If you go into the woods often enough, to study a scene, after awhile the woods will make a path for you!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ "Wood Interiors," part 2.

Boy this is going to be fun because we're painting from a pochade, let me point it out to you.

This is our pochade and then we're building a painting out of that, which you can see over on the right.

This is the completed acrylic stage it's all dry...I hope!

[laughs] It's all dry, and we're ready to put color on it.

This has not been done before so we're kind of experimenting with you.

We'll start with the Saturday night bath, and I will put the Walnut Oil on, spread it around a little bit with a paper towel and then I want to use Olive Green as my Saturday night bath color.

I don't put on the oil and the color mixed at the same time, although I could.

I just want to make sure that I-- a little more control when we're doing the television work.

Okay, that's spreading it around, and just make sure that it's just enough slip, not too much slide.

What happens in putting the Walnut Oil on, and I'll do this over my acrylic paintings when I'm teaching workshops or classes is that then you don't have to use additional medium unless you're doing maybe a couple foam patterns or something where you have to thin it out.

Otherwise what's there will work fine.

All right here's, using the same big brush this is Olive Green.

When I place this on, I'll start here, but I'll push it all ways and then wipe and add.

I don't think I'll be adding any more but we'll be wiping.

Go right over everything.

[soft scraping] You achieve a little bit more.

You achieve a little bit of a mood in the painting as you put on a Saturday night bath or you put on the mudpack color which is kind of like a veil.

[soft scraping] All right, similar to what we did with the Walnut Oil, we will now take and wipe this to even it out, thin it out, then places we'll wipe even harder to make it more dry before the oil paint goes into that area.

[soft scraping] See, you can see it sort of softens the things, creates a little mood for it.

Now I will wipe a little harder as we suggested in a couple places and one would be where my lightest light is.

And we'll be adding light into that, but as it goes on, it blends softly a little bit into the Saturday night bath color.

Wipe here and come down here, we'll wipe just a little bit.

Okay, so what I'd like to do now is take a color, and let's sort of add some in there.

And I feel there's just a little bit of bluish tone other than what we have there.

So let's do this with oil.

I have acrylic, no excuse me.

I have Thalo Blue and I have Ultramarine Blue.

And these are the two.

Which one should I use?

I'm going to select the Ultramarine Blue and it's just a little softer, use a little white with that and a fan brush.

All this does is puts a little nothing, not much showing.

I'll use a little more white.

It puts just a little bit of texture on there.

You can see that now much better, can't you?

And I'm not sure that this will stay as is.

We'll probably add some blue, some green into it too.

But it sort of softens around slightly, and then same thing here.

Any time I need to, I can wipe a little bit and because it had that Saturday night bath on it, it wipes very well.

I like that almost little haze look, but I was getting a little abundant with it.

Okay, let's go up, I want to take now let's take some Thalo Blue and white and go just a little higher in the same area.

Now, when I say the same area, I'm going up above here, and this is kind of the neighborhood.

We're going to put some highlights in there in just a minute, but if we cut that down a little bit with the Thalo Blue and white first.

Most often I will establish my center of interest first.

Of course, light through there is a strong center of interest.

You can say well the pochade doesn't have quite that strength.

I choose to do it in the painting that I'm doing now.

You have a lot of interest down below too, but let's show it up there.

Before I put that light in-- let's go ahead and put the light in-- and look at this.

We're getting Mr.

Knife out early!

Glad you woke up.

What color are you?

You're Raw Sienna.

And when I say the knife out early, I don't mean just to mix, I mean to place it on.

Watch the effect when you use a knife.

See, I filled that knife, and I'll show you, like that, so it has it on the bottom, and then you just kind of drag a little bit-- very controlled.

A little bit here.

See that broken color?

Isn't that pretty?

Oh, I love that one.

Now because of that one, then it says "Hey, I'm the diva!

Get me lookin' a little bit better."

Then just a small amount of paint walking over to the right and then maybe walking over to the left.

Okay, I like that, I not judging it as being finished yet.

It may be, but we'll see the relationship to the rest of the cast.

These are supernumeraries and the diva is there.

Supernumeraries sounds like such a good powerful word, but it's just a supporting cast.

All right, down in the water and let's go ahead with that.

This is Ultramarine Blue again.

Do I want that?

No, I want the Thalo Blue.

Often what surprises me is that if I say something out loud and like I just did.

