Paint your painting to please yourself, for you may have to end up living with them.

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We're going to do the oil painting stage of "Two Different Worlds."

We finished the acrylic stage, and you can see I have the acrylic stage on my canvas ready to be worked up to achieve what is on the left canvas, the finished oil painting over acrylic stage.

Now, what I have planned to do today is, I've put Walnut Oil over the whole canvas very thinly and then just wipe a little bit so I don't have great quantities.

The reason I did that is so that I can glaze a little bit in certain areas.

So I'll take on the two figures.

I have some Alizarin Crimson, and I'm going to glaze this on.

I'll put it on and then sort of wipe it off, but it will allow me to have something to blend into.

See how that warms that?

Often on a Saturday night bath, we'd have this over the whole thing, but instead, we'll use a different color as we go up to the sky.

That's great.

Now, I'll wipe just a little bit, and then we'll work some paint into it-- not much-- It helps give the form a little bit by wiping.

Gosh, I don't have any brushes!

What do I do?

What do I do?

Let's go ahead and put on some paint, and I have Raw Sienna and White.

Do you have anything else in there?

I'm going to take the smallest amount of Cadmium Red Light.

That doesn't change it much, but watch what happens as we come down, and it also like I say, I'm not intending it to change much, I'm going to push out the line, but watch what happens when we have that on, and then some wet paint works into it.

It'll soften out nicely.

This is a good time, and I could have done it with acrylics with just a little more care is, come closer to the line so that you're not constantly trying to get rid of a line.

This is going to go quite aways.

We'll put it over on the arm... and this is a day that you finish your little projects, and you turn around and say look what I made for you!

Okay, a little bit on here, the leg.

And what about on the back of the leg?

And in this case-- oh gee, I don't want to get rid of that dark outline, so I'll come down just a little bit in there.

Anything on the face?

Maybe just a little bit near the ear, and we'll do something on the ear in just a minute.

Let's come over to her, and what I feel there-- I'll do some of the same on the lightest light... but we'll need to put something on her dark color as well.

Now this again, as I'm placing this on, it pushes against that line, the outline.

Softens, softening just a little bit so you don't have a-- well, it is a pretty sharp line.

Let's go further by going to the next light, and when I say that I'm looking at Yellow Ochre and White, maybe just a touch of Cadmium Orange.

So that ends being one Yellow Ochre, one Cadmium Orange, and it's about one White.

Now, I'll judge more the amount of the White once I come up here.

Oh, that's plenty.

The thing I like about these shows is, I come to teach, and I stay to learn.

That's, I think, a great aspect for teaching.

If you're not learning from your students then you're missing an opportunity.

And what I like with-- and I tell this to young people all the time, that you just-- well, just in general, we have a couple grandkids that are quite young and early in school.

There's going to be certain ones in the class that really achieve well, but don't be intimidated by them, and don't put your work down just because theirs appears to be great.

Just do not compare.

It's surprising how sometimes the early ones kind of fade along the way.

Either it was too easy for them or when did meet obstacles, they sort of gave up.

Gee, I like that.

Now let's do the same thing over here.

But if you keep pushing along, it's amazing how success may come later to you.

I've used this example in baseball, and I'm going to tell it to you again.

There's people that can throw faster, jump higher, run faster, but they cannot try any harder, and boy, the trying hard is often the secret to success, There are coaches that sometimes they'll say well, I like him, because his attitude is so good.

He tries so hard.

Boy that's-- I tell you what right there-- she's got kind of a generous muscle.

I'll put a little dark.

I'll take some Raw Sienna, and what are you?

Are you the Umber?

You are the Umber.

Let's bring this-- I'll put this-- oops!

I need to have it darker.

And as I do this, I want to push up closer to the line so it doesn't look quite so heavy.

Okay let's go ahead.

It's just a small repeat of what she has now.

This is her hat, so I have Alizarin Crimson.

