We need a "do not pick yet" sign on our flowers, but you stay tuned, and we'll make them very pickable!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ I wonder what's going to happen today.

I really wonder.

Sure we have flowers we have flowers up there, and we're going at them, but I want to discover with you how it's going to work out.

Isn't that a great attitude?

We go right past the caution sign, and we jump in.

Alright, this is part 2 on a "Bouquet for Mom," and we're going to do the oil stage.

I have already put on a thin coat of walnut oil, wiped it around a little with a paper towel, so it's quite even, and then I'll come with Saturday night bath.

I was waiting for somebody to say it, but that's what it is.

The Saturday night bath gives you a unity, it gives kind of a tonal quality, which is a lot saying the same-- unity and tonal quality.

And it's wet paint that you can work into, and make quite soft.

This is violet.

This is Quinacridone Violet.

Oh, I love those big words, and next week we'll show you how to spell them!

This is put on kind of causally, then you wipe with a paper towel, which evens it out.

This is a dry paper towel.

If you have a nice paper towel it won't leave any lint on the canvas.

What this does, going over the blue, it cools it just a little bit.

Which I think is very pleasing to work with.

So you have the combination of the blue underneath and this on top.

If there's any places that we need to wipe harder, then we certainly can do that.

Let's just say, for instance, on the vase, for the highlight, we'll wipe just a little harder, so that it's more dry, and easier to put on.

I'm going to wipe just a little harder over on the wall as well.

And I think that'll be about enough.

You'll find there is a certain little, a certain little unevenness in the application.

Ok, let's go ahead with just a little bit of what?

I think the larger areas, like the in-between the flowers, representing the leaves and that, would be a good one to have on.

And then you can kind of touch into them, without a concern or trying to put them in afterwards.

It's almost like putting on the foam first, then the rocks.

So you don't mess into rocks.

Here we put on the leaves first, so when the flowers go on, then you're not messing into the flowers.

They kind of spread out, just a little bit.

It made sense to me, I hope it makes sense to you.

Ok, at the palette.

I'm picking up a little bit-- now this is the same brush I just used--it had some of that violet on it.

I didn't really clean it that much.

I'm picking up some Viridian Green.

I'll take a little bit more.

I jumped very quickly, I hope it wasn't too quickly.

I'll go slowly, jumping over into the oil, into the green.

Alright, the question is: Do I use the green straight?

I think I'll add a little bit of red.

I'll go up here.

Are you Napthol Red?

Yes.

Putting those two together, so it's not quite green.

It has almost towards a little kind of a brownish tone.

But it's a very rich brown.

So I'm pushing this on, just a little bit.

You can see as I do this, I'm not going out into the background yet.

So I'll make sure I have some background on, before I put the little teeny leaves on.

Otherwise, it's a little too hard if you have to work around the little leaves.

When you put this on, you're always allowed the privilege of coming with a little remover.

A paper towel that will kind of spread this around.

When you're removing, you're actually saying, how much of the underneath do I want to be part of this painting?

A little bit more down here, I already have the paint still on the brush.

Pushing down there.

Alright, I think it would be helpful now to put a little work into the background, and then we can push some of the leaves into the background.

I will take some, it looks if I use Viridian Green and white.

Here's Viridian Green; you can see I'm brush-mixing this.

"Buck, are you serious."

I'll come over with the knife.

That's about equal parts.

Let's see if that's what I want.

It looks like I might want to have 2 Viridian Green, 1 white.

And I do that a lot of times, where I'll bring a little down and try it, and then you arrive at your formula.

Clean the brush, just a little bit.

On the walnut oil, I'm using it as cleaner as well.

And it is so good, because it's nontoxic, you just dip it in a little bit like that, so you don't mix your oil up too much, or it will be too dirty.

The nice thing about this oil, it's nontoxic, and it is also in the pigment.

The vehicle is walnut oil inside, so they're very compatible.

Here's the 2 Viridian Green, 1 white.

Oo, isn't that a pretty color?

Now when I come closer, you form up a little bit the size of the twig coming out there.

Over on this side, not much there.

I gonna jump down simply because I want to have some pink in there too.

There's a little bit more of this down on the table.

So it's a very uneven application.

I'll wipe, just a little bit, because I have a little too much, and I'll just even it out that way.

So it doesn't leave brush marks.

Even at this stage, you should feel that forming up, and that's looking good.

The more you can put the neighboring color in, it kind of isolates this a little bit.

So let's, before we go any further, we'll come down and pick up a little pink.

This is Quinacridone Rose and white.

This'll give me a little pink, out on the left side, right in there.

I let it blend in to the green that's already there.

Your thought, a little bit, on this is kind of overdo, slightly, [coughs] pardon me, slightly overdo, so that when you put the little loose leaves on, they can truly be little jingly-jangly leaves.

