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Thank you for being here.

We are on part 3 of a 3-part painting.

And you can see the original on the left, my little niece peeling an orange in our front yard, and over to the right we have, which is our second stage we started with acrylics, then we put on oils, and now we're going to enhance the oils.

So it's a great thing to have that model right next to me, and I can work on that.

The first thing that I am going to do is go up on the hair, and I have a flat sable brush, and I will pick up some Raw Sienna.

What I want to do, I look at the original and I can see that that edge is not quite as light as mine, so I'll put a little Raw Sienna on here, then I'll be able to add just a little extra highlight right there, but the highlight won't be right on the edge.

Same way near this highlight, let's just add a little bit of the Raw Sienna near it.

What about the other ones?

Oh no, well I just thought of something, but let's stay with the Raw Sienna first.

Down here this sort of surrounds that little highlight It narrows the highlight a little bit.

We have one over here too that we can just touch into a little bit.

Then we'll come with our lighter lights-- what are you, blue?

Oh, you know what you did, you kind of pushed that in a little bit that's a good idea-- I like that.

Okay, now let's look back here on the hair there's one thing that I noticed, and I'll point it out, and you'll notice it too.

Maybe you've noticed it already-- and that's this hair.

Look at that hair-- it comes right down into the eye.

Mine stops at the forehead, so we're going to bring this down just a little bit, and what that does, it sort of features one eye more than the other, but you have her very intently peeling that orange.

And as we said yesterday, its kid of an appealing painting, isn't it?

Okay, on this side, I guess what I need to do, and I'm looking over here.

See that flesh goes just a little higher, so let's have some flesh color.

You are pretty close.

This is red and umber and white but I'm going to put a little Raw Sienna in it maybe a little white-- that's just brush-mixed.

So right in here I want to have just a little bit of a wedge going up there, like that, and then on this side too.

When I go on this side-- should I go on that side first?

No, let's go on this one.

So we'll narrow this little dark hair coming down but I narrowed it more on that side and just a little bit on this side.

Okay, let's use that same color and come down on the face.

We'll put a little bit in here.

See how this just enhances the richness slightly?

We'll come down under the nose, We're going to come back to the nose, but for the moment I'm just using the same light color.

Put a little bit over there.

Look at that nice curve, that's what you'd expect to see there.

And this one comes over a little bit more, then right above the lip if I have just the smallest-- my teacher used to call that the Cupid's bow.

Cupid, you know Cupid, where at Thanksgiving, no, [laughs] Thanksgiving time-- Valentine's Day is the Cupid one.

Right?

And then at the bottom I want the same kind of reddish color to be a little bit like an outline there.

It gives sort of a reflected light.

Let's see what happens over here.

We may already have enough there, but this if anything, it'll just kind of make a nicer curve.

That wasn't a good curve there.

A little bit right on the neck, then what about the nose?

This would be a little too light on that, but I do need to get rid of those dark lines.

Oh, before I do that I want to go up near the lips.

Look at this, see that little blue on both sides?

I'll just push in slightly on both sides so that the mouth is framed up a little bit better.

I want to slant this down so it has a little more narrow look there; that's good.

Okay, now on the nose, this is the Red and Burnt Umber.

I hope you work.

I'm wiping so I don't have much on the brush.

And I want to push this over just to narrow the little dark blue line; a little bit on this side.

Right in that spot-- see that dark at the bottom of the nose?

I need to come down in the middle of it, so then you have two nostrils.

Okay, maybe a touch of that same red can go just a little bit on the lips, they're a little pale.

Oh that's gonna work, and a little bit on the top lip too.

You're a little young to use lipstick.

Sort of looks like lipstick, does it not?

Maybe got into mommy's stuff.

Here I think just a little bit on the cheek.

I like adding little reds around.

See that, it kind of enhances the a eye a little bit too when you do it like that.

Right by the corner of the eye, then maybe push this up so the eyebrow isn't quite as large.

And course, on this side, you don't see an eyebrow but I'll put a little bit of red up there anyway.

So that all sort of gives some vitality to it.

We can go a little lighter.

This is Raw Sienna and white with a touch of Umber, just on the edge of this nose.

See the same light that is hitting on the hair, you kind of, with the position of the head you pick up just a little bit down there, and that's good.

All right now let's go back to the hair for just a minute, and I'll take and then go a little lighter.

I have my Yellow Ochre and white.

Yellow Ochre and white, let's see if that's light enough.

It is, in my opinion, light enough.