Remember I put Alizarin Crimson on as a glaze.

A glaze means what?

It means you can see through it.

It's a transparent color, just pure color, and then you work into it.

I'll take a little red light... and strengthen right there.

See this, if you strengthen that area, it's right close to her forehead.

So you get the feeling that you can read her thoughts.

You feel her intensity towards that.

We'll take a little bit of the same flesh color, surprisingly.

Now, this one, I'm going to go up here.

Where did-- oh, this is the first one we put on the flesh.

This just to come down; just a little loose hair.

And I have a small brush that I'm going to go around her nose a little bit; Alizarin Crimson.

Right there, right there, and then just the smallest amount of Umber will give me just the little feeling of an eye.

It looks like I could use a little bit of that Burnt Umber on the back part of her hair.

Yes, yes!

And I'll go up right to the line there.

Okay, now on him, we'll take some of that same Burnt Umber and put on his forehead.

Not forehead, head!

It just covers a little bit of the acrylic.

And he has a little-- what do they call that in front?

Not a cowlick, cowlick's in the back.

I guess it's just a little hair coming down over the forehead.

Now I'll put some extra light, just a second, right in his hair.

So surprisingly, but we're using this, the flesh color there too, And I'll go out past the line slightly.

What I enjoyed there is, as I touched into the Umber a little bit, I picked up some of the Umber, and it goes there.

You know the word I wanted to say was bangs!

You got some bangs!

Just wiping a little bit on his lower cheek, and then a small amount for on his ear.

First I'll take some Umber, and I'll just make this ear just a little smaller, not as gargantuan as it was, I think that'll be plenty of red there.

Does he have any dark over?

Just a little bit like there's an eye there too.

Up above just a little bit of dark there to stand away from the sky.

Let's go ahead and put just maybe a little color on her bathing suit.

I have Viridian Green and White.

Should I use that?

Oh, you know, I look at your neighbor.

This is Phthalo Green.

Gosh, I like Phthalo Green!

Let's take some Phthalo Green.

Oh, I'm glad, I'm glad you told me.

That's just what I want.

Oo.

Oh, that's Great.

All right, now I want to put a little dark; this is Umber.

A little dark that will go just in his knee there.

A little dark showing the edge of the leg.

A little dark; this is all with Umber.

Put a little bit on her leg... and a little bit on the thigh.

Okay, let's leave that for now, and let's go on to the sky.

We don't need to do a lot of changes there.

I'm going to take some-- you're Phthalo Blue and White, and I use plenty of oil.

[soft scraping] Now, when I come over to the right, let's take that same color, and you are, what are you?

You're Van Dyke Brown.

I don't want Van Dyke Brown.

I want you.

Where are you?

Oh, here you are.

Payne's Gray!

Payne's Gray with the Blue.

Phthalo Blue and Payne's Gray.

[soft scraping] Just scoop it around, put some on this side.

I don't have much, and remember I said that I started this, I had put on Walnut Oil over the whole thing so that when I'm using a small amount of paint, which I am, then it really responds.

What I'm doing here is putting some general color in and it also covers a little bit more of the pink than was being covered.

Okay, let's take some light.

I have White and I have some-- I don't know what you are.

It looks like you're Yellow Ochre with a little Orange in it.

That's what you are.

And this blends into the sides so you're blending into the blue, and look at how casual it is above his head.

Those are just low-lying clouds.

And it's amazing-- the one in front of her just sits out there kind of light.

And then I'll take some of that same color.

This is the Raw Sienna and White with a touch of blue.

And we'll come right down against her head and pull out.

I'll blend those in just a minute, but first, I want to come against her and him.

These are so much fun to paint.

Gee, it's exciting.

It takes energy, it takes pressure, but it's such a joy, joy to share.