A little here.

Now I'm going to show you a color.

You just have to see it to believe it.

This is...what color are you?

Your an oxide.

Yellow...Yellow Oxide... Yellow Transparent Iron Oxide.

Wow!

Transparent Yellow Oxide.

Now watch when this comes down below this.

Oo, just a little bit more of the pure color.

I'm putting impact colors in, right at the same time.

I like, I like their use.

And see, I have that wet tone on the background, so these really don't spread out very far.

They kind of absorb right into the neighbor, neighborhood.

I'll come down with just a little pink.

This is Quinacridone Rose and white, my pink.

Isn't it nice how you feature that area right early?

I think I'll just keep on in that area for now, I'm going to take some Turquoise Blue and white, that's about equal parts, and put on here.

Mm, it's so strong.

I'll take a paper towel, because that is just a little generous.

See you build...what you call "build to the lights."

So I put that on, and then I can go a little lighter to "build to the lights."

I'll show you something too.

I like this.

I'm going to take a knife, palette knife, come down let's come down with white and just a little bit of that Transparent Yellow Oxide.

See how it is on the knife?

You come right up and place that on there.

I'll let that set for a while, because we'll want to put on a little pinks and so on, on that.

Now, what I want to extend out the leaves a little bit.

So let's take some of the Viridian Green... this has a little bit of the red and the Viridian Green.

Again, it's almost kind of a brown feeling.

I wonder if I should change brushes.

Let's bring this brush up too.

This is...who are you?

Your neighbor, I think, is probably a little cleaner.

That same thing.

That's a filbert, a filbert brush.

Not quite dark enough... there you go.

Now, this is all before any pedals are put on that.

This just represents some loose leaves.

We'll have one coming down, bending down, that way.

Once in a while, I'll take the knife, excuse me, the fan brush.

You guys, you got to get your names right.

I'll say, "this is Quarter talking to you, see not Buck, Quarter."

Ok, you call me the wrong name, I'll call you the wrong name.

Just coming out a little bit there.

Sort of bend him slightly.

Come down lower.

I'm going to use just a little bit more green as I come down here.

Now the thing about this is, look at the accent against the background.

You're constantly reevaluating what you've done.

Do I need to blend it a little bit, or is it ok?

I'll touch this, what I did earlier with the other brush, just to soften in slightly.

You don't have to get too detailed on the leaves.

But once in a while you'll want to take and do them.

I'm going to take this flat sable brush.

Now watch what happens when I take the same color, then see, I'm just going to touch it down on its side.

Make a couple of individual leaves, like that.

So you can have a lot of a general dark mass area, then just the smallest amount of detail will make the rest of it believable.

Then we get to go in on the flowers.

I love the flowers, and I'm going to show you a little bit of knife work on those.

Knife or nice?

Both: nice knife!

Watch just the-- let's see, what color are you?

You're Turquoise Blue.

Turquoise Blue.

Watch just a couple of the strong leaves there.

Ah, loves that.

Thank you!

Then, in that area, I notice there is a few pink ones too.

So I'll just come down over with some of the Quinacridone Rose and white, and just put a couple of leaves in on that.

These are smaller than the blue ones, but we'll let even some of those hang out there.

Ok, let's go ahead with some of the larger flowers.

I think what I'll do is, we'll start with the brush, and then we'll come back with the knife.

So this is Napthol Red and white.

And I'm coming up to the pink ones, sort of pushing around a little bit.

You notice I'm in there area, but I'm not tightly just coming right on the previous edge.

Will this look like this?

I don't know.

I don't care.

I just want to show you the technique of doing it.

And if like to have a little different color: red or orange or whatever-- you learn the technique, that's what I want you to take with you from this show.

We'll come just still with the fan brush.

I like the accidental look with the fan brush.

Like we said earlier, you go right past the caution sign when you do some of these things.

You have to believe in yourself, and that's more important than what others think about you.

I know I can do this.

I've studied, I've worked, and I've prayed!

They all are necessary for you to make these things successful.

See, that gives a little feeling of small individual ones around.

Now I'll come back with another color.

We'll take yellow and white, and we'll move towards the larger flowers.

The larger, this is the dominant one.

And again, I'm looking just a little bit of a character with this.

Tchoo!

I love that guy.

Then we'll come with the knife in just a minute too.

You can almost do the work, just with the brush.

And I like this brush, because it's larger and you can use the corner and kind of fluff around, or you can use a full brush and so on.

So it's a very versatile brush.

When you're under a time restraint, well then you sometimes need a brush that's going to do more for you.

What's happening in there?

Oh, then this--we have several that just need to be a little bit more pure red.

So let's take again the Napthol Red, because this spot was looking kind of dead.

Ok, let's come down here.

There's some good red there.