More of it right out here, and when I say "right out here" I'm putting on about 3 little spots... then down below a little bit coming over there.

Then we'll have some red-- what should we have?

We got this same red again.

Let's put a little bit of this on the hair.

Good choice!

Telling us what it is-- we wouldn't have known!

Down across the sleeve slightly, stronger right near the face.

Okay now, let's see what else we need to do.

Maybe a spec of that Raw Sienna and white.

Oh, I want a different brush.

What brush do you want?

I want this one.

So I'm going to go into the lights that I have there, but it will be just a small little touch.

So you build to the lights as we've talked about several times.

I've wiped off the paint on the brush a little bit so then there's much less, then just a few little individual strokes.

Okay, let's leave that.

Let's go down to her arm.

And on her arm this is Raw Sienna and red, a little Umber.

Now this has a nice rich arm.

Mine, I'm going to put this on, it'll be just a little more pinkish, and I'll make use of what's already there as being the shadow.

So this was a choice-- I felt I wanted a little more fleshy color that goes with the rest of the canvas.

A little bit here.

I'll take a paper towel and just wipe a little bit, kind of blending by the wiping.

And we'll take a small brush, use the same color, the flesh color, and come up for a little lighter on her fingers.

See, by having the two different values, then you get the ones down in the shadow and ones being lit.

Okay the next one, there's just a little line there that comes over and then this is lighter.

And then this one, I'm going to make it just a little wider.

It's light goes down almost to the edge, and what that does-- you can see the difference-- it straightens out the finger.

And then the light in here will certainly help.

Then the small one, you get much less light because it's sort of half hidden by this overlapping finger here.

Let's go with a larger brush.

I already have the flesh color on it.

So we'll just bring it down like that.

And of course, if you have-- see the shape of this-- then it corresponds with the outside shape.

There's some good reflected light down there.

I just noticed that; I'll point it out.

See this reflected light?

So it starts about here... and comes down, you have that nice curve at the bottom then just soften a little bit of that too.

It's such a good time to do this.

I do need to watch that one arm, so I'm taking some of the same red we used up above, and just to make a good slight feeling so you get a feeling of where this edge is.

Okay, I like the idea of using this red just down on the fingers a little bit.

Are there any in here?

Just a little bit there.

And I think this one's all right, and I think this one could have just a little of that too.

There is a slight bit of a fingernail so why don't we see-- what should we do?

I don't know, you tell me Buck!

I'll take a little blue into that flesh highlight color, and we'll go just a little bit.

Oh Perfect!

I would say it even if it wasn't, because I don't make mistakes!

I don't make mistakes?

I make mistakes!

I hope you saw the one show when we had "King of the High Seas!"

Oo, we made mistakes!

All right now on the other side, the fingers, you have the light coming.

See the light hits here, and it hits these fingers.

So these would be the ones that have the lightest light.

But we do have, as you can see, I'll point it out, you can see it.

I'm adding just a little red into that flesh color.

Right in here, we have part of a palm and then a little good strong light there that you're just seeing through.

And there's a slight feeling, and I'm taking some of the reddish tone.

Over here, what this does-- two things.

It gives the reflected light, but watch the-- see, it sort of defines the-- oops, don't define the tree!

You know, sometimes the brush helps me.

It made a little jump and it wanted me to go out a little further with that, so we have a nice rounded shape there.

Now, I haven't taken the time maybe to cover all these blue lines, but it would help just a little bit if they were sort of addressed too.

Here's one up here, a blue line.

I'll put a little bit of that reddish pink on it.

Speak up Buck!

We can't hear you!

Okay it looks like you've got a ring on that finger.

I don't know what happened, why you have a little spot there.

I'll just blend that gently.

And the fan brush is always nice for just kind of curves, you know, see the nice curves you have.

We'll put a little bit over in here.

That again, just brings the hair away from the background, the trees.

Okay, I'm going to jump around a little bit which means-- it maybe noisy at home as I jump!

Can you see me jumping?

Okay, what I meant was, I'll go to several different areas rather than just coming on, zeroing in.

I'm going to take some blue.

It would sure help if I could hear you responding to me at home.

Then I'd say oh yeah, that's good!

Okay this is Thalo Blue and white with a little bit of Payne's Gray in it.

And I want this to be sort of a peek-through sky.

This will give you sort of an idea, then you can decide on yours where you want to do that too.

The other thing that I need to do up there in the trees is to put some trunks in.