I've used this analogy before-- and I'm just placing this on, putting more of this on-- that if I were to paint, and I'm teaching and think oh, I want to hold back so that I have saved something, and I draw a stick figure, and say okay, I'll teach that, but if you do the best you can you'll find that you grow while you're teaching your students to grow.

Don't hold back anything.

If you have secrets, don't go to a workshop or a class and say, I'm going to teach you how to paint, and then you don't.

Give your very best.

By giving your best, then you go beyond the stick figure.

Some of those stick figures are quite well done.

Okay, put this in front, there, there.

I want to put a little bit of this same light-- it seems like we're using a lot of this-- just on the side of that sand castle, And he gets a little bit on the upper stories.

Okay, a little bit of red.

What kind of red?

This is Naphthol Red.

Notice I'm not filling it all in.

I put it on a little bit like that.

Come down there, you're covering the blue slightly.

I can have a little bit of Alizarin as a shadow or an outline for that side.

Now let's go ahead and blend a little bit, the lights that we splashed up into the sky and in the background.

You know, out of the corner of my eye when I look over there, that almost looks like a sailboat, which could easily be added to the picture, because what it does, you have these sitting here, and then you feel a little bit of the movement going that way.

Okay, I have a dry fan brush.

I've already come close to the girl with the small brush.

So we just blend it away.

The horizon, you really can't tell where that is.

I think it's, well, where it's a little bit below the boy's head, the girl's head, so it emphasizes them.

The nice thing about having the original on the easel next to it, you can sort of see how the finished product looks.

We rush a little fast on these shows, you realize that.

This is really quick-draw art.

[soft scraping] Okay, so we have a little time here, we'll push this around.

[soft scraping] And again, when I look at the original, I think oh, I can see pink coming through there.

Pink through there, pink through there.

So it's a question of how much pink do you leave showing?

And I wouldn't change the original, but it's just on this one.

Do we want more or less?

Okay, I'm going to take a small brush, and I have some Alizarin Crimson, and I'm want to just touch a little bit on the top of these, I don't know what they're called.

Are they called turrets?

Sounds like a good title.

Oh, and over on this one, and I'll use that little brush with some of the highlight color just to form up just a little bit more.

What about him?

Well, you know, you got some work to do, but I'm talking about the original, you got some work to do.

I'm softening the bottom so it sits down in the sand just a little bit more, come closer to the shovel.

Now let's see if there's things on him that we could make better.

Let's take Yellow Ochre and White... and we'll go just with the highlight on the back hair.

That's good.

A little stronger light, still Yellow Ochre and White, right at the shoulder, and I like this where you just kind of place it on, and you don't have to overblend it.

We have a nice strong dark that goes right against his back, and there's a light down here.

Is there any there?

Maybe just a little bit there.

What about her?

Let's go that same light accent right there, and then on her forearm.

What about her hand?

There's just a little suggestion of that too.

It's Raw Sienna and White, then you might have just the smallest little-- where are you?

This is Raw Sienna, both the edge of her hand and just a little suggestion of some fingers there.

Do we have a little to do on her thigh?

Slightly Raw Sienna straight.

Oh, my goodness.

I wonder if you were straight.

It almost looks like you had a little White in you.

A little bit back here, and then it's such a nice lead-in with that highlight on her foot.

So I'll take White, you're a little bit of Orange and White.

That worked well.

Um... kind of feel I better take some Alizarin, we did it before, but just come down a little closer and establish a little bit of a profile on her face.

She does have that loose hair going out there with Yellow Ochre and White.

Some of it comes up a little bit more.

We're getting down to where somebody's going to come and say okay, party's over, time to go home.

You can come back again tomorrow, and you can start building another castle.

Oh, gosh, this has been great!

I hope you've enjoyed it as I've enjoyed teaching it to you.

There's nothing like shows on PBS.

A little red, just a little bit of an ear.

Okay, I think we've done what we've done.

You can see the original has a little more polish to it.

We've shown you the techniques.

You use it or lose it.

See you next time.

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