well, putting it on, then just kind of wiping it for what is a nice blend a good value.

Use that brush that I was born with.

And come down through the middle of the nose a little bit.

Right above the, this is the eye.

What is that?

I guess I don't know what that is.

It's a fold that goes over the eye, it must have a name.

Do your checking Buck so next time you can tell us.

Blend this down, so a lot of blending on this, a little bit under the nose... both sides Then on the chin, we'll keep this coming around underneath, so it's just right on the edge of the chin.

A little bit on the neck.

Let's see, that comes over, I think you got short-changed a little bit let's come over just a little bit more there.

Okay, let's take some of that same color and see what happens when we come on the-- oh, the flesh-- love it!

Little bit more Raw Sienna maybe.

So this is the Raw Sienna, Burnt Umber, and Cadmium Red Light equal parts, then we have just a little white in it.

Good shoulder... make that curve.

And make this come down see, see that nice curve, we don't want to have too strong of a bicep there, so it's not a lot of indentation there.

Come on the finger, on the finger.

It's so nice to have all the fingers already established there so on stage one we got you where we want you.

Oh... that's beautiful.

We can't finish that, we can't finish this this week, otherwise we'll say come back next week and we'll paint an apple picker!

Notice how much of the underpriming, the acrylic stage, we can use as the shading on that arm.

I'll just wipe a little bit.

I love having the paper towel as it kind of removes a little excess and you let the underneath show through or you plain use it as a softener where it meets the dark or as an eraser.

Now, this has some good light on the fingers coming to the orange, and one here, and just a little bit on this one.

One 2, 3, 4,-- yeah we got the right 4 fingers this time.

Last time I think we gave you 5.

There's a small, small amount-- let me see is that wet?

No.

We need a small amount of reflected light over here.

That stands it away from the background at the same time.

Oops, just scratch in there a little bit.

Close your eye... good.

Okay let's see what we can do now.

Let's go ahead and start on the shirt.

It looks like we have accomplished quite a bit, so now we'll just go ahead with doing other things.

Let's take some Thalo Blue and white.

I'm looking up in this area, up around there.

So we're putting it just on the edge of the dark.

This is a little bit of the lighter blue, little bit there.

This will give the highlights.

When we put them on, they'll have something to blend into-- this blue tone.

This is Thalo Blue and white.

There's so many nice colors.

I love Thalo Blue and white and I love turquoise, turquoise blue.

This seems to ride pretty much on the edges of where the light is.

See, look at this and the light, see on the edge-- the blue is there, the blue is there.

And we'll scrub just a little bit over here.

Okay now, I want to put in some shadow color on her blouse and it looks like if we use a little purple, and I love to say that color-- Dioxazine Purple What are you?

You are Payne's Gray and the Purple.

I'll check out the value before I place it on.

Yeah, that's pretty close-- it might be just a little warmer maybe cooler there; we'll start with it.

It's surprising what it looks like next to what's there.

Now, when I put this on, you're saying well gee, they're almost the same, but this one is going to be quite light-- it has an eventual lightness.

The use of this color right against the fingers is very desirable because it makes the fingers stand away from the background.

In this case the blouse being the background.

Where else do we have this?

Down below we have it down underneath there.

I think what would be helpful now is to put a little bit of the strong highlights on.

So what brush do I want on that?

I'll use a flat sable.

So I'm taking white and I'm going to put on, I think I'll use Yellow Ochre.

You know, right away you think that yellow and white would do it, yellow and white, but I like, I like the less greenish light that just Yellow Ochre gives.

Now I'll hold this up, and see, that will work fine.

What brush do you want on this?

Do you want the fan brush?

No let's take the flat sable.

There's a strong light here.

And as I put that on, I notice that it's put on almost like brush strokes rather then blending too much, although we may blend some of this before it's over.

There is a little ridge along here... little light there.

There's one just right through the hair a little bit.

We might let this set a while and blend it later, but it certainly has a good feeling of vitality, doesn't it?

Okay, underneath the orange there's a light, so the orange will stand away... there.

Okay, then down below we have-- this arches, this comes down over here, there's a little light in there and there's kind of a little bulge that is nice right in there that has light on it where that sticks out into the horizon just a little bit.

Yup.

There, and one along here and then a very nice light right on the edge there.

Oh, I like that!

Now on the slacks, we're still just coming down Let's see what color we want first there.

I think Thalo Blue.

Would it be more helpful if I just said Thalo Blue instead of "I think?"

Does that give any doubt to you?

And I think I said last time if you wanted to make a little brunette you could do that or you could do it a blonde or a redhead or what do we have here?

Sort of auburn hair but out in the out in the daytime.

Okay so let's I'm going to take the fan brush just for a second.

This is adding little lights down in the lower area, and I want to have very little paint.

I think I need to be a little cleaner.

White with just a touch of Thalo Blue.

Good hip light.

Let's take this brush, the fan brush, and just a little bit of kind of push it around slightly, softening it a little bit.

The mop brush may be the one we'll finalize our blending with.

Ah, I really like what's happening.

Let's see, is there anything else we should do before we go up?

Let's take a little bit of the Thalo Blue and white just to work on the sleeve just slightly, doesn't show much but it is a little bit of a color thing on it.

Right here is good, we'll just remove just a little hair right there so that can come across there.

Oh gosh I love what's happening!

I'm going to take just for the kind of the remainder of the time, we got Raw Sienna where are you Raw Sienna, right there, and I'll take your neighbor Viridian Green.

No, Permanent Green Light and Viridian and Raw Sienna.

Oh yeah, that'll give me some good foliage.

We used to have a great song when I was in high school.

♪ Give me five minutes more ♪ Only five minutes more So we're saying give me a couple of minutes more!

That's fine, we've had such a good time today because we've got a secondary start part two on peeling an orange, "The Orange Peeler."

And we have another time to come back and refine it-- that'll be super.

One thing I want to do maybe not today but next time would be to put just a little clouds in the sky.

I think that would help too.

Oh, I got time I have time ♪ I've been told that I have time.

♪ Let's take a bit of the white, just a little bit of the Thalo Blue.

Oh gee, that's powerful!

We'll put extra highlights on that next time, but this will give us a good feeling of she being outside and enjoying the good weather.

Little bit up there.

Just a little highlight for a distant cloud there.

Okay folks, you've got an orange peeler, and I hope it's becoming appealing to you too.

We'll be looking forward to seeing you next week, and we'll have our juices going, and we'll make this thing just right.

Thank you for watching, I hope you enjoy.

Let me hear from you okay?

Bye-bye.

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