I said "Ultramarine Blue, no Thalo Blue."

In order to get it into your subconscious you have to hear it, that's why talking out loud speaking to yourself is suggested.

That's true, I heard that from a psychologist and I thought good, I love doing that.

'Cause when you're doing these shows without an audience-- the audience is at home!

You're the audience!

You're the ones that I'm appealing to!

And that I'm appealing to.

Am I appealing to you?

That's great!

Okay let's-- you see I put on the Thalo Blue like that.

Now on the gleam in the water, I'm going to do just a little different than up above, I'm going to start with the same color, the Raw Sienna and white.

But I'll take with a knife which sort of controls it a little bit, and as I do it I push in slightly to the blue paint that's there.

This is called building to the lights, so after I've done that, then I have a chance to go lighter and we'll use the knife for the smash, smashes.

I think I'll do this, I'll take the knife this way.

There's no question about the reflections coming down there, is there?

And one over here.

You see in the original actually what I, I've said it before, but in the original I'd say well there's a lot of light there.

There is, but this one might be a little stronger.

In our picture we want it stronger because of the source of the light traveling in a straight line.

Now, let's take some of that Raw Sienna and white, just under the log.

This is water that's there.

Oh, I like that, and I like the texture.

I like leaving the texture on, I have no problem with that.

Let's go ahead with just a little bit of-- what should we use?

Are you umber?

You are umber, but I don't think you came out ready to play the game.

Get there.

Okay, let's take some Raw Umber, Burnt Umber, excuse me.

And we'll just go right across on these.

Look at what that does.

It warms it, and yet you make use of some of the blue as being an edge to it.

This one not as much, but it'll be the same thing.

I'm putting this on the left side of the tree, because the light's coming through there.

Let's put a little bit on this one.

Boy Burnt Umber, you were hiding on the bus.

Come and get into the game!

These could come down just a little bit into the lower part of the water there.

And then this one, ooh, he's kind of nice and wide and I like that little branch coming out from that.

I hit a little sky, and it gets a little gleam on it.

Beautiful!

Serendipity!

And this one.

Oh, it's so nice to be with Prairie Public.

I think I told you on an earlier show, we went to a restaurant and here was one of my classmates.

I didn't know who she was.

She said you used to sit by me in school.

Well, there you go.

Great, didn't score many points on that one.

But it was so nice to see people that you know and see people that say oh we watch your show faithfully.

What about on this side?

I have Van Dyke Brown.

So this is darker than the Burnt Umber.

I'm sort of using this as the right edge for an outline on this.

Mentally I heard my beautiful director say "Step back Buck!

Need to see it!"

Then let's, while we have it, let's just push some down around like that too.

Okay, now I want to get on to the foliage.

I think what I'll do is start with the fan brush and this is Permanent Green Light and Cad Yellow.

What about Yellow Ochre?

Yes, Yellow Ochre and Permanent Green light.

And I'll just push this on, and when I say just put it on, I'm doing little... [coughs] pardon me, clumps so I won't make the whole thing solid.

You're using liberties, you're going large areas, but nevertheless, you have in mind that it's kind of flowing this way and you have individual clumps.

Like that.

Now let's take a little bit-- what are you?

You're Viridian Green.

I'm going to try some Viridian Green straight.

Yes, and put that back in there so you have some very secondary value of greens but it's just right--it's not too light, not too dark.

I want to go just a little darker there.

What are you?

Are you...?

Oh yeah, you're... Oh!

You are the Olive Green!

So we're just darkening that a little bit more.

Okay, I'll put this same stroke, same color over on the right side.

Now this is Permanent Green Light with Yellow Ochre.

And here we want it to flow this way.

This is all preparation before we do a little bit of knife work.

This can sneak out a little bit further that way.

Oh, I really like what's happening.

What else could you say?

You say oh, that's not working out.

You're not going to hear Buck say that.

It always works out.

I want to use just a little bit of Viridian Green down there because I feel like this is just a little bright, so this will soften the green slightly.

We'll go over to the right again... in here.

Okay now, before I go any further with that, I want to have just a little bit of paint on the knife but this is going to be different.

It's not going to be just patting on.

Watch how I work with this.

This is the Permanent Green Light.

I guess I could bring it up and mix it in the same spot.

I want to put just a touch of oil in it.

Now, here's my approach.

[soft scraping sound] Can you hear the canvas?