A little bit see through over on this tree.

A little bit down low, and we have a few dots close to her.

This in some respects becomes a help for showing the edge of the hair.

This whole corner can be a little sky-ish.

And over here, not much.

I'll push just a little bit in here just slightly for the reason that you feel then that these the foliage, the branches, are kind of swaying that way.

I want to eliminate that so it's not a question of whether it's hair or not.

All right now a few branches, and I have this flat sable brush and the reason I like it is because I can draw a narrow line or you can go wider with it.

Let's see.

What are you?

You're Payne's Gray.

What are you?

Are you Van Dyke Brown?

Yes.

I'll take Van Dyke Brown; I picked up just a little medium, the walnut oil.

And we'll come down-- you can see that, can't you?

And as I skip, for instance here, if I skip, then you feel like the foliage is on top of the branches.

And of course, all the, you know, with the trees, you want to feel like they taper.

They'd be wider at the bottom, then they would taper as they go up.

And you want the feeling like they could move in the breeze without snapping.

There's just a couple little branches there.

You could always use a smaller brush if you feel more comfortable with that.

More.

And there's a good one here.

This one sort of helps in her mood of thinking.

It just you know you see the trees out there, and they're just moving freely in the breeze, and then it comes right down into Katie, her expression.

Let's put a little bit of one here that relates up to the tree that we just placed on.

And we'll go right above her.

On this one, it seems to be the largest one, but at the same time, I stop without connecting to her head, which I think is very helpful.

Now on these trees, I'll put a little bit on the far right, then we'll come back and blend them just a little bit.

Oo, you got strong-- "strong" meaning large.

You're less strong.

I don't know-- some of you aren't as old as I am, but I remember years ago it was a Charles Atlas advertisements and it showed this big guy at the beach and showed this kind of skinny guy, and he kicked sand in his face, and then that scrawny guy went and got this course, and he became strong.

So I used to think that worked.

I sent for that, but you had to send for a lot of equipment-- that I didn't know.

I just thought that free book would give me everything I needed to know to become a strong guy at the beach.

Now I'm at the beach, one block away, and I don't kick sand in anybody's face, and they don't kick it in mine.

Okay, besides softening the branches and the trunks, notice where I come to the edge, and I think that's too sharp.

So I'll just soften that a little bit in and what it is, either the green paint is a little wet in touching it, or else the blue is moving over a little bit.

There's one thing to remember when you're painting foliage through the trees is that it's generally a little darker than the open sky, because if you use the same value inside as you use outside then these pop too much, so I used the same one but by softening them I've accomplished the fact that they're just a little softer.

Okay, on this one we suggested that it's large and strong, but we need to soften a little bit so it doesn't bang into her head.

Then the one on the right, I will soften this a little bit, but what I want to do there is pick up, are you Viridian Green?

Yes.

Viridian Green with just a little bit of juice.

and I want to sort of tap, become a little bit of an edge to that.

This is a little stronger.

I just felt that little one on the side needed to have a balance when I first put this painting in.

Or the picture, the painting on at home when I did the original.

I think we told somebody that we were going to plant a couple oranges out there.

Oh gosh, gotta do what you say you're going to do.

There was Red and Orange and just a little Umber.

What will you look like?

And we have, we have an orange tree in the front yard.

We got, what is it?

Pomegranate tree.

Oh my goodness a lot of people love those.

This one gee that's got a lot of oranges!

I think there's one over here too, and we even have neighbors that have orange trees that hang over the fence.

And they said whatever is on that side you can have.

Okay, I'm going to take a mop brush and just feather out some of the design and the patterns and the colors on her dress, on her blouse.

This one is so helpful because it lets the orange color or the orange stand away from her body.

Looks like you had a very nice clean blouse.

The dry brush is such an effective way to do these.

Now, come over a little closer because I want the feeling of that blouse standing away from that background.

Let's go just one touch with the dark, Van Dyke Brown and Viridian Green and right here.

Can you see?

Yes.

See, that cleans that up.

Just a little sweeping across the shorts, and you know, what we did yesterday-- "yesterday?"

Last time, is, we put some color on the foliage down on the lawn.

So I'll just as we're kind of going away, just a little yellow and green.

Put that on, and then we'll blend wipe it.

Oo, looks like Bucky got out there and mowed the lawn!

So we'll see you next time!

I'll be here on the lawn mower going around the yard, but I hope you've enjoyed the 3-stage one of Katie as "The Orange Peeler."

See you next time!

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