And what's going to happen is when I do these, I want to kind feature like you feel the light's coming from a certain direction.

So you emphasize the light on a certain part of the flowers.

We haven't done that yet.

Now we'll start doing that.

When I take the knife, my first use of the knife, is to go to what's already there and just flatten out a little bit.

So I'll push this around slightly, and I just have the whole flat part of the knife, with no paint on it, pushing, which softens it, and in some respects, it pushes the quantity of paint to the periphery.

So you find it's more paint on the edges than down inside.

And that is very pleasing.

It makes it feel like there's a cup positioned there with the flowers.

Push this around.

See, I like that!

It was a little solid, now it has the mystery in it.

Just pushing a little bit, not as much on some of these.

Alright, now when I put on the lightest light, then I'm going along with the idea of saying, I don't have to necessarily have the whole thing equally lit.

My center of interest is often the one that's fun to put on first, or you could wait and put on it as being dessert.

What should I do?

I'm going to make that one dessert.

So we'll go to the other ones first.

See, I say one thing, then the minute I heard myself say it, I thought, no, let's change that.

So this is red and white, Napthol Red and white.

Quite a lot of white on it.

And I'm coming up to this flower.

And when I do this, I'm going to sort of place this on the outside edge, and kind of roll it a little bit.

Lift it slightly, so it keeps most of the thickness on the outside edge.

Ok, here we go.

See, then when you're down inside, not as much paint.

I'll go over on that edge; come from this side.

Here, I'm going to push hard, because I don't want it to be quite as light down in there, or quite as much paint, anyway.

And I can do it the same time.

I'm going to come with this violet, Quinacridone Violet, and I'll put just a little bit inside there, so you feel like there is a middle to it.

Then you watch this.

If it's too straight, you could just push that up a little bit.

See how easy that works?

Push this one down just a little bit.

You have almost a transparent feeling in there.

Which is very pleasing.

Now some of the smaller flowers, with the same color, that pink color, we'll come, for instance, this one.

I don't need to be quite as much as the one below it.

This one being the one below it.

Then I'll put just a little-- ooh, that's a little too much.

A little bit there, a little bit here.

Let's see where there's other pink flowers.

Right in here.

Now this has a nice edge.

This is very sharp.

So I'll put it on, place it on, kind of wiggle it, and I'm like that.

See how strong that edge is?

Maybe too strong.

I'll take a little Viridian Green, and just kind of erase, just a little bit there.

Alright, let's do a couple more, and then we'll come to our big flowers.

These are still red.

Let's go with the Napthol Red.

See how you're selecting areas to place it?

If the light's coming from there, it's hitting there.

It doesn't hit inside.

Just a little bit on that guy.

He's just peeking around.

Want the feeling that the bouquet is round.

If looked from the top, you'd see almost a round circle.

So to represent that, we have to have less light as it goes over on the sides.

I'm going to use the Napthol Red, which we just used here, and just have just a couple of sparkle ones that go out on the little twigs.

Oo, you are beautiful.

A little red down here.

This is a good place for some red, because we already have that nice background against that.

So we will put just a little red in there.

Now let's come with the yellow and white.

Yellow and white.

That's pretty close to white.

Pretty close to white.

Oo, can you see the amount of paint on that knife?

I'll have to spread this around a little bit too.

And let's put some right in here, while we have it on the knife.

Ok, now watch the working with this.

Pushing hard, so that it stays up on the edge.

Then to always consider the middle little dark as being a help.

This is a little help in there.

A little help in there, there, there.

I want to put another light right inside here.

Let's see, were should we do this?

Right in here.

So you feel like there's a couple more folds on that.

Ok, let's just push this around.

We don't have a lot of time left, but we're going to deliver this bouquet on time.

Flowers R' Us!

Borrow from him and come on out, and do it.

Let's do just a little bit of strong lights on the table.

See, this is still yellow and white.

Look right down in here.

That's real strong, but we'll place it on, then we'll kind of work with it.

Ok, so working with it is kind of overdoing.

Flatten this down, just a little bit.

Oh, this has been so much fun, I just love doing flowers.

Sometimes just a little accidental kind of orangish tone-- we'll just touch around.

We'll just touch here and there, in a few places.

It gives a real loose look to it.

So you get the idea.

But you can always take and do just any kind of stroke you want practically, as long as you're brave and know what you're doing.

You don't always know what you're doing, you're willing to learn.

See, I'm adding just a little bit of twigs to these, so they have just a little more character on them.

There's one that comes across, down on the vase too.

Sort of holds those little leaves together.

This has been so great, doing this bouquet for you.

Or "For Mom!"

I'll bring it to you.

Thank you for watching.

I hope you've enjoyed it.

And please send me your cards, your letters, your pictures, what you do.

You've done it in the past, I hope you keep doing it.

Bye, bye.

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