Absolutely!

[soft scraping] It's amazing where you put the little bit of extra blending in, but it's not the blending like a brush.

I do this so often with my knife work these days.

Okay, let's come over to the right side.

And I've added a little extra paint so I'm not just using what's there.

[louder scraping] Okay, what I want to do now, and I'm looking at the trees, and I'm looking at the trees in the middle with the idea that they're just a little stark.

So I have, this is Viridian Green with just a little bit of Olive Green with it.

I'm going to come up and just touch across there slightly; and it looks like some distant foliage.

Or not distant foliage, but foliage on the trees.

See, let it just touch out into the center of interest.

That's fine.

A little bit down from this side.

[soft tapping] And on the other side I'll have more of the Olive Green.

What was I using?

Viridian Green and Olive Green?

We'll add a little Viridian to it!

[soft tapping] A little stronger down in here, just a little character there, not much.

Okay, let's go to, well, we'll start at those trees, then we'll come across.

On the distant ones, I see some Raw Sienna and white, excuse me, Raw Sienna and red.

That's Cadmium Red Light and Raw Sienna and you have just a little bit on the left edge there... not much.

Oops, you're much.

Oh you're much much!

I can take just a little Umber and touch into that if I want to reduce it a little bit.

I kind of like that, so I'm not, I will not take it down any further than that.

Let's just try some pure Raw Sienna over on this one.

Now that didn't do much, I'll tell you why it didn't do much.

It's because I need to put it on the other side.

So I pick up some Yellow Ochre.

That's more like it.

that's the side, because you've got the light coming from there.

You're sort of generous.

you did give me a good lead, but just a little Umber in it, not quite so light.

Okay, now let's come over to the far right and let's see, Raw Sienna, a little white, this again could be a little building to the lights.

So we'll put this on.

Like that.

We'll put some on its neighbor.

Like that.

Now let's put a little bit of Raw Sienna and white as we come down, this has just a little Raw Sienna and white.

We're using the knife, just a little character on the rocks.

In the water what would be helpful-- and I'm using some Thalo Blue and white-- is just to spark across a couple little horizontal strokes.

You get a little feeling of movement in the water as you do that.

We have a need for Raw Sienna and white on the log.

You can't tell, but as I'm doing this I have my little fingernail touching the canvas so that I can have a lot of control on that.

I do see some red like we put up there, just a little bit just near there and a little bit on this one.

And looks like a little bit underneath even.

If those get to be too much, just use some more, I have a knife we use a little Olive Green-- like that.

Maybe touch into that guy just a little bit.

Okay, now I want to go a little lighter on-- oo, you guys don't have any branches!

Would you like a branch?

Yes!

You got it!

Raw Sienna and white.

Raw Sienna and white... and this one Raw Sienna and white.

See, they help kind of move things down, and what I like to do once in a while is to take-- this is-- what is that?

Permanent Green Light and a little Yellow Ochre.

Just kind of come down and add just a little, few little spokes into the foliage to represent some twigs.

Okay, now let's come with a little lighter on the foliage.

This is yellow and white and Permanent Green Light.

Are you Permanent Green Light?

Let's take some more Permanent Green Light and a little white.

So now we get just a little bit of texture on that.

See the sparkle?

It's just such a it's consistent feeling with the light that's being exhibited there.

Notice how-- that's a little too light right there, so I'll just touch that guy with some little Olive Green.

Let's come on the other side with that same approach.

And we want to make sure you feel like some of these branches have a little foliage, so they're coming down like that.

We'll put a little bit down below.

Now let's take-- we just got a minute or so left.

Quinacridone Rose and white.

What will you do with a little blue?

Ultramarine Blue?

Oo, you're perfect!

You dressed up for the show!

Oh gee, I love that.

If it's too much again, we'll take just a little Olive Green to kind of tap it down slightly but there's nothing wrong with that.

I can see some of that being over in here in the distance a little bit.

Let's put just a little bit up here.

Oh, I'm so sorry we're going to have to say good-bye in just a minute.

But... did that work?

And down over on this side let's put a little bit.

Okay, we've taken you into the woods.

I hope you can find your way back, because it's been pleasant being with you!

Oh don't you love that?

"Wood Interiors!"

Working from a pochade.

And of course, you decide after this if you want to blend around a little bit, you can do that too-- but enjoy!

See you next time!

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